How else is a band gonna be rated, besides through their albums?
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The Official "Everything Oasis" Thread
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mansize rooster
Cancelled
its time to ____in shake this thread up..
In 1994, everything in England was about Britpop and the so-called Cool Britannia, a cultural movement that, although due in part to the worldwide success of the Austin Powers movies, gravitated toward the resuscitation of pop music as the strongest force to unite all layers of society. It even got old mommies singing the Boo Radleys’ “Wake Up”, and provided the best item to sell abroad (music is still England’s first export). Suddenly there were dozens of musical acts that some way or other seemed to invigorate the English self-esteem.
Many say that Britpop had started in Manchester with bands like the Smiths and the Stone Roses, but I believe they were only laying the carpet for the following wave of acts who would take over the world and make London the Musical City of the World during the second part of the ‘90s.
Then again, what all the new acts had in common was that they somehow reenacted the best part of the British rock legacy, from the Kinks (Ray Davies was fundamental to Damon Albarn’s Blur) to David Bowie (a decisive influence, not only musically but theatrically, on Suede). It was exactly with Blur and Suede’s first singles, “Popscene” and “The Drowners”, that Britpop started in 1992.
From that, a whole scene grew like crazy, always fed by the most interested on it, the British music press, with Melody Maker and New Musical Express leading. When a young trio from Oxford called Supergrass released their first album I Should Coco (a title that implied a party mood) in 1995, it was only four months before the highest point of the Britpop lifespan took place: the famous battle between Oasis’s and Blur’s new singles, which would eventually be won by “Country House” (from Blur’s fourth album, The Great Escape) over “Roll With It” (from Oasis’s What’s the Story, Morning Glory?).
But of course, as it usually happens, not all the acts that are part of a scene have the same importance, and most of the ones coming out during the Britpop explosion didn’t last for too long. Bands like Gene, Menswear, the Boo Radleys, Echobelly, Ride, or Elastica (which I’m including here because of their singer’s personal connection to Blur and Suede’s frontmen; indeed, Elastica’s musical direction had nothing to do with Britpop whatsoever) don’t exist anymore. At least each one of them left a small but nevertheless important legacy, a small contribution to Britpop history, a portion of the greatest hits of the era. In fact, you could burn a really great CD that included just one song from every Britpop act.
Apart from that, there were only five really great bands in Britpop’s First Division. Only one keeps the same lineup, strength and interest today. Guess which one it is.
Blur. Finding themselves disenchanted after having perfected the Kinks-esque optimismic formula they’ve been looking for, the aftermath to The Great Escape took its toll on them, and forced Albarn to dictate a new approach to music. In a profound trip to self-deconstruction, under the acknowledged desire to become the English Pavement, they were capable of producing their best work ever, the albums Blur (1997) and 13 (1999). After that, everything started to rotten, and with a growing sense of disunity and personal problems caused by the typical excesses of rock star lifestyle (as it is graphically documented on Alex James’ amusing bio of the times, Bit of a Blur), the rope finally broke on Graham Coxon’s side, whose contribution on the late Think Tank was minimal, and whose solo career has grown in audience response and general interest ever since. He’s been rumoured to be returning for a new Blur album sometime in the future, but that has yet to be seen to be believed. In fact, it seems that he reunited with his old pals for lunch on late 2007, the first time he had seen the three other Blur members in five years, but nobody was able to come up with the issue of recording as Blur again. Poor fellows.
Oasis. Or the tale of a bunch of badly behaved Mancunians (although I’m sure Noel Gallagher may keep forever saying that it was all his brother Liam’s fault) that penned the best pop songs of the ‘90s—“Wonderwall”, “Some Might Say”, “Live Forever” and others—and later lost their way, their inspiration, and some band members (with replacements coming from b-series Britpop acts like Ride and Ringo Starr’s lineage). They ended up turning exactly into what their name implied in the first place: a tiny place of hardly fertile soil in the middle of a vast desert where a lonely palm stands giving little shade to just a few smaller plants (if you haven’t understood the metaphor, yes, Noel is the palm; the desert is the majority of the songs included in all of their albums since their masterpiece, 1998’s What’s the Story, Morning Glory?; the rest, only one or two per album, are the actual soil that somehow keeps the tiny oasis alive and sort of green). The reason for such a downturn in their creativity—and the reason why Noel had to even let Liam include his own compositions in their latest albums—is a a real mystery. Some say it happened because Noel had all their “good” songs written way before the band already released any of them, and that the rock star lifestyle made his brain drained of ideas. Some would say that Noel Gallagher’s genius at writing and Liam Gallagher’s recognizable vocal inflection started to repeat themselves and we all got bored with them. The truth is that if you make everything dependable on one individual, and you will risk not only the possibility of having tat person stressed, and he may end up not having a single new idea at all. They’re working on their seventh album anyway, due for release in September 2008.
Suede. In a unusually prolonged agony that no one understood at the time, they started on top (having been proclaimed “best new band in Britain” before they had even released a single song) and went downhill to the very bottom of musical stardom. Not only because rebel guitarist Bernard Butler had left singer Brett Anderson and the rest of the band musically guideless after the recording of their glorious second album, Dog Man Star (1994), but also because with substitute Richard Oakes they were never able to grasp again their initial greatness and/or success (these two things are not the same). That’s why, album after album meant disappointment after disappointment for their loyal fans. In the end, and in a quite paradoxical turn, Suede disbanded just before Anderson reunited with Butler to record an effortless album under the name the Tears. But the sort-of reunion wasn’t as successful as planned, as the Tears have gone on hiatus, leaving Anderson free to record his first solo album and Butler to continue his usual labour as a producer.
Pulp. Indeed, a very different class. Although still said to be on hiatus after the release of their last album, We Love Life in 2001, I would argue that having a long record of dismissed members (their Wikipedia profile actually accounts for up to 17 previous members) should maybe indicate that this collective follows very different rules, even if they may seem stupid, stubborn, or hidden for all us mortals. Anyway, being led by the sheer awkwardness of their bespectacled, ultra-skinny weird front man, the Sheffield act took around 15 years to get popular. Way before the now classic Different Class album was a huge success in 1995, they had already released four albums, and had been operating since 1978. For years, they unsuccessfully tried to surf other waves, until the opened-to-all-kinds-of-cultural-agitators Britpop and Cool Britannia excuses came in, and made an icon of Jarvis Cocker and his entomological views of the daily British modern life. After that, fame had consequences on Cocker’s reflective mood, and Pulp ended up taking the Pink Floyd-esque road, the one with The Wall‘s aesthetic, or the ability to write songs about the consequences of fame and the feelings of hate and revenge it provokes—and signing their best album, This Is Hardcore, in 1998. After that, there was not much left to be done, meaning that things are only interesting when you have a goal, but they tend to lose appeal when you actually found what you were looking for. Anyway, what else would you do if you were Cocker, the only man capable of committing an act of terrorism during a Jacko performance (during the 1996 Brit Awards) for which all decent humans should be eternally grateful? Another solo album, as the one he released in 2006? Why not?
Supergrass. They never fed the press with explosive headlines, kept the same formation for years—with the final recognition of Rob Coombes, Gaz Coombe’s brother, as a proper member of the band—and effortlessly released a new album every two to three years. They were the less successful act in Britpop’s first division, but they always laughed at that condition: “We are everybody’s second favourite band”, they taglined. When you look at the cover of their sixth album, Diamond Hoo Ha, you notice it’s exactly the same guys that were painted on the cover of I Should Coco more than twelve years ago. And you kind of feel that time has maybe stopped for them, as they seem to not having lost a single hair, to be perfectly fit, and, as their postures over their instruments suggest, to be ready (and only worried about) doing what this was and will ever be about: playing great music. It is (and has always been) a more direct and honest approach than it was with any of the previous bands dissected in this article (just remember the excessiveness of Oasis’s Be Here Now cover). Prior to the release of this new album, the only news we had from Supergrass was, of course, different and very mundane: while on vacation with his family in France, bassist Mick Quinn fell off a first floor window while sleepwalking. Such a surreal event only empowered the remaining duo (it seems Rob Coombes will always be kind of apart) to play as Diamond Hoo Ha Men while his friend recovered at the hospital, which he already has. Now they plan to tour the world playing their new songs. And they will even support Foo Fighters in the States. So…
Congratulations! You’re right! The only British band that survived the Britpop era without major injuries and keeps in good shape today is Supergrass. You may be wondering how they managed to do it, why they succeeded where all the rest failed. I have my own theory here, and it’s a mixture of normality and lack of ambition: Supergrass never pushed hard to be successful, or if they did, they always thought that the only way to success was to play better, write better songs and, eventually, to have a better time on and off stage (and that included having the best possible attitude towards your bandmates). That is maybe wishful thinking, but it seems to kind of suit the image we have of these four guys.
At the same time, their enduring career responds to another decisive factor: they were never keen on hit singles (though they have had plenty of them, but only because the music industry obliges them) or to follow any specific music trend. I mean, any song in any of their albums is a potential single. And, if you think about it, they were the only band in 1995 that really reminded you of all the British past glories, the only musicians that were able to jump from one reference to another (be it Mick Jagger’s Decca years inflection on the song “Time”, to Pink Floyd’s ‘70s grooves and progressions on “Sofa (of My Lethargy)” to the Buzzcocks’ energy in the famous “Caught by the Fuzz”. But there was more many more influences visible under the radar: David Bowie, Supertramp, the Kinks…
But there was something more in Supergrass. In the history books, Radiohead and the Verve are always presented as the official takeover to the Britpop era, and the air of renovation they brought with them are palpable on Blur’s more experimental late albums and in Pulp’s aforementioned transformation into a discontented and more abstracted act. Call it early maturity, but Supergrass were never the odd one out in either stage of British musical evolution, as their albums always had a bit of Britpop attitude along with a desire to inhabit similar sonic lands as Thom Yorke and what the rest of his peers from Oxford were into (this whole theory of mine is most palpable in Supergrass’s third album, where they jump from the anthemic and uplifting “Pumping on Your Stereo” to the lysergic couple that songs “Born Again” and “Faraway” make, and well before they close the show with the Syd Barrett soundalike “Mama & Papa").
How could they mix all that? Well, simply because they had the talent for doing it. The fact is they have continued to do it and never failed to gather such different aspects of English music. From the more elaborate In it for the Money (1997) and the Floyd-esque Supergrass (1999) to their trip to the ‘70s that’s Life on Other Planets (2002) and back to their most intimate and insightful on Road to Rouen (2005). Now with their sixth album they try to convey all they like and have perfected through the years in what is possibly the most proper collection of rock they’ve written since their third album, the one known as the “x-ray album” (because of their “intimate” view on the cover). And now they try to discover if they are still relevant in a time of Franz Ferdinands, Arcade Fires, Hot Chips, etc.
Love Live the Grass
thank you and goodnight
In 1994, everything in England was about Britpop and the so-called Cool Britannia, a cultural movement that, although due in part to the worldwide success of the Austin Powers movies, gravitated toward the resuscitation of pop music as the strongest force to unite all layers of society. It even got old mommies singing the Boo Radleys’ “Wake Up”, and provided the best item to sell abroad (music is still England’s first export). Suddenly there were dozens of musical acts that some way or other seemed to invigorate the English self-esteem.
Many say that Britpop had started in Manchester with bands like the Smiths and the Stone Roses, but I believe they were only laying the carpet for the following wave of acts who would take over the world and make London the Musical City of the World during the second part of the ‘90s.
Then again, what all the new acts had in common was that they somehow reenacted the best part of the British rock legacy, from the Kinks (Ray Davies was fundamental to Damon Albarn’s Blur) to David Bowie (a decisive influence, not only musically but theatrically, on Suede). It was exactly with Blur and Suede’s first singles, “Popscene” and “The Drowners”, that Britpop started in 1992.
From that, a whole scene grew like crazy, always fed by the most interested on it, the British music press, with Melody Maker and New Musical Express leading. When a young trio from Oxford called Supergrass released their first album I Should Coco (a title that implied a party mood) in 1995, it was only four months before the highest point of the Britpop lifespan took place: the famous battle between Oasis’s and Blur’s new singles, which would eventually be won by “Country House” (from Blur’s fourth album, The Great Escape) over “Roll With It” (from Oasis’s What’s the Story, Morning Glory?).
But of course, as it usually happens, not all the acts that are part of a scene have the same importance, and most of the ones coming out during the Britpop explosion didn’t last for too long. Bands like Gene, Menswear, the Boo Radleys, Echobelly, Ride, or Elastica (which I’m including here because of their singer’s personal connection to Blur and Suede’s frontmen; indeed, Elastica’s musical direction had nothing to do with Britpop whatsoever) don’t exist anymore. At least each one of them left a small but nevertheless important legacy, a small contribution to Britpop history, a portion of the greatest hits of the era. In fact, you could burn a really great CD that included just one song from every Britpop act.
Apart from that, there were only five really great bands in Britpop’s First Division. Only one keeps the same lineup, strength and interest today. Guess which one it is.
Blur. Finding themselves disenchanted after having perfected the Kinks-esque optimismic formula they’ve been looking for, the aftermath to The Great Escape took its toll on them, and forced Albarn to dictate a new approach to music. In a profound trip to self-deconstruction, under the acknowledged desire to become the English Pavement, they were capable of producing their best work ever, the albums Blur (1997) and 13 (1999). After that, everything started to rotten, and with a growing sense of disunity and personal problems caused by the typical excesses of rock star lifestyle (as it is graphically documented on Alex James’ amusing bio of the times, Bit of a Blur), the rope finally broke on Graham Coxon’s side, whose contribution on the late Think Tank was minimal, and whose solo career has grown in audience response and general interest ever since. He’s been rumoured to be returning for a new Blur album sometime in the future, but that has yet to be seen to be believed. In fact, it seems that he reunited with his old pals for lunch on late 2007, the first time he had seen the three other Blur members in five years, but nobody was able to come up with the issue of recording as Blur again. Poor fellows.
Oasis. Or the tale of a bunch of badly behaved Mancunians (although I’m sure Noel Gallagher may keep forever saying that it was all his brother Liam’s fault) that penned the best pop songs of the ‘90s—“Wonderwall”, “Some Might Say”, “Live Forever” and others—and later lost their way, their inspiration, and some band members (with replacements coming from b-series Britpop acts like Ride and Ringo Starr’s lineage). They ended up turning exactly into what their name implied in the first place: a tiny place of hardly fertile soil in the middle of a vast desert where a lonely palm stands giving little shade to just a few smaller plants (if you haven’t understood the metaphor, yes, Noel is the palm; the desert is the majority of the songs included in all of their albums since their masterpiece, 1998’s What’s the Story, Morning Glory?; the rest, only one or two per album, are the actual soil that somehow keeps the tiny oasis alive and sort of green). The reason for such a downturn in their creativity—and the reason why Noel had to even let Liam include his own compositions in their latest albums—is a a real mystery. Some say it happened because Noel had all their “good” songs written way before the band already released any of them, and that the rock star lifestyle made his brain drained of ideas. Some would say that Noel Gallagher’s genius at writing and Liam Gallagher’s recognizable vocal inflection started to repeat themselves and we all got bored with them. The truth is that if you make everything dependable on one individual, and you will risk not only the possibility of having tat person stressed, and he may end up not having a single new idea at all. They’re working on their seventh album anyway, due for release in September 2008.
Suede. In a unusually prolonged agony that no one understood at the time, they started on top (having been proclaimed “best new band in Britain” before they had even released a single song) and went downhill to the very bottom of musical stardom. Not only because rebel guitarist Bernard Butler had left singer Brett Anderson and the rest of the band musically guideless after the recording of their glorious second album, Dog Man Star (1994), but also because with substitute Richard Oakes they were never able to grasp again their initial greatness and/or success (these two things are not the same). That’s why, album after album meant disappointment after disappointment for their loyal fans. In the end, and in a quite paradoxical turn, Suede disbanded just before Anderson reunited with Butler to record an effortless album under the name the Tears. But the sort-of reunion wasn’t as successful as planned, as the Tears have gone on hiatus, leaving Anderson free to record his first solo album and Butler to continue his usual labour as a producer.
Pulp. Indeed, a very different class. Although still said to be on hiatus after the release of their last album, We Love Life in 2001, I would argue that having a long record of dismissed members (their Wikipedia profile actually accounts for up to 17 previous members) should maybe indicate that this collective follows very different rules, even if they may seem stupid, stubborn, or hidden for all us mortals. Anyway, being led by the sheer awkwardness of their bespectacled, ultra-skinny weird front man, the Sheffield act took around 15 years to get popular. Way before the now classic Different Class album was a huge success in 1995, they had already released four albums, and had been operating since 1978. For years, they unsuccessfully tried to surf other waves, until the opened-to-all-kinds-of-cultural-agitators Britpop and Cool Britannia excuses came in, and made an icon of Jarvis Cocker and his entomological views of the daily British modern life. After that, fame had consequences on Cocker’s reflective mood, and Pulp ended up taking the Pink Floyd-esque road, the one with The Wall‘s aesthetic, or the ability to write songs about the consequences of fame and the feelings of hate and revenge it provokes—and signing their best album, This Is Hardcore, in 1998. After that, there was not much left to be done, meaning that things are only interesting when you have a goal, but they tend to lose appeal when you actually found what you were looking for. Anyway, what else would you do if you were Cocker, the only man capable of committing an act of terrorism during a Jacko performance (during the 1996 Brit Awards) for which all decent humans should be eternally grateful? Another solo album, as the one he released in 2006? Why not?
Supergrass. They never fed the press with explosive headlines, kept the same formation for years—with the final recognition of Rob Coombes, Gaz Coombe’s brother, as a proper member of the band—and effortlessly released a new album every two to three years. They were the less successful act in Britpop’s first division, but they always laughed at that condition: “We are everybody’s second favourite band”, they taglined. When you look at the cover of their sixth album, Diamond Hoo Ha, you notice it’s exactly the same guys that were painted on the cover of I Should Coco more than twelve years ago. And you kind of feel that time has maybe stopped for them, as they seem to not having lost a single hair, to be perfectly fit, and, as their postures over their instruments suggest, to be ready (and only worried about) doing what this was and will ever be about: playing great music. It is (and has always been) a more direct and honest approach than it was with any of the previous bands dissected in this article (just remember the excessiveness of Oasis’s Be Here Now cover). Prior to the release of this new album, the only news we had from Supergrass was, of course, different and very mundane: while on vacation with his family in France, bassist Mick Quinn fell off a first floor window while sleepwalking. Such a surreal event only empowered the remaining duo (it seems Rob Coombes will always be kind of apart) to play as Diamond Hoo Ha Men while his friend recovered at the hospital, which he already has. Now they plan to tour the world playing their new songs. And they will even support Foo Fighters in the States. So…
Congratulations! You’re right! The only British band that survived the Britpop era without major injuries and keeps in good shape today is Supergrass. You may be wondering how they managed to do it, why they succeeded where all the rest failed. I have my own theory here, and it’s a mixture of normality and lack of ambition: Supergrass never pushed hard to be successful, or if they did, they always thought that the only way to success was to play better, write better songs and, eventually, to have a better time on and off stage (and that included having the best possible attitude towards your bandmates). That is maybe wishful thinking, but it seems to kind of suit the image we have of these four guys.
At the same time, their enduring career responds to another decisive factor: they were never keen on hit singles (though they have had plenty of them, but only because the music industry obliges them) or to follow any specific music trend. I mean, any song in any of their albums is a potential single. And, if you think about it, they were the only band in 1995 that really reminded you of all the British past glories, the only musicians that were able to jump from one reference to another (be it Mick Jagger’s Decca years inflection on the song “Time”, to Pink Floyd’s ‘70s grooves and progressions on “Sofa (of My Lethargy)” to the Buzzcocks’ energy in the famous “Caught by the Fuzz”. But there was more many more influences visible under the radar: David Bowie, Supertramp, the Kinks…
But there was something more in Supergrass. In the history books, Radiohead and the Verve are always presented as the official takeover to the Britpop era, and the air of renovation they brought with them are palpable on Blur’s more experimental late albums and in Pulp’s aforementioned transformation into a discontented and more abstracted act. Call it early maturity, but Supergrass were never the odd one out in either stage of British musical evolution, as their albums always had a bit of Britpop attitude along with a desire to inhabit similar sonic lands as Thom Yorke and what the rest of his peers from Oxford were into (this whole theory of mine is most palpable in Supergrass’s third album, where they jump from the anthemic and uplifting “Pumping on Your Stereo” to the lysergic couple that songs “Born Again” and “Faraway” make, and well before they close the show with the Syd Barrett soundalike “Mama & Papa").
How could they mix all that? Well, simply because they had the talent for doing it. The fact is they have continued to do it and never failed to gather such different aspects of English music. From the more elaborate In it for the Money (1997) and the Floyd-esque Supergrass (1999) to their trip to the ‘70s that’s Life on Other Planets (2002) and back to their most intimate and insightful on Road to Rouen (2005). Now with their sixth album they try to convey all they like and have perfected through the years in what is possibly the most proper collection of rock they’ve written since their third album, the one known as the “x-ray album” (because of their “intimate” view on the cover). And now they try to discover if they are still relevant in a time of Franz Ferdinands, Arcade Fires, Hot Chips, etc.
Love Live the Grass
thank you and goodnight
- Nov 13, 2004
- 11,375
- 7
- AFL Club
- Brisbane Lions
- Other Teams
- Aussie Cricket Team, Roy, Punter.
- Banned
- #1,878
____ing hell, couldnt be arsed reading all of that except the bit on Oasis.
Oasis have simply been a victim of their own success, there are some great songs if you give an album more then one listen, some of their best songs were never released and a quick search of youtube reveals just how talented Noel Gallagher is, some pure gold is to be found here from unreleased demos to B-sides which show how creative Noel can be when the eyes of the world are not staged on his band.
Rock N Roll
Pop and Soul
Oasis have simply been a victim of their own success, there are some great songs if you give an album more then one listen, some of their best songs were never released and a quick search of youtube reveals just how talented Noel Gallagher is, some pure gold is to be found here from unreleased demos to B-sides which show how creative Noel can be when the eyes of the world are not staged on his band.
Rock N Roll
Pop and Soul
It begs the question, which I spose has been asked a gazillion times before I guess, who needs the other more? Does Liam need Noel or does Noel need Liam?
In fairness what they bring to the band is priceless and it's almost an equal balance. Noel is the creative brain behind it all of course and Liam's showmanship is just as important, not discounting his voice and even his own budding creative contribution. Gem and Andy also have some great input, evidence of that is in DBTT, a great group effort IMO.
However you could suggest that Noel could easily go on to forge a successful solo career (Which has been mooted and rumored a hell of a lot) more so than Liam could. In the highly unlikely (and terribly heartbreaking event!) if they were to break up.
Kinda makes you freak out over how close they were to breaking up all those years ago. Long live Oasis, long live rock and roll!
In fairness what they bring to the band is priceless and it's almost an equal balance. Noel is the creative brain behind it all of course and Liam's showmanship is just as important, not discounting his voice and even his own budding creative contribution. Gem and Andy also have some great input, evidence of that is in DBTT, a great group effort IMO.
However you could suggest that Noel could easily go on to forge a successful solo career (Which has been mooted and rumored a hell of a lot) more so than Liam could. In the highly unlikely (and terribly heartbreaking event!) if they were to break up.
Kinda makes you freak out over how close they were to breaking up all those years ago. Long live Oasis, long live rock and roll!
Top work Rooster Good read
As with early Verve. I would put Ride as shoe-glazing. And 'Vapour Trail' is a great, great song too BTW. Did Andy write that?
Also, Have any of you seen 'Seven ages of Rock: British Indie'? Great doco.
Good readAs with early Verve. I would put Ride as shoe-glazing. And 'Vapour Trail' is a great, great song too BTW. Did Andy write that?
Also, Have any of you seen 'Seven ages of Rock: British Indie'? Great doco.
Exactly. What I find interesting is how people who actually listen to Oasis (most of us on this thread) are nuts about them. People just say 'oh they're shit, they only have Wonderwall' or whatever, but that's the only song they've bothered to listen to. They are just an amazing band, half of their b-sides would be other decent bands top songs, I have 144 of their songs on my iTunes but still get pissed about all the ones I can't find, because all of them are just so good.
Not one story on the Oasis website for 9 days...
I wish they would give us an update on the album, like saying when it might be released. Maybe even just churn out some old story and glorify it. Just give us something.
The website sucks.
I wish they would give us an update on the album, like saying when it might be released. Maybe even just churn out some old story and glorify it. Just give us something.
The website sucks.
- Nov 13, 2004
- 11,375
- 7
- AFL Club
- Brisbane Lions
- Other Teams
- Aussie Cricket Team, Roy, Punter.
- Banned
- #1,883
To those saying that Noel can make it without Liam, i disagree, i have seen Oasis and Noel Gallagher perform separetly (acoustic shows in 2006) and while the acoustic was good, it is the oasis concert that i remember more.
Liam is by far the better frontman, and when in form he smokes Noel Gallagher as a rock n roll singer.
There is no way Oasis would be as big as they were without Liam.
Anyone can turn up teh guitars and sound big, but without the right voice behind the music, you won't sound that big.
Liam is by far the better frontman, and when in form he smokes Noel Gallagher as a rock n roll singer.
There is no way Oasis would be as big as they were without Liam.
Anyone can turn up teh guitars and sound big, but without the right voice behind the music, you won't sound that big.
- Nov 13, 2004
- 11,375
- 7
- AFL Club
- Brisbane Lions
- Other Teams
- Aussie Cricket Team, Roy, Punter.
- Banned
- #1,885
Mate, be patient, Oasis have to organize a record deal before they can announce any confirmed details about the Album. Once they organize the deal im sure details, tracklists, artwork, tours, etc, etc, will come think and fast.
But i know what you mean.
What songs can't you find?
Try Soulseek, they should have everything you need.
u-hookin-me
Team Captain
www.stoptheclocks.org
Anyone post on it? Pretty good Oasis forum. Has an amazing collection of bootlegs etc to download.
Anyone post on it? Pretty good Oasis forum. Has an amazing collection of bootlegs etc to download.
Am mostly a lurker, but yeah, a great site.
Slide_Away
Debutant
At the moment my 5 favourite Oasis songs are off Def Maybe
Rock and Roll star
Live forever
Supersonic
Cigs & Alc
Slide Away
Does what i say have merit?
Is that a fair reflection on other Oasis fans?
Keeping in mind i do have all the albums and know all the songs
I do admit to have been playing the Album in my car for the last week, am I to biased towards the album?
WTSMG lasted 2 days before i'd had enough of it, could you ever get sick of Def Maybe?
Discuss .......................
Rock and Roll star
Live forever
Supersonic
Cigs & Alc
Slide Away
Does what i say have merit?
Is that a fair reflection on other Oasis fans?
Keeping in mind i do have all the albums and know all the songs
I do admit to have been playing the Album in my car for the last week, am I to biased towards the album?
WTSMG lasted 2 days before i'd had enough of it, could you ever get sick of Def Maybe?
Discuss .......................
I tend to agree.
Live Forever
Rock N Roll Star
Slide Away
Those are my fav three Oasis tracks atm and all are off Def Maybe. Its my fav album of all time and I cant see anybody else making a album to top it.
In other news.... Noel said album def out in Sept. Single out in August. Noel has written 7 of the songs on the new album.
Was hoping Noel would have written a couple more but I think its the most he has done since SOTSOG. Cant wait.
Live Forever
Rock N Roll Star
Slide Away
Those are my fav three Oasis tracks atm and all are off Def Maybe. Its my fav album of all time and I cant see anybody else making a album to top it.
In other news.... Noel said album def out in Sept. Single out in August. Noel has written 7 of the songs on the new album.
Was hoping Noel would have written a couple more but I think its the most he has done since SOTSOG. Cant wait.
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