Tycoon
Madferrit Fan
Posts: 65
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Post by Tycoon on May 19, 2005 16:24:16 GMT -5
Did you write that up yourself? I find it hard to believe that Q Magazine would use acronyms like "ABWR". That sounds like a pseudo fan review.  |
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Post by Noel's Barmy Army on May 19, 2005 21:10:32 GMT -5
someone typed up the review somewhere else and ive posted it here
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Post by Gifford on May 19, 2005 22:05:38 GMT -5
from www.sp1at.com a little too good Oasis have always been a band that have divided opinion. Some people idolise the brothers Gallagher in the way that people idolised Lennon and McCartney and others see them as, essentially, a rip off of the Beatles. But even the "haters" have drunkenly sung along to "Don't Look Back in Anger" at some point in their lives. That's how good Oasis were in the mid-90s, everyone knew them, even if you didn't like them you knew them, you knew their albums, their songs, their lyrics - in 1995 you couldn't escape Oasis. In 1997 a terrible thing happened, Oasis released a mediocre album. "Be Here Now" was supposed to be a symbol of "Cool Britiannia", a sign that Great Britain was becoming "great" again, instead Oasis released the musically equivalent of a coked up night in with the Gallaghers - Robbie Williams duly took over the charts and Brit Pop was dead for good. Something strange happened last year, bands started to re-emerge and music started sounding something like it did before the invasion of rap. The next generation of bands were sounding promising, The Libertines, Razorlight, The Killers and The Zutons represented a new dawn in music. At Glastonbury an Oasis that barely resembled the Oasis of 1995 gave a quite frankly dire performance and the critics went in for the kill. Everywhere you looked people were trying to convince you that Oasis were dead, that they weren't relevant anymore and that Pete Doherty rather than Noel Gallagher was the face of British indie music. On May 30th Oasis release "Don't Believe the Truth", their sixth studio album - a number that, incidentally, Pete Doherty's the Libertines could only dream of releasing. If "Be Here Now" was the musical equivalent of a coked up night in with the Gallaghers then "Don't Believe the Truth" is the musical equivalent of one of the Gallaghers emphatically sticking their middle finger at the music press. Every time an Oasis album is due for release Noel claims that it is the best thing they've written since Definitely Maybe - well this time he may be right. I will say that "Don't Believe the Truth" is the best album anyone has written since at least 1997's "Urban Hymns". The album opens with the Andy Bell penned track "Turn Up the Sun", which at the same time manages to sound completely like the Oasis of old, and like something completely fresh from the band. The psychedelic sounding intro and outro sandwich a very catchy and in your face section of the song. When I first heard Liam sing "I carry a madness everywhere I go" I was in no doubt that I was in for a treat with this album. Track 2, "Mucky Fingers", is as every review has said Bob Dylan doing the Velvet Underground - that's some compliment. This is an entirely new Oasis sound, it is probably Noel's best on vocal performance since "Don't Look Back in Anger" and the Gem Archer harmonica solo is out of this world. Out of all the tracks on the album I think this one is either one you "get" or you don't, and I thought it was incredible. If you haven't yet heard "Lyla" then where have you been for the last month? It's a stomping "Roll With It" style pop tune, that gets stuck in your head and refuses to leave, it's a great Oasis single. "Love Like a Bomb" is the highlight of the album for me, everything about it says summer, and Liam is on top form again. The lyrics are simple - at times they are even replaced with "Hey Jude" style "na's" rather than words - and the songs never going to be earth shattering but there's something so positive about the whole thing. That's what Oasis used to be, at the very least their songs were positive. "Love Like a Bomb" is one of those songs that doesn't last long enough and leaves you yearning for more. "The Importance of Being Idle" on the other hand probably lasts a minute too long, however, that's not to say it's a bad song. Noel sings about the bliss (or nightmare) of having nothing to do in your life, and perhaps if it wasn't for the dentist drill sound about 79 seconds into the song then maybe I'd be keener on it. Noel himself said it was "The Kinks doing The La's", their is something so quintessentially British about this - "I've lost my faith in the Summer time cause it don't stop raining" sings a contemplating older brother. "The Meaning of the Soul" sounds like Liam spitting in your face, it's an angry snarl in a sort of 50s sytle-y. It's probably the worst song on the album but seeing as it clocks in at less than 2 minutes then it's hardly a disaster. "Guess God Thinks I'm Abel" is the last Liam written song on the album and it's another instant classic about nothing in particular. Ok the lyrics may be slightly "Little James" like but it's catchy as anything and the last 30 seconds are, well, bizarre in a good way. "Part of the Queue" is Noel moaning again, this time about life in London, to the tune of "Golden Brown" by "The Stranglers". And whilst it's a great song, the reason "Definitely Maybe" and "Morning Glory" were successful was because they were positive, like no other music released at the time. It's ironic that with success, Noel has got more and more negative. I'm sure a move back up North is on the cards for Noel based on the lyrics of this one. "Keep the Dream Alive" is an epic. It has a chorus capable of filling the biggest stadiums in the world and again has a very summery feel about it. "I'm no stranger to this place/where real life and dreams collide/and even though I fall from grace/I will keep the dream alive" sings a reflecting Liam. Andy Bell, who wrote the song, appears to be a very worthy addition to the line up. The penultimate track is "A Bell Will Ring" the only song on the album written by Gem Archer and, allegedly, Ringo's favourite. It's incredibly positive and very Beatlesesque. However, it isn't until you reach the last track of the album "Let There Be Love" where you realise the extent of this album. "Smallville" have supposedly already requested the song to feature in one of their episodes, I'm sure you'll hear plenty of this in the future. In fact, when England rather predictably go out of the World Cup in German next year, I can almost guarantee that you'll see David Beckham's tears accompanied by this song. "Let There Be Love" is massive and just grows and grows on you, it is the "Champagne Supernova" of "Don't Believe the Truth", it could, quite frankly, be Oasis' "Hey Jude". I've already said it once but I'll say it again. "Don't Believe the Truth" is a masterpiece, it is the best album anyone has written since Richard Ashcroft wrote "Urban Hymns", it is a lesson to Pete Doherty, Carl Barat, Johnny Borrell and Brandon Flowers on how to be a great band. In 1994 Oasis released "Definitely Maybe" the best album of the 90s. In 2005 they will release "Don't Believe the Truth", which at the moment is head and shoulders above any other album released this decade. The music industry is a highly cynical world, and having not released a world class album in almost 10 years Oasis were being written off. Theirs a phrase in sport that says "Form is temporary, class is permanent" and with Oasis it certainly seems to be the case. Oasis have returned to the music industry's top table, and assuming they wish to stay there, I can't see anyone replacing them in the near future. How long until we are referring to Oasis as Sir Noel and Sir Liam? 10/10 Written by gigger |
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Post by themanwithnoname on May 20, 2005 3:31:29 GMT -5
From HMV website:
The past three years have been somewhat transitional for Oasis. Additional line-up reshuffles, scrapped recording sessions and the domesticity of the once-notorious Gallagher brothers have led to a more mature and settled Oasis sound that is evident in their brand new album, ‘Don’t Believe The Truth’. Whilst all the indie-rock, “borrowed” Sixties-riffs and Manchester-flavoured swagger are still in attendance, this sixth offering from Oasis finds the band in a more reflective and melodic frame of mind.
From the chants of “love one another“ on the slow-burn opener ‘Turn Up The Sun’, to the sombre ‘The Importance Of Being Idle’, where Noel reflects about the direction of life, to the Liam-penned ‘Guess God Thinks I’m Abel’, a simplistic and effective summertime ramble of good intentions, ‘Don’t Believe The Truth’ commands our attention on profound levels not usual to an Oasis album. By the time we reach the album closer ‘Let There Be Love’, an acoustic track boasting vocals from both Noel and Liam, with just the most simplistic hand-clap rhythm and soaring strings, Oasis have convinced us that the last three years of turmoil have produced a band dynamic that is stronger than ever.
For those concerned that Oasis have slipped way too deep into the realm of Dad-rock, you will be pleased to hear that the Gallaghers can still produce some of the most infectiously catchy indie-rock around. From the psychedelic whirlpool of hit single ‘Lyla’, to the one and a half minute swagger of ‘The Meaning Of Soul’, by way of the magnificently-titled ‘Mucky Fingers’, ‘Don’t Believe The Truth’ provides the perfect balance between the ups and the downs.
With ‘Don’t Believe The Truth’ the widespread belief is that Oasis are back with an amazing album which will prove to be their strongest for a very long time. With the added bonus of selling out nearly half a million tickets for their forthcoming tour, the year ahead looks set to be an extraordinary one.
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Post by webm@ster on May 20, 2005 8:17:59 GMT -5
angryape.com review : Oasis Don’t Believe The Truth
Sam Mathias
17th May 2005
Today, I was sat at a university computer when I noticed a free student magazine. Intrigued by the strange front cover, I thumbed through as I waited for the PC to start up. Inside I noticed an advert that looked a lot like Franz Ferdinand’s artwork. You know, brown/orange blocks of colour, angular, a general 1940s kitch look about it. It was an ad for a really great new band who, surprise surprise, were a lot like Franz Ferdinand. “Wow, great” You’re thinking “We really need another band like Franz Ferdinand, no way is there enough of them already.” Well don’t worry kids, here’s another one, and the best thing about them is their name. Wait for it … Reich Angle! Get it, Reich … Angle! Like right angle, but Reich, as in the Third Reich. Haha! How clever is that, Riech … Angle? That’s brilliant, ‘cos Nazi Germany is hot right now, what with the 60th anniversary of the liberation of Auschwitz this year. Good job guys, you’re gonna go down a storm!
I hate bandwagon-jumpers. I’d heard, before I’d actually listened to Oasis’ new album, that that was precisely what they had become. The NME and associated press have been printing off lists of bands Oasis have slagged off or praised for years. Every time Noel is seen at a gig he’s accused of trying to keep-in with the current fashion. Why? Because its pretty trendy to see Oasis as rock dinosaurs approaching extinction, just as their own mentors were in 1994.
But what’s this rising from the embers? A new album-phoenix for the last remaining mad-for-it madchester posse … Oasis are BACK!!! Fanfares erupt; trumpets blaze; people go crazy; a confused young man throws himself through a nearby window. Well not quite. We’ve been here twice before, remember. And both Standing on the Shoulder of Giants and Heathen Chemistry were a bit shit. Oasis are like Prometheus: with every fresh album critics swoop in like vultures to tear its liver out, but each day Oasis re-emerge fully healed, only to again subject themselves to the same torture. Why should this time be any different?
Because this time round Oasis are different. Not radically different, they haven’t moved into barbershop or anything silly like that, but the new material is significantly different to the usual tripe they’ve produced in the last five years. Each song on Don’t Believe The Truth sounds kinda like Oasis, but with all the gubbins removed. Nowhere is this more evident than on Mucky Fingers. In true Oasis fashion, its intro sounds vaguely like some other song by some other band, but I can’t quite put my finger on it (Velvet Underground, perhaps?). Its good though: the guitar seems to be playing just one chord throughout the entire song very, very loudly. The result is a song which is quite different from anything they’ve produced in recent years, but still with that familiar Oasis charm that would appeal to the fans.
The particular skill of nicking ideas from their peers Noel and the gang have developed is blaringly obvious in Part Of The Queue. C’mon guys, that’s clearly Golden Brown by The Stranglers. Still, we ultimately forgive them for it because its again pretty good. What’s going on here, am I beginning to like an Oasis album again??? This hasn’t happened since What’s The Story …
Yes and No. Unfortunately the single, Lyla, is rubbish. Liam’s voice is still as grating as it was on Heathen Chemistry, and the really, really bad rhyming couplets (I don’t mind/as long as there’s a bed beneath the starts that shine) lost their charm years ago. Having said that, A Bell Will Ring is quality, and I can see others tracks appealing to all those old diehard fans out there.
Oasis definitely haven’t remade Definitely Maybe, but they have produced something that may allow them to climb at least some of the way back up that slippery slope. Critics may call it a cynical attempt to muscle back in with their contemporaries, but so what? Oasis clearly don’t give a shit, neither should anyone else.
www.angryape.com/reviews/2005/05/oasis-dont-believe-the-truth
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Post by fju2112 on May 20, 2005 10:47:12 GMT -5
the rolling stone is not a magazine exclusive to music. though they started out as that way, they are more journalistic in their endeavors than most magazines that cater to the music crowd. it's less centralized toward music than it is pop culture in general. the greatest issue that i've ever come across was the tribute to hunter s. thompson. most of that issue was filled with stories written by others about him. a very small part of the mag was dedicated to their usual content on music, dvd, movies, and other crap. and it's not the magazine's opinion -- it's the individual's opinion to whom the cd review was assigned. as a journalist, i'm given an assignment. when i turn in a review that my editor doesn't agree with, she just gives me a "really?" and shrugs it off and my article gets published. that's how it works. if the editor doesn't like it and tosses it out and inserts her own review, that would be unethical. My god, how can you respect that horrible sell-out rag known as rolling stone in ANY way? Are we to believe that one individual was assigned to DBTT and if he wanted to give it a 5-star review, they would have published it? I don't think so. Journalistic integrity or not, it's a Rolling Stone review that's being published, so they're not just going to publish whatever crosses their desk. That magazine is one of the most political magazines out there, and I can't believe their offices work any differently, so I have to beleive that a consensus was made, or a decision was made to give that album 3 or 3.5 stars before anyone ever heard it. They don't like Oasis, never have, and never will. You can tell in the way the review is written - it's almost completely negative in its overtone - and the Dave Matthews review got the same rating but is written in a tone that is almost entirely positive. Even the Gorillaz review, which got 3 stars, is a bit more positive than that review, despite slagging off Albarn's lyrical performance on the record. Not quite as negative as "Not a comeback, but Oasis stop sinking". Puh-leease. It just seems RS acts like they don't have the time to put in any kind of an effort to good CD reviews any more. They gave Star Wars Episode III a TWO-star review, then slapped Darth Vader on the magazine the next week and published a lengthy interview with George Lucas! Talk about mixed signals. I bet they didn't run that review by Lucas before interviewing him. Not that they should, but it's just so silly; "hey Lucas, your movie sucked, now we want to talk about the 'Darth Vader Cult' "(whatever that is) to slap him on the cover and sell magazines like everyone ELSE is doing this month. Bunch of morons over there.  |
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Post by caro on May 20, 2005 17:15:45 GMT -5
from a french magazine called rock'n folk DBTT got 4/5...
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Post by Lukewarmplay on May 21, 2005 7:05:09 GMT -5
I just checked out allmusic.com and it now looks like they are giving DBTT 4 1/2 stars out of 5 ...not 4 like it was shown previously. No review up yet though.
Interesting...
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snowman
Madferrit Fan
twinkies for breakfast
Posts: 66
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Post by snowman on May 21, 2005 13:16:40 GMT -5
It just seems RS acts like they don't have the time to put in any kind of an effort to good CD reviews any more. They gave Star Wars Episode III a TWO-star review, then slapped Darth Vader on the magazine the next week and published a lengthy interview with George Lucas! Talk about mixed signals. I bet they didn't run that review by Lucas before interviewing him. Not that they should, but it's just so silly; "hey Lucas, your movie sucked, now we want to talk about the 'Darth Vader Cult' "(whatever that is) to slap him on the cover and sell magazines like everyone ELSE is doing this month. Bunch of morons over there. hey, guess what? individuals hold their own opinions and if they want to be negative, it's their prerogative. as for your star wars example, it illustrates my point very well, thank you. the individual didn't like it, and the magazine obviously knew what was going to be on the cover the week after, but they ran it anyway. that's the ethics working. "oh no, we can't run that review, star wars is our feature topic next week!" instead it was "uh huh. whatever. run it." |
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Post by fju2112 on May 21, 2005 15:37:34 GMT -5
You cut off the rest of my response which explains all that..nice one..so again:
Their review of the Oasis album was almost entirely negative in its overtone, whereas with other albums - the new DMB (3.5 stars), the new Gorillaz (3 stars) - the review was mostly positive. They've decided to single out Oasis the last 6 or 7 years because they just don't like the band; it's got nothing to do with the music.
Even within the context of one ALBUM - RS would routinely make fun of Be Here Now a few months after it came out, when they originally gave it a 4-star review and had a couple of features on the band the summer they were recording it. Make up your mind, guys.
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Post by Tam on May 21, 2005 16:01:39 GMT -5
where did you read RS 3.5 ? Is it in print yet ? Am I lite years behind ? Nothing posted online yet in terms of RS DBTT rating/review
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Post by caro on May 21, 2005 16:04:57 GMT -5
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Post by damonabnormal on May 21, 2005 19:09:31 GMT -5
The band told rolling stone to basically fuck off in person back in 1996 after they walked out of the cover photo shoot. RS has not been kind to them since.
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Post by Noel's Barmy Army on May 21, 2005 19:24:43 GMT -5
that would explain it - all publications have an ego and think it is prestigious and an honour for a band to be on their front cover
the fact oasis didnt give a fuck and told them that to their faces hurt their fragile over-inflated egos
haha;D
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Post by DixonHill on May 21, 2005 19:31:03 GMT -5
where did you read RS 3.5 ? Is it in print yet ? Am I lite years behind ? Nothing posted online yet in terms of RS DBTT rating/review lite years? i love it. star trek talk.  |
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Post by Tam on May 21, 2005 20:45:26 GMT -5
see above - right some details wrong - i.e. GGTIA - was written about he and noel according to MOJO interview ,as you well know.
I appreciate you posting that. although there were parts I really disagreed with. be well..
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Post by bigoasisfan on May 22, 2005 9:09:36 GMT -5
Okay - I've heard the whole album! Ive been an oasis fan since 1993. Attended Knebworth 1996, Wembley & Murrayfield 2000, Edinburgh Corn exchange 2002. I know every album & every B side inside out. I grew up with oasis - they are quite simply icons of a generation in the U.K and i'd like to let everyone who hasnt heard the new album know what I think of it. This is a very special album. What I've been waiting for from them since Whats the story. Nuff said.
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Post by DixonHill on May 22, 2005 12:47:25 GMT -5
allmusic.com
4 1/2 - 5
Review by Stephen Thomas Erlewine
Since Oasis has an instantly identifiable, seemingly simple signature sound — gigantic, lumbering, melodic, and inevitable, as if their songs have always existed and always will — it can be hard to pinpoint what separates a great Oasis song from a merely mediocre tune. It could be anything from overblown production to a diminished swagger, or it could be a self-satisfied laziness in the songwriting, or a panicky attempt to update their defiantly classicist pop with an electronic shine. All of these problems plagued the group's records since their blockbuster 1995 blockbuster second album, (What's the Story) Morning Glory?, and while none of the three albums that followed were outright bad, by 2002's Heathen Chemistry it seemed that even Noel and Liam Gallagher had lost sight of what made Oasis great. While that record had its moments, it often seemed generic, suggesting that the group had painted itself into a corner, not knowing where to go next. Surely, all the reports from the recording of their long-gestating sixth album suggested a faint air of desperation. First, the electronica duo Death in Vegas was brought in as producers, bringing to mind the band's awkward attempts at electronica fusion on Be Here Now and Standing on the Shoulder of Giants, but those recordings were scrapped, and then their second drummer, Alan White, left only to be replaced by Zak Starkey, the son of Ringo Starr, suggesting that the Gallaghers were coming perilously close to being swallowed by their perennial Beatles fixation.
All of which makes the resulting album, Don't Believe the Truth, a real shock. It's confident, muscular, uncluttered, tight, and tuneful in a way Oasis haven't been since Morning Glory. It doesn't feel labored nor does it sound as if they're deliberately trying to recreate past glories. Instead, it sounds like they've remembered what they love about rock & roll and why they make music. They sound reinvigorated, which is perhaps appropriate, because Don't Believe the Truth finds Oasis to be quite a different band than it was a decade ago. Surely, Noel is still the first among equals, writing the majority of the songs here and providing the musical direction that the rest follow, but his brother Liam, bassist Andy Bell, and guitarist Gem Archer are now full and equal partners, and the band is the better for it. Where Noel struggled to fill the post-Morning Glory albums with passable album tracks (having squandered his backlog of great songs on B-sides), he's now happy to have Bell and Archer write Noel soundalikes that are sturdier than the filler he's created over the last five years. These likeable tunes are given soul and fire by Liam, who not only reclaims his crown as the best singer in rock on this album, but comes into his own as a songwriter. He had written good songs before, but here he holds his own with his brother, writing lively, hooky, memorable songs with "Love Like a Bomb," "The Meaning of Soul," and "Guess God Thinks I'm Abel," which are as good as anything Noel has written for the album. Which is not an aspersion on Noel, who has a set of five songs that cut for cut are his strongest and liveliest in years. Whether it's the insistent stomp of "Mucky Fingers" or the Kinks-styled romp of "The Importance of Being Idle," these songs are so good it makes sense that Noel has kept them for himself, singing four of the five tunes himself (including the soaring closing duet "Let There Be Love," the brothers' best joint vocal since "Acquiesce"). But the key to this new incarnation of Oasis is that this move by Noel doesn't seem like he's hoarding his best numbers, or a way to instigate sibling rivalry with Liam. Instead, it emphasizes that Oasis is now a genuine band, a group of personalities that form together to form one gang of charming rogues. Apart from the tremendous, rambling "Lyla" that channels the spirit of the Faces and the occasional ramshackle echo of Beggars Banquet, there's not much musically different here than other Oasis albums — it's still a blend of British Invasion, the Jam, and the Smiths, all turned to 11 — but their stubborn fondness of classic British guitar pop is one of the things that makes Oasis great and lovable. And, of course, it's also what makes it hard to discern exactly what separates good from great Oasis, but all the little details here, from the consistent songwriting to the loose, comfortable arrangements and the return of their trademark bravado makes Don't Believe the Truth the closest Oasis has been to great since the summer of Britpop, when they were the biggest and best band in the world.
key tracks: lyla, love like a bomb, guess god think i'm abel, let there be love.
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Post by rockandroll on May 22, 2005 20:11:21 GMT -5
Hey I noticed that in the rolling stone site they have DBTT, but appears as NOT RATED.....why's that? what about the 3 and half stars?
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Post by DixonHill on May 23, 2005 9:27:49 GMT -5
sorry if this has been posted before. www.musicomh.com/albums3/oasis-2.htmBetter than the first two? Course not. Better than the last three? Definitely. In other words it is the record which should've followed Morning Glory. It slips into life slowly, deceptively, growling into a bold swagger for Andy Bell's Turn Up The Sun. But DBTT is not the Oasis we've come to know. Far from it. There's a lo-fi, stripped feel to the record which strikes you as you listen to it. Yet at the same time two years and much production has gone into DBTT, which breathes harmonica solos, keyboards and extended percussion (Zak Starkey continues to drum while percussionist extraordinaire Lenny Castro guests) allowing Oasis to flex across folk, pop and psychedelia, which partly confirms the band's heavy name checking of The Kinks and Highway 61. More so than ever, they wear their music influences on their sleeves. Mucky Fingers borrows the chug-a-chug of The Velvet Underground's I'm Waiting For The Man, but lyrically ("All the fonies that roam at night / When I've gone yeah you look like you missed me / So come along with me, don't ask why") and vocally, Noel has never sounded more reinvigorated in a decade. The cynics suggest the once great songwriter is struggling. Momentarily it can appear that Noel is at odds. He only contributes five this time, but the gems remain all his. Part Of The Queue lends more than a few nods to The Stranglers' Golden Brown, but Noel's redemptive words ("Stand tall / Stand proud / Every beginning is breaking its promise / I'm having trouble just finding some soul in this town") and performance are again on fine form. His closer, Let There Be Love, crafts a brilliant Gallagher duet, a spiritual hybrid of Live Forever and Let It Be, utterly filled with the kind soul they exported so abundantly in the 94/95 season. The other six are no fillers either. Gem Archer has a catchy potential single in A Bell Will Ring. Keep The Dream Alive (Andy Bell) rotates loose urgency and desert psychedelia which waters into one of the most Oasis-sounding of the lot. Liam's three continue his surprising progression. Love Like A Bomb betrays more of the Songbird karma no one thought he could be capable of showing. Guess God Think I'm Abel, a tender tribute to Noel along the same lines as Acquiesce, bridges the record wonderfully. The thrashy Meaning Of Soul, barely two minutes long, seems to have been written shortly after Liam got his teeth smashed in Germany, but it gets better each time you hear it. Which is very much reflective of the album. You won't be blown away in the unique way Oasis' first albums did. Yet with every listen DBTT pulls you in. It's worth remembering that it took The Beatles and The Stones six albums (Rubber Soul, Aftermath) to mature before they eventually came up with their big hitters (Revolver, Sgt Pepper, Beggars Banquet and Sticky fingers were yet to follow). A mature Oasis at the same stage claim two classic records, are off the drugs and have regained a stride which maybe, just maybe, will lead to something great once again. While that time is not now, Oasis are back, still relevant and, in Liam's words, "still waiting for someone to take the torch." - Jamil Ahmad |
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Post by webm@ster on May 23, 2005 11:36:56 GMT -5
Megastar.co.uk 3 of 5 stars
Should we believe the ever-present self-generated hype from the Gallagher brothers this time round?
Time and again (well the last three times, really) they've let us down, but for once it seems Noel and Liam's bravado is worth its nasally Mancunian weight.
Of course, in true Oasis style, this longplayer still runs like a guess-who of rock influences, as strains of the Velvet Undergound, The Stranglers and The Kinks are not even barely disguised.
But with Liam chipping in three impressive tracks and background boys Gem Archer and Andy Bell donating a tune each, there's more to this offering than the chugging musical conveyor belt that is Noel Gallagher.
That said, Noel writes the trump tune Let There Be Love, that blends the brothers' voices in an anthemic ballad.
For lyrics that do more than just rhyme and whine and for signs of a growing complexity, Don't Believe The Truth sends them closer to achieving the glory of Morning Glory and Definitely Maybe all over again.
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Post by Gifford on May 23, 2005 13:42:27 GMT -5
blogcritics.org/archives/2005/05/23/105227.phpGrade: A+ | Genre: Brit Rock Summary: So what's the "Truth" anyway? Is it that Oasis is washed up and beyond their prime as some may have believed? Maybe the real truth is that Don't Believe The Truth might be the album that's remembered in 2005 over the much delayed X&Y from Coldplay. The Big Brit Rock Monster (try saying that 10 times) has reared it's progressive head and has its sights set on the musically dry US soil. This is turning out to be its year to shine with recent hit releases from Doves and Bloc Party. However, as great as Some Cities and Silent Alarm were/are, they are mere warm-ups to eminent blockbusters coming from the likes of Coldplay and today's top focus, Oasis. The time is ripe for music lovers as these big bands are rewarding loyal fans with their even bigger albums. It's been three years since the moderately successful, Heathen Chemistry (did it even chart stateside?), and the Gallagher brothers are back and quick to tell anyone who get in their faces that they haven't lost a f*cking step. The egocentric and self-loving wankers still have the fire to knock us on our arse with their high swagger and pompous egos. They don't do much to win us over, nor do they care, but damn if they don't make great music. Don't Believe the Truth is a wake up call for all those critics who accused them of "losing it" and aims to splash water on Coldplay's over hyped pre-release campaign. I'll admit that I still haven't gotten over a cancelled show in Atlanta 5+ years ago, where I had 5th row center seats (5th ROW CENTER!). Instead, a couple years later I had to settle for an over crowded outdoor music festival to see the feuding brothers finally settle their differences and march together on stage to give fans a taste of what they missed. It was a brilliant show still overshadowed by family squabbles that just couldn't make up for the lost opportunities. Noel, if you're reading this, here's your chance to make an Atlanta fan for life. Don't Believe the Truth is Oasis back at their highest standards and probably their best effort since (What's The Story) Morning Glory? and Definitely Maybe. Noel has given more creative license to the rest of his mates including l'il brother, Liam, and the results speak for themselves. You get the original flavors that made their earlier work so memorable compounded with updated sounds reminiscent of the experimental, "F*cking In the Bushes" off the Snatch Soundtrack. The album kicks off with "Turn up the Sun" that begins like any other Brit Pop song. The sweeping guitars blare with unexpected softness, but then, as if to spit in your face and say "we're better than this" they pick things up with raw and aggressive emotion. Lyrics like, "I carry madness, everywhere I go" make sure you know where they coming from and which way they're heading. The current single, "Lyla," continues their firm stance and is a rockin' serenade to a girl they've been "[waiting] for a thousand years…to come and blow [them] off [their] mind." It's a surprising single to help usher in the new era because the other 13 tracks are so much stronger. Oasis - Don't Believe the TruthOf course, you can't have an Oasis album that doesn't reek of the fab four that was The Beatles. They don't shy away from professing love for their biggest influence and do so on tracks such as "Love like a Bomb" and "The Importance of Being Idle, " which sound like flashbacks to Sgt. Pepper and Revolver. Ordinarily, "throwbacks" aren't fit to carry the torch that Oasis has ignited for themselves, but they do it with such originality that the label just doesn't stick. One thought that always crosses my mind is "why doesn't Noel take mic duties away from Liam more often than not?" The emotionally charging "Part of the Queue" would never have been as great if Liam were out in front, and I bet Noel would be the first to tell you this. A great example of why the elder brother should take control more often is on "Let there me Love." Don't get me wrong, Liam's scratchy pipes work just fine, but when Noel steps in half way through, the song takes on a whole new personality. You really have to question why the man behind the band won't take the lead as often as he doesn't. So what's the "Truth" anyway? Is it that Oasis is washed up and beyond their prime as some may have believed? Maybe the real truth is that Don't Believe might be the album that's remembered in 2005 over the much delayed X&Y from Coldplay. Oasis has made a strong argument with their latest work and has defined themselves once again as a leader of the Brit Rock movement. Check it out for yourself.
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Post by Gifford on May 23, 2005 13:49:02 GMT -5
all these reviews sound the same, but at least they're getting good marks
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liamscoat
Oasis Roadie
..would Jesus Christ have been a fucking pervert if he had a crisp packet on his head.Who knows?
Posts: 334
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Post by liamscoat on May 23, 2005 14:19:57 GMT -5
Guitarist Magazine give it 4/5 and its album of the month The standout tracks are Turn up the Sun, Keep the dream Alive and Part of the Queue. |
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Post by rockandroll on May 23, 2005 18:30:15 GMT -5
Hey I noticed that in the rolling stone site they have DBTT, but appears as NOT RATED.....why's that? what about the 3 and half stars? Nevermind, they already updated the site and 3.5 it is....what a tiny review that is...specially if you consider how 'big' the magazine is... |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5