noel gallagher

848. ‘Go Let It Out’, by Oasis

/ UK #1s blog / 16 Comments

New millennium; new Oasis…

Go Let It Out, by Oasis (their 5th of eight #1s)

1 week, from 13th – 20th February 2000

I mean ‘new’ in the sense that they had lost Bonehead, their rhythm guitarist, and bassist Paul ‘Guigsy’ McGuigan’, as well as forming their own record label, Big Brother. I don’t mean it in the sense that the Gallaghers had made many huge changes in sound for the year 2000. It’s largely business as usual.

There is a drum loop, but that’s as big a nod to the sounds of the new millennium as we get. The rest is pure Oasis: big, dumb chords; big, dumb lyrics; and some tricks nicked from the Beatles circa 1967. From this album, ‘Standing on the Shoulder of Giants’, onwards, every one of their lead singles will follow the same formula. To be as loud and as instantly recognisable as possible, announcing to everyone within earshot that the boys are back in town.

So ‘Go Let It Out’ is big, and loud, and Liam is on sneery form. It ticks all the boxes, demanding to be belted out by lads in pubs, with lyrics like We’re the builders of our destiny… But it never manages to rise above the faux-psychedelic sludge. There are some nice touches: the squealing guitars and whistle that introduce the final chorus, the wind-up riff in the fade-out, and the bit where Noel announces Feel the bass… (I have a soft spot for bands introducing their instruments and guitar solos). But overall, I’d say that this is my least favourite of Oasis’s eight chart-toppers.

Meanwhile, ‘Standing on the Shoulder of Giants’ is surely everyone’s least favourite Oasis album. (I have defended ‘Be Here Now’ in my earlier Oasis posts, and am prepared to do so again!) It has a couple of good tracks – ‘Gas Panic’ is a paranoid gem, while ‘Fuckin’ in the Bushes’ is perhaps their second best album opener after ‘Rock ‘n’ Roll Star’ – and a pretty decent single in ‘Sunday Morning Call’, which made #4 later in 2000. But it also has ‘Little James’, so…

Probably the most important thing about ‘Go Let It Out’ was it confirmed that the Oasis of 1994-1996, the biggest band in the land, were not coming back. This is the start of Oasis living on past glories. Noel Gallagher has gone on record as regretting how many good songs he used up as B-sides back in the mid-nineties, such as the three on ‘Some Might Say’ which I featured a couple of weeks back. The thing is, though… the B-side to this record, ‘Let’s All Make Believe’, is genuinely one of the best things Oasis ever recorded. Had it featured on ‘Standing…’ it would have been the best track by a mile. Let’s face it, Noel’s just loves being a contrarian.

And B-sides… ‘Some Might Say’, by Oasis

/ UK #1s blog / 12 Comments

Launching our second new feature of the year, we’re going to celebrate the flip-sides to some famous chart-toppers. In my posts on every UK #1 between 1952 and 1999, I’ve stuck fairly rigidly to reviewing just one side of each chart-topping disc. On occasion I may have mentioned them in passing, and I’ve always given them a spin if they’re listed as a double-‘A’; but by and large I’ve avoided the B-sides.

To be honest, I was born at the tail end of the B-side era, so sometimes overlook their importance. By the mid-to-late-nineties, when I started buying music, the bonus tracks on a CD or cassette single were often just remixes of the A-side, or maybe a live version of an earlier hit. And the download/streaming era has killed off the concept for good. But cast an eye back further, to the days when an act’s singles were the main event, rather than a plug for their current LP, and the ‘other’ side of a hit single was a source of countless hidden gems.

And besides (see what I did there), many’s the big chart-topping hit that was originally intended as back-up to a song that, for whatever reason, didn’t catch the imagination. ‘Rock Around the Clock’, ‘Maggie May’, ‘I Feel Love’… The list is long, and often surprising. So, let’s kick things off with one of the last bands to recognise the power of a good B-side…

‘Some Might Say’ made number one in April 1995, Oasis’s first chart-topping single. You can read all about that song here. It was only their sixth release, but already the Gallaghers and co. had built a reputation for spoiling their fans with cult classics hidden behind the actual hits. ‘Half the World Away’ on ‘Whatever’, ‘Listen Up’ and ‘Fade Away’ on ‘Cigarettes & Alcohol’. But on ‘Some Might Say’, the lead single from their soon to be multi-multi-platinum second album ‘(What’s the Story) Morning Glory?’, Oasis included not one, not two, but three great B-sides. Starting with…

‘Talk Tonight’ is a classic of the Noel-with-an-acoustic guitar genre, a common theme for their B-sides. It was written about a woman in San Francisco, to whom he escaped after a concert went wrong (another common Oasis theme). Oasis at their best produced songs about very specific moments – visiting a park with a woman you barely know – that feel very universal. Everyone has some absent friend with whom they would like to talk tonight.

‘Acquiesce’ meanwhile is Oasis with a capital OASIS. One of very few tracks on which the brothers share vocal duties: Liam at his sneery best on the verses, Noel stretching his vocal chords on the chorus. Plus, the lyrics speak to their brotherly bond: Because we need each other, We believe in one another… (Noel has claimed that the only reason he sang the chorus was because Liam couldn’t reach the high notes). The moment when the pair collide at the start of the second verse is possibly the best five seconds in Oasis’s entire back-catalogue.

For a famous rock band, the moments in which Oasis let loose and just fucking ROCKED are actually quite few and far between. ‘Headshrinker’ may well be the heaviest song they ever recorded, with ten-tonne weighted chords, and lyrics like Lost in the fog, I’ve been treated like a dog, And I’m outta here… about an unhinged lady-love. Their biggest hits may have long since been lost to bland ubiquity, but gems like this remind us that on their day Oasis could be pretty punk.

Noel Gallagher has long since bemoaned the fact that he used up so many great songs as B-sides, especially after years of fame (and booze and drugs) had blunted his songwriting edge. Stick any of these three featured songs onto ‘Standing on the Shoulders of Giants’ and they would instantly be the best tracks on the album. But then again, chucking classics like these away on the one CD single encapsulates the carefree, live-in-the-moment ethos of early Oasis, and of Britpop before it soured, and was a huge part of their appeal.

I hope you enjoyed this first installment in what I hope to make a semi-regular feature. If you have any suggestions for B-sides (to UK #1 singles) that I can feature, please let me know in the comments!

747. ‘Setting Sun’, by The Chemical Brothers

/ UK #1s blog / 11 Comments

There’s no doubt that ‘Firestarter’ was the big, banging dance-rock crossover hit of 1996; but that song’s infamy probably means that it has unfairly overshadowed the year’s other big, banging dance-rock crossover hit…

Setting Sun, by The Chemical Brothers (their 1st of two #1s)

1 week, from 6th – 13th October 1996

Because ‘Setting Sun’ hits even harder than ‘Firestarter’, and it hasn’t been tamed by years of ubiquity. I hadn’t heard it properly for ages, and was genuinely taken aback by how nasty it sounds. Take the relentlessly monotonous, boldly uncommercial, one-minute long intro for a start. These are big beats with a capital ‘B’.

The shrieking klaxons and the gut-dropping bass hold the track together, and are very nineties. But in the droning sitar, and the vocals played in reverse, there’s also more than a nod to the original tape-looping, Eastern-looking, psychedelic game-changer: the Beatles’ ‘Tomorrow Never Knows’. At one point lawyers looked like getting involved, before a musicologist was brought in to prove that the song was merely inspired by, and didn’t sample, The Beatles. The fact that it was used as a template for a dance track thirty years later surely just proves how incredibly ahead of its time ‘Tomorrow Never Knows’ was.

And what could be more Beatlesy, back in 1996, than to have Noel Gallagher on vocals? Uncredited, and filtered through layers of feedback, but still recognisable from the off, he even manages to rip-off his own lyrics from ‘Half the World Away’… You said your body was young but your mind was very old… And I have to say that this is probably the best #1 single that he features on, as much as I do enjoy many of Oasis’s chart-toppers.

Other brilliant moments include the intense break half-way through, which sounds like a helicopter landing on your head. (I was going to call it the ‘middle-eight’ but I don’t think traditional terms like that apply to boundary pushers like this.) And then there’s the completely unhinged outro, in which the song disintegrates before our ears. The video I’ve attached below is the radio edit, but it’s worth hearing the full five and a half minute version, to drag out the exquisite nastiness…

Another thing that’s interesting about this record is that, unlike The Prodigy when they unleashed ‘Firestarter’, The Chemical Brothers had only a couple of minor hits to their name before ‘Setting Sun’. According to most sources, airplay was limited too. So it seems to have been a genuine underground, word of mouth smash (with Noel G for added clout) that set the duo up to become one of the biggest dance acts of the late-90s and early-00s.

The Chemical Brothers (yet again, like the Walkers, the Righteouses and the Outheres, they are not actually brothers!) had met at the University of Manchester in 1989, and had bonded over their love of rave culture. There can be few chart-topping DJs with a degree in late-Medieval history, but the Chem’s Ed Simons is one. They have one further chart-topper to come, but it will have to go some to match the power of this.

734. ‘Don’t Look Back in Anger’, by Oasis

/ UK #1s blog / 16 Comments

‘Don’t Look Back in Anger’ isn’t Oasis’s best song (that is a question for a different post, but it would probably be something from their debut album). ‘Don’t Look Back in Anger’ is, though, probably the ultimate Oasis song. Oasis at their Oasisest.

Don’t Look Back in Anger, by Oasis (their 2nd of eight #1s)

1 week, from 24th February – 3rd March 1996

They set out their stall in the opening seconds, with the piano line from ‘Imagine’ which, according to Noel, was a deliberate middle finger to those who claimed Oasis were musical copycats. It hooks you in, declaring that the next five minutes are going to be epic. In fact, every part of this song, from that intro onwards, is a hook.

You can be the type of person who jots down every little chord, lyric or guitar lick that Oasis nicked – and I am that person sometimes – or you can be someone who admires the way they managed to distil British rock history into an elite-level run of singles (and two excellent albums), who admits that when they were good, they were very good. The drum-fill before the final, soaring chorus here is, no hyperbole, one of pop music’s great moments.

‘Don’t Look Back in Anger’ also features some of Noel’s more coherent lyrics. My personal favourite is the Please don’t put your life in the hands, Of a rock n roll band, Who’ll throw it all away… with the squealing guitars in between. A lot of the lines are still nonsense, but they work somehow. I assume it’s about a break-up, given all the stuff about walking on by, and not looking back. Or maybe it’s a mantra for living positively, not lingering on mistakes. Don’t go thinking that ‘Sally’ is anyone important, though. ‘It’s just a word that fit, y’know,’ says Noel. ‘Might as well throw a girl’s name in there.’

A song written and led by Noel has to beg the question: what of Liam? Well, despite having nothing to do, he spends the video mooching around the garden of a stately home in his shades, and still manages to be the star of the show. He is apparently responsible for the song’s most famous line: So Sally can wait… having misheard what Noel was really singing while writing it.

Despite what I wrote earlier, I’m going to briefly be the guy that points out the bits that Oasis nicked. I just now noticed that while everyone was distracted by the ‘Imagine’ piano in the intro, the floaty guitar in the outro is a rip-off of ‘Octopus’s Garden’. Is that common knowledge, or have I just unearthed another, previously undiscovered fossil?

‘Don’t Look Back in Anger’ was the 4th single from an album that had already sold in the multi-millions, and so the fact that it made number one is testament to how truly massive Oasis were in 1996. Over the past twenty-eight (!!!) years, it has gone from a pop song to almost a hymn, or an alternate national anthem. In the wake of the Manchester Arena bombing in 2017, gathering crowds spontaneously began singing it, giving the lyrics an even more resonant feel.

Meanwhile, it has also been voted the 4th Most Popular #1 Single ever, the 2nd greatest Britpop song (after ‘Common People’), and the Greatest Song of the 1990s. (And, most importantly, the 2nd Best Song to Sing Along to While Drunk – controversially robbed of top spot in that poll by Aerosmith’s God-awful ‘I Don’t Want to Miss a Thing’.) It is also by far the best of Oasis’s eight number ones… and I hope that’s not too much of a spoiler for what’s to come!

720. ‘Some Might Say’, by Oasis

/ UK #1s blog / 25 Comments

I’m both thrilled and downhearted that we’ve reached the beginning of the Oasis era. Much like I wrote in the intro to my last post, on Take That’s ‘Back for Good’… What can I add to the three decades’ worth of column inches dedicated to Britain’s most polarising band.

Some Might Say, by Oasis (their 1st of eight #1s)

1 week, from 30th April – 7th May 1995

Basically, what to say about Oasis that isn’t cliched? I need to approach this completely subjectively, then. Which isn’t hard, because Oasis were my first big musical love (OK, second… but we’ll deal with that Spice Girls-shaped elephant in the room when the time comes…) ‘Some Might Say’ has never been among my very favourite Oasis records but, actually, this is a good thing, as far as this post is concerned. It hasn’t been overplayed to death, and I’m glad that this made #1, and not the two #2 hits that followed.

On the other hand, I’d rather their two preceding singles – ‘Whatever’, or ‘Cigarettes and Alcohol’, had been the first chart-topper. ‘Some Might Say’ has some of the vim, the punkish energy of ‘Definitely Maybe’ – I’d say it’s the song from ‘What’s the Story…’ that could most easily slip onto their debut – but signs of bloat are already appearing. After a brilliant glam riff opening, it settles into a slightly plodding, overlong rock song (why, oh why, is this five and a half minutes long?) And, despite the long-held belief that Oasis were a rejection of grunge’s misery and introspection, there are some very heavy, grungy chords in the chorus.

I had a pop at Gary Barlow’s lyrics in that last post, and I have to call Noel out here too, even if this is where I tip into well-trodden cliché. Oasis lyrics walk the line between revelatory and ridiculous. One minute you’re thinking ‘Yes, profound!’. The next you’re thinking ‘Maybe not…’ Some might say they don’t believe in heaven, Go and tell it to the man who lives in hell… is a great line. Some might say you get what you’ve been given, If you don’t get yours I won’t get mine as well… is more at the ‘maybe not’ end. (Though we can all agree that The sink is full of fishes, She’s got dirty dishes on the brain… is a lyric for the ages…)

The star here, as in many of Oasis’s early songs, is the man interpreting these words, and making them his own. Liam. The last true rock star, and one of the all-time great frontmen. A beautiful moron (‘Some Might Say’ doesn’t have a proper video because he never showed up for the shoot), his sweetly aggressive vocals attack his brother’s unwieldy lines and transform them. Just try singing this song like he does. It’s very difficult – your voice ends up straining, and cracking, and getting lost among the walls of guitar (Oasis were, thankfully, never fans of understated production.)

Like I said, I once loved Oasis – growing up male, in small town Scotland, in the late ‘90s/early ‘00s, it was all but mandatory – but it is a love that has faded. I’ve accepted that they were limited, that they did have a habit of ‘borrowing’ riffs and melodies (even now I’ll listen to a Kinks album track and hear a bit that sounds familiar…), and that they believed their own hype a little too much. And yet, they were never as bad, as unoriginal, as much a Bargain Bucket Beatles, as some critics were desperate to make out.

Anyway, I’m writing as if this was their one and only chart-topper, not as if they have seven more to come. It’s easy to forget just how phenomenally successful they were. All seven of their studio albums entered the charts at #1, while ‘Some Might Say’ was the first of eight singles in a row to make either #1 or #2, between 1995 and 2000. It might not be the perfect song to be crowned their first chart-topper – the first chart-topper of the Britpop era even – but Some might say, We will find a brighter day… is perhaps the perfect summation of the Oasis manifesto.