“”Familiar to Millions””
Amid all the fighting between brothers and band mates, a new bass player and a new guitar player and getting kicked off airlines and canceling tours, Oasis still stands as one of the best live acts in music today.
Their last two studio albums, “”Be Here Now”” and “”Standing on the Shoulder of Giants,”” seem overproduced and layered with just one too many guitars. They seem like they are trying too hard. But with their recent live album “”Familiar to Millions,”” Oasis prove that they are more than just a studio band trying too hard.
This two-disc set shows off the raw talent and energy of Oasis pumped through Noel Gallagher’s Marshall stack amps. You can feel the electricity as throngs of people at the famous Wembley Stadium chant “”Oasis! Oasis!”” until a massive applause greets the opening bars of “”Fucking in the Bushes,”” an instrumental guitar solo that simply rocks.
The return to the band’s more rock roots show that they are defined by more than just a “”Wonderwall”” or “”Champagne Supernova.””
After front man Liam Gallagher dubs the hallowed Wembley Stadium a “”shit hole,”” they kick off with their most recent anthems “”Go Let It Out”” and “”Who Feels Love.””
After the success of their first two albums, “”Definitely Maybe”” and “”What’s the Story (Morning Glory),”” Oasis have been criticized for losing their touch with their last two studio albums. Liam makes the offhand comment, “”You should write more of these songs, Noel,”” before heading into “”Supersonic,”” a classic from their first album.
Oasis run through brilliant B-sides like “”Acquiesce”” and “”Step Out”” while throwing in old favorites such as “”Wonderwall”” and “”Live Forever.”” All the while, Noel shows his prowess on the guitar with classic rock solos and lush riffs. Noel stands as one of the most underrated lead guitars players.
Forget about the canceled tours, the fist fighting and Liam’s insatiable urge to kick Robbie Williams’ arse. This live album shows off the band’s gorgeous melodies and the inherent ability of Oasis to completely capture an audience.””
The woman who fueled the ’80s with casual sex and slicked-back hair is back after a near decade of self-imposed seclusion. Helen Folsade Adu, otherwise known as Sade, follows her 1992 “”Love Deluxe”” (which carried the hit “”No Ordinary Love””) with “”Lovers Rock,”” an album that masterfully blends her soulful voice with today’s electronic rhythms.
Soft saxophones give way to delicate acoustic licks in classic fashion. But the album also offers some recent flare with beats master-stroked by Massive Attack and Everything But the Girl, helping propel the diva’s pipes into the 21st century.
All in all, however, the tone and temperament on “”Lovers Rock”” remains resolutely the same, from the lush melancholy of “”King of Sorrow”” to the dub-inflected sensuality of the title track.
Seemingly negligible lyrics come across as distant and lovelorn, making the words just as palpable and delicious as the music. More than worth its price.
— David Lee