OASIS

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"Definitely Maybe" CD

From Amazon.com
With the swaggering chords of the opening "Rock'N'Roll Star," Oasis announced that big, brash Brit rock was here to stay--at least for a few years. They wore their rock & roll with an angry young sneer, a Mancunian petulance wedded to a vision of cathartic release. Their supersonic two-guitar attack took them "Up in the Sky," where they would "Live Forever" or burn out in a blaze of alcoholic glory. Noel Gallagher's songs weren't subtle--or shy of overt plagiarism--but, spat out in the Lennonesque snarl of little brother Liam, they took on a venomous power that had millions of young Brits taking them at their own arrogant word. In the U.S., meanwhile, the response was more Maybe than Definitely. --Barney Hoskyns

"(What's The Story) Morning Glory?" CD

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This big rock candy mountain of an album justifies some if by no means all of the poses and pretentious statements made by Manchester's natural-born rock & roll deities. A dramatic attempt to rekindle the flames of the original British Invasion, Morning Glory rolls 30 years of Britpop tradition into one irresistible (if achingly self-conscious) whole. "Wonderwall" can be read as a Beatles tribute, "Don't Look Back in Anger" feels like a Mott The Hoople anthem and "She's Electric" and "Morning Glory" are chewy pop confections. --Jeff Bateman

"Be Here Now" CD

From Amazon.co.uk
In retrospect, it's hard to see how Oasis could have possibly equalled the hype surrounding the release of this, their third album. Arriving as their popularity was at its peak, it's a confusing, faintly self-indulgent collection. The first single, the wryly-titled "D'You Know What I Mean?", had a monolithic sort of grandeur, taking Noel Gallagher's fondness for overdubbed, wall-of-sound guitars to some new peak, but also seemed a little over-extended--as did its follow-up, "All Around The World", a slab of Beatles-esque, sing-along pop that seemed to last longer than the entire White Album. Then again, it made a kind of sense: nothing if not mindful of rock tradition, Oasis's quest to be the World's Greatest Rock & Roll Band meant that they were obliged--like the Stones before them--to make their own mid-1970s album (albeit, two decades too late). And from its Caribbean origins, to its raucous, bloated, "cocained-out" sound, this is it: a triumph of arrogance over ambition. Maybe next time they'll go punk. --Andrew McGuire

"The Masterplan" CD

From Amazon.com
Following a British rock tradition initiated by the Beatles and lovingly inherited by the Jam and the Clash, Oasis is the only band of the CD era to offer fans extra tracks on their singles that are often as good as, if not better than, the hits. Rather than saving his new songs for the next full album, Noel Gallagher prefers immediacy. Thus, this compilation of those various "B-Sides"--many available as nonimports for the first time--works just great as a listening experience, offering metallic rushes ("Acquiesce," "The Swamp Song") and absolute melodic beauty ("Talk Tonight," the marvelous "Rockin' Chair"), while conjuring up the ghosts of Mott the Hoople, T. Rex, the Fab Four, and Slade, although Oasis's "Cum On Feel the Noize" is sadly absent. --Bill Holdship

"Standing on the Shoulder of Giants" 2 CD's

From Amazon.com
With Standing on the Shoulder of Giants, the self-professed "biggest rock & roll band in the world" continue their exploration of great British rock of the late '60s. Paying homage to heroes is one thing, but many of Standing's best moments sound like their icons' low points. This is Oasis, however, and they do pull some stunners out of their hats. "Gas Panic" and "Where Did It All Go Wrong?" demonstrate the command of catchy hooks and epic anthems that powered their classic first two albums, Definitely Maybe and (What's the Story) Morning Glory? Elsewhere, their influences are more obvious. The psychedelic "Who Feels Love?" is George Harrison in full Eastern mystic mode, complete with sitar, tabla, and tape loops. The rocker "Put Yer Money Where Yer Mouth Is" has the strut and stomp of vintage Doors and Rolling Stones, but is ultimately let down by weak wordplay. Liam Gallagher's "Little James," a paean to paternal love, also contains some laughable couplets ("You live for your toys, even though they make noise"). Still, Standing is a definite improvement over its 1997 predecessor, Be Here Now. For real proof that Oasis resurrected Britpop in the '90s, newcomers would do well to investigate Definitely Maybe and (What's the Story) Morning Glory? --Rob Burrow

"Familiar to Millions" CD

From Amazon.com
In 2000 Oasis wisely dispensed with theatrics and concentrated on being the world's greatest stadium-sized pub-rock band. And so, with just three mammoth video walls in tow, they toured the world. Big as the video screens were, however, the band's straight-ahead rock and Liam Gallagher's mouth were even bigger, and contributed much to the drama, tension, and entertainment of the tour behind Standing on the Shoulder of Giants. Fine examples of both were recorded when they played Wembley Stadium. Musically, Oasis make good on their claims to be the biggest and the best with rocking versions of "Supersonic," "Shakermaker," "Cigarettes & Alcohol," and "Live Forever." As for Liam, Familiar to Millions wouldn't be half the album it is had his inane ramblings, brotherly abuse, and audience taunts been edited out. That's where the real live atmosphere lies--there and in the sound of 70,000 fans singing the choruses of "Wonderwall" and "Don't Look Back in Anger." --Dan Gennoe

"Heathen Chemistry" CD

From Amazon.co.uk
Heathen Chemistry, is the fifth studio album from Oasis (sixth if you include The Masterplan), and sounds like an album completely devoid of history and expectations--it is light and breezy and blissfully unaware of anything outside its (notably short) running time. The legendary Gallagher songwriting gland seems to have got stuck on cruise control since the late 1990s--and is focused on quality more than quantity now. There are some classic Oasis tunes here (the simple but effective "Stop Crying Your Heart Out"), yet the only song that wouldn't sound out of place on their 1994 debut is the playful rock growl of "Hung In a Bad Place", ironically written by new boy Archer. This poses a problem--what exactly defines an Oasis song now? Written by Noel? Sung by Liam?

Fortunately, Heathen Chemistry also features some overdue Noel Gallagher numbers--the more insightful, acoustic based songs such as the standout "Little By Little" (which contains the fantastic bridge "I didn't mean, what I just said / But my God woke up on the wrong side of his bed"). Nobody, really, does it better. Least of all his brother--"Songbird" is a startlingly good acoustic pop ditty, complete with trademark handclaps that, along with the voodoo spirit of Hendrix haunting his "Better Man", shows that his songwriting has improved tenfold since his last effort, but he still has much to learn. Where Noel Gallagher really excels, however, is in the production. For the first time, an Oasis album sounds clean and crisp--not musically, but in its sonic presentation--it's a technical achievement that elevates the album significantly.

Assured without being arrogant, heartfelt without being insincere--Heathen Chemistry will delight and repel in equal measures. It's a heroic return to form--hard as nails on the outside, yet soft and romantic on the inside--like every hero should be. --Ben Johncock

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