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Beady Eye Different Gear, Still Speeding (Beady Eye Records)

YOU’VE fronted one of the biggest, most turbulent bands of the 20th century and watched it implode spectacularly.

Did anyone really expect Liam Gallagher to sit at home the rest of his life?

The Eye opened almost as soon as Oasis closed, and it shows.

Gear continues, perhaps, the direction they were going and will always sound a little like Oasis because of that voice, but bar raucous slinky opener Four Letter Word the sneer has gone.

The Beatles fascination hasn’t though as The Roller with its All You Need Is Love-esque intro and defiant Beatles And Stones confirm.

Sounds like Liam’s having fun again.

Yuck Yuck (Mercury Records)

GET past the horrible cover art and this lot make a noise that is very approachable.

Upbeat openers Get Away and The Wall are immediately catchy but their commercial quality is undermined by distorted vocals which are part of their trademark. Shook Down and Suicide Policeman take a gentle melodic turn with wistful voices that give a ’60s feel, but the guitars ratchet up for Holing Out.

It’s hard to pin down Yuck.

That is part of their appeal.

Bright Eyes The People’s Key (Polydor)

SEVEN albums in some bands have either lost their way or are re-configuring.

Beyond the sampled creepy religious twaddle at the start, this Nebraska trio are still bristling with musical ideas that stand out from the crowd.

There’s warmth to the likes of Shell Games while Conor Oberst, Mike Mogis and Nathaniel Walcott still dodge formula, as borne out by Haile Selassie and A Machine Spiritual.

There’s still a glint in these Eyes.