|
Post by Headmaster on Jul 21, 2014 12:30:30 GMT -5
I wonder how the album will sound, the first one was overproduced in places. I disagree, but some of the songs like stop the clocks should've been the b-side Everybody's on the Run, Record Machine and Stop the Clocks are all overproduced, Sardy should have made them a lot more simple.
|
|
|
Post by defmaybe00 on Jul 21, 2014 12:46:32 GMT -5
Everybody's On The Run is amazing as it is imho
|
|
|
Post by antwerp on Jul 21, 2014 13:23:38 GMT -5
I disagree, but some of the songs like stop the clocks should've been the b-side Everybody's on the Run, Record Machine and Stop the Clocks are all overproduced, Sardy should have made them a lot more simple. I couldnt agree more
|
|
|
Post by Lennon2217 on Jul 21, 2014 13:56:06 GMT -5
Everybody's On The Run is amazing as it is imho My only knock of the song is the echo on Noel's vocals in the beginning. Too Nickelback like production for my tastes.
|
|
|
Post by nairolf on Jul 21, 2014 14:04:39 GMT -5
Everybody's On The Run is amazing as it is imho My only knock of the song is the echo on Noel's vocals in the beginning. Too Nickelback like production for my tastes. That echo is distracting. I don't like it.
|
|
|
Post by matt on Jul 21, 2014 14:26:18 GMT -5
"PRODUCTION!!! AAAAAARGH!!!!!"
This is the reaction to everyone on this board - whether you hate the discussion, or you love the discussion but hate the production. I'm in the latter camp. Oasis were never pioneers in engineering a new sound, but the early days of Definitely Maybe and Morning Glory was distinctive, sharp and piercing - it sounded 'live'.
Dave Sardy, for me, seems like a producer who is stuck in a time warp of the 1960s and hasn't found any new technology to make records on, because none of his records sound like they were made in the last two decades. They don't sound fresh at all, and there's actually a dull, murky sound to his records, and none of that sharp, clear and precise sound that Owen Morris gave (certainly, distinctions can be made when wearing headphones). Worryingly, I don't think Noel was much better on Heathen Chemistry though, but that was 13 years ago when that was recorded, so you'd hope he's learnt a few tricks since then, in addition to assistance from quality engineers (because Gem assisted Heathen Chemistry and we all know he hasn't left the 1960s judging by his songs).
|
|
|
Post by Lennon2217 on Jul 21, 2014 14:30:44 GMT -5
"PRODUCTION!!! AAAAAARGH!!!!!" This is the reaction to everyone on this board - whether you hate the discussion, or you love the discussion but hate the production. I'm in the latter camp. Oasis were never pioneers in engineering a new sound, but the early days of Definitely Maybe and Morning Glory was distinctive, sharp and piercing - it sounded 'live'. Dave Sardy, for me, seems like a producer who is stuck in a time warp of the 1960s and hasn't found any new technology to make records on, because none of his records sound like they were made in the last two decades. They don't sound fresh at all, and there's actually a dull, murky sound to his records, and none of that sharp, clear and precise sound that Owen Morris gave (certainly, distinctions can be made when wearing headphones). Worryingly, I don't think Noel was much better on Heathen Chemistry though, but that was 13 years ago when that was recorded, so you'd hope he's learnt a few tricks since then, in addition to assistance from quality engineers (because Gem assisted Heathen Chemistry and we all know he hasn't left the 1960s judging by his songs). Good word to use for many of the techniques used by Sardy. I like separation on my tunes.
|
|
|
Post by deadman on Jul 21, 2014 14:45:55 GMT -5
Dave Sardy, for me, seems like a producer who is stuck in a time warp of the 1960s and hasn't found any new technology to make records on, because none of his records sound like they were made in the last two decades. And that, in a nutshell, is why Noel continues to use him. Noel wants his music to sound like it was recorded in the 60s.
|
|
|
Post by yeayeayeah on Jul 21, 2014 16:17:46 GMT -5
Everybody's On The Run is amazing as it is imho My only knock of the song is the echo on Noel's vocals in the beginning. Too Nickelback like production for my tastes. I agree, its just the backing echo, it does have a Knickleback vibe. I really like the orchestral backing though, so it doesn't seem over produced. RM is the only big blunder for me when it comes to over production. It really lacks the spirit of the demo and the great bass line. STC is boring in all versions.
|
|
|
Post by Rain on Jul 21, 2014 18:27:07 GMT -5
I disagree, but some of the songs like stop the clocks should've been the b-side Everybody's on the Run, Record Machine and Stop the Clocks are all overproduced, Sardy should have made them a lot more simple. disagree with Everybody's on the run. It was perfectly produce and sound. Stop the clocks was flat and never lived to the hype. Record Machine sounded better on the demo. The two tracks I skip on the album are Stop The Clocks and Record Machine, but rest I have no complaints.
|
|
|
Post by Cast on Jul 22, 2014 11:59:36 GMT -5
"PRODUCTION!!! AAAAAARGH!!!!!" This is the reaction to everyone on this board - whether you hate the discussion, or you love the discussion but hate the production. I'm in the latter camp. Oasis were never pioneers in engineering a new sound, but the early days of Definitely Maybe and Morning Glory was distinctive, sharp and piercing - it sounded 'live'. Dave Sardy, for me, seems like a producer who is stuck in a time warp of the 1960s and hasn't found any new technology to make records on, because none of his records sound like they were made in the last two decades. They don't sound fresh at all, and there's actually a dull, murky sound to his records, and none of that sharp, clear and precise sound that Owen Morris gave (certainly, distinctions can be made when wearing headphones). Worryingly, I don't think Noel was much better on Heathen Chemistry though, but that was 13 years ago when that was recorded, so you'd hope he's learnt a few tricks since then, in addition to assistance from quality engineers (because Gem assisted Heathen Chemistry and we all know he hasn't left the 1960s judging by his songs). Sardy nailed it on one Gallagher-relatedf project and that is DBTT because it is a very 60's album. He's production style fits nicely with that dark retro acoustic sound. He does well with DBTT because the songs that sound like mid-period Beatles and the kinks and even some Velvet Underground. He's work on DBTT along with the consistent songwriting make it the most solid Oasis release of the 00's. It's not a perfect job but he's artistic values translate nicely on that record. He's work on DOYS is merely decent. He does a nice job of creating a murky world of drop d psychedelia. Songs like The Shock Of The Lightning, Falling Down, and The Turning almost have a krautrock sound to them which I enjoy, but like what we hear on NGHFB it can sound a bit too 60's kitsch for me. And that right there is why I think Noel should move away from Sardy as a producer. I don't want cheap, kitsch production tricks and values distracting from Noel's material. Most of the time Noel's songs and melodies are so strong that the production doesn't take that much away from my enjoyment of the song but Sardy has reached a point, like Owen Morris did where he's production just doesn't work anymore. It sounds a little too comfortable and bland even when they are throwing the kitchen sink at it (ala Stop the Clocks). Morris distracted and let down some songs on BHN but Sardy blemished a bonafide Noel classic in IIHAG with the plodding tempo and squealing electric guitars. It would have been so much better if it was a light, sparse track like Alone on the Rope. That said he's work on The Death Of You And Me is very good and I can't fault Noel working with him if he is writing material in similar to TDOYAM and TIOBI because Sardy does make those types of songs sound good. Still I'd rather have Noel branch out and explore a little bit with production because he's debut album has some production moments that just didn't click.
|
|
|
Post by theyknowwhatimean on Jul 22, 2014 12:17:26 GMT -5
Everybody's On The Run is amazing as it is imho My only knock of the song is the echo on Noel's vocals in the beginning. Too Nickelback like production for my tastes. And it's about a minute too long imo, but it's not a long album I suppose, so a minutes excess isn't a big deal
|
|
|
Post by scott1 on Jul 22, 2014 12:42:47 GMT -5
If we get the MG remaster at the end of September, with the same time as was between DM and MG, that would place the Be Here Now remaster sometime in early 2015. Assuming Noel wants to release his album after all the Chasing The Sun remasters, that would put his album in the summer at the earliest.
|
|
|
Post by fiv3oclocksh4dow on Jul 22, 2014 20:45:43 GMT -5
"PRODUCTION!!! AAAAAARGH!!!!!" This is the reaction to everyone on this board - whether you hate the discussion, or you love the discussion but hate the production. I'm in the latter camp. Oasis were never pioneers in engineering a new sound, but the early days of Definitely Maybe and Morning Glory was distinctive, sharp and piercing - it sounded 'live'. Dave Sardy, for me, seems like a producer who is stuck in a time warp of the 1960s and hasn't found any new technology to make records on, because none of his records sound like they were made in the last two decades. They don't sound fresh at all, and there's actually a dull, murky sound to his records, and none of that sharp, clear and precise sound that Owen Morris gave (certainly, distinctions can be made when wearing headphones). Worryingly, I don't think Noel was much better on Heathen Chemistry though, but that was 13 years ago when that was recorded, so you'd hope he's learnt a few tricks since then, in addition to assistance from quality engineers (because Gem assisted Heathen Chemistry and we all know he hasn't left the 1960s judging by his songs). Sardy nailed it on one Gallagher-relatedf project and that is DBTT because it is a very 60's album. He's production style fits nicely with that dark retro acoustic sound. He does well with DBTT because the songs that sound like mid-period Beatles and the kinks and even some Velvet Underground. He's work on DBTT along with the consistent songwriting make it the most solid Oasis release of the 00's. It's not a perfect job but he's artistic values translate nicely on that record. He's work on DOYS is merely decent. He does a nice job of creating a murky world of drop d psychedelia. Songs like The Shock Of The Lightning, Falling Down, and The Turning almost have a krautrock sound to them which I enjoy, but like what we hear on NGHFB it can sound a bit too 60's kitsch for me. And that right there is why I think Noel should move away from Sardy as a producer. I don't want cheap, kitsch production tricks and values distracting from Noel's material. Most of the time Noel's songs and melodies are so strong that the production doesn't take that much away from my enjoyment of the song but Sardy has reached a point, like Owen Morris did where he's production just doesn't work anymore. It sounds a little too comfortable and bland even when they are throwing the Spam Message: sink at it (ala Stop the Clocks). Morris distracted and let down some songs on BHN but Sardy blemished a bonafide Noel classic in IIHAG with the plodding tempo and squealing electric guitars. It would have been so much better if it was a light, sparse track like Alone on the Rope. That said he's work on The Death Of You And Me is very good and I can't fault Noel working with him if he is writing material in similar to TDOYAM and TIOBI because Sardy does make those types of songs sound good. Still I'd rather have Noel branch out and explore a little bit with production because he's debut album has some production moments that just didn't click. Very well put. I completely agree.
|
|
|
Post by The Invisible Sun on Jul 22, 2014 21:01:54 GMT -5
If we get the MG remaster at the end of September, with the same time as was between DM and MG, that would place the Be Here Now remaster sometime in early 2015. Assuming Noel wants to release his album after all the Chasing The Sun remasters, that would put his album in the summer at the earliest. He'll probably release it either before BHN (and delay its release) or during the release of BHN. Noel isn't that fond of that album. I really doubt he's going to delay his own solo new album for miniscule sales of a nearly 20 year old album he greatly dislikes.
|
|
rebus
Oasis Roadie
Posts: 418
|
Post by rebus on Jul 23, 2014 5:45:39 GMT -5
These re-issues are a real pain in the arse.
I want new Noel material. Not rehashed music I've been listening to for years.
|
|
|
Post by Jailbird on Jul 23, 2014 6:44:22 GMT -5
These re-issues are a real pain in the arse. I want new Noel material. Not rehashed music I've been listening to for years. The re-issues aren't mostly aimed at hardcore fans. Noel's material is going to be here with or without the reissued albums.
|
|
|
Post by underneaththesky on Jul 23, 2014 7:52:59 GMT -5
|
|
|
Post by Lennon2217 on Jul 23, 2014 8:26:42 GMT -5
|
|
|
Post by matt on Jul 23, 2014 11:53:40 GMT -5
Have you seen Sardy's CV of artists he's worked with? It's a cacophany of shit. All dull as dishwater artists - what Noel sees in him is beyond me. I see record producers much like football managers - a great manager gets the very best talent out of his players, and a great producer gets the very best out of the artist he is working with. Dave Sardy is the musical equivalent of 'Mike Bassett: England Manager'.
|
|
|
Post by bestwick8 on Jul 23, 2014 20:42:14 GMT -5
If we get the MG remaster at the end of September, with the same time as was between DM and MG, that would place the Be Here Now remaster sometime in early 2015. Assuming Noel wants to release his album after all the Chasing The Sun remasters, that would put his album in the summer at the earliest. I'm guessing the BHN remaster will arrive just before Christmas, if were following the same period of time in-between DM and MG. And it would be a good marketing strategy to release it before Christmas to have evyerone ask for that.
|
|
|
Post by shinealight on Jul 24, 2014 4:36:49 GMT -5
I m not buying the remastered albums or anything reworked. What s the point? It is like trying to improve picasso's guernica or any piece of art. I think the echo on Everybody s on the run is amazing and loved it on live shows. It gave the song...erhm... moment of collosalness ...don t know any other word how to describe it. And as for new album, I m happy as long as the songs are quality.... NGHFB was great, but Dream on, RM, Stop the Clocks, TDOYAM were below his standard...IMO
|
|
|
Post by theyknowwhatimean on Jul 24, 2014 4:52:10 GMT -5
Whether Sardy's involved or not (obviously rooting for the latter), I think we can all expect Noel's new tune to better than that crock of shite I just spent nearly 4 minutes listening to!
|
|
|
Post by theyknowwhatimean on Jul 24, 2014 4:55:19 GMT -5
I m not buying the remastered albums or anything reworked. What s the point? It is like trying to improve picasso's guernica or any piece of art. The thing is though, whilst they are incredible albums (Def. Maybe and Morning Glory are anyway), there IS plenty of room for improvement, it's just the remasters have so far taken the minimalist root - as in, bugger all difference to the original albums
|
|
|
Post by Mean Mrs. Mustard on Jul 28, 2014 9:31:34 GMT -5
Sardy has the talent to make incredible songs sound oh so dull.
|
|