This song keeps getting better for me. Those harmonies between Noel and Liam are so beautiful. I also love to play it on the acoustic guitar.

I love that song too. Nice melody and a perfect “Liam-Noel-voices-together-song“ like Cast no shadow.

I love that song too. Nice melody and a perfect “Liam-Noel-voices-together-song“ like Cast no shadow.

I don't dislike it, but I must say that I hardly ever listen to it.

Could have been a great B-Side. I like it but I think that Noel could have come up with something better for an album track

I think it's chuffing marvellous. I love everything about it (except Whitey hacking away at his cymbals during the verses, maybe - but let's hope subsequent remasters sort that out a bit).

A 10/10 Oasis song, for me.

10/10?! I'm a big fan of the track but a 10/10 rating is reserved for all time classic songs that should be known by everyone.

I'd say its a weak 8/10.

Love that song. Always have loved it. The best part for me is that second pre chorus, with Liam givin one of his best ever performances. After, is it a top Oasis song ? I don't know.

I'd say it's better than almost every song of the last 3 albums. But I wouldn't rank it in my top 20 Oasis or in my top 5 of BHN. Still, a very good tune.

And, here's an unpopular opinion: I think it's a better song than Don't Go Away.

I like it in general, but I especially like the lyrics. It's hardly ever going to be played at a wedding, but I think especially for its directness it is pretty sweet, just the kind of things Noel maybe really said to his then-girlfriend.

I wouldn't say it's "top" of the list, but you can certainly do worse by Oasis.

The last 1:30 is brilliantly jubilant which is nice.

I am a bit of whore when it comes to dishing out 10/10 scores, to be fair. From Be Here Now, I also give My Big Mouth (you know, that bog-standard punk rocker) and all of the singles perfect scores of 10. 

Maybe taken just as songs, they don't deserve to be regarded so highly, but to me, just by them having been recorded by 90s Oasis, they have a certain magic to them - an irrepressible spirit - that, when it all comes together, like it does with The Girl In The Dirty Shirt, and you get Liam putting in a rip-roaring, utterly distinctive vocal performance over a wonderfully written Noel song (it's pre-chorus is so good you might as well have not bothered with the actual chorus!), it just becomes something... else. Something greater than what it really ought to be.

And it's for that reason why, if you gave me one final record to listen to before I died: a choice of either Be Here Now or, say, Exile On Main Street, I'd say Be Here Now without a moment's doubt. Even though Exile is, technically, a far superior record, both in the craft of its songwriting and arrangements, and in the way it's performed and put together, the Stones' blues and country leanings just don't appeal to me the same as Oasis' insatiably optimistic pop does. 

So what I'm saying is that, while tunes like The Girl In The Dirty Shirt may not be 10/10 tunes when you sit down and really analyse them, the effect they have on me is like that of a 10/10 tune.

And besides, music is a primal thing (I'm resisting the urge to say "visual", after Gem said it about 500 fucking times when promoting BE), innit? So it doesn't do to think too much about the science behind songs too much, but rather just to take them in for what they are. It's like John Peel saying the best song he ever heard was The Undertones' Teenage Kicks; he'll've heard Life On Mars? and Here, There And Everywhere and all those types that we think of as perfectly concocted pop songs, but for some reason, Teenage Kicks had a greater effect on him than anything those other songs could create. I feel much the same way about The Girl In The Dirty Shirt. 




I apologise for the length of this post. It happens sometimes...