The English Beat

Even on a finely tailored disc like Different Class, the lingering impression of the new British rock is that it has yet to find its own voice. The British Invasions of the past--be it the Beatles/Stones attack of the mid-'60s or the takeover of Top 40 radio by Culture Club, Eurythmics, and the rest of the synth-pop brigade two decades later — were nothing if not forward thinking. This latest wave feels, at times, like an entertaining retread of the history of British guitar rock. You can hear hints of late-period Beatles (Oasis), the Kinks during their rock-opera days (Blur), glitter-period Bowie (Pulp), the Smiths (Gene), or the snotty mod revival (menswe@r). And compared with jungle, trip-hop, and other constantly mutating forms of avant-garde dance music coming out of England, the loud guitars and shag haircuts of the new Brit rock don't look or sound contemporary enough.

Which brings us back to Oasis. At times they do recall the past, from the Carnaby Street foppishness of their image to the hint of John Lennon rasp in Gallagher's throat. But listening to the soaring guitar architecture of (What's the Story) Morning Glory?, it's clear why they've connected with American kids in a way their peers haven't. The songs, written by Liam's guitar-playing brother Noel, are so rock solid that they could sustain a London air raid. You don't need to be a resident of the Olde Country to relate to their songs of consolation, advice, and rueful disdain, and it's hard to find a more universal statement than "Another sunny afternoon/I'm walking to the sound of my favorite tune."

Most important, the music is big and brawny, loaded with feedback, screeching guitars, and boogie riffs. Oasis sound as if they want to conquer the world, not just a small, economically depressed part of it. And isn't that what great rock & roll is all about?