Has Noel Gallagher beaten 'the Oasis effect'?

I tend to call it 'the oasis effect', but in truth in can quite as easily be levelled at any other artist that you know and love, or perhaps had loved more than you do right now. The type of band that you have developed a loyal devotion to over time.

You know the scenario, the hype and build-up falls away as the album release date arrives and you are left with the blistering reality of the new album in whatever form takes your fancy.

For me, my interest in Oasis peaked with the critically derided Be Here Now and held steady for Standing on the Shoulder of Giants, and for all other post-millennial releases I would witness the same behavioural pattern in my listening.

The new album gets a few spins, I've never hated it, but something in it reminds me of the former album, and so a reverse chronological dive head first into the back catalogue begins, with more time spent reliving former glories than getting to know the latest release, at least not until it takes it's eventual turn in the musical cycle.

With the fracturing of Oasis into two factions this process developed to include a little contrast and questions of what could have been, but noticeably Chasing Yesterday has yet to relieve its current residency in my stereo.

Has Noel Gallagher finally upheld 'the Oasis effect'? Sure, opener Riverman distinctly reminds me of Broken Arrow from the eponymous debut and occasional Beatles homages rear their heads, but despite these I've still found myself gravitating back to the album for repeat listens, often as soon as the last chords of The Ballad of the Mighty I ring out.

My main qualms with his previous effort was an over-reliance on what seemed like children's choirs to bolster and lift his arrangements, everything felt too anthemic, as if Noel had set about making a full programme of Oasis album closers. This time the album is structured perfectly, ticking all the boxes in terms of form, musicality and running time.

This feels like Noel Gallagher, comfortable in his own skin as the sole focus and ready to make a Noel Gallagher album, and it doesn't look like Beady Eye or Oasis will be gracing my ears for a good while yet.

 

 

Noel Gallagher, and the decline of the b-side

for the first time in a very very long time, I bought a CD single.

in fact I bought five of them.

all housed within a rather splendid little case, as part of the Noel Gallagher and his Flying Birds boxset.

Having laid my hands on practically everything Oasis have graced the world with since those glorious brit-pop years, I am keen to hear the b-sides that Gallagher senior has delivered with each of his releases to date.

I listen to The Death of You and Me and The Good Rebel, and then take the CD out, and then listen to AKA What a Life and Let The Lord Shine a Light on Me, and then take the CD out... and the process is repeated again and again.

With just the a-side and one sole b-side to each CD single, it is a far cry from the glory days when Oasis singles carried 3 additional tracks, usually of startlingly good quality, making every release an event in itself when such bounteous goods were handed down to us mere fans that were eagerly awaiting a new fix.

even when the media hyperbole died down after the critically derided Be Here Now, Oasis were still churning out tracks on the flipside that would give most band's singles a run for their money.

but as time marched ever forward, this tradition slowly sank into decline, as singles from 2000's Standing on the Shoulder of Giants had its accompanying tracks whittled down to 2 per single, and the unthinkable happened when tracks released from 2008's Dig Out Your Soul were packaged with remixes, an act that was unheard of in the band's long and rich history, save for a small number of hard to find rarities.

and there it is, the sad truth that as the digital age has fully flourished, less value is being placed on the now disposable pop single, and crafting extra material for releases or culling the best of the left-over album sessions is being left far behind us, consigned to the past along with the memory of physical singles stocked in actual record shops and being sought after by collectors and completists.

Even Noel doesn't escape unscathed from the remix syndrome, with two of the five b-sides in fact taking the form of psychedelic reinterpretations by the Gallagher approved Amorphous Androgynous.

Those that have followed Noel's post Oasis career will remember talk of an album made in collaboration with Amorphous Androgynous, an album that now seems destined for the scrap heap after Noel admitted that his touring schedule had kept him too busy to complete the reportedly 'far out' long player that was originally announced in July 2011 and was due to follow his own solo release.

and a pity it is too, since the reworkings of If I Had A Gun and AKA What a Life, following on from the 22 minute remix of Oasis's Falling Down, show a side of The Chief that is far removed from the usual Dad-rock misgivings that he has earned over the past decade and a half.

Yet, despite the pitfalls of these modern times derided earlier, the presence of iTunes playlists in most of our lives means we can neatly collate the three Amorphous Androgynous reproductions into 46 minutes worth of aural bliss that can be played without keep changing CDs, as we wonder just what might have been.

Beady Eye

Beady Eye seem to be occupying a rather strange position within the music industry.

as times changed, Oasis it seems would stay the same, and the rise of Beady Eye is testament to this.

Oasis claimed an esteemed position as one of the UK's most exciting, most vital and most bankable bands during the britpop era, in a day and age when record sales hadn’t yet been severely rocked by the likes of Napster.

The love affair soured slightly when the unconceivably hyped third album, Be Here Now was released, facing a backlash from critics, and by the time Standing On The Shoulder Of Giants was released in 2000 the game had changed around them, as the whole album was leaked online ahead of its official release.

Despite these knocks, Oasis remained a well loved band right through to the very bitter end, garnering magazine covers and number 1 albums throughout their career, and accompanying tours would see them selling out stadiums across the summer.

But Oasis had become part of an old guard in the music industry, sternly sticking to the tried and tested path that had put them on the top of the heap, and so it is that the prescence of Beady Eye sees them as a band out of step with modern times.

Liam Gallagher must have been heavy-handedly coerced into allowing Bring The Light to be made available as a free download, having been expectedly outspoken on the subject in the past.

It was this first taste of the new band that reverberated around the internet and saw interest sparked as the track spread like wildfire and whether reactions were positive or negative were un-important , after gossip and speculation the second coming of Liam Gallagher had arrived, further tracks were teased out throughout the winter, with videos posted to youtube for Four Letter Word and The Roller, accompanied by a couple of low-key 7” releases.

Despite being this country's most scrutinised ‘new’ band, Beady Eye seem to have faced incredibly mixed reactions, they have still graced magazine covers and sold out shows, but radio hardly seem to have warmed to them, limiting exposure to newer audiences, and The Roller only scraped into the top 40 at number 31, yet only 2 weeks later the debut album crashed into the charts at a highly respectable number 3, placed only behind Adele and Jessie J.

Feedback on the album seems to have been overwhelmingly positive from most quarters, and those presuming the band would flounder without the songwriting and guidance of Noel Gallagher, had obviously been paying little attention to Oasis’ latter output, as Andy Bell and Gem Archers contributions had already been notable, and Liam’s growing talent has advanced in leaps and bounds since he penned the simple (and often mocked) Little James for Standing On The Shoulder Of Giants.

Time will tell if Beady Eye can lay claim to the kind of devotion that had Oasis heralded as rock royalty and saw summer stadium tours become massive events in their own rights, with a supporting cast of bands that resembled a mini-festival. Their talent, their passion and their commitment is not in question at all, but if they can jump straight back in where Oasis left off and be accepted as natural successors without falling back on Oasis’ rich back catalogue is yet to be seen.

The album is unlikely to convert any nay-sayers that had no interest in Oasis but with a legion of die-hard Liam acolytes still standing firm, I'm certain Beady Eye have hardly noticed.

Beady Eye - Bring The Light
from the album Different Gear, Still Speeding



read my album review for Beady Eye's 'Different Gear, Still Speeding' on glasswerk.co.uk