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3.8 out of 5 stars178
3.8 out of 5 stars
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on 13 July 2000
Considering that this album was brought to us by Oasis, who brought us some of the most exciting rock 'n' roll of the last decade, this is a bit of a letdown. This is not too say that it is a bad album by any means, but it is certainly no match for 'Definitrly Maybe' or 'Whats the Story....'
There are certainly some standout moments. Gas Panic!' is possibly Oasis' finest song to date, and when Liam sings 'and my family don't seem so familiar/and my enemies all know my name', the listener is taken back to the golden era of Oasis when they seemed untouchable.
Unfortunately, the rest of the album does not live up to this. 'Who feels love?', despite being a blatant Beatles rip off, is pleasant enough, as are 'Put yer money where yer mouth is', first single 'Go Let It Out' and opener f**** in the Bushes'. However, to add to this positive aspect are some really poor moments. Liam's first stab at songwriting is certainly tender and from the heart, but with lyrics such as 'You play with their toys/even though they make noise', he should stick to what he is best at. After Noel's solo foray 'Where did it all go wrong?', the album takes a turn for the worse, and leaves people thinking What if....? Whoever decided to releasd 'Sunday Morning Call' as a single should question their judgment, and 'I can see a liar' and 'Roll it over' are little more than background music.
This is certainly not as terrible as some people have been saying, but it is by no means a classic. It's most glaring omission is the lack of a song such as 'Live Forever, Wonerwall or even (whisper it) Stand by Me. But the signs are promising, and after the low point which was 1997's 'Be Here Now', we can only hope that this positve upwards trend continues.
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on 20 April 2011
This is the closest thing to their experimental album, and the one they had to make.
Without a dout there was something here, Gas Panic, Roll it over, Who feels love all great progressive tracks that sounded unfinished at times.
Who said Oasis made the same old music. This should of been there finest hour but falls short. But at least they had the balls to do it. Take off a couple of tracks and maybe of put on lets all make believe then you might of had a solid album. Tough album to review because there are 8 out of 10 tracks that are good, this would'nt appeal to say a Bon jovi fan because there are hardly any commercial songs, then again Bon jovi fans don't quite get it. do they?
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on 7 July 2008
It is a real shame. No, I'm not talking about the 'demise of Oasis', but I'm talking about this album. The shame is that it is so underrated as an Oasis album. It doesn't deserve the amount of criticism it received when released.

The thing is with this album is that it is much better than Be Here Now. Although the singles of that album were the best thing about it, the rest of the songs were devoid of any inspiration. However, many of the songs tackle Noel coming off drugs, the big comedown on the heydays in the nineties and even one about Liam's son.

There's no 'Live Forever' or 'Don't Look Back In Anger'. Don't expect any of these sort of stadium anthems because your not going to get any. The lead single 'Go Let It Out' is probably the nearest thing to the big anthem on this album. But that's the thing. The album is not about big anthems. Instead, psychedelia is brought to the fold, and while initially many of the songs may seem dull, give them time because they grow on you. The production is absolutely brilliant and not over produced like Be Here Now. The lyrics are probably the best Oasis have come up with. 'Gas Panic' is genius and is one of the best things I've ever heard from Oasis. Yes, 'Little James' has pretty uninspired lyrics but only for part of it and it is a sweet tune, not the disaster that I'd heard people say it was.

To be honest, there are two songs that are missable. Ironically, it's the two rockers 'Put Your Money Where Yer Mouth Is' and 'I Can See A Liar'. Lyrically dull and musically dull aswell, it is certainly not something that would make it on to 'Definitely Maybe'.

The songs don't hit you like the ones on 'Morning Glory', but they are more slow and hypnotic ones. You can't casually listen to this album, you need to give it its full attention, and if you do that, them I'm sure you'll find the brilliance that I found in it.
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on 8 March 2000
Well... what can one say, is this the 'New' Oasis, or are they in transition? 'New' material comes in the form of the albums two strongpoints, 'F***in In The Bushes' and 'Go Let It Out'. Evidence of samples gives a new feel and impetus behind the band. Perhaps the band has learnt that stagnant music cannot be revived with overproduction. The unfortunate low points are the Noel Ballads 'Sunday Morning Call' and 'Where Did It All Go Wrong'. Dull and dreary, Gallagher snr. really needs to get his backside in gear, because songs like 'Put Your Money Where Your Mouth Is' is basically two different lines repeated but with a couple of words changed now and again. Along with 'I Can See A Liar', however, there is a look back to the 'Sex Beatles' days of 'Definitely Maybe', and rightly so. Overall verdict? Better than 'Be Here Now', could do with better lyrics, and a new direction in the waiting, so the next album should be THE MASTERPIECE.
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on 29 December 2009
Despite the critics to this album, the tracks are extremely catchy once you have heard them a few times. The true oasis fan will appreciate this album, but it probily wont appeal to the commercial audience.Standing on the Shoulder Of Giants
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on 6 March 2000
We all thought Oasis had died after 'be here now'. It seems that they have been 'Born agian'. The overall sound of the album is much improved. The kicking beats of Alun White and the meater Base bring a much needed alteration to the dying sound of the previous album. Noel's song writting seems to have improved also. lyrics like'Wash your face in the morning sun' have been replaced with more meanful statements such as 'found what i've lost inside: my spirit has been purified'. However 'Go let it out' droawns on and 'I can see a lier' is just typical of the Oasis lazy approach. But 'Gas Panic' is just brilliant, and 'Where did it all go wrong' is a fine piece of art not to mention the first song 'fuckin' in the bushes'. It does seem that Oasis have found that higher level agian. It will be interesting to see how the new line up performs.
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TOP 500 REVIEWERon 25 May 2015
I know that so many fans are very quick to dismiss Oasis' fourth studio album, 'Standing On the Shoulder Of Giants', released at the start of the new Millennium. Whilst it is certainly true to say that it marked a big change from the band's past releases, and indeed, anything they did afterwards, I am personally able to appreciate this different sound. Although it still ranks towards the bottom of my favourite Oasis releases, it isn't a terrible record at all.

Noel has penned some of my favourite songs of all time, and although none of them appear on here, there are a handful of very good tracks that earn 'Standing on the Shoulder Of Giants' a definite three star rating. The obvious single choice 'Go Let It Out' gave Oasis their fifth UK chart topper, and is very catchy, the dark and sinister 'Gas Panic!' probably contains the best lyrics from Noel on the album, and I'm not ashamed to admit that I regard the standout ballad 'Where Did It All Go Wrong', to be one of the best displays of Noel as a vocalist, as well as the following track, 'Sunday Morning Call', which is another gem with a nice melody. The much needed 'I Can See A Liar' is up next, and this song, written by Liam, is very upbeat, and a nice way to cool off after the other songs. The beautiful 'Roll It Over' closes things out, and is in the same vein as the legendary 'Champagne Supernova'.

This neo-psychedelia rock album is more experimental than any other Oasis release, and has a much heavier sound than it's outstanding predecessors. Although I much prefer to listen to my prized copies of 'Definitely Maybe' and '(What's The Story) Morning Glory?', this is by no means as bad as some people have stated. Oasis were experimenting with different styles when they recorded 'Standing on the Shoulder Of Giants', and hats of to them for trying out other things. Often considered the black sheep in the back catalogue, if you still share this opinion, dust it off again and listen to the songs I've highlighted, there is still some good material here. Far from great, but not bad.
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on 9 April 2015
Standing on the Shoulder of Giants, the fourth album from British rock heroes Oasis released at the turn of the century, is sadly much maligned. This is perhaps understandable from those who simply wanted the Morning Glory years to continue; who wanted to believe that Be Here Now was just a slightly overblown, coke-addled misstep; and who presumed 1998's b-side collection - The Masterplan - was a triumphant reminder to not just us, but Noel himself, of the anthemic yet tuneful classics he and Oasis were simply chucking away on releases as if it was easy, and that this might feed into a new sense of focus and re-discovery on ...Giants.

For everyone else, this album is probably the closest thing to a 'departure' from the standard Oasis sound the band ever produced. From the unsettling dialogue samples, joyously loose guitar riffs, and thunderous drum rhythms which open proceedings here, to the closing, slowly building alt-hymnal yearnings of the rather impressive and extraordinarily sung Roll It Over, Giants is certainly a peculiar entry in the Oasis cannon, but a surprisingly enduring one. Noel claims it should never have been made, but it possesses a fairly mid-tempo or - perhaps more strikingly - subdued tone which makes it quite a unique record for a band often unfairly criticised for not escaping their comfort zone.

Despite the thrilling nature of opening instrumental F*****' in the Bushes, which has already been alluded to, there isn't much in the way of excitement here. It is a more reflective album, quite lazily but accurately labelled as the 'comedown' from the dizzy heights of the Britpop years. Certainly Where Did it All Go Wrong?, if not necessarily explicitly referencing those heady years in the title as some would like to think, carries tones of resignation and contempt. Beautifully sung by Noel, it is also an absolute classic, and should probably find its way into a High Flying Birds set-list one night soon. Similarly, the melodic if slightly drowsy Sunday Morning Call drifts along quite harmlessly, and is a typical example of the restraint on display throughout the album, both in performance and production.

The production is certainly a marked contrast from the multi-layers of guitar tracks and high-end which (at times gloriously) fleshed out all of Be Here Now. Who Feels Love?, while a million miles away from the anthems of the mid-90s, is sonically-speaking Oasis' most interesting song: half of it sounds backwards, the harmonies strike an appealing balance somewhere between pretty and warped, while the bassline throbs along like The Stone Roses covering The Beatles on acid. Lead single Go Let It Out, despite it's drum-loop introduction, is the most immediate thing here: instantly catchy and effortlessly cool, it remains one of the great Oasis songs. Gas Panic! too, later bolstered by a blinding rendition on the live album which followed Giants (Familiar to Millions, released towards the end of 2000), is closest to the traditional Oasis anthem, but there is enough of a trippy-atmosphere generated by the sparkling production to separate it from anything the band have done previously or since. Another example of the darkness which seems to have crept into Noel's writing at the time ("cos my family don't seem so familiar, and my enemies all know my name..."), it's hardly uplifting, but it doesn't need to be when it sounds this good.

Little James, Liam's first songwriting contribution to an Oasis album, is a simple but effective piano-led paean to his stepson. The lyrics are regularly torn to pieces by smug critics, yet they seem to be missing the point. "Live for your toys, even though they make noise" etc are obviously fairly direct words to a child who was about 5-years old at the time. Furthermore, "thank you for your smile, you make it all worthwhile" and "I'm singing this song, for you and your Mum that's all" are both rather touching examples of personal endearment from, let's not forget, the supposedly badboy of British rock; contrarily, "It won't be long before everyone is gone" is as haunting a line as either brother has ever committed to record. If a sensitive side is on display, then Gallagher junior certainly evens things out with his uncompromising delivery on the snarling Put Yer Money Where Yer Mouth Is and the rather rudimentary I Can See A Liar. Neither song will ever be the first to roll of Noel's tongue when reflecting on his body of work, but the former in particular is elevated by the aforementioned fierce lead-vocal, the relentless distortion, and a rather gloriously arranged choir; it's no classic, but the vibe is worth it.

And 'vibe,' coupled with 'different,' is probably what best characterises ...Giants. There is little swagger, limited brashness, and certainly no nine-minute epics followed by a reprise. What there is is an excellent production, superb vocals - Liam's voice sounds terrific throughout - and a concise, human nature to the album and its songs as a whole. It's a distinct step away from the wall-of-sound colossus of the previous three-releases, and while not every track would make it to an Oasis best of, as a collective effort it at least exists on its own pedestal: maybe not on the shoulder(s) of giants, but certainly comfortably around the midriff.

3.5/5
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on 28 September 2000
Oasis has taken a huge step towards several things. One, it shows that Noel Gallagher can not only write, but sing, and help produce. Ever since the boy band and teeny bop craze, no rock band will ever reach true deserved stardom, but if only people listened to real music, this album woudl definitley be at the top of the charts. This gives modern rock a new meaning and can really be defined as a potential signture piece of 90's rock, this rivals WTSMG as their best album, at least that's what a spotty drugged up teen from the US thinks!
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on 3 April 2000
This album is the best since their debut Definitely Maybe, no doubt about it. Oasis are here to stay for a long time yet, the outstanding tracks on it are "Sunday Morning Call", "Where did it all go worng" and "Gas Panic". Personally I think their next album will be the best yet, with Gem and Andy Bell joining the band, they are sure to produce something very special, but this album marks the turning point after the relatively poor "Be Here Now".
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