Oasis 5: Standing On The Shoulder Of Giants

The bad grammar somehow fitting, Standing On The Shoulder Of Giants presents a still-defiant Oasis, somewhat bruised following their fall from infallibility but still determined to rock. Having lost two members, the band relied more on loops and samples to create their music. That’s not so much of a stretch, considering Noel Gallagher sang on a hit single by the Chemical Brothers. It’s still derivative of an earlier decade, but at least the trip-hop influence doesn’t hurt one’s ears like Be Here Now did.

Right out of the gate, “Fuckin’ In The Bushes” shows off the new sound, though it isn’t much more than a collage. Based around a “Funky Drummer”-type sample, complete with vinyl crackles, the new sound is also presented ably on “Go Let It Out”, which was the first single, though the Mellotron is out of place. The second single, “Who Feels Love?”, is way too long and a little too psychedelic, with backwards guitars and sitars, and a melody that sounds too much like earlier, better Oasis tracks. Plus, the hippy-dippy sentiment doesn’t sound convincing coming out of Liam’s mouth or Noel’s hand. “Put Yer Money Where Yer Mouth Is” manages to combine an AC/DC stomp with “Roadhouse Blues”—stupid, but still fun, until the 30-second farting synth at the end. Surprisingly good is “Little James”, Liam Gallagher’s first recorded composition and written for his son. Even more impressive is the production, incorporating “Don’t Look Back In Anger” piano, though the “Hey Jude” ending goes (again) a little long.

“Gas Panic!” returns us to India before floating on another psychedelic bed, and by now we wish they’d pick up the tempo a hair (one of the downsides of quitting coke, to be sure). Still, Noel sings two further slow songs in a row: “Where Did It All Go Wrong?” is another feather in his vocal cap, while “Sunday Morning Call” is a more elaborate production. Together they provide respite from Liam’s rasp. “I Can See A Liar” is a wonderful glam stomp, with a few hints of the Cult in the riff, for a terrific shot of energy. And that’s good, because “Roll It Over” just drags until the end.

For all the imperfections and indulgences, Standing On The Shoulder Of Giants is still not as indulgent as Be Here Now, and manages to hold interest. Being relatively tight, it’s a welcome return to form quality-wise on par with the first two Oasis albums. But we must add one final gripe: if you’re going to book legendary vocalists P.P. Arnold and Linda Lewis, give them something to do besides sing “ah” buried in the mix.

Oasis Standing On The Shoulder Of Giants (2000)—3