Liam Gallagher, that tweet and his future...

After this tweet the other week, the Travellers Tunes HQ thought up a couple of dream projects for the iconic frontman:

A jingle-jangle supergroup album

Robert Plant has been on fire in the past decade with his various band line ups. As a result, we can't help but salivate at Liam treading similar ground, especially to make a psyche tinged jingle jangle album.

Liam's vocals are not restricted to this style but Oasis' 'Songbird' and Beady Eye's 'Millionaire' showcase one of his big strengths. So, who could he team up with to make this happen?

Former Byrds guitarist Roger McGuinn is top of our list. Imagine the pair covering Primal Scream's 'Gentle Tuesday' and The Byrds' own 'Ballad Of Easy Rider', a recurring wet dream right? Original material along those lines would somehow further both of their already legendary statuses.

Gallagher also has some amazing talents from Liverpool who formidable talent from Liverpool he could utilise. Ian Broudie, Bill Ryder, The Coral, Michael and John Head could all play a pivotal role in the studio and on the road. Plus, a mancunian leading a troupe of scousers around must be appealing.

The Pretty Green Festival

Liam's flagship store is in the Mod capital of the world and Brighton's beach would be the ideal setting for annual all day gig. Fans would love the nostalgic venture down South on their scooters wearing their Fred Perry polo shirts and desert boots for a piss up and a sing-song. Demand would not be an issue.

It would also be great exposure for many of the UK's bands who struggle to make the mainstream airwaves in today. Picture the scene, you get your wristband, a pint and then settle in to watch Erland and The Carnival, Swines, James Skelly and The Invaders, Kassassin Street, and Steve Craddock in its inaugural year.

Enjoying it so much, everyone makes the journey back next year to see Cast, The Moons, Miles Kane, Little Barrie, and The Rifles. Everyone is winning!

Moreover, Liam can come on and collaborate, have a headline DJ set, or if he has new material on the go, headline the show. This would be a creative play thing for him.

Thank You Shaun Keaveny

Monday 11th January will forever be etched in the memories of music lovers as the day David Bowie passed away. It should also be remembered for an astonishing piece of broadcasting by Shaun Keaveny on BBC6.

As music news reporter Matt Everitt broke the news, he was clearly choked up and didn’t want to announce the news. Keaveny, being good a friend, chipped in to help him through to the next junction. He later, completely off the cuff, sent his thoughts and feelings out to fellow presenter Mary Ann Hobbs who felt would be distressed.

To call both acts of kindness a presenting style would demean the situation completely. This was a man openly and honestly sending out heartfelt emotions. It was what we all did that morning right? This writer spoke to the friend who burnt him copies of 'Hunky Dory' and 'The Rise and Fall of Ziggy Stardust...' for no other reason than, it felt the right thing to do.

Keaveny's selflessness is often his way on air but in a time of strife it was apparent this is not an act. He is a great bloke who cares about the same things the listeners do.

He put listeners emails and texts before his own thoughts and feelings which was remarkable considering how most broadcasters made it about themselves. Keaveny only offered anecdotes about his past when they related to a specific email or text that came in. It created a bond and a sense of togetherness that can never be lost.

Even more impressive was the way he took a back seat to the elder Bowie fans. Recognising that the hose who were teenagers in the late 60s early 70s were going to have passion for their hero no-one else could reflect was a really nice touch. Every generation has that act which they idolise and follow blindly, Bowie wasn't Shaun's and was keen to take in knowledge and stories from those who knew more. Meanwhile, Moyles was in me me me me me me me mode.

Bowie was always striving for something new and innovative and the play of Daughter's 'Doing The Right Thing' felt apt. The show must go on, its what he would have wanted sprang to mind.

The broadcast became like a wake towards the end, people were over the devastation and began to celebrate what a wonderful career he had had and its impact on people’s lives. Shaun was at his wise crack best, lifting the mood with every dad joke and every pun.

It must have been hard for him to remain in control that morning. As every bowie song was played the reality of what had happened sunk in more but from the bottom of our hearts, we say, thank you Shaun Keaveny. You were a comforting father figure on a bleak Monday morning. Here s to at least another 9 years at the helm of the breakfast show. 

Top 10 of 2015: 5-1

5. Kagoule - Urth

What a storming breakthrough year the Nottingham three piece had. Some say supporting Johnny Marr would be their highlight but let’s face facts, not many get to finish fifth on our annual top ten of the year.

This is a fierce record which follows in the mould of Nirvana, Pavement and Sonic Youth. The duelling vocals of Cai Burns and Lucy Hatter are not treading new ground but they are delivered well and en-route to be added to that list. Refreshingly, the guitars are used as a weapon to assault the senses.

This is an album of remarkable consistency for a band so young. It has the presence of a top seasoned band returning to their fiery beginnings. For a group of teenagers to achieve this, it really does set the excitement levels high.

Standing above the crowd is ‘Made of Concrete’. Amidst all the angst and thrash comes a riff worthy of Modest Mouse. Furthermore, it witnesses Hatter altering her vocals to this more radio friendly track and making her sound like a star.

‘It Knows It’ is another track which pops its head above the rest. The riff conjures memories of Nirvana circa ‘In Utero’. Do compliments come any bigger?

Kagoule are obviously not at an ‘In Utero’ level but neither were Nirvana on ‘Bleach’ but they are throwing some big right hooks in attempt to become that sort of punk-rock heavyweight.

4. Tom Williams - New House

The second mini album of 2015 from Williams is perhaps his finest to date. His band The Boat will need to come back all guns blazing because this heartfelt effort hits staggering heights at times.

For anyone renting with a landlord as sensitive as a Donald Trump speech in Mecca, the sentiments of anguish on opener ‘New House’ will resonate well. It may not be the fist in the air defiance of Frank Turner but rather a warm arm round the shoulder and equally as moving.

‘In The Snow’ features Catherine Black on cello which helps to make this a great piece of dark and squalid art. Everything sounds so bleak and claustrophobic and the use of tuning radios towards the end makes this easily the most interesting track of the album.

The most compelling track however is ‘Play Guitar’. Has a song without a chorus ever being so captivating? The reference points in the song are instantly recognisable like the great novels of Irvine Welsh and John Niven (minus the heavy drug use). What makes it so great is the combination of kitchen sink realism with hope and love embedded into every chord.

In an era where bands only last a month, TT looked despondently to the floor when The Boat said they were taking a year off. That’s going to be that then; they’ll never come back now. Well, if they don’t, the heartbreak has been removed by Williams’s two brilliant mini albums in 2015. If this is his solo starting point, have another year folks because this, this is great. 

3. Hatcham Social - The Birthday Of The World

When will Hatcham Social stop making great records? The answer is seemingly never! ‘The Birthday of the World’ is their fifth LP from the New Cross outfit and they are on top their game.

Opener ‘Bucket of Blood’ sums up everything to love about this record. There is a bit of the Charlatans, The Horrors, Jesus and the Mary Chain, and The Creation all blended into the mix and yet it’s a distinctive Hatcham Social sound.

Weird and wonderful is a phrase often bounded around for the band and with the warped production swarming over the lullaby strings of ‘Wondrous Place’ it’s easy to see why. Despite this achievement, it’s the overarching feeling that ‘The Birthday of the World’ is made by friends who adore what they are doing as much as the few of us left who love buying it.

‘Our Love Will Carry Us Through The Stars’ combines strings with pianos reminiscent of British Sea Power circa ‘Open Season’ to create a sound so light in touch that, whisper and you won’t hear the beauty floating around you.

The one question a record this distinct and career defining throws up is what next? ‘Life In An Endless Love Song’ provides the possibly best answer which is, who cares? This song has love bursting from every pore and as long as this remains, well, nothing else will ever matter. Viva la Hatcham Social.

2. Reverend & The Makers – Mirrors

Bugged out, pure pop, Phil Spector production, Primal Scream, New Orleans Jazz, great guitar hooks, synths, horns, Love, Beatles, Kinks, Ennio Morricone, this album has the lot. You would be forgiven in thinking this is a muddled affair, not at all, this is the best pop album of the year. John McLure is one clever bastard!

For a band that walked their own path rather than the one London’s elite music PR companies told them to, this is the stadium filler they were probably always told to write. As it is, it serves as another great fuck you to the people who never supported the band’s ever increasing creativity.

‘Black Widow’ opens with drums from Primal Scream’s ‘Movin’ on Up’ before a monster riff worthy of Black Keys muddies the water to a level of pure filth. The dirty riff and the Peter Green-esque solo mesh so well with Maclure’s vocals it’s incredulous to think this is not their archetypal sound.

Most of the album differs in tone to ‘Black Widow’ and is a just pure pop brilliance. So many are under two minutes and thus, the need to play them again and again only increases.

‘The Trip’ is 90 seconds of stomping glam and psyche with a great early Noel Gallagher solo to round things off with. ‘Makin’ Babies’ clocks in at 1min 59 and is spritely Belle & Sebastien pop song injected with their Sheffield grit. Meanwhile, ‘Something To Remember’ sounds like a 90 second collaboration between Ronnettes, Scott Walker and Crosby Stills and Nash.

This is an album of relentless quality. The bar for all bands has been nudged that bit higher with this record. Simply put, you must buy this record and revel in its genius. 

1. Gaz Coombes - Matador

Coombes’ debut solo effort ‘Here Come The Bombs’ was a mixed affair, often too many ideas denying a great tune from breaking out. His second offering ‘Matador’ however, combines the elaborate ideas with great song writing with aplomb.

As album beginnings go, the sweeping majesty of ‘Buffalo’ and ‘20/20’ prove to be one of the finest of all time. The spiky acoustic guitars of Supergrass loom large against a backdrop of haunting backing vocals, choirs, and great production values courtesy of Coombes himself.

The simplicity of ‘The Girl Who Fell To Earth’ and ‘Detroit’ is where their genius lays, a point which was missed by Pitchfork’s review earlier this year. Less is more and sold out tours mesmerised by the beauty of these songs is firm proof they did connect!

There are only two problems with this album. Firstly, ‘The English Rose’ is a little close to a well-defined Arcade Fire sound for it Coombes to consider this homage to them. Secondly, the full version of ‘Matador’ does not feature. All in all, a small price to pay for what was comfortably the best album of 2015.

Top 10 of 2015: 10 - 6

10. The Charlatans - Modern Nature

When tragic news broke in August 2013 about the passing of The Charlatans drummer Jon Brookes, many questioned whether the remaining members would call it a day. With Brookes very much in mind, they returned at the end of January to release ‘Modern Nature’.

Whether the band approached the track ordering with fans in mind remains to be known but, to open with the solemn ‘Talking In Tones’ was spot on. It allows the listener to approach with caution and gradually be coaxed into yet another new era for this great enduring band. The new found electronic production on this track would suggest hanging out with Grumbling Fur has had positive effect.

The secret weapon of ‘Modern Nature’ is the subtle and underlying groove that flows through its veins. Former single ‘So-Oh’, stomps (with a small s) along so pleasantly its impossible to not be completely in awe of the affection it dishes out. Add Burgess interchanging from his classic deep gravel vocal and his ‘Wonderland’ falsetto beautifully and you have a classic on your hands.

‘Come Home baby’ is another fine exponent of this new groove. The piano loop ties this track together, which, in turn allows the ‘Tellin Stories’ country-blues chorus comes crashing in. This is sure to be a live sing-along favourite on their March tour.

Their love of New Order not only resurfaces, but to the same high quality of ‘Mistakes’ and ‘Misbegotten’ from their ‘You Cross My Path’ album. This time round, ‘Emillie’ trickles along like something from ‘Get Ready’ but with far more elegance. Meanwhile, ‘Let The Good Times Be Never Ending’, the track dedicated to Brookes, combine the free flowing nature of New Order’s guitar playing with some 70s disco production to conjure the highlight of the album.

Not everything works on ‘Modern Nature’, the stripped back ‘Keep Enough’ fails to spark any emotion. However, reflecting upon the grief and pain the band went through (and probably still are) to make this album, you have to stand up and applaud.

The Charlatans have never been afraid to try new things but who among us would have not forgiven them for sticking to a tried and tested formula on this offering? Instead, they launched a new era for The Charlatans and begun, yet again, to change people’s viewpoints on what their archetypal sound is.

9. PINS - Wild Nights

Manchester’s PINS second album ‘Wild Nights’ was eagerly anticipated after their great punk debut ‘Girls Like Us’. This time round, PINS have built upon their punk roots by adding elements of psyche and shoegaze to the arsenal. 

‘Baby Bhangs’ and ‘Curse These Dreams’ form a big part of their evolving sound. The former has a big krautrock riff pulsing through its veins before the Cats Eyes-esque chorus comes rippling through. The results are not perfect but they are on a clear path towards it.

‘Curse These Dreams’ is a hazy affair with a baseline Mani would be proud off. The new intoxicating sounds are a big leap from the ferocious ‘Get With Me’ and Banshee’s inspired ‘LUVU4LYF’ from the debut but not an irrelevant one.

Making it all sound like a great rock n roll journey are the vocals of Faith Holgate. In a similar fashion to Tim Burgess, Holgate’s ability to adapt to different styles seems effortless.

They haven’t completely discarded their punk beginnings though. ‘Too Little Too Late’ brings in their debuts power along with the new pop-psyche sounds. This feels like a space where PINS could really make their mark on album number three. Thee Oh Sees do this sort of thing well but they lack the pop sensibilities of PINS.

What is evident on this record is the lack of killer guitar solos. Lois McDonald has created some brilliant riffs here and at times impressive melodies but the definitive hook or solo eludes. If they materialise, McDonald will rightly take her place alongside the likes of Andy Bell and the Reid brothers.

‘Wild Nights’ is a very good record. A great record it is not. It’s imperative to state this because PINS are so close to creating one. As a live act they have everything. On record though, they are still learning the ropes it seems. Take ‘Molly’ for example’. The guitar pay off doesn’t match the world class build up it’s given in the opening minute. It’s an eight out of ten but feels like full marks could have been got.

Nevertheless, ask yourself this, how many bands in recent years have you felt that about? Exciting times definitely lay ahead for PINS. 

8. Noel Gallagher - Chasing Yesterday

We would love nothing better than to write a glowing review about Noel’s second solo album but we won’t. The reason being, another Mancunian legend John Robb produced the finest piece of music writing of 2015 back in March when he reviewed ‘Chasing Yesterday’.

So, click on the link and go to his brilliant website Louder Than War and read his review. Afterwards, set the site to your favourites and tweet John the gushing praise he deserves.

http://louderthanwar.com/noel-gallaghers-high-flying-birds-chasing-yesterday-album-review/

7. Public Service Broadcasting

The second helping from PBS is a concept album based upon the US vs Soviet Union space race from 1957 to 1972. A genius idea as the rousing speeches, tragic missions and sense of isolation in space are a great source of emotion with which to hook listeners.

The samples are used expertly as they were on their debut 'Inform-Educate-Entertain' to detail the events of the space race chronologically. It's not just Brian Cox educating us on space now!

The real power of this album is not the gimmick, no; it lies within the emotional understanding of the events. 'Sputnik' is a slow building house track which uses scintillating synths to signify the world's realisation that travelling to space will happen. Whereas, 'Gagarin' displays the hero worship Yuri Gagarin obtained for being the first man in space and the subsequent feel-good factor it gave to millions around the globe.

The tragedy of Apollo 1 is captured with minimal effort. The fuzzy radio static and deep noise of the cello acts as a back drop to news reports. This is a as haunting as it gets and a record which will never cease to make you stop and contemplate that fateful day.

Soaring above the crowd is the glorious 'The Other Side'. It documents the successful mission of Apollo 8 utilising NASA radio transmissions via Kraftwerk inspired synths. As it becomes clear the mission will be achieved the music saunters into escapist heaven providing goosebumps galore.

The London duo has delivered above and beyond on their second album. With such a strong gimmick as their key hook for listeners it really wasn't clear if this would be the case. The decision to make the album around such an awe inspiring epoch of human achievement was an excellent one. One in which they were allowed to breathe creatively and conjure new sounds and new image for themselves.

6. Richard Thompson - Still Life

In at number 9 is the fabulous new offering from folk veteran Richard Thompson. Read all about it via Jim Wirth's great review and highly revealing Q&A on Uncut's website here:

http://www.uncut.co.uk/reviews/album/richard-thompson-still