Tag: Britpop

Upcoming Releases – Turkey Day and Beyond

On By bigbadburchIn Upcoming Music2 Comments

It’s time to look at a new batch of preview singles. Most of this stuff is releasing next year but a few are still going to hit in 2021. A few will land in a few days and one is already out. It goes to show how much attention I pay to things.

Scorpions – Peacemaker

The Scorpions are almost eternal at this point – these guys refuse to quit. Not only are they still at it but they’ve offered up a very nice lead track from a new album called Rock Believer due early next year. I’m very impressed with how great this song sounds and I’m very happy to have yet more new music from a band I got into before I could reach the kitchen counter.

Exodus – The Beatings Will Continue (Until Morale Improves)

This is one I overlooked awhile back as the song has been around a few months now. This comes from the band’s newest record Persona Non Grata which hits this Friday. The song is a nice, short thrasher that fits right in with Exodus’ now extensive catalog. The video is really damn violent, like I’m kinda surprised it’s being shown on YouTube. It plays like a CIA field guide in how to, uh, get information. (it is age restricted, apparently)

Jack White – Taking Me Back

This song hit a few weeks ago as part of the campaign to launch whatever the hell the new Call Of Duty game is this time. Now Jack has filmed an official video for the song and it is part of two new albums from him due next spring.

I didn’t get all that into the song when I saw the COD preview but now I’m liking it more. I think maybe this one is a different version, I’m not entirely sure about that. It’ll be interesting to hear what Jack has on offer with two new albums coming out. I haven’t followed his post-White Stripes career too closely but he’s one of the more interesting musicians around today.

Slipknot – The Chapeltown Rag

This song is Slipknot’s first preview of new music from an as-yet unannounced album that will presumably see the light of day in 2022. The song was premiered live at the band’s own Knotfest concert a bit over a week ago.

I am not the biggest Slipknot fan in the world. I never was moved to like their stuff that much, though they’ve had songs I liked over the years. This song is fine but it doesn’t compel me to explore them further or anticipate the new album. They have their place and plenty of people are into them, and all that is fine, but it’s not really my cup of tea. It is frenetic and heavy, not something I’d frown upon. But honestly not my cup of tea.

Oasis – Wonderwall Live At Knebworth

Ok so I’m totally cheating here. Obviously Wonderwall isn’t new and Oasis sure as hell isn’t recording new music. This is from the official live release of the historic Knebworth concerts from 1996, which hits record store shelves and streaming platforms this Friday. I like Oasis, in case you haven’t noticed. Here’s just one example from the other day.

As for the Knebworth performances – absolutely the height of their fame, historically important, but also not their best. All of their tracks are on coke here, probably just like the band. Everything from these shows was done at a frentic pace, which I think belies the importance of their more significant work. I do hope they go back and catch Earl’s Court and Maine Road as future official live releases, as those better capture the band when they were firing on all cylinders. But hey, nothing to bitch about with the historic Knebworth gigs being available.

Brand Of Sacrifice – Lifeblood

I’ll be upfront – I know nothing about Brand Of Sacrifice. They are a newer band in the deathcore realm, that is totally all I know.

But if you notice from the video title, this has a bit something different about it – much like Carlos Santana featured the talents of one Rob Thomas in 1999 for the hit smash “Smooth,” Brand Of Sacrifice also brings a guest vocalist in for a turn on their song. Instead of Rob Thomas, BoS thought to ask someone else to guest on their reworked track – new Lorna Shore vocalist Will Ramos, who has made waves this year as the dying Dark Souls boss in To The Hellfire.

Here is the original version of the song, released at the beginning of this fun year. It is a wonderfully serviceable deathcore song, but there is no denying the extra atmosphere added by having Will Ramos drop vocals on your shit.

I have already stated how I feel about Will Ramos and Lorna Shore. I’ll certainly be paying attention to Brand Of Sacrifice going forward – this “symphonic blackened deathcore” movement is gaining steam fast.

Korn – Start The Healing

Here’s one from a band with a long lineage that I’m not particularly into. I went over them a bit when I started this blog, here’s that info drop.

But, I’m not totally against Korn. I might have gotten into their little brother/bastard cousin a bit more, but I can respect what Korn brought to the mid-90’s scene. I don’t keep up with them though so there’s a lot of lost time and music between then and now. This song is from a new album Requiem, which hits early February 2022.

This song is fine. It doesn’t move me to pre-order the album but I’m not mad that I listened to it. At this point in my life, where I’m fighting being middle-aged, I can appreciate that Korn is still going.

Emma Ruth Rundle – The Company

I am totally cheating here because this isn’t an upcoming album. Emma released her new album Engine Of Hell last week on the 5th. I’m kind of not cheating though, because she just released this self-directed video the other day, so it’s like a new release of a new release. It’s also worth note that I might be a bit into her past work…

Not to give away what’s going to be my pick for an album of the week in the extremely near future or anything, but this is in the early running for my favorite song off the stunning new album.

I’ll save the very specific talk about this song and the rest of the album for later, because I’m going to bring it up twice in the next month.

But this song hits home like few others. I’ll never claim to know what she’s talking about, but I know how and where exactly this hits me. And I’ll say this – it isn’t some foregone memory. This song hits right here and now. I don’t really know what else to say, other than all hail the new queen, king and god of music.

That’s all I have for this installment. I’m going to forego this feature next month because acts don’t usually announce shit in the holiday month. If they do I’ll catch up to it next month. Let me know anything I might have missed in the comments below.

Oasis – (What’s The Story) Morning Glory? (Album of the Week)

On By bigbadburchIn Album of the Week4 Comments

This coming Friday the 19th marks the long-awaited official release of the landmark Oasis concert at Knebworth 1996. I will be waiting a moment for my package with everything to arrive from Europe so to bide my time I’ll talk about the band’s landmark second album.

Oasis – (What’s The Story) Morning Glory?

Released October 2, 1995 via Creation Records

My Favorite Tracks – Champagne Supernova, Don’t Look Back In Anger, Morning Glory

Oasis entered the release cycle for What’s The Story … in a singles chart battle with Britrock rivals Blur. The end result would see Oasis become one of the biggest bands on the planet, with over 20 million copies of the album sold and one of music’s most recognized songs living on for decades after its release. The album was the UK’s best selling of the 1990’s and it marked the pinnacle of the Britrock movement.

This is my favorite Oasis record and, like so many others, my jumping-on point for the band. It was a changing time in music as well as my life – I had just graduated high school a few months before its release and would be on the other side of the world a few months after it. These songs would be with me as I entered a new phase of my life and left childhood behind. And music in the late 90’s would not be what it was in the early 90’s, that much is for sure.

It’s only fitting to tackle this record track-by-track, there’s a lot to talk about here.

Hello

The album opens with a nice, steady rocker that’s bright but also gets a bit in your face. The song serves its titled purpose well – it’s a nice introduction to the album about to unfold. Some nice, washed out guitars compliment the album’s compressed mix (apparently compressed because no one besides Noel Gallagher could play their instruments…) The song doesn’t do much besides say “hello,” and it does that just fine.

Roll With It

The album’s lead single was the focus of a chart battle with countrymen Blur in 1995. Blur’s Country House would edge out this song as the winner of the week’s battle, but What’s The Story… would obliterate The Great Escape in album sales. The chart battle was a media invention that pitted the British everyman that Oasis represented versus a more upper class, artsy vibe offered by Blur. Honestly the whole thing was kind of a lame, media-contrived mess and I don’t put much stock in the war between the bands other than noting its historical significance.

Roll With It is a perfectly fine song but an odd choice for a lead single given what else lies on this record. This song doesn’t punch as high or hard as others but that doesn’t make it a bad song. It’s still a nice tune and fits the vibe of the record well.

Wonderwall

Here we are – the immortal, titanic song from this record, from Oasis and from Britrock as a whole. This song took over airwaves of all forms and lives on today as one of the 90’s most recognizable hits. Wonderwall was the second song recorded before 2000 to hit over a billion streams on Spotify, trailing only Queen’s epic Bohemian Rhapsody. It is often found on polls of “Best Britrock Songs Ever” behind maybe only Live Forever or Pulp’s smash hit Common People.

Wonderwall is a mainstream sensation, even to this day it’s near impossible to escape hearing it. But it’s also a huge point of debate amongst Oasis diehards – is the song worth the attention it gets or is it possibly the worst song on the record? I’ve ran into this argument on many occasions and especially in the past few years as Oasis nostalgia has a lot of people revisiting their work.

The truth is that no, it’s not the worst song on the record. It is an expertly-crafted song and most likely deserves the fanfare it gets. I wouldn’t say it’s the best song on the record but I won’t throw Wonderwall under a bus just because it took on a life of its own, even if I feel the next track is the one that should have seen the supernova of attention.

This tune is often cited as a love song but there is confusion as to its real meaning, a discussion taken up on the song’s Wikipedia page. That confusion is owing to the song’s creator, Noel Gallagher. Noel did state that it was a song dedicated to his then-wife, but after divorcing that wife he said the song was about “an imaginary friend who’s gonna save you from yourself.” Of course we probably won’t know the truth of the matter as Gallaghers and historical facts tend to not get on together at times, but I do like the alternate meaning of the song he proposed later.

Whatever the case, Wonderwall lives on in the hearts and ears of both willing listeners and people sick to death of it. It is the defining moment of this album and the Oasis legacy.

Don’t Look Back In Anger

I could write another essay about this song. Thankfully, I already have. Don’t Look Back In Anger was my third selection to my list of S-Tier Songs, those being what I consider the greatest of the great songs. That post covers the major points I’d want to address.

There is the question of this song’s place in history – is this the true crown jewel of the record? Did Wonderwall steal the thunder from this tune, which has become entwined with British culture? Was Noel’s decision to handle vocals on it instead of Liam what held this song back?

There’s an argument to be made that DLBIA was a bit held back, but there is no stopping popular culture. Wonderwall became the sensation and this song rode in the backseat. But in the years since it has quietly taken the driver’s seat as the album’s premier song. Its message is universally resonant and it has been a part of triumphant and tragic moments in culture over the decades since its release.

And yes, while objectivity is rather impossible when looking at music, I would say that in an objective sense this is the best song on the album. It isn’t my favorite, we’ll get to that in a bit. But there’s no denying how powerful and impactful DLBIA is.

Hey Now!

The album’s fifth cut is the one that many feel drags down the record. Many evaluators put the band’s debut Definitely Maybe ahead of What’s The Story… and Hey Now! Is exhibit A in the arguments. This tune is certainly meandering and ponderous and probably isn’t going to win many “best of the bunch” awards from anyone but the most contrarian of listeners.

I don’t look at the song as harshly as others but I do get the arguments. I don’t mind hearing it and I can play the album as a whole just fine without needing to skip this. There is no danger of this song appearing in a future S-Tier Song post, but that’s fine.

Some Might Say

The album’s mid section picks back up after a brief interlude with another of the album’s singles. Some Might Say might sit a bit under the radar in the wake of Wonderwall, DLBIA and Champagne Supernova, but the song brings its own weight to the table.

The song moves through some silly but great lyrical observations along with simple yet well-placed guitar work and the sum becomes greater than the parts. Liam drawls through the verses before belting out a powerful chorus full of some very interesting word choices. It’s one of several Oasis songs that is total nonsense yet still totally brilliant.

Cast No Shadow

This haunting, melancholy song was written by Noel to his friend, Verve frontman Richard Ashcroft. This interview with Noel spells out more of the background behind the song and Noel and Richard’s relationship.

The song is absolutely gorgeous and also depressing. I definitely feel the vibe coming from it, the desperation of trudging through life and just being plowed over by everyone and everything around you. It is a shitty thing to identify with but it’s there, no getting around it.

Cast No Shadow is a quiet favorite of many fans as well as the band, Liam has said it’s one of his favorites and he often includes it in his present-day solo sets. It’s just yet another example of how amazing Noel was at songwriting in this time.

She’s Electric

The band is back with another fun, silly tune about a girl and a crazy relationship, or lack thereof with the protagonist. There’s a nice mix of the usual lyrical nonsense often found in Oasis songs and a very interesting narrative of a guy and girl who are or aren’t about one another, kind of hard to say.

The song is really nice and I enjoy it when it comes on. It won’t ever be accused of being the best on the record but it certainly still has a place here.

Morning Glory

The album’s quasi-title track is an absolute banger. It comes in loud and runs red hot. Oasis only really “rocked out” a few times on their debut and this marks the only example of it here. While I clearly don’t find much fault with the band’s music, I do wish they had done a bit more of these headbangers.

The song is obviously about the band’s favorite party favor – cocaine. The white line is ubiquitous with rock n roll and Oasis did not shy away from their consumption of it in the 1990’s. It would lead to numerous issues for the band through their height of popularity and would mark their coming descent from the top of the mountain just around the bend in 1997, but it also gave us this magnificent tune.

Champagne Supernova

The album’s closing track and fifth single takes a different turn, bringing a trippy and atmospheric vibe to close out the record. The song did extremely well worldwide and is often the second most-recognized track behind the gargantuan Wonderwall.

The song is, like many other Oasis tunes, total lyrical nonsense. It is perhaps the most famous example of words simply meaning whatever the listener wishes them to mean. Noel has made no effort to shine greater meaning to the words, only indicating that it means what the fans who sing every word back to him want it to mean.

This song is also my favorite Oasis track. It is simply splendid and it flows with just killer vibes that can’t be faked or conjured out of thin air. The song always takes me back to the mid 1990’s when I was in continental Europe as part of the US Navy. It was that perfect time between adolescence and adulthood where it seemed like the world was in my hands. It was all too brief of course, those moments are just that – moments. But it was a moment I’ll take with me as I drift into middle age.

Outside of my own personal connection, the song resonated with multiple generations of Oasis fans. It was one of the band’s most-played songs live and is often found in the solo sets of both Gallagher brothers. People far and wide still wonder just what the hell a Champagne Supernova is.

(What’s The Story) Morning Glory saw Oasis truly conquer the music world in the mid 90’s. It is today the fifth-best selling album in the UK and only Adele has topped its sales numbers with an album since. Oasis would ride the wave as conquering heroes into a series of landmark festival shows in 1996, with two epic concerts at Knebworth being the exclamation point on their career and the Britrock movement as a whole. The band would live on until their 2009 implosion, but were unable to attain the same stratospheric heights reached with this album.

Many words have been said about Oasis and the Gallagher brothers, some reverent and some reviled. But there is no question that for a time in 1995, they changed the shape and face of music. They lost a chart battle to Blur in the beginning of the album’s release cycle, but in the end they conquered everything.

The Importance Of Being Idle – Will Oasis Ever Reunite?

On By bigbadburchIn Uncategorized2 Comments

UPDATE August 2024 – this whole post is essentially worthless now, as Oasis have announced their reunion tour for 2025.

It’s time to wrap up Oasis week here on The Crooked Wanderer. I’ve enjoyed going through what I have so far, remembering Definitely Maybe and gifting S-Tier status to Don’t Look Back In Anger. I would have loved to write up a discussion of the Knebworth documentary that hit theaters yesterday, but sadly no theater in my town showed it. I’ll give some space to that when I can watch the film and also when the album and concert footage releases in November.

Of course there are many other things to talk about with Oasis. I’ll eventually cover other albums and songs as time goes on. I just wanted to spend a moment with them on the week of the Knebworth release.

But there is a huge elephant in the room when it comes to Oasis and it’s now time to discuss that. Oasis came to an end in 2009 when Noel Gallagher left the band after yet another altercation with his brother, singer Liam Gallagher. Noel would immediately start a solo career, while Liam and the remaining Oasis members briefly toured the ill-fated Beady Eye project. Liam would launch his own successful solo career in the late 2010’s.

The question is pretty simple – will Oasis ever get back together? Reunion tours are big business in music and Oasis has captured a wave of nostalgia in recent years that would set the table for a literal truckload of cash. There are several factors to consider in trying to answer this question.

First of all, Noel and Liam have engaged in a rather bitter sibling rivalry in the decade since Oasis split up. I’m not going to recount specifics but it’s not hard to find examples of the two slagging each other off. The feud has gotten extremely personal at times and it does feel like one of the irreconcilable matters. They really, truly do not like one another.

Secondly, Noel does not show any real inclination to get the band back together. He has pursued several experimental musical directions with his High Flying Birds project and every word he has said about an Oasis reunion has been negative. Liam, however, seems ready to do a reunion show the next day if only it would materialize.

An Oasis reunion would be a big-ticket event. There is demand from fans old and new, as their music has transcended its moment in time and lives on today. It’s often cynical when old bands get back together but there is a convergence of interest and nostalgia involved with Oasis that would send that tour to the moon.

I’m gonna be real – I honestly don’t think an Oasis reunion will happen. I take Noel at face value when he says he’s not interested. I think a lot of people want to believe something is brewing behind the scenes, what with the work that went into the Knebworth documentary and the brothers’ high profiles in the past few years. But I really am just not seeing it. Noel has been unequivocal in his dismissal of the reunion concept and of his brother.

Sure, the tour would be huge money. But Noel has made mention of the small fortune he already has. If money were his motivation we would already have had a reunion to talk about. He seems touched by the fond recollections of Oasis fans but seems very interested in going forward with his own vision, and his vision is one not owing to reminiscing.

I could, of course, be wrong, and Oasis might announce a reunion tour the second after I post this, or perhaps after the pandemic has run its course (when the hell ever that will be…). But based on my obviously uniformed opinion as nothing more than a fan, I honestly do not see a world where Oasis gets back together.

I’ll leave with this Noel quote from the How To Wow podcast a few weeks ago. Noel addresses the state of his and Liam’s solo careers, and I think it truly illustrates Noel’s mindset regarding an Oasis reunion.

“He’s doing massive gigs, he’s selling more records than I am and he’s selling more tickets than I am, if you can believe that.”

“So he’s doing his thing and I’m doing mine and we’re both pretty happy doing that at the moment.”

“Liam’s doing his thing, he’s responsible for the legacy being what it is, he’s keeping the flame alive and all that and good for him.”

Oasis – Don’t Look Back In Anger

On By bigbadburchIn S-Tier Songs6 Comments

This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.

Oasis – Don’t Look Back In Anger

The song is a curiosity from the get-go as guitarist/songwriter/head honcho Noel Gallagher sings the track as opposed to his brother, singer/man of the people/loose cannon Liam. It was an interesting choice and one that might be criticized in retrospect. The story goes that Noel told Liam he could choose between Wonderwall or this and Noel would tackle vocals on the other. Liam chose Wonderwall, probably correctly, and the rest is history.

It’s fun to imagine a world where Liam sang this tune but it doesn’t matter. Noel guided the ship well through the song. Of course, when you write a song as magnificent as Don’t Look Back In Anger, it’s probably not hard to carry a tune along with it.

As with much of Oasis, the song does borrow from the realm of the Beatles. In this case, DLBIA has direct ties to John Lennon. The song’s intro hearkens back to Lennon’s magnum opus Imagine, while lines in the pre-chorus like “the brains I have went to my head” and “gonna start a revolution in my bed” are culled from things Lennon said and did.

The song becomes Oasis’ own in the chorus, and it marks one of music’s signature anthems. The song’s message of letting things go really hits when “So Sally can wait…” comes on. It is an iconic chorus that has taken on a life of its own, often belted out at soccer/football matches. It’s also a song that, much like Live Forever, gets airplay at weddings, funerals and the like.

Of course the central theme of Don’t Look Back In Anger is spelled out directly in the title. And yeah, it’s an important one. I’ve been known to hold a grudge or two in my day, but as time wears on it becomes clear that holding on to old resentments is tiring and unproductive. It’s almost always wise to let shit go and let your soul slide away.

Don’t Look Back In Anger would help Oasis’ home city rally in the wake of tragedy – after the terrorist bombing at an Ariana Grande concert in Manchester in 2017, the town used the Oasis anthem to find their way through the devastation. A lone woman at a rally led the crowd in an impromptu rendition, and later at the One Love Manchester tribute concert Coldplay’s Chris Martin and Jonny Buckland would serenade Ariana Grande with the tune.

Why is this an S-Tier song?

Don’t Look Back In Anger is a masterful anthem with a gorgeous melody and an iconic chorus. The song’s message of letting it all go is powerful and important, and at times the world has used the song to soothe disappointment and even tragedy. In a time period when Noel Gallagher was maybe the hottest songwriter on the planet, this song perhaps stands out even over many of the other memorable tunes he wrote.

Oasis – Definitely Maybe (Album of the Week)

On By bigbadburchIn Album of the Week2 Comments

This weeks marks the theatrical release of the Oasis – Knebworth documentary. It chronicles the two historic nights Oasis played in England at the height of their immense popularity in 1996. So I felt it fitting to make this week Oasis week around here. We’ll start with the usual Album Of The Week, and I’ll get straight into it.

Oasis – Definitely Maybe

Released August 29, 1994 via Creation Records

Favorite Tracks – Live Forever, Cigarettes & Alcohol, Columbia

Creation Records had been plagued with financial troubles, at least somewhat owing to the ridiculous saga surrounding the recording of My Bloody Valentine’s Loveless. Label founder Alan McGee sold half of the label to Sony and then needed to find a hit to stabilize finances.

He found his hit in the pubs of Manchester.

Oasis’ debut album was an instant success, smashing debut album records in the UK and also hitting platinum in the US. The “brothers’ war” between Noel and Liam Gallagher played out as great fodder for the British tabloids, both painting them as brash bad boys and keeping Oasis in the press. It was a case of instant success for some down on their luck blokes from Manchester, with that would come all the good and bad.

But let’s talk about the album itself. Definitely Maybe is a monster release and a stellar debut that belies the absolute inexperience of anyone in the band besides chief songwriter Noel Gallagher. These are songs of the hopes and dreams of working class people looking for something more than the doldrum of everyday life. It’s spelled out in the beginning on album opener Rock N Roll Star, and excellent banger than sets a hopeful, dream-laden tone.

The album contains several songs of varying scope and heft. Digsby’s Diner and album closer Married With Children are more fun tunes, not quite filler but also not exactly top-shelf stuff. Up In The Sky is a bright, rocking tune while Bring It On Down is a flat-out headbanger, on par with the title track from the second album.

Then there’s Columbia. This song is all about the atmosphere and vibe. This song isn’t about anything at all, or it’s about whatever you want or need it to be. Oasis would offer a few things like this, kind of “nonsense” songs, through their career. And honestly I love it – I just want to go full hipster and strut down the street with this as my theme music.

If one nonsense song wasn’t enough, the album brings another. Highlight single Supersonic is a heavy, mid-tempo affair with a whole lot of words that rhyme with each other and little else. It tells a story of … something or someone who does stuff on a helicopter and, well, that’s about all I get out of it. But it’s a solid song that stands out on a record filled with brilliance.

Sitting between the two “odd” tracks toward the album’s end is Slide Away. A masterful tune, this is a quintessential love song from the Britrockers. And it is actually a love song, unlike Wonderwall, which shocks some people when they find out it’s not a love song. (Seriously, go look up what Wonderwall is really about. Then sing Slide Away to your boo at your next drunken karaoke night. Then consider the existential dread that Wonderwall truly envelops. Then go back to another drunken karaoke night.)

Another favorite of mine is Cigarettes & Alcohol. Yes, both the products and the Oasis song. This tune is a nod to the hollow pursuit of substance abuse to alleviate the strain and nihilism of working class life. Damn, if that ain’t the truth. I’ve been there myself many different times, or perhaps even for just one very, very long time. It’s a statement similar to that of Pulp’s smash hit Common People, though the latter includes some different commentary about how the working class are viewed. No matter the perspective, it’s kind of damn bleak out here, and it wasn’t any different in the early ’90’s.

This album does have one song that, in my estimation, stands head and shoulders above the rest. The song was, metaphorically and literally, an antidote to grunge’s sometimes miserable self-flagellation. Noel told NME in 2013 that he wrote Live Forever as a response to the Nirvana song I Hate Myself And Want To Die.

Live Forever is an amazing song that expresses the bonds of friendship, family, romance, or whatever between people. The song could be, and has been, played anywhere – weddings, funerals, dances, or just hanging with mates. It is a sentimental, sweet, perhaps melancholy yet ultimately triumphant celebration of those deepest, most meaningful connections between people.

Live Forever has been voted among the best of Britrock’s songs in multiple polls, often sharing space with the aforementioned Pulp hit and a few other Oasis tunes. Noel has called it the best song he’s ever written and Liam has said it was his favorite song as well. And it’s number 3 on my list of all-time Oasis songs.

Definitely Maybe was an amazing debut album that helped set the stage for the scene of Britrock to take over the world in the mid ’90’s. Oasis themselves would truly conquer the planet the next year with their second record. But the debut is absolutely possessing of its own merits and is often, perhaps rightfully, regarded as their best overall record.

With the theatrical release of the Knebworth documentary coming this Thursday, I’ll take the rest of the week to discuss Oasis. On Wednesday I’ll pick out one song in particular, and on Friday I’ll address the “what if?” elephant in the room question that comes up when talking about Oasis these days.