Saturday 16 December 2017

The Essential Selection 2017

I’ve read a lot of Year End Lists, and there is one abiding thought I take from all that I've seen.
They're wrong.
So, to redress the balance of correctness in the Universe, I bring you the only true and correct Year End List for 2017.

But which order do I publish it?
A selection of daily (or bi-daily) posts expounded the greatness of each individual selection?
A simple 1 to 10, or maybe a 10 to 1?
A series of cryptic clues to keep the 9 people who read this dross guessing?

I'm a bloke, a list is a list and certain rules must be followed.  So it will be a single posting (this one), with each album ranked from 1 to 14, and then some other stuff tacked on the end.

  1. Conor Oberst – Salutations
    At the back end of 2016, Conor Oberst released 'Ruminations' - a collection of vocal/piano/guitar/harmonica tracks (basically demos).  There was a brittleness and something raw about all the tracks.  And a very good album it was too.
    In March, 'Salutations' took those 10 songs, adds seven more, and they were re-recorded as full band and studio production jobs.
    Initially, you may fear that this is slightly lazy songwriting, and or the songs may lose something in translation.
    Not a bit of it - the intimacy may be diluted, but the emotion and brittleness remains.  As a result, 'Ruminations' may now be seen as a Work In Progress, and although the songs are the same there is enough difference for both albums to be as equally rewarding.
  2. Public Service Broadcasting – Every Valley
    Public Service Broadcasting hit their third album, and like the two previous is something of a "concept album".
    Album 2 'The Race For Space' told the story of the 1960s Space Race between USA and Russia, this album looks closer to home examining the rise and fall (mostly the fall) of Coal Mining in South Wales.  As a result of the subject matter, the air of triumph is somewhat pared back, almost becoming claustrophobic. 
    Now, the nature of the subject matter ensures that the air of triumph isn't quite as obvious, but this does not detract from the sheer quality and effort placed on the music and it's complimenting of the chosen archive voice tracks.
    And that choir on the closing track is guaranteed (ish) to make the hairs on the back of your neck stand up.  Triumphant?  In a way, yes.
  3. Len Price 3 – Kentish Longtails
    5 albums in, and 4 yrars since the last release, the Len Price 3 (yes, there are 3 of them but none of them is called Len) are still making a glorious garage-powerpop-mod-psych noise (was that enough genre coverage?).
    There's a couple of gear changes down, proving they can do slower tempo tenderness equally as well as full-on vitriol.
    There is no let up in quality over 5 albums, and this is the one that contains enough "open-ness" and accessibility to perhaps elevate LP3 from "phenomenal live, yet still a bit of a cult" to "slightly more mainstream than the occasional play on 6Music".
    On the one hand, I really hope so,  And yet, the music snob in me says "please stay a cult band and hidden secret"
  4. Sparks – Hippopotamus
    It takes some doing to produce an album where every track sounds like you know it, or have heard it before somewhere, and at the same time be totally new.
    The music on this album is something special, and the lyrics are served up laced with wit and dry and/or wry humour.  A right rollicking dollop of fun to be had.
    Thoroughly entertaining from needle drop to run-off groove (not that I own the album on vinyl, but you know what I mean).
     Given Sparks propensity for humourous album titles in the past, I only wish they had released and album titled: 'Pushing Aside Graham Parker'
  5. Paul Weller – A Kind Revolution
    Paul Weller may be slipping seamlessly into the position of an old curmudgeon in the eyes of many onlookers.  And yet he still retains the capability to produce a cracking album each time he enters a studio.
    This one started life almost immediately after 2015s 'Saturns Pattern', and that same groove is evident.  And then in true PW "I'm doing what I want" style it strays off somewhere else.  Not into the comfort of Weller's past 40 years in the biz, but somewhere else again.
    OK, it's not massively avant garde or experimental, but it does take the boy from Woking onward again.
    Where next? A long as it's not a deeper revisit of The Style Council euro-jazzy tones, then I'll continue to be a happy bunny.
  6. The Professionals – What In The World
    Like Weller above, the drummer on this (Paul Cook) is also 40+ years long in the tooth.
    Formed from the remnants of the Sex Pistols, and then falling apart in a catalogue of contract battles, drugs and car crashes, it took 33 years to re-form.
    Steve Jones opted to stay in LA, and Ray McVeigh (rhythm guitar) is no longer in the band, but this new album features a host of "stellar" guitar guests (including Jones-y (both of the Steve and Mick variety)), Phil Collen and Billy Duffy.  Chris McCormack of 3 Colours Red also puts in appearance, and must've done a good enough job as he is now a "full member".
    Powerpop/Powerrock, big chunky riffs, lyrics that you don't have to try to find "hidden depths" - on the whole: bang it on turn it up and enjoy the moment.  That's what Rock 'n' Roll is about (isn't it?)
  7. Noel Gallagher – Who Built The Moon
    Noel's third post-Oasis set, and still delivering the goods.
    Sometimes you just wish he would go all-out rocking, but there is something "right" about his solo output - mid-paced, almost inward looking.
    Never the strongest of voices, he uses it as another texture/instrument.
    He can glam-stomp with the best of 'em, and then go all French cinema in the same 40 minutes. He's still nicking stiff and "re-imagining it", but what's wrong with that when you come up with an album as good as this one?
  8. Sharks – Killers Of The Deep
    Another entry from the "old guys rule" file, and another return after many years away.
    The Sharks were formed in by Andy Fraser when he left Free.  Vocalist Steve "Snips" Parsons and session guitarist Chris Spedding were also in the band.
    Fraser baled in 1973, and after a couple of low selling albums, the band ended. Spedding and Parsons briefly re-united in the mid-90s, and again in 2010.
    This album from the reconvened band (plus Paul Cook (see The Professionals above)) is a collection of songs from the greatest pub band you'd want to hear (and that is not meant as a dis-service).
    Rocking, riffing, grooving with a touch of Some Girls-era Stones meets New York Dolls thrown in for good measure, this album is proof that a little bit of experience goes a long way.
  9. The Disappointment Choir – Vows
    Admittedly, I (sort of) know the duo behind this.  But this album aint here out of some form of loyalty.  It's here on merit.
    11 tracks of pure pop joy.  This is both spritely and downbeat (but definitely not down, down (if you know what I mean?)) 80s synth-pop meets Indie, with diversions into folkishness, funk and a bit of proggishness thrown in.  A simple one liner I read said: "Erasure fronted by Morrissey", and that ain't far from the truth.  Both voices provide a different perspective and tone in each song, and compliment each other brilliantly when harmonising, or sharing vocal duties.
    Plenty here to worm your way into your head, and at times insanely memorable - you could walk round for days with the melody to "Heartstrings" firmly lodged in your frontal lobe.
  10. Steven Wilson – To The Bone
    He's still progging like a good 'un, but has now added a pop slant to his output.
    All the tropes of previous releases are still evident, as is the immaculate production (what else would you expect from him?).  There's hooks-a-plenty, layered instruments, atmospheres, a bit of psychdelia for good measure.
    At times you feel you could be listening to a lost recording of late period Rush or Pink Floyd (and there's a bit of Genesis in there too -  and then he chucks in a bit of "Abba meets Bollywood".
  11. John Otway and The Big Band – Montserrat
    Otway is either a genius or completely mad - I'm plumping for the genius category, or at the very least a Great British eccentric.
    It's been 10 years since his last album, so this time (with the help of Kickstarter) he decided to go and record on the island of Montseraat, where no-one has been since the a violent hurricane in 1989 destroyed most of it.  Just one problem - he may have to re-build the studio first (see, genius!).
    Despite the daft idea, record in the Carribean he did, and what he came up with was a rollicking, loud, sometimes painfully sang (but always perfectly enunciated) collection of songs which stand alongside anything else he has done.
    Don't let the mad hair fool you, these are really cracking songs which will hang around your brain for days.
  12. Paul Heaton & Jacqui Abbot - Crooked Calypso
    OK, if I'm honest this third album from Paul Heaton & Jacqui Abbott is not as strong as the previous two.  You do get the feeling theres a couple of bits of filler crept in.
    That said, there is still much to please the ears on this one.
    There is still the wry observtions and with in the lyrics, great arrangements and top notch delivery of the vocals.  The music as ever is a sprawling variation of styles (soul, Motown, R&B, Housemartins-y pop).  As ever, there always seems to be a bit of an edge, or barbed comment going on somewhere.
    Music for grown-ups that is not bland MOR or TV stars having a crack at singing.
  13. Declan McKenna – What Do You Think Of The Car?
    Do you ever get those moments when you think "Hang on, that singer is younger than my children. Sh*t, maybe I'm to old for this game?"
    Well, Declan caused me to have that though this year.
    The songs are are lyrically great wonderfully arranged.  Considering he's only 18, this is a massively mature album (how old does that make me sound?).
    There's no histrionics, no show-boating just great indie-pop(ish) songs with a nod towards David Bowie, The Beatles and all great pop in between, whilst still steadfastly flying the indie-flag.
    The great hope for the future?  Time will tell, and by then I may have reconciled the fact that there are people releasing records who are younger than some of the old band T-Shirts I own (and still wear on occasion).
  14. Liam Gallagher – As You Were
    Afterr several listens, I can declare Gallagher The Younger's latest solo effort to be "a triumph of synergy" (ie greater than the sum of it's individual tracks).
    Many of the tracks here, when taken on their own, would probably not pass muster for a reconvened Oasis album *
    The album itself is a generally inoffensive set of songs that wouldn't sound out of place on Radio 2 or out of the mouth of Robbie Williams.  There are moments however when the boy from Burnage is standing and snarling (in a nice way) right in front of you, just to remind you that he is a fine vocalist and has achieved what he set out to do (or at least in his brothers words) and be a Rock & Roll Star.

    * Sorry Noel & Liam, but you know that anything you do will always come back to:  when's the reformation?

Haven’t got it yet, but expecting great(ish) things:
U2 – Songs Of Experience
It may be loyalty or collection filling, but I'm really hoping that this is the equal of 'Songs Of Innocence' - the only difference is that I have to pay for it this time.

Courtney Barnett/Kurt Vile – Lotta Sea Lice
Based on one single ("Continental Breakfast") and a quick listen on Spotify, I'm looking forward to the day I remember to buy this one (it's gradually making its way up the priority list)

No matter how many listens has not gained a place in the essential selection:
Elbow – Little Fictions.
Is one of the little fictions that Elbow's 2017 album was actually any good?
'The Seldom Seen Kid' in 2008 really was something quite special.  2011s 'Build A Rocket Boys' was close to achieving the trick again (but ultimately fell short).
But this ... I have tried, but I just can't find a way in. At varying moments, it is bland, dirgy, directionless and/or over-produced.
No Score Draw

Father John Misty – Pure Comedy
I know some people have been raving about this one (it's appearance in many year end charts backs this up), but it just comes across as a bit arch, a bit knowing, a bit clever-dicky.
There is nothing "bad" about this album, just nothing (beyond one and a half songs) that has really floated my boat.

Marillion - Misplaced Childhood
One of my most favouritist albums this year celebrated the monumental 32nd Anniversary.
To mark this exulted milestone, it has been re-masterd (by Steven Wilson) and re-issued in a 4 CD Box Set, along with alternative mixes, demoes, a Live Show (including a performance of the whole album) and a DVD/BluRay containing a documentry and two further Steven Wilson mixes of the album in 5.1 Surround Sound and 96/24 Stereo Remaster (whatever that means?).

Phil Collins - Not Dead Yet
A child actor with a love of music and drumming gets the gig with a group of ex-Public Schoolboys and becomes the go-to drummer for all Proggers wanting to go solo.
After taking the step forward from drum kit to Microphone, he too decides to have a crack at solo stardom.
And he does pretty well out of it.  Albeit becoming something of a figure of fun and over-exposure.
He comes across as a sound bloke, self-deprecating and willing to admit to his own mistakes.
He knows he over-exposed himself (oo-er?) in the 80s, but as has been said in many bios, he felt if the work was offered how could he turn it down because it might all end tomorrow.

I haven't been inside a cinema since Toy Story 2, so am unlikely to recommend any of the Big Budget Blockbusters, or Scandinavian Art House films that may be floated the boats of others.
Maybe I just don't have the patience, the intelligence or the imagination to really lose myself in fiction, and find myself more drawn to the documentary end of film-y things.  As a result, I highly recommend the recent Sky Arts doco XTC: This Is Pop (this has also led me to questioning why I don't own many of their albums, and am currently visiting Amazon to rectify this oversight)

It may not be Album Of The Year, but it does contain the Track Of The Year.
Father John Misty - Ballad Of The Dying Man

Conor Oberst - Gossamer Thin

Monday 4 December 2017

But which is better: Noel or Liam?

In the words of Harry Hill - there's only one way to find out.

Only this fighting is not done in the boxing ring, on stage or in the pages of the highly respected, and always correct, media.

This battle is being fought across the airwaves. and probably cooked up by one of the record companies (or both) to ensure maximum notice, interest and potentially sales for the "Fiery Feuding Brothers" (© The Sun, The Mirror, The Mail, etc).

Both these new albums are their third offerings since the inevitable, but strangely unexpected end to Oasis back in 2009.
Liam was the first to release post Oasis material in early 2011 (beating Noel's High Flying Birds by about 8 months).
To all intents and purposes, Beady Eye was basically the last Oasis line-up with Noel Gallagher.
That first album contained some good moments, unfortunately not enough to sustain interest for a long period of time.  What was missing was Noels knack of writing a tune that was both original and reminiscent
Beady Eye managed a second album, without really breaking sweat, and limped to a conclusion soon after.

Three years since Beady Eye's last outing comes his first solo effort 'As You Were'.
There has been mention, not least by Liam, that this album was his "last chance".  I don't think that is entirely true, but the record company were obviously concerned with his shortcomings as a songwriter he was teamed with  co-writers and a producer to ensure a smooth, commercial product.
And in the main it has worked - the rough edges are shorn, and the album is a return to Britpop-ish/Oasis-esque material with a lighter touch (one can't help but fearing the homogeny of sound his found Liam veering into Robbie Williams territory).
The album starts on a high - the feedback (recalling Morning Glory), crashing guitars and harmonica opening "Wall Of Glass".  But the songs never really build or lift from there - all competent stuff, but never really hitting new ground.
That said, "You Better Run", "Come Back To Me" or "For What It's Worth" (along with the aforementioned "Wall Of Glass") are amongst the very best his post-Oasis career has produced.
Sometimes the lyrical back references grate a little (Purple Haze, Tomorrow Never Knows, Helter Skelter and Happiness is still a warm gun all get a mention), but the vocal delivery, and charisma, remain second to none and re-inforces the notion that Liam does indeed posses one of the most recognisable voices of the past 20 years, and with the right song one of the best too.
There's much to like and enjoy here, but sometimes you just yearn for a bit more "edge" to it all.

Just over a month after Liam's 'As You Were', Noels Gallagher also releases his third set.  Unlike Liam, who seems happy/comfortable to remain in the rocking vocalist position, Noel always seems to be striving to do something a bit different.
Weirdly, across 3 albums there is a lot of moving forward and trying of new things, but always seemingly staying in the same place (is that possible?).
Ultimately, in my mind, Noels solo output has ultimately been more rewarding than that of his sibling.  And there is no change here, although I must add that of the 3 so far, this one is probably the weakest - it just doesn't seem to "hang together" as well as his last two offerings.

If Liam is "the voice of a generation", then Noel is "the songwriter of a generation".
The songs may not be complex, or breaking any new songwriting craft, but they are direct, accessible and memorable.
And that's what you get here - 11 tracks (12 on the bonus edition) which have all the hallmarks of Gallagher The Elder, as well as the desire to change the template.

It wouldn't be a Noel Gallagher album if he didn't implore us to "hold on", and that's just what he does on the coda to opening track "Fort Knox" (an instrumental not a million miles from Oasis's "Fuckin' In The Bushes").
Unlike past albums, there is no rehash of the "Wonderwall" chord structure, but there is plenty of references to influences, all wrapped in in his own package.
All the favourites/expectations are here: Beatles, Stone Roses, Smiths etc.
"Holy Mountain" adds something new with a Mott The Hoople stomp, a bit of The Vaccines and a bit of a Plastic Bertrand "oo-whoo-oo" backing.
Whilst the album is not an out-and-out rocker, there is plenty to keep spirits up, and also a couple of well placed instrumental atmospheric-y outings in the shape of "Interlude (Wednesday Part 1)" and "End Credits (Wednesday Part 2)".
Noel has never had the strongest of voices (certainly not in comparison to his younger brother).  To compensate for this he places his voice somewhere in the mix, rather than above it, and uses it as another texture/tool of the song.
And like everything Noel seems to release, both Paul Weller and Johnny Marr are once again drafted in for support (Weller on "Holy Mountain" and Marr on "If Love Is The Law").
The album is a bit of a mixed affair, but repeated listening reveals more and I think it might be a stayer.

Who wins?
On balance, I think it might be a score-draw.
But Noel may just nick it in the last minute as I think 'Who Built The Moon' has more staying power (and is more likely to return to mu CD player more often) than 'As You Were'

Liam Gallagher - For What Its Worth

Noel Gallagher - Holy Mountain

Saturday 4 November 2017

The Professionals


To para-phrase Alan Partridge: "They're only the band the Sex Pistols could've been"

At the fag-end of the Pistols life, Steve Jones and Paul Cook were left as the only 2 members.  John Lydon had walked out in San Fransico ("ever get the feeling you've been cheated?") and Sid was busy being Sid on a path to self destruction.
Cook and Jones kept recording to keep the name alive, and probably string out a career for as long as Macolm McLaren would allow.
As part of the recordings for the film Great Rock n Roll Swindle, Cook and Jones laid down 4 new tracks - 2 of which appeared in the film ("Lonely Boy" and "Silly Thing".  The other two ("Black Leather and "Here We Go Again" would appear as the sixth single in the multiple single pack 'The Pistols Pack'.
The album version of "Silly Thing" featured Paul Cook on vocals - for the upcoming single release, the track was re-recorded with Steve Jones on vocals.  Also participating in this session was session bassist Andy Allan.
"Silly Thing" was released as a single and climbed into the Top 10 (it was also bestowed a Legs and Co dance routine on Top Of The Pops).

Late in 1979, following the legal dissolution of the Sex Pistols, Cook and Jones re-grouped (retaining Andy Allan) as The Professionals.
Their association with Virgin Records continued, and they went into the studio to record new product.
Mid 1980 saw their first single release - "Just Another Dream" stuck in the 'Guitar, Bass, Drums, with vocals over the top' template, and none too shabby it was - although it din't trouble the chat compilers.
Their second single "1-2-3" crept into the lower reaches of the Top 50, but they kept going and continued with the plan to record the album for release before the end of the year.

And then ...

After the release of the second single, Andy Allan was ousted (did he leave or was he pushed?) replaced by Paul Myers from Subway Sect.
Allan had originally joined as a session player, but it was unclear whether he was actually ever promoted to a full time member.
Either way he felt he had not been duly credited, or indeed payed for his contribution thus far.  Add the fact that he wasn't officially under contract to Virgin Records (Virgin had signed The Professionals, which at the time was only Paul Cook and Steve Jones).
Seeking recompense, Allan sued Virgin record.  As a result of the injunction granted to Andy Allan, the track "Kick Down The Doors" was removed from the recent Virgin compilation 'Cash Cows', and all recordings to date for the album shelved.

Ray McVeigh was added as second guitarist, and they returned to the studio to start again, re-recording previous tracks and fashioning some new ones.
The re-recording of the album was declared the priority, and as a result live dates were scarce and the press and public were beginning to lose interest.
Another 6 months passed before the band broke cover with the single "Join The Professionals" - and again no chart action was garnered.
Only 2 or 3 UK shows were played before the band went off on a US Tour.
Coinciding with the US Tour, the new/re-recorded album 'I Didn't See It Coming' finally made it into the shops in October 1981 - some 16 months after initial recording.

Press response was lukewarm, and sales were slow.  Lack of promotion, and the sheer time it had taken did not endear it to a mass audience.
Shame, because in retrospect, and despite all the hoo-hah leading up to release it is a blinding corker of PowerPopPunk (if such a genre exists).
The one big criticism that can be levelled at the album is that the production is a bit thin and weedy, burying the power of Jones-ys guitar attack, and swamping the vocals.
Just a couple of days after the release, whilst in the US, the band were involved in a car accident which injured Cook, Myers, and McVeigh and abruptly ended the tour.
It also curtailed any future UK promotion for the album and it limped out of view.
After a period of recuperation, they returned to the US the following year, but the increasing drug habits of Jones and Myers put the mockers on that, and the band split and returned home (except for Steve Jones, who is still resident in LA).

And then it all went quiet - Steve Jones played some sessions with Iggy Pop, and also hooked up with some big names in bands like Chequered Past and The Neurotic Outsiders.  He released a couple of solo albums, and then "retired" to LA, breaking cover for Sex Pistols re-unions, brief guest appearances, and most recently hosting Jonesy's Jukebox on various radio stations around LA.
Paul Cook was behind the discovery and first single of Bananrama, but then effectively retired from music, popping up a long-time session drummer for Edwyn Collins.

Sex Pistols reunion activity kept them in touch (they were mates anyway, so more than likely in contact sooner or later), but The Professionals were not re-considered.

In 2016, The Professionals reformed to play a co-headline gig with Glen Matlock's post-Pistols outfit The Rich Kids.
There was obviously still enough of a spark there to consider reforming full-time and record again.

Which leads us to this - the new album ('What In The World') from the reconfigured Professionals
Cook and Myers remain from the first incarnation, but Steve Jones was unable to commit full time, so Tom Spencer fills the void this time round.
Steve Jones does appear as a guest guitarist on three tracks, along with a host of others showing the power of Paul Cook's address book.
Additional guitar oomph is provided by: Duff McKagen (Guns ‘n’ Roses), Mick Jones (The Clash), Phil Collen (Def Leppard), Marco Pirroni (Adam & The Ants), Chris McCormack (3 Colours Red) and Billy Duffy (The Cult).

'What In The World' is 10 tracks of solid, thumping, new wave / powerpunk / pub-rock / meatandpotatoesrock / (whatevergenre)rock.

Opening track "Good Man Down" sets the tone and lets you know what you are in for - solid, shout along, anthemic stuff.
OK, this may not be breaking new ground, or have some arty aesthetic underpinning the concept, but you can turn it up loud, jump around like a loony and go away with a smile on your face.
The pounding pace and power never lets up (only on "Extramadura" (featuring Mick Jones) does the tempo fall back.

There is the obvious danger that this album may be seen as a bunch of old punks in the midst of a mid-life crisis re-living their past.
Oh no no - yes the band name and members are all in "later years", but this album is as new, powerful and valid as anything produced in the past couple of years in that un-pigeonholeable genre of Rock (as we know and love it).

It took nearly 2 years for the debut to see the light of day, and it has taken 36 years for the follow-up to be released.
Both events were worth the wait (although, if you are going to do a third album, try not to leave it quite so long)
The world may have massively changed in that intervening time, but there is still a place for The Professionals

Track #1 from the first Professionals album ('I Didn't See It Coming') - "The Magnificent"

Track #1 from 'What In The World' - "Good Man Down"

Wednesday 20 September 2017

Oasis - I Was There Then

On 21 August 1997, I joined around 400,000 other people in purchasing a copy of the new Oasis Album 'Be Here Now'

The lead up to the release had been shrouded in hype and expectation, TV teaser documentaries, Radio station tempters of half-played tracks, and wall-to-wall 5 Star Reviews and gushing hyperbole about "the new album from the biggest band in the world".

What could go wrong?
Well, the album needs to be a step-up (or at least a step across) from the previous (and the competition), and needs to contain some cracking toons as well.

Was it the hype, the expectation, the pressure or the amount of cocaine flying around the recording studio?
Whatever it was, 'Be Here Now' fell short of expectations, and ultimately led to the downfall/re-configuration of the band who created it, and the death-knell of the genre it represented.

The 2 nights at Knebworth in Summer 1996 was pretty much the peak - there wasn't much more they could achieve, apart from re-group and do it all again.
But post-Knebwoth life got off to a shaky start:

Liam pulled out of an MTV Unplugged event citing a sore throat - there is a distinct possibility that the real reason was to annoy Noel, as he turned up at the Royal Festival Hall and heckled his brother.
Their next US Tour commenced within a week, but again Liam refused to go saying he had to stay and buy a house.
He turned up on the tour a week later, somewhat the worst for wear and really did himself and the band no favours in the US - his behaviour was now becoming the cartoon image that the media had created about him, and he did nothing to change this view (some say crystal meth may have played a part too ..).
The tour continued but eventually ground to a halt when Noel upped and left stating he could no longer work with his brother.  After much speculation that this was the end for the band, there was a reconciliation (of sorts) and the US tour was completed with no further major calamities.

Overt self belief, turned to self delusion.  Oasis, and more specifically Liam (although Noel came out with some daft comments too) now found themselves on the front of the Daily Mirror more often than the front of the NME.
Be fair, you give a 26 year old gobby kid from Burnage huge wads of cash, and tell him that he is brilliant.  And then follow his every move, trying to get him to do something printable, then he's going to do it.

Between Maine Road (April 1996) and Knebworth (August 1996), Noel had decamped to the Caribbean and assembled the songs for the next album.
The band reconvened at Abbey Road in October 1996 to begin recording.
The pressure and expectation, and the ever-present love/hate (mostly hate) relationship between Noel & Liam ensured these sessions were somewhat un-productive.
To avoid constant media attention, the band decided to decamp to leafy Surrey where they would be (relatively) free of distraction and media attention.

Somehow, amongst the haze of cocaine and near constant bickering (which ended up as the Brothers G rarely being in the studio at the same time) an album was created.
By all accounts, it wasn't the easiest conception - the producer Owen Morris expressed his concern that the material was "a bit weak" and was given short shrift.
Noel insisted on overdubbing everything, to the point of almost filling every spare channel on the desk with an additional guitar track.
The songs largely followed the tried and trusted formula of previously, but track lengths were extended and the songs seemed to lack focus and finessing of previously.  There is a feeling of "Oh, that'll do - let's just extend the playout a bit".  Also, the sheer amount of cocaine flying around the place may have clouded judgement at times as songs were jettisoned from the album in favour of "stuff written on the spot".
"Stay Young" ended up as another monumental Oasis B-Side when it was replaced on the album by  "Magic Pie" - not a bad song, but did it need to be 7 minutes long?

Preceded in July by the single "D'You Know What I Mean", quick sales and another Number 1 position ensured the continuing clamour for Oasis product.
Advance radio copies were delivered as late as possible to prevent "leaks" and sales on the black market (the interweb was still in it's infancy and it could take 5 minutes to download a song, and YouTube was still limited to 10 minutes maximum clip length).
This almost military control continued with the lead up to the release of 'Be Here Now' - big things were expected, and the scant promotion/pre-release only served to increase the hype.
Non-Disclosure deals were signed, DJs requested to talk over early plays, Journalists were given only limited hearing of the album.

Expectations were so high, that Be Here Now was effectively doomed before it was even released.

This album really was to be the culmination, and masterwork, of the band - their defining statement.
There was only one problem - it wasn't.

With the benefit of time and distance, a fair "soundbite summary" of the album is: 'The over-blown self-importance album'

"D'You Know What I Mean" kicks the album off on a high, which is maintained with "My Big Mouth", and despite my earlier reference "Magic Pie" is an earworm that will stay with you for days (or at least that's what happened after my re-appraisal listening).
"Stand By Me" is one of the better tracks on the album. It is a strong track, it certainly veers into standard Oasis fare territory, yet at the same time is instantly disposable.  Released as a single at the height of the hype, it perhaps suffers from over-expectation and a failure to deliver something "new", and due to Be Here Now being Noel's least favourite album, the song rarely got played live.
After that though, it all becomes a bit throw-away, dashed off, elongated and an exercise in the studio rather than songwriting and performance (Johnny Depp pops up with a nice slide guitar on "Fade In-Out").  There are moments, but the songs never seem to be going anywhere or justify their length.

Oasis really did seem to believe that they could operate at half power and still produce an album equal to 'Morning Glory'. A sort of "Sod it, that'll do. Now wheres my cocaine?" attitude is apparent in the messy, lumpy, self indulgence that inhabits this album. With all the hype leading up to it's release, it never stood a chance to be honest. But, listening again after nearly 20 years since its release, it's not that bad.  But then again, even when not comparing to the previous releases it ain't that great either. - it sits nicely in a sort of after 'Morning Glory', before 'Standing On The Shoulder Of Giants' type way.
They repeat the "finish on an epic" idea again with "All Around The World" - a song which gives Oasis their very own 'Hey Jude' (or should that be The Rules 'Shangri-La?*).
The full album version of the track ends with the sound of a door being slammed - perhaps merely intended to show the closing of the album, but as also became apparent, the relative failure of this album (in "love" rather than sales) also signified the door closing on all things Britpop-py.

* Note: Neil Inness re-nicked the string introduction used on Whatever and tacked it onto the front of "Shangri-La" - as he is listed as the writer, he can effectively to do what he wants with it.  Interesting though, that the original (and best) Beatles copyists (with The Beatles blessing) should be nicking from the (accused) Beatles copyists of Britpop.

Within a fortnight of release, the Be Here Now Tour commenced and would continue until March the following year.
During that time, the album went from "Rave Reviews" to being cited as "overblown nonsense".  The band fared not much better as relationships deteriorated, exhaustion took over, and inspiration fell flat.

Be Here Now pretty much marked the end of an era for the band.  Creation Records, despite selling records by the shedload was going bankrupt and sold out to Sony (their last act was to collect Oasis B-Sides together on the "stop-gap" album 'The Masterplan' in late 1998).
It was to be another 2 years or so before new material saw the light of day, constructed by a band shorn of all but 2 of it's original members.
When it did arrive, the (slighly) lacklustre (certainly on first listening) 'Standing On The Shoulder Of Giants' was met with mixed reviews (some savage, most of the "ho-hum" variety) and questioning whether the band would last the distance.
Even Noel Gallagher was having his doubts feeling he had nothing more to say (he was quoted as saying: "I'd said everything I wanted to say after "Rock n Roll Star") and no longer finding writing songs coming as easy as before.

"The bigger they are, the harder they fall", and Oasis fell with the hype and expectation of this album.  One could possibly cite the lack of direct competition to make the band work harder to maintain their status.  Blur (their only real contemporary competition) were in the process of moving on.  Indeed, their album 'Blur' released earlier in 1997 was not an identikit Britpop album, and even contained a track ("Death Of A Party") suggesting the genres demise.

So what was the competition?
A selection of 1997 releases prove that the bands and the record buying public were moving on from Britpop trappings, and perhaps 'Be Here Now' was not only a victim of hype, but a victim of not moving on (or: trying to stay partying until way past chucking out time, and then refusing to go home)

  • Blur - Blur
  • Spiritualized - Ladies And Gentleman We Are Floating In Space
  • Radiohead - OK Computer
  • The Verve - Urban Hymns (OK, back in Britpop territory)
  • Primal Scream - Vanishing Point
  • Super Furry Animals - Radiator
  • Cornershop - When I Was Born For The Seventh Time
  • Teenage Fanclub - Songs From Northern Britain
  • Supergrass - In It For The Money
  • Charlatans  - Tellin Stories
  • Stereophonics - Word Gets Around (post-Britpop, if there is such a thing?)
  • The Prodigy - The Fat Of The Land
  • Foo Fighters - The Colour And The Shape
  • Ben Folds Five - Whatever And Ever Amen
  • U2 - Pop

Plenty of good 'uns there - you can see what they were up against

They tried.  They didn't quite succeed.  But 'Be Here Now' is not the duffer it's suggested that it is.  OK, it ain't an essential, but it certainly stands up after 20 years distance.
A few quibbles maybe (bloated, over-produced, extended songs (or worse: half-finished or dis-interested sounding songs), better B Sides, a wall of hype and expectation that probably no-one could meet).

It may have killed Britpop (although the press, and thee bands involved were doing that themselves), but Oasis would return - albeit in a slightly humbler, less bravado (and arguably less essential) way.

D'You Know What I Mean

Stay Young

All Around The World

Tuesday 5 September 2017

Iggy Pop

Born James Osterberg in Michigan, and began his musical caerer at High School as a drummer for local band The Iguanas.  His tenure in The Iguanas provided his first appearance on record - the self-financed cover version of Bo Diddley's "Mona".

He left The Iguanas in 1966 and joined another local band, The Prime Movers, who re-christened him Iggy.  His time in The Prime Movers was relatively brief, and Iggy quit University and moved to Chicago, continuing to play drums in various Blues bands and bars.
Returning to Detroit, and now out front rather than behind the drumkit, he formed Psychedelic Stooges.  The desired sound of this new band was an amalgam of his beloved Blues with the harder sound of like fellow Detroit residents MC5 and The Doors.

The Psychedelic Stooges (soon to jettison the 'Psychedelic' moniker) comprised Iggy, Ron Asheton (Guitar), Dave Alexaner (Bass) and Scott Asheton (Drums)...

Inspired by The Doors, and Jim Morrison's stage presence. Iggy began to develop his own on stage persona - a combination of Jim Morrison, Mick Jagger and James Brown, with a healthy dollop of antagonism, theatrics and stage diving thrown in.

When Elektra Records visited Detroit intent on signing the MC5, guitarist Wayne Kramer said to Danny Fields (Elektra A&R): "If you like us, you'd love The Stooges".
Kramer was right, Danny Fields did indeed love The Stooges, and signed up both bands.

The Stooges released two albums for Elektra.
Neither sold in huge numbers which, with hindsight, is a surprise considering the esteem and cited influence they now hold.
The debut album (entitled simply 'The Stooges') released in 1969 was originally intended to be a document of the best tracks in their stage set.  However, Elektra rejected the original 5 track version, and the band returned to the studio to create some extra tracks.
The 5 core tracks were: "I Wanna Be Your Dog", "No Fun", "1969", "Ann" and "We Will Fall".  These were augmented by "Real Cool Time", "Not Right" and "Little Doll" quickly written, virtually sticking to a template and played and recorded in one hit in the studio.
Why have I mentioned all 8 tracks from the album?
Purely because there is no one true stand out above all others - all are as vital to the experience as each other.  Is this a damn near perfect album?  Well, it may not be to everyone's taste, but there are no duffers here.
The 8 song album was now accepted by Elektra and released to the US public.  Unfortunately, there were few takers.

Both the band and the record company were undaunted by this.  Live shows continued, reputations enhanced, and the band booked into the studio for work on their next album.
'Fun House' (1970) pushed on from the raw debut.  The prime difference here is that whilst the production on the debut sort of cleaned and (arguably) sanitised The Stooges live sound, the production here was almost a case of "turn everything up and play loud".
The bands confidence and playing ability is noticeably improved, even though the studio surroundings were not exactly comfortable (if anything, they were too comfortable, until they ripped the innards out and performed side by side in a live state with instruments bleeding into one another).
Sometimes sounding like a descent into madness, or the sound of a nervous breakdown (this is meant as a "good thing").
There is one less track here, but both the title track "Fun House" and "Dirt" break the 7 minute barrier.
There is a mad squwaking sax popping up on tracks which just adds to the mayhem, but again, like the first album, the mixture of danger and excitement remains.
The closing track "LA Blues" is a combination of avant-garde sound collage, a drunken jam and Primal Scream therapy.  It is in effect 4 and a half minutes of screaming over feedback, but is oddly memorable and not one that you feel compelled to skip.
The hopes of both the band and the record company were once again dashed as the album failed to sell.

The usual cocktail of drugs and booze was taking hold of the band, ultimately leading to the sacking of Dave Alexander.  He was replaced by Jimmy Recca, and James Williamson turned up too on second guitar fattening the bands sound.

By mid 1971 - the drugs and booze had firmly taken hold, nothing new was being recorded, and the band missing live dates.  This unreliability, and the ongoing commercial failure led to the band being dropped by Elektra, and then splitting up.

After the demise of The Stooges, and obviously at a loose end, Iggy was considered as a replacement for his original influence Jim Morrison in a re-constituted Doors.
Various reasons exist for why this never happened, ranging from Iggy not feeling he was capable or even worthy of replacing Morrison, he tried out but wasn't up to the job, or the very simplistic (and ambiguous) "Plans fell through".

Iggy met David Bowie at Maxs Kansas City in New York and this association and virtually instant friendship resulted in Iggy signing to Bowies Mainman Management company.  A new recording contract was arranged with CBS, and soon after Pop and Williamson flew to London to commence recording a new album (with David Bowie in the producers chair).

It is generally accepted that the original model/inspiration for Ziggy Stardust was Vince Taylor, but there were two other characters in Bowie's mind in the formation of this alter ego.
One was Lou Reed, and the other was Iggy Pop - both from commercially unsuccessful bands, not always critically hailed, but had a firm following.
By late 72, Bowie was working to rescue/re-calibrate both performers acting as producer for Lou Reed's 'Transformer' and Iggy's 'Raw Power'?

Iggy and James Williamson set to work on a new batch of songs, whilst trawling round for a rhythm section.  When they couldn't find anyone suitable (or available?), a message was sent to the Asheton Brothers (did Iggy say: "We're putting the band back together"?).
The final incarnation of The Stooges was re-convened - the main change in the team was Ron Asheton switching to bass.

'Raw Power' opens with the needles flying into the red, feedback and instruments bleeding all over the place.  The pace and energy of this album never subsides - only "Gimme Danger" really veers from the template, sounding almost like a Wild West epic, but it still has the same edge.  The album lives up to its name by being both Raw and Powerful.
Songs like "Search And Destroy" and "Your Pretty Face Is Going To Hell" are the essence of what has been called "proto-punk" (not a title or genre I particularly like to use, but it does the job).  Arguably, this album is more "proto-punk" than the first two as it just feels more relentless.
The prime difference with this album is it actually sold units - OK, not massively more than The Stooges debut in the US, but (possibly as a result of David Bowie's patronage) it did achieve a Top 50 placing in the UK.

Augmenting the band with Scott Thurston on piano, they headed out in tour in support of 'Raw Power'.  Iggy's ever increasing heroin habit, and relationships within the band hung over the tour.  By the time it was completed it, they had been dropped by their record company, sacked and re-instated James Williamson, and were generally falling apart once again.  Some shows on the tour were aborted due to an inability to play properly, or the desire to be on the same stage together.  The last show descended into a mass brawl between band and audience. After this the band split up for the second time.

Descending further into heroin addiction, Iggy took himself to rehab to try and get straight.  One of his few visitors was David Bowie, and in 1976 Iggy was added to the entourage for Bowie's Station To Station tour.

By late 76, David Bowie was decamping to Berlin (via Switzerland), and Iggy followed.  The plan was for them both to beat their narcotic addictions together in the isolation of Berlin.
This continuing support and collaboration resulted in (a) a 3 album deal with RCA, and (b) his 2 most acclaimed, best known, and probably best selling albums 'The Idiot' and 'Lust For Life' (both released in 1977)

'The Idiot' was a mutual collaboration between the two musicians - Iggy had been impressed by Bowie's work ethic seen on the Station To Station Tour, and Bowie was convinced of Iggy's abilities as a songwriter and performer.
Recorded using Bowie's current band, the album comprised 7 Iggy/Bowie compositions, plus 1 with Carlos Alomar.
Whilst the thrash and urgency of The Stooges may not be here, there remains the same tension.  There is a pervading darkness and coldness, a feeling of European-ness (whatever that is?) and a touch of Kraftwerk-ism.  Doubtless the influences and sounds arise from both the recording environment and the personal situations of the songwriters, about the album too.
"Funtime" approaches the swagger of The Stooges (albeit in a "cleaner" restrained manner) and "China Girl" would go on to make Iggy some welcome cash.
The Stooges story is re-visited/re-considered in "Dum Dum Boys" complete with it's insistent guitar riff throughout, and closing with the dark, experimental, almost desolate "Mass Production".

David Bowie and has band went from 'The Idiot' into the recording of 'Low' - taking Iggy along too, he provides backing vocals on "What In The World".

A new band was put together (Ricky Gardiner (Guitar), Tony Sales (Bass), Hunt Sales (Drums)) and The Idiot was toured with assistance from Bowie on piano.
Straight after the tour, they returned to the studio and knocked out 'Lust For Life' in a fortnight.

There is a greater rock & roll swagger to 'Lust For Life' than the previous outing.
The Pop/Bowie collaborations is present on 7 of the 9 tracks, but gone is the brittle, cold, and experimental nature of 'The Idiot'.
This is Iggy letting loose in Stooges-stylee, with David Bowie restraint (does that make sense?).

The album houses two of Iggy's best known songs in the shape of the title track (later to bring him to a new audience (or remind his audience) when used in Trainspotting, and "The Passenger".  "The Passenger" shares a darkness with 'The Idiot' material but is delivered in a more upbeat manner, and another insistent guitar riff (that even I can play).

These two milestone albums gave Iggy an artisitc re-birth and (at last) some proper commercial success.  What next?
For whatever reason, he wanted to end his 3 album deal with RCA quickly so put out a hastily mixed Live album ('TV Eye', released 1978) split the remainder of the advance with Bowie and left Berlin and Bowie to start afresh under his own terms.

He signed to Arista and released 'New Values' in 1979.
Alongside Stooges compadres Jame s Williamson and Scott Thurston, this is a very good album.  Unfortunately, it's not a great album, and suffered the same fate as previous albums in that it just didn't shift units.
Two more albums followed on Arista ('Soldier' (1980) and 'Party' (1981)) but neither did the business, and Iggy was again dropped by his record company.

The 80s weren't really a rare old time for Iggy.
His continuing patronage from David Bowie resulted in a steady(ish) income - "China Girl" was covered on 'Lets Dance', and was a Top 5 single.  'Tonight' contains 5 Iggy/Bowie co-writes, and one more of 'Never Let Me Down'.  This provided Iggy with some form of commercial success, but not in his own name.  He could however take some time out to become an actor - albeit not totally successfully, but he tried.
The 80s albums contain a raft of special guests including  2 Sex Pistols (Glen Mattock & Steve Jones), 2 Blondie members (Chris Stein & Clem Burke), a Rich Kid (Steve New), 2 Guns (or Roses?) (Slash & Duff McKagan) and a B52 (Kate Pierson).
1986s 'Blah Blah Blah' renewed his producer/artist relationship with David Bowie, and finally gave Iggy a Top 10 single in the shape of "Real Wild Child".
The albums of the 90s and 00s were of a similar offering - good to hear that Iggy is still about, but not earth-shattering.
He also "retired" to Florida, played golf, and became something of a celebrity - Car Insurance, Radio shows, TV interviews.

It's fair to say that his last truly great albums came in 1977 ('The Idiot' and 'Lust For Life'), so 2016s 'Post Pop Depression' came as something of a welcome surprise.
It had only taken 30 years, but this was the follow-up that those two high points demanded and/or suggested.

The collaboration with Josh Homme proved fruitful and some of the songs bear a passing resemblance to the Berlin output, with passing nods to both Scott Walker and (the ever present) Bowie.
The album has a focus, a purpose, and is delivered with energy and commitment of old.  You get the felling that the pair laboured over this to make it the best it possibly could be, rather than the feeling from some of the 80s/90s output of "Oh, that'll do").

It's Iggy's name above the door, but this is just as much a band album as a solo album.  And in the shape of Josh Homme, Iggy has found another collaborator that has a similar alchemy.

The recording of the album commenced 2 days after the passing of his friend, supporter and mentor.  So whether by design or coincidence, the influence is noticeable.  There are at least two songs here (probably "Keys To Your Heart" and "Sunday" which may well have been covered had there been a 'Pin Ups Re-Re-Visited' in future years.

There are times when he comes over like a snarling Leonard Cohen against a solid garage-rock bed.  At other, there's a balance of anger, intelligence and eloquence in the lyrics.
If this is to be Iggy's last outing (as has been widely suggested, if not always believed), the closer "Paraguay" is not a bad way to sign off.
And he can rest assured that (in my ears at least) he has salvaged his legacy which may have been lost, or at least sullied, with his ho-hum 80s output.

I Wanna Be Your Dog

Search & Destroy

Lust For Life


Saturday 1 July 2017

Led Zeppelin

When you're first getting into all things "Rock" and "Music", and particularly the variety including the words "Heavy" and "Metal", a little history is always sought.

My kicking off point was Iron Maiden, so (in simple terms) a little backward movement brought UFO and NWOBHM era into my sights.  Slightly further back was Motorhead and Judas Priest.
Further back marks the "Beginning", the genesis (not the band) of Heavy Metal.
The names Black Sabbath and Deep Purple are synonymous with this event.  As are the band often spoken of in rarified tones, a Heavy Rock equivalent to The Beatles ... Led Zeppelin.
And in my Metal phase, I never really liked them.  I liked "bits" but never went balmy on the full album experience.  It was only in later years that I properly listened, more so due to the recent (2014) Remasters.

The Headlines:
  • They were the biggest band in the world
  • They wrote the rule book of Stadium Rock shows, and Rock n Roll Excess
  • They set the template (either directly or in-directly) for pretty much all forms of Hard Rock that followed
  • They may (or may not?) have entered into a pact with the devil in return for unparalleled success
    (The fact that their subsequent solo careers have not exactly been stellar by comparison does possibly add some weight to this almost preposterous theory)
  • Their life span was a little over 12 years, and they released 8 albums and 1 live album - this total number is expanded to a nice round 10 if you include the posthumous "sweep up / vault emptying" collection (some people don't)
  • They have sold in the region of 300 million albums
  • In a sign of solidarity and singularity as a band, they split a couple of months after their drummer died
But were they really "all that" ?

Formed following the demise of The Yardbirds, Jimmy Page was left with contracts and live dates, but no band to fulfill them.
Page's vision was to form a supergroup, and trawled around for the best players he could find.  First choice vocalist was Terry Reid - but he was committed to 2 US Tours with the Rolling Stones and Cream.  Reid suggested Robert Plant from Birmingham band Band Of Joy, and drummer John Bonham came along as well.
Session musician John Paul Jones had crossed path many times with fellow session-er Jimmy Page in the past, and had expressed interest in playing with Page on any future projects.
Upon hearing of the vacant bass player position in the new band, Jones whacked in his application, which Jimmy Page readily accepted.

Together the as yet un-named band (they started life as the New Yardbirds) started brief rehersal together in August 1968, and the following month flew to Scandanavia to complete the pre-planned tour.
By the end of September, the four piece were in the studio recording their debut album, and had acquired a new name - Led Zeppelin - based (apparently) on a Keith Moon quip that a previously mooted supergroup featuring Jimmy Page, Jeff Beck, John Entwistle and Keith Moon would go down like a Lead Balloon.

A contract with Atlantic was duly signed, giving the band virtually complete artistic control in all aspects of recording, performance and promotion (there was apparently a clause which stated "No singles", but Atlantic either mis-read,forgot or ignored this section as around 10 singles were released in the US).
The debut album followed in early 1969.  It is 9 tracks of full on heavy blues riffage mixing effortlessly with acoustic passages, with wailed (almost anguished) vocals - without wishing to get all upmeownarsejourno about it, a veritable tour de force.
Opening with "Good Times, Bad Times" the pace never flags even on the slower tracks like "Babe I'm Gonna Leave You" and "Black Mountain Side".  And "Communication Breakdown" was/is the probably the heaviest thing to ever be committed to record at the the time.
Critical reception was initially luke-warm, but subsequent sales and the interest in the live shows tells perhaps a better story than the reviews.

By the end of 1969, their second album (imaginatively titled 'Led Zeppelin II') was released. Recorded at various studios wherever the mood took them and wherever they were in the US or Europe, as a result 'II' doesn't have the cohesive feel of the debut.
It does however repeats the same trick of being massively heavy (probably more consistently heavy than the first release) interspersed with moments of lightness.  It also includes a Drum Solo - "Moby Dick" - which would become a highlight of future live shows.
Opening track "Whole Lotta Love" was used as the theme music for Top Of The Pops throughout the 70s, so although many people may claim to never have heard Led Zeppelin, they were probably exposed to it every week without knowing.

A debut album recorded in two weeks, the second recorded in a studio wherever they found themselves, for the third album the main composers (Page and Plant) took themselves off to a deserted cottage in Snowdownia to recover from the US Tour and prepare material for the new album.  After a couple of months recuperation and composing, the rest of the band convened at Headley Grange Manor House to rehearse and record the songs.  The pressure of constant touring was lifted (although they visited the US again before the albums release in October 1970), and the songs reflect both the pastoral, peaceful nature of the Bron-Yr-Aur sessions, the greater influence of folk and acoustic songs and a more relaxed atmosphere as a whole.
"Immigrant Song" picks up where 'II' left off, and "Celebration Day" rocks like anything they'd done before.
Previous albums had been mostly heavy riffing with acoustic interludicals, this album turned the template in favour of the acoustic.  Despite the change, it still has the sheer "oomph", the same presence (albeit acoustically rather than blasted through a wall of Marshall stacks) and shows the sheer versatility of the band.

You've invented Hard Rock, you've perfected the formula further, and then you've brought acoustic, folk, and even a tinge of psychedelia into the mix.  Where next?
You bring it all together in one perfect 40 minute statement.

Officially, 'Led Zeppelin IV' has no title - it was released in a cover containing no reference to the band, no photographs and no track listing.  There is no title printed on the record label, only the bands name, although there are 4 printed symbols, or runes, apparently representing each member of the band.
This has led to this album going by various titles including: IV, Untitled, Four Symbols and Zoso (or Zofo) - a literal interpretation/reading of the symbol representing Jimmy Page.
Pick a favourite track?  "Black Dog" and "Rock And Roll" are the rockingest, riffiest songs going.  "Battle of Evermore" (featuring Sandy Denny) continues the light, folk-y touches with added lightness and folkiness, as does "Going To California" (but this time without Sandy Denny).  Oh, and this is the album that features "Stairway To Heaven" - a little known Zep track, but one that is pretty good.
Pick a track, any track and it is a bona fide classic of their cannon - I can confidently say this album is "all killer, no filler"

The first 4 releases are undoubtedly their absolute masterworks, and depending on which day of the week it is, thy will interchangeably sit as the critics (and probably most fans) Number 1 choice.
4 - 1 -3 - 2: that would by my choice (recommendation?).
Interestingly that is also my Credit Card PIN (no it isn't)

But ...
After those, what came next was a series of ever diminishing returns - a lot to like, but never as consistent or wholly enjoyable as the first releases, often getting lost in 'sonic experimentation' (ie they were trying to add to the already winning template), stretching and lengthening songs, self-indulgence, and general jamming.

'Houses of the Holy' sees the band stretching themselves further into reggae ("D'Yer Maker") and funk tinged ("The Crunge") songs, and bounds along nicely if never feeling as essential as the first four.
After four albums identified by numbers (or in the case of the fourth, not identified at all), this was the first album that could've conceivably had a tile track - it didn't.  The opening track "The Song Remains The Same" was later used to name their Live Album and film.
The track "Houses Of The Holy" was recorded in the sessions for this album, but not used and eventually appeared on subsequent album 'Physical Graffiti'.
It is a great album, probably their last consistently great album, but just feels less "live" and more a product of studio technology

1974 marked the end of their record contract with Atlantic.  No doubt eager to hang on to the cash cow, a deal between the record label and band saw the creation of Swan Song Records - the label was wholly owned by the band, but distributed through Atlantic.

The first Led Zep album on Swan Song (and the third in the catalogue after Bad Company and The Pretty Things) was 'Physical Graffiti'.
A sprawling double album, and maybe, just maybe, having their own label meant that the Quality Control button went missing.  Originally planned a single album, the band found themselves extending songs, pulling old stuff out the closet, and when they realised they had more than a single album, adding some padding (good padding, but padding nonetheless).
Similar to The Beatles White Album, this would've been a phenomenal single LP but by pushing it to a double it all becomes a bit strained.
There are some very good songs here ("Kashmir" being a prime example, and the most common option for "Best Zep Toon which isn't Stairway To Heaven").  But there are also some dragged out moments which makes listening to this album in one sitting sometimes difficult.
If Led Zep did indeed set the template for Hard Rock/Heavy Metal, then 'Physical Graffiti' is the specific template for all US Hair Metal of the 1980s.

Following the tour in support of the album,culminating a 5 nights at a sold out Earls Court, the band took a break after almost 6 years of continuous writing, recording, touring and excess.  Another US tour was planned for late 1975, but following Robert Plant's car accident in Greece (which broke his ankle and necessitated a blood transfusion for his wife).  The tour was cancelled, and focus switched to preparing the next album.
After Plants recovery, and brief rehersals, the band moved to studios in Munich to record.

The recording, overdubbing and mixing was complete in just 18 days.  The album was very much a return to the straight simple rock sound of the past - very direct and inyerface, if not quite rocking like a b*stard as previously
As such, it sits slightly awkwardly in their cannon.  Listened to in sequence, it feels a bit of a step backwards after the relative progression of the first 4 albums the stretching/experimentation on 'Houses Of The Holy' and sprawling self-indulgence of 'Physical Graffiti'.
It is an absolute triumph when one considers the background it's creation, and the speed it was recorded.
OK, it sounds laboured in places (and I'm going to use the phrase again: the self-indulgence is firmly in check here), but in the shape of "Achilles Last Stand" and "Nobody's Fault But Mine" there are at least 2 tracks that stand admirably in the catalogue ("For Your Life" almost, not quite, makes 3).  In fact, like most of their outings, there is not really a duffer on show here.
In retrospect, and despite my initial misgivings of this album, now I listen to it again, I'm sticking it at Number 5 in My Zeppelin List.

Next up was the double live album 'The Song Remains the Same' (recorded at Madison Square Garden 1973).
Including a selection from the first 4 albums, plus "No Quarter" from 'Houses Of The Holy', one can either be mesmerised or frustrated by the amount of extension that goes on with the tracks.  "Dazed And Confused" gains 23 minutes and fills a whole side of the album, and other than the first 4 tracks, all the others gain at least 3 to 5 minutes of soloing, noodling and jamming.
Like 'Physical Graffiti', if you're in the right mood you are almost marvelling at the jamming capabilities of the band.  If you want to rock out Zep style, you may press skip a few times after side 1.
Released in conjunction with the film of the same name, the concert film was interspersed with backstage footage (Peter Grant arguing mainly) and a series "Fantasy Sequences" showing the band at home and occupying their imagined worlds.
Like it's parent album, the film can be a bit difficult to get through in one sitting too.

That pact with the devil was obviously starting to crack, as after the problems leading up to 'Presence', preparation for their next album were dealt another massive blow.
John Bonham was becoming a fully blown alcoholic - never enjoying time away from his family when touring, the booze helped and eventually reached almost dependency status.  Jimmy Page was also dabbling in the world of heroin - this had the effect of creating divisions within the band with the (relatively) clean John Paul Jones and Robert Plant on one side, and the drunk Bonham and spaced out Page on the other.
Add to this, the death of Robert Plant's son in 1977 (made worse by the fact that he was away on tour at the time) and 2 years enforced tax exile meaning the band couldn't perform live in the UK, then this was necver going to be an easy album.
As a result of the relative incapability of Plant and Bonham, 'In Through the Out Door' is led by Jones and Plant.
In retrospect, because we know this was the last Zep album, its a tough one because it does sound like a band dying on its arse.  At the time, no-one knew this so this was the sound of a band trying to find somewhere to go to re-invigorate themselves.  It's a brave attempt, but does sound lumpen and dis-interested (in fairness, other than Jones, none of the others really had their focus at the time).  "In The Evening" is not a bad start, but the album never really gets going or finds a groove.
It just sort of happens - I don't think there are any real stand-out tracks here, at least none that I want to tack onto a Led Zep compilation.

After 2 years away from the stage, and 4 years since their last appearance in Britain, they played two concerts at Knebworth in front of nearly 200,000 people.
A Brief tour of Europe followed in 1980, with a planned jaunt back to the US for October - their first Stateside visit for 3 years.

However ... the death of John Bonham following an all day drinking session (obviously) led to the cancellation of the upcoming US Tour, and ultimately (before 1980 was out) the official dissolution of the band.

The final Led Zeppelin album 'Coda' was released in 1982 - this was a collection of unused tracks and out-takes from earlier sessions.
This collection pretty much cleared the vaults as their ethic was to use everything they recorded.
Interestingly, the three tracks not used for 'In Through The Out Door' ("Ozone Baby" "Darlene" and "Wearing and Tearing" may have saved that last album from being a bit lumpy (certainly to these ears anyway).

So where they really all that?
In the main Yes.
They were a band that were greater than the sum of it's parts.  Certainly their relative success in solo careers shows that they needed each other to push things further.
The solo life an Page and Plant is all very competent in the main, but never quite pushes into being essential.  But with all that weight of history and expectation, being a solo artist was never going to be an easy task.

Where would they have gone next, and would there be a place in the world for them if they were still together now?
Listening again to 'In Through The Out Door' it really does sound like they were at the end of their time together, and whether there would've been any new Zep product is debatable.  But by the same token, there are glints in some of the tracks where the might've tried to go (ultimately though, you feel that they would've resorted to type and continued the big heavy riffing which is their recognised stock-in-trade)
It is of course possible that they may have rode out the 80s Rolling Stones style (ie lacklustre albums, ageing rock royalty) and followed the same path of massive arena shows with maybe the odd album (containing one or two half decent songs).

The Heavy Rock equivalent of The Beatles?  Why not, it seems a fair comparison

The band had only been playing together for a month or so and they came up with this:
Communication Breakdown

From 'Presence', probably the last (or one of the last) "Classic Zeppelin" track:
Achilles Last Stand

Every band has it's imitators, and Led Zeppelin were no different.
How about an Elvis Presley fronted, reggae infused version?
"No such thing" I hear you shout.

Au contraire

Dread Zeppelin - Whole Lotta Love

Thursday 15 June 2017

It says nothing to me about my life ...

When you're 13 or 14, the only way to start your weekend was by settling down on the sofa and switching to Channel 4 to watch The Tube.
The jump from Top Of The Pops to Whistle Test (it had only recently lost it's "Old Grey .." moniker) was perhaps to great to take in one step, and so The Tube offered an alternative route.
A music show that didn't take itself too seriously, placed the bands and the music at the forefront (not what they were wearing, or what their favourite sandwiches were), and didn't come over like a glorified Youth Club party fronted by Radio DJs that were virtually ancient, and despite their enthusiasms really showed no great love for the music on offer (John Peel and Kid Jensen are exempted from this observation, as they seemed to spend their allotted half hour subtly ripping the p*ss out of everything)

It was on The Tube that I first heard and saw The Smiths.
The song was "This Charming Man" - it was genuinely exciting on first hearing.  Certainly compared to the relatively lame opposition.  It had that added frisson of excitement being an Indie record (when being "indie" meant being independent not having a guitar and sounding like a pile of other bands).
But I wasn't so taken with the pillock of a lead singer - all hearing aids, National Health Specs and flowers.  What's that all about?  Is he trying to be a northern version of Neil from The Young Ones?

Good song (nay, great song) but my boat remained well and truly unfloated.

School days in 1983/84 is split into distinct factions when it comes to music (and this is a sweeping generalisation):
  • The "girly pop" of Duran Duran and Spandau Ballet
  • The Reggae bods - serviced by UB40 and Bob Marley
  • The scruffy metal heads, pretend punks and part time goths - Iron Maiden, Judas Priest and Motorhead very much to the fore
  • Goths and Indie kids - 4AD, Bauhuas and The Cure.  When it wasn't dark, it was all a bit maudlin and student-y
  • The cool kids who probably read books, wore polo necks and were likely to go to university - U2, Simple Minds and maybe some jazz seemed to be permanently playing on their Sony Walkmans.
The Smiths straddled these last two groups bringing together hitherto un-communicative tribes
Despite owning, and playing to death, a copy of U2's 'War', defending the greatness and importance of the Human League, flexing my "classics of history" chops by listening to The Shadows, and defending the vocal prowess of Rod Stewart, I fell firmly into the scruffy sod category - a designation I felt entirely comfortable with.  Having a predilection for very loud guitars, thumping drums and a general air of chaos meant my occupation of this group was probably pre-determined.  Citing Worzel Gummidge and Compo as fashion icons and only added to the confirmation.
(Hence the title: at the time, it really did say nothing to me about my life - or at least no reference that fully fitted (I had never seen a punctured bicycle on a hillside desolate, nor was I the son and the heir of a shyness that is criminally vulgar)

Now, this wasn't quite the open warfare of Mods and Rockers or Punks and Skins, the battle lines were only shakily sketched and there was great tolerance - or at least "some" tolerance (usually) of each other musical choices (although anyone who declared Culture Club's "Karma Chameleon as the greatest song ever written was likely to get serially duffed up).

I had a sneaking admiration for Morrissey's anti-popstar stance - the moody pictures in Smash Hits, the difficult interviews, a glamourisation of an unglamorous past that I didn't understand, and the use of big words.  And all that was underpinned by Johnny Marr's jangling, insistent guitar.
And whilst the songs I had heard always made me think "mmm ... bloody good that" it never translated into a single or album purchase.

But you can't resist forever, and in early 1987 I finally succumbed and purchased a copy of the compilation 'Louder Than Bombs' on import from my local, friendly Our Price.
The singles "Shoplifters Of The World Unite" and "Sheila Take A Bow" had burrowed their way into my head, and I was now at the point where I had to have more Smiths material - the compilation (despite it's increased cost due to being an Import) was a necessary purchase.
OK, I could've saved myself 3 or 4 quid by buying 'The World Won't Listen' (the UK version of the expanded US release 'Louder Than Bombs'), but this ignores the snobbery of owning an Import, and the fact that the US version had extra tracks, including some earlier material.

I bought this, listened to it, digested it and returned it to the shelf - "Yes", I thought. "there are good songs there.  It ain't half bad.  But it's still not me".
And then over the next few weeks I would find odd tunes or a lyric popping into my head for no apparent reason - I may have become infected (except that was by The The - another band beloved of the Indie Kids and the beatnick-chique Cool Kids)

Yes, I had been bitten - Louder Than Bombs was pulled from the shelf and re-played - this time the jingly guitar and (apparently) downbeat lyrics were going in.  I wasn't a born-again Smiths fan, but I could certainly now appreciate what was going on there, and wanted to hear more.

And then in July 1987, the NME (my paper of choice at this time (with a side order of Metal Hammer) carried the headline: Smiths To Split.
Typical - a band I've just got into, and will spend my hard earned cash diligently buying new releases from are calling it a day.
Timing was never my strong point, and as per usual I'm late to the party ... again

September 1987 saw the arrival of the new (and final) album, and in my state of new found fandom I bought it on the day of release.

'Strangeways Here We Come' is an album, I have come to learn, that divides opinion among Smiths aficionados.  Indeed, 'The Queen Is Dead' is often cited as their masterwork, and this album usually props up the list of  their 4 studio albums.
Some bemoan the stretch, or adoption of different stylings and influences, others cite the glossier, richer production at play.
Me, I had nothing to compare it to in 1987, and all I could find here was an absolute cracker of an album.
From the opener "A Rush and a Push and the Land is Ours" to closer "I Won't Share You", Morrissey and Marr supported by Rourke and Joyce are presenting their best work.
OK, "Unhappy Birthday" don't quite cut it, feeling a bit forced and smells a bit of padding.  And "Last Night I Dreamt That Somebody Loved Me" almost outstays it's welcome (and all goes a bit Pink Floyd-y), but 2 (not total) clunkers out of 10 tracks aint a bad hit rate for an album recorded in the midst of personality clashes and breaking relationships.
Previously, I would've added "Death At One's Elbow" to the list of "nearly, but not quite", but having re-listened to it, it is a great rock-a-billy workout, almost pointing the route was Morrissey would initially embrace.
"Paint A Vulgar Picture" deserves a mention as lyrically it is a bit of a diatribe against record companies reviving, re-issuing and re-packaging.  It maybe tounge-in-cheek, but it can also be read as a bit rich bearing in mind that The Smiths already had 2 compilations (3 if you include 'Louder Than Bombs') in their catalogue, and would ultimately have their entire output re-packaged several times over in the next 20 years (OK, that was more WEA trying to maximise their returns, rather than the band sanctioning constant re-releases).  To date their are 5 compilations available, and a complete box set of all the albums.

Over the next 12 months or so, I bought the rest of the albums, including the 2 compilations (most of which I already had on the Import copy of 'Louder Than Bombs'. (with the exception of 'Rank' which didn't arrive in my ownership until about 2006)
After listening to them all, I can understand where the doubters are coming from, but can only confirm that 'Strangeways Here We Come' was, and still is, the best Smiths album out there.

"Stop Me If You Think You've Heard This One Before"

"I Started Something I Couldn't Finish"

Friday 2 June 2017

How Not To End A Bands Recording Career - The Clash: Cut The Crap

If one's history of The Clash is learnt by compilation albums and documentaries, you would believe that once the US Tour of 1983 was over, and Mick Jones left the band, The Clash ceased to exist.

The demise of the band can be (initially) traced back to the 'Combat Rock' album of 1982.
Relationships between band members, notably Joe Strummer and Mick Jones were fraught, and Topper Headon's increasing drug habit didn't help matters.  The 'Combat Rock' album was initially conceived as another double album statement, and unable to agree a particular style, format or presentation, Glyn Johns was called in to salvage the best of what was available.  The resulting album was a pretty clear statement of were the band were at the time, and possibly deserving of their moniker "the most important band in the world".  The album was also their breakthrough into the US market.

The Clash toured America supporting The Who, but the increasingly unreliable Topper Headon was replaced by original drummer Terry Chimes, but by the end of that tour he also left the band being replaced by Pete Howard.  By May 1983, Mick Jones left (or perhaps more correctly, was sacked) and The Clash (according to popular belief) were no more.

I previously stated that the bands demise can be initially traced back to 1982.  There is another factor here which may push the beginnings of the demise back a little further - original manager Bernie Rhodes returned to in 1981.
Bernie Rhodes was an associate of Malcolm Mclaren, and followed the lead of McLaren by finding and nurturing a band.  The Clash formed and were housed at Bernie's Camden Rehearsal studio.  The Clash concentrated on the music, whilst the non-musical Rhodes concentrated on managing, positioning and marketing the band (his links with McLaren no doubt helped, including ensuring the The Clash were on the bill for the ill-fated 1976 Anarchy In The UK tour).  He departed (or was sacked, there are conflicting accounts) in late 1978, but was to return at Joe Strummer's request in early 1981.
Can it be just a coincidence that Bernie's return sparked a period of increased tension and eventual falling apart of the band?

Pete Howard had joined on drums in 1983, and now following Mick Jones departure a new guitarist was needed to breathe life back into the band.  Whether it was an attempt to expand the line-up, or the size of the hole left by Mick Jones, guitarists Vince White and Nick Sheppard were recruited.
This newly convened line-up headed out on a self-financed tour in early 1984, and by the start of the following year commenced recording of The Clash's 5th album.
In need of a writing partner, Bernie Rhodes assumed the role, and also that of the records producer (remember this is the bands manager and non-Musician Bernie Rhodes - what could possibly go wrong?)

If I'm being honest, cracks were beginning to show on 'Combat Rock' - fine album though it is, and it is saved by the singles drawn from it, it does feel a bit "aimless".  But the again, it is sort of understandable as each of their albums moved the band into different areas and styles - maybe this was just too far. or alternatively not enough of a stretch to create any "wow factor".
With 'Cut The Crap' those apparent cracks moved to almost yawning chasms.

Here's the headlines:
  • some of the songs sound like they've not fully evolved from their demo state
  • at points on the album, it feels like Joe Strummer has lost interest and is just "going through the motions"
  • the vocal track is buried so deep on some tracks its virtually inaudible
  • an over reliance on drum machines - drummer Pete Howard never actually hit a drum skin in anger throughout the recording
  • the production adds too many synthesiser splashes and effects - just because you can, you don't have to put a horn part into a song, and similarly a chorus isn't always improved by mass chanting
As a result, the album feels (a) half-finished, and (b) over-produced.
It was released in 1985 - there were many records around that time that were products of the studio and therefore have a similar sound and reliance upon technology.
However, the architects behind these records - prime example being Trevor Horn - were musicians at heart (or at least understood how music worked).  Bernie Rhodes lack of musical nouse renders 'Cut The Crap' as sounding a bit amateur-ish.
With recording complete, Joe Strummer disappeared to Spain leaving Bernie Rhodes to finish the production and mixing.  When he departed, I think Joe took the "Quality Control" button with him, because it seemed to be missing when the album finally came out.

An album is only as good as the songs it contains - all these songs, good and not so good, need to sit together in a way that makes (or breaks) the whole album.
It is perhaps telling that when the first post-existence Clash compilation was release ('The Story Of The Clash' in 1988, it contained no tracks from 'Cut The Crap'.
Of the 12 tracks on the album, only "This Is England" properly passes muster and has now been included on latter day compilations.
Of the other tracks, it's all a bit hit and miss (mostly miss) only "We Are The Clash" and "North And South" properly stand out.  "Cool Under Heat", "Movers and Shakers", "Three Card Trick" and "North And South" nearly cut it, but are hampered by the aforementioned bad production.
The rest of the tracks, in my humble opinion, are not fully formed and no amount of post-production, overdubbing, political posturing or marketing spin can pull them through.
In short, The Clash's legacy lies in tatters - is it any wonder that it has been effectively written out of any officially sanctioned histories of the band.

There is however one bright spot to report from this - whether it was as a result of this albums disappointment, or his recuperation/re-evaluation in Spain (or both), when The Clash finally called it a day in 1986, Joe Strummer sought out his old sparring partner Mick Jones.  Together they co-wrote 6 tracks, and co-produced Big Audio Dynamite's second album ("No. 10 Upping Street").
Hindsight is a wonderful thing, but having made this re-connection you just wonder if the tensions in the band could have been diffused, would "This Is Big Audio Dynamite" (or something similar) have been the sixth Clash album (maybe with "This Is England" tacked onto it)?

For better or worse (mostly worse) 'Cut The Crap' was the bands fifth album, released in 1985.  Not a great way to finish off you recording career as a band, but it did give the world the last great Clash track (it also gave Shane Meadows a title for a serial drama 20 years later)

This Is England

Wednesday 5 April 2017

Oasis - From Nowhere To The Biggest Band In Britain In 5 Years

1991/92, and Grunge was taking hold of the UK musical landscape.
Nirvana's 'Nevermind' (released in late November 91) was doing big business.  Pearl Jam's 'Ten' (dating back to late spring/early summer 91) was selling in similar quantities, as were releases from Soundgarden, Alice In Chains with Mudhoney and Stone Temple Pilots also joining the party.  Indeed, if you were in anyway related to Seattle or the SubPop label, or employed the "quiet-loud-quiet" technique then you were probably onto a winner.
American Alternative Rock/Indie was doing pretty well for itself in the UK - Sonic Youth, The Pixies, Pavement, Smashing Pumpkins et al, all doing pretty well for themselves.

From within the pages of factions of the Rock Press (primarily Select Magazine) a reclamation of national pride had begun.
Madchester, and the whole baggy-Indie dance scene had come and gone, and the patience was wearing thin waiting for the next Stone Roses album.  Blur had failed to crack America and returned home to record a mod-ish inspired second album, and Suede were busily soundtracking bedsit/student angst.
The groundwork had been done, all it needed was a snappy name and a "scene" could coalesce around it.
1993 saw the name "Britpop" appear in print for the first time - a name (allegedly) coined by Stuart Maconie, gave an identity to this collection of bands with the express intention (and media backing) to repel US imports and make Britain musically great again (not that it wasn't already, it just needed to be written about more and giving it a snappy name (albeit a slightly rubbish one) would help give it a raison d'etre.

Around the same time, a Manchester band landed an opening slot at a Glasgow club.  Alan McGee, the boss of Creation Records who was in the club to keep an eye on one of the bands he was managing, was so impressed by what he heard, he offered them a record contract on the spot.  Or so the legend goes ... - in truth it was another 3 or 4 months before the deal was finalised, including worldwide distribution with Sony (via Creation)

Oasis had originally formed two years previously.  Called The Rain, they consisted of  Liam Gallagher, Paul "Bonehead" Arthurs, Paul "Guigsy" McGuigan and Tony McCarroll.
Liam's older brother Noel had previously been a roadie for the Inspiral Carpets didn't believe that his "dopey kid brother" was in a band and went along to see an early show.
One can assume that he must've been (at least) vaguely impressed by what he saw, as he took the opportunity to approach the band with a stash of songs he'd been writing, a work ethic, and a healthy dollop of ambition.
Local gigs, serious rehearsal, a demo recording followed.  They were then invited to Glasgow by another group they shared rehearsal rooms with on the off chance of playing a support show.

The band entered the studio in December 1993 to record their debut single for Creation.  After some time trying to capture the song "I Will Believe", the band started idly jamming and Noel created "Supersonic" (apparently on the spot).  "I Will Believe" (albeit in a previously recorded live version) was relegated to the B-Side, and "Supersonic" released in April 1994.
Second single "Shakermaker" followed swiftly in June, and August saw the release of "Live Forever".  This single was the first to crack the Top 10 and set the band up nicely for the release of debut album 'Definitely Maybe' at the end of the month.

Opening with a statement of intent, a manifesto in 5 minutes, "Rock 'n' Roll Star" ushers in 48 minutes of high energy raw attitude (plus 3 minutes of acoustic reflection).
Right from the start, there's a swagger to the album, a certain lairyness and a simmering danger.  But this is all underpinned by a stack of tunes that are both comfortably recognisable and also brand new.
Alongside all the previous singles, is the first outing for Creation (in the guise of a White Label demo) "Columbia" and a batch of other songs equally as urgent and snotty as the singles.
And then at the end is a change of pace with "Married With Children" showing (a) Noels ability to write a song with more than just barre chords, and (b) that Liam can actually sing (rather than just sneer.
Third single "Cigarettes and Alcohol" arrived in October with the album selling by the bucketload.

The final single of the year "Whatever" arrived in December.  This continues the acoustic-y nature of 'Definitley Maybe' closer "Married With Children", and led to a plagiarism suit from Neil Innes claiming (and rightly so) that the vocal melody and portions of the tune are nicked from "How Sweet To Be An Idiot".
The nick of the strings melody from Johann Pachelbel's Canon (or to give it it's full title:  Canon and Gigue for Three Violins and Basso Continuo), passed by un-noticed (or at least uncontested).
The B-Side was "Half The World Away" - this too had a reminiscent melody from Burt Baccharach's "This Guys In Love With You" - but no charges were brought.

And this wasn't the first time Noel G has been accused of "borrowing" - the band had already stumped up $500,000 for nicking portions of the lyric and vocal melody from "I'd Like To Teach The World To Sing" for "Shakermaker".

When it comes to nicking stuff (re-appropriating) Noel has form - there are pages across t'interweb suggesting most Oasis songs are in some way stolen:

Then again, as Noel says (admits?):
"We ripped about two songs off The Beatles and the rest off Slade."

Despite all the thievery, continued sales and media attention ensured that their next single release "Some Might Say" delivered their first Number 1 single.

Following the recording of this single, the drummer Tony McCarroll was replaced by Alan White.  There were reports of deteriorating relationships and punch-ups between band members, but the official announcement cited McCarroll's "technical limitations" as a drummer.

This period of time was the early days for Britpop (ie before the media got hold of it and sanitised it to mean "any two bit indie band with a guitar and attitude"), and Oasis, with their attendant lairyness and F**k You attitude became sort of anti-poster boys.  Indeed, the bands early recording career trajectory can be measured against Britpops rise and fall.
Their prime competition was "apparently" Blur, and the media wet-dream was duly delivered by the fact that both bands released new singles (Oasis: "Roll With It", Blur: "Country House") on the same day in August 1995, and their later albums were released within a month of each other.  Was there really any competition?  If there was, who won? and does anyone actually care?  These were 2 separate bands who just happened to find themselves releasing records in a similar style, to similar public and critical acclaim, at the same time.
Although there is something perversely pleasurable about the fact that the "biggest chart battle since The Beatles and The Stones" (copyright: just about every media outlet with little or no interest in the actual music) featured two bands releasing probably their worst singles.

Anyway, back to Oasis ...

Their second album titled '(What's The Story) Morning Glory' was released in October 95.  This album shows a softening of the sound (if not volume - the post-production compression makes it very loud) with more focus on the anthemic (holding lighters aloft sort of thing), and more instrumentation ( strings, piano, acoustic-y intentions) than the debut.
When it rocks, it rocks.  When it is downbeat, orchestral and anthemic, it does that too.  But, it just feels like it's peppered with filler ("Hey Now", "Cast No Shadow", "She's Electric") - almost like they were saving their best tracks for the B-Sides (and they probably were).
It is a thoroughly competent and easily accessible set of songs, and you can understand why after selling a third of a million in it's first week, it continued to sell for the next couple of years (current figures sit around 5 million in the UK, and 22 million worldwide).
But it just feels like "instant gratification", with no real lasting appeal.
Mind you, as with everything there's always an exception.  This albums exception goes to the epic closing track "Champagne Supernova".
OK, lyrically it's a bit vague and has one or two touches of "never be scared of a rhyme", but the atmosphere it builds (especially when performed live) is tremendous - I doubt that it would work so well if sung by anyone other than Liam though.

To be brutally honest, '(What's The Story) Morning Glory' is not a truly great album.  But it was the perfect album for the time, and the fact that it sold massively in many ways proves this point.

And talking of massive sales ...
The next single "Wonderwall" was released in November 95 and ensured that the album kept selling.  It hit number two, kept off the top by Robson & Jerome, but would go on to become one of their best known songs, and biggest selling singles.
A month after release, a claim was bandied about that the song was a cover of a little known 60s easy listening tune - all the talk of Noel Gallaghers magpie songwriting had some people convinced when Mike Flowers Pops released their lounge version.
If there was a prize for "the most over-played Oasis single", this one would probably win it - it is also their biggest selling single, achieving in excess of 1,250,000 sales (some 250,000 greater than their next best).

Oasis were now probably the biggest, or certainly the most known, band in Britain.
The massive sales continued in 1996 with further plundering of the parent album resulting in big seller number 2 - "Don't Look Back In Anger" (sung by Noel) hit number 1 and hung around the charts for most of the spring and summer.

In the spring, the band played 2 nights at Maine Road, followed in the summer by two nights at Knebworth in front of 250,000 people - demand was so high, it was conceivable that they could've done 10 nights.

Too much, too soon?
Could they sustain this adulation?
The next album must surely be the greatest slab of vinyl ever produced to begin to meet these expectaions ...

Album 1, Side 1, Track 1 - "Rock n Roll Star"

They kept their best stuff for the B-Sides - "Fade Away" (B-Side of "Cigarettes & Alcohol")

"... all the rest we nicked off Slade" (and Gary Glitter) - "Hello"