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Edited on Thu Mar-31-05 05:33 PM by liberalpragmatist
Definitely Maybe ***** Definitely Maybe manages to encapsulate much of the best of British rock & roll — from the Beatles to the Stone Roses — in the space of 11 songs. Oasis' sound is louder and more guitar-oriented than any British band since the Sex Pistols, and the band is blessed with the excellent songwriting of Noel Gallagher. Gallagher writes perfect pop songs, offering a platform for his brother Liam's brash, snarling vocals. Not only does the band have melodies, but they have the capability to work a groove with more dexterity than most post-punk groups. But what makes Definitely Maybe so intoxicating is that it already resembles a greatest-hits album. From the swirling rush of "Rock 'n' Roll Star," through the sinewy "Shakermaker," to the heartbreaking "Live Forever," each song sounds like an instant classic.
And... (What's the Story) Morning Glory? ****1/2 If Definitely Maybe was an unintentional concept album about wanting to be a rock & roll star, (What's the Story) Morning Glory? is what happens after the dreams come true. Oasis turns in a relatively introspective second record, filled with big, gorgeous ballads instead of ripping rockers. Unlike Definitely Maybe, the production on Morning Glory is varied enough to handle the range in emotions; instead of drowning everything with amplifiers turned up to 12, there are strings, keyboards, and harmonicas. This expanded production helps give Noel Gallagher's sweeping melodies an emotional resonance that he occasionally can't convey lyrically. However, that is far from a fatal flaw; Gallagher's lyrics work best in fragments, where the images catch in your mind and grow, thanks to the music. Gallagher may be guilty of some borrowing, or even plagiarism, but he uses the familiar riffs as building blocks. This is where his genius lies: He's a thief and doesn't have many original thoughts, but as a pop/rock melodicist he's pretty much without peer. Likewise, as musicians, Oasis are hardly innovators, yet they have a majestic grandeur in their sound that makes ballads like "Wonderwall" or rockers like "Some Might Say" positively transcendent. Alan White does add authority to the rhythm section, but the most noticeable change is in Liam Gallagher. His voice sneered throughout Definitely Maybe, but on Morning Glory his singing has become more textured and skillful. He gives the lyric in the raging title track a hint of regret, is sympathetic on "Wonderwall," defiant on "Some Might Say," and humorous on "She's Electric," a bawdy rewrite of "Digsy's Diner." It might not have the immediate impact of Definitely Maybe, but Morning Glory is just as exciting and compulsively listenable. And... (What's the Story) Morning Glory? Singles Box Set ****1/2 Many of the songs on Oasis' second album, (What's the Story) Morning Glory?, illustrated that Noel Gallagher's songwriting skills had deepened considerably, but the depth of his talent becomes evident when the B-sides of the album's singles are also considered. Almost every song from those four singles — which Creation conveniently packaged in one box set in the wake of Morning Glory's success — is at least the equal of what was on the actual album, and several are actually far better than a few songs on the official record. The three flip sides for Some Might Say all were worthy of inclusion on the album. "Acquiesce," which Oasis used as the opener on their 1996 tour, is an astonishing hard rocker, where Liam and Noel trade the verse and chorus in a song about their notorious love-hate relationship. The throttling "Headshrinker" is fine, but "Talk Tonight" is the other gem, a spare Noel showcase that finds him disarmingly letting down his emotional guard. The two keepers from Roll With It are a little less assuming, but the rolling acoustics of "It's Better People" are charming, and "Rockin' Chair," with its haunting melody and Liam's nuanced vocal, is an overlooked gem. While the full-length instrumental "The Swamp Song" on Wonderwall is a bit tedious, "Round Are Way" is fantastic, sounding like Definitely Maybe crossed with Madness, and the string-drenched "The Master Plan" is as effective an epic as "Champagne Supernova." Oasis begin to run out of steam on Don't Look Back in Anger, resorting to a cover of Slade's "Cum on Feel the Noize" to round out the three B-sides. While that is actually heavier than Quiet Riot's hit cover, the hyperactive "Step Out" — which was pulled from Morning Glory at the last minute — totally demolishes it, and the neo-psychedelic "Underneath the Sky" is a lovely change of pace. There's an album's worth of fresh material scattered throughout these singles, and it's no exaggeration to say that those songs form an album as good as (What's the Story) Morning Glory?, which makes you wish Noel showed a little more control in deciding what went on the album and what was reserved for the B-sides. http://www.allmusic.com/cg/amg.dll?p=amg&token=ADFEAEE4781FDD4BAF7320C5992C4C9DEC25D200D047E3C00C320456D3B82D10D9552EB908A295CEAEF974AB7BAFFF2BE85F05D0CAE453F8CC0640&uid=MIW040503311730&sql=11:3zzyxdgbjolg~T2From All Music Guide - a much better source than Rolling Stone. *** Not saying that Oasis hasn't produced some crap. And yeah, the statement that nobody has ever criticized Oasis is asinine. And yes, the Beatles were great. This coming from a 19-year-old. But next time, don't reference Rolling Stone. They're the biggest trend-whores in the business and their reviews are entirely predictable - breathless 4-star reviews when someone is hot, two-star dismissals when they're not.
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