Tellin’ Stories

I don't know why, but this album actually struck me quite well. Beginning at a high acceleration, the songs sort of lose energy, but in a way that feels almost cathartic. The best way I can express it is the feeling at the tail end of a party, where there is almost too much going on, so then you leave with a van full of people and begin dropping them off, and by the end of the ride it is just you and one other person talking about life together. Really nice.

What is the point of this. I can tell this book was edited by an English music reviewer. There's a reason I've never heard of this band. Generic garbage

“Tellin’ Stories” by The Charlatans (1997) Here we have more eye-rolling British pop from the last millennium. With super safe lyrics that studiously avoid controversy or offense, these Charlatans give us words around which to wrap music. Sometimes it’s an ill fit. It’s as if they really don’t have anything to say, but they want to say it with style. Tunes are composed with pleasant enough melodies, and the chord structures sometimes go beyond the ordinary, but without a mood to match. It seems random. Even the jazzy experimental compositions “Area 51” and “Rob’s Theme” fall flat. And the Dylanesque “Get On It” is thirty years too late. Are these guys coasting on previous success? The unrelated collection of songs on this album are conventional enough to guarantee popular airplay. They’ve got the fundamentals down. And it’s well produced, but with little dynamic variation. The biggest weakness here is lack of groove or dominant riffs—nothing to grab the listener. Hoping for something special, one comes to the fadeout of the last track asking, “Is that it?” 2/5

This is some really good Brit-pop -> in an alternate universe most of these tracks would replace the same timeless status as Oasis' big hits. This is a better band with better songwriting (melodies, dynamics, whocaresaboutlyrics :).....) - the single "One To Another" was immediately recognizable and got some radio play way back in the day - deservedly so. Even though this may not be anything super-complex or groundbreaking, this is a great melodic guitar album that is easy-entry and eminently catchy with fantastic songs. And I was going to give it a solid 3 but as I've found myself listening to it on repeat and am already on my 4th listen - this is a 4 star keeper for me. 7/10 4 stars (One small nitpick is that I'd love to hear a remix; this sounds a little ... cloudy... for my liking.)

Some solid 90s era Britpop/alternative tunes. A tad on the generic side but overall quality album. Favorite Track: Area 51 Relisten: Yes

More gerneric British alt rock. 4/10.

This sounds like a cheerier version of Oasis. This just feels like another random British band that made it because they were relatively popular when the original list was made. I've still only gotten 1 jazz album on this list, but there seems to be an endless supply of late 90s to early 00s British rock bands that I have to slog through to get to good albums. 2/5

This is by far the most by-the-numbers record we've listened to from this list. It's insufferably generic with some of the most vanilla guitar tones I've heard on a record. This wave of British rock that made purposefully boring Stones rock is entirely skip-able. It's amazing that this band was around before Oasis, but saw their success with Brit pop and decided to throw their hat in the ring after being overshadowed by the Stone Roses in the early 90s. Just give up if this is all you got. They waited until the outro track "Rob's Theme" to give us an interesting track on this album. Sheeeeeesh Wtf kinda drugs were these folks taking in the 90s anyways? Boring pills? Snooooooze.

Before listening to this my only exposure to the Charlatans was their single 'The Only One I Know' which is a banger that I pretty much never skip if it comes on shuffle. With No Shoes is a solid opening but unfortunately all I can think of is how they probably found Rob Collins, booze cruiser, With No Shoes when he died in a car crash after being more than double the BAC limit flung out of his sunroof. North Country Boy is groovy and shows that the album has a cohesive direction in its sound. A bit forgettable mainly because I was still laughing about how Rob Collins managed to get ejected from his car while drink driving and then still stand up before passing away in an ambulance on Monday 22 July 1996. Tellin' Stories is fantastic, I have no idea what this guy is saying but I can only assume he's tellin' cautionary tales about the dangers of driving a BMW 520i on the B4233 after having a big day at the pub with your producer in the car who would survive with minor injuries. One to Another is where I realised that this band has more to offer than just 'The Only One I Know', the vocals here work well with the guitar work and the keyboard riffs are fantastic. The song is supposedly about a guy trying to keep his relationship together but I like to think the title is a nod to how Rob Collins went from being a getaway driver for his mate to being involved in a fatal single vehicle collision that left his wife widowed and his daughter without a father. You're A Big Girl Now is a song about how Rob Collins' daughter will have to learn to live without her late pisswreck father (who is not present on this track). How Can You Leave Us was initially written by Burgess about a girl, some lyrics were changed after Rob Collins' death (not a joke i copy-pasted this straight from wikipedia) Area 51 is a great instrumental piece which really highlights the talent of Rob Collins as a keyboardist. This song is like a nice intermission between the two halves of the album. Rob Collins demonstrates here that he is very good with his hands, even if he can't put on a seatbelt to save his life. How High is the question the British public were asking when it was revealed that Rob Collins was ejected from the sunroof of his BMW. Only Teethin', much like a lot of Cool Britannia and Britpop, is clearly very inspired by 60s rock and roll; a time when the Beatles were big, Britain was a somewhat serious country, and a time before the 1962 Road Traffic Act which criminalised drink driving and before seatbelts were made mandatory in 1983. Get On It sounds like someone put on some Bob Dylan before a jam session and now they have to get the annoying vocals and harmonica out of their system. It's songs like this that make me understand why the producer, Ric Peet, would get into the car with a drunken convicted armed robber, ironically named Rob Collins. Rob's Theme is an instrumental that was included after the passing away of the keyboardist of The Charlatans, Rob Collins. In all honesty, this is a sweet tune and it warms my heart to see a loving tribute to Rob on here (even though his brother/the label decided to leave him off the album cover?). This song slaps, but as there are no lyrics I am going to find it difficult to make another joke about drink driving and crashing your car. Almost as hard as I find it to believe that Rob Collins was able to get only four months in prison and charges dropped for assisting his mate in robbing a store. But seriously, this song is great and is 100% getting added to some of my playlists. Neil Young (who has 9 albums in this book, God help me) once said it's better to burn out than fade away. Rest in power Rob Collins, may you join your brothers in arms in Alcohalla, the afterlife for all brave booze cruisers. 7 DUIs out of 10

Well this was funny as i just finished his book, named the same as this album. While this album is not my favourite Charlatans album - thats probably the debut Some Friendly or the follow up Between 10th and 11th - its still a great album and i cannot give it anything but a 5. The book? You should read it! Some great anecdotes in there. And yeah, Tim Burgess has great music taste and there's a lot of name dropping in there.

Some blasts from the past fleshed out with some decent tracks I'd never heard. I wish I was more into this stuff first time round.

I try so hard to love the Charlatans as they are everything I want in a band but then again they just aren't. With the exception of a couple of early singles I have always found the band excel at being average. I wouldn't go as far as calling the also rans as they have etched out a reasonably successful and long career, they have just never burnt as bright as some of the contemporaries. So that brings me to this album Tellin' Stories, it came out at a time where Brit Pop was on the wane, big beat had stared to take over, Blur had reinvented themselves etc. Nothing on this albllum is exciting or new. Even 25 years on it feels like a lesser version of other bands. And Tim Burgess, his vocals start to grate by the time the album finally ends. For reasons, I can't even remember, North Country Boy is one of my least favourite songs of the era. I cringe when I hear it. Anyway, not a bad ablum but maybe not that essential either.

Very bland album from the band that nobody wanted to own up to liking at the time. They were a few years too late, too poppy, a bit whiny and derivative. This album was pretty much what I was expecting, like a poor man's version of all the more accomplished bands around that had already done the same thing a decade or so earlier. The murky production didn't help much and there wasn't anything to stand out, no amazing guitar or exciting compositions, just lots of stuff that sounded a bit like other bands. I was considering a 3-star rating, but I think I'll drop this one to a 2.

I'm sorry the fothermucker died, condolences to the family, etc, but I still don't like Britpop.

Blah blah blah, drone drone drone.

Kinda wish I could hang this one right at a 4.5; solely because I think this is higher than a 4, I’m gonna begrudgingly bump this up to a 5, even if it’s not quite there for me. I do have a lot of positive things to say about this album though; maybe my expectations were set a little low for a mid-90s Britpop album by a band not named Blur or Oasis, and certainly lowered even more because of Wikipedia labeling this as a partial “hip hop soul” album comparable to Neil Young, but like… damn, I really fucking enjoyed this. I truly don’t know where “hip hop soul” comes from at all when describing this album; if we’re calling the faster paced, almost rap-esque verses on here “hip hop soul”, then you may as well just call Blues Traveler a rap group at that point. This is Britpop through and through, and honestly, a really strong merging of the more distinct aspects of both Blur and Oasis at the time, namely in the more grungy production with the guitar work, reminiscent of Blur’s self-titled, and the slower, more deliberate vocal style of “What’s the Story, Morning Glory?”. Don’t get me wrong, this certainly isn’t big bombastic stadium rock, and there’s no Wonderwall here, but it feels like it could at least play pretty well in an arena. There’s some seriously good tracks here; the big standouts are the singles, all of which have at least a million plays on Spotify apiece, but even the supplementary tracks have a few gems: With No Shoes is a pretty good opener, and “Only Teething” immediately comes to mind (even if the percussion there is pretty much from Freedom! ‘90). Really, the only reason I’m not quite at an actual 5 is because some of the supplementary tracks do fall a little short in the execution or the mix – the last 2 tracks in particular really dampen the momentum of the album. Get on It feels like a Bob Dylan track in the worst way; not that it’s a bad track, but that it clicks on all of the habits from Dylan’s work that sacrifice melodic content for slightly more verbose storytelling and a bit of repetition. However, the instrumental and the extended solo throughout really salvage that track from being too boring. Rob’s Theme, on the other hand, simply plays itself too safe, and doesn’t really lean enough into the buildup and execution of the more psychedelic style attempted in the guitars; the drum pattern in that track just kills the mood for me. It’s a sort of flat instrumental to end the album. But, hey, I said I had a lot of positive things, and those positive things more than outweigh a flat ending – this is just damn good Britpop. It’s energetic, it’s catchy, and it just feels good for 1997. The only thing I can truly knock are the lyrics, for not feeling super coherent or memorable throughout, but when the melodies hit like this, and the overall tracks have such good mixing and instrumentation, it lifts the overall experience in a pretty coherent and fun way. I don’t think this is low enough to call a 4, nor do I think it’s quite at a 5. It really is at a 4.5 for me, but it’s a highly recommended one, so much so that I’ll give it a 5 on the website. If nothing else, listen to One to Another – that shit’s a banger.

Love this album, great one to wake up to in a van near Manchester on the way to a festival where Tim Burgess is playing

Downvoted by Americans whose taste in anything is always questionable. Go figure.

This brings me solidly back, not to the 1990s, but instead to the early 2000s. In halls at Manchester University, one of my chums, a guy called "Joe. Joe. Jay Oh Ee, Joe" (for that was how he always introduced himself) was mad keen on The Charlatans. Nice guy, really passionate about class, music and being Northern, and listening to this album for the first time in more than 20 years brings me back right away to those grim rooms, shared showers and communal khazis. Anyway - despite being from Birmingham, the Charlatans are pretty closely associated with the Madchester music scene and there's a lot of acts that are kind of interchangeable. This album is a pretty good example of it the sound of the scene, but you could easily drop in any one of half a dozen bands around at the same time who were doing the same sorts of things, in the same sorts of ways. Yes - it is absolutely a foible of Robert Dimery that this is included, because these guys were what the cool kids listened to back in the 90s and clearly Dimery was of an age in the 90s when being seen to be cool was cool. Just because it's part of an over-represented genre doesn't mean it's bad - the album is, as an example of the genre, pretty solid. Standout track - North Country Boy.

For a band called The Charlatans, tellin' stories would seem a tad bit tedious and weary; skeptical, even. It might have been if it were not a blast of consistently enjoyable dance-infused Britpop that manages to do a great deal of pressing forward from the tragedy that came before the album's release (founding member Rob Collins died before the making of the record) while not being completely overwhelmed by it. Whether or not one is familiar with that backstory, Tellin' Stories is The Charlatans turning into the real deal and making believers out of us all. Favorites: With No Shoes, North Country Boy, Tellin' Stories, One to Another, You're a Big Girl Now, How Can You Leave Us, Area 51, Get On It.

Would have gone for Some Friendly or else Between 10th &11th, simply because these albums made more of an impression on me at the time. However, I agree that Tellin' Stories is overall their most consistent effort. I like the album a lot, but not sure if I would have included it on the list. Side note: the 2012 autobiography of Tim Burgess is also called Tellin Stories and is strongly recommended.

An album that capitalizes on the combination of britpop influence and that stereotypically wandering shoegaze of the later 90's. Stands out amongst its' peers as something less known with a wider range of genres built upon tragedy. A great combo worth returning to

I want to start this review by giving the lead singer Tim Burgess a special shout out. Anyone enjoying this project should also check out Tim’s twitter listening parties (you can reply a lot of them on his website), something he started during Covid lockdowns and what got me back into listening to full albums, which then lead to me starting this project. Anyways on to the review…. The Charlatans are one of the underrated bands from the Britpop era. To me, Telling Stories is a captivating and energetic album that showcases their musical talent and diversity. However, I can appreciate that those who do not like Britpop might think this is very average or bland. Musically, I was impressed by this album. The standout track was their biggest hit, One to Another, which has a catchy chorus and a powerful guitar riff. This album is already in my frequent rotation of Britpop albums, so I might be biased. I give it 4 stars out of 5.

Britpop hangover. Best Tracks: North Country Boy, One To Another, How Can You Leave Us

not bad... but had to give it a couple of listens to actually hear it - - know what I mean?

Not so bad overall. Catchy Britpop with memorable choruses and great instrumentation throughout. Feels like it could belong to such a list, except from one little detail: this record, supposedly the magnum opus of The Charlatans, was released in the second half of the nineties, not the first. To be more specific, it was released one month before Radiohead turned the game of British (alt-)rock on its head with *OK Computer*. Talk about a last-minute feat before that whole Stone Roses / Oasis-adjacent sound immediately became less relevant. This situation might explain the Britpop "fatigue" of some listeners on this app (sometimes harshly expressed), and so the album's relatively low global score. It's true that this record goes through very predictable stylistic twists and turns at times, from Rolling Stones-indebted compositions to Stone Roses / Primal Scream-like syncopated rhythms and heavily guitar-laden spots à la Oasis. And this to the point where it sometimes feels you don't even need to listen to the album to know what's in it. Add the fact that the record's second half is far less impressive than the first (except for one organ-enhanced cut reminding me of Bob Dylan circa *Highway '61 Revisited*, before one instrumental closer paying tribute to the band's keyboard player--who tragically died during the sessions of *Tellin' Stories*), and what you have here is a record that clearly lacks something to *truly* stand out. Pretty good music is still pretty good music, though. Had this thing been released three years earlier, chances are The Charlatans would have been a more famous figurehead for that whole Britpop thing, maybe up to the level of Oasis themselves. To be fair, Blur was still more interesting as an album band than any of those acts, but to use words used by The Charlatans themselves, that's a (music tabloid) "story" I'm gonna tell in another time, kiddies. 3/5 for the purposes of this list of "essential albums" 8/10 for more general purposes Number of albums left to review: 155 Number of albums from the list I find relevant enough to be mandatory listens: 364 Albums from the list I *might* include in mine later on: 214 Albums from the list I won't include in mine: 271 (including this one)

Hmmm, for some reason I thought the Charlatans were a 00s indie band. This was fine I guess, sounds like all britpop which I'm not a massive fan of, I think unfortunately britpop got a bit overplayed for me and I'm bored of it but I guess for the time it would have been great.

I really struggle in rating albums like this. It is inoffensive and not remarkable, but also pleasant enough that it didn't intrude in any unpleasant way. A decent album to put on while I drink my morning coffee and browse the ol' Internet on this Sunday morning, but on the other hand, it lacks a certain spice to make me want to listen to more. It is worse off being kind of boring or being kind of painful on the ears? Settled on 3 stars based on the merit that (morbidly enough) it is a wonder that this album flows as smoothly as it does considering the circumstances behind it's production. It helps that this album does not drag.

Хороший альбом, позитивный, так сказать :) И вроде не к чему придраться в нём. Классный бритпоп, легко слушается, но не цепляет как-то ничем. Всё как-будто дефолтное какое-то. Слова обычные, голос обычный, супер выдающихся гитарных или ударных соляков не замечено. Разве что можно отметить внезапные вставки соула, которые отсылают нас к Бобу Дилану немножко. Чуваки ещё заявляли хип-хоп, но как-то особо я тут его не услышал особо. Хоть и ждал. Может быть, они имели в виду инструментал Zone 51 как хип-хоп, но что-то как-то не...

3.5/5. Not the worst alt-rock I've been thrown, but by no means is it amazing. Overall it sounded better than other alt-rock albums I've listened to.

OH GOOD MORE BRITPOP

This was very generic and boring. I don't really care for Oasis but this seemed like a worse form of Oasis. I feel like including stuff like this is an insult to so much that could have been included.

Not the worst but honestly quite boring.

I’m not familiar with the rest of their discography, but this album just sounds like a poorly produced Oasis copycat

Meh.

This one feels especially inessential. I suppose the one thing in its favour is, were you to ask me to simply imagine a rock album from 1997, the resulting mental composite would sound a lot like 'Tellin' Stories' by the Charlatans. 'One To Another' has a bit of a sting in the tail; 'How High' ain't too bad; and I quite enjoyed the quirky instrumental 'Area 51'. Everything else just sounds safe, conservative, uninspired and boring.

Tedious baggy. Distinctly average.

There's some proper Gallagher pronunciation here innit. What a mess.

Britpop delontón donde no hay que destacar nada. Suenan como unos Oasis descafeinados. Interesante cuando copian a Dylan, debieran haber tirado por ahí mejor. De fondo.

I said it before and I'll say it again, I don't like Britpop. There are some artists like Suede who can actually make something good with the genre but most popular Britpop artists are just stale and often times even bad. I hate Blur, I don't like Oasis, I cringe to Supergrass and now the Charlatans come as well to give me a new feeling: annoyed. The songs are all the same in terms of songwriting and much more than Oasis was but they are all so wannabe humorous. Not a good album. The atrocity starts with 'With No Shoes' which right off the bat is a terrible song title. But the song itself might be worse. It is a bad mix of harmonica and synths in the intro that turns into an annoying mix of Neo-Psychedelia and and Britpop with vocals that feel like the disabled son of The Verve and Oasis. It's just wannabe Britpop without any of the qualites that would make actual Britpop a tad bit interesting. There is nothing new here, it's just Oasis all over again but with worse songwriting and a worse vocalist. 'North Country Boy' does the exact same thing again but is even worse. The opening track is really bad and often just unbearable but THIS, this is just unlistenable, one of the worst songs ever. Terrible vocals, songwriting that does not work or fit the song and even worse backing vocals that feel like they appear a beat to late. This feels more like a improv Demo than an actual and finished track. Terrible, straight up terrible. The title track 'Tellin' Stories' isn't much better either. It tries itself on Baggy which will the album do later on more often but here, where it starts, it doesn't work to begin with. The different aspects of Baggy that they try to do on the track are just dissonant with the rest. It genuinely sounds terrible. If this was some wacky Experimental shit it would be good but this is Britpop and not The Velvet Underground or Robert Wyatt. Terrible, again. And if that wasn't enough, they now try to do Breakbeat inspired Britpop. That not only sounds like a terrible idea but it actually is. This feels like if the Prodigy just collabed with Oasis but neither of them bringing own stuff to the project. It does not work, sounds bad and didn't even have potential to begin with. The only fact that it's not completely terrible and just very bad is that there are moments without vocals and they are just bad or boring which is actually the highest in terms of quality you can get out of here: boring. 'You're a Big Girl Now' would've been better if it actually covered 'You're a Big Girl Now' by Bob Dylan but no, they wrote own lyrics. The song feels way too overproduced to work as a pleasent Folk tune. It sets its focus on lyrics that are not good. And it also has the terrible vocals the album had so far. Terrible. The second half of the album starts with 'How Can You Leave Us' which returns to the Baggy influences and they are implemented and executed much better here than they were before. I still think that it's a bad song but the songwriting is actually quite passable at points. It's mainly the vocals and some guitar parts that really throw me off here. 'Area 51' brings in more trippy synths which do actually kind of work and are not too far away from being Trip Hop which would actually work with their sound as long as someone else was doing the vocals. Luckily, this song is without vocals and is purely instrumental. The songwriting has some nice ideas and the production isn't too bad. I wouldn't say that I like it but this song gives a little bit of hope that there might be another song lurking here that isn't totally unlistenable. This is still bad but it's much more okay-bad. The more energetic approach at the start of 'How High' made me hope that they might go into a Punk direction but no, just Britpop. Terrible songwriting, bad delivery, annoying performance. The main problem of 'Only Teethin'' is that it is streched to over 5 minutes. The song is bad, not terrible and has some redeeming qualities like the drums but the sheer length just annoys most of the track. If it was half of the length, it'd be bad and that's it but with the way that they streched it more and more and more is just annoying. The result is really, really bad but not as bad as most the songs served so far. And if that wasn't streched enough, 'Get on It' feels like the worst that Country Rock could've influenced. The harmonica sounds bad, the different instruments sound terrible together and I'm not even going to talk about lyrics and songwriting. And on top of that it is streched to nearly 6 minutes of playtime. Nothing here works... Terrible. The album, luckily, ends with 'Rob's Theme' which is the biggest genre change on the album. It's not even really Britpop anymore as it's a straight-up Trip Hop tune with some psychedelic and Ambient elements added. It's one of the better tracks that the album has to offer although I still think that it's a mildly bad track mainly because the structuring of the track feels unfocused and not fully fleshed out but I think that even though it's bad, it's the albums "strongest" track. favourites: none least favourites: most Rating: strong 1 to light 2 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

bland, boring, and dull

hahaha wnl gseht chli nach öppisem uus wo mier chönnt gfalle find sie hend chli so en emo ihfluss? aso v.a. sini stimm oder vlt han ich das au nur wegem albumcover s gfühl finds sehr en geile ahfang! north country boy gfalltmer au sehr, au wenn ichd musig iwo durre schwierig find zum griffe? hä ich finds extrem geil AA er tönt halt auchli wie de sänger vo blink 182, es isch so ähnlich nasal wtf you're a big girl now erinneret mich ad beatles??? ich glaub de wechsel bi 1:57? idk finds bis jz sehrsehr es geils album hä au area 51 erinneret mich mengisch so hert ah so 60er oder so? mite hammond orgle und allem ich verstah jedi person wo das nöd gern het mich fesslet die weirdi mischig us modernerem sound mit iwie altem? das isch under anderem hip hop soul?? hee jaa geg de schluss ziehts sich nachli und rob's theme isch jz nöd so unglaublich gsi, au wenns e cooli hommage ah ihre verstorbene keyboard spieler isch ich bin seehr nöch amene 5i, musses mier nachli überlege

Great!

Great album really enjoyed it.

kinda like Elvis Costello. I like it. Would listen to more

Right up my street

Rating this on its own merits and not based on it sounding like other britpop bands.

It was a very relaxing album that made me feel upbeat. Sounded very similar to the Ocean's soundtrack

Maybe I’m just on a vacation high but everything sounds so great to me right now. I loved this so much!

Awesome. Kinda like oasis

One of my favourite albums of the 90s the 4 singles are superb. Definitely the high point of their career. One to Another is one ofthe greatest indie disco tunes of all time. 4.5 stars bumped up to a 5.

Poxa, até agora não teve nenhum que eu já tivesse ouvido do tanto desse. Não tem como ser menor que 5. FDS. Aquele show em Recife...perdi umas células auditivas ali.

Just love this album. Key record for 90s Britain.

very cool

kinda decent sound but not an enjoyable album by any means

A delightfully nostalgic listen. My brother used to hammer this album and it took me straight back to the 90s. Don't think I've ever actively sought out Tellin' Stories before, but i loved it!

Great band. Great album. 💚 The Charlatans

So much drive in this album quite rocky in parts

Feels like I'm 15 again, loved this album then and listened the hell out of it, so it's great to hear again. Loads of musical layers, brilliant lyrics, it's a big noise. What a band.

Loved it! Great songwriting and overall vibe. Favorite track is number 10: Get it on. Can’t wait to play this one on high rotation.

Interesting

Love this

Not just wonderful because it meant so much to me as a young teenager. Still wonderful now. I had to hit repeat on the title track because it was so good to have it in my ears.

Great production and performances. A couple of bangers on here, too.

Fun britpop album. Since I've never heard of this band, this came as a nice surprise.

Surprisingly good

britpop that does the job well. nothing mindblowing but i don’t have any super negative thoughts about it

Really enjoyed this one. I can see where they would have been lost in the shuffle during the Oasis/Blur era -- but they felt like the best parts of the Stone Roses and Oasis with a more grounded lyricism. If you like British guitar rock, this will be a warm blanket for you. Unexpected bangers: With No Shoes, Tellin' Stories, How High

bra grejer. första låten är faktiskt ganska dålig. sjunger väldigt mycket om skor eller att vara barfota. men resten är gött sound. någon låt för långt men det kan jag ha överseende med i det här fallet.

While these guys really sound like wanna-be Oasis, they are quite good. I enjoyed this album.

Great. I always thought it would be.

He es isch sehr sehr guet. Leider würkli nöd so mini musig aber ich ha s gfühl ich sött es 4i geh wel i cha würkli nüt dra ussetze

mega oasis irgendwie. er singt chli wie de liam. seeehr cool. north country boy slappt gad au. guuete alt-rock. drums sind suuupergeil. titletrack het seeehr geile bass. one to another slappt jo heeeert. huere hässig. youre a big girl now gfallt mer meeega. so die unperfekt gitarre wo z zweite mengmol zeme mengmol gegenand spieled. how can you leave us au nice, piano sehr cool. area 51 isch chli 90s led zeppelin. aber halt nur instrumental und nöd sooo guet. how high isch definitiv schwächer als d songs vorher. only teethin isch chli smooth jazz? weisaunöd, aber nöd so cool wie vorher. refrain isch echt chli oasis avklatsch. get on it breakdown isch suuuper cool. ooooyeah. rob's theme isch halt ihren verstorbene pianist de rob. isch etz nöd viel aber cute. album isch fiiix e vieri.

This band brings me back to an era. The sound is so distinct to that time that it floods me with memories. Never heard this specific album before, but will look to listen to more of them in the future.

sounds soso much like oasis but i do like it better than oasis

Sounds a lot like Oasis, well ok it's Britpop, but operating in a lower league. With the sympathy factor I get to 4 stars.

Surprisingly good Britpop album. Some song tend to be similar to Oasis, but i was happy with this album

An enjoyable listen. Very Oasis sounding. Not sure who developed the sound first or if it that they came out of the same music scene.

Minus the last song everything was enjoyable enough. An inferior version of Oasis.

Oasis if they listened to Dylan instead of The Beatles. And actually still pretty good.

Not a clone band so much as a mashup of several bands. Not so much like any one band that would make it unoriginal.

3,6. Not great, not terrible.

juj Oasis meets Dylan prozódia:D meg még rengeteg mindennel amúgy, nekem ez volt a legérdekesebb benne, hogy milyen veszettül sok hatást lehetett felismerni, és mégis valami koherens lett belőle.

Good record. Probably one of my favourites from the Brit scene at the time.

This has a great sound, although maybe it is nostalgia for this kind of music since it was everywhere when I was a kid. Fave track: "One To Another."

Very nostalgic.

They sound super British but I really liked them!!

Was never on my radar, but should have been. And they should be bigger in the US. Oasisish.

Its just a very nice album

4/5

When I saw I had to listen to MORE British rock, I went in with pretty underwhelming expectations, but I'm happy to say I was pleasantly surprised. This album feels so 90's it's insane, and really does feel like exactly what Britpop should sound like. Nothing really /stood out/ to me per se, but as a record it was super enjoyable. I think North Country Boy was probably my favourite song though. This album was just cool and fun. Also the fact that their keyboardist died while recording this album so they drop him from the album cover and just give him a 3 minute organ solo at the end of the album is really funny to me. Rest in peace Rob Collins you got teleported to heaven through the sunroof of that E34 mate.

Nice.

Brit-pop feel to a lot of this, but they mix in some psychedelic, funky, 70's soul influenced hip-hop instrumentation too that makes it pretty interesting and unique. Definitely warrants a second listen to get it.

4/5

Reminded me of Oasis, who I love, but The Charlatans are definitely not nearly as good. But I still liked this.

Eine Entdeckung - mag ich ****

I was into some Brit Pop bands when I was younger, but I’ve really gotten into 80s/90s Brit Pop as an adult. Charlatans (UK) weren’t a band for me when I was a teenager. But they are now.

Is this good? Not sure. But it’s so 90s

Great

🎧This band sounds remarkably like Oasis and I’m here for it. Mad fer it even.