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Post by eva on Oct 1, 2008 7:46:11 GMT -5
thanks for the scans
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Post by start at the end on Oct 1, 2008 7:46:49 GMT -5
Have to say that, overall, the peak reviews are down from DBTT, but on the whole, they're MUCH more consistent. I've yet to see a major pub bash the hell out of it, per se (3 star reviews generally mean "good").
Q gave DBTT 4 stars, DOYS down to 3. RS gave DBTT 3 1/2, rumour has it DOYS got a 2 1/2 (which isn't great). MOJO gave DBTT 4 stars, DOYS got 3. Spin gave DBTT an A-, DOYS got 3 1/2 stars (close). There's others that fit the form, but I think the point has been made.
I for one, don't completely discount the mags. Overall, I think they provide a decent barometer on what's musically redeeming. Sure, there's a few hiccups here and there., but if the overall consensus is that DOYS is a 3 star album, there's a good chance it IS. Fan forums certainly are the last place I go for an honest critique.
Exhibit A: we all (likely rightly, btw) pretty much wanted to disown the 2nd half of the record in the first week, only to have it "grow" on us in the last two (after about 30 listens, lol). These reviewers likely sit through it 2-3 times and formulate an opinion. Now, depending on your "school" of thought (I was a journalism major), that either makes for an accurate appraisal or a short-sighted one. Most in the industry lean towards the former...and it shows by the considerably wide-spread disdain for the second half.
just sayin'.
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liamscoat
Oasis Roadie
..would Jesus Christ have been a fucking pervert if he had a crisp packet on his head.Who knows?
Posts: 334
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Post by liamscoat on Oct 1, 2008 9:09:30 GMT -5
To be fair I think thats wrong......I think what it shows is the reviewers read here as part of their critique Any review that disgards a second half that contains Falling down and to be where there's life is madness imo ...and Soldier on is an amazing track...granted its not for everyone as its very trippy and droning....but to not understand its message within that style is sad (its a far more clever track than the credit it will ever get) = If it was Radiohead the critics would still be wanking now
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Post by themanwithnoname on Oct 1, 2008 11:50:46 GMT -5
Ok, here's my review (I work for a regional newspaper in England and no, I'm not saying which one)
Oasis - 'Dig Out Your Soul'
"Brilliant. There isn't a single on it." So said Noel Gallagher a few months back when pal Paul Weller asked the Oasis leader how work was progressing on his band's seventh studio album.
Listening to 'Dig Out Your Soul' it's hard to disagree with Gallagher's pithy analysis.
Sure, lead-off release 'The Shock of The Lightning' may sound like Oasis-by-numbers (and not the return to 'Definitely Maybe'-era glory some have hysterically claimed) but elsewhere choruses are conspicuously thin on the ground.
Opener 'Bag It Up' isn't a bad start - despite sounding disconcertingly like Nickelback for the first 30 seconds - and 'The Turning' manages to update the Oasis template, even succeeding in making the line 'shake your rag doll, baby' sound halfway convincing.
It helps too that brother Liam has dumped the tuneless growl he sported on the band's last outing, 2005's 'Don't Believe The Truth', and in fact, one of Gallagher Jnr's offerings, the sentimental 'I'm Outta Time', is even a contender for best song on the album.
Simple but endearing (a bit like the man himself, some might say), you can just about overlook the trademark Lennon-lite production and wholly superflous sample from an interview the Beatle gave two days before his death.
His older brother's 'Falling Down' is another high point. Melding his stock-in-trade nonsensical lyrics with electronic beats nearly as effectively as 'Setting Sun', his chart-topping 1996 link-up with The Chemical Brothers.
But the rest of Dig Out Your Soul is too much of a mess. Sure, it shakes, it stomps and it rattles but it fails to attain an ounce of the fizz or sparkle that made Oasis such an invigorating force in the mid-1990s.
Too many of the tracks feel like half-baked ideas that never seem to end up anywhere, while Noel's burgeoning democratic bent means inferior output from his fellow band members clogs up the back end.
The feeling you're left with is that 'Dig Out Your Soul' is an interesting Oasis album, just not necessarily a great one.
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Post by Robohump on Oct 1, 2008 18:12:16 GMT -5
Exhibit A: we all (likely rightly, btw) pretty much wanted to disown the 2nd half of the record in the first week, only to have it "grow" on us in the last two (after about 30 listens, lol). Out of curiosity, who are you referring to? I haven't read anyone saying the second half has "grown on them". Most people still think AGN, NOR, SO and TBWTL suck... because they all do. That isn't going to change, no matter how many times you listed to them. A shit song is a shit song, regardless of how many times you listen to it or how hard you try to convince yourself that it's great.
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Post by NoelandMeMay29 on Oct 1, 2008 20:09:16 GMT -5
I can't imagine logging on daily to a bands web site that I wasn't a fan of. What a waste of time.
Maybe you should start your own web site that goes from DM-HC and no further. People can log on talk about those albums and tours and reflect. I thought DBTT was better than BHN and SOTSOG and as far as DOYS I like SO, TBWTL and can handle AGN & TNOR much more than PYMWYMI, LJ & ICSAL (sitting by the fire.....indeed!!)
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Post by benvenu2 on Oct 1, 2008 20:50:47 GMT -5
Stereogum Review - stereogum.com/archives/premature-evaluation/premature-evaluation-oasis-dig-out-your-soul_024001.html?utm_source=bb&utm_medium=mcPushing Noel off a stage in Toronto might bruise the erstwhile Oasis mouthpiece's ribs (maybe even his spirits) and cause the band to cancel a show or two, but nothing can stop the slow procession toward a new Oasis album. These things will arrive here/there for the rest of our lives, right? The big question: Do the songs sound at all like the NYC busker versions? The other question: Is it better than the Verve's Forth? No and yes: The songs sound better coming out of Oasis than the buskers and, yes, it's better than Forth (just in case you wanted to keep your psychedelic Brit rock pecking order in good shape). But does that make it any good? We all knew Oasis loved the Beatles, so certain elements won't be a surprise: The second track "The Turning"'s outro makes use of "Dear Prudence"'s introduction and the ballad-y, supposed second single, the "I'm Outta Time," includes a vocal (spoken) sample of John Lennon (Noel's said this this track's for the ladies). Otherwise, the Beatles moments are there in the form of echoes. "Magical mystery" in the propulsive "Shock Of The Lightning" (a good Oasis song), etc. The opener "Bag It Up" is a good one, overcoming lines like "I got my heebee jeebees in a little hidden bag" (did we hear that right? no!) to offer a mid-tempo Oasis rock 'n' roller. Not amazing, but a solid opener, especially when the strings and well-sculpted feedback tones come in toward the end: It feels like they're holding back a bit and waiting to show you something bigger (in this case, the aforementioned "The Turning," an album standout). "Waiting For The Rapture" -- "she put an apple in my eye" -- is a duskier bit that has something U2 and neo-Kings Of Leon to it (except, in terms of the latter, it actually goes somewhere beyond the blowdryer). As mentioned, "Falling Down," which first debuted in Chem Bros Remix form over the summer, is different sounding (in a good, interesting way) with chillier tones and strings and windy, catchy chorus. It's an anthem, but an icy one. Oasis certainly love their big rock songs, but Dig offers some quieter, weirder moments like the smeary, snapping/hand clapping psychedelia of "(Get Off Your) High Horse Lady" with its repetitious percussion and guitar and boxed vocals, builds into a pleasing factory-like/railroad working groove. Nice. Then it moves into an area where textures and sitars gain precedence over songwriting: "To Be Where There's Life" (the sitar-y psychedelic one) offers a interesting textures, but the the composition itself is pretty ho-hum (unless you did the right amount of drugs first). The same could be said for "Ain't Got Nothing" (the swirly rocker) and "The Nature of Reality" (the bluesy rocker with shakers and cacophonous, up-swinging chorus). Each sounds good, but keeps going without enough of a pay-off. Dig closes out with the vocal palimpsest ballad "Soldier On" (overlapping, slightly out of phase vocals), which is pretty enough, but fades on a small wave of feedback and repetitions instead of coming to a hard stop -- kind of like this record.Dig Out Your Soul isn't amazing, and Noel's nowhere the genius he thinks he is (not even half...), but the collection has enough worthwhile moments, that fans shouldn't leave disappointed. After all, you are still a fan at this point.
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Post by NoelandMeMay29 on Oct 2, 2008 0:07:31 GMT -5
GUY DIXON
From Thursday's Globe and Mail
October 1, 2008 at 7:07 PM EDT
Dig Out Your Soul
Oasis
Reprise Records
Streaming at myspace.com/oasis
Let's face it, the new Oasis album won't win the band any new fans. Even for diehards listening to a preview yesterday on MySpace of Dig Out Your Soul ahead of the album's launch next week, the first third threatens the dreaded Be Here Now complex. Overextended endings, overlayered guitars, these are reminiscent of the band's 1997 album in which access overran substance. But that's not necessarily a bad thing.
Oasis is perennially fixing a hole, namely the aesthetic gap between Magical Mystery Tour and the White Album and between the Stone Roses' two and only studio albums. But the fun and surprise have been in how incongruously Noel and Liam Gallagher have gone about this task. As with the natural, deadpan humour of the brothers' interviews, it's impossible to determine whether they simply fail to get it at times or, as Noel has suggested throughout his career, they get it all too much.
The Dear Prudence-like guitar line ending the song The Turning? The harmonica line in S oldier On cribbing Pink Floyd's Shine On You Crazy Diamond? Or simply the inexplicable second "the" in the leadoff single The Shock of the Lightning? There's really no explanation. And after repeated listens, with the strum-along guitars and wet-blanket bass invariably flowing into transportive melodies, it's pointless to ask. Unlike Lenny Kravitz, who began his career filling the Abbey Road- Let It Be gap, Oasis has never been about mere mimicry.
So it's a joyous occasion when the band is on its game, as in the soaring, Pete Townshend-like Falling Down, which Noel sings himself, as he did with the more mature songs from the band's last outing, 2005's marvellous Don't Believe the Truth.
But strangely with Oasis, there's always great pleasure even when they miss the mark. It's the fun in trying (and failing) to comprehend their production choices on the simplest level, why they inexplicably made what initially feels like this misstep or that, while still creating songs that only improve with each listen. That's the nature of being an Oasis supporter.
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Post by NoelandMeMay29 on Oct 2, 2008 0:11:47 GMT -5
Here's another.......kind of strange b/c it seems to slight the album but then give a B- (which is a pretty good grade). www.ew.com/ew/article/0,,20230104,00.html?xid=rss-music-reviews-20081001-Dig+Out+Your+Soul
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ozfan2
Oasis Roadie
Posts: 307
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Post by ozfan2 on Oct 2, 2008 4:00:31 GMT -5
Great Review from The Times I disagree, all the reviews That matter are glowing eg The Times, Alan McGee, The Guardian, NME. These are the opinion formers wit a lot of cred. Forget spin magazine (who) and Rolling Stone as peopel don't take them seriously unless you are a Neil Young or Eagles fan. I know people bag Alan McGee out but he instantly signed them after hearing a few rough songs and I have to say I compleatly agree with his opinion on every album since BHN-ie OK but not GREAT. I still haven't heard it-call me old fashioned but I am waiting to buy the CD and savour opening it. All this instant gratification of downloading it in sub par quality doesn't do it for me. entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4861899.ece?token=null&offset=12&page=2The verdict on Oasis's new album Dig Out Your Soul As Oasis unveil their seventh studio album on MySpace, The Times' chief rock critic Pete Paphides goes through Dig Out Your Soul, track-by-track, and comes to the conclusion that this could be their best album since the siblings’ Britpop glory days Oasis A sensational opening volley of new Noel Gallagher songs establishes a standard it can’t quite sustain. But for the main part, Oasis’s first album in over three years comes close. BAG IT UP Four-to-the-floor opening shot features a multi-tracked Liam Gallagher declaring, “I’m gonna take a walk with the monkey man.” Monster chorus can’t even be derailed by the questionable claim, “I’ve got my heebeegeebees in a little bag.” Should distinguish itself as an instant live favourite when the UK tour begins on Tuesday. THE TURNING One of Oasis’s most atmospheric recordings. Moody electric piano gives way to affirmative come-ons on a series of increasingly rock-tastic choruses. Cheeky Dear Prudence-style coda heralds the beginning of a series of Beatles borrowings, thankfully more artfully deployed than on previous occasions. WAITING FOR THE RAPTURE Intro reminiscent of The Doors Five To One gives way to a Noel third-person account of being ensnared by a predatory woman. Dave Sardy’s production cleverly allows the needle to stay firmly in the red – although any sonic bombast is once again trumped by an excellent chorus. THE SHOCK OF THE LIGHTNING The first single from the album. Pacey, energized delivery from Liam, coupled with a performance that recalls 1995’s Morning Glory. As a result, probably the song most likely to find favour with fans of “vintage” Oasis. I’M OUTTA TIME Liam’s first and best contribution to the album. Featuring a sample of John Lennon’s final interview at the end, the song itself is a tender love song which deploys several key Lennonisms in its instrumentation. Hard to equate such open-hearted sensitivity with the man who, in a recent interview, declared, “SpongeBob SquarePants is a mental, full-of-beans sponge. He’s mad for it.” (GET OFF YOUR) HIGH HORSE LADY Instantly memorable, thanks to Liam’s stoned vocoder delivery and the hypnotic boom-thump of its rhythm. Having spent so much of their time talking up the Sixties, this may be the first Oasis song that could pass muster on a compilation of treasured obscurities from the end of that decade. FALLING DOWN Noel sings this one. Deploys an identical rhythm to the one invented by Ringo Starr on Rain – but there are mitigating factors at play. First of all, it’s being played by Ringo’s son Zak Starkey; more importantly, it sits at the centre of another Oasis song that corresponds to little else in their canon – a rain-lashed, nocturnal hymn to uncertainty that makes good use of the vulnerability that seems ingrained in the guitarist’s vocal style. TO BE WHERE THERE’S LIFE Written by Gem Archer. Charges along on a bassline that should Paul McCartney hear it, may push Paul McCartney’s eyebrows up into the realms of physical implausibility. Modestly diverting piece of raga-rock, but by no means one of the better songs on the album. AIN’T GOT NOTHING A combustible Who-style studio freakout. Probably fun to play; should be exciting live – but once removed from the circumstances in which it was created, it slightly palls. THE NATURE OF REALITY Andy Bell’s sole writing contribution to the album – apparently prompted by the demise of his marriage. The final part in a relative slough of three songs. “The nature of reality is only in your mind,” sings Liam, with a peculiar lack of conviction. SOLDIER ON Reflective paean to perseverance oscillates soberly between a single titular mantra and bursts of keening melodica from Noel, until both dissipate, as if to leave room for closing credits. Again, further evidence of Oasis’s new-found ability to create sympathetic settings for the their older more thoughtful selves. As such, a fitting conclusion.
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Post by start at the end on Oct 2, 2008 7:30:06 GMT -5
To be fair I think thats wrong......I think what it shows is the reviewers read here as part of their critique Any review that disgards a second half that contains Falling down and to be where there's life is madness imo ...and Soldier on is an amazing track...granted its not for everyone as its very trippy and droning....but to not understand its message within that style is sad (its a far more clever track than the credit it will ever get) = If it was Radiohead the critics would still be wanking now Jesus man, don't flatter yourself. Fan forums are inundated with "self-important" types who think critics peruse sites like "l4e" to formulate theirs opinions/reviews. Funny thing is, while it sounds sexy, it's largely untrue. Believe it or not, most of them DO go into LP's with at least a half-way open mind, largely because it's their JOB. If they continue to author off-the-wall, critically biased pieces (either way), it won't be long before they're out of a JOB. Unless of course they're the likes of Roger Ebert and such. I think it's funny that conspiracy theorists consistently think something unsettling is behind just about everything at odds with their own think-set, rather than someone actually having a different "take" on something (unless of course it at least somewhat coincides with their own opinion ). Especially a 50 min, rather eclectic album that's nearly assured to miss the target with some.
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Post by start at the end on Oct 2, 2008 7:32:27 GMT -5
To be fair I think thats wrong......I think what it shows is the reviewers read here as part of their critique Any review that disgards a second half that contains Falling down and to be where there's life is madness imo ...and Soldier on is an amazing track...granted its not for everyone as its very trippy and droning....but to not understand its message within that style is sad (its a far more clever track than the credit it will ever get) = If it was Radiohead the critics would still be wanking now By the way, out of the 8 or so friends I've given the LP to, just about ALL of them said they weren't nuts about the second half of the album (sans Falling Down, ironically enough). So they must all be reading these Oasis forums too?
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Post by start at the end on Oct 2, 2008 7:35:47 GMT -5
Exhibit A: we all (likely rightly, btw) pretty much wanted to disown the 2nd half of the record in the first week, only to have it "grow" on us in the last two (after about 30 listens, lol). Out of curiosity, who are you referring to? I haven't read anyone saying the second half has "grown on them". Most people still think AGN, NOR, SO and TBWTL suck... because they all do. That isn't going to change, no matter how many times you listed to them. A shit song is a shit song, regardless of how many times you listen to it or how hard you try to convince yourself that it's great. There are threads in this forum that were SPECIFICALLY created to discuss the last 4 songs, and how they've "grown". Dozens of people on these boards responded enthusiastically. Try checking them out before espousing untruths. This isn't about your own initial critique.
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Post by start at the end on Oct 2, 2008 7:47:13 GMT -5
Great Review from The Times I disagree, all the reviews That matter are glowing eg The Times, Alan McGee, The Guardian, NME. These are the opinion formers wit a lot of cred. Forget spin magazine (who) and Rolling Stone as peopel don't take them seriously unless you are a Neil Young or Eagles fan. I know people bag Alan McGee out but he instantly signed them after hearing a few rough songs and I have to say I compleatly agree with his opinion on every album since BHN-ie OK but not GREAT. I still haven't heard it-call me old fashioned but I am waiting to buy the CD and savour opening it. All this instant gratification of downloading it in sub par quality doesn't do it for me. entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4861899.ece?token=null&offset=12&page=2The verdict on Oasis's new album Dig Out Your Soul As Oasis unveil their seventh studio album on MySpace, The Times' chief rock critic Pete Paphides goes through Dig Out Your Soul, track-by-track, and comes to the conclusion that this could be their best album since the siblings’ Britpop glory days Oasis A sensational opening volley of new Noel Gallagher songs establishes a standard it can’t quite sustain. But for the main part, Oasis’s first album in over three years comes close. BAG IT UP Four-to-the-floor opening shot features a multi-tracked Liam Gallagher declaring, “I’m gonna take a walk with the monkey man.” Monster chorus can’t even be derailed by the questionable claim, “I’ve got my heebeegeebees in a little bag.” Should distinguish itself as an instant live favourite when the UK tour begins on Tuesday. THE TURNING One of Oasis’s most atmospheric recordings. Moody electric piano gives way to affirmative come-ons on a series of increasingly rock-tastic choruses. Cheeky Dear Prudence-style coda heralds the beginning of a series of Beatles borrowings, thankfully more artfully deployed than on previous occasions. WAITING FOR THE RAPTURE Intro reminiscent of The Doors Five To One gives way to a Noel third-person account of being ensnared by a predatory woman. Dave Sardy’s production cleverly allows the needle to stay firmly in the red – although any sonic bombast is once again trumped by an excellent chorus. THE SHOCK OF THE LIGHTNING The first single from the album. Pacey, energized delivery from Liam, coupled with a performance that recalls 1995’s Morning Glory. As a result, probably the song most likely to find favour with fans of “vintage” Oasis. I’M OUTTA TIME Liam’s first and best contribution to the album. Featuring a sample of John Lennon’s final interview at the end, the song itself is a tender love song which deploys several key Lennonisms in its instrumentation. Hard to equate such open-hearted sensitivity with the man who, in a recent interview, declared, “SpongeBob SquarePants is a mental, full-of-beans sponge. He’s mad for it.” (GET OFF YOUR) HIGH HORSE LADY Instantly memorable, thanks to Liam’s stoned vocoder delivery and the hypnotic boom-thump of its rhythm. Having spent so much of their time talking up the Sixties, this may be the first Oasis song that could pass muster on a compilation of treasured obscurities from the end of that decade. FALLING DOWN Noel sings this one. Deploys an identical rhythm to the one invented by Ringo Starr on Rain – but there are mitigating factors at play. First of all, it’s being played by Ringo’s son Zak Starkey; more importantly, it sits at the centre of another Oasis song that corresponds to little else in their canon – a rain-lashed, nocturnal hymn to uncertainty that makes good use of the vulnerability that seems ingrained in the guitarist’s vocal style. TO BE WHERE THERE’S LIFE Written by Gem Archer. Charges along on a bassline that should Paul McCartney hear it, may push Paul McCartney’s eyebrows up into the realms of physical implausibility. Modestly diverting piece of raga-rock, but by no means one of the better songs on the album. AIN’T GOT NOTHING A combustible Who-style studio freakout. Probably fun to play; should be exciting live – but once removed from the circumstances in which it was created, it slightly palls. THE NATURE OF REALITY Andy Bell’s sole writing contribution to the album – apparently prompted by the demise of his marriage. The final part in a relative slough of three songs. “The nature of reality is only in your mind,” sings Liam, with a peculiar lack of conviction. SOLDIER ON Reflective paean to perseverance oscillates soberly between a single titular mantra and bursts of keening melodica from Noel, until both dissipate, as if to leave room for closing credits. Again, further evidence of Oasis’s new-found ability to create sympathetic settings for the their older more thoughtful selves. As such, a fitting conclusion. Yeah, well, I guess that's a whole nother' argument: who's reviews matter? Rolling Stone doesn't matter? Spin doesn't matter? Uncut doesn't matter? Q doesn't matter? MOJO doesn't matter? All gave inferior reviews to DOYS compared to DBTT. That's discounting quite a few heavy hitters. It's funny, cause when NME slapped DBTT around, THEY didn't matter either. Now of course, they do? jesus.
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Post by jasonbourne on Oct 2, 2008 18:37:16 GMT -5
Have to say that, overall, the peak reviews are down from DBTT, but on the whole, they're MUCH more consistent. I've yet to see a major pub bash the hell out of it, per se (3 star reviews generally mean "good"). Q gave DBTT 4 stars, DOYS down to 3. RS gave DBTT 3 1/2, rumour has it DOYS got a 2 1/2 (which isn't great). MOJO gave DBTT 4 stars, DOYS got 3. Spin gave DBTT an A-, DOYS got 3 1/2 stars (close). There's others that fit the form, but I think the point has been made. I for one, don't completely discount the mags. Overall, I think they provide a decent barometer on what's musically redeeming. Sure, there's a few hiccups here and there., but if the overall consensus is that DOYS is a 3 star album, there's a good chance it IS. Fan forums certainly are the last place I go for an honest critique. Exhibit A: we all (likely rightly, btw) pretty much wanted to disown the 2nd half of the record in the first week, only to have it "grow" on us in the last two (after about 30 listens, lol). These reviewers likely sit through it 2-3 times and formulate an opinion. Now, depending on your "school" of thought (I was a journalism major), that either makes for an accurate appraisal or a short-sighted one. Most in the industry lean towards the former...and it shows by the considerably wide-spread disdain for the second half. just sayin'. great post
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Post by jamesstibbe on Oct 2, 2008 19:40:33 GMT -5
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Post by jake01 on Oct 2, 2008 19:50:37 GMT -5
I'm glad to get the Q and Mojo reviews. I've been reading htose mags for about 10 yrs now, and have figured their reviews out. Generally, 3 stars is the reviewer hedging their bets. Ever since BHN and the backlash, they don't want to put their ass on the line and be laughed at later, so they talk well and give a few stars. This applies only to iconic bands. I remember 5 stars in Q for Chemistry by Semisonic, so I don't put much truck in what they say (everyone has an agenda). But dedicating 50 pages and covers to the band says more w/ 3 stars says it all.
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Post by psj3809 on Oct 3, 2008 1:13:23 GMT -5
Disappointed the Sun didnt give the album more... www.thesun.co.uk/sol/homepage/showbiz/sftw/article1761753.eceOASIS - Dig Out Your Soul Rating *** SEVEN albums in and we’re all hoping, somehow, maybe, that 14 years on from their colossal debut Definitely Maybe and its follow-up (What’s The Story) Morning Glory? the Gallaghers plus the other two have made an album worthy of their god-like status. In fact, maintaining such eminence seems a bit preposterous because none of the four albums that followed was worthy of a band often hailed as big as The Beatles. Dig Out Your Soul has moments to shout: “Hooray, they’re back on track”. Bag It Up is a classic Gallagher anthem, and The Turning is big on atmospherics, dreamy pianos and soulful vocals. Falling Down is another highlight, with Noel on vocals again. Packed with emotion, it’s the album’s best track. The Beatles-y I’m Outta Time is Liam’s predictable but admirable offering and includes a sample of John Lennon’s final interview. But we are disappointed once more. (Get Off Your) High Horse Lady has promise but instead heaves along like a weary pack mule. And Andy Bell’s The Nature Of Reality drags on as does Gem Archer’s droner To Be Where’s There’s Life. When will Oasis reinvent the wheel and give us an album we’d rather listen to than their Greatest Hits? JS
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Post by lozkin on Oct 3, 2008 5:14:20 GMT -5
Not a great review from Alex Petridis from the Guardian, who has never liked Oasis, and struggles to write about any other band without referencing Oasis....there are a few points worth picking Petridis up about...does he really think that Noel cares that Damon Albarn has been getting great reviews for his Chinese opera, and also if he is slagging Oasis lyrics off, he should probably get them right in the first place; "Shake your reptile??" Rock review: Oasis, Dig Out Your Soul 3/5 It's hard not to be impressed with the way Noel Gallagher has managed to turn Oasis' apparently permanent state of musical stasis into a matter of class pride. "It's a working-class thing ... I'm not an experimenter," he recently remarked, as if making interesting music was an unacceptable capitulation to bourgeois mores, like joining a snooty golf club. It's a smart bit of doublethink, but there's something depressing about this not-for-the-likes-of-us attitude, not least the sneaking feeling that Noel Gallagher - clearly a sharp and intelligent man - doesn't believe a word of it, that it's bluster designed to hide fear, the knowledge that the one time he did try to experiment, the result was Oasis's catastrophic 2000 album Standing on the Shoulder of Giants. The millions of records and tickets Oasis sell must come as consolation, but you wonder if Gallagher occasionally steals a rueful glance at his former Battle of Britpop nemesis - wistfully noting, say, the critically acclaimed Mandarin opera - before going back to dutifully promoting the new Oasis album with a single that goes "love is a litany, a magical mystery" and assurances to the press that it sounds like the Beatles. At least he can console himself that he's never going to get sued under the Trade Descriptions Act: Oasis's seventh album arrives bearing Helter Skelter drum fills, a sample from John Lennon's final radio interview, a coda to The Turning stolen from Dear Prudence and lyrical references to Lennon's Gimme Some Truth and Ian MacDonald's Fabs book Revolution in the Head. Complaining about Oasis's lyrics seems rather like shooting fish in a barrel, or as Gallagher would doubtless have it, shooting fish in a barrel/ with a man called Darryl/ singing a carol/ in American Apparel. Suffice to say there's a chorus that advises you to "shake your reptile" - Crocodile? Snake? Tortoise? - and that the younger Gallagher brother has developed a weird tic of continually reminding you that you're listening to a song, as if concerned you might think you're listening to a lecture on particle physics: "Here's a song," he offers on both I'm Outta Time and Ain't Got Nothin'. That said, both are among the album's highlights, the former an effective exercise in shamelessly button-pushing balladry, the latter a two-minute brawl of a song, driven by an off-kilter drum pattern. It's one of a handful of moments when Dig Out Your Soul works because it does precisely what Noel Gallagher says it doesn't and experiments, at least a little, with the Oasis formula. The opening Bag It Up offers an impressively grimy, low-rent brand of freakbeat, while Falling Down is, by Oasis's standards at least, opaque and oddly delicate. Nevertheless, the other Liam contribution, Soldier On, highlights Dig Out Your Soul's biggest problem: the mid-tempo plod that has become Oasis's default rhythmic setting. There's something trudging and weary about it, redolent of gritted teeth and furrowed brows, of labour rather than effortless inspiration. It's further compounded by a surfeit of lyrical references to having a go, sticking with it and not giving up - "You've got to keep on keeping on", "My head's in the clouds but at least I'm trying" - and by the straining mannerisms of Liam's vocals, which at their most affected sound less like bracingly abrasive sneering than the dogged exertions of a man who's a little backed up. Oasis can still occasionally produce songs suggestive of the breezy insouciance that marked their early years - the new single The Shock of the Lightning among them - but more often on Dig Out Your Soul, they sound as though they're killing themselves trying to come up with something that'll do. And sometimes what they come up with won't do at all, as on Gem Archer's To Be Where There's Life, a song that signifies its mystical, psychedelic bent by opening with a sitar going sprrrrrroinnnnng. It's the kind of hackneyed gesture that seems to underline Oasis's reductive view of music, the nagging suspicion that, far from being steeped in the nuances of classic rock, they've only actually heard the Greatest Hits. For more than a decade, Oasis have continued to sell millions of records while stuck in a musical holding pattern. It's a perversely impressive feat, partly down to their fans, who, depending on your perspective, are either remarkably loyal or risibly undemanding. But it's also down to Oasis' willingness to graft, dutifully touring, never declining to play the hits. Neither masterpiece nor catastrophe, more experimental than Noel would allow but no one's idea of adventurous, a lot of Dig Out Your Soul sounds like hard work, and not in the latter-day Scott Walker sense of unorthodox or avant garde. Perhaps that's fitting. www.guardian.co.uk/music/2008/oct/03/rockreview.oasis
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Post by joe5000 on Oct 3, 2008 6:14:07 GMT -5
BBC Music Review: www.bbc.co.uk/music/release/b8mq/Good praise for Liam's efforts and no pretending Liam wrote The Nature Of Reality like that Rolling stone shit they think passes as a review. Still, theres always the Pitchfork review to come!
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Post by Mogly on Oct 3, 2008 8:42:13 GMT -5
BBC Music Review: www.bbc.co.uk/music/release/b8mq/Good praise for Liam's efforts and no pretending Liam wrote The Nature Of Reality like that Rolling stone shit they think passes as a review. Still, theres always the Pitchfork review to come! pitchfork's will be the worst review yet. they hate Oasis for being popular and their music being simple. I predict a 3.0 or something like that. If DOYS gets 5.0 or more I'll take it as a glowing review
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Post by oasis6 on Oct 3, 2008 10:59:40 GMT -5
Lol where can I put my review...?
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dpr
Oasis Roadie
Posts: 137
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Post by dpr on Oct 3, 2008 16:19:58 GMT -5
Entertainment Weekly gave DOYS a B-
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Deleted
Deleted Member
Posts: 0
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Post by Deleted on Oct 3, 2008 16:31:47 GMT -5
BBC Music Review: www.bbc.co.uk/music/release/b8mq/Good praise for Liam's efforts and no pretending Liam wrote The Nature Of Reality like that Rolling stone shit they think passes as a review. Still, theres always the Pitchfork review to come! Yes, I'm certain that will be full of praise for the brothers Gallagher It is often the case that a good film review will make me think about a film in a particular way that hadn't occurred to me before. None of the reviews for DOYS offer me anything new that isn't apparent from listening to the album. To make matters worse, many of the things that the reviewers comment upon don't even reflect the nature of the album itself. Why is it so often the case that reviewers only seem to comment upon the acoustic coda of The Turning and not the actual track itself? Why is DOYS getting less positive press than DBTT - an album most of us would agree is inferior to DOYS? This list goes on and on. Music journalism, as a whole, doesn't seem to pack the same weight as its film and literary brethren does. At least we have AMG: one of the few bastions of intelligent popular music around. I'm sure their review will have something substantial to say, whether it is a positive one or not.
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Post by themadferret on Oct 3, 2008 18:26:47 GMT -5
from ezine@articles.com
Oasis' latest studio album (their seventh) is due out on October 6th. It's called Dig Out Your Soul and it's not a return to form. No, it's not a return to anything for Oasis, instead is a huge step forward into new exciting sonic territory and more experimental song arrangements. Every song, save maybe "Ain't Got Nothin'," is a vital part of the album. I think that's partly precisely because the album lacks "obvious singles." This is a cohesive album in a way perhaps no other Oasis album has been.
The album starts off with a bang with "Bag It Up" which features some cool harmonized vocals & great guitar riffs. It's a real "belter" and is probably the song on the album that would most feel at home on Definitely Maybe. But it's on track 2 ("The Turning") where things really get interesting. Oasis has moved in a more psychedelic direction with this album. While the album still rocks (as hard as anything they've done since Be Here Now) it's the more subtle musical ideas, trippy production, and adventerous song arrangements that have me excited about this album.
All three of the Noel Gallagher sung tracks (which make up three of the six songs he wrote for the album) are among the album's standouts. "Waiting for the Rapture" is a psychedelic slow motion stomper which includes one of Noel's best vocals ever (and some cool vocal effects.) "(Get Off Your) High Horse Lady" is a wonderfully bizarre country & western sounding song which has some of the most inventive production I've heard on an Oasis song. "Falling Down" is a Chemical Brothersy tripped out dancey ballad that's a bit hard to categorize.
Liam Gallagher may have hit a new high for his songwriting with "I'm Outta Time" which is arguably the best song on the album. It's unashamedly John Lennonesque but that doesn't mean it's a rip-off (it's not) it's just that Liam wears his influences on his sleeves. The song is an absolute classic.
Andy Bell & Gem Archer each contributed one song as songwriters to Dig Out Your Soul. Bell's "The Nature of Reality" sounds like a killer combination of Led Zeppellin with The Beatles' "Helter Skelter." When the drum first drops on this one it's one of the real spine tingling moments on this album (and there's quite a few of those.) Archer's "To Be Where There's Life" is possibly the most overtly "trippy" track on the album with it's sitar and it's Paul McCartney-esque bassline. It's a great groovy song and it doesn't sound like anything I've ever heard from Oasis before.
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