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| D'you know what he means? Oasis frontman Liam Gallagher interprets another of his brother Noel's catchy pop songs. |
Friedrich Nietzsche once posited that whatever doesn't kill you makes you stronger. While this philosophy is often espoused - and misappropriated - by drunken keg warriors who puke all over themselves and then try to go back for more Beast, in this case of Oasis this rings true.
Since the Manchester, England, quintet's sophomore album, 1995's "(What's The Story) Morning Glory?," Oasis has faced numerous obstacles in its megalomaniacal quest to become the "biggest band in the world." Bassist Paul "Guigsy" McGuigan has overcome a case of nervous exhaustion so severe he couldn't move; lead singer Liam Gallagher can't walk outside of his house without a million tabloid cameras flashing in his face; and Liam and his older brother/Oasis mastermind Noel got into another battle of fraternal fisticuffs in September 1996, causing the band to cancel its remaining U.S. tour dates and nearly break up altogether.
Despite these myriad setbacks, Oasis' third album, "Be Here Now," finds the band brimming with confidence, vigor and, of course, tunefulness. The album opener and first single, "D'You Know What I Mean?," features Alan White's patient yet powerful drumming, as well as Noel and Paul "Bonehead" Arthur's swirling, psychedelic guitar handiwork. Oh yeah, it also bursts with serious cocksure attitude, emanating from Liam's voice the second he opens his mouth, which - coupled with the fact that it's damn catchy - has been known to polarize listeners Stateside into choosing a love-'em-or-hate-'em stance.
"My Big Mouth" follows, rocking harder than anything on "Morning Glory?" or Oasis' debut album, 1994's "Definitely Maybe." First unveiled at last summer's massive U.K. concerts at Loch Lomond and Knebworth (and locally at The Palace last August), "My Big Mouth" surprisingly finds Noel poking fun at himself: "Into my big mouth / You could fly a plane." Noel then assumes lead vocal duty in the slowly unfolding and increasingly enjoyable "Magic Pie," adding some tenderness that Liam occasionally lacks. Like most songs on the album, "Magic Pie" is lengthy - it clocks in at more than seven minutes - but also quite gripping.
"Stand By Me" achieves quite a high level of grace for a song that begins "Made a meal and threw it up on Sunday I've / Gotta lot of things to learn." Liam sings wonderfully and harmonizes with Noel's backing vocals quite well. Furthermore, the string arrangements afforded by Oasis' previous successes add much warmth to the lovely song. "I Hope, I Think, I Know" has already been dismissed by Noel as being mediocre (plus its guitar solo sounds uncannily like that of "Stay Young," a b-side to the "D'You Know What I Mean" single), but it is a winner: Liam attacks Noel's optimistic and boastful lyrics, bringing more than the amount of energy required to give the words proper treatment.
"The Girl In The Dirty Shirt" is the least worthy song on "Be Here Now," while "Fade In-Out" is Noel's most experimental track on the album, complete with slide guitar courtesy of a certain Johnny Depp. The song is rather spooky and for some reason sounds like Bon Jovi's "Wanted: Dead Or Alive" (the western/ghost town ambiance, not the cheesy hair band histrionics).
Liam pulls a 180 on the next song, the beautiful "Don't Go Away." He supposedly nailed the vocals in one take, possibly even more heartfelt and sweet-as-cotton-candy than those on "Wonderwall." If America doesn't fall at Oasis' feet for this imminent single, I don't know if she ever will. Instantly catchy and fun, the title track "Be Here Now" will certainly have the masses properly hopping up and down when the band resumes its touring schedule in the fall.
"All Around The World" was written by Noel even before "Definitely Maybe" was released, but he wanted to wait until his band had enough clout to procure a 36-piece orchestra to fill out the epic song. The result works - to a point. At nearly 10 minutes in length, "All Around The World" could've been trimmed by nearly three or four full minutes and been a sure-fire Top Ten radio hit and arguably the most sunny and anthemic song in Oasis' arsenal.
The title of "It's Gettin' Better (Man!!)" smacks of truth: Oasis are getting better, reducing the amount of filler songs on each successive album, improving vocals from decent to splendid, adding burlier drums and finding better guitar licks and tone.
Fading out to the sound of approaching footsteps and a door closing, "Be Here Now" ushers in a new era of Oasis: slightly more experimental, just as tuneful and pleasantly upbeat and confident, given the evil external forces surrounding the band's every waking second.
- Aaron Rennie
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| Return of the Mac: Mick Fleetwood, Lindsey Buckingham, Stevie Nicks, Christine McVie and John McVie stop bickering for a split second to promote the release of "The Dance." |
Christine loves John. Christine dumps John. Lindsey loves Stevie. Stevie loves Lindsey. Lindsey screws up. Stevie sleeps with Mick to get back at Lindsey.
What's this, you might ask, exciting scenes from the next "General Hospital"? No, this is part of the sordid history of Fleetwood Mac, whose poetic love-and-loss pop Mac nuggets of the '70's and 80's were overshadowed only by the band's own loves and losses, culminating in its breakup nine years ago.
Back together to celebrate the 20th anniversary of their landmark album "Rumours," Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie and Stevie Nicks once again dish out a full-fledged Mac attack with a 79-minute live CD, "The Dance."
The album is filled with the nice rock staples that made them famous but is underscored with the real-life drama that comes from 20 years of sporadic togetherness and constant animosity.
The big Mac are at their usual best with familiar retreads of such hits as "Go Your Own Way," "Rhiannon" and "Say You Love Me." Scattered throughout these and other classics are four shaky new songs that range from Christine's stellar, bouncy number "Temporary One," an instant classic; to Lindsey's yearning midtempo ballad "Bleed To Love Her"; to Stevie's fun but disposable "Sweet Girl"; to Lindsey's misguided "My Little Demon," the album's only misstep. But such quiet mistakes can be overlooked when one plays "Tusk" and "Don't Stop" with the aid of the USC Marching Band.
Though that guest appearance is rather refreshing, the best guest stars on the disc are those of the group's sudden gusts of inspiration that are a welcome break from the pleasant familiarity. The most inspired performances on the disc are without doubt the ones that have undergone the most changes - specifically Christine channelling Gloria Estefan on the newly funky "Everywhere"; Lindsey's breathless acoustic rendering of "Big Love"; and Stevie's tour-de-force on "Silver Springs," a forgotten gem that rocks as much as it lilts while everyone's favorite gypsy warns you that "you'll never get away from the sound of the woman that loves you."
Obsession, betrayal, love, hate, Mick, Christine, John, Lindsey, Stevie, some kick-ass soft rock favorites - so are the days of Fleetwood Mac's lives.
- Bryan Lark
Wyclef Jean
The Carnival
Columbia Records
3 stars
When is a Fugee not a Fugee?
This is one of man's eternal unanswered questions; it's a riddle worthy of the sphinx; it's a scientific discovery waiting to happen!
Strangely, this question has been answered simply on Fugee Wyclef Jean's album, "The Carnival": A Fugee isn't a Fugee when he takes a hip-hop hiatus from Lauryn Hill and Pras Michel and kicks out the solo jams in a unique musical opus that alternately gets deep and gets your groove on.
Still, no matter what Wyclef's talking about or what a song sounds like, the tunes are remarkably consistent, making "The Carnival" one of the most listenable rap albums in recent memory - possessing a complete, funky aural tapestry instead of a barely developed area rug with a few bright spots.
The most evident bright spots of "The Carnival" are, staying true to Jean's Fugee heritage, the danceable, reggae-flavored interpretations of familiar classics that sit nicely alongside Hill's "Killing Me Softly" and Jean's own "No Woman No Cry."
Cover boy Jean here takes on the Bee Gees' "Staying Alive" on the album's first single, "We Trying To Stay Alive," making the disco classic a backdrop for a sing-along meditation on the climate of life and of hip-hop.
With the help of Latina superstar Celia Cruz, Wyclef gives the folk song "Guantanamera" a Fugee makeover, positioning Cruz' dreamy Spanish crooning with Jean's comments of "Do you speak English?" and Can I Buy You A Drink?"
Equally as amusing is the nod to Julio Iglesias and Willie Nelson, "To All The Girls," that uses the same sentiments as the original but with a decidedly 90's don't-wanna-be-a-player-no-more twist with the chorus being "To all the girls I've cheated on before ... ."
Though the covers are recognizable, the true attractions of this "Carnival" are Wyclef's many innovations including the lush midtempo number "Gone Till November" performed with The New York Philharmonic; the Bob Marley reincarnated feeling of "Gunpowder"; and the Neville Brothers' guest shot on the sexy slow jam "Mona Lisa."
From the tongue-tied "Anything Can Happen," to the Fugee reunion on "Year of the Dragon," to the foreign language funk of "Yele" and "Jaspora," the 24 tracks on "The Carnival" are some of the fullest, most meaningful hip-hop of the year, falling somewhere between high art and backseat-of-the-jeep beats.
This "Carnival" may not have a Tilt-A-Whirl or overpriced games or corn dogs on a stick, but it does have one ingenious Fugee - and as any Fugee fan can tell you, whether together or separate, a Fugee is a Fugee is a Fugee.
- Bryan Lark
09-03-97
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