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Post by Headmaster on Mar 23, 2010 21:54:13 GMT -5
Do you know before Radiohead started experimenting with electronic they made two of the best albums in the 90's?I mean, have you listened to The Bends or OK Computer? sorry, but you just don't have any idea of what you are talking about; in the 90's Radiohead were a guitar band, with more roughness than Oasis sometimes; but they didn't want to make the same music again and again, is that bad? Cause if it its, Rubber Soul and Abbey Road are rubbish and Dark side of the moon is also shite. Experimenting is a good thing, Oasis didn't do it, and that's because some peope don't like them, because they made the same kind of music in all their career, I love it and they're my favourite band, but I can see why people can hate them. The Bends is a fantastic album - really great, as is OK Computer, but not as much in my opinion. I like Kid A, it's not great to me but it's good enough. Radiohead are a fascinating band who admirably don't put out the same record every few years and long may it continue. However, Thom Yorke may be a more sophisticated lyricist (though he's no Bob Dylan or Morrissey let's remember) than Noel Gallagher, but he can't compete when it comes to writing an ear opening melody - a melody that captures the pure essence of what Noel is trying to say. His lyrics aren't poetry but they're still very good - they pack pride, passion and belief and send it out to the listener also. The majority of songs on The Masterplan have these qualities and if you can't recognise this, then you must be one big son of an ignorant douchebag. You feel the passion of Oasis songs like no other band I tell you, and this is why they are my favourite band. Radiohead may be able to write more complex songs and sophisticated lyrics, with a high degree of musicianship, but crucially, they fail to connect with me and many many others around me. Radiohead have at times wrote lyrics in similar vain to my second favourite band, The Smiths, but they lack the melancholy of both The Smiths and Oasis. Maybe this is the reason I can't emotionally connect to them, I don't know. With Pitchfork, I just get the sense that they don't get it. They are obviously on a completely different wavelength to me. Music to me is about having that intense emotional connection with the listener, and I don't care if it doesn't have the most complex chord structure in the world, because as long as it speaks to me, that's all that matters. Thank you, I was trying to say this.
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Post by Cast on Mar 23, 2010 21:58:51 GMT -5
The Bends one of my top ten albums of all time. And Ok Computer is brilliant as well. But matt truly summed up what music is about for me also. Its all about the connection and the end of the day but different people connect with different things.
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Deleted
Deleted Member
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Post by Deleted on Mar 24, 2010 4:13:05 GMT -5
Do you know before Radiohead started experimenting with electronic they made two of the best albums in the 90's?I mean, have you listened to The Bends or OK Computer? sorry, but you just don't have any idea of what you are talking about; in the 90's Radiohead were a guitar band, with more roughness than Oasis sometimes; but they didn't want to make the same music again and again, is that bad? Cause if it its, Rubber Soul and Abbey Road are rubbish and Dark side of the moon is also shite. Experimenting is a good thing, Oasis didn't do it, and that's because some peope don't like them, because they made the same kind of music in all their career, I love it and they're my favourite band, but I can see why people can hate them. The Bends is a fantastic album - really great, as is OK Computer, but not as much in my opinion. I like Kid A, it's not great to me but it's good enough. Radiohead are a fascinating band who admirably don't put out the same record every few years and long may it continue. However, Thom Yorke may be a more sophisticated lyricist (though he's no Bob Dylan or Morrissey let's remember) than Noel Gallagher, but he can't compete when it comes to writing an ear opening melody - a melody that captures the pure essence of what Noel is trying to say. His lyrics aren't poetry but they're still very good - they pack pride, passion and belief and send it out to the listener also. The majority of songs on The Masterplan have these qualities and if you can't recognise this, then you must be one big son of an ignorant douchebag. You feel the passion of Oasis songs like no other band I tell you, and this is why they are my favourite band. Radiohead may be able to write more complex songs and sophisticated lyrics, with a high degree of musicianship, but crucially, they fail to connect with me and many many others around me. Radiohead have at times wrote lyrics in similar vain to my second favourite band, The Smiths, but they lack the melancholy of both The Smiths and Oasis. Maybe this is the reason I can't emotionally connect to them, I don't know. With Pitchfork, I just get the sense that they don't get it. They are obviously on a completely different wavelength to me. Music to me is about having that intense emotional connection with the listener, and I don't care if it doesn't have the most complex chord structure in the world, because as long as it speaks to me, that's all that matters. Good post, but it is (obviously) coming from the eyes of an Oasis fan. A Radiohead fan would obviously say that for whatever reason they connect to Radiohead and for whatever reason they may not as easily connect to Oasis. All this animosity between the fans is stupid though. We're all lucky to have this music and to have these differences.
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jrs40
Oasis Roadie
Posts: 400
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Post by jrs40 on Mar 24, 2010 4:25:04 GMT -5
This shows my theory about Oasis, that the music press bought the hype, gave Be Here Now great and sometimes perfect reviews. Then embarassingly realised later on that is was merely good/average and crushed the rest of Oasis' output. Anyone read John Harris' book? what an arse.
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Post by cloudburster on Apr 1, 2010 10:30:25 GMT -5
Oasis Be Here Now [Epic] Rating: 7.9 Other day, I was dragging my sand-filled shoes through the desert wasteland known as commercial alternative rock, the sun beating on me like a sadist with a whip, my brow the only moist thing in sight. I spotted in the distance some really pompous British guys with guitars who wouldn't give me the time of day, let alone water from their canteens. Some fucking oasis.
These were the rudest folks I'd met in my entire life, and somehow when they turned up the amplifiers, I couldn't resist their instantly memorable rock music. Realising I'd heard this stuff somewhere before (whether it be from their last two albums or old Beatles records), I started to feel guilty. Then I decided. Fuck it.
Oasis' third record, Be Here Now is, predictably, a lot like Definitely Maybe and even more like What's The Story, Morning Glory, but with a lot more pomp. What were formally unforgettable three- to- four minute pop slices are now six- to- ten minute long epics. It's like "Champagne Supernova" altered the course of their journey toward Edgar Winters' part of the universe.
Regardless of whether or not it's "cool" to like them (they're certainly not as safe- to- like as some of my other pleasures, Yo La Tengo or Nick Drake), "D'You Know What I Mean," Be Here Now's first single, is the catchiest song of the year. So take your holier- than- thou, elitist musical tastes and sod off -- Oasis are cool in my book.
Shows what fucking idiots music journalists are.
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Wolf
Oasis Roadie
YOU DON'T LIKE BEETHOVEN
Posts: 417
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Post by Wolf on Apr 1, 2010 18:48:18 GMT -5
Oasis Be Here Now [Epic] Rating: 7.9 Other day, I was dragging my sand-filled shoes through the desert wasteland known as commercial alternative rock, the sun beating on me like a sadist with a whip, my brow the only moist thing in sight. I spotted in the distance some really pompous British guys with guitars who wouldn't give me the time of day, let alone water from their canteens. Some fucking oasis. These were the rudest folks I'd met in my entire life, and somehow when they turned up the amplifiers, I couldn't resist their instantly memorable rock music. Realising I'd heard this stuff somewhere before (whether it be from their last two albums or old Beatles records), I started to feel guilty. Then I decided. Fuck it. Oasis' third record, Be Here Now is, predictably, a lot like Definitely Maybe and even more like What's The Story, Morning Glory, but with a lot more pomp. What were formally unforgettable three- to- four minute pop slices are now six- to- ten minute long epics. It's like "Champagne Supernova" altered the course of their journey toward Edgar Winters' part of the universe. Regardless of whether or not it's "cool" to like them (they're certainly not as safe- to- like as some of my other pleasures, Yo La Tengo or Nick Drake), "D'You Know What I Mean," Be Here Now's first single, is the catchiest song of the year. So take your holier- than- thou, elitist musical tastes and sod off -- Oasis are cool in my book. Shows what fucking idiots music journalists are. Reads like an A Level essay. Very shite.
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Post by XTRMNTRSCREAM on Apr 1, 2010 19:39:13 GMT -5
pompous or not pitchfork is a great website.
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Post by BlueJay on Apr 8, 2010 0:47:23 GMT -5
Oasis Be Here Now [Epic] Rating: 7.9 Other day, I was dragging my sand-filled shoes through the desert wasteland known as commercial alternative rock, the sun beating on me like a sadist with a whip, my brow the only moist thing in sight. I spotted in the distance some really pompous British guys with guitars who wouldn't give me the time of day, let alone water from their canteens. Some fucking oasis. These were the rudest folks I'd met in my entire life, and somehow when they turned up the amplifiers, I couldn't resist their instantly memorable rock music. Realising I'd heard this stuff somewhere before (whether it be from their last two albums or old Beatles records), I started to feel guilty. Then I decided. Fuck it. Oasis' third record, Be Here Now is, predictably, a lot like Definitely Maybe and even more like What's The Story, Morning Glory, but with a lot more pomp. What were formally unforgettable three- to- four minute pop slices are now six- to- ten minute long epics. It's like "Champagne Supernova" altered the course of their journey toward Edgar Winters' part of the universe. Regardless of whether or not it's "cool" to like them (they're certainly not as safe- to- like as some of my other pleasures, Yo La Tengo or Nick Drake), "D'You Know What I Mean," Be Here Now's first single, is the catchiest song of the year. So take your holier- than- thou, elitist musical tastes and sod off -- Oasis are cool in my book. hahahahahahahaha i dont even want to begin to imagine what pitchfork would say about be here now if they reviewed it today. its a shame that they havent reviewed morning glory of def maybe because they are earlier releases...if they did we might actually see a positive oasis review from pitchfork. and that 6.5 for stc is bullshit Shows what fucking idiots music journalists are.
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Post by Velo on Apr 9, 2010 22:33:52 GMT -5
Oasis Be Here Now [Epic] Rating: 7.9 Other day, I was dragging my sand-filled shoes through the desert wasteland known as commercial alternative rock, the sun beating on me like a sadist with a whip, my brow the only moist thing in sight. I spotted in the distance some really pompous British guys with guitars who wouldn't give me the time of day, let alone water from their canteens. Some fucking oasis. These were the rudest folks I'd met in my entire life, and somehow when they turned up the amplifiers, I couldn't resist their instantly memorable rock music. Realising I'd heard this stuff somewhere before (whether it be from their last two albums or old Beatles records), I started to feel guilty. Then I decided. Fuck it. Oasis' third record, Be Here Now is, predictably, a lot like Definitely Maybe and even more like What's The Story, Morning Glory, but with a lot more pomp. What were formally unforgettable three- to- four minute pop slices are now six- to- ten minute long epics. It's like "Champagne Supernova" altered the course of their journey toward Edgar Winters' part of the universe. Regardless of whether or not it's "cool" to like them (they're certainly not as safe- to- like as some of my other pleasures, Yo La Tengo or Nick Drake), "D'You Know What I Mean," Be Here Now's first single, is the catchiest song of the year. So take your holier- than- thou, elitist musical tastes and sod off -- Oasis are cool in my book. hahahahahahahaha i dont even want to begin to imagine what pitchfork would say about be here now if they reviewed it today. its a shame that they havent reviewed morning glory of def maybe because they are earlier releases...if they did we might actually see a positive oasis review from pitchfork. and that 6.5 for stc is bullshit Shows what fucking idiots music journalists are. What I love about that review the most is that it was written by Ryan Schreiber, the guy who created Pitchfork. Irony for ya?
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Post by bwilder on Apr 9, 2010 23:01:33 GMT -5
Pitchfork can suck my ass. (Pardon the bluntness.)
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Deleted
Deleted Member
Posts: 0
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Post by Deleted on Apr 9, 2010 23:09:21 GMT -5
You all know that review is more then a decade old, right? All I know is that Pitchfork Festival has one of the fucking best line ups this year, without a doubt.
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Post by seymourstein on Feb 17, 2011 22:32:04 GMT -5
Basically just a "big indie" fan site now.
Mediocre albums by Arcade Fire, The National and Broken Social Scene considered amongst 2010's best? Gimme a break.
Almost guaranteed that the new Radiohead will be BNM if if it does blow as hard as In Rainbows and HTTT.
2004 is to P4k what 1967 is to the Gallagher brothers.
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Post by BlueJay on Feb 18, 2011 3:54:03 GMT -5
Its interesting to note how contradictory Pitchfork can be. Had they reviewed the Masterplan today, they would give it a much better review. That review was published when Oasis had just released the critically battered SOTSOG and were in the middle of a huge backlash from the music press and music journalists alike. Plus, for Pitchfork to be positive towards a band that was so popular would be against their trend of only supporting independent artists.
Now, that Oasis have had a minor critical resurgence, they're popularity (in America especially) has descended to a platform where they could be considered not mainstream but alternative (outside of UK that is). Also, as Pitchfork admitted in their Time Flies review, a bit of Oasis nostalgia is inevitable. The STC, DWHAS and TF reviews were pretty fair, although the scores didn't exactly reflects the largely positive fell of the reviews.
Also different reviews will have different opinions on Oasis. Ryan Schrieber, the founder, grew up as a teen listening to Oasis and so has a positive association with them. Most of the others do not however.
In 2006, 'Cigarettes & Alcohol' was deemed a classic song - a stark contrast to the Masterplan review of 5 years earlier which dismissed it as a second tier song and even went so far as to label it 'Alcohol and Cigarettes' (probably more due to embarrasing ignorance than any sort of sarcasm). In the same sort of situation are 'Listen Up', 'Half the World Away' and most of all 'Talk Tonight' (which has been repeatedly praised in recent years) - all songs that were ignored or dismissed in the Masterplan review in 2000, despite being praised years later on in the STC, DWHAC and TF reviews.
The moral of this story is: Pitchfork and Oasis go together about as well as a Mule goes with a spinning wheel.
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Post by ashleybyron on Feb 19, 2011 17:44:21 GMT -5
What is crazy about that review is that at some point Ryan went back and actually EDITED that review. There is a version floating around somewhere where he absolutely trashes BHN at the end. I understand why Pitchfork hates Oasis. Oasis' lyrics were simply not "deep" and they spend a lot of time going into that stuff in all their reviews. This is partially Noel G's fault for being so honest - I doubt that Thom Yorke always knows what he's singing about but he STFU. The Early Oasis stuff DID have something to say though and they recognize that although you can tell they they were pulp/blur fans back in the day and are in complete denial that Oasis was the "britpop" band that lasted the test of time. What I do hate about Pitchfork is that they read other reviews before they review! I think that a proper review should not focus on other reviews. In fact the last thing the review shoudl do is read something else. Make up your mind yourself!!!!!!!!!!!!!
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Post by Silence Dogood on Feb 19, 2011 23:32:27 GMT -5
lol, pitchfork... that's all im gonna say.
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Post by RocketMan on Feb 20, 2011 12:03:13 GMT -5
Basically just a "big indie" fan site now. Mediocre albums by Arcade Fire, The National and Broken Social Scene considered amongst 2010's best? Gimme a break. at least the suburbs from aracde fire is the best album of 2010. no doubts about that
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Post by beadyeyeunofficial on Feb 21, 2011 9:33:42 GMT -5
Basically just a "big indie" fan site now. Mediocre albums by Arcade Fire, The National and Broken Social Scene considered amongst 2010's best? Gimme a break. at least the suburbs from aracde fire is the best album of 2010. no doubts about that There were better albums in 2010 than that shite album. "Wake Up The Nation", for example, by Paul Weller is a shining example of how the specious arguments thrown in the direction of the Gallagher brothers that they are too old are total nonsense. It was a fantastic album from the Modfather. Detroit Social Club's "Existence" was, in my opinion, the best solo album since Kasabian's eponymous opener back in 2005. They aren't very well-known in the UK, so I doubt any Yanks will know this band, but their completely unique sound easily makes them one of the best UK bands. Listen to their new single, "I Am Revolution". Finally, "Innerspeaker" from Tame Impala is an album that The Beatles would have been happy to release, circa 1969. Have you ever smoked some dope while listening to this pyschedelic monster? It blows your mind, I can assure you; nevertheless, one doesn't need mind-altering substances to appreciate the beauty of this album.
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Post by Aman on Dec 5, 2011 16:39:36 GMT -5
The fact that not either DM or WTSMG are even in their top 100 albums of the 90s, sums the hate up.
What a joke.
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Lester
Oasis Roadie
Standing in the sunshine, tanning in the moonlight
Posts: 104
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Post by Lester on Dec 6, 2011 3:50:47 GMT -5
Ditto. Their review of The Masterplan had only one paragraph that actually talked about the album, the rest was just pure bullshit.
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