Feb 15

OASIS – “Go Let It Out”

Popular62 comments • 6,908 views

#848, 19th February 2000

OasisGo Be Here Now was a triumph that turned, with rapid hindsight, into a crisis. By “Go Let It Out”, the lead single from its follow-up, the crisis had become material. Two members and a record label down, Noel Gallagher was forced to re-record much of the music on Standing On The Shoulder Of Giants by himself. Meanwhile, the world had changed. For all the big talk – the band whose only peers were the classics – Oasis had hit their peak very much as part of a movement, coming up alongside Britpop and then becoming big enough to carry a revivalist rock wave with them. Now that lairy peloton had fallen away, and Oasis found themselves just another part of a broad and comfortable pop establishment: ensconced on Sony and with Mark “Spike” Stent producing. Stent, who had won his rep working for the KLF on their Stadium House 12”s, had become the safest imaginable pair of hands – he mixed everyone from the Spice Girls to Massive Attack, and his approach seemed to be running highlighter over things that made a band themselves, making sure the British pop ecosystem sounded diverse. So where did Oasis fit in?

They hunkered down. “Go Let It Out” is the point at which Oasis become, defiantly and unashamedly, Quoasis. A closed-in gang, arms folded against fashion and critical spite. A belligerent chug. It’s also a record that makes it clear that – whatever Noel’s position when interviews came around – the band regretted nothing. The critical take on Oasis at this time was one of a group in a cycle of trying to make amends, desperately groping to recover their classic, world-striding form. A lot of this feels like wishful thinking on behalf of the press – for whom Be Here Now was just as much a fuck-up as it was for the band. It was wishful thinking encouraged by the Gallaghers, though who publically flip-flopped between the Denial (still the biggest band in the world) and Bargaining (some of these new songs are the best we’ve done) stages of grief.

Except, when you listen to it, “Go Let It Out” is transparently no kind of change in direction, just progress along one. With its simmering, rolling aggression and its mellotron trimmings it actually feels like a mid-point of “D’You Know What I Mean?” and “All Around The World”, Be Here Now’s two big hits. Sure, they’d cut back on the coke bloat, but the line of development from “Live Forever” through “Wonderwall” through “D’You Know..” to this song is very clear. It’s a band becoming more reliant on groove, building their songs around their rhythm section to a greater degree, always with the failsafe of a big chorus, but with those choruses becoming a little weaker every time too.

There’s an obvious problem with this. Oasis do not have a world beating rhythm section – in fact, at this point, they didn’t have a rhythm section at all – and groove was not their strong point. Defiance exposes these limits just as much as experiment would have. So while “Go Let It Out!” sulks at you quite effectively, it can’t build much steam until it kicks into the chorus, which gives Liam something to bite on too after drawling through the verses. It’s not a bad chorus: in spirit, and halfway in sound, their most sixties-esque statement yet. And it sounds like a songwriter making an effort – whatever the merits of lines like “Is it any wonder why princes and kings / Are clowns that caper in their sawdust rings?” they aren’t throwaway. The message – that shout out to “ordinary people” – hasn’t changed since “D’You Know What I Mean” any more than the sound has. Oasis are the people’s band, even if they’ve been disenfranchised, they and their tribe sent into exile. They are still big: it’s the charts that got small. It was something to cling to, anyhow.



  1. 1
    will on 9 Feb 2015 #

    It’s the little touches that make this my favourite Oasis Number One. The ‘2-3-4’ count in, the ‘feel the bass’ after the first verse, the ‘ooh’ after the first chorus. Liam encouraging us to let it out if ‘you like yerself a lot’, still sounding like the most untroubled, at-ease-with-himself pop star that’s ever lived. I’ve always found it rather charming, in a way most Oasis singles definitely aren’t. 8

  2. 2
    Tom on 9 Feb 2015 #

    #1 heh, I was planning to mention that post-chorus grunt but forgot. I’m in two minds over it – it boots me out of the song a bit, but it’s endearing too. I think all that extra stuff is Noel mugging desperately in an attempt to pretend it’s an actual band in the room with him.

  3. 3
    Garry on 9 Feb 2015 #

    I cared not for Go Let It Out. We preferred Fucking in the Bushes, or, as Triple J called it, Bonking in the Bushes, and Triple J played that all the time on their breakfast show. It reminded me of Pink Floyd’s Meddle with One of These Days – an introductory instrumental built on the pounding rhythm. But Tom is right about the weakness of the Oasis rhythm section – I like FITB because it was different and I Iiked the riff and noise of the track, but rhythmically it’s a bit leaden. As for Go Let It Out – a decent Oasis song, but no more.

  4. 4
    Mark G on 9 Feb 2015 #

    The parent album (I think we’re bunny safe here) had a great three-track into: FITB, This one and the next single had me thinking “They might have actually pulled it off this time”, but the rest trailed in as patchy odds/ends and scraps of unfinished lyrics (Noel never seems to go back and improve a duff lyric ever, unless he actually does my god) with the occasional highlight (Gas Panic, Sunday Morning Call) and a big blustering end track that just doesn’t make it. So many tracks that wouldnt be kept in the live set for too long. And yes, “Little James” aint great, but here it doesn’t even matter.

  5. 5
    lonepilgrim on 9 Feb 2015 #

    this only stirs the faintest of memories, and so uniform have Oasis songs become that I might well be thinking of another one. Strip away the effects pedals and Magical Mystery Mellotron and its Noel strumming away on his acoustic for another buskalong while Liam ventriloquises the stream-of-unconsciousness lyrics

  6. 6
    AMZ1981 on 9 Feb 2015 #

    In preparation for this entry I listened to Standing On The Shoulder Of Giants for the first time in ages. Allowing for the fact it was never my favourite Oasis record at the time it sounded pretty dreary and dated in 2015. Go Let It Out itself is the first in a long line of now completely forgotten Oasis chart toppers that heralded the release of a new album which everybody hoped would be a return to form.

    By now Oasis were still the Kings of Britpop although they now sat on a throne in an empty palace; everybody else had left. Amazingly they’d manage to keep up the pretence for several more years yet.

  7. 7
    Duro on 9 Feb 2015 #

    “And it sounds like a songwriter making an effort – whatever the merits of lines like “Is it any wonder why princes and kings / Are clowns that caper in their sawdust rings?” they aren’t throwaway.”

    Noel almost directly lifted it from a poem iirc

  8. 9
    daveworkman on 9 Feb 2015 #

    At the time, this was the first new Oasis material to come out since I’d got into music and the charts as a teenager. What’s The Story had come out towards the end of my time at primary school and at that age singalong choruses were perfect so that still has a small place in my heart, but I can remember when GLIO appeared on the scene for me it was distinctly a case of the Emperor’s New Clothes and I never really bothered to tune into anything else from ‘Quoasis’ (never heard that before but I love it!)
    What struck me listening to this again, was the realisation that my biggest problem with this is Liam: he seemingly can’t be bothered to inject any passion into his singing, or connect with the lyrics and music, so why the hell should I care?

  9. 10
    JLucas on 9 Feb 2015 #

    This is Oasis at the tipping point. They have as many chart entries to come as they have behind them, including several bunnies, but not many that would be seriously missed if they didn’t make a Greatest Hits or a live setlist. You can recognise this phase because everything they release after this point will be marketed as “Their best since…” or “A return to…” All important bands reach this point sooner or later – they go from leading the conversation to preaching to the converted.

    There are a few post=BHN Oasis singles that I quite like, usually the ones where they relax a bit and feel less encumbered by their legacy. This one, however, feels defensive and self conscious, a regrouping action by a group reaching a make-or-break point and choosing the path of least resistance. Superficially, it sounds very much like a classic Oasis single. But the spark isn’t there. If Be Here Now was an arrogant folly, this era feels like the weary comedown. They didn’t quite blow it, but they never entirely got it back, either.


  10. 11
    Tom on 9 Feb 2015 #

    #7, #8 – Thanks Duro. Well, I was fooled.

  11. 12
    swanstep on 9 Feb 2015 #

    Good lead-off essay with which I can only agree wholeheartedly:

  12. 13
    Izzy on 9 Feb 2015 #

    Other than the horrible outsize band logo, I quite like the sleeve. There’s a nod to LS Lowry there; a Lancashire rootedness that shows up only very rarely in their work.

  13. 14
    23 Daves on 9 Feb 2015 #

    #7 – I seem to remember that some 70s hippy folk band claimed to come up with those lines (and a similar melody) themselves as well, but Google isn’t being kind to me on that one. Chances are both groups just ripped off the lines from the same source.

    At the time, “Go Let It Out” felt like a faintly likeable and almost brave return single, as Oasis were prone to making big statements, and it seemed gentle, rolling and subtle. “D’You Know What I Mean” it isn’t. I’m a sucker for mellotrons, too.

    So I waited for friends to buy copies of “Standing on The Shoulder” – no way was I planning on risking my own money on this – before totally losing interest on hearing the thing. I haven’t bothered to touch it again since, but even at the time it seemed like a horribly dreary album.

    What “Go Let It Out” highlights for me is that Oasis were capable of taking psychedelic pop cliches and stringing them out into a fairly enjoyable few minutes, so it’s always bemused me that they never took that direction for one whole LP. If you’re going to be avowedly “retro”, it’s one of the busiest templates you can play with, and you could easily picture Noel having a whale of a time with mellotrons, phasing effects, backwards guitars, nonsense lyrics, etc – the man would be in his element. It could also have been Fun, something most later Oasis works were not.

    But even within their own tight classic rock confines, Oasis hated risk-taking, or doing anything that might have made them seem a bit frivolous or silly, so hints and splashes of these ideas are all you’re ever going to get. If Oasis ever released a shit album, and in my opinion there are at least two in their catalogue, it was always due to excessive, bloated blandness rather than because they’d tried to do something different and it hadn’t quite come off. The upshot of this is that even if you’re aiming to be critical, they’re still not terribly interesting to talk about. It’s always “more of the same”, to greater or lesser success.

  14. 15
    mapman132 on 9 Feb 2015 #

    11th straight UK #1 to be a Hot 100 no-show – although this did make a tiny impact on the Modern Rock charts. Oasis were very much in “Remember them?” territory in the US by now. Not bad, not great: 5/10 from me.

  15. 16
    James BC on 9 Feb 2015 #

    Amazing, from today’s perspective, that this would have been one of the most anticipated singles of the year. It’s just a drone, with no real song in there at all. No one could tell you what it’s meant to be about.

    This was their first single with Andy Bell as bass player, right? A lot of Ride fans were quite disappointed it came to this, although Hurricane #1 may have been worse.

  16. 17
    Izzy on 9 Feb 2015 #

    I’d make a case for Only The Strongest Will Survive as Andy Bell’s best song. When you sort out the Ride discography by songwriter, the best-crafted stuff tends not to fall into his bucket.

  17. 18
    weej on 9 Feb 2015 #

    I queued up the video and headed straight over to the comments to join in with the slating, then remembered I’m the anti-cheerleader on the Oasis entries, and nobody hates it as much as I do. Anyway, two observations; firstly, this seems like it got to #1 entirely on the basis of being the new Oasis single and nothing else – it’s hard to imagine any non-fan hearing this on the radio and being converted. That’s something more than a fanbase #1, isn’t it? There are probably plenty of better examples out there, but this seems like stepping up a gear in the phenomenon. Secondly, I was surprised to find that (for the first time) I can see exactly what they are trying to do here – it’s a psych-funk groove, isn’t it? And I can even hear Andy Bell importing bits from the last couple of Ride albums – but it just doesn’t work, the rhythm section are out of the mix almost entirely, the organ is only used as a garnish, if only they had more money and studio time they could’ve gone back in and finished it off, oh hold on.

  18. 19
    Cumbrian on 9 Feb 2015 #

    I’ve been in Oz for three weeks – a real flurry of activity whilst I have been away, I may have to go back and see whether I have anything of value to say (for a change) on the other entries but, as I alluded to in Some Might Say thread, at some point I was going to have to stand up for Oasis. That time is now.

    Groove might not have been Oasis’ strong point but they could do it (Columbia for one), the bass on this is decent (Tom is right, Noel played this – not Andy Bell who, like Gem Archer, doesn’t make an appearance on an Oasis LP until the next one) and consequently lopes along well enough. Paul McGuigan would likely not have been capable of this.

    Belligerent chug is a feature not a bug in my view. I agree with Mark G that the opening salvo from Standing… had me thinking that they might be able to return with something worthwhile. This never fails to get the hairs on the back of my neck rising when the electric guitars finally kick in on the second run through the Go Let It Out refrain – the opening 50 seconds of the track are really well done. Drum loop, layering on the instruments, electric guitars kick in and the menace rises. I have a vivid memory of hearing it for the first time and thinking “fuck me, they’re actually going to make it back” and then “shame that it resolves into a wet blanket chorus” – nicked from a poem as it turned out. Good job that it doesn’t last long and it moves back into the groove then. If they’d been able to resolve that rising menace into something that was truly nasty, I would have been all over this for a really high mark – as is, it’s still their second best number one I reckon.

    Let’s All Make Believe on the B-Side addresses the falling apart of the band in the recording of the LP and is the last really worthwhile Oasis B-Side – just very honestly laying out the strain of trying to keep the plates spinning as the last gang in town. Noel’s songs have dried up at this point – Gem, Andy and Liam were all going to need to pick up slack from this point on – and the evidence of some form of writer’s block is all over the track listing of the LP – and no B-Sides of worth from Noel from here on. As with Be Here Now, half the tracks probably needed to be shelved (Put Yer Money Where Yer Mouth Is and I Can See A Liar in particular are terrible and I hate, hate, hate Sunday Morning Call – it could have easily be replaced by Let’s All Make Believe and the album would have been stronger for it). The heart of the record – Fucking In The Bushes, GLIO, Gas Panic!, Where Did It All Go Wrong?, Roll It Over – is reasonably strong though, I reckon and in the latter three cases continues the open lyricism of LAMB. More of that stuff and really making it a disintegration of the dream record would have been welcome, I think. Even with three real duds on it (out of 10 tracks), it’s still a better album than Heathen Chemistry though – more on that anon.

  19. 20
    Andrew Farrell on 9 Feb 2015 #

    More startling than “Feel the base” is the sound of scratching that precede it – in that context it sounds almost Robbie-ish!

  20. 21
    Cumbrian on 9 Feb 2015 #

    “Feel the bass” – I have always heard that as “Pick up the bass”.

  21. 22
    Chelovek na lune on 9 Feb 2015 #

    Generic competent Oasis drone, a decent enough, if unexciting album track, adult FM radio wallpaper, not horrible, not overly long, and only close to be being overly repetitive. Not the worse no 1 of their’s we’ve encountered so far, but complacency clearly has the upper hand over excitement here.


  22. 23
    Tommy Mack on 9 Feb 2015 #

    This started the post-Imperial Oasis promotional cycle: Noel talking a new song up in the music press as ‘the best thing we’ve done since DLBIA/Wonderwall/Live Forever etc’, it hitting the radio, everyone thinking ‘is that it?’, Noel piping down and then tacitly adding the song to the ever increading list of interim stuff he dismissed as sub-par when it came time to promote the next album.

    I regret passing up on Oasis at Reading, later in 2000, but I was so unimpressed by this song. I reckon SotSoG marks Oasis’ nadir, everything I’ve heard of theirs since sounds at least a little bit better than this. Even the ones Liam wrote. It’s just so stodgy and unexciting. For the man who used to chuck songs like Fade Away and Acquiesce away on B-sides, this is a low ebb and no mistake. And is Sunday Morning Call (A #30 smash iirc) off …Shoulder… too? I honestly thought that was Ronan Keating when I first heard it.

    Princes and kings/clowns who caper in sawdust rings is a near-lift from R.L. Sharpe too in case no-one’s mentioned it so far: http://www.goodreads.com/quotes/891298-isn-t-it-strange-how-princes-and-kings-and-clowns-that

  23. 24
    thefatgit on 9 Feb 2015 #

    I so wanted to like SOTSOG when I bought it. After the initial thrill of FITB* and the track we are discussing here, I began to feel Oasis were pulling at threads from cloth weaved more ably by Death In Vegas, UNKLE, and The Stone Roses. It was here, as the parent album played out, I began to lose my faith in Oasis. I was prepared to forgive “Be Here Now” with its patchwork of Beatlesque numbers. I have only returned to that album a couple of times, since I kept it playing on loop in my car stereo for about a couple of weeks. SOTSOG as far as I can remember, has been played exactly once.

    GLIO is enjoyable in its own way. I think it has some endearing moments, like the “is it any wonder why princes and kings…” line is when the Strawberry Fields mellotron kicks in and I’m almost thinking: JEEZ IT’S CANDY FLIP! Let me take you down, cos we’re going to miss Bonehead and Guigsy a helluva lot from here on in. By the time the boys had driven their Special Service bus to the desert for their next single, I had begun to move away from their brand of post-Britpop, sample-‘eavy psych rock. And I didn’t look back…in anger or otherwise. Thanks for the good times Oasis, but this is the point where I got off your big white Routemaster. (7)

    *FITB, the best track off the album (not SOTSOG, but the Snatch Soundtrack Album) because now, I’m reminded of the moment when Brad Pitt’s clan of heroic unintelligible gypsies exact their brutal revenge on Alan Ford’s group of match-fixing gangsters with a barrage of shotgun fire. Take that Brick Top!

  24. 25
    Izzy on 9 Feb 2015 #

    19: I was going to mention Columbia, because Oasis must have a decent shout at having the worst rhythm section of any major band, but Tony and Guigsy laid down a monster there.

    19: I had no idea Let’s All Make Believe was on this, or that it was so late. It’s a fabulous track. Their deep cut catalogue isn’t that great in my view, but you could probably still make a corking twelve-track compilation out of it.

  25. 26
    ace inhibitor on 9 Feb 2015 #

    #7, 8, 14 – I don’t know about 70s hippy folk bands, but that RL Sharpe poem was lifted wholesale by the Heptones (1973) and what a lovely lift it is too

  26. 27
    Ed on 10 Feb 2015 #

    This really is the point where the sheerly unnecessary nature of later Oasis becomes overwhelming.

    Given the vast ocean of sound that’s out there, and our finite number of seconds on this planet, why would anyone ever want to spend any of them listening to this?

    I’m not even going to do it now.

  27. 28
    Mark G on 10 Feb 2015 #

    Well, there was better to come but for all those that said “They should have split after Knebworth, on a high etc” effectively they did. The Oasis that carried on from here was a duo. Neither of which were in the first Oasis lineup. And no, I don’t mean Mary Hopkin and Peter Skellern.

    So, never mind whittling the White album or Sandinista to single albums, there is a case for whittling this Oasis album to a 4 track e.p. And the next one too.

    But I’m getting ahead.

  28. 29
    Elmtree on 10 Feb 2015 #

    Yes, this really is a case of competent production failing to cover up terrible lyrics. Nice mellotrons, though.

    And the album cover could not have been much more openly saying that they were still wondering if they might be able to break America with this one.

  29. 30
    Inanimate Carbon God on 10 Feb 2015 #

    On release I hated this one with a fire and brimstone passion, and it only increased through my angsty, punky late teens and early twenties. My then 13-year-old sister’s review: “They’ve been working on this for two years and…?”

    A band who made parts of my childhood feel like riding a cruise missile to the Moon dropping like a stone to the level of glorified buskers. I never really saw Oasis as a continuation of a Beatlesy “Great British Pop” tradition; I’ve usually been more charmed by their rugged Sladey/glam rock aspects and saw their early work as much murkier and grungier than they’d ever admit (partly because I was in awe in Year 7 of a 16-year-old lad who’d play Smells Like Teen Spirit perfectly on a Union Jack guitar. Confused cultural signifiers or what!)

    No such problems these days. Some people say Oasis lost it when they went too loud and murky on Be Here Now; others say this was the tipping point when paying warm homage to sixties influences became depressing self-enslavement. Either argument is outweighed by the fact on their best days, they were bloody brilliant at both. This aims for the latter talent/Achilles heel and
    doesn’t quite get there, mostly because Liam has an even worse cold than usual, but the lyrics are enjoyably quirky gibberish rather than horrible cokehead gibberish, and I love the slight ascent into the mellotron-flecked chorus. Agree with 23 Daves @14 that they could have made a brilliant psychedelic album if only they’d embraced the toys they were given to play with.

    What will finally put me off the ‘Sis in future entries is their descent into treating pop/rock stardom with the beige indifference of filing a tax return. That’s not here quite yet, as they still seem somewhat interested in their own music and :cough: :sorry: trying to keep some destiny. For the second successive entry, a dignified, maybe generous 6. (For some reason, I believe that run may soon change.)

  30. 31
    wichitalineman on 10 Feb 2015 #

    I couldn’t have been less interested at the time, but now this has a Slade In Flame-like comedown feel for me, which was probably intentional. GLIO is noticeably softer and more acoustic than previous efforts. More concise too, thank God. It may have a classic pop/rock construction (a proper coda, too) but that had been entirely absent from the addled Be Here Now. The comparison between Slade and Oasis stretches to their limited palette. Remember what happened to Slade when they started to branch out – My Oh My, Run Runaway, Give Us A Goal, their NWOBHM phase, all pretty horrible. So, a simmering down of their basic sound – as on GLIO, or Every Day, or Far Far Away – is probably the best we could hope for as far as ‘progress’ goes.

    Liam’s voice, on the pivotal point between greatness and unpleasant raspiness, reminds me of Marianne Faithfull on 1969’s Something Better.

    Thanks to Cumbrian and Izzy for the Let’s All Make Believe tip off, I’d never heard it. Really is up there with their best early work. How the hell was it only a b-side in 2000?

  31. 32
    Inanimate Carbon God on 10 Feb 2015 #

    I didn’t know Slade had a NWOBHM phase! Sounds slightly frightening.

  32. 33
    James BC on 10 Feb 2015 #

    Misremembering, I’d thought this was left off Oasis’s best of album Stop The Clocks. But it’s there on disc 2, taking up a place that could be filled by any number of better album tracks. There are number 1s that don’t make the cut, so Noel must see something in this one.

  33. 34
    JoeWiz on 10 Feb 2015 #

    This came out on my 16th birthday. Jesus.
    I was a staunch supporter at the time(and still am, in a way) so I clung to this embarrasingly when it came out. I sat through the entirety of Zoe Ball’s Breakfast Show for the first play, recorded it off the radio and played it back as many times as I could before school. I loved it then, and I still do now. It’s got a real swirling energy to it, an almost hypnotic whirl of magnificence.
    I obviously played the album to death (lugged my giant Graphic folder to Our Price straight after school to get it on day of release) and told myself to love it and try and spread the word to my by not Anti Britpop friends.
    SOTSOG is, of course, pretty awful. This, Where Did It All Go Wrong ( which I can’t believe no one has mentioned) and maybe Gas Panic were as good as anything, but the rest of it was severely phoned in.
    There’s a bootleg version which is pretty similar, but with and Austin Powers sample running over the opening. For those that hate this, be thankful you never had to suffer that.

  34. 35
    Mark G on 10 Feb 2015 #

    #19, #25 and #31 There are a few b-sides that are “up there with their best”, but I get the impression that Noel hates them specifically, so there they stay. “Stay Young” is certainly one of them also, I think it’s where it comes too easy that breeds that sort of “.. give a shit (looks the other way)” disdain. Lennon was the same about “It’s only Love” so ..

  35. 36
    Izzy on 10 Feb 2015 #

    32: I’m glad. The thing I really like about Let’s All Make Believe is that I can hardly think of another track like it – that mix of euphoria, cynicism, weariness, and knowing the jig is up but exhorting yourself to join in anyway. The Beatles’ Two of Us could maybe be somewhere on that ground; or on another tip entirely This Is Hardcore? It’s real comedown stuff.

    Typical of them to finally pull off something new, and then throw it away on a b-side.

  36. 37
    mapman132 on 10 Feb 2015 #

    @29 Wiki shows that SOTSOG peaked at #24 in America. I’m amazed it was that high.

  37. 38
    Mark G on 10 Feb 2015 #

    Well, received wisdom had it that Oasis had a big hit then completely disappeared as far as the US was concerned, whereas all of their albums charted reasonably well (and #24 USA beats #1 UK in sales terms, probably)

  38. 39
    mapman132 on 10 Feb 2015 #

    “#24 USA beats #1 UK in sales terms”: While it’s true the US is a much bigger country (~5x population), things aren’t quite that skewed. Wikipedia gives sales figures of 677,000 UK and 201,000 US, FWIW.

  39. 40
    Tommy Mack on 10 Feb 2015 #

    Which would be very respectable figures for most bands, even on their fourth album but after WTSMG’s 25m worldwide, even BHN looked a comparative failure with a mere 8m. Besides which ‘ease into middle age, a comfortably Mid-table indie band’ was never the Oasis gameplan.

  40. 41
    Tommy Mack on 11 Feb 2015 #

    There’s a theory I’ve heard repeated a few times that Oasis lost it when they ‘sacked the binmen’ as Steven Wells put it: that without the distinctively dense sound of their inept rhythm section they faded away into middle aged noodling. At the time I lapped this up but now I’m sceptical: if anything I’d say that having a couple of more capable musicians allowed them to keep a flicker of interest in their music after the magic had deserted Noel. If Gem and Andy Bell hadn’t joined they might well have split there and then.

    I also heard that Bonehead’s departure went like this:

    Noel: “Liam, you’re not drinking if you’re gonna be on this album ”

    Liam: “Bonehead’s on the album, Bonehead drinks…”

    Noel: “Alright, Bonehead can’t drink neither then… ”

    Bonehead: “Actually boys, I’ve heard the demos and I’d rather get drunk… “

  41. 42
    a certain sukratio on 11 Feb 2015 #

    a mix between The Stone Roses and Primal Scream with the swagger of Oasis”: aka what mcgee hath wrought >:(

    ^^^this is simultaneously very funny and very terrible (CW: ilx thread)

  42. 43
    Nixxon on 11 Feb 2015 #

    The only things I could remember about this without looking it up: the dirgey chorus and it varying the second time around adding an extra syllable (“SHE go let it out”) and a very minor spat with MTV UK who at the time had a weird caption format that covered half the screen in big white boxes, leading to this one’s “The best videos make room for BIG CAPTIONS” thing at the start.

    So, I looked it up, and was instantly surprised that it was nearly five minutes long; on pressing play, I realised that’s because they’d actually showed us everything already by three minutes, but apparently just decided to play the entire song again. I’ll be honest, I turned it off before the end, so for all I know I missed a moment of excitement four and a half minutes in.

    Have I mentioned how much I hate Oasis? After pissing in the wind for five years tearing my hair out as to why people were buying them and their records, I should have taken the pile-on backlash as some kind of vindication, but instead it was just… sad, really. Still, though, wowee, hoo boy, is this ever shit. 1.

  43. 44
    Nixxon on 11 Feb 2015 #

    (I’m usually called Nixon, but appear to have been banned or blocked or summat, I haven’t been able to post since December but it magically worked when I put a different name and e-mail address in, so… not sure what I did to upset the powers that be, but hey ho)

  44. 45
    Tom on 11 Feb 2015 #

    Hi Nixxon (er, Nixon)! That’s weird, I haven’t banned anyone – I wonder if there’s a spambot sharing your IP address and it just wasn’t getting through. I hope that’s not happened to anyone else.

  45. 46
    Nix On on 11 Feb 2015 #

    Well, that’s a relief – sorry if it opens a further can of worms! :)

    What would happen is I’d type a comment, then press “Submit” and it would just take me back to the entry as if nothing had happened – same thing no matter what computer/tablet/phone I used, at home, work and afield, and irrespective of browser. It stopped working when Cliff was the most recent post – I was able to put up one comment but it didn’t work later in the thread.

    Sorry to any passing Oasis fans for this fascinating digression!

  46. 47
    Ni Xon on 11 Feb 2015 #

    Back to relevance, I’ve just remembered another thing – since I can’t remember if there are any more #1 singles to come from this LP, I’ll put this here instead. Gallagher (N) said he got the title for “Standing on the Shoulder of Giants” after seeing it on the side of a £2 coin, and when that story came out, some wag (Maconie, possibly?) said it was lucky the new Oasis album wasn’t instead called “Rugby World Cup 1999”.

  47. 48
    anto on 11 Feb 2015 #

    It is possible to lose awareness of this wafty excuse for a song even while actually listening to it. I always quite liked Sunday Morning Call, mind – Maybe because Noel was writing a song about a situation rather than just making vague proclamations of something or other he caught that morning after/end-of-decade mood quite well.

  48. 49
    Inanimate Carbon God on 11 Feb 2015 #

    Re 47: That’s it for SOTSOG (Who Feels Love is the hit single nobody can name in the pub quiz), but there’s an Oasis bunny in spring 2002 I may well tear apart like a lion with the munchies does to a three-legged gazelle. Much more on this later but the decline of Oasis (in my eyes) through this decade seems in direct proportion to what I thought of my local towns on the Lancashire textile belt (Blackburn, Accy, Burnley, Preston); from earthy, good-humoured and unpretentiously charming in their unrefinedness to crummy, bigoted, and unneccessarily aggressive in their.. unrefinedness.

  49. 50
    Alex on 12 Feb 2015 #

    This was the point of final indifference for me; I didn’t buy the album and I didn’t care any more.

  50. 51
    StringBeanJohn82 on 12 Feb 2015 #

    No other band took such a dive in quality after their first 2 albums with the exception of Weezer.

  51. 52
    Rory on 12 Feb 2015 #

    Be Here Now had broken any compulsion I’d felt to treat a new Oasis album as an event, so I was slow to pick up SOTSOG – I bought it second-hand, a year after it was released. I haven’t listened to it in years, but thought of it as an album that started well but tailed off, much as others have said. Even that may have been generous, though. Listening to “Go Let It Out” again now, it has the same problems as the singles from Be Here Now: it’s too long, there’s too much in the mix, and I’m finding Liam’s flat delivery increasingly hard to take. The mellotron is a saving grace, and I like the “hurgh!”s, but they’re not enough. With a livelier vocal and a minute shaved off the running time, this could have been a 6 or 7, but I don’t think I can stretch past 5.

    I hadn’t heard “Let’s All Make Believe” either. Now that would have been a single worth celebrating. Madness to leave that off the album, madness.

    Nobody’s mentioned the implications of the misquotation in the album title. The references I’ve seen online suggest it was because Noel was drunk when he copied it down in the pub, and woke up to realise he’d left off the plural, ha ha, let’s leave it that way. It’s a pun, innit. But did he really want to imply that the band were standing on the shoulder of – next to, in the shadow of – giants, rather than on their shoulders, reaching even higher than those giants had? His previous form suggests he was aiming for the latter, but if so, he ended up with the biggest Freudian slip of an album title ever.

    Noel seemed to get a bit more perspective on it over time.

  52. 53
    Kinitawowi on 12 Feb 2015 #

    Very little dates a song faster than a video taking the piss out of MTV’s on-screen graphics – that “the best videos always make room for / BIG CAPTIONS” right where the channel used to stick the artist / song / album infoboxes pins it to its moment. And so it goes; this is a Moment, created by a band seemingly rankled by the fact that they have more commercial success but less critical acclaim than the Stone Roses and trying to remedy it by creating an infinitely less interesting Love Spreads.

    Transitory, designed to fit a narrative and eminently disposable. SOTSOG had a couple of good tracks – Gas Panic! is epic and I don’t hate Sunday Morning Call – but this definitely wasn’t one of them.


  53. 54
    Elmtree on 12 Feb 2015 #

    Ah, I was wondering what that bit was about as I never had MTV growing up! Though Nick Egan did a perfect job with the US Live Forever video – totally hubristic, painting Oasis as the successors to everyone from the Beatles and Hendrix to the England 1966 football team and somehow getting away with all of it.

    Nice overcast sky-intense greens cinematography though, and I like the running gag about Liam turning up to the gig (playing to nobody) late. And he gets special respect from me for also being from Watford.

  54. 55
    Tommy Mack on 17 Feb 2015 #

    Went for a jog with SOTSOG this morning. I’m with those who thought the opening tracks sounded like it might be a blistering psych-rock rebirth then quickly paled. F*ckin in the bushes: Swamp Song meets Noel’s Chem. Bros collabs (this is a good thing in my book.) GLIO sounds a lot better through headphones (I must stop listening to stuff through my laptop speakers – though I reckon this only ever knocks a point or two off for me) – quite fun in an Inspirals-meets-Charlatans-way, maybe I’ll stretch to a 5. Who Feels Love: I actually laughed out loud at how Beatley this was, quite touching in a way: in troubled times, George Harrison turned to eastern spirituality, Noel and Liam turn to George Harrison. Little James, surely Liam’s taking the piss? I imagine him dressed up like Dylan and very studiously writing lines like ‘you live for your toys/even though they make noise/Na na na na na na na na’ in a big leather book with a serious expression on his face. Everything else: bo-oring. Gas Panic sounds like an attempt to recreate The Masterplan’s epic sweep to ho-hum effect, the rest of the album is dreary beyond belief: probably worse than the back-end of The Manics’ TIMTTMY in the ‘just take a year off, lads’ stakes.

  55. 56
    flahr on 18 Feb 2015 #

    This feels like a sort of archetypal 5 to be. Got some nice heavy, crunch to it, plus an actual bassline (which feels like a bit of a novelty for Oasis) – I get a sort of Chemical Brothers vibe, bizarrely – but it’s got a distinctly subpar vocal and it squibs out at the three-minute mark – there’s a bit where it should blantantly go into a guitar solo but instead it faffs around on the buildup before collapsing into another chorus and by the time the solo does eventually arrive all the momentum’s been killed.

    I would mention the lyrics but that would be giving them more thought than Oasis did.

  56. 57
    Tommy Mack on 18 Feb 2015 #

    The rhythm section does recall Dig yr Own Hole era Chemical Brothers a bit. Liam sounds very uncomfortable with the ‘princes and kings’ bit. James Dean Bradfield he is not and the awkward scansion of those lines doesn’t suit his singing style to the extent that I wonder if Noel should have sung that bit himself. I quite like Liam’s buzzsaw rasp elsewhere on the song. Agree that it builds too quickly and then goes nowhere but in Oasis terms it’s relatively restrained in waiting before the layers of noise sweep in.

  57. 58
    Cumbrian on 18 Feb 2015 #

    Interesting seeing who people have been comparing this track to in terms of sonics. The band that were being touted around as a major influence on GLIO at the time was, from memory, The Beta Band – who were none-too-happy about getting an Oasis seal of approval, if my memory serves that far as well.

  58. 59
    ciaran on 20 Feb 2015 #

    ‘Quasis’- What a concept!

    It’s funny though that Quo comparisons exist given that the Bannister controversy was meant to kick out the old guard and replace it with new trendsetters like the Gallaghers.

    You’d almost have some sympathy for Oasis at this point. They were like that young football superstar who had done it all when he was 21 only to disappoint those who expected the world of them after.

    It’s really when you weigh it up with the almost radial departures of its contemporaries how outdated Oasis really seemed by 2000. (13 the year before, Kid A in the same year and Amnesiac plus We Love Life and Damon’s cartoon reinvention a year later). They almost were a bit Smashey and Nicey in comparison. A band out drinking and throwing back a full pint in one go having a good time whilst the others are taking stock and exploring new worlds.

    There was still an audience there that was willing to give them a chance to right the Be Here Now wrong and be taken in again hence this getting to Number 1.

    The trouble with GLIO was that it was no classic Oasis singalong hands aloft crowd puller. The big un’s of 1994 to 1996 took a few weeks to gain momentum and then forced its way into the minds of the public. With GLIO it’s a toe tapper for a few days but repeated listeining takes away the fun.

    In spite of the swollen Oasis of the day and the critical kicking I actually liked revisiting this more than I expected to. The pleasant intro, Liam not roaring his arse off, the whole less loud vibe to proceedings. It does go a bit All Around the World for its own good near the finish but a playback in 2015 I can overlook that .6.

    Not surprisingly it was barely heard anywhere by the end of the year.

    A sign that they were not the force they had been was the follow up Who Feels Love. For a band who you would know everything from b-sides, singles, albums, what seat in Maine Road they took up,adidas runners they wore, etc, even a keen former fan like me couldn’t be bothered to find out if it was any good.

  59. 60
    Tommy Mack on 13 Mar 2015 #

    BBC6music: ‘was it hearing terrace chants at Maine Road that made you want to write anthems?’ Noel: ‘I think it’s mainly to do with being Irish: that fist in the air…while you’re crying type of pop music’ – trailer for interesting sounding interview on The First Time, first time I’ve heard him discuss his musical preferences in terms of his own background or psychology rather than just objectively good choices that anyone would make if they were as sussed as him.

  60. 61
    shishimaru on 20 Jun 2015 #

    Do you people always listen coldly to music? I love Standing On The Shoulder of Giants, it’s something intimate. And it’s definitely much more rock than previous album in some tracks. Also, I don’t understand why you people keep on saying that Oasis were failing because of Be Here Now. Guys, they were *definitely* not. You might want to give critics, and this is totally fine, but Oasis never felt they failed. Be Here Now sold a lot, singles like Stand By Me and Don’t Go Away are still remembered as much as a very few other singles (Little By Little, SCYHO, Lyla, DLBIA, Wonderwall – yeah, there are definitely better songs), Liam was singing great, people were enjoying. There was only one problem with Oasis, and the problem was them and their lives.
    Also, Be Here Now is a looong album to listen, but yet I enjoy it much better than a lot of little albums. Noel Gallagher himself tried to short all the songs for a Be Here Now remaster, but then gave up because – he said – those songs were as they were meant to be. They’re long, but they’re not too long. You can’t make them shorter.

    The only thing I would complain about the Giant is: it could be so incredibly better. ‘One Way Road’ and ‘Let’s All Make Believe’ left out as b-sides, ‘Let There Be Love’ left out again since Be Here Now (it’ll come out quietly in ‘Don’t Believe The Truth’.
    Yeah, you may find two demo versions of Let There Be Love (one is called ‘It’s A Crime’ from fans) along with all the song of the SOTSOG sessions.

    Go Let It Out is definitely cool to listen and sing-along, Who Feels Love? is totally fine (there’s an acoustic version on YT sung by Noel Gallagher, I definitely prefer that), Gas Panic! is just pure epic, it just works and it’s definitely made to be felt rather than listened – and it stayed in the live tracklist until 2003 or 2004 with Go Let It Out. Well, yeah, I don’t like Little James, and I don’t feel Sunday Morning Call is a big single. Where Did It All Go Wrong is a simple song, yet perfect. Roll It Over is definitely not something as greatful as Slide Away/Married with Children, Champagne Supernova or All Around The World, but it stays on the same line of the album and it’s the best choice to end it. “You plastic people roll my soul over and I’m not feeling fine with this”. Noel Gallagher was sincere at the time.

    On the other side of the dark era, Colin Archer and Andrew Bell arrived to make the band even bigger on live events. Older songs like Rock ‘n’ Roll Star and Morning Glory finally started to sound properly in gigs.

  61. 62
    Chris on 13 Sep 2015 #

    I was still an Oasis fan at this point. Be Here Now was pretty bad, but The Masterplan was the first time Americans got to hear any of the b-sides, so that made me stay semi-interested in what they’d do next. Then I heard this song, and man was it terrible. I still bought SOTSOG, although only Gas Panic is a good Oasis song, and Roll It Over is alright. But most of the album just sounds like a concept album about a very bad hangover. Which I guess is kind of fitting since BHN is their booze n’ coke record. But still not an enjoyable experience.

Add your comment

(Register to guarantee your comments don't get marked as spam.)

If this was number 1 when you were born paste [stork-boy] or [stork-girl] into the start of your comment :)


Required (Your email address will not be published)

Top of page