I Hated "Standing On The Shoulder Of Giants" Upon Its Release, But Now It Is Easy To See It Had Its Fair Share Of Decent Songs

The first album of original compositions that Oasis released after a three-year break, “Standing On The Shoulder Of Giants” was the first record without Guigsy and Bonehead. Only the two Gallagher brothers and drummer Alan White remained onboard, and they were to be soon supplemented by Andy Bell and Gem Archer, two dudes with fantastic hairdos and about as much attitude as a cucumber. You won’t get to hear them on this record, though, as Noel played all guitar and bass parts himself.

The disc is notable for a markedly somber tone, inspired not only by the loss of two original members but also by events such as Noel leaving drugs behind after all those years of use and abuse. “Gas Panic!” in particular was directly inspired by the panic attacks that made Noel resolve to steer clear of substances for good. The song (much like the disc) is a bit of a perplexing listen at first. There is such a strong psychedelic thread running through it all that I must admit I detested it when I first bought it, and after living with it for a month upon its release I had never listened to “SOTSOG” again until now that I felt like reviewing it.

It is quite funny, but now I don’t feel the album is that much of a letdown. Of course, knowing what came afterwards tips the scale in its favor a little – yet, that little is enough to appreciate its good bits.

These good bits include the singles “Go Let It Out” and “Sunday Morning Call”, songs that in a certain sense summarize the lyrical stance of the disc with verses like “sister psychosis ain’t got a lot to say” and “right time is always now” (“Go Let It Out”) and the dramatic question asked on the chorus of “Sunday Morning Call”, “will it ever turn out right?”.

A third single, “Who Feels Love” was less enduring but equally emblematic of Oasis’ flirtation with psychedelia. The problem is that it just trod the line separating them from the Beatles unnecessarily close.

Finally, the opening track is the loud instrumental “Fuckin’ In The Bushes”, a song that was used to open their gigs during the period, and which is also remembered for playing during Brad Pitt’s fight in “Snatch!”

The artwork itself deserves some praise too, as the cover photo is actually a collage of images taken all through the day. As a result, it is impossible to determine what time it is. And the boys are seen playing soccer atop the central building.

These are the tracks that keep the momentum going. The remaining cuts put one spoke in the wheels after the other until it all can barely go ahead.

Continue to part 2: the rest of the albums discussed.