Dig Out Your Soul

14/10/08 18:35 Filed in: Records

My rules for Oasis albums seem to be, somewhat unconsciously perhaps, different than the ones I have for others. I've always seen them as my band - from the first minute I was caught by Shakermaker. They are the band who have meant most to me since my teens. I expect them to dazzle me immediately, I expect their songs to root their way into my head on first play, I expect them to, simply put, produce better albums than any other British band. Since Be Here Now their releases have taken a familiar turn and style. Like Arsenal, they start off strong and blast forward at pace. They take the lead and make your head spin with follow-up play. But then they run out of steam and flatter to deceive. The first half of their last three albums has followed this football analogy. They start off with passion and quality yet by the end, or even the middle, you're disappointed because their potential remains unfilled. Like Arsenal, they are frustrating to witness. They have it in them for greatness but can't get there. But what else is it that keeps fans going, keeps them coming back, other than sheer faith?

I approach each new album with hope and excitement and finally, tentatively, it appears the faith is some way toward being thanked with their new, seventh, album, Dig Out Your Soul. The last three records have left my CD player faster than I would like. I didn't feel there was enough in there to keep listening; this time it feels different. Could they finally, say it quietly, have made a mature album? I never minded that they lacked depth, that their lyrics were poor, it was the songs that mattered. I can go through an album being lyrically unfulfilled if the songs dazzle. This time, there is more to let in. As I have come to expect, the album starts off at a blistering pace - strident, confident opener Bag It Up; The Turning, with its gentle Dear Prudence outro and Waiting for the Rapture, Noel-sung with its Doors Five To One intro and Beatles Revolution cadence, grab the attention immediately. Noel is bullish about the inclusion of his vocals but often I'm keen to get past them to the real rock voice in the band, as evidenced on frenetic stomper single Shock of the Lightning and its crashing Zak Starkey drums. But now Liam writes songs too so that is the balance, the exchange. Noel's vocals for Liam's songs. They are like the parents arguing over the map in the car while Gem Archer and Andy Bell are the children in the back watching the front seat annoyance unfold.

And then something surprising happens - Liam writes the sweetest, most charming song on the album, I'm Outta Time. Where this came from is anyone's guess. His live vocals might be a mixture of shouting, sneering, whisky and cigarettes but no-one can say Liam doesn't turn in some of the great rock vocals when it comes to the permanent record. This song is a real heartbreaker. To be unkind you might call it a Lennon pastiche. There's no attempt made to hide this - the song contains an Lennon interview sample from 1980. It's his love song to John, which has been coming for years. Frankly, Lennon would have been proud to have written it. Noel should watch out; especially since his next vocal (Get Off Your) High Horse Lady, with its Give Peace A Chance backing, marks the album's first average track. But then, at the point in the album where the songs traditionally start to sag, comes Falling Down - the final Noel sung song of the record and all is forgiven, all is returned, all is rescued. One can only be staggered by its power and beauty. Then, as I am used to, the album veers off course somewhat with a couple of poor tracks. The songs have a satisfying groove but aren't memorable - as songwriters, Gem and Andy, both former guitarists in their bands, Heavy Stereo and Ride, respectively, aren't quite there yet. On any other band's album they would be creditable entries but with the standard so high on Oasis records they don't pass muster. Still, the songs themselves are listenable for the music alone - with three guitarists in the band and no recognised bassist, as each of the three musicians swaps bass duties around, this certainly makes for an unusual atmosphere even on the songs that try too hard. It's a relief the band are able to move forward at all - without Gem and Andy, both excellent musicians, to drive the band along Oasis would be stuck in the mire, as they were before 2000 with game but hugely limited band members.

Later track To Be Where There's Life might be melodically unmemorable but its sitar and bass driven hypnotic quality takes it home. With the previous band members it would have been a muddy dirge, this time they get dangerously close to a jam, no bad thing. Penultimate track The Nature of Reality is a skippable mess but the Tomorrow Never Knows reminiscent album closer, the Liam-penned Soldier On, takes the listener out on a high. Oasis have made a mature album. For any other British band, ok is good enough. I expect more, need more, demand more from Oasis. If they can build on it they might become the band I've always wanted them to be.

Tags: Oasis