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Post by guigsysEstring on Jun 4, 2016 12:40:14 GMT -5
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Post by guigsysEstring on Jun 4, 2016 12:54:39 GMT -5
Q Readers All Time Top 100 Albums
February 1998 Issue
1. OK Computer ~ Radiohead
2. Revolver ~The Beatles
3. Automatic For The People ~ R.E.M.
4. The Stone Roses ~ The Stone Roses
5. Nevermind ~ Nirvana
6. The Bends ~ Radiohead
7. Sgt Pepper's Lonely Hearts Club Band ~ The Beatles
8. (What's The Story) Morning Glory? ~ Oasis
9. The Fat Of The Land ~ The Prodigy
10. Dark Side OF The Moon ~ Pink Floyd
11. Everything Must Go ~ Manic Street Preachers
12. Abbey Road ~ The Beatles
13. Be Here Now ~ Oasis
14. Definitely Maybe ~ Oasis
15. Achtung Baby ~ U2
16. Dummy ~ Portishead
17. The Beatles (The White Album) ~The Beatles
18. Urban Hymns ~ The Verve
19. Jagged Little Pill ~ Alanis Morissette
20. Parklife ~ Blur
21. The Queen Is Dead ~The Smiths
22. Electric Ladyland ~ The Jimi Hendrix Experience
23. The Joshua Tree ~ U2
24. The Rise And Fall Of Ziggy Stardust And The Spiders From Mars ~ David Bowie
25. Rumours~ Fleetwood Mac
26. Led Zeppelin IV
27. Screamadelica ~ Primal Scream
28. Physicai Graffiti ~ Led Zeppelin
29. Melon Collie & The Infinite Sadness ~ Smashing Pumpkins
30. Never Mind The Bollocks ~ Sex Pistols
31. Pet Sounds ~ The Beach Boys
32. London Calling ~ The Clash
33. Moseley Shoals ~ Ocean Colour Scene
34. Wish You Were Here ~ Pink Floyd
35. Dog Man Star ~ Suede
36. Coming Up ~ Suede
37. Different Class ~ Pulp
38. Out Of Time ~ R.E.M.
39. Blur ~ Blur
40. Rubber Soul ~ The Beatles
41. The Holy Bible ~ Manic Street Preachers
42. Exile On Main Street ~ The Rolling Stones
43. Hunky Dory ~ David Bowie
44. K ~ KulaShaker
45. Blood On The Tracks ~ Bob Dylan
46. Stanley Road ~ Paul Weller
47. Blonde On Blonde ~ Bob Dylan
48. Hounds OF Love ~ Kate Bush
49. Dig Your Own Hole ~ The Chemical Brothers
50. Sign ‘O’ The Times ~ Prince
51. Odelay ~ Beck
52. Astral Weeks ~ Van Morrison.
53. A Northern Soul ~ The Verve
54. Ten Pearl ~ Jam
55. Woodface ~ Crowded House
56. Graceland ~ Paul Simon
57. Highway 61 Revisited ~ Bob Dylan
58. Blue Lines ~ Massive Attack
59. New Adventures In Hi-Fi ~ R.E.M.
60. Suede ~ Suede
61. Pablo Honey ~ Radiohead
62. Music For The Jilted Generation ~The Prodigy
63. In Utero ~ Nirvana
64. Harvest ~ Neil Young
65. The Wall ~ Pink Floyd
66. Little Earthquakes ~ Tori Amos
67. Siamese Dream ~ Smashing Pumpkins
68. In It For The Money ~ Supergrass
69. Let It Bleed ~The Rolling Stones
70. His'n'Hers ~ Pulp
71. The Velvet Underground & Nico ~ The Velvet Underground & Nico
72. BloodSugarSexMagik ~ Red Hot Chili Peppers
73. Purple Rain ~ Prince
74. Debut ~ Bjork
75. Grace ~Jeff Buckley
76. The Band ~ The Band
77. Unplugged In New York ~ Nirvana
78. It's Great When You're Straight…Yeah ~ Black Grape
79. All Mod Cons ~The Jam
80. Leftism ~ Leftfield
81. So ~ Peter Gabriel
82. Forever Changes ~ Love
83. The Second Coming ~ The Stone Roses
84. Bryter Layter ~ Nick Drak
85. Low ~ David Bowie
86. White On Blonde ~ Texas
87. Placebo ~ Placebo
88. Songs In The Key Of Life ~ Stevie Wonder
89. After The Goldrush ~ Neil Young
90. Zooropa ~ U2
91. The Tunnel Of Love ~ Bruce Springsteen
92. Lexicon OF Love ~ ABC
93. The Doors ~ The Doors
94. All Change ~ Cast
95. Maxinquaye ~ Tricky
96. Imperial Bedroom ~ Eivis Costello
97. What's Going On ~ Marvin Gaye
98. Hysteria ~ Def Leppard
99. Like A Prayer ~ Madonna
100. Otis Blue ~ Otis Redding
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Post by guigsysEstring on Jun 4, 2016 12:59:48 GMT -5
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Post by guigsysEstring on Jun 4, 2016 13:02:39 GMT -5
The hype continued- on 4th November 1997 Oasis were crowned 'Best Act In the World' at the annual Q Magazine Awards
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Post by guigsysEstring on Jun 4, 2016 13:23:30 GMT -5
The NME review - Possibly the only time Oasis were mentioned as being of an "Embrace" style?! in a review that could well have been written by Flatulence Panic Be Here Now August 1997
THE STORY, part one: so there's this geezer, right, and he walks into a cab office in Finsbury Park. At 4am, it's a strange enough place to be, anyway, a near-silent Jim Jarmusch film set replete with flickering TV screen, shadowy (fat) controller and requisite empty, darkened streets outside. The geezer isn't about to make it any saner. Because this geezer is a) a not entirely sex-tastic wobble bottom, b) very much a late 30-something and c) extremely wankered. And he has just staggered over to the kiosk and asked the controller for a cab down to Olympia so he can "buy one of them there Oasis tickets, like". The story, part two: a seething yellow fanzine crash-lands in the NME office, rocketing straight outta Hampshire. In a mini-rant subtitled 'Music Con Of The Year', the authors acknowledge that Oasis gigged with U2 in America. Then they describe them by screeching, "Commercial pop for those of us who don't think, but just do as they're told by the music press and garbage tabloids. Conservative, safe, dribbly plastic pop for mummies (sic) boys who don't like getting their hands dirty. Boring unoriginal poo stick." Nice! Somewhere in between this brace of profound tales, obviously, is where you can find the huddled critics. Can't wait for the gigs, but itching to give 'Be Here Now' a kicking; to smear their byline in blood beneath a (5) or (oh, if dreams could only come true if we wanted them to!) a (2), if only to somehow redress the amazing - and therefore entirely unjust - imbalance between Oasis' record sales and those of anyone else who can play guitar; if only to eradicate that jaw-jutting Liam pose from our minds forever; if only to undermine the utterly ridiculous concept of having to sign a legal document before being 'privileged' to recieve an advance cassette; if only to be fucking different. Yeah, we are a sadder breed than you could ever imagine. It is to his eternal credit that Noel Gallagher has helped our cause tremendously. Because 'Be Here Now', the third Oasis album, is one of the daftest records ever made. Like, on a scale of one to comical, this really is Terry Fuckwit climbing into the cage to stroke the furry tigers. It is tacky. It is grotesquely over-the-top. It features the same old guitar runs, the same old drawled lyrical doodlings, the same pub-tastic, pint-mungous rhythms... In fact, if there is a single plangent note in these 11 tracks that has never been heard before in the past 30 years of rock, I will eat my grandma's cat. And I haven't even got a grandma. Yeah! Yeah! Yeah! This is The Great Rock'n'Roll Dwindle! Noel may have mixed it up with The Chemical Brothers not so long ago, but he's stubbornly neglected to bring any new electronica vibes along to 'Be Here Now'. This remains strictly whiter-than-white boy guitar territory, a funk-free zone, a codpsychedelic festival of old-school sensibilities with another heaving sack of numbingly blatant Beatles references. It's trad, dad - about as subtle as a Frenchie with Mike Tyson, and so utterly reliant on the same-old-same-old cheeky chirpy chappy Oasis formula you can scarcely believe they've even dared to release this record in the same decade as Radiohead, Prodigy, Spiritualized, et al, let alone the same sodding year. "Boring, unoriginal poo stick" indeed. And then? And then, halfway through the epic ablutions of 'All Around The World', you realise that every single hair on your arms and neck is standing erect. And you think, defiantly, but very, very quietly, "Bugger". Rewind, then. Reconsider, then. Rebel rebel, your face is a mess, then... After the somewhat crummy statements of 'Champagne Supernova' (see the super-snooty declaration, "Where were you when we were getting high?") 'Be Here Now' is our open invitation to the Oasis party, a gilt-edged card saying, "Hey, you may have seen us having a laugh with Tony Blair on the front of your newspaper, and you might have glanced at the crafty paparazzi photos of us hiding away in Mustique, but really we're just like you. Give or take the odd multi-million smackeroonie-filled bank account, obviously." Certainly, there is something about the Oasis work ethos which doesn't correlate in any way with their vast wealth. Consider the manner in which Manc mates The Stone Roses stumbled to a creative halt once they became millionaires, then cherish the fact that this is Oasis' third album release in four years. Consider the way in which 'Be Here Now' barrels along with scarcely a pause for breath and it's hard to believe that these are the very same people who've had so many family farragos, nay, public disasters since '(What's The Story) Morning Glory?' (cf, cancelled US tours, secret marriage ceremonies, band 'splits', the ubiquitous dribbling wibbling rivalries). Can you imagine that other tabloid staple, Gazza, recovering to score a hat-trick in the World Cup final in Paris next year? Exactly! Fundamentally, 'Be Here Now' is colossal fun. Just as Blur have faded into a left-field Americana-derived haze, so Oasis have blithely carried on doing what they always have done. The only difference now is that their songs are louder, longer and a darned sight more expensive. 'D'You Know What I Mean?' is the starting point, with even more fiddly decorations added to the overall Embrace-style (Yes! Indeedy!) communal hoedown, but 'My Big Mouth' is the real rocking entrance, a bionic scuzz-rock skate-along and a half-shrugged apology (of sorts) for the guitarist's lager-fuelled series of public faux pas. Thereafter, Noel takes over vocal duties for the lush rifferama of 'Magic Pie' (so soon after McCartney's 'Flaming Pie'? Shame on you, ya little Beatle-obsessed packed-lunch monkey!), which segues - via some jazz-club noodlings and a Python-esque studio shout of "Shut up!!" - straight into the swaggeringly lovely epic, 'Stand By Me', wherein Liam leers, "What's the matter with you?/Sing me something new". In fact, the Monty Python references are rather neat when you consider the whole cosmically bizarre Beatles/Rutles/Oasis love triangle. And so it goes, ripping off history here, careering down some lyrical cul-de-sac over there and directing all of their creative attentions toward the simpler, saucier things in life (see fast drugs, fast cars, extremely fast rock'n'roll) everywhere else. Each time Noel comes up with a naff line - 'Be Here Now' is riddled with references to his lyrical frustrations, notably, "Damn my education/I can't find the words to say" - Liam's louche delivery tranforms it from the mundane into the meaningful, if not the downright sodding mad. Every time Noel flips out one of those twiddly guitar riffs with the casually important air of the Queen's regal public handwave you think, 'Doh! Status QUO!!' until another ridiculous planet-cuddling chorus comes surfing around the corner. Lord this album is fucking barmy... You want more choooons, like? 'The Girl In The Dirty Shirt' is a faintly hysterical skyburst of boogaloo piano and slide guitar, with the cute kiss-off line: "You can call me anytime you're seeing double/Now you know you're not on your own"; 'Fade In-Out' pretends to start like the Roses but in fact parodies the sound and psuedo-gritty spirit of 'New Jersey'-era Bon Jovi. It also features Johnny Depp on axe duties, not to mention one of the all-time great primal rock screams from Noel. 'Don't Go Away' is one of Noels most explicit personal songs yet, mellower than its surroundings and an absolute rock classic in the sense that it sounds exactly like the sort of song a lonely, slightly weepy pop star would write on a plane halfway across the Atlantic; at the start of the title track, you can detect the full-on authentic fuzz of amps and some clanking beat before there's a surge of 'Cigarettes & Alcohol'-style chord ruffage and some top-level Noel cobblerspeak (see, "Please sit down, you're making me giddy!!"); and 'It's Getting Better (Man)' is pretty much... well, the same, really - Oasis by rockin' numbers. Admittedly, they're pretty fucking large numbers, but there you go, bongo. Which leaves only the nine-minute freakout that is 'All Around The World' to contend with: to all intents and purposes, 'Hey Jude' on extremely lethal loved-up drugs, this is as overloaded with trash as a mantelpiece sagging beneath the weight of various lava lamps, straw donkeys and leaping dolphin matchstick holders, ie, a complete tack attack. It also features the most precious moment on the whole record, as Liam's brilliantly sneered, "Nyaaah, nyaaah, nyaaah!!" hollerings are succeeded by a sudden explosion of guitars. Then there's a whiplash of orchestration, a key change, and the entire roof-raising chorus again. Come the close of 'Be Here Now', 'All Around The World' is reprised with the aid of trumpets in their most showbiz-blasting, Last Night Of The Proms-type statement yet. And you think, caramba! if this makes your hairs stand on end through a Walkman's headphones, what the bally hell is it going to sound like at the climax of the show at Earls Court?!! Mammoth. Probably. But without the large hairy bollocks. Which is the whole point. For all the big backdrops, the big entourage, the big spendig, and the very big mouths, Oasis are still looking after the smaller things in life - pressing the right musical buttons, playing the right chords, manufacturing the right middle eights. Individually, each song already resonates with the vast, communal spirit that has propelled them thus far; the sense that - put in its purest form - here are yet another 11 songs the slightly sozzled world will be bursting to sing. Oasis? Yeah, they got family. (8)
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Post by guigsysEstring on Jun 4, 2016 13:31:17 GMT -5
A man, possibly and rather worryingly Beady’s Here Now presents a take on Be Here Now after 15 years with a disclaimer that he does not own DM or (WTS)MG? but does own BHN?! Be Here Now Revisited
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Post by guigsysEstring on Jun 4, 2016 13:38:45 GMT -5
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Post by Flatulence Panic on Jun 4, 2016 13:52:32 GMT -5
Nice find, I like the guy's enthusiasm. He knows quality music when he hears it YEAH YEAH YEAH!!!!!!!!!!!Definitely not by me though because of this quote: This fool doesn't like Fade-In Out!!!!!!!!!!! HE'S A HEATHEN !!
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Post by Flatulence Panic on Jun 4, 2016 13:54:22 GMT -5
The NME review - Possibly the only time Oasis were mentioned as being "Embrace" style?! in a review that could well have been written by Flatulence Panic Be Here Now August 1997
THE STORY, part one: so there's this geezer, right, and he walks into a cab office in Finsbury Park. At 4am, it's a strange enough place to be, anyway, a near-silent Jim Jarmusch film set replete with flickering TV screen, shadowy (fat) controller and requisite empty, darkened streets outside. The geezer isn't about to make it any saner. Because this geezer is a) a not entirely sex-tastic wobble bottom, b) very much a late 30-something and c) extremely wankered. And he has just staggered over to the kiosk and asked the controller for a cab down to Olympia so he can "buy one of them there Oasis tickets, like". The story, part two: a seething yellow fanzine crash-lands in the NME office, rocketing straight outta Hampshire. In a mini-rant subtitled 'Music Con Of The Year', the authors acknowledge that Oasis gigged with U2 in America. Then they describe them by screeching, "Commercial pop for those of us who don't think, but just do as they're told by the music press and garbage tabloids. Conservative, safe, dribbly plastic pop for mummies (sic) boys who don't like getting their hands dirty. Boring unoriginal poo stick." Nice! Somewhere in between this brace of profound tales, obviously, is where you can find the huddled critics. Can't wait for the gigs, but itching to give 'Be Here Now' a kicking; to smear their byline in blood beneath a (5) or (oh, if dreams could only come true if we wanted them to!) a (2), if only to somehow redress the amazing - and therefore entirely unjust - imbalance between Oasis' record sales and those of anyone else who can play guitar; if only to eradicate that jaw-jutting Liam pose from our minds forever; if only to undermine the utterly ridiculous concept of having to sign a legal document before being 'privileged' to recieve an advance cassette; if only to be fucking different. Yeah, we are a sadder breed than you could ever imagine. It is to his eternal credit that Noel Gallagher has helped our cause tremendously. Because 'Be Here Now', the third Oasis album, is one of the daftest records ever made. Like, on a scale of one to comical, this really is Terry Fuckwit climbing into the cage to stroke the furry tigers. It is tacky. It is grotesquely over-the-top. It features the same old guitar runs, the same old drawled lyrical doodlings, the same pub-tastic, pint-mungous rhythms... In fact, if there is a single plangent note in these 11 tracks that has never been heard before in the past 30 years of rock, I will eat my grandma's cat. And I haven't even got a grandma. Yeah! Yeah! Yeah! This is The Great Rock'n'Roll Dwindle! Noel may have mixed it up with The Chemical Brothers not so long ago, but he's stubbornly neglected to bring any new electronica vibes along to 'Be Here Now'. This remains strictly whiter-than-white boy guitar territory, a funk-free zone, a codpsychedelic festival of old-school sensibilities with another heaving sack of numbingly blatant Beatles references. It's trad, dad - about as subtle as a Frenchie with Mike Tyson, and so utterly reliant on the same-old-same-old cheeky chirpy chappy Oasis formula you can scarcely believe they've even dared to release this record in the same decade as Radiohead, Prodigy, Spiritualized, et al, let alone the same sodding year. "Boring, unoriginal poo stick" indeed. And then? And then, halfway through the epic ablutions of 'All Around The World', you realise that every single hair on your arms and neck is standing erect. And you think, defiantly, but very, very quietly, "Bugger". Rewind, then. Reconsider, then. Rebel rebel, your face is a mess, then... After the somewhat crummy statements of 'Champagne Supernova' (see the super-snooty declaration, "Where were you when we were getting high?") 'Be Here Now' is our open invitation to the Oasis party, a gilt-edged card saying, "Hey, you may have seen us having a laugh with Tony Blair on the front of your newspaper, and you might have glanced at the crafty paparazzi photos of us hiding away in Mustique, but really we're just like you. Give or take the odd multi-million smackeroonie-filled bank account, obviously." Certainly, there is something about the Oasis work ethos which doesn't correlate in any way with their vast wealth. Consider the manner in which Manc mates The Stone Roses stumbled to a creative halt once they became millionaires, then cherish the fact that this is Oasis' third album release in four years. Consider the way in which 'Be Here Now' barrels along with scarcely a pause for breath and it's hard to believe that these are the very same people who've had so many family farragos, nay, public disasters since '(What's The Story) Morning Glory?' (cf, cancelled US tours, secret marriage ceremonies, band 'splits', the ubiquitous dribbling wibbling rivalries). Can you imagine that other tabloid staple, Gazza, recovering to score a hat-trick in the World Cup final in Paris next year? Exactly! Fundamentally, 'Be Here Now' is colossal fun. Just as Blur have faded into a left-field Americana-derived haze, so Oasis have blithely carried on doing what they always have done. The only difference now is that their songs are louder, longer and a darned sight more expensive. 'D'You Know What I Mean?' is the starting point, with even more fiddly decorations added to the overall Embrace-style (Yes! Indeedy!) communal hoedown, but 'My Big Mouth' is the real rocking entrance, a bionic scuzz-rock skate-along and a half-shrugged apology (of sorts) for the guitarist's lager-fuelled series of public faux pas. Thereafter, Noel takes over vocal duties for the lush rifferama of 'Magic Pie' (so soon after McCartney's 'Flaming Pie'? Shame on you, ya little Beatle-obsessed packed-lunch monkey!), which segues - via some jazz-club noodlings and a Python-esque studio shout of "Shut up!!" - straight into the swaggeringly lovely epic, 'Stand By Me', wherein Liam leers, "What's the matter with you?/Sing me something new". In fact, the Monty Python references are rather neat when you consider the whole cosmically bizarre Beatles/Rutles/Oasis love triangle. And so it goes, ripping off history here, careering down some lyrical cul-de-sac over there and directing all of their creative attentions toward the simpler, saucier things in life (see fast drugs, fast cars, extremely fast rock'n'roll) everywhere else. Each time Noel comes up with a naff line - 'Be Here Now' is riddled with references to his lyrical frustrations, notably, "Damn my education/I can't find the words to say" - Liam's louche delivery tranforms it from the mundane into the meaningful, if not the downright sodding mad. Every time Noel flips out one of those twiddly guitar riffs with the casually important air of the Queen's regal public handwave you think, 'Doh! Status QUO!!' until another ridiculous planet-cuddling chorus comes surfing around the corner. Lord this album is fucking barmy... You want more choooons, like? 'The Girl In The Dirty Shirt' is a faintly hysterical skyburst of boogaloo piano and slide guitar, with the cute kiss-off line: "You can call me anytime you're seeing double/Now you know you're not on your own"; 'Fade In-Out' pretends to start like the Roses but in fact parodies the sound and psuedo-gritty spirit of 'New Jersey'-era Bon Jovi. It also features Johnny Depp on axe duties, not to mention one of the all-time great primal rock screams from Noel. 'Don't Go Away' is one of Noels most explicit personal songs yet, mellower than its surroundings and an absolute rock classic in the sense that it sounds exactly like the sort of song a lonely, slightly weepy pop star would write on a plane halfway across the Atlantic; at the start of the title track, you can detect the full-on authentic fuzz of amps and some clanking beat before there's a surge of 'Cigarettes & Alcohol'-style chord ruffage and some top-level Noel cobblerspeak (see, "Please sit down, you're making me giddy!!"); and 'It's Getting Better (Man)' is pretty much... well, the same, really - Oasis by rockin' numbers. Admittedly, they're pretty fucking large numbers, but there you go, bongo. Which leaves only the nine-minute freakout that is 'All Around The World' to contend with: to all intents and purposes, 'Hey Jude' on extremely lethal loved-up drugs, this is as overloaded with trash as a mantelpiece sagging beneath the weight of various lava lamps, straw donkeys and leaping dolphin matchstick holders, ie, a complete tack attack. It also features the most precious moment on the whole record, as Liam's brilliantly sneered, "Nyaaah, nyaaah, nyaaah!!" hollerings are succeeded by a sudden explosion of guitars. Then there's a whiplash of orchestration, a key change, and the entire roof-raising chorus again. Come the close of 'Be Here Now', 'All Around The World' is reprised with the aid of trumpets in their most showbiz-blasting, Last Night Of The Proms-type statement yet. And you think, caramba! if this makes your hairs stand on end through a Walkman's headphones, what the bally hell is it going to sound like at the climax of the show at Earls Court?!! Mammoth. Probably. But without the large hairy bollocks. Which is the whole point. For all the big backdrops, the big entourage, the big spendig, and the very big mouths, Oasis are still looking after the smaller things in life - pressing the right musical buttons, playing the right chords, manufacturing the right middle eights. Individually, each song already resonates with the vast, communal spirit that has propelled them thus far; the sense that - put in its purest form - here are yet another 11 songs the slightly sozzled world will be bursting to sing. Oasis? Yeah, they got family. (8)
My uncle once gave me the WFL single and Embrace because he thought i'd like that too. I took one listen and never again. Anyone who thinks Embrace are anywhere near Oasis need to wash out there DIRTY EARS. I like the highlighted section too, SPOT ON.
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Post by birchy on Jun 4, 2016 14:00:57 GMT -5
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Post by guigsysEstring on Jun 4, 2016 14:05:58 GMT -5
John Lydon interviewed by NME on 12th July 1997 was less than enthralled by Oasis music, although he stated he liked the band as people- John Lydon July 1997 He also indulged in a spot of Liam baiting
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Post by theyknowwhatimean on Jun 4, 2016 14:13:40 GMT -5
Lydon's a bellend.
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Post by guigsysEstring on Jun 4, 2016 14:31:31 GMT -5
Each to their own I find him more forthright with his views on most things than a lot of people, and hypocritical as he has undoubtedly been regarding advertising, ethnic and punk roots re: The Clash, etc. but he was IMO he was spot on about Russell Brand regarding the 'don't vote' call and putting those under 24 out of the system because their generation vote the least so all cuts hit them hardest as the political parties aim for older more engaged voters. Essentially to me what Russell was saying to young people was "demand to be ignored", a view I and John Lydon agree with.
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Post by batfink30 on Jun 4, 2016 14:44:12 GMT -5
Amazing to think that wife beater(allegedly) Johnny Depp plays on Fade In/Out isn't it?
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Post by guigsysEstring on Jun 4, 2016 14:51:59 GMT -5
Amazing to think that wife beater(allegedly) Johnny Depp plays on Fade In/Out isn't it? I'd like to hear the outtake demos of Kate Moss, Meg and Noel snorting coke singing along as Owen Morris recorded the parts
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Post by guigsysEstring on Jun 4, 2016 15:04:01 GMT -5
A genuine excerpt from the infamous legal contract foisted on journalists before being allowed to listen to 'Be Here Now' for reviewing purposes. It was put out after an Alan McGee hyperbolic rant in which he claimed Be Here Now would outsell (What's The Story) and break 20,000,000 sales worldwide, despite his own private reservations in 'My Magpies Eyes Are Hungry For The Prize' where he admitted after listening at a private party for professionals involved in the release that it was "too confrontational" and would sell "six, maybe seven million copies if we were lucky". At no point did anyone at Ignition or the Sony Music team appointed at Creation Records on Marcus Russell's request to handle Oasis releases think "Be Here Now is alright, but isn't this going over the top considering the idea is to reduce the hysteria surrounding the release?"
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Post by Flatulence Panic on Jun 4, 2016 15:06:17 GMT -5
BEEEEEEEE
HEREEEEEE
NOOOOOOOOOOOOOW!
Yeah?
The mantra of National Rail.
Punctuality costs people.
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Post by Flatulence Panic on Jun 4, 2016 15:08:30 GMT -5
Bee Heee Earing NoooNoo DOUBLE YOU!
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Post by Flatulence Panic on Jun 4, 2016 15:08:53 GMT -5
IT'S JUST ROCK AND ROLL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
IT'S JUST ROCK AND ROLL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
IT'S JUST ROCK AND ROLL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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Post by theyknowwhatimean on Jun 5, 2016 0:15:04 GMT -5
Each to their own I find him more forthright with his views on most things than a lot of people, and hypocritical as he has undoubtedly been regarding advertising, ethnic and punk roots re: The Clash, etc. but he was IMO he was spot on about Russell Brand regarding the 'don't vote' call and putting those under 24 out of the system because their generation vote the least so all cuts hit them hardest as the political parties aim for older more engaged voters. Essentially to me what Russell was saying to young people was "demand to be ignored", a view I and John Lydon agree with. I've seen that video, actually, and you're right, he's spot on. It's not him being vocal about his views that bugs me - heaven knows I should be able to tolerate a bit of that after following the Gallagher's for the last eight years! - it's just the pervading sense of fakery I get from him. I mean, he maintains he's an incredibly shy person. And fair enough, his 'Johnny Rotten' persona is a mask he wears to hide that, but when you see him still going about with his funky haircuts and his mad staring eyes when he's nearing 60, it all seems a little odd. He's a parody of himself, is what I'm saying, I guess. And I know a lot of rockers end up the same way when they get to Lydon's age, but with Lydon it just seems to irritate me more than others.
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Post by mrsifters80 on Jun 5, 2016 2:40:15 GMT -5
A man, possibly and rather worryingly Beady’s Here Now presents a take on Be Here Now after 15 years with a disclaimer that he does not own DM or (WTS)MG? but does own BHN?! Be Here Now RevisitedI pretty much agree with his review though.
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Post by mimmihopps on Jun 5, 2016 3:53:05 GMT -5
Thanks for taking the time to scan and sharing all these reviews, guigsysEstring.
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Post by mexico2418 on Jun 5, 2016 9:21:33 GMT -5
Thanks a lot i never saw that MTV latin clip
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Post by Lennon2217 on Jun 5, 2016 12:03:18 GMT -5
Rumors of a Be Here Now reissue. Any truth to that whisper?
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Post by guigsysEstring on Jun 5, 2016 12:14:07 GMT -5
Rumors of a Be Here Now reissue. Any truth to that whisper? Utter bollocks unfortunately mate
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