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Post by themanwithnoname on May 20, 2005 8:16:04 GMT -5
Just bought a copy in town. He says he played just about all Guigsy's bass parts but Guigs and Bonehead personified their "can do" attitude when they started out. Said Whitey was a top bloke but his personal life was "chaos" Talks a bit about Liam - including some funny stuff about the first time he heard the lyrics to Guess God Thinks I'm Abel. Also compares playing in front of 60,000 people as like "facing a firing squad except you fire back". Worth getting (although there's not much else of interest in the rest of the magazine to be honest). Will copy it up and post it next week for all those who can't buy it (ie outside UK).
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Post by rocknrollstars_oasis on May 20, 2005 10:37:50 GMT -5
yes pls..
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Post by StepOut on May 20, 2005 13:15:18 GMT -5
cheers
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Post by RnRstar on May 20, 2005 22:32:46 GMT -5
Also compares playing in front of 60,000 people as like facing a firing squad except you fire back what a great quote
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Post by Tam on May 20, 2005 22:55:47 GMT -5
thanks "man" wld give you karma but I can't at the moment .. Peace
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Post by themanwithnoname on May 24, 2005 13:03:48 GMT -5
As promised:
"BACK ON TRACK" Best known of late for public brawls and family feuds, Don't Believe The Truth sees a return to form for Oasis. Noel Gallagher tells Toby Manning about recording in LA, building a legend and Liam's "fantasy world".
NOEL Gallagher can talk to anyone. You see him out at gigs where he chats affably to fellow punters. Today, he strolls into his Big Brother Records offices in Marylebone (open plan; lots of pretty girls) with his 60-something cab driver. "He wants a cup of coffee," Noel explains, showing the cabbie to the kettle. Gallagher is equally adept with journalists, and one of the few musicians who actually professes to enjoy interviews. What's more, it's this man of the people's ability to talk to anyone through his songs that made Oasis the people's band. Much has changed since those (Morning) Glory days, but Oasis' sixth album Don't Believe The Truth is in some ways the true follow-up to that album. Indeed, the climactic closer alone, Let There Be Love - a rare sibling duet and an anthemic successor to Don't Look Back In Anger - is enough to make everyone fall back in love with this band again. Noel cuts a quietly impressive figure. Dressed in designer jeans, chocolate brown Fred Perry and matching pinstripe blazer, he's taller than Liam (WRONG!!) and, as they get older, better looking. It's not just Noel Gallagher's face which seems better prepared for the ageing process (craggy ages better than pretty); his entire demeanour suggests an amused contentment with his place in the world that's in marked contrast to his brother's agitated tetchiness. At Razorlight's recent show at Alexandra Palace, a gang of teenage girls came up to tell Noel, "You're the coolest man ever." A born raconteur, Noel replays the glow this compliment induces, then knits his celebrated monobrow comically: "And then I went, coolest MAN? Have I suddenly become a man?" He shakes his head, adroitly assessing Oasis' need to justify their existence, 12 years and a sequence of indifferent albums into their career. "I'd have f**king loathed me still being around if I was 17. I was very, very facsist about it. I didn't think people should make music over 25. But you keep adding five years to the top. I'm up to 45 now!" He shrugs. "But I certainly don't think of myself as a f**king 37-year-old dad. I'm a songwriter, that's what I do." Gallagher knows that only through the songs can they make themselves relevant. He also knows that, this time, they've delivered. Things hardly got off to an auspicious start, however. "I felt we'd reclaimed something with Heathen Chemistry, and we were on an upward curve again, but then it all got condensed down to Liam getting his head kicked in in Germany." Next, when they opted to record with dance producers Death In Vegas in late 2003, it looked like they were doing a Radiohead and trying to make themselves less popular. Going "space jazz" as he puts it. "We're not clever enough," he deadpans. "I was never a devotee of the 12-minute wig-out. I get bored, me, after four minutes. Apart from all the songs on Be Here Now where it's like, 'f**k we can squeeze another seven out of that. Chop out another line.' And I don't like bands that are like rabbits in the headlights of success. You owe it to every f**king s**t band that never made it to go and smash it." But then Gallagher scrapped the sessions, declaring the songs weren't good enough. "They weren't happening for me. Liam seemed a bit surprised when I called a halt. Liam lives in a fantasy world where you can't really tell him the truth about anything 'cause he freaks out. So you've always got to lie to him." Then, to cap it all, drummer Alan White became the band's latest line-up casualty. Noel won't explain why, simply saying: "He's a f**king great guy and he's one of the best drummers I've ever met in my life, but his personal life is utter f**king chaos. In the end, he f**ked off and we haven't seen him since." But then momentum began to build again. The recruitment of Beatle scion Zak Starkey bespoke new ambition, and while waiting for him complete commitments to The Who, the band wrote an entire batch of new songs. Their selection of flash American producer Dave Sardy (Marilyn Manson; Bush) also suggested a desire for mainstream success...
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Post by themanwithnoname on May 24, 2005 13:52:15 GMT -5
Indeed, with Sardy challenging them about whether they wanted to be good or great, he insisted they record in LA. "I was like, I'm not f**king recording in America. To me that's like the Death Star. Things always tend to blow up for us in America. But finally we said 'f**k it, let's give it a go, and anyway, if it falls apart again, it's another f**king chapter to the legend, isn't it?' Noel's awareness of his own legend - more amused that awed - is one of his most engaging characteristics. As it was, the sessions were "an absolute breeze". "Dave was in charge," notes Noel. "Every single album we've done I've been co-producer, I've sat at the mixing desk with leads coming out my earholes while everyone would just turn up, do their thing and lounge around all day. It was really nice just to be back in the band, sit and take the piss out of the producer. It's something that, on paper, I wouldn't have done, but I kind of trusted Dave." So are you becoming less of a control freak as you get older? "Absolutely not." No hesitation. But suddenly you're letting other people write songs (Gem Archer and Andy Bell write two songs apiece on the album; Liam contributes three). "I take issue with that. I'm not magnanimously letting other people write songs. The songwriting door has always been open, but nobody gave a f**k until Andy and Gem joined and then Liam thought 'Well I'm not being left out'. Gem and Andy have now been in the band long enough, and they go to me, 'You're not playing it right - give it here'. On the last album they were kind of polite, but now it's back to the old days where you just grabbed the bass off Guigsy (former bassist Paul McGuigan) and said - psst - put the kettle on." Did you used to play Guigsy's parts? "All of them. But he wasn't fussed. Guigs will quite happily tell you that he was the f**king luckiest man in the world, but he was a mate and he supported Man City and he was in the band. He could play live 'cause that's all about the moment. But on record, if he couldn't do it, I played most of the stuff. Similarly, if you took Bonehead out of the mix you wouldn't notice. He was into having it, just partying hard. Whereas I was the brains almost, Bonehead and Guigs had the spirit of the band, which was 'If we can do it then anybody can'. And it's quite telling that when Bonehead left, Guigs soon followed, 'cause he knew that we'd get someone in who was the f**king b*****ks." Do you think you lost that spirit when they left? Rather than taking offence, Noel considers this carefully. "What was one supposed to do? Say right, well that's it then? It's not like Bonehead was writing all the songs, was it? Though I have no doubt in my mind if he ever had written a song it would have been f**king appalling." But then he's suddenly wistful. "I kind of miss them in a way, 'cause they were quite innocent of... they just listened to the music for what it was. Their opinions were quite pure. We can get a bit picky these days." You're a more professional, well-oiled machine now. "Professional?" he raises that monobrow. "Cancelling 12 gigs last year 'cause the singer's got his f**king teeth rolling round the bar in Germany, is that professional? Would you class Liam as professional? It's not a word that springs to mind - if we were playing word association and you go 'Liam Gallagher'..? "It's kind of a paradox, 'cause although he's the guy who kicks the wheels off every six months, he's also the one who drives Oasis along. He's always the one on the phone, saying 'C'mon, let's get back to work. What do you mean you're going on holiday?' If it was down to me there'd be five years between records. I spent five years working on the songs for Definitely Maybe - that's why they're so good. And we followed up Morning Glory too quickly. That was when the real partying was at its peak and it was a token gesture making a record. Again, that's all part of the legend, isn't it?" It's a rare quality to be able to be both self-critical and contentedly philosophical. "Don't get me wrong, it's not like I don't enjoy it. I actually like being in a band with Liam. It's very amusing. And this summer I'm going to walk out on stage to 60,000 people regularly. Until you've experienced that you can forget f**king drugs. It's kind of what it must feel like before you get shot in a firing squad, but you don't get shot and then you fire back." Of course, it's the Liam/Noel saga that's the motor of Oasis, and, on the new album, the flipside of Let There Be Love's apparent sibling harmony is Liam's Guess God Thinks I'm Abel. Until Liam put him right, Noel had thought it was Able. "Then I go, 'Hang on a minute. Correct me if I'm wrong, but isn't Abel the righteous brother and Cain the evil, selfish wrongdoer? And doesn't Cain kill Abel?' and I was thinking that's quite weird. Until I realised that the first line of the song is, 'You could be my lover' and I thought, 'Oh man, I might have to go for a shower now'. That's certainly not f**king legal is it?" He shudders comically. "I've never listened to the song the same since." Have you asked him about it? "No! You can't speak to Liam about things like that." They met a similar communication standstill over Noel's insistence on singing most of his own songs on the album. "Well, I'm supposed to be the singer," Noel sneers, his impression of his brother so uncanny it's like Liam entering the room. "Well, I'm supposed to be the songwriter." "Well, I should be singing more." "Well, I should be writing more songs." [Noel apes Liam's aggressively confused pause] "So are you saying that if we stop writing songs I can start singing more songs?" "Well, that's what it pretty much f**king boils down to, yeah." Noel shrugs, "He does get the arse about it, but then he gets the arse about most things." It's ironic, but then again fundamental to the Oasis legend that the one person Noel Gallagher cannot talk to is his own brother. As it is, Don't Believe The Truth - and especially Let There Be Love - is likely to find him talking to everyone else more directly than he has in almost a decade. Suddenly Oasis matter again.
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Post by beekayhimself on May 24, 2005 16:08:24 GMT -5
thats a solid article. good humor in it too.
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Post by thebluesgnr on May 24, 2005 16:27:05 GMT -5
cheers man!
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Post by brumoscardo on May 24, 2005 17:13:04 GMT -5
Nice stuff mate! Very good article! Thanks a lot
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Post by start at the end on May 24, 2005 17:15:26 GMT -5
thanks..one of the better pieces i've read in a while.
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Post by Jabasso on May 24, 2005 22:29:29 GMT -5
Very nice! Thanks a lot!
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Post by lemonjelly on May 24, 2005 22:54:17 GMT -5
yeah good stuff
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Post by MSprague01 on May 25, 2005 1:26:10 GMT -5
thanks for posting that
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