Gallagher Squire

IMAGINE the Stone Roses with an immeasurably better singer modelled on Ian Brown, or Oasis with a dazzling lead guitarist. Liam Gallagher and John Squire have, and the resulting album plays to their strengths. Though coming almost out of the blue, it’s the most logical team-up among the remnants of Manchester’s old indie-rock empire, currently awash with severed partnerships, searching for completion.

When Oasis split in 2009 after a backstage altercation in Paris, Liam’s songwriting was vestigial (though he had penned a couple of the group’s hit singles), and Noel’s vocals were largely reserved for sensitive, doubting songs Our Kid couldn’t sing (or didn’t want to). Innately cautious, Noel’s albums have nudged at the edges of Oasis’s formula, finding on last year’s Council Skies a sweet spot between middle-aged reflection on his Burnage past and canny Oasis-esque bangers. Liam also hinted at maturity on 2022’s C’mon You Know, but he’s generally been laser-focused on claiming Oasis’s essence and audience for himself, replaying Knebworth, and Definitely Maybe on June’s upcoming 30th-anniversary tour.

Squire was more evenly partnered with Ian Brown in The Stone Roses, but has also proved dependent on his combustible singer for amass audience The Seahorses couldn’t supply. His time since the Roses’ 2010s reunion has been self-sufficiently private, balancing visual art with family life. Liam’s invitation to guest on “Champagne Supernova” at Knebworth opportunely coincided with Squire’s renewed interest in guitars and songwriting. Liam followed up by specifically requesting guitar-heavy songs with Squire lyrics for this project.

This is therefore a Squire-centred record, demoed by him at his Macclesfield home studio while Liam emailed broad strokes of musical direction –the Pistols, Hendrix, Faces and Bee Gees. LA sessions were produced by Greg Kurstin (Adele, McCartney’s Egypt Station and much of Liam’s solo debut As You Were), who rounded out the band on bass and piano alongside drummer Joey Waronker. Squire wanted imperfections, “something slightly out of time, a bit sloppy”. Happily out of the star game for so long, his influence on a singer who has to be a star is key to their collaboration.

Opener “Raise Your Hands” suggests Liam is getting his Definitely Maybe tour prep in early, with a bouncy Britpop beat brightened by Squire’s gleaming jangle. Anthemic lyrics hide a sardonic edge more innate to the Roses than today’s soft-spoken Squire lets on:

“If revenge is all that really matters…/ Raise your hands”. Liam’s vocal starts as he’ll continue, higher and therefore more vulnerable than usual, relaxed, the cracked grain that usually channels punk gravel now aiding genuine warmth. Squire’s guitar counterpoints West Coast vocal harmonies, with a scratchy bluesrock solo meeting Kurstin’s barrelhouse piano on the fade.

Where Liam’s solo albums channel aspects of his Lennon-worshipping yet sunny worldview, while often sounding written and recorded by committee, this duo debut is unmistakably authored. “Jesus Christ, about last night/I can only apologise”, “Mars To Liverpool” starts, before entering Northern psychedelic realms: “If your travel agent’s cool/ Can anybody get me/From Mars to Liverpool?” Liam’s elasticating emphasis of “cool” and “pool” is almost worth the admission. The music, meanwhile, splices The La’s’ “There She Goes” and The Beatles’ “Here Comes The Sun”. The Fabs scoreboard elsewhere notches references to Wings’ “Let Me Roll It” and Plastic Ono Band’s heavy primal scream blues on “I’m AWheel”, “I Feel Fine” on “Love You Forever”, “Getting Better” on “Make It Up As You Go Along”, and the phased guitars, pounding Revolver drums and lysergic effects of “Just Another Rainbow”. The latter’s five-anda-half minutes has room for windmilling Who clamour too. Its lyric, Squire has said, deals with “disappointment, and the sentiment that you never get what you really want”, disillusion Liam couldn’t concede on his own.

The Roses helped legitimise looking back in UK rock, rehabilitating The Beatles for Oasis to fully ransack, yet “Fool’s Gold” also offered a tantalising dance-rock way forward. Oasis similarly developed their punk- and raveinflected Beatlemania into the majesty of, say, “Champagne Supernova”. Squire draws on this old ambition in “One Day At ATime”. “Welcome back to the land of the living”, he has Liam sing. “We’ve got so many people to be”. Suggesting both “I Am The Resurrection”’s skyscraping lift-off from working-class circumstance and Bowie-like possible persona, Squire twists into a vicious kiss-off: “I know you’re happy in your suburban trance/ You should have fucked me when you had the chance”.

Though they each had one eye on the past, The Stone Roses put Squire’s guitar in a radical context, while Oasis’ white-noise clamour was a pioneering new sound made from familiar ingredients; by contrast, Liam Gallagher John Squire is an essentially conservative record of relaxed, early-’70s rock. If the tunes and attitude don’t grip as strongly as they did in either man’s era-bending pomp, both parties still sound better for getting together. With their regular partners perhaps permanently out of creative reach, this unheralded collaboration has strong prospects.

Here’s the ThisIsTheMusic track by track preview.

Raise Your Hands is a foot stomping anthemic rocknroll tune. The pounding drums and guitar riffs ring out throughout the track expertly supported with a stunning piano arrangement. The guitar riffs and hooks are stunning and Liam’s vocal will blow you away. The piano that bridges outro is both unexpected and beautiful, before Squire cuts loose with a striking guitar solo. A real statement of intent of what’s to come.

Mars To Liverpool the songs opening lyric “Jesus Christ, about last night, I can only apologise” could only be written for Liam and sung by him. It’s full of swagger and delight. Squire’s guitars are unmistakable and supplement Liam’s vocals superbly. The chorus is euphoric, its catchy and uplifting and will be one that you’ll be belting back word for word on the upcoming tour.

One Day At A Time starts off with an acoustic guitar riff before merging into a mid-tempo foot stomping anthem. The bluesy riffs and beats really shine and the vocal really showcases Liam’s soulful side and fits the mood of the song perfectly.

I’m A Wheel is a sleazy garage blues anthem that has the classic New Orleans vibe about it. The fuzzy guitar riffs and stomping drums work in unison with the thumping bass line and ensures it has a highly addictive groove that is totally absorbing.

Just Another Rainbow the debut single, tinged with psychedelia and plenty of groove, whip is a common theme across the album. The crunching Squire riffs and shoe gazing guitar solos really come to the fore and showcase why he is one of the greatest guitarists of all time. Liam’s vocal is full of its trademark snarl and has a bit of Lennon Mind Games era about it.

Love You Forever is a blend of strummed guitars, distorted dirty riffs, and groove laden drums that give the track a real coolness and swagger that wouldn’t have sounded out of place on the Roses second album. Its bluesy riffs and beats are complimented by Liam’s powerful vocal.

Make It Up As You Go Along starts off with a Stone Roses, style guitar riff before developing into a stomping groove.It’s more laid back than the other tracks on the album and really highlights the skill of musicianship on display.

You’re Not The Only One opens up an infusion of blues rock guitar riffs, pounding drum beats and urgent keyboard strokes. It’s got a real energetic groove and is packed full of fantastic riffs, including the best guitar solo on the album that will give you goosebumps. It all blends perfectly and then on top of all that there is the glorious vocal, powerful and emotive, soaring and melodic.

I’m So Bored starts off with a tremendous guitar riff that drives the song on throughout and has a real hint of Revolver. The thumping drums are a real highlight and the energy on this track is just fantastic.

Mother Nature’s Song is the song that Liam has said makes him emotional and it’s easy to see why. It’s a tender, chilled song packed full of emotion and built around the strumming acoustic guitar and the distorted guitar riffs.