Oasis – Dig Out Your Soul
What most Oasis fans must be thinking is, why didn’t the band release this album a decade ago? The most recent effort for the wannabe-Beatles is the strongest album they have put out in thirteen years. The opening track, “Bag It Up,” sets the tone for the rest of the album, which is at times heavy and at other times displaying the shades of brilliance that Oasis can provide for the listeners who still remember the days when they put out their other albums. The standout track, though, is the shivering and forceful “The Shock of the Lightning,” which contains all the ingredients necessary for a great Oasis track: clean vocals, rocking guitars, and just enough hook in the chorus to render listeners powerless to its charms. Last but not least, what good would an Oasis song be without a subtle Beatles reference, in this case it’s an acknowledgment to a magical mystery.
Still driven by the now mellow and grown up Gallagher brothers, “Dig Out Your Soul,” is probably an album most rock listeners will pass up for no other reason than the belief that Oasis has nothing left in the tank. Those people would be mistaken because sometimes when a group has nothing left to lose, they find the inspiration to put out their best work. This album is also unique because listeners can actually tell the songs apart. For years Oasis would put out albums featuring up to 12 tracks, none of which were distinguishable from the others. Perhaps if more formerly decent bands were temporarily forgotten about and left for dead they would return to pumping out quality tunes just like Oasis did here.
In conclusion, do not dismiss this album because of the artist, give it a listen instead and try to forget who the band is when you are enjoying tracks like, “(Get Off Your) High Horse Lady,” and be thankful that you did. For some reason, this is the time of year when most movie and music releases are simply not up to par. There is no rational explanation for this, but fear not because this column has you covered. I give it a 7 out of 10; it’s worth giving this album a chance.
I. – Paper Trail
T.I. firmly declares in the intro of “Paper Trail,” that the wait is over. For fans of T.I. or rap fans in general, this album has taken all but an eternity to drop in record stores, but that’s what tends to happen when you release a handful of singles before the official album release. This tactic is no different from movie trailers being shown several months before it arrives in theaters and those who exhibited patience have been duly rewarded. Featuring guest spots by Rihanna, Ludacris, Usher, John Legend, Justin Timberlake, as well as Kanye West, Jay Z and Lil’ Wayne (the last three appear on the same track, “Swagga Like Us”), T.I. goes for a grand slam and, for the most part, succeeds.
“Ready For Whatever” displays T.I.’s superb ability to craft rhymes around expertly chosen beats. Though T.I. has been in the news more for his activities hedging on the criminal side, don’t let that take away from what he accomplishes with this album. He combines crossover hits like “On Top of the World,” with harder tracks like “Every Chance I Get.” When it comes to rap, it seems each album released is an attempt to outdo the previous one that topped the charts. T.I. challenges everyone out there to put out an album as diverse, aesthetically pleasing, and well-rounded as “Paper Trail.”
With an impeccable roster of guest stars, there is only one poor track on the album, “Live Your Life,” a duet with Rihanna that simply does not fit in with the overall message. With fifteen tracks to choose from and the majority being high-quality songs there is something for everyone ranging from the casual rap fan to more hardcore listeners. I give it an 8 out of 10.
Jenny Lewis – Acid Tongue
This is the second solo album released by the lead singer of Rilo Kiley and this effort is a large departure from albums past. “Acid Tongue” takes a more folk-style approach, and the first two tracks support this contention. “The Next Messiah” is the first song on the album to break the mold and features a steady beat that, about a minute in, drifts into a blues-driven guitar riff alongside Lewis’ solid, but not spectacular, vocals. Lewis even managed to get Elvis Costello to appear on a track, which is no easy feat. This album should be appreciated by indie rock fans who don’t mind a little folk and blues sprinkled into some of the songs. By taking more control over this album than her first solo release, Lewis has established herself as an artist approaching a voluminous catalogue of songs (though she still trails the king Ryan Adams, who has more releases to his credit than perhaps any artist in the history of music).
The album’s title track is a slow building construction, powered behind soft vocals, accompanied with strong backing vocals. “Fernando” is a straight-forward upbeat number that breaks up the monotony of the slower tracks that permeate the record. Lewis’ band, Rilo Kiley, took a lot of grief from fans and critics on their last album, which was slick and overproduced in contrast to their previous albums. No one can accuse Lewis of doing the same on “Acid Tongue,” which sounds as if it could have been recorded in a basement studio instead of a California studio. The album was co-produced by her boyfriend, indie rock darling Jonathan Rice, and has a more organic and simplified sound than her first solo record.
This album fits the bill for music fans who think less is more when it comes to production, and who have a deep appreciation for songs that are growers rather than instant hits. Most of these songs take a few full listens before they can be appreciated for their fine craftsmanship and nuanced songwriting. Remember, patience is the friend of true music fans. I give it an 8 out of 10.
Brett is a 3L and can be reached at forum@valpo.edu
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