The Guardian have published an interesting article on the massive hype surrounding the release of Oasis third album “Be Here Now”, and the subsequent bursting of the bubble.
The press release declared it as having the same impact as coming of Elvis and Dylan going electric. It received fawning five-star reviews in almost every publication. And then in a space of just a few days, its reputation crashed and burned once people had the chance to hear the record and realised that what they were hearing didn’t match the hype.
The mood of the country had changed since Oasis’ first two albums; Radiohead’s “OK Computer” was the record everyone was talking about, and the cool kids were forming prog-rock bands. Oasis’ combination of the least interesting aspects of indie and classic rock has become yesterday’s sound.
This pair of quotations from music journo Paul Lester and publicist Johnny Hopkins are quite illuminating.
“I was caught up in the excitement of it all,” Lester says. “I’m so sorry to everybody for that review, but the enormity of it was captivating. We were reviewing a moment in history and staking our part in it. It was like seeing the great behemoth of a spaceship in Close Encounters. You felt awed into submission.”
“You want the record to be good because you’re into the band,” says Hopkins. “And you want it to be good because that means it’s going to sell well and that’s going to help the magazines sell well. But I was surprised that there wasn’t a dissenting voice. When a band gets to that level, there’s always someone who says, ‘Hold on a minute,’ but there wasn’t [for Oasis].”
The whole episode is a teachable moment in the history of music criticism. It marked the beginning of the end of an era in which the mainstream music press had a huge influence as tastemakers and gatekeepers. For the NME in particular it was the beginning of their long-overdue decline into irrelevance.