Quote:
Originally Posted by Dotoar
That in turn is emphasized in the general production approach which just plainly sucks, and it's especially evident on "Be here now" (well, both of these issues are). I've read somewhere that it was with Oasis (or rather, their producer Owen Morris) the whole 'loudness war' began, with that brick wall sound picture that leaves no room whatsoever for the music to breath. Beginning with their very first album, distorted guitars screams at you constantly over the booming drums and if some of the 90's most brilliant hooks and melodies hadn't been shining through it would truly be a painful chore sitting through an entire Oasis album.
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I have been listening to BHN recently for the first time in years, and for me, overblown production aside, it's half a potentially very good album with quite a bit of filler that killed the whole effect for me. Sadly, it's production...nah, make that Wall of Guitars Attack, is the thing which reflects an excessive period for the band which puts weight on plenty of very catchy hooks, with only "Don't Go Away" (one of their most effective ballads ever - Nice Bacharach touch at the end!) and "Stand By Me" holding back on the guitar a bit to let the songs move. "It's Getting Better (Man!)," "I Hope, I Think, I Know" benefit a bit from the big production if mainly to fit the occasion, but the overkill on "All Around the World" which would have made a perfect 5 Minutes,, is possibly the most guilty of running a good thing into the ground.
To me, it was a time of going over the top in playing Rock Stars, losing touch with the street-level they came from...such was the madness of '97. Thankfully, Noel decided to cut back from it. To this day, I still think that Standing on the Shoulder of Giants was a fine follow-up even if many others think otherwise. "Go Let It Out" looked like that it was do-or-die time, and Noel kicked the Bass in enough to power it to success.