HOWZAT

(GET OFF YOUR) HIGH HORSE LADY

Instantly memorable, thanks to Liam’s stoned vocoder delivery and the hypnotic boom-thump of its rhythm. Having spent so much of their time talking up the Sixties, this may be the first Oasis song that could pass muster on a compilation of treasured obscurities from the end of that decade.

FALLING DOWN

Noel sings this one. Deploys an identical rhythm to the one invented by Ringo Starr on Rain – but there are mitigating factors at play. First of all, it’s being played by Ringo’s son Zak Starkey; more importantly, it sits at the centre of another Oasis song that corresponds to little else in their canon – a rain-lashed, nocturnal hymn to uncertainty that makes good use of the vulnerability that seems ingrained in the guitarist’s vocal style.

TO BE WHERE THERE’S LIFE

Written by Gem Archer. Charges along on a bassline that should Paul McCartney hear it, may push Paul McCartney’s eyebrows up into the realms of physical implausibility. Modestly diverting piece of raga-rock, but by no means one of the better songs on the album.

AIN’T GOT NOTHING

A combustible Who-style studio freakout. Probably fun to play; should be exciting live – but once removed from the circumstances in which it was created, it slightly palls.

THE NATURE OF REALITY

Andy Bell’s sole writing contribution to the album – apparently prompted by the demise of his marriage. The final part in a relative slough of three songs. “The nature of reality is only in your mind,” sings Liam, with a peculiar lack of conviction.

SOLDIER ON

Reflective paean to perseverance oscillates soberly between a single titular mantra and bursts of keening melodica from Noel, until both dissipate, as if to leave room for closing credits. Again, further evidence of Oasis’s new-found ability to create sympathetic settings for the their older more thoughtful selves. As such, a fitting conclusion.

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