There’s an awesome bonus feature to the for the career-spanning 2010 Oasis box set Time Flies wherein Noel talks shit about pretty much every video the band has ever done. The whole thing is great, but check out the supercut after the jump with all the highlights. It’s enough to make you wonder why he’d ever make a video again, especially one thick with imagery and thin on plot.
The Chief’s new vid is all that. Noel with his great head of hair singing into the wind while star-crossed lovers run roughshod through a desolate landscape of gas stations, diners and dirt lots. Riding on the top of train with a fiddler’s hat and rolled jeans? Fuck yeah, why not? We don’t need to know where they’re going or why, we just need to know they end up together in the end. Will they? To be continued.
In what’s sure to send his little brother off the rails, Noel Gallagher’s latest video features Charlotte Marionneau, his notorious scissors player, reading a book. Her book is not miked so I don’t think her page flipping is part of the performance, but her mere presence is guaranteed to drive Liam nuts.
“She’s French and she’s eccentric to say the least. I said to her, can you play the tambourine? She said, [adopts French accent] ‘I cannot play the tambourine.’ I said, ‘Oh right. Shaker?’ ‘Non. I can play the scissors.’ She brought them in and I was looking at my bass player going, if that’s not the greatest thing you’ve ever seen then tell me what is. A French bird in a cape playing the scissors? It doesn’t get any better than that does it?”
So now we’ve got a French bird in a chair reading a book.
And the song? It’s not as much of a banger as “Holy Mountain” but at least nobody’s going to say this one sounds like Ricky Martin.
Big brothers are a pain in the ass, it’s their birthright. I know, I’m one. But there’s maybe nobody who relishes the role more than Noel Gallagher, who continues to assault and annoy his little brother Liam with musical and rhetorical noogies, long after the break-up of Oasis. For years in interviews he would laugh off the attention Liam got as the front man for the most 90s Brit Pop machine ever built by getting to stake a claim as its chief engineer. To borrow from their most obvious influence, Liam got to be “The Cute One” while Noel got to be “The Rich One.”
And so, true to form and on the heels of Liam’s solo debut (As You Where), Noel readies his follow up to 2015’s Chasing Yesterday with this year’s Who Built the Moon? and a trippy lead-off single/video, “Holy Mountain.” The track is a charger with big horns, a choog-a-loo rhythm, Paul Weller on organ and some BJM refugee in a poncho playing penny whistle!
Be Here Now was the 1997 follow-up to Oasis’ massive hit, (What’s the Story) Morning Glory? To say the former met with mixed reviews given the bar set by the latter is an understatement. In hindsight, everyone seemed to just be confused. Lots of people initially praised it as “bold” and “ambitious,” only to turn around and poo-poo it as “self-indulgent” and “bloated.” Noel Gallagher himself adding to the chorus. As The Chief said in Live Forever: The Rise and Fall of Brit Pop:
“It’s the sound of … a bunch of guys, on coke, in the studio, not giving a fuck. There’s no bass to it at all; I don’t know what happened to that…And all the songs are really long and all the lyrics are shit and for every millisecond Liam is not saying a word, there’s a fuckin’ guitar riff in there in a Wayne’s World style”.
Of course, they say hindsight is 20/20 and with 20 years of reflection, maybe we can give Be Here Now another look…another listen.
Posting on Facebook, Gallagher said, “As the years went by I’d started to accept that the songs on Be Here Now were in fact insanely long… too long! Someone (I can’t remember who) had the idea that we re-visit, re-edit the entire album for posterity’s sake.”
A total album remix? Now that’s interesting. And this might not set off the shit storm George Lucas faced when he revisited the original Star Wars trilogy. No, this was not tampering with a beloved title, but the opportunity to right some wrongs. Han will always shoot first.
Alas, “We got as far as the first track before we couldn’t be arsed anymore and gave up….it does sound fucking mega though!”
Oh well. Here then is the remix of the lead-off track, “D’you Know What I Mean,” which hilariously is only one second shorter than the original. Also, where’d those big ass NWA drums go?
D'You Know What I Mean? (NG's 2016 Rethink) (Official Audio)
Look at this picture and just imagine the comments. Imagine being a poor soul with ugly shoes who happens to pass by. The insults would be earth shattering. Mozzer, Russell Brand and Noel Gallagher all passing judgment on you in a public space? It’s just too much.
But now imagine that rhetorical arsenal put to work for good. Imagine these were the judges of a nationally televised talent show. Forget American Idol or The X Factor or America’s Got Talent…this is Fuck Off The Stage!
Act after act would come out to perform their bit and then stand there as these three loudmouths dress them down for the entertainment of millions. Mozzer’s turn-of-phrase, Noel’s Northern English verbal blunt trauma, Brand’s…Brand-ism. The horror!
And the best part would be that nobody wins…ever. The season would end with no winner, no big finale…just those three guys having pints and talking shit. THAT I would watch.
You can tell a lot about people by their choice of shoes and undergarments. In Noel Gallagher’s latest video, our star-crossed heroes bond over a shared love of suede trainers and leopard print skivvies. And, naturally, Noel drives the cab.
Noel Gallagher’s first solo effort debuted at #1 in Great Britain, moving 122,000 units in its first week. While a nice feather in Noel’s cap and a stick in the beady ey of his brother (who debuted at #3), it’s unlikely to rival the sales of Oasis’ catalog but this is a different time, isn’t it?
Speaking of…brother Liam Gallagher has said he’d be open to a reunion to mark the 20th anniversary of the band’s chart topper What’s the Story Morning Glory.
Liam told Rolling Stone, “In 2015, if we can put our shit aside, we can tour and play the album in its entirety for the 20th anniversary,” he says. “I’d be up for that, if it’s on our terms. There’s got to be two-way respect.”
It appears Noel still knows the songs since he played nine Oasis tunes in his live debut. Maybe the hoopla around the Stone Roses has got the old boy thinking…
Noel Gallagher’s High Flying Birds North America Tour Dates:
November 7 & 8 @ Toronto, ON @ Massey Hall
November 11 @ Philadelphia, PA @ Academy of Music
November 12 @ Boston, MA @ Wang Theatre
November 14 & 15 @ New York, NY @ Beacon Theatre
November 17 & 18 @ Los Angeles, CA @ Royce Hall
November 19 @ San Francisco, CA @ Orpheum Theatre
“The world can be split into two camps: people that like Neil Young and people that don’t. And the people that don’t are fucking idiots. Mind you, I wish he’d spend more than a week making an album.”
–Noel Gallagher, Mojo Magazine, September 2011
God bless The NME. We had this idea a while back but never got around to researching it, so here are Noel Gallagher’s 50 Funniest Quotes. Not only funny but the dude was prescient on the course of indie rock. Choice cuts from the ex-Oasis man:
On ambition: “You want to sell 5,000 limited-edition red vinyl seven-inches, that’s fine. Make music for a closet full of people in Bradford somewhere … but it doesn’t mean anything to anyone. Phil Collins has got to be chased out of the charts, and Wet Wet Wet. It’s the only way to do it, man, to fucking get in there among them and stamp the fuckers out.” (The Guardian, Sept 1994)
On the death of guitar music: “They’ve been saying it for 30 years, ever since The Beatles split up, you know, that rock’n’roll’s dead. When ever there’s a boom there’s always a bit of a lull afterwards. I suppose that avant garde punk rock will come back for a while, and it will all be shit again, and then guitar music will come back.” (Total Guitar, December 1998)
On Kaiser Chiefs ‘being wankers’: “Well, they are, though. The worst thing about them is that they’re not very good. They play dress-up and sit on top of an apex of meaninglessness. They don’t mean anything to anybody apart from their fucking ugly girlfriends.” (Time Out: Chicago, December 2008)
We were parked at the Meijer gas station on Plainfield Avenue outside of Grand Rapids. Jake was gassing up the black 1976 Datsun 280Z his mother had finally let us take out and I was in the passenger seat listening to classic rock radio station WLAV’s resident hipster Steve Aldridge do the lead-in to his weekly “alternative” music slot, Clam Bake. We’d read all about them in British weekly music rags and had seen a handful of pictures, which was almost enough to sell me on the spot. They were snotty faces and shaggy hair and flared jeans and bucket hats. Aldridge paid them the proper amount of respect as the “next big thing” out of Britain and then cued up the first Stone Roses song I ever heard, “Made of Stone.”
The Stone Roses were an odd band from the beginning. Ian Brown doesn’t exactly have range, or even pitch, and his live recordings are proof of that. But on record—and without the aid of digital pitch correcting tools, thank you very much!—he exudes a sort of foreboding and danger within that somewhat fey whisper of his. When he sings “I don’t have to sell my soul, he’s already in me,” you believe it. There is something menacing about this skinny Mancunian with a slightly simian look and a Christ complex. He’s the street hustler who is underfed and over drugged with a knife in his backpack. It doesn’t take much to imagine him as the scooter boy he claimed to be in interviews and if you’ve been to the rougher parts on Manchester, England you know how raw the inhabitants can be. Their sissies will kick your ass.
We knew from reading the articles that they were obsessed with the Beatles and that guitarist John Squire was a disciple of The Smiths’ Johnny Marr, which made for two references you simply could not beat with us then. You can hear the strains of the Fabs in the backing vocals and Marr’s hand in the 12-string guitars throughout but the Roses were more than the mere sum of their collective influences. The inspirations weave and blend like the paint on their album covers, which could just as easily be dismissed as Jackson Pollack knock-offs just as some would dismiss any band who hews a little too close to their musical heroes. But the Roses took those clear references and created a new sound, and that was extremely exciting for two Anglophile Midwestern boys whose favorite bands were in the past. The Stone Roses were different…and they were ours.