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
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.
This actually makes some very interesting an intelligent points. When it comes to analysing the music he gets it a bit wrongs, but the bit about Noel and being experimental is interesting. And he is right about the lyrics, from a critical point of view.
Many people saw Oasis’ sixth studio album, 2005’s “Don’t Believe The Truth,” as a return to form. They said it was the album the group needed to make, one that reestablished it as one of the most important British bands in recent history. With its new album “Dig Out Your Soul” the band is experimenting more but manages to hold on to its roots. Starting with the opening track, “Bag It Up,” a Noel Gallagher-penned psychedelic acid rock grinder, the album has an intensity that the group’s previous efforts have lacked. Choruses like the “Come in, come out” refrain on “The Shock Of The Lightning” have the classic Oasis swagger to them. “The Turning” sets the album’s sound, abandoning guitars in favor in synthesizers, but Liam Gallagher’s vocals stay strong throughout. Noel Gallagher also does some singing on “Falling Down,” which has a hauntingly soft vocal in one key with a driving drum riff, and on “(Get Off Your) High Horse Lady,” a bluesy track with a heavy bass line and distorted vocals. All five members again contribute songs, many of which have recurring themes of God, “the light” and raptures. Liam Gallagher’s “I’m Outta Time” is a tender Beatles-esque ballad with a John Lennon interview sample; it is one of his best songs ever. But the tracks by primary songwriter Noel Gallagher are what shine throughout. With “Dig Out Your Soul,” Oasis stepped it up and moved out of its comfort zone. The band took a chance and raised the bar.
oasis_l SOUL BROTHERS This British quartet are decidedly less fab than the original Four on their most recent album Music Release3 Days Credits Release Date: Oct 07, 2008; Lead Performance: Oasis; Genre: Rock B- By Clark Collis Clark Collis Clark Collis Clark Collis is a senior writer for EW
Do Oasis' Liam and Noel Gallagher suffer from a morbid, and quite unnecessary, fear that we might forget how much they love the Beatles? The British quintet's latest disc Dig Out Your Soul not only features Ringo's son Zak Starkey on drums but also at one point includes a snippet of John Lennon talking. Both the heftily rocking first single, ''The Shock of the Lightning,'' and the airier, more psychedelic song ''Falling Down'' are fab enough to have appeared on one of Oasis' terrific first two albums. But qualitywise, most of the tracks here are more ''Bungalow Bill'' than ''Eleanor Rigby.'' B– Download This: Listen to ''The Shock of the Lightning'' on the band's MySpace page
Maturity always seemed an alien concept to Oasis. The brothers Gallagher may have worshiped music made before their birth but there was no respect to their love: they stormed the rock & roll kingdom with no regard for anyone outside themselves, a narcissism that made perfect sense when they were young punks, as youth wears rebellion well, but the group's trump card was how their snottiness was leveled by their foundation in classic pop. This delicate balance was thrown out of whack after phenomenal success of 1995's (What's the Story) Morning Glory?, when the group sunk into a pit of excess that they couldn't completely escape for almost a full decade. When Oasis did begin to re-emerge on 2005's Don't Believe the Truth they sounded like journeymen, purveyors of no-frills rock & roll.
All this makes the wallop of 2008's Dig Out Your Soul all the more bracing. Colorful and dense where Don't Believe the Truth was straightforward, Dig Out Your Soul finds Oasis reconnecting to the churning psychedelic undercurrents in their music, sounds that derive equally from mid-period Beatles and early Verve. This is heavy, murky music, as dense, brutal, and loud as Oasis has ever been, building upon the swagger of Don't Believe and containing not a hint of the hazy drift of their late-'90s records: it's what Be Here Now would have sounded like without the blizzard of cocaine and electronica paranoia. Dig Out Your Soul doesn't have much arrogance, either, as Oasis' strut has mellowed into an off-hand confidence, just like how Noel Gallagher's hero worship has turned into a distinct signature of his own, as his Beatlesque songs sound like nobody else's, not even the Beatles. His only real rival at this thick, surging pop is his brother Liam, who has proven a sturdy, if not especially flashy songwriter with a knack for candied Lennonesque ballads like "I'm Outta Time." To appreciate what Liam does, turn to Gem Archer's "To Be Where There's Life" and Andy Bell's "The Nature of Reality," which are enjoyable enough Oasis-by-numbers, but Liam's numbers resonate, getting stronger with repeated plays, as the best Oasis songs always do.
But, as it always does, Oasis belongs to Noel Gallagher, who pens six of the 11 songs on Dig Out Your Soul, almost every one of them possessing the same sense of inevitability that marked his best early work. Best among these are the titanic stomp of "Waiting for the Rapture" and the quicksilver kaleidoscope of "The Shock of the Lightning," a pair of songs that rank among his best, but the grinding blues-psych of "Bag It Up" and gently cascading "The Turning" aren't far behind, either. These have the large, enveloping melodies so characteristic of this work and what impresses is that he can still make music that sounds not written, but unearthed. These six tunes are Noel's strongest since Morning Glory -- so strong it's hard not to wish he wrote the whole LP himself -- but what's striking about Dig Out Your Soul is how its relentless onslaught of sound proves as enduring as the tunes. This is the sound of a mature yet restless rock band: all the brawn comes from the guitars, all the snarl comes from Liam Gallagher's vocals, who no longer sounds like a young punk but an aged, battered brawler who wears his scars proudly, which is a sentiment that can apply to the band itself. They're now survivors, filling out the vintage threads they've always worn with muscle and unapologetic style.
I've been waiting for the AMG review. They have a tendency to overrate star ratings, but I read the reviews rather than the scores and this part of the review sums up my general feelings towards DOYS.
"When Oasis did begin to re-emerge on 2005's Don't Believe the Truth they sounded like journeymen, purveyors of no-frills rock & roll. All this makes the wallop of 2008's Dig Out Your Soul all the more bracing. Colorful and dense where Don't Believe the Truth was straightforward"
In a sentence it nails why DBTT was so dull and DOYS such a big improvement.
Even the Sunday Express is positive about the album which was a shock 3/5 but not a negative word in the review, saying they have previously been slated by critics for not evolving, but now you will be pleasantly surprised (no album this week had more than 3, so seems they are harsh in the ratings)
I was expecting no more than 2 stars going off some of their readership and attitude in general
Post by Soldier Ron on Oct 6, 2008 10:23:24 GMT -5
Read the Q interview today in the shop. The twat reviewer again repeated the "shake your reptile" line. How closely could this dick have been listening to it when those obviously are not the correct lyrics.
For Oasis, the past few years are a bit of a blur - one album blending into the next, kind of like the way all Liam Gallagher's near-monotone vocals all flow into each other.
"Dig Out Your Soul" (Epic) doesn't interrupt the pattern.
Yeah, the first single, "The Shock of the Lightning," is better than most - mainly because of Noel Gallagher's relentless guitar work, not his brother's delivery of such lines as "Love is a time machine up on the silver screen."
But looping that song would be better than slogging through the rest of the album, whose tracks essentially copy that song with varying degrees of success.
BOTTOM LINE: Keeping on, like Britpop never died or grew up
AdidasNG72: Seeing as BHN is my favourite album of all time, yes I agree 100%. BHN is a unique masterpiece in its own right, and something that will never be attempted by another band ever again, as no band will ever be as big as Oasis again.
Apr 9, 2021 13:02:10 GMT -5
summersox: the-soapbox.net is BACK, baybeeeeee! Ever punched anyone to Oasis?
May 20, 2021 11:39:58 GMT -5
Mad4it: As anyone got the full concert footage knebworth
May 21, 2021 9:25:03 GMT -5
bestwick8: whatever happened to the tiktok ama ?
May 26, 2021 19:15:19 GMT -5
shirleyroadshow: I gave the band a slot on my roadshow for ITV telethon production in June 1992. My brother worked with Boneheads brother Martin Arthurs and we were producing a 24 hour on/off LIVE event. The band were very much together at that time!
May 29, 2021 8:24:29 GMT -5
tongaoasis07: Listening to this remaster i must admit it sounds awesome!!
Jul 6, 2021 23:19:09 GMT -5
welshylad: what remaster
Jul 8, 2021 8:28:35 GMT -5
tongaoasis07: don't remember... but for sure it was one from the thieving magpie! hahaha
Jul 14, 2021 21:15:48 GMT -5
BugmenAndBoxes: I was catching up on the Matt Morgan podcast and got to the part where Noel refuses to let Matt tell the story of how Dead In The Water was written, but does mention it was written in response to thinking he could one up a song he heard... Bold?
Aug 9, 2021 13:17:42 GMT -5
artumlobov: He failed
Sept 5, 2021 12:32:36 GMT -5
Wolf: I don't think he did
Sept 9, 2021 11:27:03 GMT -5