T A B L E__T A L K

What bands or musicians are beyond reproach? Praise the unflamable in Table Talk's Music area

- - - - - - - -

R E C E N T L Y

John Dowland
Complete Lute Works, Vols. 1-5
Harmonia Mundi
(01/27/98)

16 Horsepower
Low Estate
A & M
(01/26/98)

Freakwater
Springtime
Thrill Jockey
(01/23/98)

Charming Hostess
Eat
Vaccination
(01/22/98)

June of 44
Four Great Points
Quarterstick Records
(01/21/98)

BROWSE THE
MUSIC ARCHIVES

- - - - - - - -

V O W E L L

Sound Salvation
By Sarah Vowell
Survey says ...
Give the people what they want
(12/12/97)

- - - - - - - -

F E A T U R E

Carl Perkins 1933 - 1998
By Gavin McNett
Bronze those blue suede shoes: Carl Perkins dies
(01/20/98)

- - - - - - - -

"Please Do Not Disturb"
Juliana Hatfield -->

oasis, cornershop
BILL GRAHAM CIVIC AUDITORIUM
- - - - - - - - - - - - > SAN FRANCISCO
- - - - - - - - - - - - > JANUARY 26, 1998

In these cynical days for pop music, such rabid idol worship is somewhat surprising and, in a way, refreshing. That it's focused on Oasis is the puzzling thing; Beatles knockoffs have been trying to conquer America ever since Gerry and the Pacemakers, but Oasis have stuck in the States without doing anything terribly different than before. Early on, they certainly had songcraft. Guitarist and songwriter Noel Gallagher wrote Britpop tunes like "Supersonic" and "Rock 'n' Roll Star" unself-consciously, more a borrower than a thief. But, as the Beatles comparisons piled up and the band's success grew, they leaned ever harder on that crutch. "Be Here Now," their most recent album, is almost hilarious in this respect. Recorded at Abbey Road, the chord changes sound more familiar, the horns swell and every song aspires to a "Hey Jude"-esque grandeur. Except "Hey Jude" had a hook and a message; all Oasis wound up with was endless repetition, volume as an excuse for mediocre songwriting and more blatant clichés. If I didn't know better, I'd say "Be Here Now" is, without a doubt, the Rutles' finest record.

As if to take the spotlight off his brother for a moment, Noel joined Cornershop on bass for their final song, the sprawling, 20-minute "6 A.M. Jullandar Shere." A blurry, intense rumble, it's the best song singer Tjinder Singh has written. And miles ahead of the dull hip-hop-with-sitar tunes he scribbled for the band's massively overrated third album, "When I Was Born for the 7th Time." There, a rewrite of the Modern Lovers' "Roadrunner" ("Brimful of Asha") is still a rewrite; a dull hook on an exotic instrument is still a dull hook. What they have onstage, however, is a stunning rhythm section in Peter Bengry and Nick Simms, who pummeled away grandly in a tight weave of pure beat. That Singh is as of yet unable to consistently write a song around that strength is his main shortcoming.

Oasis' concerns were much less complex: They played their songs, played them loud and played them eternally. It was an hour and a half endurance test, with even their better songs like "Don't Look Back in Anger," "Supersonic" and "Roll With It" bloated grotesquely, with lesser "Be Here Now" tunes like "D'You Know What I Mean?" and "It's Gettin' Better (Man!!)" stretched to the snapping point with languorous solos. True to rock star form, Liam played the impetuous brat throughout, knocking down microphones, flinging his tambourine around carelessly and goading the audience ("You fat bastards!"). Ironically, Noel -- whose writing style caused this mess in the first place -- actually salvaged the performance. Playing a short solo acoustic set of songs, he ran through a spare take of "Don't Go Away" that transcended its moon-June-spoon rhyme scheme and a telling cover of the Beatles' "Help!" as a slowed-down country blues. In fact, his voice is stronger and more evocative than Liam's, alternately gruff and yearning, more concerned with song than showmanship. It's enough to make you wonder what he keeps his brother around for.
SALON | Jan. 28, 1998