Be Here Now by Oasis, the rock giant with feet of clay

It was released in August 1997. Be here now Oasis. The album was released less than two years after its incredible success (What’s the story) Morning glory?

Be here now perhaps the most anticipated album in British rock history. This statement may seem extreme, given that the history of British rock is the history of rock itself: The Beatles, Rilling Stones, Pink Floyd, Led Zeppelin and whoever wants can add to taste. However, in the frenzied English nineties, the hysteria around the Britrock phenomenon was such as to justify such a fuss.

And if you don’t trust history, then there are always numbers, and they do not lie by their nature. Only on the first day of publication Be here now sells more than 420 thousand copies, a figure that is unthinkable today and which is probably not higher only because it would be physically impossible to sell more. In the first week, the album happily exceeded one million copies.

Then, more or less inexplicably, something goes wrong. While in its native UK the album is holding up both in terms of sales and critical opinion, then in other countries, especially Eldorado USA, there is a decline. Whose fault is it for such twists and turns in history? Be here now.

As always, there is no simple answer. Meanwhile, Oasis are at the center of global success. The children of Manchester have gone from proletarian youth, between pub drinking and classic “too much beer in the body” fights, to enjoying champagne in company. Johnny Depp and Kate Moss on a private island Mick Jagger.

Time, then, is more than a gentleman to our tyrants.
After a hangover from hype Morning glory grueling trips around the world and the sudden spotlight, children will need time and calm to absorb such drastic changes and make people much more balanced. However, if there’s a saying that drives show business crazy, it’s the one that says, “The iron should be struck while it’s hot.”

That’s why Sony is keen to release a sequel to the surprise 1995 blockbuster as soon as possible. The Gallagher brothers are quite controversial people; Now this truth is carved in stone and is in the public domain, but at that time these two things were mysterious. However, it soon becomes clear that between the overly rude behavior and huge egos, there is something wrong with the way they both constantly struggle under the lights.

Noel has an unresolved problem not with his father figure, but with his father figure. John Lennon. Wanting to surpass his idol, he finds nothing better than to declare that Oasis is “greater than God.” Of course, what in the 1960s was a statement that provoked social unrest in the good old southern states of the United States, in the 1990s in England sounds like the sad pop of a cork of running out of sparkling wine.

Liam, a handsome guy with an intercom tongue and a slumman’s diction, will make sure to spark some healthy gossip. He is arrested for his addiction to coca, he is talked about for his story with the famous at that time Patsy Kensit and – to make sure he doesn’t miss anything – he spits on the American public, not in a figurative sense, when he doesn’t miss a tour stop. arguments between Liam and Noelwhich continued long before the existence of the Oasis, became a national affair and threatened the path of the goose that lays the golden eggs.

This is when the record companies put pressure on the band to immediately get the record and distribute it to fans. Before something irreparable happens.

Noel, however, due to the rush of success – as well as alcohol and drugs, which in this case are the same thing – experiences a terrible writer’s block. Just during the shameful stay in Mustiquethe tropical paradise named Jagger, mentioned above, resumes composing the thinking head of Oasis.

Noel himself describes his attempts to find a routine for himself in search of inspiration: “In the morning I would come into this room, go out to lunch, come back, go out to dinner, come back and then go to bed.” There must be some funnier moments between the various bits if it’s true that the Johnny Depp collaboration Gradual disappearance born after a hangover on the beach.

Noel, however, returns from the Caribbean with fourteen songs brand new songs that he recorded as demos using a drum machine. The recording session starts off “bloody awful” (according to producer Owen Morris) in the studio. Abbey Road. Considering the Gallaghers’ obsession with the Beatles, this is the least. However, to begin work, the group will have to move to Ridge Farm Studiosin Surrey.

The records are tainted by the unprecedented amount of drugs that are circulating and which the band kindly provides to producers, engineers and anyone else within reach. Morris also states, “In the first week, someone tried to eat 30 grams of weed and ended up with 30 grams of cocaine instead, which kind of sums it up.”

Another problem is volume. Noel sets very high standards for this and goes so far as to overdub up to ten electric guitar parts – all the same – to get more.

This is where the dual character comes in Be here now.
Yes, because no matter what the Gallaghers say about it – “a pile of crap” for Noel, a “masterpiece” for Liam – the songs show the composer in a state of grace. Melodies of such works as Stay with me, Don’t go or All over the world they are sublime. Additionally, some of the instrumentals are quite successful and bear the unmistakable mark of the band.

The problem is measurement. IN Be here now it’s all too much. The sounds are too structured, the songs are too produced and too long. The instrumental codas are overextended, Liam shouts too much and the bass is too low. The album’s length is thus incomprehensibly taken to the extreme, almost half an hour longer than any other Oasis work.

Be here now In short, this is the result of the activities of a group that considers itself God and no one points out the stupidity of its thinking. Success, when it’s that big, tends to silence anyone who has anything smart to say. Oasis So, these are five spoiled and arrogant boys, brilliant writers and good actors, who think only about taking drugs, drinking and overdoing it. They want to prove that they are the greatest players in history, but they fail not because of lack, but because of excess.

Oasis want to win big and find themselves in the corner, stunned, like a defeated boxer who doesn’t know what happened.

But let’s take a closer look at what mistreatment—and partly overestimation—sounds like. Be here now. The album opens with the words You know what I mean?, the song chosen as the lead single at the time, complete with an epic and bombastic video. The song belongs specifically to the epic genre of the group and is immediately the correct paradigm for the album.

At its core, it’s pure Oasis sound, with impeccable melody and a mesmerizing chorus that gets stuck in your head. The problem lies precisely in a certain overload of production, with overly pumped sounds that create overload in the user’s head. The length of nearly eight minutes doesn’t help: anyone buying a Manchester Boys record at that time certainly wouldn’t expect to listen to the works for as long as Yes, luxury.

We are moving forward with My big mouth, a song that, as the game continues, is part of the repertoire of the rowdiest pubs. Once again, the song is accurate, but paradoxically weakened by too much firepower. Magic Pie this is the only song Noel sings, and that says a lot.

It’s no secret that on various albums Noel has always tended to leave the most melancholy and melodic songs, often the most appropriate. Magic Pie It starts off as an acoustic ballad, but it’s a shame that the band noisily flex their muscles again soon after. However, the song remains in perfect Oasis style and is very precise. And here – get ready, we will say it often – the duration is excessive, more than seven minutes of repetition.

In the fourth song, after a superb opening trio, Oasis perform the album’s first masterpiece: Stay with me. And of course, they do this with a product that fits perfectly. It seems like the melody has been heard before, but it is crystal clear: delight. Liam’s voice, beautiful when he wants it to be, is clear and strong among instruments that are less bombastic here.

The lyrics are romantic without being corny, Noel’s counterpoints are captivating and the instrumentals aren’t too intrusive. Stay with me this is the perfect song Be here now.

I hope, I think, I know This is a pub rock song, loud but passing by without leaving its mark; Girl in a dirty shirt it’s one of the most Beatles-esque cuts and – without warning – contains one of those killer choruses that only Oasis has. A song that is not very well known but worthy of re-evaluation, worthy of the British tradition between the Beatles and the Kinks.

Gradual disappearance it veers towards psychedelia without much energy and is remembered primarily for the ineffable presence of Johnny Depp on slide guitar. Our Johnny Old Boy, of course, is not Ry Cooder but it looks good.

Don’t go this is another highlight Be here now a haunting ballad, perhaps sung by Noel, would have made it even better. More melancholic than Stay with me, still demonstrates Noel’s wonderful ability to write choruses worthy of an anthology. And perhaps views and differences aside, it would be fair to say that the elder Gallagher is one of the greatest masters of song of the last thirty years.

Continuing with the title track, a curious rock ‘n’ roll from the past, tasty but not too complex. We’re almost at the end and the boys got one more one right, All over the world. The piece was written by Noel before his success, but recording was always delayed because the delirium of Sergeant Pepper required a thirty-six-piece orchestra, which Oasis can only now afford. All over the world this is another strong part of the songbook (albeit rejected by Noel), but still punishable by delusions of grandeur Be here now.

Nine minutes would be too long even for Emerson, Lake and Palmer and neither the orchestra nor the beautiful guitar parts justify such a monumental length.

The work ends with It gets better (Dude!!), with two exclamation points for disrespect for grammar. The conclusion is as paradigmatic as the introduction, a piece that leaves little mark except on the listener’s tortured eardrums, given the oppressive stratification of the instruments. Separately, it is worth noting the guitar solo, unusually sour and quite pleasant.

In fact, as if the original wasn’t enough, there was even room for a couple of minutes. All over the worldan orchestral crescendo that pays off some of the Gallaghers’ Beatles-style obsessions.

In short, twenty-five years later Be here now can be judged without the hysteria that surrounded him Oasis that time, no matter what they did. And the trial is dedicated to regret; in fact, the album contains beautiful songs, but sacrificed on the altar of Gallagher’s ego. With the exception of two or three perfect pieces, the songs are marred by over-production. However, the album is worthy of re-evaluation and getting rid of many years of demonization.

However, career Oasis it turns out bad Be here now. Initial enthusiasm was followed by the release of contemporary works such as OK Computer by Radiohead or City anthems belonging Inspiration this causes their sound to suddenly age. The negative reaction to the partially successful effort ends a million-dollar career for the band, which, while trying to beat Blur, sees no new sounds emerging.

Although Oasis still made excellent, often underrated records, they would never again be the incredible phenomenon that took Britain back to the days of the Beatles, Rolling Stones and Swinging London.

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