|
|
Post by Flatulating Hallelujah on Sept 15, 2017 19:22:41 GMT -5
Lets face it...
Noel doesn't like BHN because Liam sounds fucking incredible on it. Some of his best, if not THE best vocals he did in Oasis on that album.
It's a fucking great album, end of.
Jealousy is a cruel mistress.
|
|
|
|
Post by walterglass on Sept 15, 2017 19:27:09 GMT -5
Production is lacking so I struggle with it but, yeah, it was Liam's day in the sun. His vocals are outstanding.
Sidenote: Why is it that the album production is sub-par but the production on b-sides such as Going Nowhere, Flashbax and Stay Young is absolutely fine?
|
|
|
|
Post by Flatulating Hallelujah on Sept 15, 2017 19:33:15 GMT -5
Production is lacking so I struggle with it but, yeah, it was Liam's day in the sun. His vocals are outstanding. Sidenote: Why is it that the album production is sub-par but the production on b-sides such as Going Nowhere, Flashbax and Stay Young is absolutely fine? Cocaine... All around their brain. |
|
|
|
Post by Beady’s Here Now on Sept 15, 2017 21:05:32 GMT -5
It pisses me right off that Noel doesn't rate that album.
That being said, I do understand why - he was high as a helium kite that lost its gravity and am sure that he doesn't remember much, and what he does remember he feels embarrassed now that he's off the Charlie.
Great album though - defines 90s Oasis.
|
|
|
|
Post by Headmaster on Sept 15, 2017 23:29:47 GMT -5
For Noel BHN was a huge missed oportunity.
The songs are there, the melodies are there, the quality is there, Noel knows that, but all is suffocated with overproduction and overlong lenghts, still a quality album IMO, but with a potential for much more.
We talk about tracklisting with Oasis albums, but BHN is the truly album which with more care could have been the third masterpiece.
|
|
|
|
Post by beentherenow on Sept 16, 2017 2:53:31 GMT -5
Noels stance on BHN has nothing to do with the songs themselves or Liam it's because he knows his own attitude cost him and the band joining the top tier of Rock Greats by releasing the album the way it was.
I reckon he thinks about this album more than any other and how he fucked it up. That's why the songs were/are hardly played live because they're a constant reminder of how Oasis went from being the biggest band in the world to just another band
If he hadn't been so suborn by ploughing on with the session despite them being riddled with issues, they could have let Morning Glory run its full course, had some much needed time of and come back in 98 refreshed and maybe a little more sober.
He knows it was so close but not quite their and that wasn't how the most anticipated album ever was meant to be
|
|
|
|
Post by headshrinker84 on Sept 16, 2017 7:35:57 GMT -5
I hate that Noel thinks Heathen Chemistry is better than Be here now.
|
|
|
|
Post by neila83 on Sept 16, 2017 12:04:39 GMT -5
Lets face it... Noel doesn't like BHN because Liam sounds fucking incredible on it. Some of his best, if not THE best vocals he did in Oasis on that album. It's a fucking great album, end of. Jealousy is a cruel mistress. Are you on whatever Liam was on at Wembley 2000? See a few posts below for the sane reason. |
|
|
|
Post by walterglass on Sept 16, 2017 12:18:05 GMT -5
Can anybody take a stab at explaining how the production on the great b sides from this era is excellent yet the tracks that made the album were presented shoddily?
How Mary-Mother-Of-God did that actually happen?
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 16, 2017 13:46:45 GMT -5
Can anybody take a stab at explaining how the production on the great b sides from this era is excellent yet the tracks that made the album were presented shoddily? How Mary-Mother-Of-God did that actually happen? Heroes, The Fever, My Sister Lover, The Fame and Street Fighting Man sounds awful. |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 16, 2017 13:49:54 GMT -5
The production is awful, but I like it. It kind of fits witj the songs. I prefer it above the production on Morning Glory. Would Be Here Now considered to be a masterpiece if Diana didn't died 1 week after the album release? guigsysEstringWeren't they the party people on a funeral after that? |
|
|
|
Post by walterglass on Sept 16, 2017 13:50:44 GMT -5
Can anybody take a stab at explaining how the production on the great b sides from this era is excellent yet the tracks that made the album were presented shoddily? How Mary-Mother-Of-God did that actually happen? Heroes, The Fever, My Sister Lover, The Fame and Street Fighting Man sounds awful. The Fever, Going Nowhere, Stay Young & Flashbax are all pretty great imo. Kind of perplexing, the variation in production quality. |
|
|
|
Post by guigsysEstring on Sept 16, 2017 14:36:16 GMT -5
The production is awful, but I like it. It kind of fits witj the songs. I prefer it above the production on Morning Glory. Would Be Here Now considered to be a masterpiece if Diana didn't died 1 week after the album release? guigsysEstring Weren't they the party people on a funeral after that? I've written fairly extensively on the subject of 'Be Here Now' and 1997 before, but to answer your question even without the impact Diana's death had on the UK I don't think it would be considered a masterpiece. The album came out against a backdrop of media saturation regarding coverage of Oasis and the Gallagher brothers in particular, and was met with near universal reviewer praise despite some having had private reservations regarding quality of songs and also the frankly ridiculous secrecy contracts foisted upon them by Ignition before they could even hear the record. I do believe a lot of the positivity stemmed in part from how the fairly negative reviews for WTSMG? were seen in light of it's subsequent sales, and writers did not want to be seen as wrong against public reaction a second time. Against this background what was essentially a (very good) rock n' roll anthems band was never going to match the hype and weight of expectation, regardless of wider political and social circumstances. The lack of hype as I have written before was a contributing factor in my opinion to the success of Radiohead's 'OK Computer' which their own label had downgraded sales forecasts on prior to it's release. Even if Radiohead were seen as too highbrow perhaps for some then the unexpected return of The Verve after the legal issues over 'Bittersweet Symphony' with the 'Drugs Don't Work' accidentally capturing a changing mood gave the music press and especially the wider public a new northern band to discover that were perhaps less brash and more soulful as evidenced by the multiplatinum L.P. 'Urban Hymns'. Against these releases the overexposed Oasis had little they could do or say that did not at the time seem like they had already done so. Contemporary retrospectives may have judged the album less harshly had it not been for the aforementioned hype, and the subsequent realisation that Oasis for better or worse were simply another rock n' roll band. I personally like 'Be Here Now' flaws and all, but remembering that period I can see why it is not held in the same wider esteem as the first two LPs. |
|
|
|
Post by guigsysEstring on Sept 16, 2017 14:42:49 GMT -5
It pisses me right off that Noel doesn't rate that album. That being said, I do understand why - he was high as a helium kite that lost its gravity and am sure that he doesn't remember much, and what he does remember he feels embarrassed now that he's off the Charlie. Great album though - defines 90s Oasis. I'd say it's because it's a reminder of the period his band lost near universal acclaim and dropped a bollock badly regarding the USA, which I suspect the failure to reach #1 with an album there still irks him and that L.P. was as close as Oasis came. That said North America aside unless Oasis had come back with an 'OK Computer' or 'Urban Hymns' type release then i doubt anything they put out would have lived up to the hype, and the saturation of media exposure whilst encouraged by the band was not their direct fault in terms of broadcasting and publishing. |
|
|
|
Post by SheSaidHerNameWasDot on Sept 16, 2017 14:44:49 GMT -5
The BHN era was more magical and unparalleled than any single individual will ever ever be able to explain vocally or with pen and paper. You simply had to be there. The music was actually secondary to the sheer whole experience and aura that had been created in the 3 years previous. The first time ive ever used this word. BIBLICAL.
|
|
|
|
Post by garys on Sept 16, 2017 15:20:35 GMT -5
Thought it might be interesting to read the AllMusic review pasted below
Quick side note - years ago I D/L'd an edited de-clipped version on a long forgotten blog (NOT the soniclovenoize version, this one's better) that's become the only version I listen to.
I absolutely love this album
Review by Stephen Thomas Erlewine, AllMusic
Arriving with the force of a hurricane, Oasis' third album, Be Here Now, is a bright, bold, colorful tour de force that simply steamrolls over any criticism. The key to Oasis' sound is its inevitability -- they are unwavering in their confidence, which means that even the hardest rockers are slow, steady, and heavy, not fast. And that self-possessed confidence, that belief in their greatness, makes Be Here Now intensely enjoyable, even though it offers no real songwriting breakthroughs. Noel Gallagher remains a remarkably talented synthesist, bringing together disparate strands -- "D'You Know What I Mean" has an N.W.A drum loop, a Zeppelin-esque wall of guitars, electronica gurgles, and lyrical allusions to the Beatles and Dylan -- to create impossibly catchy songs that sound fresh, no matter how many older songs he references. He may be working familiar territory throughout Be Here Now, but it doesn't matter because the craftsmanship is good. "The Girl in the Dirty Shirt" is irresistible pop, and epics like "Magic Pie" and "All Around the World" simply soar, while the rockers "My Big Mouth," "It's Getting Better (Man!!)," and "Be Here Now" attack with a bone-crunching force. Noel is smart enough to balance his classicist tendencies with spacious, open production, filling the album with found sounds, layers of guitars, keyboards, and strings, giving the record its humongous, immediate feel. The sprawling sound and huge melodic hooks would be enough to make Be Here Now a winner, but Liam Gallagher's vocals give the album emotional resonance. Singing better than ever, Liam injects venom into the rockers, but he also delivers the nakedly emotional lyrics of "Don't Go Away" with affecting vulnerability. That combination of violence and sensitivity gives Oasis an emotional core and makes Be Here Now a triumphant album.
|
|
|
|
Post by Flatulating Hallelujah on Sept 16, 2017 15:59:51 GMT -5
The production is awful, but I like it. It kind of fits witj the songs. I prefer it above the production on Morning Glory. Would Be Here Now considered to be a masterpiece if Diana didn't died 1 week after the album release? guigsysEstring Weren't they the party people on a funeral after that? I've written fairly extensively on the subject of 'Be Here Now' and 1997 before, but to answer to question even without the impact Diana's death had on the UK I don't think it would be considered a masterpiece.The album came out against a backdrop of media saturation regarding coverage of Oasis and the Gallagher brothers in particular, and was met with near universal reviewer praise despite some having had private reservations regarding quality of songs and also the frankly ridiculous secrecy contracts foisted upon them by Ignition before they could even hear the record. I do believe a lot of the positivity stemmed in part from how the fairly negative reviews for WTSMG? were seen in light of it's subsequent sales, and writers did not want to be seen as wrong against public reaction a second time. Against this background what was essentially a (very good) rock n' roll anthems band was never going to match the hype and weight of expectation, regardless of wider political and social circumstances. The lack of hype as I have written before was a contributing factor in my opinion to the success of Radiohead's 'OK Computer' which their own label had downgraded sales forecasts on prior to it's release. Even if Radiohead were seen as too highbrow perhaps for some then the unexpected return of The Verve after the legal issues over 'Bittersweet Symphony' with the 'Drugs Don't Work' accidentally capturing a changing mood gave the music press and especially the wider public a new northern band to discover that were perhaps less brash and more soulful as evidenced by the multiplatinum L.P. 'Urban Hymns'. Against these releases the overexposed Oasis had little they could do or say that did not at the time seem like they had already done so. Contemporary retrospectives may have judged the album less harshly had it not been for the aforementioned hype, and the subsequent realisation that Oasis for better or worse were simply another rock n' roll band. I personally like 'Be Here Now flaws and All, but remembering that period I can see why it is not held in the same wider esteem as the first two LPs.  I appreciate your in-depth analysis, squire*. *John. Paul. George and Ringo! |
|
|
|
Post by Flatulating Hallelujah on Sept 16, 2017 16:02:21 GMT -5
Lets face it... Noel doesn't like BHN because Liam sounds fucking incredible on it. Some of his best, if not THE best vocals he did in Oasis on that album. It's a fucking great album, end of. Jealousy is a cruel mistress. Are you on whatever Liam was on at Wembley 2000? See a few posts below for the sane reason. * *See fiends, i'm not just an Oasis obsessive...
Yeah Bwoi! |
|
|
|
Post by Flatulating Hallelujah on Sept 16, 2017 16:11:02 GMT -5
Thought it might be interesting to read the AllMusic review pasted below Quick side note - years ago I D/L'd an edited de-clipped version on a long forgotten blog (NOT the soniclovenoize version, this one's better) that's become the only version I listen to. I absolutely love this album Review by Stephen Thomas Erlewine, AllMusic Arriving with the force of a hurricane, Oasis' third album, Be Here Now, is a bright, bold, colorful tour de force that simply steamrolls over any criticism. The key to Oasis' sound is its inevitability -- they are unwavering in their confidence, which means that even the hardest rockers are slow, steady, and heavy, not fast. And that self-possessed confidence, that belief in their greatness, makes Be Here Now intensely enjoyable, even though it offers no real songwriting breakthroughs. Noel Gallagher remains a remarkably talented synthesist, bringing together disparate strands -- "D'You Know What I Mean" has an N.W.A drum loop, a Zeppelin-esque wall of guitars, electronica gurgles, and lyrical allusions to the Beatles and Dylan -- to create impossibly catchy songs that sound fresh, no matter how many older songs he references. He may be working familiar territory throughout Be Here Now, but it doesn't matter because the craftsmanship is good. "The Girl in the Dirty Shirt" is irresistible pop, and epics like "Magic Pie" and "All Around the World" simply soar, while the rockers "My Big Mouth," "It's Getting Better (Man!!)," and "Be Here Now" attack with a bone-crunching force. Noel is smart enough to balance his classicist tendencies with spacious, open production, filling the album with found sounds, layers of guitars, keyboards, and strings, giving the record its humongous, immediate feel. The sprawling sound and huge melodic hooks would be enough to make Be Here Now a winner, but Liam Gallagher's vocals give the album emotional resonance. Singing better than ever, Liam injects venom into the rockers, but he also delivers the nakedly emotional lyrics of "Don't Go Away" with affecting vulnerability. That combination of violence and sensitivity gives Oasis an emotional core and makes Be Here Now a triumphant album. You're making me feel like i've never been born. |
|
|
|
Post by Headmaster on Sept 16, 2017 17:52:55 GMT -5
Thought it might be interesting to read the AllMusic review pasted below Quick side note - years ago I D/L'd an edited de-clipped version on a long forgotten blog (NOT the soniclovenoize version, this one's better) that's become the only version I listen to. I absolutely love this album Review by Stephen Thomas Erlewine, AllMusic Arriving with the force of a hurricane, Oasis' third album, Be Here Now, is a bright, bold, colorful tour de force that simply steamrolls over any criticism. The key to Oasis' sound is its inevitability -- they are unwavering in their confidence, which means that even the hardest rockers are slow, steady, and heavy, not fast. And that self-possessed confidence, that belief in their greatness, makes Be Here Now intensely enjoyable, even though it offers no real songwriting breakthroughs. Noel Gallagher remains a remarkably talented synthesist, bringing together disparate strands -- "D'You Know What I Mean" has an N.W.A drum loop, a Zeppelin-esque wall of guitars, electronica gurgles, and lyrical allusions to the Beatles and Dylan -- to create impossibly catchy songs that sound fresh, no matter how many older songs he references. He may be working familiar territory throughout Be Here Now, but it doesn't matter because the craftsmanship is good. "The Girl in the Dirty Shirt" is irresistible pop, and epics like "Magic Pie" and "All Around the World" simply soar, while the rockers "My Big Mouth," "It's Getting Better (Man!!)," and "Be Here Now" attack with a bone-crunching force. Noel is smart enough to balance his classicist tendencies with spacious, open production, filling the album with found sounds, layers of guitars, keyboards, and strings, giving the record its humongous, immediate feel. The sprawling sound and huge melodic hooks would be enough to make Be Here Now a winner, but Liam Gallagher's vocals give the album emotional resonance. Singing better than ever, Liam injects venom into the rockers, but he also delivers the nakedly emotional lyrics of "Don't Go Away" with affecting vulnerability. That combination of violence and sensitivity gives Oasis an emotional core and makes Be Here Now a triumphant album. This reviews seems like it's for a 4.5/5 or 5/5 album, lots of praise, but then the score is only 3.5/5 instead. |
|
|
|
Post by Manualex on Sept 16, 2017 18:19:38 GMT -5
Thought it might be interesting to read the AllMusic review pasted below Quick side note - years ago I D/L'd an edited de-clipped version on a long forgotten blog (NOT the soniclovenoize version, this one's better) that's become the only version I listen to. I absolutely love this album Review by Stephen Thomas Erlewine, AllMusic Arriving with the force of a hurricane, Oasis' third album, Be Here Now, is a bright, bold, colorful tour de force that simply steamrolls over any criticism. The key to Oasis' sound is its inevitability -- they are unwavering in their confidence, which means that even the hardest rockers are slow, steady, and heavy, not fast. And that self-possessed confidence, that belief in their greatness, makes Be Here Now intensely enjoyable, even though it offers no real songwriting breakthroughs. Noel Gallagher remains a remarkably talented synthesist, bringing together disparate strands -- "D'You Know What I Mean" has an N.W.A drum loop, a Zeppelin-esque wall of guitars, electronica gurgles, and lyrical allusions to the Beatles and Dylan -- to create impossibly catchy songs that sound fresh, no matter how many older songs he references. He may be working familiar territory throughout Be Here Now, but it doesn't matter because the craftsmanship is good. "The Girl in the Dirty Shirt" is irresistible pop, and epics like "Magic Pie" and "All Around the World" simply soar, while the rockers "My Big Mouth," "It's Getting Better (Man!!)," and "Be Here Now" attack with a bone-crunching force. Noel is smart enough to balance his classicist tendencies with spacious, open production, filling the album with found sounds, layers of guitars, keyboards, and strings, giving the record its humongous, immediate feel. The sprawling sound and huge melodic hooks would be enough to make Be Here Now a winner, but Liam Gallagher's vocals give the album emotional resonance. Singing better than ever, Liam injects venom into the rockers, but he also delivers the nakedly emotional lyrics of "Don't Go Away" with affecting vulnerability. That combination of violence and sensitivity gives Oasis an emotional core and makes Be Here Now a triumphant album. This reviews seems like it's for a 4.5/5 or 5/5 album, lots of praise, but then the score is only 3.5/5 instead. The score used to be 4.5/5 before DOYS was released |
|
|
|
Post by guigsysEstring on Sept 16, 2017 19:54:59 GMT -5
Lets face it... Noel doesn't like BHN because Liam sounds fucking incredible on it. Some of his best, if not THE best vocals he did in Oasis on that album. It's a fucking great album, end of. Jealousy is a cruel mistress.
See a few posts below for the sane reason. Alcohol, cocaine, an impending divorce and a stage? Going on the OP history definitely one, maybe two and a faint possibility of it being three but a stage? Nah, not since his ban from the local karaoke bar for a "unique" stage and vocal performance of 'Supersonic  |
|
|
|
Post by mostlyharmless on Sept 16, 2017 21:47:47 GMT -5
Noels stance on BHN has nothing to do with the songs themselves or Liam it's because he knows his own attitude cost him and the band joining the top tier of Rock Greats by releasing the album the way it was.I reckon he thinks about this album more than any other and how he fucked it up. That's why the songs were/are hardly played live because they're a constant reminder of how Oasis went from being the biggest band in the world to just another band If he hadn't been so suborn by ploughing on with the session despite them being riddled with issues, they could have let Morning Glory run its full course, had some much needed time of and come back in 98 refreshed and maybe a little more sober. He knows it was so close but not quite their and that wasn't how the most anticipated album ever was meant to be Agreed. On the other hand, everything happens for a reason nevertheless. Whatever going on in BHN, it reflected the band's mindset at that moment. It's the decision made by themselves. Many people think if they could relive their lives they'd tweak at some critical points so they'd have been on a different path. It doesn't work this way. They are what they meant to be. |
|
|
|
Post by GlastoEls on Sept 17, 2017 14:27:07 GMT -5
The BHN era was more magical and unparalleled than any single individual will ever ever be able to explain vocally or with pen and paper. You simply had to be there. The music was actually secondary to the sheer whole experience and aura that had been created in the 3 years previous. The first time ive ever used this word. BIBLICAL. Nah, 94-96 was way better! |
|
|
|
Post by SheSaidHerNameWasDot on Sept 17, 2017 14:37:54 GMT -5
The BHN era was more magical and unparalleled than any single individual will ever ever be able to explain vocally or with pen and paper. You simply had to be there. The music was actually secondary to the sheer whole experience and aura that had been created in the 3 years previous. The first time ive ever used this word. BIBLICAL. Nah, 94-96 was way better! I was too out-of-it to remember  |
|
Stay flatulent!
Nov 4, 2024 5:04:30 GMT -5