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1997 studio album by Haven

1997 studio anthology by Haven

Exist Here Now
BeHereNowcover.jpg
Studio album by

Oasis
Released 21 Baronial 1997 (1997-08-21)
Recorded November 1996 – April 1997
Studio Abbey Road, AIR, Orinoco and Primary Rock in London; Ridge Farm, Surrey
Genre Britpop
Length 71:33
Characterization Creation
Producer
  • Owen Morris
  • Noel Gallagher
Haven chronology
(What'south the Story) Morning Celebrity?
(1995) 		Be Here Now
(1997) 		The Masterplan
(1998)
Singles from Be Here Now
  1. "D'You Know What I Mean?"
    Released: 7 July 1997
  2. "Stand by Me"
    Released: 22 September 1997
  3. "All Around the Earth"
    Released: 12 January 1998
  4. "Don't Go Away"
    Released: 19 February 1998 (Japan only[i])

Be Here Now is the third studio album past English language rock band Haven, released on 21 Baronial 1997 by Cosmos Records. The anthology was recorded at multiple recording studios in London, including Abbey Road Studios, also every bit Ridge Farm Studio in Surrey. Although almost tracks retain the anthemic quality of previous releases, the songs on Exist Here Now are longer and contain many guitar overdubs. Noel Gallagher said this was washed to brand the anthology sound as "jumbo" equally possible. The album comprehend features a shot of the band members at Stocks House in Hertfordshire.

Following the worldwide success of their showtime 2 albums, Definitely Mayhap (1994) and (What's the Story) Morning Glory? (1995), the album was highly anticipated. Oasis' management company, Ignition, were aware of the dangers of overexposure, and earlier release sought to control media admission to the anthology. The campaign included limiting pre-release radio airplay and forcing journalists to sign gag orders. The tactics alienated the press and many industry personnel connected with the band and fueled large-scale speculation and publicity within the British music scene.

Preceded by the lead unmarried "D'You lot Know What I Mean?", Be Here Now was an instant commercial success, selling faster than its two predecessors (it became the fastest-selling album in British chart history) and topping the albums chart in 15 countries. It was the biggest selling album of 1997 in the Britain, with 1.47 million units sold that year. As of 2016, the album has sold viii 1000000 copies worldwide. It has been certified 6× Platinum in the U.k. and Platinum in the US, being Haven' third and terminal Platinum anthology in the state.

According to co-producer Owen Morris, the recording sessions were marred by arguments between the band members and drug corruption, and the band's only motivations were commercial.[2] While initial reception for Be Here At present was overwhelmingly positive, retrospective reviews of the album accept been more negative, with many calling it bloated and over-produced. The band members have had differing views of the album, with Noel severely criticising it and Liam Gallagher highly praising information technology and fifty-fifty declaring it equally his favourite Oasis album in a 2017 interview. Critic Jon Roughshod would later on pinpoint the album as the cease of the Britpop movement. In 2016, the album was reissued with bonus tracks, including a new remix of "D'You Know What I Mean?".

Background [edit]

By the summer of 1996, Oasis were widely considered, according to guitarist Noel Gallagher, "the biggest band in the world ... bigger than, dare I say it, fucking God."[3] The commercial success of their previous two albums had resulted in media frenzy in danger of leading to a backlash.[4]

Earlier that twelvemonth, Oasis members holidayed with Johnny Depp and Kate Moss in Mick Jagger's villa in Mustique. During their terminal stay on the island, Noel wrote the bulk of the songs that would make up Be Hither At present.[5] He had suffered from author'due south block during the previous wintertime, and said he wrote just a single guitar riff in the six months following the release of (What'south the Story) Morning Glory?. Eventually, he disciplined himself to a routine of songwriting where he would go "into this room in the morning, come out for lunch, go back in, come out for dinner, get back in, then go to bed."[6] Noel said "virtually of the songs were written earlier I even got a tape deal, I went away and wrote the lyrics in about 2 weeks."[7] Haven producer Owen Morris joined Gallagher afterward with a TASCAM eight-track recorder, and they recorded demos with a drum machine and a keyboard.[viii]

An overhead black-and-white image of a large crowd

Haven performing at Knebworth in 1996, where they played to crowds of over 250,000 people.

In August 1996, Haven performed two concerts before crowds of 250,000 at Knebworth Business firm, Hertfordshire; more than 2,500,000 fans had practical for tickets.[9] The dates were to be the zenith of Oasis's popularity, and both the music printing and the ring realised it would not exist possible for the band to equal the event.[three] By this fourth dimension, infighting had broken out in the ring. On 23 August 1996, singer Liam Gallagher refused to sing for an MTV Unplugged performance at London's Royal Festival Hall, pleading a sore throat.[10] He attended the concert and heckled Noel from the upper balcony. Iv days later, Liam declined to participate in the first leg of an American tour, lament that he needed to buy a business firm with his and then-girlfriend Patsy Kensit. He rejoined the band a few days after for a key concert at the MTV Video Music Awards in New York, but intentionally sang off-key and spat beer and saliva during the operation.[11]

Amongst much internal bickering, the tour continued to Charlotte, Northward Carolina, where Noel finally lost his patience with Liam and announced he was leaving the band. He said later: "If the truth be known, I didn't desire to exist in that location anyway. I wasn't prepared to be in the ring if people were beingness like that to each other."[three] Noel rejoined Oasis a few weeks afterwards, but the band'due south management and handlers were worried. With an album's worth of songs already demoed, the Gallaghers felt that they should record equally soon every bit possible. Their managing director, Marcus Russell, said in 2007 that "in retrospect, nosotros went in the studio also quickly. The smart move would have been to take the residuum of the yr off. But at the time information technology seemed like the right affair to do. If you're a band and you've got a dozen songs you call back are great, why not go and practice it."[3]

"I have to say that I cocked upwardly, and I think Noel did also, in not using and referencing the demos more than on the actual album sessions. [...] Be Hither At present would have been a far better record had we been able to use Noel's guitars and bass and percussion from the Mustique demos. We could've just overdubbed the drums and Liam's singing, and Bonehead's guitar and that would have been a great album. So I very sadly admit that I mucked upwardly royally there."

– Owen Morris, discussing the Mustique demos[viii]

In 2006, Noel agreed that the band should take separated for a year or two instead of going into the studio.[12] However, Morris later wrote: "Information technology was a mistake on everyone's part, direction very much included, that we didn't record Be Hither Now in the summertime of 1996. Information technology would have been a much unlike album: happy probably."[eight] He described the Mustique demos every bit "the terminal good recordings I did with Noel", and said his relationship soured following the Knebworth concert.[eight]

Recording and production [edit]

Recording began on 7 October 1996 at EMI's Abbey Route Studios in London.[13] Morris described the first week equally "fucking awful", and suggested to Noel that they abandon the session: "He just shrugged and said information technology would exist all right. So on we went." Liam was under heavy tabloid focus at the time, and on nine November 1996 was arrested and cautioned for cocaine possession at the Q Awards. A media frenzy ensued, and the band's management made the decision to move to a studio less readily accessible to paparazzi. Lord's day showbiz editor Dominic Mohan recalled: "We had quite a few Haven contacts on the payroll. I don't know whether whatever were drug dealers, simply there was always a few dodgy characters about."[3]

Oasis'due south official photographer Jill Furmanovsky felt the media's focus, and was preyed upon by tabloid journalists living in the flat upstairs from her: "They thought I had the band hiding in my flat." In paranoia, Oasis cut themselves off from their wider circle. According to Johnny Hopkins, the publicist of Haven's label Creation Records, "People were being edged out of the circle around Oasis. People who knew them before they were famous rather than because they were famous." Hopkins likened the situation to a medieval court, complete with kings, courtiers and jesters, and said: "One time you're in that situation you lose sight of reality."[three]

On 11 Nov 1996, Oasis relocated to the rural Ridge Farm Studio in Surrey. Though they reconvened with more than free energy, the early recordings were compromised by the drug intake of all involved. Morris recalled that "in the first week, someone tried to score an ounce of weed, but instead got an ounce of cocaine. Which kind of summed it up."[3] Noel was not nowadays during any of Liam'due south song track recordings. Morris thought that the new material was weak, but when he voiced his opinion to Noel he was cutting down: "[Then] I just carried on shovelling drugs up my nose." Morris had initially wanted to just transfer the Mustique demo recordings and overdub drums, vocals, and rhythm guitar, but the 8-track mixer he had employed required him to bounce tracks for overdubs, leaving him unable to remove the drum machine from the recordings.[viii]

Noel, wanting to make the anthology as dumbo and "jumbo" feeling as possible, layered multiple guitar tracks on several songs. In many instances he dubbed ten channels with identical guitar parts, in an endeavor to create a sonic volume.[3] Creation'due south owner Alan McGee visited the studio during the mixing phase; he said, "I used to go down to the studio, and there was so much cocaine getting done at that point ... Owen was out of command, and he was the one in charge of it. The music was just fucking loud."[5] Morris responded: "Alan McGee was the head of the record company. Why didn't he practise something well-nigh the 'out of control' record producer"? Obviously, the one not in command was the head of the record company."[8] He said that he and the band had been dealing with personal difficulties the day and nighttime before McGee visited the studio.[viii]

Songs [edit]

As with Oasis' previous two albums, the songs on Be Here At present are generally anthemic. The structures are traditional,[14] and largely follow the typical verse – chorus – verse – chorus – middle 8 – chorus format of guitar-based stone music. Reviewing for Nude as the News, Jonathan Cohen noted that the anthology is "virtually interchangeable with 1994'south Definitely Perchance or its blockbuster sequel, (What'southward the Story) Morning Glory?",[15] while Noel had previously remarked that he would make three albums in this generic style.[14] Yet the songs on Be Hither Now differ in that they are longer than previous releases; an extended coda brings "D'You Know What I Mean?" to nigh 8 minutes, while "All Around the World" contains three key changes[xv] and lasts for a full nine minutes.[14] When "D'You Know What I Mean?" was released as the album's first single, Noel Gallagher expected to be asked to reduce the length of the song by two minutes. However, nobody had the courage.[xvi]

The tracks are more layered and intricate than before, and each contains multiple guitar overdubs.[17] While Morris had previously stripped away layers of overdubs on the band'due south debut Definitely Perhaps, during the production of Be Here At present he "seemed to gleefully encourage" such excess; "My Big Rima oris" has an estimated thirty tracks of guitar overdubbed onto the vocal.[18] A Rolling Stone review described the guitar lines as equanimous of "elementary riffs."[nineteen]

In that location was some experimentation: "D'You Know What I Hateful?" contains a slowed down loop from N.Westward.A'southward "Directly Outta Compton",[xx] while "Magic Pie" features psychedelically bundled vocal harmonies and a mellotron. According to Noel, "All I did was run my elbows beyond the keys and this mad jazz came out and everyone laughed."[21] The album's product is dominated by superlative-cease loftier frequency tones, and co-ordinate to Uncut 's Paul Lester, its use of treble is reminiscent of both late 1980s Creation Records bands such as My Bloody Valentine, and the Stooges' famously under-produced Raw Power (1973).[twenty] Co-ordinate to Bonehead himself, the album had been mastered so loudly it necessitated a release on double vinyl.[22]

The vocal melodies continue Noel'southward preference for "massed-rank sing-alongs", although Paul Du Noyer concedes that not all are of the "pub-trashing idiot kind" of previous releases.[14] At the time of release, Q 's Phil Sutcliffe summarised the lyrics of Be Here Now as a mixture of "hookline optimism, a swarm of Beatles and other '60s references, a gruff love song to Million, and further tangled expressions of his inability/unwillingness to limited profound emotions."[half-dozen] David Fricke found the numerous Beatles references, including the line "the fool on the hill and I experience fine" from "D'You lot Know What I Mean?" and "Sing a song for me, one from Let It Exist" on the title track every bit lazy songwriting from Noel.[nineteen] Reviewers have also found Beatles references in the music, on tracks such as "All Around the World", which has been compared to the sing-along qualities of "Hey Jude" and "All You Need Is Honey".[23]

The lyrics were elsewhere described as "[running] the gamut from insightful to insipid",[xv] although Du Noyer admitted that Noel is "[to go by his lyrics] something of a closet philosopher ... and ofttimes romantic to the point of big girl'southward blousedom." While the tracks "Don't Go Away" and "The Girl in the Muddy Shirt" were described equally unabashedly sentimental, Du Noyer went on to observe that "there is compassion and sensitivity in these tracks that is not the piece of work of oafs." Du Noyer conceded that Noel frequently tied himself up in "catholic knots", but had "written words that sound simple and truthful, and are therefore poetic without trying to be."[fourteen] Lester read vocal titles such as "Stand by Me" and "Don't Go Away" as a series of demands, both to members of his private life and his public audience.[20]

Du Noyer praised Liam'due south song contributions and described his "Northern punk whine" as "the about distinctive individual style of our time."[14] Lester alluded to Liam equally Noel'southward "mouthpiece", although he qualified that Liam is the "phonation of every working-class boy with half a yen to intermission out and make it big."[20]

Album cover [edit]

Stocks House, the 18th-century mansion used as the location for the cover photo

The comprehend image was shot in April 1997 at Stocks House in Hertfordshire, the quondam domicile of Victor Lownes, head of the Playboy Clubs in the Great britain until 1981. It shows the ring standing by the swimming pool exterior the hotel, surrounded by various props. For the photo shoot, a white 1972 Rolls-Royce Silver Shadow was lowered into the swimming pool and half submerged in the h2o.[24]

Photographer Michael Spencer Johns said the original concept involved shooting each band member in various locations around the world, but when the cost proved prohibitive, the shoot was relocated to Stocks House. Spencer remarked that the shoot "degenerated into anarchy", adding that "by 8 pm, anybody was in the bar, there were schoolkids all over the ready, and the lighting crew couldn't showtime the generator. It was Alice in Wonderland meets Apocalypse At present." Critics accept tried to read into the selection of the embrace props, but Johns said Gallagher but selected items from the BBC props shop he idea would wait skillful in the flick. Two props considered were an inflatable globe (intended as a homage to the sleeve of Definitely Mayhap) and the Rolls Royce, suggested past Arthurs.[25]

Jones has said that the partially submerged Rolls Royce was in reference to Keith Moon'due south oft-fabled sinking of a Lincoln Continental into a hotel swimming puddle in 1967.[26] [27] [28] The release date in each region was commemorated on the calendar pictured on the sleeve; Harris said the dating "[encouraged] fans to believe that to purchase a copy on the day information technology appeared was to participate in some kind of historical event."[29] The anthology cover also spurred controversy from a legal viewpoint. In the case of Creation Records Ltd v News Group Newspapers Ltd, the court decided that the collection of objects brought together for the album cover was bereft in creating an artwork that could be protected by copyright.[30]

Release [edit]

Promotion [edit]

When Alan McGee, Creation'south publicist Johnny Hopkins, and marketing executive Emma Greengrass starting time heard Exist Here Now at Noel Gallagher's house, each had their doubts about its creative value, but kept their doubts to themselves. One Creation employee recalled "a lot of nodding of heads, a lot of slapping of backs."[31] McGee later admitted to having stiff misgivings at offset: "I heard it in the studio and I retrieve saying 'We'll only sell 7 million copies' ... I idea it was too confrontational."[31] However, in an interview with the music press a few days later he predicted the album would sell twenty million copies. McGee'south hyperbole alarmed both Haven and their management company Ignition, and both immediately excluded him from involvement in the release campaign. Ignition'southward strategy from that signal on centred on an effort to suppress all publicity, and withheld access to both music and information from anybody not directly involved with the album'south release. Fearful of the dangers of over-hype and bootlegging, their aim was to present the tape as a "regular, everyday drove of tunes." To this end they planned a small marketing budget, to exist spent on subdued promotional activities such every bit street posters and music press adverts, while fugitive mainstream instruments such as billboard and Idiot box advertising. According to Greengrass "We want to keep it low key. Nosotros want to keep control of the whole mad thing."[32]

Yet, the extent that Ignition were willing to get to control access to the album generated more than hype than could ordinarily accept been expected, and served to alienate members of both the print and circulate media, likewise as virtually Cosmos staff members. When "D'You Know What I Mean?" was planned as the commencement single, Ignition decided on a tardily release to radio and then as to avoid too much advance exposure. However, iii stations broke the embargo, and Ignition panicked. According to Greengrass: "we'd been in these bloody bunker meetings for six months or something, and our plot was blown. 'Shit, it'southward a nightmare'."[33] BBC Radio 1 received a CD containing 3 songs x days earlier the album'southward release, on condition that disc jockey Steve Lamacq talked over the tracks to prevent illegal copies beingness fabricated by listeners. The 24-hour interval after Lamacq previewed the anthology on his testify, he received a phone call from Ignition informing him that he would not be able to preview farther tracks because he didn't speak enough over the songs. Lamacq said, "I had to become on the air the next dark and say, 'Sad, but we're not getting whatever more tracks.' Information technology was just absurd."[34] According to Cosmos's head of marketing John Andrews, "[The campaign] made people despise Oasis inside Creation. You had this Haven army camp that was like 'I'm sorry, you're not allowed come into the function between the following hours. Yous're not immune mention the word Oasis.' It was like a fascist state."[33] One employee recalled an incident "when somebody came round to check our phones because they thought The Sun had tapped them."[33]

When Hopkins began to circulate cassette copies of the anthology to the music press a few weeks after, he required that each journalist sign a contract containing a clause requiring that the cassette recipient, co-ordinate to Select journalist Mark Perry, "not discuss the anthology with anyone—including your partner at home. Information technology basically said don't talk to your girlfriend virtually it when you're at home in bed."[35] Reflecting in 1999, Greengrass admitted: "In hindsight a lot of the things nosotros did were ridiculous. We sit in [Haven] meetings today and we're similar 'It's on the Internet. Information technology's in Camden Market. Whatever'. I retrieve we've learned our lesson."[36] According to Perry: "It seemed, particularly once you heard the album, that this was cocaine grandeur of just the most ludicrous degree. I recollect listening to "All Effectually the World" and laughing—actually quite pleasurably—because information technology seemed and then ridiculous. You just thought: Christ, in that location is so much coke beingness done here."[35]

Commercial performance [edit]

Be Here Now was released in the UK on 21 August 1997. The release date had been brought forward out of Ignition's fearfulness that import copies of the album from the United States would make it in Great britain before the street date.[29] Worrying that Goggle box news cameras would interview queuing fans at a traditional midnight opening session, Ignition forced retailers to sign contracts pledging not to sell the record earlier than 8:00am.[33] However, the cameras arrived regardless, simply in time to record the initially slow merchandise. It was non until lunch time that sales picked upwards. By the end of the first day of release, Be Here Now sold over 424,000 units and past the terminate of business on Sat that week sales had reached 663,389, making it based on first seven days sales, the fastest-selling album in British history.[37] [38] The album became their highest charting release in the US by debuting at number ii on the Billboard 200 chart. However, its offset calendar week sales of 152,000—below expected sales of 400,000 copies—were considered a disappointment.[39]

Exist Here Now was the biggest selling anthology of 1997 in the United kingdom, with 1.47 million units sold that year.[forty] By the end of 1997, Be Hither Now had sold 8 one thousand thousand units worldwide. Yet, nearly sales came from the first two weeks of release, and in one case the album was released to U.k. radio stations the turnover tapered off. Buyers realised that the album was non another (What's the Story) Morning Celebrity?, and by 1999, Tune Maker reported that it was the anthology most sold to second-manus record stores.[36] It has been certified 7× Platinum in the UK and Platinum in the U.s., beingness Oasis' 3rd and final Platinum album in the country. Every bit of 2016, the album had sold over eight one thousand thousand copies worldwide.[41] [42] Four of the album's 12 tracks were released as singles: "D'Y'all Know What I Mean?", "Stand Past Me", "All Around the Globe" and "Don't Go Away".[43] In 2016, post-obit the anthology's reissue and the release of the documentary Oasis: Supersonic, the album topped the UK Vinyl Albums Nautical chart, xix years after its original release.[44]

Critical reception [edit]

Professional ratings
Original release
Review scores
Source Rating
Chicago Sun-Times [45]
Amusement Weekly B[46]
Los Angeles Times [47]
NME 8/10[48]
Pitchfork vii.9/10[49]
Q [50]
Rolling Stone [nineteen]
Spin 6/10[51]

Contemporaneous reviews of Exist Here At present were, in John Harris's words, unanimous with "truly amazing praise". According to Harris, "To notice an album that had attracted gushing notices in such profusion, one had to go dorsum 30 years, to the release of Sgt. Pepper'southward Alone Hearts Club Ring."[52] While Q described the album as "cocaine ready to music", nigh early on reviews praised the record'due south length, volume and ambition, including Charles Shaar Murray, who called it the "Oasis Globe Domination Album" in MOJO.[23] David Fricke of Rolling Stone complimented the vocal formula throughout the album, writing that it "pays off". However, as a whole, he felt the anthology was "music built for impact, not explanation".[19] Dele Fadele of Vox describes it as "a veritable rock'n'roll monsoon of an album; a giant jigsaw puzzle, an elemental force, a monster that cannot and will not exist independent."[53]

Reviews in the British music press for (What's the Story) Morning time Glory? had been mostly negative. When it went on to become, in the words of Select editor Alexis Petridis, "this huge kind of Zeitgeist defining record" the music press was "baffled".[54] Realising they had got information technology wrong the last time, Petridis believes the initial glowing reviews were a concession to public opinion.[54] In America, reviews were equally as positive. Reviewing for the Chicago Sun-Times on release, Jae-Ha Kim considered the album as good as its two predecessors, writing: "The 12 tracks on Exist Hither Now aren't as immediately accessible as Haven' earlier hits "Wonderwall" or "Alive Forever". But the pop songs are mesmerizing in their intense delivery and clean execution."[45] Elysa Gardner offered similar in the Los Angeles Times, finding that with Exist Hither Now, the ring grew more than ambitious and succeeded without losing ground, although Gardner noted the "taut pop craftsmanship" that distinguished the band's two predecessors was "less prominent".[47]

Withal, the album did receive some mixed reviews on release. In Entertainment Weekly, David Browne stated: "Much of the album is a messy, mucky keg o' audio that constantly threatens to spill over and drown Noel's innately melodic songs." He further criticised the overtly-cluttered mix and overlong songs. Nevertheless, he concluded: "They audio more ferocious and confident than ever, nevertheless less intimate, more distanced."[46] Similarly, Simon Williams called it "one of the daftest records ever fabricated" in NME.[48] Likewise, Chris Norris criticised the lyrical content in Spin magazine, calling most of the lyrics on the tape "meaningless".[51] Ryan Schreiber of Pitchfork compared the record to its two predecessors favourably, finding that instead of "unforgettable three- to- four minute pop slices", there are now "vi- to- ten infinitesimal long epics."[49]

Retrospective appraisal [edit]

Professional ratings
Retrospective reviews
Aggregate scores
Source Rating
Metacritic 57/100[55]
(2016 reissue)
Review scores
Source Rating
AllMusic [56]
Clash viii/10[57]
Drowned in Audio five/10[58]
Encyclopedia of Popular Music [59]
Pitchfork 5.3/ten[sixty]
The Rolling Stone Album Guide [61]
Spin [62]

Retrospectively, reception to Be Here Now has been more negative, with many calling it bloated and over-produced. Reviewing in 2002, Stephen Thompson of The A.Five. Social club felt that although there were good tracks present, naming "My Big Rima oris", "Don't Get Away" and "Stand By Me", the bulk suffered from "cumbersome overlength", feeling that the ring's try to make a "grand, career-defining statement" backfired.[4] In The Rolling Stone Album Guide (2004), Rob Sheffield described the record as "a concept album about how long all the songs were", comparing it to Elton John'due south Helm Fantastic and the Brown Clay Cowboy (1975). Although he offered praise to the title rails and "It's Getting Better (Human being!!)", he considered the album to exist the work of a songwriter who has "plough[ed] his encephalon [in]to cocaine crispies".[61] In a more positive review, Stephen Thomas Erlewine of AllMusic calls Exist Here Now a "triumphant" record that "steamrolls over any criticism", praising Liam's vocal performances as his finest up to that point, also every bit the songs as "intensely enjoyable" and "impossibly tricky". However, he felt that Noel'southward songwriting wasn't innovative compared to its predecessors.[56] In 2020, Luke The netherlands of The Guardian described the album as a "flawed masterpiece."[63]

The anthology'southward 2016 reissue attracted a number of reviews, with almost continuing to criticise the anthology's production and song lengths. Laura Snapes of Pitchfork calls Be Here Now "i of the nigh agonizing listening experiences in pop music", amplified by the "swollen and indulgent" remaster. Snapes further panned Noel'due south conclusion to only remix "D'You Know What I Mean?", final that in that location was no point in reissuing the album if its creators didn't intendance enough. She ultimately states, "this turgid collection is the ultimate expression of Exist Hither Now: as bloated and indulgent as the record itself, the music a secondary business organisation to the product's status".[60] In Drowned in Audio, Andrzej Lukowski felt that when compared to the band's earlier work, Exist Here Now lacked "aspirational stone 'n' ringlet swagger" as well a few tracks. Lukowski also agreed that a complete remix of the album would have been beneficial, considering "D'Y'all Know What I Mean?" needed it "the least".[58] In Clash mag, Clarke Geddes was more positive, agreeing that although the album was bloated and over-produced, it however offered highlights, naming "I Promise, I Call up, I Know". He also positively appraised the bonus tracks in the box set, assertive fans will be satisfied with the extra material.[57]

Legacy [edit]

"It's the sound of ... a bunch of guys, on coke, in the studio, not giving a fuck. At that place's no bass to information technology at all; I don't know what happened to that ... And all the songs are really long and all the lyrics are shit and for every millisecond Liam is non saying a word, there's a fuckin' guitar riff in there in a Wayne's World stylie".

– Noel Gallagher reflecting on Be Here Now [64]

In the 2003 John Dower-directed documentary Live Forever: The Ascent and Fall of Brit Pop, music critic Jon Savage pinpointed Be Hither Now as the moment where the Britpop movement ended. Savage said that while the album "isn't the great disaster that everybody says", he noted that "[i]t was supposed to exist the big, large triumphal record" of the menstruation.[64] Q expressed similar sentiments, writing, "And so colossally did Be Hither Now fall curt of expectations that it killed Britpop and ushered in an era of more ambitious, less overblown music."[3] Irish Times announcer Brian Boyd wrote: "Swollen and over-heated (much like the band themselves at the time), the album has all that dreadful braggadocio that is and so characteristic of a cocaine user."[65] Reflecting in 2007, Garry Mulholland said: "The fact that nothing could have lived up to the fevered expectations that surrounded its release doesn't change the facts. The tertiary Oasis album is a loud, lumbering noise signifying nada."[three] When reviewing in 2016, Lukowski wrote that although Oasis as a ring would continue, Oasis as a legend died with Be Here Now. He further states that while other Britpop bands such as Pulp and Blur moved on from the genre, Oasis continued attempting to revisit the success of their offset two albums, finer becoming a "nostalgia act" afterward 1997.[58]

The Gallagher brothers hold differing opinions about the album. In July 1997, Noel was describing the production as "banal" and some tracks every bit "fucking shit".[iii] He later said: "Simply because you sell lots of records, it doesn't hateful to say you lot're any good. Look at Phil Collins."[66] In Live Forever: The Rise and Fall of Brit Pop, he dismissed the album, and said that drugs and the band's indifference during recording led to the album having faults. In the same documentary, Liam dedicated the record, and said that "at that fourth dimension nosotros idea it was fucking great, and I yet think it'southward great. It simply wasn't Morn Glory."[64] In 2006, Liam said of Noel, "If he didn't similar the record that much, he shouldn't have put the fucking record out in the first place ... I don't know what's up with him but it's a elevation record, human, and I'thou proud of information technology—it's just a trivial bit long."[67] In 2018, the BBC included information technology in their list of "the acclaimed albums that nobody listens to any more."[68] Noel has observed that many Haven fans however concur the album in high regard, as do prominent musicians such as Marilyn Manson.[69] In 2017, Liam ranked the album as his favourite release past Oasis.[70]

Track listing [edit]

All tracks are written past Noel Gallagher.

Be Hither Now runway listing
No. Title Length
one. "D'Y'all Know What I Mean?" vii:42
2. "My Large Oral fissure" five:02
3. "Magic Pie" 7:nineteen
4. "Stand up by Me" 5:55
five. "I Hope, I Retrieve, I Know" iv:23
6. "The Girl in the Dirty Shirt" v:49
7. "Fade In-Out" 6:52
eight. "Don't Become Away" 4:48
9. "Exist Here At present" 5:13
x. "All Effectually the World" 9:20
11. "It's Gettin' Ameliorate (Man!!)" 7:00
12. "All Effectually the World (Reprise)" 2:10
Total length: ane:11:33
Japanese 2016 Deluxe Edition bonus tracks
No. Title Length
13. "All Around the Globe" (Demo) 5:55
Full length: 1:17:28

2016 reissue [edit]

As part of a promotional entrada entitled Chasing the Dominicus, the album was re-released on 14 October 2016. The 3-disc deluxe edition includes remastered versions of the anthology and seven B-sides from the anthology'south three UK singles. Bonus content includes demos, the Mustique sessions, live tracks, and a 2016 remix of "D'You Know What I Mean?" Noel Gallagher was supposed to remix the unabridged album but afterward decided against information technology.[71]

2016 reissue disc ii: B-Sides and Demos
No. Title Length
one. "Stay Young" five:08
2. "The Fame" four:36
3. "Flashbax" 5:09
4. "(I Got) The Fever" 5:15
v. "My Sister Lover" 5:59
6. "Going Nowhere" 4:42
7. "Stand by Me" (Alive at Bonehead'southward Outtake) 6:03
8. "Untitled" (Demo) 4:38
9. "Help!" (Live in L.A.) 3:45
x. "Setting Lord's day" (Live Radio Broadcast) 3:56
11. "If We Shadows" (Demo) 4:53
12. "Don't Become Away" (Demo) 3:43
xiii. "My Big Mouth" (Live at Knebworth Park, ten August 1996) v:21
fourteen. "D'Yous Know What I Hateful?" (NG's 2016 Rethink) 7:23
Full length: 1:10:31
2016 reissue disc 3: The Mustique Sessions
No. Title Length
1. "D'You lot Know What I Mean?" (Mustique Demo) vii:15
two. "My Big Mouth" (Mustique Demo) 5:17
iii. "My Sister Lover" (Mustique Demo) half dozen:09
iv. "Stand by Me" (Mustique Demo) 6:01
v. "I Promise, I Recollect, I Know" (Mustique Demo) iv:eleven
vi. "The Girl in the Dingy Shirt" (Mustique Demo) 5:23
7. "Don't Get Abroad" (Mustique Demo) four:18
viii. "Trip Inside (Exist Here At present)" (Mustique Demo) iii:35
ix. "Fade In-Out" (Mustique Demo) 6:03
ten. "Stay Young" (Mustique Demo) four:56
xi. "Angel Child" (Mustique Demo) four:28
12. "The Fame" (Mustique Demo) iv:45
13. "All Around the World" (Mustique Demo) half-dozen:31
xiv. "Information technology'southward Gettin' Better (Human!!)" (Mustique Demo) 6:38
Full length: ane:15:30

Personnel [edit]

Anthology credits per the album'south liner notes.[72]

Charts [edit]

Certifications [edit]

References [edit]

Sources [edit]

  • Cavanagh, David. The Creation Records Story: My Magpie Eyes Are Hungry for the Prize. London: Virgin Books, 2000. ISBN 0-7535-0645-9
  • Harris, John. Britpop!: Cool Britannia and the Spectacular Demise of English Rock. London: Da Capo Press, 2004. ISBN 0-306-81367-X

Notes [edit]

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External links [edit]

  • Exist Here Now at Discogs (list of releases)
  • Be Here Now at YouTube (streamed re-create where licensed)

mckinneyhispeauncer.blogspot.com

Source: https://en.wikipedia.org/wiki/Be_Here_Now_%28album%29

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