S-Tier Songs, Vol. 19

Once again it’s time to add to the list of S-Tier songs. For the list as of now and the basic guidelines about it all, head here.

Today’s entry is quick and to the point. It’s about two minutes long, it’s about being unable to “perform” while drunk, and that’s really about it.

Elastica – Stutter

As I said, this one is pretty cut and dry. It’s a simple punk tune, though delivered with smooth women’s vocals as opposed to some shouty drunk guy. The song is expertly constructed in its simplicity and walks a fine line between hard and catchy while getting both sides right. No need to reserves space to evaluate a guitar solo here, this song is out just a quick as it came in.

The lyrical content, while simple in two verses and the chorus, doesn’t quite “come and go.” The song is about a well-known phenomenon where a fella can’t quite get to business after having too much to drink. I suppose “erectile dysfunction” is the proper medical term here. Vocalist Justine Frischmann, also the songwriter, handles the problem in stride, she seems willing to encourage her down and out lover rather than be too upset about it. Though it’s clear she’d also prefer to get to some action.

Stutter was released as a single before Elastica had recorded a full-length. The single was packaged as a limited run of 1,500 records and they flew off store shelves. A series of British media articles shined more attention on the band, and the meteoric rise to fame was on. Two more singles would light up UK charts in 1994, then their debut album released to smash success in early 1995.

The powers that be delayed the release of Stutter in the US until late 1994, a move that likely paid off as the full-length was close to release at that point. Stutter did nominally well on the Billboard charts at position 67, though it did hang out on the charts for 9 weeks. It also broke the top 10 of the alternative rock chart. Subsequent singles would climb higher on both UK and US charts.

The music video was a simple yet effective shot that was in heavy rotation on MTV and other video channels in 1995. Stutter served a number of outlets at the time – “post-grunge” was coming in and Elastica were exactly in the right place at the right time for that. And Britpop was a movement with legs around this time. While Elastica’s sound might not “vibe” with what most consider Britpop, they were undeniably a successful act on the scene at the time. And they were one of the more successful Britpop outfits in the US, second in sales only to the mass success of Oasis. Also, Elastica even outdid Oasis in their shared home country of England – Elastica’s debut album outsold Oasis’ Definitely Maybe, handing Elastica the crown of “highest-selling debut album” in the UK until the Arctic Monkeys came around over a decade later.

There is one other bit of trivia surrounding Stutter that also, uh, sort of involves the Britpop phenomenon. It is widely speculated that the song’s lyrics might be about another of the luminaries of the Britpop movement. Justine Frischmann was an early member of Suede and was in a relationship with that band’s frontman Brett Anderson. Frischmann wound up leaving Anderson for Damon Albarn, frontman of Blur (and later Gorillaz). Frischmann and Albarn were together for a handful of years and were linked at the time Stutter was conceived.

So the question is often asked – is Stutter about either Anderson or Albarn? No answer has been provided and I doubt one ever will. It’s the fodder of endless speculation on ye olde Internet, but it’s also pretty slimy in a way. It’s not like I’d ever ask Justine that question were I in the same room as her. Kind of personal stuff there.

And also – it’s entirely possible the song has nothing to do with either Anderson or Albarn. It might have just been an idea that Frischmann ran with. I thought about not even including this part of the post, but honestly the post was kind of short for my tastes and it’s not like Frischmann is gonna read this and be like “you’re gross.”

Why is this an S-Tier song?

Stutter is a short and to-the-point affair that communicates its message in a clever and coy way despite the aural assault of the music. Justine Frischmann lends some subtle qualities to her vocal delivery that makes the song work in a more playful manner, even though she’d prefer her lover to get to business. The song was a moment in time that fit the time perfectly, as 1995 was a period of transition out of the darker air of the early 90’s. Elastica were in a great place to offer up a ligher-hearted and funny take on an issue not really getting airplay in the grunge years, and the result was very well-received.

Album Of The Week – August 22, 2022

Yesterday, August 21, marked the 25th anniversary of a monumental album. While the band’s first two records would be known as worldwide sensations, their third one was a bloated mess that sold like hotcakes on release but quickly soured among the fans. It would be the final nail in the coffin of the musical movement the band had helped bring to international attention.

Oasis – Be Here Now

Released August 21, 1997 via Creation Records

My Favorite Tracks – D’ Ya Know What I Mean?, Stand By Me, Don’t Go Away

Oasis came into the recording of Be Here Now off the high of their historic live sets at Knebworth in August 1996. With their public visibility came the attention of paparazzi, and the Gallagher brothers made rich targets for the tabloid hounds. Add in a healthy dose of cocaine, and the table was set to record the third album.

It’s easy to see the one of the primary faults of the album without even playing it– 12 songs clocking in at 71 minutes. This isn’t a prog album and nothing justifies that kind of length. It’s coupled with curious production choices, such as excessive layering of instruments, that bog down what truly are some quality song ideas.

Nevertheless, we have this chonk of an album to get through.

D’ Ya Know What I Mean?

The lead single also opens the record. It’s one song that seems too long by its near 8 minute runtime but for some reason actually works. It’s also another of many Oasis songs that really aren’t about anything – this is just a rock in and rock out tune, not offering much in the way of discourse. Sure it has lyrics, but good luck analyzing them.

I do still quite enjoy this song even with apparent faults. It’s one of a few from the record that don’t throw me off and holds places in playlists I make today. The single did extremely well for Oasis, charting well in many different countries.

My Big Mouth

This is one of two songs from the record that were aired out live at the Knebworth gigs a year prior. It was a highlight of that live set but studio choices made render the studio version somewhat lesser. Here, Noel decided to layer his guitar a lot, and it did not enhance the song. It’s kind of a mess to listen to, even though a very good track is hiding under all of the guitar. The version on the Knebworth live recording is much more worthy than the studio cut.

Magic Pie

A song title that came about because Noel misread the word “magpie.” This track is interesting, in that it both sucks and is really good. The messy production suits the song well and the overall vibe is a melancholy affair that gets my attention. But the song is WAY too long and also there are a few stupid lyrics thrown in. Very much a mixed bag here.

Stand By Me

The album’s second single and one that sees a decent runtime at 5:55. Noel apparently wrote it after getting food poisoning but Noel at times also states that he doesn’t remember writing it, so who knows. This is one of Oasis’ strongest songs after the first two albums and it’s one from this album that works well without needing any real editing.

I Hope, I Think, I Know

For all the criticism of the album’s length, it’s a song that comes it at a very acceptable 4:22 that is a total castaway. The song isn’t “bad” per se but it’s totally forgettable. Should’ve been a B-side.

The Girl In The Dirty Shirt

Noel wrote this about his then girlfriend, who was ironing a dirty shirt because she didn’t bring enough clothing along for a tour. It’s a decent track that sounds good and isn’t burdened with overproduction.

Fade In-Out

A bluesy rock anthem that would be fine for most bands but does sound odd coming from Oasis. Overall it’s a pretty cool song, though. Johnny Depp played slide guitar on it.

Don’t Go Away

The album’s final single, released only in Japan and North America for whatever reason. It could easily be called the album’s best track, everything works here and there isn’t any room for criticism. It’s a sad affair about not wanting to lose someone close and might have been influenced by cancer scares among mothers of the band members around the time.

Be Here Now

The title track offers a pretty good rock tune with some annoying sound choices with whistling and a cheap piano (apparently Noel wrote the original piano line on a toy one belonging to Mick Jagger’s kid). The annoyances are minor though and the song is overall solid.

All Around The World

The album’s third single clocks in at over 9 minutes. The song is fine but not really needing that long to run. It’s a definite “homage” to the Beatles, something Oasis have been accused of being time and again. It’s not one I play very often.

It’s Getting Better (Man!!)

This was the other song played at Knebworth a year before seeing a studio release. The studio version has some sloppy production and is over a minute longer than the live version, another case where the live cut wins the battle. It’s still a decent offering.

All Around The World (Reprise)

We close out with another two minutes of All Around The World, because we needed to I guess.

Be Here Now was initially a massive success for Oasis. Out of the gate the album sold everywhere and cracked the top of the charts in 17 countries and an impressive number 2 in the US. The album went platinum in Britain within 24 hours of release and was the nation’s fastest selling album until Adele many years later.

And then people listened to the album they just bought in droves. Be Here Now quickly became the album most sold back to music stores. The critical reception was tepid and the band had fallen far short of delivering a masterpiece worthy as a follow-up to (What’s The Story) Morning Glory? Noel Gallagher would begin the process of re-producing the album in the mid 2010’s but abandoned the concept after only working with the first song.

Oasis would live on for another 12 years after the record, but the era of Britpop was now dead. Other influential acts like Suede, Blur and Pulp had intentionally abandoned the sound, while Oasis tried and failed to recreate the anthem rock magic of their first two records. The band would live on through reputation and a few scattered hits in the 2000’s, but the golden era of Oasis was over.

I do have a hard time truly summing up what I think of the album. There are good songs on it, and I think a few other songs would benefit from more attention to detail in the studio. But – I don’t think the album is a hidden goldmine of great music either. Many of the songs are secondary tracks and even some of the stuff that works doesn’t touch the heights of the first two records. The songs that stand out were the album’s singles and those are known quantities among the fanbase. The songs didn’t outshine the massive hits the band had in their early stage.

I could say that Be Here Now is one of their stronger albums when compared to the rest of the catalog, but that’s honestly saying more about the records that came after than it is finding strengths about this album. In the end I don’t think a better production job would have raised the album’s bar a whole lot, but a few tracks would benefit greatly from it. This is still a middling affair, even if more care had been taken to shape it sonically.

This was the end of the road for Oasis as a world-conquering entity. The past few years have seen a great deal of retro appreciation for the works that put the band on the map, but now we’re into the 25th anniversary of the work that marks the stopping point. The band is still broken up with little realistic odds of getting back together, and even that would be a celebration of hindsight as opposed to a new creative era. England itself would be no worse for the wear in the absence of Britpop, as Radiohead were queued up to command the music world’s attention just as Britpop was being laid to rest.

S-Tier Songs, Vol. 9

It’s time for a new entry in the S-Tier songs series. For an explanation of what that’s about as well as a list of the other songs, head here.

Today’s song is very well-known, in many cases it’s the band’s only known song in America. Many people know the song without knowing who the group is at all. It’s only two minutes long, it’s the second song off the album and my only blogging regret is not making it the second entry in this series.

Blur – Song 2

Blur entered 1997 in a curious position. They’d been crowned kings of Britpop in 1994 after their triumphant Parklife record and tour. In 1995 they seemed poised to build momentum with The Great Escape and their initial single Country House, but then the British press went mad for Oasis and left Blur in the dust, even going so far as to change reviews of the album. Oasis went on to become the biggest band in the world for awhile as Blur sat at home wondering what happened.

By 1997 Blur were ready to get back at it, and this time they were leaving behind the Britpop elements they had previously worked so hard to be known for. The group convened around more lo-fi and grunge sensibilities and released their self-titled album to a new world that was about to move on from the Britpop scene.

While Blur would become internationally celebrated for the self-titled album as a whole, it was Song 2 that would take on a life of its own and become the band’s most recognizable hit. And, of course, as the story goes with many of these hit songs, the whole thing was a joke and an accident.

The above video outlines the origin story of Song 2 as told by Blur guitarist Graham Coxon. The song began as an acoustic piece on Damon Albarn’s guitar, featuring whistling in place of the song’s now-immortal “woo hoo” bit. Coxon suggested adding a bunch of noise to the tune and actually playing it for the record company as a gag. Albarn obliged and the band turned in the fully-formed, distorted as all hell Song 2 to the record company. Instead of being met with a sour reaction, the label execs loved the tune and Blur were off the to the post-Britpop races.

Song 2 was a well-received hit in Blur’s native UK and it also did something the band had been previously unable to do – it broke in the rest of the world. Song 2 charted on the higher end in many countries and became a staple of college and modern rock radio in the United States. Britpop as a whole hadn’t fared massively well on American shores, save for Elastica and Oasis. But now Blur arrived with a grunged-up tune just in time for the post-grunge era to truly take over rock radio. The song has been a part of sporting events, video games and other media ever since its release 25 years ago.

Background and reception are all well and good, but what really is Song 2 on about? Well, it’s a two minute song full of lyrical nonsense. The most noteworthy lyric is “woo hoo,” it’s the signature part of the song and the one many folks know the tune by. A fair few people couldn’t tell you who Blur is or the name of the song but they know “the woo-hoo song” by heart. And nobody, including the people who wrote it, can tell you what any of it means.

And that’s the beauty of music – not everything has to have a pinned-down, easy to digest meaning. Song 2 is a total lark through the English language and its only memorable words aren’t even really words. The whole thing from lyrics to instruments is just noise being made and it all works splendidly together. That’s not to say no thought went into it – as Graham Coxon outlines in the interview video, he was looking for specific sounds. And he got far more than he bargained for, with the song often cited as his greatest work.

Why is this an S-Tier song?

Song 2 is a monument to absurdity and noise and it tackles its premise extremely well. The song was a huge hit for a band reeling in an identity crisis after the events of 1995. Their response was to shrug off the sounds of their given genre and explore new areas, which led to a new legacy for the group that would far outshine the Britpop movement. It’s a simple song with no comprehensible theme and it’s just a bunch of noise, but it captured the attention of people all across the world.

Album Of The Week – January 31, 2022

Sometimes I know well ahead of time what the AOTW is going to be. Other times, like this current edition, I don’t really decide until I sit down to write. For some totally unknown reason not all related to last week’s music news cycle I’ve had Blur on the brain so now I’m going to visit one of the high points of their eclectic discography.

Blur – Parklife

Released April 25, 1994 via Food Records

My Favorite Tracks – Parklife, End Of A Century

Parklife represents the second of a trilogy of Blur records that would come to shape and define the emerging term Britpop. In fact, if one were to wonder why the term was called Britpop as opposed to the seemingly more suitable Britrock, Blur and Parklife would be the signpost for why.

The album is a collection of varied styles that examine the British life through many different lenses. While it is a musical hodgepodge, they exploration of styles does well to convey the mostly sardonic look at typical British life and style. Everything from dance beats to jangly riffs can be found as the record plows it course through England.

The album opens with a dance party on the hit single Girls And Boys. The song has a simple point – Damon Albarn was inspired to write it after watching people get drunk and hook up in night clubs. The song is not praise or criticism of the practice, rather just observation. I’d see the scenes described in the song play out a few year later when I was in Europe as part of the US military. And yeah, Girls And Boys pretty well nails it on the head.

While the musical stylings of Parklife are overwhelmingly upbeat in nature, the topical fare isn’t always a party. London Loves and Jubilee both take aim at the corrosion of substance in culture. The chill vibe of Badhead belies the heavier subject matter of falling away from a loved one. Tracy Jenks observes a man’s midlife crisis, while Trouble In The Message Center handles the inevitable hangover after a night of partying.

While the 16-track album is a wonderful listen in whole, I find my two personal favorite tracks toward the record’s beginning. The third song End Of A Century is a guitar-driven roll through the “late stage” phase of long-term relationships as well as a nod to the winding down of the 20th Century. The song hits at the mundane nature of life while also looking toward the new millennium. It’s a very identifiable vibe and also makes me want to scream at them to stay put and avoid 2020 especially. The refrain “it’s nothing special” truly defines the song’s context.

For all of the contemplation of British life and culture to be found through the album, nothing hit the nail on the head like the album’s title track. Parklife became the defining song from the album and its cultural significance rings true still nearly 30 years after its release. Blur recruited actor Phil Daniels to deliver the song’s verses in spoken-word fashion while Albarn handled the sung chorus. The bright and cheery tune masked a bit the absolutely sarcastic sneer at British park life.

The song hasn’t lost its touch in the decades since release. Left and right it’s easy to find people who still point to Parklife as the “ultimate British song.” It’s become a celebration of that aspect of Britain even while many can acknowledge the sneering intent behind the track.

Parklife the album would be a huge success for Blur. They sold a few million copies of the record in the UK and across the European continent. The band would line up for awards left and right, basking in the newfound acclaim as the “it” band in British rock. Their more artistic approach won out among the populist masses.

At least for one album.

Blur would get about a year to enjoy the accolades brought forth from the success of Parklife. The “Battle of Britpop” was just on the horizon, and while Blur won that battle, the downslide just after when the British music press turned on them would mark another uncertain chapter for the group, one ended when the band jettisoned the concept of Britpop and embraced alternative and garage rock instead.

None of that is the story of Parklife, however. The album remains a high water point for the Britpop movement and marked the point where Blur shook off their early failures and became a successful, noticed band. While the group weren’t working class stiffs themselves, they were able to offer up a view of British life that connected with a wide audience. Both the record and the title song are offerings whose significance outweighs even their successful record sales and awards. The album peered into British life and as a result became a foundation for Britpop to continue building on.

On Wednesday I’ll get into the Damon Albarn versus Taylor Swift thing that happened last week and dominated the news cycle until Neil Young came along.

2021 – A Final Look

After dispensing with the Album of the Year on Monday and a more fleshed-out list the week prior, I’m back to wrap up 2021 with a variety of thoughts on things. I’ll discuss music as a whole, where I’m personally at and going with this blog into the new year, and I’ll give out a few “… of the year” awards as I go along.

The End Of The Year In Music, 2021

It’s about time to bring 2021 to a close. Christmas is just days away, and with that just one more week until 2022 begins. The COVID pandemic rages on after a brief glimmer of hope in the summer. Political unrest and partisan hostility continue to define the social conversation. We appear headed to the brink of some dystopian disasterpiece, but it’s kinda hard to say.

In music, the industry and artists tried their best to get back to the business of making music, tours and money. Legacy acts sold off catalog rights for large sums while smaller acts hit the road in uncertain conditions to try and make a buck. Bands who had sat on albums hoping to air them out as part of a new touring cycle instead chose to release their efforts and see some recompense.

Psychical formats came back strong, even in the wake of massive streaming numbers. But those formats might be threatened by short supply. Record plants are backed up on orders for years, only pushed further when one of the world’s biggest artists needs half a million copies of her album pressed ASAP. Cassettes have returned as a novelty but are only made in one place on a mountain in some remote Himalayan nation. More and more physical format collectors are casting fond eyes once again at the CD, a format thought to have been rendered obsolete by streaming. Hey, some people want to have something on their shelves.

Fans have turned out again for the bands who have braved the perils of travel to tour. While many places in the world continue to lock down over virus concerns, other parts have flat outlawed health restrictions and are as open as they were before 2020. It’s in these enclaves that bands and fans have met again after a nearly dead touring scene in 2020. It appears that the touring machine is preparing to fire up in a bigger way for 2022, replete with arguments about vaccination requirements and other protocols that have become as divisive as opinions about the best Metallica record.

2022 appears to be promising for a real return to the business of music, at least on the surface. Bands left and right are queuing new albums for next year’s release and many acts who sat on the sidelines during 2020 and last year are gearing up for tours this next go around. It might be a tenuous hope, but it is some hope after all that these groups can get back to what they need to do in order to keep themselves going.

Live Album Of The Year 2021

I’ll just be real – I didn’t listen to a lot of live albums this year. I don’t know of that many even released. I know some legacy acts like Kiss and Metallica pump them out almost in constant rotation, and that Deep Purple dumped a few old recordings on the market. Hell, I guess Pink Floyd just did a massive dump of early 70’s live stuff the other day. But I haven’t got to any of it yet. There’s stuff I’ll give a spin to later, sure, but live albums as a whole aren’t the biggest part of my music experience.

Of course, one live album did get released that caught my attention this year. In fact I spent a good portion of time on here discussing the band in the lead-up to the album’s release.

The live album of the year, to probably no one’s shock: Oasis – Live At Knebworth 1996.

I went into very full detail on this album and the accompanying documentary already in this earlier post, so I’ll spare details now. I’ll probably back off on Oasis content for awhile since knocking out the first two albums and the Knebworth discussion does tend to cover most of their career highlights. Liam does have a solo record hitting sometime in 2022 so I’ll certainly give space to that, but for now Oasis can give way to a multitude of other stuff I want to discuss.

This Blog In 2022

I was uncertain how I’d feel about getting back into blogging after a 10-plus year absence. Also I was unsure of sticking with one topic – in the past I would just write about whatever I wanted. But these days require a bit more specialization of subjects to hold any attention at all and music has always been one of my primary interests, so music it was.

So far I have to say I’ve been quite pleased with how things have turned out. I don’t find myself with as much time to write and plot out future stuff as I’d like, but I’ve started getting a handle on that. I have some new series and project-style features I want to air out and I should be getting to some of those early next year. I do hope at some point to expand to at least 4 days a week of posting, but for the time being I’m going to hold to 3 a week as it suits my present routines and time constraints.

One project I had intended to have going by now was a YouTube channel. I figured it would be a good way to do some list-style things like ranking a band’s albums and stuff of that nature. I haven’t found the time to get to work on that yet though I have a bit of planned content ready to go. It is a whole other animal with more demanding time requirements than the blog so it’s been a bit to get it going. I’ll be knuckling down after the holidays to get that ball finally rolling, though in reality the blog will remain my main mode of expression.

Thanks to everyone who has dropped by and read, and either left comments here, on social media or in person. It’s been a different world than when I blogged in the past, when it was semi-anonymous and almost no one knew or cared what people were writing. Even in an age where social media and video have driven many people from this written format, I’ve still found that people are interested. Time marches on into the new year, and this thing will keep going.

Song Of The Year

I’ll leave off with one more “award” presentation. Albums are fine and all but the individual songs do mean something and have their own processes to evaluate and take in. I didn’t bother with a ranked list or anything else for this one. Perhaps next year I’ll take some extra time to give a list.

But for this year I’m just going to crown a champion. I discussed this EP early on in the blog’s beginnings and I’ve been over it a time or two since. It wasn’t much of a contest for me to determine my pick for Song of the Year – To The Hellfire by Lorna Shore.

I went over it in my Spotify Wrapped review a bit ago – I played the shit out of this song. I was reeled in right when I heard it. I did miss it when it actually released in June due to being busy with a million other things, but I got into it right when the EP released in August. And I played it a few hundred times since.

I’ve noticed a lot of adverse reaction to this song after the hype built for it across the Internet. Now I can find as many people dismissing it or digging up every other deathcore release in 2021 to proclaim that “better.” I guess that’s how things go, but no other deathcore act captured that many ears and put up the kind of numbers that Lorna Shore and this song did.

But hey – it isn’t worth it to try and argue against people arguing against something. The song struck a nerve with a whole lot of people and did great things for the band and the subgenre as a whole. A rising tide lifts all ships, as they say. Lorna Shore have completed recording their new full-length, an album I’d expect to see sometime next year. They gave themselves a tough act to follow with this song and EP, we’ll see if they can live up to it.

Wrap It Up

That’s about all for my look back at 2021. A wild year, unsettling and chaotic with everything going on and the uncertainty of the future. But the music landscape looks to possibly be brighter in the coming year, and even with all the chaos, it seems many artists were able to turn in some great releases over this pandemic-soaked landscape.

I will be posting on my regular schedule for the rest of the year – this coming Friday and 3 days next week. And I’ll have a special album of the week that ties in to the coming of 2022, I’ve been looking forward to this since I got this up and running back in August. Have a good holidays, I’ll be around on my normal schedule, and off to the new year we go.

Album Of The Week – December 13, 2021

This Album of the Week will be a deluxe edition. I am going to cover an album, Blu-Ray and documentary. It was a few weeks back that the entire package of the Oasis – Knebworth album and film came to retail shelves and now it’s time to get into the astonishing amount of material within.

Oasis – Live At Knebworth

Released November 19, 2021 via Big Brother Records

My Favorite Tracks – Slide Away, Acquiesce, Columbia

The Album

The official live record compiles the entire setlist of both shows, though this compilation borrows from both shows to make one record. I suppose a completionist might have rather have both shows in full as an audio offering, though this stitched-together effort does a fine job of showcasing the gigs.

The songs are presented in order from the shows, the setlist did not deviate between the two nights. Almost all of the songs are slightly truncated versions of their studio counterparts – the structure is verse-chorus-verse-chorus and close, things were kept simple for the massive concerts. Set opener Columbia loses over a minute from its studio runtime, and everything besides Champagne Supernova has a bit of fluff trimmed off.

The song selection is almost completely spot on – 5 songs from the debut album, 8 from the seminal What’s The Story…, 5 non-album cuts and 2 tracks from the band’s next release Be Here Now. There is only one glaring omission from the chosen set and that’s a point addressed in the documentary – Rock N’ Roll Star is a perfect tune for the energetic festival performance. For some reason the band wasn’t playing it at all during this touring cycle.

For this massive scale performance the band would necessarily leave some nuance behind and put more force behind the musical presentation. Even with that, songs like The Masterplan and Wonderwall get string arrangements to accompany them, and horns join in on Round Are Way (which also sees the chorus of Up In The Sky sneak in at the end). Even the melancholy Cast No Shadow translates well to the stadium-sized performance.

If any one song loses a bit of something to the noise of Knebworth, it’s Don’t Look Back In Anger. Noel simply turns up his guitar and slams through the song. While the rendition is fine, it is a song that could have benefited from an arrangement of some sort. It is not a large disappointment but it is a note to be made out of the set.

Of course, Oasis has no shortage of hard hitting tracks that translate very well on the big stage. Supersonic, Cigarettes And Alcohol, Some Might Say and Morning Glory all stand out in the noise and power of 125,000 people. And the second song Acquiesce, a celebrated B-side that probably suffers from not having a proper album release, is an especially on-fire version of the song. Liam’s snarl through the verses is beautifully matched by Noel’s more delicate delivery of the chorus and the song absolutely stands out in the Knebworth gigs.

One track stands out above the others from Knebworth. It has been long known among Oasis diehards that the Sunday performance of Slide Away is perhaps the definitive version of that song and many consider it the band’s best live offering ever. While I haven’t checked out other landmark gigs enough to make such a determination, I will say that Slide Away absolutely hits on this live set. It is a complete monster performance, that much is certain.

In the end, the choice to piece an official Knebworth album from both nights works well. The diehards who wish to have both nights on audio probably already do digitally or in bootleg form, so it’s not a disservice to the product to patch this set together from both nights. Many celebrated live albums have gone that route in order to deliver the best possible experience.

And it’s nice to finally have one of the band’s historic gigs in official form. Oasis only released one live album during their tenure while Knebworth and other massively-celebrated concerts have been relegated to bootleg or YouTube status. A superfan will of course hope that Earl’s Court, Maine Road and other landmark gigs from this and other tours will get official releases in the future, but whether or not that happens is impossible to say.

The Blu-Ray

The video presentation of Knebworth offers the theatrical documentary as well as both concert sets in full. While we did not get an complete official audio package, the video side does deliver with both nights.

The footage does a good job of joining high definition content with more grainy film from 1996. I didn’t have a problem with how the video played out, it was all put together well. There isn’t a lot else that needs to be said – both shows are here for anyone who wants to get into them.

The Documentary

The centerpiece of the Knebworth package is the documentary filmed earlier this year to celebrate the 25th anniversary of the gigs. It was an historic occasion for Oasis and so Noel chose to honor the memory with this deluxe offering.

The film is very well-done and does not offer a dry run through historical facts, nor is it some hollow puff piece that kisses the band’s ass while not offering anything of real value. The filmmakers chose to let the fans tell the story of Knebworth and it’s a choice that makes this documentary stand out from many other music films.

The film runs through the build up to the concerts – the pain of getting tickets, finding a way to the shows, and getting on the grounds and up front when there. There is no central narrator – most of the story is told by the fans, while Noel and Bonehead also contribute thoughts. Liam only speaks briefly at the end, perhaps owing to how shitfaced he reportedly was on the night between the two shows. Also of note is that no modern-day footage of anyone from the band is shown – everything is from that weekend in 1996 or recreations of fans’ experiences.

I don’t know how well the film would play out for someone who isn’t a fan of Oasis. Some documentaries can be compelling viewing even if a person isn’t a fan of the subject, but Knebworth is very much a fan service film. It doesn’t offer up a lot to someone who doesn’t have a vested interest in the band and isn’t an accounting of facts and figures – it’s the true story of that weekend in August 1996.

The fans tell their stories of that weekend – a young man who found out his girlfriend was pregnant just before arriving at the shows, the requisite group of lads who drove a junk car across the country, and a couple of girls who were able to score tickets early Sunday morning with just enough time to get to the festival grounds. One woman’s story about her brother, told as the band ran through The Masterplan, is especially touching and a standout moment from the film that truly captures the weight of these concerts and Oasis at their peak in 1996.

It is a theme discussed in the film – these shows in August were the end of youth and innocence for many in the crowd. These shows are often looked at as the end of the Britpop movement, though some choose the next year’s release of Be Here Now as that moment. While I wasn’t at the gigs it also was the end of my youth – I turned 19 about a week after these gigs. It was a strange and interesting time where the last vestiges of childhood fell by the wayside. Music and life wouldn’t be the same after this.

The Knebworth film does a great job of showcasing how much weight Oasis and these shows held. The story is told by the fans, for the fans in celebration of that historic weekend in 1996. This film lines up very well just after the Supersonic documentary, as its endpoint was these Knebworth shows. This is likely the end of full-form documentaries about Oasis, as their high points are now covered by these two films. It is a collection of stories – about the band, the 250,000 fans who packed the house those two nights, and the millions of fans around the world.

A Story And A Song, Vol. One

This will be a new series with a bit of discussion of a song and a story, just as the title says. It’s a way to just talk about something for a bit that’s funny, sad, or whatever. Sometimes the connection might be deep, others tenuous, it’ll be what it’ll be. It should in time be the regular feature on Wednesdays as I start shuffling a few things around.

For the first installment I’m going back to the well with Oasis, a band I’ve already covered a lot here. I have a bit more to go too, but this story came out over the weekend and just fit the theme for this new series all too well.

The Song

Oasis – Acquiesce

This is one of the band’s more famous B-sides, originally released as the other side to Some Might Say in 1995. The song quickly entered the band’s live set, as demonstrated here being the second song performed at the historic Knebworth gig. It would go on to appear on the group’s 1998 B-sides compilation The Masterplan, often touted as the band’s second- or third-best album despite not really being one.

The song is a nice contrast study – Liam belts out the hard rocking verses, while Noel offers a softer and higher chorus with a sentimental message. The song is reportedly about the relationship between the brothers Gallagher, which was not quite as bad in 1995 as it is at the end of 2021. Of course, the song could fit any sort of family, friend or romantic relationship.

I have no particular connection to this song – I didn’t own the singles or The Masterplan back in the day. I really only came into their B-sides when I got back into Oasis in the mid 2010’s. It’s a wonderful song and one I’d most likely include on a list of their top 15 or however many songs, should I ever get to such an exercise.

So what is the story with this song, if I myself have no real attachment to it? Well, you might need each other and believe in one another, especially if you’re stuck with 60 or so people in an English pub for 3 days.

The Story

Here is one of many media reports about the incident, this from Consequence. Over the past weekend a group of 60 or so people went to a Yorkshire pub to have a few pints and catch Oasis tribute band Noasis. Unlucky for the pub goers, a ton of snow fell in the area as Noasis played and the group was stuck in the pub. It would not be until Monday morning, a full three days, before the bulk of attendees were able to leave.

The story quickly made social media rounds, with many getting a chuckle and others thinking the scenario was heaven or hell, depending on one’s view of Oasis. I’d wind up with a snow-in of my own, getting messages and posts about the story plastered all over my social media. The event ended with no casualties and seemingly great spirits among the attendees and pub staff, so all’s well that ends well.

And I’ll be real – I’d love to be stuck in a pub for 3 days. Hell, I’d do it even if the tribute band was for someone I didn’t like, say Dave Matthews. Or, even better, if there was no band. But add in a tribute band to one of my favorites like Oasis and hell yeah, I’m down to be stuck in a place with beer and bar food for days on end. I guess the worst issue was that the place ran out of sausage. I could make do, I’m sure.

A bit about the tribute band – Noasis formed in 2006 and have over 1,100 gigs under their belts. They’ve gone nearly as long as the band they are paying homage to at this point. People might want to argue about the merit of tribute bands but hey, if you can make a living playing music, go for it. Or even if someone just wants to do it as a hobby, have at it. I’d surmise that it’s more than a hobby after 1,100 gigs and 15 years for these guys.

Of course this isn’t much of a story with any grand lesson or anything like that. It’s just a fun bit of trivia from across the pond that involves a band I talk about a fair bit and catch a fair bit of shit for liking, as I went over a few weeks ago. But hey, if anyone wants to lock me in a bar with a bunch of booze and all the Oasis songs I can handle listening to, hook me up.

Here is Noasis with their rendition of Acquiesce.

Upcoming Releases – Turkey Day and Beyond

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.

Album Of The Week – November 15, 2021

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.


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.


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?

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.”