Cover: An artsy shot of New York City, taken from a high angle and showing the Empire State Building. It’s pretty, but it’s difficult to see the relevance. The album’s title was taken from the edge of the 1998 £2 coin, although Noel wrote it down slightly wrong while drunk. (The Isaac Newton quotation is actually, “If I have seen further it is by standing on the *shoulders* of giants.”) By the way, this album sees Oasis as a trio. Original members Paul ‘Bonehead’ Arthurs and Paul ‘Guigsy’ McGuigan quit during the recording sessions and for legal reasons their contributions had to be replaced. So here Oasis is just Liam Gallagher (vocals), Alan White (drums) and Noel Gallagher (everything else).
Best track: From its crackly, vinyl-like opening, Gas Panic! is a special piece of music. The lyrics are sinister and threatening, the music is dramatic and dynamic, and the overall effect is rather magnificent.
* Fuckin’ in the Bushes starts the album and immediately tells you that this is something different from the Oasis norm. It’s based on a heavy drum pattern, features wordless backing vocals, and uses samples of dialogue taken from the film of the 1970 Isle of Wight Festival. Oasis often used this track as walk-on music at gigs.
* Go Let It Out was the album’s first single and got to number one. Noel has said it’s one of the best songs he’s ever written and is “the closest we came to sounding like a modern-day Beatles.” That might be a stretch, but there’s still an enjoyable polish to the sound. It’s also another sign that this album sees Oasis playing in a slightly different sandpit – this is psychedelic rock with a full, rounded bottom end. (Noel plays the bass guitar throughout the album. “Pick up the bass!” he says just as it enters this song.)
* The very likeable Who Feels Love? was the album’s second single. Like Go Let It Out, it has a ‘heavy-hippie’ vibe. There’s a strong Beatles influence – the intro is reminiscent of Within You Without You, an instrumental passage from the 2.47 mark sounds like Dear Prudence – while the whole track also has echoes of the Stone Roses. The multi-tracked vocals, meanwhile, are like something from a Crosby, Stills & Nash song. Oh, and the mix is fantastic. There are lots of details you’d miss on a scant listen.
* Sunday Morning Call was the album’s third single. It’s a pleasant-enough ballad, but lead singer Noel has never liked it – he thinks it’s pretentious and earnest. So in 2009 he had it relegated to a hidden track on an Oasis singles compilation. In a recent radio interview, he chuckled over the fact that no one’s ever missed it.
* The rousing Roll It Over is a Champagne Supernova-style epic.
Worst track: Barring cover versions, Little James was the first Oasis song not written by Noel Gallagher. His brother Liam’s opening effort is a tepid, insipid and musically boring tune about his seven-year-old stepson.
Weirdest lyric: Speaking of Little James, on this song Liam proves that he can go toe-to-toe with Noel in terms of lazy rhymes: “You live for your toys/Even though they make noise/Have you ever played with plasercine?/Or even tried a trampoline?”
Best video: Go Let It Out’s promo is shot in extreme widescreen, heavily edited, and features Liam singing from the back of a double-decker bus. There are also shots of him playing guitar, which he doesn’t do on the audio.
Personal connection: Although they didn’t play on Standing on the Shoulder of Giants, Gem Archer and Andy Bell (not the one from Erasure) had joined the band by the time I first saw Oasis live. It was at Bolton’s Reebok Stadium on 15 July 2000 and was during the tour to promote this album. The support acts were Johnny Marr’s Healers and the Happy Mondays. And someone threw a cup full of piss over me. (He wasn’t aiming specifically at me. Trapped in a throng of thousands, some louts had taken to urinating into plastic cups and chucking them as far as they could.)
Review: Some say the release of the Oasis album Be Here Now in August 1997 marked the end of Britpop. (Personally speaking, I remember realising it was all over when Q magazine covered drum-and-bass DJ Roni Size in about January 1998.) But Standing on the Shoulder of Giants represents a new phase in the band’s career in more ways than one. Two-fifths of the line-up quit during the recording sessions, while the style of music moved towards drum loops, samples, snyths and prominent bass sounds. Liam Gallagher even started writing songs. The result is a very interesting and often enjoyable album: it might not all work, but it has ambition.
Eight years between fantasies and fears out of 10