That is very true. A lot of their songs in Oasis for me were really good, all of those songs listed included. For me though I think there is more songs from the DGSS era that are on par with the Oasis songs, like Four Letter Word, The Roller, In the Bubble With a Bullet, The Morning Son, etc. But that's just my opinion, I can totally see where you're coming from though!

I dunno, I think he hit the nail on the head. Although, what's this about a decent song, did they release a second track that I haven't heard yet?

I liked The Roller when it came out, but Liam's live vocals have pretty much ruined it for me. It requires a lightness of approach that's the opposite of Liam's shout-singing.

amen. you don't see people calling albums like sgt. pepper's and abbey road great because of the producer (even though he was great in his own right).

it's the actual SONGS that count. as many have said here, you can't polish a turd.

i mean, when a song like penny lane doesn't make the cut, then you know you have some tunes.

i'm gonna have to listen to the Clash again and smell my cat to get that fucking song out of my head now, eva.........i hope you're happy.

fuck yeah!

Agree that a producer is hard pressed to save a rock and roll song that doesn't bring it...but for historical accuracy, penny lane and strawberry fields were released as a single BEFORE Sgt peppers as in those days bands didn't want to rip off their fans by including the single in the album...crazy days...imagine Sgt Pepper with those two on it

My interpretation on how recording sessions went with Steve Lillywhite.



* Rob Lowe = Lillywhite

* Garth = Beady Eye

Now that's funny

II like that one Lennon2217

I know production has merit. And didnt mean your thoughts by the way. I just felt they were putting to much stock in a guy to save the lp. And that sux . I hope Liam hits a grand slam personally

George Martin IMO, is not a good example to back up the point that some people are trying to make in this thread (ie: that the producer is secondary to the songs which need to stand on their own merits). George is inextricably linked to The Beatles and he is rightly, always mentioned as part of the alchemy that created their legend. Sgt. Pepper is a masterwork of production and Martin is very much responsible for its success.

This record was The Beatles' response to their frustrations about the limitations of playing live; as early as Nowhere Man, they were having trouble replicating the studio produced harmonies live. Pepper is ALL about production and deliberately unable to be replicated live (at least at that time in 67). It was such a game changer; widely regarded as a masterwork for ringing in psychedelia with full force.

Personally, I don't think it's their best record. Tracks like Lovely Rita and Fixing a Hole are pretty ordinary (Paul at his most twee) but the production certainly lifts them (all that multi-tracking with the harmonies). A Day in The Life and Lucy are of course masterful but deft production still plays a big part in their impact. Noel was obviously listening to Mr Kite when he wrote TIOBI...

What Martin and his engineers managed (staggeringly on four and finally eight track machines) was astounding. The Beatles, great songwriters for the most part, were not virtuosos with their instruments or in the studio (Andy and Gem seem the opposite).The Beatles would always go to Martin with their ideas and ask what he could do to fully realise them.

As such, I always regard Martin as almost a band member of The Beatles, more so than with the producers for many of the Fab Four's contemporaries.

When I listen to any Stones record for instance, I don't for a minute think about or even know who the producer was, largely because they're a band rooted in the Blues and known probably more so for their live chops than their studio output.

Owen Morris doesn't pop into my mind much when listening to 'his' Oasis records (which are fairly basic- very loud guitars turned up to 11 and put through that mythical 'box'). I only think of him on the rare occasion I give Be Here Now a spin (wishing he'd stayed off the gear!

With BE, the album must first
be a decent collection of tunes, no matter how much Sitek's production has or has not impacted. Performing the songs competently live will then be the ultimate litmus test- FOTF without the brass for example, will be an interesting listen...

cheers. i dig el camino, it's a good album. i'll have to revisit attack + release....

i agree with you, dangermouse as beady eye's producer would certainly make things interesting, for sure!

The lyrics might not be great but it's a catchy tune and that's what really matters. Sure lyrics matter but I'm not that serious about it. If I was I'd much rather read a book than listen to a song.