Disco de Oasis: “Standing on the Shoulder of Giants”

So Oasis can no longer possibly be as big as they were in the heady summer of 1996 at Knebworth. So their last album, Be Here Now, tanked commercially and critically. So two original founding members of the band packed it in. So what, seems to be the response of the brothers Gallagher with this triumphant step forward, both lyrically and musically.

It doesn't rock like Definitely Maybe, it doesn't move you in the way that Morning Glory did back in 95-96, and it (happily) lacks the bombast (hubris?) of Be Here Now. But this album sets itself apart from its predecessors by being perhaps the most interesting in the Oasis catalogue for it seems to be the first personal album -- where lyricist Noel Gallagher had only flirted with expressions of actual feeling on Be Here Now ("Damn my education/I couldn't find the words to say"), SOTSOG reads more autobiographically, most successfully on "Gas Panic" (Noel's tale of being in the throes of cocaine addiction). Also interesting is Liam Gallagher's first attempt at songwriting on "Little James", which while in many ways simplistic, is catchy as all get-out. No song on this album is less than good, with the possible exception of "I Can See A Liar", which while quite rocking, has a pedestrian throwaway lyric that isn't worthy of the Noel Gallagher brand name.

A lot has been made, in reviews elsewhere, that this isn't the quantum leap forward musically that had been promised (with dance grooves, bass 'n' drum, etc.) -- I beg to differ. My first listen to this album was done on headphones, and sonically it was, erm, supersonic. The huge drums of the lead-off track ("F[arg]in in the Bushes"), the jaunty pace and percussion of "Who Feels Love", heck, even that way-cool record-scratching in the opening salvo of "Go Let It Out".

Is this the album that will take Oasis back to American superstardom? Probably not. Given the current climate of the American pop charts, perhaps this is a good thing, though.

Derivative? Of course. That's the charm. To nick a line from a previous Oasis chart-topper: "I'm sure you've heard it all before, but you never really had a doubt."

In short, a definite step forward from the excess of "Be Here Now", and with new, better musicians to back up the brothers Gallagher and Alan White, proof positive that Oasis are moving in the right direction. The plot has been found again.

Here's a perfect example of how attitude changes an entire listening experience. Easily the most bashed work in the Manchester great's back catalogue, called worst album of 2000 on several occasions, slated as a worthless Pink Floyd rip-off with no standout tracks, Standing on the Shoulder represents a career low point for Oasis--this was the first true testament that the band was not immortal, not the Beatles of the new age, but in fact slipping from the title of Brit-Rockers-in-chief. Sigh. It's the album that die-hard Radiohead and Coldplay fans always refer to when discussing Oasis' inferiority, blasting Noel Gallagher for "never progressing as a song writer." Sigh again. I've never really figured out the thunderous disapproval of the album, and I ultimately enjoyed most of the songs. Does SOTSOG contain some garbage? Without a doubt, but not nearly enough to ruin the entire experience, or throw Oasis off their high horse as most critics claim. Here're some facts all listeners need to be aware of: 1) `F****n' in the Bushes,' `Go Let It Out,' and Gas Panic!' are three of the best songs of Oasis' career. Wasn't `Go Let It Out' #1 hit in the UK, going right alongside `Yellow' and even surpassing `Optimistic'? 2) The biggest problem with SOTSOG occurs in the format, unusual for a psychedelic album such as this. If there's any real unending quandary here, it's that the worst two songs on the album, `Put Your Money Where Your Mouth Is' and `Little James' fall in at numbers 4 and 5 respectively. These should have been either left out or positioned differently, perhaps further down in the line up while moving high qualities, perhaps `Roll It Over,' up in the track listing. 3) The album is without a doubt a step up from Be Here Now, which contains about five fillers/B-sides whereas SOTSOG has no more than two. 4) Giants is Easy Listening. Oasis flirts with the Easy Listening genre on several junctures, most notably with `Wonderwall' and `Cast No Shadow', but usually sticks to anthemic Indie and at sometimes Hard Rock. I believe that this album has been rejected as quality Oasis by many fans due to the lack of guitars and the overwhelming presence of synthesizers. It doesn't always work--` Put Your Money Where Your Mouth Is' for example--but it's definitely different. Not only should it be respected and appreciated by fans, but it should be praised for its boldness. 5) Although inaccessible at times, SOTSOG flows unlike any other Oasis album. In this way, it tops both Definitely Maybe and Morning Glory?--a daring yet factual assessment.

If nothing else, the album's worth it for `F****n' in the Bushes,' `Go Let It Out,' and Gas Panic!'. But underneath the surface, it's much more than just a singles album like the predecessor Be Here Now; it's a flowing, intelligent collection of songs that have been tarnished by the attitude of dismissive fans.

It seems that nowadays when entities in the public eye get really big, those who are not astute supporters thereof jump on the wagon of condemnation. Oasis is a really big band- and no exception to the abovementioned rule.

This is a good rock 'n roll album: good melodies, good instrumentation, brilliant vocals. Gas Panic is awesome (listen out for the tempo change at the beginning of verse 2); F**king in the Bushes is their most original piece of music in years; Who Feels Love? is lush, brilliantly sung and does NOT sound anything like ANY of George Harrison's music; Sunday Morning Call is easily my favourite Noel Gallagher-led tune; and Roll It Over is as enduring as anything else released of late.

The unmentioned trax are all solid in their own right- it's no disgrace for a song on an Oasis album not to get a mention.

All in all this is a fine effort from a fine band- don't let the bad reviews discourage you, and don't draw anything from the Realplayer samples- the REAL thing sounds a LOT better...

Just fron the album cover and their new logo, you'll know Oasis has a few new things in store for their fans. While I do like Be Here Now, it did suffer from overkill and runs a little too long. SOTSOG is a excellent change of pace and while they've added some new elements to their music, it is very much vintage Oasis. Most of the songs are shorter but are still filled with the terrific sense of melody that Noel has captured since day one.

The opening track is rowdy and archaic built on samples from the legendary 1970 Isle Of Wight concert film. Go Let It Out is a fun and straight out rocker. Who Feels Love, Gas Panic, Where Did It All Go Wrong, Sunday Morning Call and Roll It Over are the other standouts. Little James isn't nearly as bad as it's been made out to be. The overall production is a little grittier than before and the use of keyboards and organ gives many of the songs a classic psychedelic feel to them. The performances are all first rate. Along with Liam, Noel's vocals are feature on several tracks and sounds great. The backing female vocals is a nice touch and adds something different to those songs as well.

On first listen, it may not sink in but give it a chance. Unfortunately it seems that today's young music listeners have the attention span of a canned ham which pretty much explains the current state of popular music. For me, Standing on the Shoulder of Giants is a keeper and a worthy return for Oasis.

I can only start this review by saying that this is the first Oasis album which I find myself skipping over several of the tracks. Even the harshly criticized "Be Here Now" had songs which were instantly listenable, the tracks on this CD have to grow on you and I'm not sure if that's a good or bad thing.It starts with the instrumental "Fuckin' In The Bushes" which features lots of sampling, drum loops, etc. Noel apparently was going for a dance-feel which no doubt is inspired from his club hopping days as a youth. However this is a let down. Considering his fantastic work with the Chemical Brothers I was expecting something much more interesting but this track turns out to be a repetitive bore. It doesn't even come close to their earlier rock instrumental "The Swamp Song"."Go Let It Out" was the first single and rightly so. A very upbeat tune with noticable basslines (bass was not something that was easily picked up on in previous Oasis songs.) The lyrics harken back to their previous efforts with happy-go-lucky, positive vibes.The creaky and overly psychedelic "Who Feels Love?" shows it's face and the words that Liam sings sound like some hippie chant. A bad 60's sound-a-like.Oasis finally shake it up with the rock track "Put Yer Money Where Your Mouth Is" though it is strictly a by the numbers Oasis tune though it is well paced and the keyboards are a nice touch but Noel, sometimes *less* distortion is better.By far the most laughable aspect of the album is Liam's inept lyric writing which takes the form of "Little James", an ode to his step son. Calling it "simplistic" would be too kind. Lyric sample; "You live for your toys, even though they make noise." Please Noel, keep Liam away from pen & paper.Lyrically, "Gas Panic!" might be one of Noel's best ever, dealing with his past drug abuse sounding more like a poet than I've ever heard..."My pulse pumps out a beat to the Ghost Dancer. My eyes are dead and my throat's like a black hole..and if there's a God would he give another chancer an hour to sing for his soul?" Noel sings lead on "Where Did It All Go Wrong?" on one of the 2 true gems from the album. Is Noel letting his age get to him? He seems to question his whole life on this album.."Do you keep the receipts for the friends that you buy? And ain't it bittersweet, you were only just getting by." Noel has a gift for stressing the words at the absolutely perfect moment in *just* the right way. You *feel* what he's singing about and is the mark of a wonderful singer."Sunday Morning Call" is the other gem I was speaking of and once again features Noel on lead vocals. I do think this is the best of the album. Beautifully arranged and Noel sounds so angelic, it has "single" written all over it as it's possibly the most radio friendly of the bunch with one of the best crescendo's I've ever heard. Again Noel finds himself questioning his past songwriting as "Live Forever" once proclaimed he would do just that but now..."your thoughts and words won't last forever more.." Sad to be sure."I Can See A Liar" and "Roll It Over" round out the album on a somewhat dulled note. These last 2 tracks are almost entirely uninspired and probably commit the worst crime a song can do.....you can't remember how they go when they're finished playing.Lyrically this CD contains Noel's most mature work but other than a few of the stand outs I've mentioned, the music is far from catchy though I applaud him for straying from the tried and true "Oasis sound" and doing something different combining 60's sounds with 2000 technology.This is the last album to feature "Bonehead" and "Guigsy" (their original bass & rhythm guitarists) which is ok by me. They were decent enough but the new members, Gem Archer and Andy Bell are BIG mark ups + they're songwriters who will contribute to their next album in a few years finally giving Noel a rest and making Oasis a true "band". Now that I'm looking forward to.Note; The U.S. release contains a bonus CD featuring "Go Let It Out" (again!?!) and the wonderful "Let's All Make Believe" which was a B-side to "GLIO" in England. The B-side *should* have been on the album and it's inclusion alone would have made me give the album **** instead of ***, it's that good a song. Lyrically simple yet somehow powerful as it brings out strong emotion in me...."Let's all make believe that we're still friends and we like each other.." that's a good line to end on I think.