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Oasis - Part Of The Queue

I don't know when Oasis became so polarizing. It's been ten years since they had hits. They landed their arse-kicking one-two punch of Definitely Maybe & (What's The Story) Morning Glory so long ago that someone called John Major was the UK's Prime Minister ... I looked it up. Since then, they have wobbled along in a jalopy of their own creation: rock's Ringling Brothers.

Yet in some circles they are castigated, denegrated, and playa hated in ways that are usually reserved for monster sour-grapes backlashes against reigning kings of the media hill ... Star Wars, American Idol, or Gwen Stefani to name three. Earlier this year, Oasis announced a headline gig at Madison Sqaure Garden to the incredulous howls of music biz "insiders" such as those on the industry forum "The Velvet Rope," amid predictions that the precious few remaining Oasis fans would be even more lonely amongst the Garden's empty seats. To their credit, these "experts" ate shit like grown men and women when the gig not only SOLD OUT, but did so in LESS THAN TWO HOURS. It is never surprising, in this age, when folks who are supposed to know so much can be SO FUCKING WRONG. What was a bit off-putting was the deep wellspring of bile just below the surface for the anti-Oasis faction, and how quickly it came to the surface.

Let's look at the facts ...

1) The two aforementioned albums -- apart from being massive around the world -- were EASILY two of the 50 Best Albums of the '90s.
2) You could count on both hands the rock bands of that era who sustained such excellence over a two-album arc.
3) The sum total of remotely listenable songs from their remaining creative output would not fill up a blank CD, and would still not compose a worthy follow up to its predecessor. (Suggested tracklisting: Fuckin' In The Bushes, Go Let It Out, Stop Crying Your Heart Out, Gas Panic!, Half The World Away, The Hindu Times, Where Did It All Go Wrong, D'Ya Know What I Mean, Talk Tonight, Acquiesce, Sunday Morning Call, Hey Hey My My.)
4) Oasis openly accept that ALL 3 of the above are obvious past the need of reiteration.

Beyond that, the Gallaghers are the funniest, most quotable motherfuckers in music by quite a margin(the exact kind of outsize personalities people mean when they lament that there are no "rock stars" anymore). They are rarely WRONG -- when they go to the trouble of calling a thing shite, it usually IS shite -- and when they are wrong, they are the first to offer a mea culpa. They have never chafed at accusations that they have lost it along the way, that they could only steal anything they ever had (what they steal is generally pretty good shit). They have never shied away from their public personae as -- depending on your point of view -- rock n' roll's Class Clowns or its Village Idiots. Cool, man, yeah.

None of explains why people have so much trouble taking Oasis or leaving them. They're just a fucking rock band, after all. Some theories:

The Anti-Anti-Intellectual Theory
Oasis are not wise men. They will never click with the pointy-heads who control the discourse at college radio and with most rock criticism, who -- correctly -- intuit that the Gallagher bruvas would just as soon kick their asses as sit for an interview. Dismissing them is easier than taking an ass-kicking.

The Freudian Rock-Star-Envy Theory
Whatever they say, most people in rock music secretly HATE rock stars. NOBODY wants to work with a rock star. Rock Stars don't do what they're told. They blow off interviews and tell you to "Fuck off, and get away from the van." They generally steal the spotlight from the "geniuses" behind the scenes, like the ones who post on The Velvet Rope. The people who bemoan the "nameless, faceless bands on the radio these days" are the ones who are MOST responsible, and secretly the HAPPIEST with the status quo. Those are the bands who will do anything their handlers say. Rock stars -- like the Gallaghers -- do whatever the fuck they want, and get all the credit or blame for themselves.

The Cornrow Theory
I once read a sports column that contended that white people instinctively hate cornrows on African-Americans because it subconsciously speaks to racial differences and our racist past. Oasis harken back to the bands that embody the overwhelming British superiority in Rock Music, ostensibly an American "invention."

Whatever, Oasis are like luggage: they'll stay with us for life or until an airline loses them. The good news is, they seem to be energized (by what, God only knows ... it's safe to say only they know for sure). The point is, they have taken it off Auto-Pilot for the first time in a while. This track, "Part Of The Queue," is a good place to start. You haven't heard this Oasis song before.

It's like Noel finally discovered the chunk of music that came out between Who's Next & Live Rust, and downloaded some Van Morrison and Nick Drake. It's a loose and spacious full band sound that he achieves. Hard-strumming folk guitar anchors the song, enabling new drummer Zak Starkey a longer leash than either predecessor ever got, and he gets up in it with jazzy verve. Tasteful accents abound, including fuzz, a lovely piano figure, and an improvised melodic bassline. And it's a breath of fresh air to hear a mutli-millionaire iconoclast admit to falling down, calling out, and generally not being immune from the soul-sucking exercise in futility that life can seem like on our bad days.

Hoo-fucking-ray for Oasis.