Tagged: 90s

I Hate Videos

oasis

Whatever you may think of his music, and I am a massive fan who lost faith in them, it’s hard to deny that Noel Gallagher is one of the most intelligent and funniest musicians out there. His music may be dull but he rarely is.

As if to highlight these two facts some bright spark has collated the best commentary from a DVD collection of all of Oasis’ videos and it makes for hugely entertaining videos. If you haven’t seen it yet I can’t recommend highly it highly enough. I’ve watched it about 5 times now and it still makes me laugh.

Whilst his proclamation that no-one watches videos any more is as mistaken* as his views on hip-hop at Glastonbury, the rest of it is funny, honest and true. Some of my favourite lines include:

I look like…Columbo

Is that how easy this is? You just go and randomly suggest nonsense and people go and film it?

The missus wouldn’t let you do a video like that now would she?

Look how pissed I am there. That’s me really pissed.

It is a good song to jump up and down to, drunk.

That wasn’t an actual record player by the way and that’s not a real clown.

Do you want me to..stare at you like a…serial killer?

This is fucking nonsense

Look at the size of Bonehead’s shirt, that’s…insane

Is that Phil Mitchell?

If you need four guys to walk around in slow motion…we were the best at that.

So there’s a death in the video, that’s nice.

If anyone’s listening to this at home you’d probably be advised to go and mow the garden because this goes on for ages. And ages.

They are really ill-fitting suits aren’t they?

Robbie Williams based his entire…career on this song.

Is that a man with legs made of sausages?!

Why didn’t somebody…stop me at that point and say you need to go on a holiday?

That’s supposed to be a space-ship taking off, it looks like a load of scaffolding sinking.

Can we listen to this with the sound down?

Walking and playing is basically what (we) do. And standing still. And look bored.

I fucking hate this next tune, I really fucking hate it.

That last comment is followed by a sigh of such disgust that it really had to be heard to be believed. Just like Karl Pilkington was always the best thing about Ricky Gervais’ radio shows so it seems that the best things about Oasis’ videos is the man who starred in them all slagging them off.

*The video of him talking about videos has already notched up nearly 225,000 views whilst the likes of Sy, Rihanna, Miley Cyrus and Lady Gaga would probably have something to say about whether or not anyone watches videos any more.

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Tune Of The Day: Faith No More – Easy (Commodores Cover)

Because today’s Sunday.

Because it was a totally left-field cover for Faith No More, probably the biggest alternative rock band around when they released it (the Red Hot Chili Peppers of their day, even though the Chilis were around at the time.)

Because the original version of Easy, by Lionel Richie’s Commodores, was used in an ad for a bank in the 80s (below) which made me want to live in a loft, with a cat. Quite possibly the only cool bank ad ever made.

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My Marmalade: Suede – My Dark Star

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So, a new year, another attempt to get more out of my blog. A while back I went for playing shuffle on the iPod. This time I’m taking my direction from start-up This Is My Jam which, though a service I like, I don’t really click with totally.

You’re only meant took use it once a week and it creates yet another social profile (see the unofficial title of this blog). Anyway, that’s why I’m going to try to post a jam, or marmalade, every day. Probably without much commentary, to make it likelier that I actually do it.

To start, Suede b-side My Dark Star; I’m having one of my frequent 90s indie nostalgia sessions at the moment.
Photo by iglooo101 on flickr

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20 Essential 90s Albums

In its ongoing bid to have more sub-brands than any other media owner, Absolute Radio recently launched a new niche-station, this time one tailor-made for those of us currently experiencing the dizzying pangs that come with realising nostalgia isn’t just something that happens to your parents: Absolute 90s. And, as part of the ongoing celebrations of the launch, they’re compiling a list of the Essential 90s Albums.

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Now, anyone who has ever read this blog before (Hi Mum!) will know that I love a good list and so, taking Absolute 90s compilation of such a list as a challenge, I thought I’d have a go myself. And here, after much thought, is my 20 essential albums of the 90s. It was hard enough keeping it to 20 (and they’re likely to change) so they’re in no-order other than chronological. I’ll happily admit that it tends to skew towards British music & hip-hop, but it’s not my fault that most grunge was shite.

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Anyway, for anyone that cares (Hi Mum!), here’s my 20 essential albums of the 90s.

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Now, the observant amongst you will have noticed that the list above only has 19 entries.So, I want you to make suggestions as to which album should fill that space and I’ll choose one of the suggestions and add it to the final list of the 20 Essential Albums Of The 90s.

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I should probably warn you now that it’s very unlikely that I’ll add any album that had a picture of a baby chasing a dollar bill on the cover. Just thought I’d mention it.

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Adorable – Sunshine Smile

Back in the early 90s I remember writing a letter to NME (or it may have been Melody Maker, I can’t quite remember). I was annoyed at the amount of hype they were giving to a couple of new bands, undeservedly I felt. The bands in question were Suede & The Verve (or Verve as they were at the time). I thought these two bands were overrated and that the band that should be getting the attention was Adorable, who I thought deserved to be absolutely huge. As I often say, my predictions are almost always wrong.

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The reason I thought this was due to their début single, Sunshine Smile. A splendid mix of fuzzy guitars and a thundering rhythm, the song was a call to arms: it came out in 1992, as shoegazing was starting to wane but before Britpop had hit. In many ways Adorable were a dry run for Oasis – signed to Creation, front-man Piotr Fijalkowski had a knack for giving good quote, although he had both the gob of Liam and the brains of Noel. According to Wikipedia Oasis have quoted Adorable as an influence, and certainly early Oasis singles bear a passing resemblance to Adorable’s sound, which took shoegazing style guitars and added a dose of pop sensibilities & rock tempos.

Obviously Adorable weren’t huge. They hit the top end of the Indie Charts a few times, with Sunshine Smile as well as the equally excellent singles Homeboy & Sistine Chapel Ceiling. Unfortunately their (excellent) debut album, Against Perfection, failed to do much business at all, and after releasing another, much weaker second album, they split in 1994. By then of course both Suede & The Verve had been surpassed by the meteoric rise of Oasis and whilst my 17 year old self was probably wrong, Adorable certainly left some amazing tracks for us to remember them by.

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Subshine smile by fdecomite on flickr

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RIP Oasis. You’ve Been Dead To Me For Years.

It’s with some sadness and great relief to tell you that I quit Oasis tonight. People will write and say what they like, but I simply could not go on working with Liam a day longer.

Noel Gallagher: August 28th, 2009

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Well, that’s that then. The band who burst on to the scene back in 1994 and revitalised the British music industry in the process, are no more. After what was apparently a physical confrontation which involved Liam smashing one of Noel’s guitars, the man who turned indie never-weres Rain into world beaters Oasis has finally left his brother’s band. The radio stations will be playing Oasis tracks for weeks now, and I’d guess that the next Best Song Ever chart to roll along will be stuffed with Oasis tracks. But for me, the band have been dead for years.

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Back in the mid 90s, after the Gallaghers had sacked original drummer Tony McCarroll, George Michael said something about how, in doing so, they had sacked their soul. His argument was that whilst replacement drummer Alan White (also sacked a few years later) was undoubtedly more talented, what had made Oasis so appealing was their simple, straight up energy. Fancy drum rolls and the like would be no replacement for what had made them so great, And, bizarrely, he was probably right.

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Back when they first started, many of Oasis’ best tracks were wistful songs of ambition & regret: even if they were played at ear-splitting volume, they seemed to reach for the stars from very humble beginnings. Fade Away, D’Yer Wanna Be A Spaceman & Acquiesce to name but a few. But as the money & coke rolled in, and they moved to Supernova Heights, the songs regressed to being little better than bad Beatles/Kinks/T Rex/insert 60s or 70s band here cover versions. Where Noel had once been a mischievous tinker, lifting little bits of Burt Bacharach here, getting nicked for borrowing some Stevie Wonder there, he ended up just reliving others’ past glories, and adding nothing to the musical canon in the process.

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I didn’t buy any Oasis album after (What’s The Story) Morning Glory and really don’t feel like I’ve missed anything: if you own it, Definitely Maybe & Stop The Clocks, there’s really nothing else you need to buy. Whilst I’ll be interested to see what Noel does next (I really couldn’t give a fuck about Liam: he hasn’t been able to sing for years & if he wasn’t in a band the twatt would probably be in prison or dead by now), I’ll keep remembering Oasis as they were at their peak: arrogant yet vulnerable and looking over their shoulders whilst taking over the world.

Graveyard by peterastn on flickr

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Stereophonics – Local Boy In The Photograph

Train tracks

I had an email from Jane earlier today in which she recommended a track by the Stereophonics she thought that I might like. Whilst the track in question didn’t exactly blow my mind, it did remind how good they can be. In particular it made me think of the first track of theirs I ever heard, Local Boy In The Photograph (in fact it was their first ever single).

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Whilst the Stereophonics have been mocked more than just about any band of the last ten years (and to be honest their bare-footed Glastonbury headlining slot deserved some ribbing), there has always been a pretty fine rock and hiding under the ego and bombast.

And, in their early days, the great band wasn’t even that well hidden: their debut album, Word Gets Around, was one of the best of the 90s, marrying a great ear for melodies with lyrics that were a lot more than the standard “she loves you yeahhhhh” of many bands, or the meaningless gibberish of Oasis and their copy-cats. Local Boy In The Photograph, for example, deals with the impact of a (suspected) suicide on a small Welsh town.

You can’t imagine Snow Patrol writing about that now, can you?

Train tracks image by David Locke1 on flickr

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