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Oasis were an English rock band formed in Manchester in 1991. They were originally known as the Rain before evolving into Oasis, and initially consisted of Liam Gallagher (lead vocals, tambourine), Paul Arthurs (guitar), Paul McGuigan (bass guitar), and Tony McCarroll (drums). Upon returning to Manchester, Liam's older brother Noel (lead guitar, vocals) joined as a fifth member, finalising the band's core line-up. During the course of their existence, they had various line-up changes, though the Gallagher brothers remained as the staple members.

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Oasis in a recording studio...

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Liam Gallagher

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Paul Arthurs

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Paul McGuigan (bass guitar)

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Noel Gallagher

Tony McCarroll played (drums)

Former Oasis drummer drummer Tony McCarroll has revealed he has been taken to hospital after a heart attack. The musician, 50, said he was taken ill last Wednesday and brought to hospital the following day. He tweeted: “I’m not quite out of the woods as yet but just want to give a massive big up to our #NHS We are more than fortunate to have such a service! Thank you!! X.”
Manchester-born McCarroll was one of the founding members of Oasis in 1991 and achieved huge success alongside Liam and Noel Gallagher, bassist Paul McGuigan and guitarist Paul “Bonehead” Arthurs. After playing drums on the group’s seminal 1994 debut album Definitely Maybe, he departed Oasis in acrimonious circumstances in 1995. He was replaced by Alan White. McCarroll sued Oasis for loss of earnings and accepted an out-of-court settlement in 1999. He had been asking for millions of pounds for his work on Definitely Maybe and Some Might Say, the first single from Oasis’s second album (What’s the Story) Morning Glory? After McCarroll revealed his health problems, fans shared their best wishes on social media.

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Manchester City's shirt logo provided a perfect backdrop for Liam Gallagher in July 1994

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Photography By Kevin Cummins

As jobs go, it is a tough one - photographing a band when only one member has made it to the shoot.

Dispatched to Amsterdam to picture the then up-and-coming Oasis in 1994, Kevin Cummins was greeted by a lone Gallagher brother.

Expecting to be told singer Liam, guitarist Bonehead and drummer Tony McCarroll were indulging in the Dutch city's famous party scene, songwriter Noel gave an altogether blunter response: "They've been deported."

"They'd had a scrap on the ferry overnight," Cummins remembers. "Noel had gone to bed, the rest of them had a fight with some football fans and were kept on the boat and sent back to England.

"So that was my introduction to them. I had to drag Noel out and photograph him by the poster for the gig they were supposed to be playing to prove I'd actually turned up and get paid for it.

"It never really changed. I once flew to LA to do a piece with them for [music magazine] NME when they were playing somewhere in Hollywood. Within 10 minutes they'd had two fights on stage then Liam claimed he'd lost his voice and that was the end of it.

"There was always a bit of tension [between Noel and Liam]. If you've got a brother you know what it can be like. You kind of know because of your own family not to get involved in other people's squabbles."

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Oasis DNA Exhibition Manchester 2017

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The Photographer Jill Furmanovsky followed the Group up from 1994, documenting behind the scenes Moments and the big ones on Stages with up to thousands of people.

The following quote at the Exhibition describes the Band pretty well in my opinion “When I look at this picture, I don’t hear the crowds roar or find myself standing back on the stage. All I remember is the nightmare of trying to walk to the front without tripping over the cables and making a cunt of myself! After the show I was trying to take it all in, watching everybody go, and it was a weird thing because the lights were all on and it was dark outside it looked like a big front-room, except there were 2,000 people in it. Maine Road was where we all used to go as kids. So I was standing there, trying to make sure I never forgot this moment.” – Noel Gallagher.

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Manchester Central Library

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Jill Furmanovsky worked with Noel, Liam and the band from 1994 until their split in 2009 and has personally selected highlights from her extensive archives for the free ‘Oasis – DNA’ exhibition. 

The exhibition includes some of the most iconic portraits of the Gallagher brothers, early live images and candid behind-the-scenes photos – some of which have never previously been exhibited. Jill said: “Central Library has a fantastic exhibition space and it’s great to be able to use part of the library as a gallery. Really, these images are just the tip of the iceberg, so I’m fortunate to have so much room to work with for this exhibition.” It wasn’t always easy for Jill to get the mercurial Gallagher brothers to pose for the camera, but the resulting images went on to adorn the walls of Oasis fans worldwide.

“Noel and Liam were OK with being photographed, but they had short attention spans”, Jill said. “They didn’t want to hang around for hours, which suited me as a photo-journalist. I work quickly. Maybe that’s why they liked me. I look at some of the photos now and remember what moods they were really in – but somehow, I usually managed to persuade them to pose for me.I had the sense that Noel thought it was important to document everything that was going on at that time – it was all happening so incredibly fast.”

Jill, who has photographed a staggering who’s-who of music legends including Bob Dylan, Led Zeppelin and Bob Marley, started working with Oasis at the time of their debut album, Definitely Maybe – thinking that this would be her final assignment with a band. 

“Oasis had been signed the year before”, Jill said. “At the time, I was putting together a book of my work, ‘The Moment’, which started with an image of Paul McCartney from his time with The Beatles. I wanted an up-and-coming group to bookend the collection and they seemed to fit. 

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Photographer Jill Furmanovsky

Led Zeppelin, backstage with manager Peter Grant at Knebworth House, Hertfordshire, England, in August 1979. Led Zeppelin had not performed live for two years since the death of Robert Plant's son during the band's 1977 North American tour, and they had not performed in the United Kingdom for four years. Their manager, Peter Grant, decided that the band should perform at Knebworth instead of embarking on a lengthy tour. The band's fee for performing was reportedly the largest ever paid to one single act at that time.

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THE SLITS IN 1977. PHOTO BY JILL FURMANOVSKY

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BOB MARLEY IN A HOTEL BEDROOM IN 1978. PHOTO BY JILL FURMANOVSKY

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THE CLASH AT A GIG. PHOTO BY JILL FURMANOVSKY

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Oasis signed to independent record label Creation Records in 1993 and released their record-setting debut album Definitely Maybe (1994). The following year they recorded (What's the Story) Morning Glory? (1995) with drummer Alan White, in the midst of a chart rivalry with Britpop peers Blur. Spending ten weeks at number one on the UK Albums Chart, (What's the Story) Morning Glory? was also an international chart success, and became one of the best-selling albums of all time. In addition, it stands as the fifth-best-selling album in the UK, and the biggest-selling album in the UK of the 1990s. The Gallagher brothers featured regularly in tabloid newspapers for their disputes and wild lifestyles. In 1996, Oasis performed two nights at Knebworth for an audience of 125,000 each night, the largest outdoor concerts in UK history at the time. In 1997, Oasis released their third album, Be Here Now: becoming the fastest-selling album in UK chart history. However, its popularity declined quickly.

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Album Cover - Definitely Maybe - 1994..

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(What's the Story) Morning Glory? (1995)

JILL FURMANOVSKY'S PHOTOS AND RECORDS SLEEVES. INSTALLATION VIEW BY TRACY KAWALIK

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Oasis in 1993 - Signed by Creation records

May 31st 1993, Alan McGee attends a gig in Glasgow and signs the band who would go on to have the biggest selling album of the decade.

No one at the time could predict just how successful Oasis would be and what a huge cultural impact they would have from the school playground to politics helping Labour get into power.

“This group, Oasis, are the one recent thing that made me go: ‘Fuckin’ hell, I still believe in rock’n’roll.’ I saw them last year and it was a complete fluke. I was at an 18 Wheeler show in Glasgow at King Tut’s Wah-Wah Hut. Third on the bill were a band from Manchester. They were friends of Oasis and they’d told the band they could play fourth on the bill. So Oasis hired a van and drove up from Manchester with their mates and when they arrived the promoter says: ‘No. Fuck off.’ And they’re saying: ‘Look, it’s cost us £200 to hire the van and equipment and get here. If you don’t let us play, we’ll smash your club up. There’s 10 of us and only two security …’

“So the promoter lets them play. Now, I wouldn’t have got to see them normally, because when a band of mine’s playing I usually get in five minutes before they come on stage. However, because I’d gone with my sister Susan, who doesn’t happen to own a watch, I got there two hours early. I witnessed all the shenanigans, so I wanted to see what they were like.

“The first song was really good. Then the second was incredible. By the time they did this fantastic version of I Am the Walrus, I’d decided I’ve got to sign this group, now. I said: ‘Do you have a record deal? Do you want one? I wanna do it.’ Eventually they had 20 record companies offering them deals and at the last minute Mother Records, owned by U2, phoned and said: ‘We’ll offer double what McGee is offering.’

“The music is a cross between the Kinks, Stone Roses and the Who, and the cover of this tape, which is incredibly rare, only 10 ever made, is important because it’s a Union Jack going down the toilet. That sums up our country at the moment. I don’t want to herald them too much, but they’re already one of my favourite groups. Seeing them is what seeing the Stones must have been like in the early days. Brutal, exciting, arrogant.”

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King Tut’s Wah Wah Hut has been a stalwart of the thriving live music industry in Scotland since 1990 and supports the vibrant music scene in Scotland from grassroots level, up.

The venue is ranked 6th in the Pollstar Top 50 European Clubs for ticket sales: a remarkable achievement given the 300 capacity when venues in this category can go up to 3000 capacity.

King Tut’s is an exciting showcase for new and emerging bands and is the venue that supported some of the music industry's biggest names at the start of their careers: from Oasis (who were famously signed by Alan McGee at the venue in 1993) to Radiohead, The Killers, Juliette Lewis, Pulp, My Chemical Romance, Florence & The Machine, Biffy Clyro, Manic Street Preachers, Snow Patrol, Frightened Rabbit and Paolo Nutini plus many, many, more.

Liam Gallagher outside King Tut's (Image: twitter/how_people_do)

Four art school students formed ‘Travis’ in Glasgow back in 1994, before this they were known as ‘Glass Onion’ and as Travis, they became one of the most prominent British rock bands in the mid- to late '90s.  They first performed at King Tut’s in 1994 and then headlined T in the Park 6 years later - the same year they won a BRIT award. That year we also had Elastica, Shed Seven and Echobelly.

In 1995, Skunk Anansie played in Tut’s - the same year the band were voted Best New British Band by the readers of Kerrang! Magazine – and went on to headline Glastonbury festival two years later. Throughout the 90’s the band toured extensively with band such as U2, Aerosmith, Feeder, Lenny Kravitz, Killing Joke, Bad Religion and Muse. Also this year, Midge Ure, The Bluetones, Cast & The Presidents of the USA all played King Tut’s.

The Divine Comedy achieved their greatest commercial success in the years 1996–99, and performed on the Tut’s stage in 1996. They went on to provide the iconic theme for TV series ‘Father Ted’ as well as working on the ‘The Hitchhiker's Guide to the Galaxy’ soundtrack, ‘Doctor Who’ and contributing to the music for ‘God Help the Girl’.  Sparklehorse made their debut this year and have since sold out every show. Catalonia, Placebo and Super Furry Animals all played this year.

Formed whilst studying at the University of Dundee, Snow Patrol moved to Glasgow in ’98 and made their Tut’s debut on the same year. With huge hits and festival anthems such as ’Chasing Cars’, ‘Run’ and ‘Open Your Eyes’, they played T in the Park the following year and then went on to headline the festival numerous years later, most recently in 2012. Gomez, Whitesnake, Embrace and Average White Band also played on this year.

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A recent picture of Alan White. Alan was a drummer for the band Oasis.

Snow Patrol

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The Hitchhiker's Guide to the Galaxy - 2005

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Blur

Travis

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7th MAY : On this day in 1995 rock group Oasis were top of the charts with their first number one, 'Some might Say'. The band Oasis line up before their Knebworth Park concert. (l-r) drummer Alan White, rhythm guitarist Paul "Bonehead" Arthurs, lead singer Liam Gallagher, bass player Paul "Guigsy" McGuigan and guitarist and songwriter Noel Gallagher. * 25/8/99 : The band have revealed that their bass player Paul 'Guigsy' McGuigan (second right) is to leave the band. Only two weeks after it was revealed that guitarist, Bonehead (second left) was leaving.

Former Oasis drummer Alan White is to run this year’s Virgin London Marathon (2010)..White, who drummed for Oasis from 1995 until 2004, is raising money for the Alzheimer's society, and asking people to donate via his Justgiving page..White has set a target of £2,000 to be raised in time for the April 25 run. Since leaving Oasis, White has kept a relatively low profile, though he is currently playing in Trio Valore alongside brother (and fellow drummer) Steve White and ex-Ocean Colour Scene bassist Damon Minchella.

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DAMON MINCHELLA Left of Image – formed Ocean Colour Scene, going on to sell over 3million albums and racking up several Brit Awards and nominations  before leaving in 2004. He has performed with a whole host of other artists, including Paul Weller, The Who, Dr John, Jimmy Page, Paul McCartney, Amy Winehouse, Noel and Liam Gallagher, Paolo Nutini, Damien Saez, Rose Gary, Gerri Halliwell, Chad Smith and currently records and tours with the Grammy and Ivor Novello winning Richard Ashcroft. Damon is also a Dr of Music and currently produces and writes for Various Artists Management, whose roster includes Tom Grennan, Ashnikko and The Libertines.

Trio Valore

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STEVE WHITE – Joined The Style Council at the age of 17, and is considered by many to be the UK`s finest drummer of his generation, playing on 15 albums with the legendary Paul Weller. As a solo artist Steve has released 4 albums. As a sideman, he’s been one of the founders of the Acid Jazz movement with Galliano and he played with The Young Disciples, JTQ and Working Week, through to New Orleans legend Dr John and the late great Ian Dury. Recognised as the youngest musician to perform at Live Aid in Wembley in 1985, Steve has performed at Live 8 also with Damon as the rhythm section for the Who , Steve has toured with Jon Lord and as part of Hague and White has released one album Eleventh hour provided the soundtrack for hit TV series Cold call and Madam Blanc , Steve also won a RTS award for his work on the Sky arts series the art of drumming. Both Steve and Damon performed and recorded as the family Silver with the great Matt Deighton .

Image above - Steve White - He is also the brother of Alan White who was the drummer for Oasis..

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It was the biggest gig of the 1990s, and I missed it.

Music journos usually cite Knebworth as the crowning glory for a pub-rock band from Burnage. For size and scale, Knebworth was history in the making – but in cultural terms, the two nights they played Maine Road constitutes the definitive Oasis concert. This was cultural-consciousness-conquering Oasis in full-flow: bombastic and hubristic, unadulterated as weapons-grade cocaine; yet still rooted to the city, the people and the circumstances that shaped them.

This was prime, Morning Glory Oasis. Before the Be Here Now debacle, and the post-Britpop comedown. Before the Gallagher Brothers parted company with founder members Bonehead and Guigsy. Before a raft of tired, uninspired albums, and the group morphed into the tribute band to end all tribute bands: the No-Way Sis to Definitely Might Be. Before Noel met Tony and before Liam met Spongebob. Before Noel entered the pantheon of rock’s elder statesmen. Before Beady Eye and the High Flying Birds.

Before the lucrative reunion tour – and it will happen – breaks down in predictable acrimony and humorous quotes.

Approach to Maine Road Stadium, Manchester, 1985

 

The approach to Maine Road Stadium, home of Manchester City Football Club, in 1985. The stadium has since been demolished.

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We cadged a lift in my mum’s blue Renault Espace. Me, my mate Paul, his younger brother Matt, and Rich, a classmate. My younger brother also came with to help my nervous mum get out of greater Manchester, while doubling as a flesh-and-blood anti-car-jacking security device.

She dropped us off outside the Kippax Stand, in a tsunami of sky-blue flyers, fag butts and crushed cans. I don’t remember much else from outside the ground. By all accounts it was a maelstrom of drunken City fans – spliff-smoke, sprayed booze, football chants and raucous yodelling – a Dionysian tableau through which I passed like a Man Utd fan with PTSD.

As we clicked through the stiles at the Kippax Stands and had our tickets authenticated, a quiver of excitement and a bolt of acute terror shot through my adrenalized form. I was shaking with anticipation. We were here. We’d arrived. This was it. Something magnificent was going to happen today. Some indistinct, epoch-defining, coming-of-age moment was upon me.

Being an immature 16 year old (physically, intellectually, emotionally, etcetera ad nauseum), I was always on the lookout for coming-of-age moments. This I ascribe to spending too much time in the brain-space of Adrian Mole. I’d never even been to a crap gig before – never mind the most eagerly-anticipated homecoming gig by the self-appointed biggest band in the world. So when my mate Paul said his older brother was getting tickets and asked if I wanted to go, of course I said yes, then immediately started to worry about whether I’d be allowed.

Because Maine Road was in Moss Side. Moss. Side. The bete noir of BBC North West Tonight. In the 1990s, people got indiscriminately shot in Moss Side. I knew because Gordon ‘The Krypton Factor’ Burns told me. Gordon and his stolid news anchorage. His deep, portentous voice inculcating dread.

So even if we did get tickets – and it wasn’t likely – it was pretty moot given we were likely to die. Being an Oasis fan wasn't simply a state of mind but a mode of being, an ontology: you were either mad for it, or you weren't. We were heading straight into the jaws of the beast.

The die-hard Oasis fans wouldn’t have given a fuck about that. They’d have died happy. I came to Oasis by accident, having spent most of the 1990s listening to 80s pop (well before the school-disco fad kicked in). While others were indulging in Definitely Maybe and Parklife, I was listening to Duran Duran and Spandau Ballet. At some point during the first year of my A-levels, this changed. Some of the fascination was word of mouth, some of it personal curiosity. By the time of the Maine road gig, you cut me and I bled Oasis. I’d bought both albums, all the singles (for the peerless B-sides), owned a clutch of Ben Sherman shirts and was trying to grow my straight blonde hair out like Alan White’s.

Having bought an overpriced programme and ugly Oasis t-shirt (which added a third layer to my attire), we took our seats. We stayed in them, like diligent dilettantes, for the opening support, Ocean Colour Scene, whose note-perfect set culled from their Moseley Shoals album, replete with a barnstorming cover of The Beatles’ Day Tripper, was thoroughly usurped by a figure in a white anorak up in the executive suites, rumoured to be Liam, or the King Monkey himself, Ian Brown.

Cast were due to play but had cancelled as one of their members had his arm in a sling. This I was particularly disappointed about, as I liked the spikiness of their John Leckie-produced debut. It also meant a lengthy gap between sets, so the afternoon began to drag. People getting restless. We ventured into the crowd for The Manic Street Preachers, minus the recently-disappeared Richie Edwards: a sober set, undemonstrative, almost mournful – certainly less engaging than the postmodern Mods OCS.

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Photo credit: Jill Furmanovsky

“This is history!”

Noel Gallagher, Maine road, August 1996

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Maine Road Manchester 1996

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Maine Road Manchester - 1996 Gig Oasis

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That was when the trouble started. The crowd surged forward. A girl got knocked down in front of us and her boyfriend span round, snarling at us to get back. I meekly complied. Trapped in a panorama of blokes, booze and banter, the compelling urge to go for a piss overtook me. I didn’t know then that the correct procedure under such circumstances was to find a plastic pint pot, fill it with piss and launch it. Instead, I told my friends I was going for a wazz, and asked them to remain where they were. In my youthful naivety, I expected to find them where I left them.

It still seems like an idiotic decision, but worse was to come. Pissing, I heard the sound of a helicopter passing up above, followed by a drawn-out roar of braying adulation, shrill and guttural. Then the unmistakeable strains of Swamp Song struck up.

Swiftly left I the stinking piss-trough to findeth my rightful place in the righteous crowd. Scant hope: much like Bonehead’s hairline, they’d vanished. I drew a bead on the point where they had been, in the vast swell of beanie hats and replica City shirts. I inched my way to the approximate point in the crowd where we parted company, continually apologising as I trod on feet and knocked pint-raising elbows, ducking as pots of piss rained down from on high.

Imagine trying to find three teenagers dressed in blue in a fucking cosmos of teenagers dressed in blue. Crestfallen, I began inching my way to the edge of the crowd, trudging my way to the back of the stadium, scuffing my Gazelles through the tide of rubbish.  

I watched the entire gig from the far end of the ground on my own. I was too panicked to enjoy the performance. How the fuck was I going to get home? Paul’s dad was supposed to be giving me a lift. But we hadn’t agreed a meeting point, other than outside the massive Kippax stand. It was assumed we’d stick together. Only me – idiot – had failed to do so.

Sure enough, post-encore, the floodlights came on and I scanned the surf for recognisable faces. I couldn’t see a single soul. There were other people I knew would be there, so I looked for them. No sign either. I walked back through the turnstiles. People selling rip-off Oasis merchandise, pissed up Liam-imitators milling around looking for trouble, taxis and minicabs juddering off into central Manchester for after-parties I’d never know the like.

The crowd was thinning, and by now I was beginning to panic. For a nanosecond, the thought of hitching a lift home entered my head. Then I remembered Dennis Nilsen. And decided to stay put.

Subsequent to our fated trip to Maine Road I’ve spoken a number of times to Paul’s dad – who was supposed to be giving us a lift home – about what he did when he came to collect his son and friends and found one of them missing. What did he do? He drove back to Sandbach, dropped off his son’s remaining friend, thence continued home, whereupon he called my parents to inform them that their eldest son was still in Moss Side. Missing, presumed dead.

Amazingly, a miracle occurred. Around midnight, I randomly bumped into someone I knew: a lad from my year. We weren’t on first name terms, and rarely spoke. Some mutual antipathy. I fell upon his mercy, and he squeezed me in the back of his mum’s car. We travelled down the M6 in silence.

Such is the vividity of those hours of solipsistic solitude that I remember little of the music, nor what happened after I got home. I have a dim recollection that my dad had driven off into the night to find me, and my mum phoned him on his mobile to call off the search. Perhaps that's wishful thinking: most likely they were still at home thinking I’d turn up, possibly in a police car. Either way I’d have been informed I was a ‘dipstick’ or an ‘idiot’, maybe even a ‘stupid boy’. And they were right.

It was the best gig of the 1990s, and I missed it. So much for being mad for it.

Manchester United winger Ryan Giggs even sneaked in to the home of his rival club to catch Oasis play. Actually, the show took Giggsy back to where it all began for him to - as a teen at City's School of Excellence.

Postscript

i checked with Paul for verification of the events as outlined above. His response:

Ha. Well you missed the bit about us looking for you for about an hour...We waited until there was no one left. Pre mobile phones this must have been a standard occurrence- big Dave was pretty stressed.... I think he called your parents from Manchester and pretty sure you arrived home before we eventually did. I think the main puzzle was why you hadn't called home from a pay phone and explained what had happened.... You were in bad books with my Dad!

This from Big Dave:

After completing several laps of the outside of Maine Road I rang Paul's mum with instructions to ring your mum to try and find out if she had heard from you, she hadn't. The outside of Maine Road was becoming more and more isolated but no less sinister. After the point when I felt I was beginning to recognise every single face in the area of which none was you, I drove home because I could not think of anything else to do. When we got home we were greeted with the news that you had arrived home some time before and was not sure what all the fuss was about. With hindsight I still don't know what else I could have done.

Posted in Music   Tags: musicgigconcertsOasis

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Rebecca Barnaby watches Oasis at Maine Road, April 1996 - ‘It was probably the last gig Oasis did before they really took off.’ Photograph: Jill Furmanovsky

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‘The thing I love about this photograph is that everyone is there, in the moment. There were no mobile phones, Facebook or Twitter; no one wanted to document it’

It was such an exciting time to be into music. All those guitar bands that harked back to the 60s actually spoke to working-class people like me, who grew up on council estates. Oasis were so refreshing, compared with all the boy bands and the manufactured music that was around. I liked that they were mouthy. I’d taped Definitely Maybe off a friend and used to listen to it at full volume in the bath. I remember thinking, “Oh my God, this is brilliant.”

This gig at Maine Road in Manchester was a massive deal for them, because it was seen as a homecoming – to their beloved Manchester City’s home ground. Our local ticket store in Lincoln, where I grew up, laid on two coaches that day; I went with my best friend, my brother and his mates. It was the first time I’d seen Oasis live. Most people in the audience were my age, 15 or so.

We were standing next to a group of lads and I asked one of them, “Would you mind if I got on to your shoulders?” When he got tired, which was pretty quickly, he passed me to someone else. They showed the 1966 World Cup final to warm up the crowd, and despite the rain, by the time they came on, we were so fired up. It was fantastic; I could see everything. They played all their big hits, and Noel bantered with the crowd, getting us to sing along. Everyone was buzzing on the bus home.

It was probably the last big gig Oasis did before they really took off. By August that year, when I saw them at Knebworth, they were already starting to become victims of their own success. Knebworth was a much bigger, more professional operation: there were ticket hotlines, massive crowds, and we were much further back. I did see them one last time, at Wembley a few years later, but their hearts weren’t in it. Noel and Liam were falling out, and Liam had a hangover.

I first saw this photograph nearly 20 years ago. A friend had brought a programme from another Oasis gig into school, and it featured this picture. I said, “Oh my God, I think that’s me!” It made me pretty popular that day. I’d forgotten about it until I saw Liam Gallagher on television last month, and got nostalgic for the 90s. I Googled it, and found it straightaway. The woman who took it, Jill Furmanovsky, is a well-known rock photographer – her Oasis pictures were even auctioned at Christie’s.

The thing I love about this image is that everyone is there, in the moment. There were no mobile phones, Facebook or Twitter; no one in the crowd wanted to document it. The idea of taking a camera out was unthinkable; we’d be worried we’d drop it or lose it. I recently went to a Jake Bugg gig and nobody was watching him – they were all filming him on their phones. Are they really going to watch that video again? That said, I’m glad Furmanovsky was there with her camera: I’ve got two young kids, and it will be nice to show them something concrete from when I was younger – and to say, I was there.

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Michael Spencer Jones: Oasis – Be Here Now LP front cover photograph

So what songs did they play that day? Well, they were two quite extraordinary setlists with some fabulous cover versions thrown in. Here they are: on reflection, we wouldn't mind hearing them bash out either of these sets now.

April 27

The Swamp Song

Acquiesce

Supersonic

Hello

Some Might Say

Roll With It

Morning Glory

Round Are Way (Ending with Up In The Sky)

Cigarettes & Alcohol

Champagne Supernova

Whatever (Ending with All The Young Dudes)

Cast No Shadow (First time ever sung by Liam Gallagher)

Wonderwall (First time ever sung by Liam Gallagher)

The Masterplan (Full tour debut)

Don't Look Back in Anger

Live Forever

D'Yer Wanna Be a Spaceman? (Aborted as Noel Gallagher doesn't know the words )

I Am the Walrus (The Beatles cover)

Encore

Cum On Feel the Noize (Slade cover and tour debut)

April 28

The Swamp Song

Acquiesce

Supersonic

Hello

Some Might Say

Roll With It

Morning Glory

Round Are Way (Ending with Up In The Sky)

Cigarettes & Alcohol

Champagne Supernova

Whatever (This time Noel Gallagher on vocals and ending with The Beatles' Octopus's Garden)

Cast No Shadow

Wonderwall

The Masterplan

Don't Look Back In Anger

Live Forever

McGuigan and Arthurs left in 1999 as Oasis released Standing on the Shoulder of Giants (2000). They were replaced by former Heavy Stereo guitarist Gem Archer and former Ride guitarist Andy Bell. White departed in 2004, replaced by Zak Starkey and later Chris Sharrock as touring members. Oasis released three more studio albums, Heathen Chemistry (2002), Don't Believe the Truth (2005) and Dig Out Your Soul (2008). The group abruptly disbanded after the departure of Noel in August 2009. 

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Standing On The Shoulder Of Giants

Standing on the Shoulder of Giants is the fourth studio album by English rock band Oasis, released on 28 February 2000. It was the band's first album under their new record label Big Brother Recordings. In the year preceding the album's release, Alan McGee closed Creation Records, Oasis had lost two founding members (Paul "Bonehead" Arthurs and Paul "Guigsy" McGuigan) and hired new producer Mark "Spike" Stent to replace Owen Morris. The album marked a significant change from the Britpop scene to a modern psychedelic record complete with drum loops, samples, electric sitar, mellotron, synthesizers and backward guitars, resulting in an album more experimental with electronica and heavy psychedelic rock influences. Songs such as "Go Let It Out". the Indian-influenced "Who Feels Love?, and the progressive "Gas Panic!" were a departure from the band's earlier style. This album also for the first time that the lead singer Liam Gallagher contributed on songwriting ("Little James"), and this tradition was continued until their subsequent albums, instead of primarily Noel Gallagher's songwriting in the first three albums. It is the 16th fastest selling album in UK chart history,  selling over 310,000 copies in its first week. Standing on the Shoulder of Giants has been certified double platinum by the British Phonographic Industry and has sold around 208,000 copies in the US.     

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Blur Vs Oasis – NME – 12.08.1995

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Knebworth concert  - Tickets went on sale at 9am on Saturday 11 May 1996 - the same day Manchester United beat Liverpool 1-0 in the FA Cup Final. 2.6 million people applied for tickets - which is reportedly 5% of the British population at the time. The band could have sold out the venue for two weeks solid.

Tickets were priced at a hefty (for those days) £22.50, but were soon changing hands for “15 times” their face value on the day, according to reports.

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A ticket from the first night of Oasis at Knebworth, August 1996. Picture: Lenscap / Alamy Stock Photo

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Chris Sharrock

Bands like Queen and Led Zeppelin had performed to huge crowds at Knebworth in the 70s and 80s… but Oasis held the record for the biggest crowd to that date. Oasis played to 125,000 people a night: that’s a quarter of a million people in total. Their Knebworth record was held until 2003 when Robbie Williams played THREE nights at the same venue!

Aerial shot of the Oasis show at Knebworth, August 1996. Picture: Mick Hutson/Redferns/Getty Images

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Freddy Mercury and Queen performing in front of 120,000 fans for their their final concert together. Knebworth Park, Hertfordshire, 1986.

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Robbie Williams Live at Knebworth Park.. (2003)

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Heathen Chemistry - 2002 Oasis

Which Songs Did Oasis Play At Knebworth?

Coming on stage to an intro of The Swamp Song, Noel Gallagher announced: “We’re all making history tonight.” Both shows opened with Columbia, followed by Acquiesce and Supersonic. The setlist was the same for both nights:

The crowd at Knebworth watch Oasis. Picture: STEFAN ROUSSEAU/PA Archive/PA Images

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Mick Hucknall and Martine McCutcheon at Knebworth, 10 August 1996. Picture: STEFAN ROUSSEAU/PA Archive/PA Images

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The Prodigy perform onstage at Knebworth, 10 August 1996. Picture: Stefan Rousseau/PA Archive/PA Images

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Oasis at Knebworth House Setlists - 10 and 11 August 1996

Intro tape: The Swamp Song
Columbia
Acquiesce
Supersonic
Hello
Some Might Say
Roll With It
Slide Away
Morning Glory
Round Are Way
Cigarettes And Alcohol
Whatever
Cast No Shadow
Wonderwall
The Masterplan
Don’t Look Back In Anger
My Big Mouth
It’s Gettin’ Better (Man!!)
Live Forever

Encore:

Champagne Supernova
I Am The Walrus

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The crowd wait for Oasis at Knebworth, 10 August 1996. Picture: STEFAN ROUSSEAU/PA Archive/PA Images

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Liam Gallagher onstage on the first night at Knebworth, 10 August 1996. Picture: STEFAN ROUSSEAU/PA Archive/PA Images

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Gem Archer: “It was always about being in a band. It still is! It was never about being a virtuoso”

Gem Archer might not be a household name, but he’s been the guitar backbone of some huge acts.

He fronted the indie-rock band Heavy Stereo back in the 90s, before taking up guitar duties with Oasis and Liam Gallagher’s Beady Eye. He then went on to play with Noel Gallagher’s High Flying Birds, where he currently remains.

The young Gem started his musical life playing violin at the age of 10 and, as was the case with many homes in the 70s, there always seemed to be a guitar kicking around.

“I loved the look of guitars,” he says, “and I used to play the violin at school, which was great, because I liked the teacher – y’know, he wore jeans and had a beard! But then they put me on the cello, and I hated the teacher… So, then I just wanted to play my guitar. After that, my Dad said, ‘Look, do you want to pack it in?’ and I just said, ‘All I want to do is play the guitar’.

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“My Dad was fantastic. He was a builder and so he’d be listening to the radio all day and when he came home from work, I’d show him everything I’d learned – The Shadows and all that kind of stuff. When you’re young, you think, ‘Whoa! What’s next?’ And the next thing was getting an electric – then it became about trying to find a mate who also has a guitar. It was always about being in a band. It still is! It was never about being a virtuoso. All I ever wanted to do was be in a band and write songs.”

And you’re still as excited about it now?

“Oh yeah! That’s hopefully something that will never go away. Having said that, I don’t listen to guitarists. I listen to music.”

What music gets your imagination fired up when you hear it?

Oasis: Gem Archer and Noel Gallagher

“It’s hard to say. Sometimes I’ll be browsing around YouTube and it’ll be something daft. My girlfriend’s from New Jersey and there’s a band over there called Los Straitjackets. They play mad surf covers in Mexican wrestling masks. They also play things like the theme from Midnight Cowboy – y’know, that kind of shit. Really it could be anything! Or my mate will go, ‘Have you heard about this guy Tommy Emmanuel?’ and you’re like, ‘Right, let’s have a look… Oh my god, that’s ridiculously good!’”

What other things aside from music inspire you to play guitar?

“Well, there’s that story of Neil Young and the Dead Man soundtrack. He got the film on a big screen, and he just recorded live to it through his amp, loud [laughs]. That’s the way to do it, isn’t it?! Just vibing off it. He’s one of the kings of getting a sound that didn’t exist before.”

Apparently, his guitar is virtually impossible for anyone else to play…

“I’ve held it. We’ve played with Neil Young a few times. Noel [Gallagher] and I went over and had a look at his gear, and it was all stacked in the corner of the stage like he was trying to flog it! Seriously. And the black Les Paul – you couldn’t even get a cigarette paper between the top E and the pickup. It’s virtually unplayable for most people, but he’s one of those rare guys.”

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In this Sept. 9, 2019 photo, Neil Young poses for a portrait at Lost Planet Editorial in Santa Monica, CA.

Rebecca Cabage/Invision/AP

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Los Straitjackets

Gear vs ideas

It makes you wonder how much of it is all about the gear…

“I think it’s about the personality. It’s not about gear or anything like that. I don’t think so, anyway. Neil Young’s sound, his feel… I could spot it a mile off. I know people who think Hendrix is unlistenable, but it’s like, ‘Okay then, see ya later!’ [laughs]. But it could be anybody – the greats, or the ‘not-greats’ – it’s them. I mean people like Johnny Ramone – nobody can play like that. Those downstrokes, and it’s cleaner than you think… As long as the gear works for you.”

Your pedalboard is cool. How is The GigRig G2 working out for you? A lot of guitarists say it’s a game-changer…

“Oh man! It’s a game-changer alright. An absolute game-changer! I can’t believe it hasn’t been done before, really. I used to have pedals in racks with a switching system, but I just really wanted them on the floor, where they should be, and the G2 is a whole different level of using your effects pedals. The first thing I noticed, when they were all hooked up, was as soon as the G2 was on, all the pedals sounded way, way better. Much clearer, more detailed and less dull. Just a lot more exciting, really. To me, it just makes complete sense. Especially playing with Noel now. It’s not like Oasis where the amps are having it and then you stepped on a volume boost or something – in Oasis, it was more of a wall of sound. What we’re doing now requires a lot of different textures throughout the set and the G2 helps with that massively.”

Which guitars and amps are you into at the moment?

“I’ve never been into switching loads of different amps – all I’m using at the moment is a reissue tweed ’57 Custom Fender Twin-Amp, and it’s great. You can put a lot of pedals through it and it sounds great, whereas some amps don’t cope with a lot of pedals so well. I’m using a lot of different gain stages and I’m using quite a few different guitars, such as semis, Strats, Teles and a Firebird, but I get a lot out of them and I’ve got all the pickups covered. That’s all I need. 

“And the Epiphone Sheraton with mini-humbuckers is great too. That’s Noel’s guitar. He just goes, ‘What guitars do you want to borrow’? and I was like, ‘Well, I’ve played that one and it’s incredible’. It’s 60s, but I’m not sure of the exact year. I was going to buy one, but it was about seven grand! Noel’s got an amazing collection, but we like to keep it simple. People say, ‘Why are you changing guitars so much?’ but we use a lot of capos. It’s funny, but if a capo’s on, I’ll visualise it as if it’s the nut. Like Don’t Look Back In Anger is in B flat, but to me it’s in G! I think it of it in shapes and picture the chords. I picture the whole thing and that’s kind of how I remember it.”

Can you tell us about your accident and how it affected your guitar playing?

“I had an accident and fractured my skull and broke my leg. I was out of it for a while. It was pretty bad. People asked me if it affected my playing and I jokingly replied, ‘Yeah, it’s made it better! But after a long time of not going out, I started falling in love with the guitar again. Just as an instrument and not like, I’m in a band and I do this and do that. I started to surprise myself! And I just went on a different journey, I suppose.

“This is going to sound pretentious but I think it’s helpful – it was like physio. Like healing, like recovery. And you know what? I started to go really deep and started questioning myself like, ‘I wonder, how do you actually play that’? because we can all blag everything, can’t we? If I said, ‘Play the start of Purple Rain’, everyone would have a good way of doing it, but to really analyse it and go deep with it – suddenly it was much easier, because I was stuck on a sofa with a leg in a cast! I mean I couldn’t walk...

“So, you never stop learning, and playing this set is incredible, because the band – everybody – is mega! I mean, I’m learning again.”

Fender '57 Custom Tweed Twin Amplifier Made in USA

Noel knowledge

Playing with the right musicians can up your game massively – a bit like playing pool with the right people…

“[Laughs] It’s weird how that happens isn’t it? And we all have those nights where we’re unbeatable. We play snooker quite a lot. Suddenly you’ll get a two-ball break, a three-ball break and before you know it, everyone’s on fire saying they’re getting pretty good at this! Then, of course, you come back down to Earth.”

I think music’s the same; some people can really bring out the best in you…

“Noel’s written a ton of different songs recently and it’s not like you just strap yourself in and play through the set – there’s a lot of different atmospheres and… I’m trying not to say ‘vibes’ [laughs].”

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A producer friend of mine has a ‘Vibe Jar’ in the control room, kind of like a swear box – if anyone says the word ‘vibe’ they have to stick a quid in the jar…

Purple Rain is an original song by Prince

“Yeah, good idea! The best words and clichés always get overused and then they get put on the bench, y’know. But when the shit hits the fan, they always seem to make sense though.”

What were the rehearsals like with Noel?

“He’s great. It started off rehearsing for the U2 tour, so it was a 50-minute set and then he started dripping in the new album. I’ve got all the multi-tracks, which is great. You can try and pick things out, but it’s so much easier with the multitracks. I know how Noel voices chords and on some lead lines he plays on other strings that wouldn’t be so obvious. It’s not like he just wants to replicate the record in rehearsals. There’s certain bits you’ve got down and some bits you’ll have down too much, and he’ll go, ‘Oh, just do this…’ Like the note on the record might be hanging against another note, but live the dominant note might be different, and y’know, there’s a lot of different sounds.

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“[Noel] hits a lot pedals, so it’s a question of, what’s he going for here? And, of course, he’s singing as well. You’ve got to have somewhere to start, but it’s so not like just doing the record. This year we started with a list of about 35 songs, which is quite a lot to learn. Not that we did them all, but they’re all there to draw on if need be, and he adds to them all the time, and he also tries them in different ways. Some songs, like Don’t Look Back In Anger is in C, but we do it in B flat, and I think Wonderwall is higher. Noel’s the vocalist, so he’s singing for two hours – and he sings from top to bottom every day, even at rehearsals. It’s right, because it’s a song, and it’s real. Everybody’s different, man, and I’m sure some people just turn it on, like click. But Noel is always on. He’s the real deal and it’s inspiring! Noel gives it super loud. One of the sound guys was saying he’s about 20dB louder than Springsteen!”

You’re about to step onto the stage at Cardiff Motorpoint Arena knowing that something major is going to kick off! What does that feel like? I mean, you seem very, very calm considering…

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“The main thing, personally, for me, is to try and be calm before you play – always calm. My routine is no routine. Be really calm and try to be with as little people as possible. There’s no night out before the gig, for me!”

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Beady Eye guitarist Andy Bell has revealed that Liam Gallagher disbanded the band because his 'heart wasn't really in it anymore.'

Bell, who recently announced the return of 90s legends Ride, did admit that they split on good terms. 

Andy Bell

''Liam had been pretty quiet for a while, and then he just let us know his heart wasn't really in it any more. It ended on good terms and we're all still mates.

 

"We wished each other the best of luck and it's all cool. It just sort of ran its course.'' Which anyone who heard the 'Iz Rite' on the last Beady record would agree with.

Asked about the reunion of Oasis, Bell was emphatic: ''I have no idea. It would be great - whether or not I was involved.''

The breakup of Beady Eye has one major benefit however: that Bell has been freed to reform showgaze favourites Ride. Renowned as paving the way for the likes of Oasis and Primal Scream, Bell, Mark Gardener, Steve Queralt and Laurence (Loz) Colbert were a true Creation Records' success stories - rising to acclaim with their four albums Nowhere, Going Blank Again, Carnival Of Light and Tarantula. 

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Image by Jill Furmanovsk - Zak Starkey

Ringo Starr Jnr opens up

Zak Starkey, self-proclaimed son of "the greatest drummer in the world" (The Beatles' Ringo Starr, of course), former stand-in for Oasis and occasional The Who sticksman, took time out from the aforementioned schedule to talk 'Uncle' Keith Moon and Brit infamy.

Before quitting Oasis over 'commitment issues', Starkey recorded 2008's Dig Out Your Soul. Rhythm magazine took the opportunity to talk about the lead single "Shock Of The Lightning's" hurtling Krautrock beat, dusted with eight bar sprinkle fills"…

"I did that as a joke! And no one in the band thought those crazy fills were going to make it on the record. I couldn't fucking believe it when I heard it on the radio! It was a lightning shock!"

The Who vs Oasis

When asked to compare playing with Oasis to playing with The Who to fill those enormous shoes left by Keith Moon, Starkey's second answer might also surprise: "It was just as difficult playing in Oasis as it is with The Who."

"It's irrelevant that there are more fills to play in The Who. I'd get all these wanker drummers saying, 'Oh man, I could do the Oasis gig with one hand tied behind my back'. Well, you may be able to but it will fucking sound shit mate! If my drumming was slightly slow or fast, everybody in that band knew it."

"F*cking massive"

"Liam, Noel, Gem and Andy are some of the smartest musicians I've ever met," he continued. "In fact, they're the most inspiring band I've ever worked with. I played with Oasis for four years and literally spent every day crying with laughter. Those lads are on it and that's why they're fucking massive."

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Oasis - Don't Believe The Truth - Released on 30th May 2005

Don't Believe the Truth is the sixth studio album by English rock band Oasis. It was released on 30th May 2005 by Big Brother Recordings. It reached number one in the UK Albums Chart with first week sales of 237,865, and is the 32nd fastest selling album ever in the UK. The album entered the US charts at number 12, with 65,000 copies sold in the first week, the highest any Oasis album had reached there since 1997's Be Here Now, although its chart stay was brief. Don't Believe the Truth went triple platinum in the UK in the first week of 2006 (900,000+ sales), and in the US has sold more than 200,000 copies. As with the previous album, Don't Believe The Truth had significant writing contributions from members other than chief songwriter Noel Gallagher, and the album is the first where all duties were divided between the band members. On some of the tracks regular bass player Andy Bell handled guitar, while Gem Archer and Noel Gallagher contributed bass to other songs. Don't Believe the Truth is the first Oasis record to feature the drumming of Zak Starkey, an auxiliary member of Oasis, who performed and toured with them following the departure of longtime drummer Alan White, and appeared on the DVD praising all members' contributions. The album received positive reviews from critics, and many cited it as Oasis's best album in a decade.

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The London Astoria

Liam Gallagher also had a larger impact on the album through his developing songwriting. Noel has said that the album is his favourite of Oasis' last four, because all members contributed to it. This, he claims, has given it a different feel from a typically Noel-written Oasis album. The band embarked on a massive worldwide tour that started off at the London Astoria for their Don't Believe the Truth Tour, visiting 26 countries and playing to 3.2 million people at a total of 113 concerts. This resulted in the making of Lord Don't Slow Me Down, a film later released on DVD. To date, the album has sold more than six million copies worldwide.

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Lord Don't Slow Me Down is a rockumentary film, looking back on British rock band Oasis' Don't Believe the Truth world tour which took place from May 2005 to March 2006. The film is directed by Baillie Walsh.  It went platinum in the UK.

Well I'm tired and I'm sick
Got a habit that I just can't kick
I feel hungover and I'm all in love
When the lights go down
I'm gonna shoot 'em all

S'alright, don't be afraid
You gotta keep dreaming in the bed you made
And if it tastes like shit
Well, it beats sleeping rough on the floor

[Chorus]
You keep saying that my head's locked up in the clouds
But keep praying that the Lord won't slow me down

[Verse 2]
Well I'm tired and I'm sick
Got a habit that I can't, won't lick
I feel hungover and I'm all in love
Let the lights go down
Me and you are gonna shoot 'em all

[Chorus]
You keep saying that my head's locked up in the clouds
But keep praying that the Lord won't slow me down

[Verse 3]
Well I'm tired and I'm sick
Got a habit that I just can't kick
I feel hungover and I'm all in love
When the lights go down
Me and you are gonna shoot 'em all

Oasis - Lord Don’t Slow Me Down (Official Video)

Songfacts®:

  • This was originally recorded during sessions for the Don't Believe The Truth album, but was ditched from the final running order. It then became the title track for a documentary film that followed the band on their world tour of 2005/6.

  • This was Oasis' first ever digital-only single with no physical release. It's #10 placing meant that "Lord Don't Slow Me Down" equaled Nelly Furtado's "Say It Right" as the joint highest charting download-only single in the UK to that point.

  • The song is about the weariness of life on a tour bus.

  • Noel Gallagher has described this song as "Somewhat predictably brilliant."

  • Noel Gallagher told NME magazine: "That got left off the last album because it was the same verse all the way until the end. It's kind of locked into (the 'Lord Don't Slow Me Down') documentary now because it appears at the end of the film. It's quite rocking. It's just the 12 bar blues really, but it's good."

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Ravers dancing outside 'the Trip' at the Astoria London 1988.. Image by Marcus Graham 1988..

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The London Astoria was a music venue located at 157 Charing Cross Road, in London, England. Originally a warehouse during the 1920s, the building became a cinema and ballroom. It was converted for use as a theatre in the 1970s. After further conversion, the building re-opened in the mid-1980s, as a night club and live music venue for well-known musical acts. There are half a dozen smaller music and gay clubs in the adjacent buildings within the neighbourhood.

In 2009 the venue closed, and was demolished as part of the development plans of the Crossrail project. The venue is still seen today as having been an iconic music establishment, as it helped to launch the careers of many British rock bands and also played a part in the UK success of many international acts. At its closing in 2009 the record for the most consecutive sold-out shows at the Astoria was The Mission who performed seven straight nights between 21st and 27th March, 1988 on their 'Children Play' tour.

The venue would host the famous night "The Trip" at the height of the acid house scene in 1988. Astoria 2 had a closing party, headlined by rock band Open The Skies, with support from Outcry Fire, F.A.T.E and Orakai. The final club night PUSH was held the following day on 15th January 2009, with Cajun Dance Party and Good Shoes being the last acts to play at Astoria 2. The entire venue has now been demolished.
 

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1991–1993: Formation and early years

In 1991, bassist Paul McGuigan, guitarist Paul Arthurs, drummer Tony McCarroll, and singer Chris Hutton formed a band called the Rain. Unsatisfied with Hutton, Arthurs invited and auditioned acquaintance Liam Gallagher as a potential replacement. Liam suggested that the band name be changed to Oasis, inspired by an Inspiral Carpets tour poster in the childhood bedroom he shared with his brother Noel, which listed the Oasis Leisure Centre in Swindon as a venue. 

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186 INSPIRAL CARPETS, Blue Orchids, Swindon Oasis Leisure Centre, Sunday 28 April 1991

Inspiral Carpets

A gig at the Oasis! Crikey! Amazing scenes as the Oasis was taken over by baggy bright-eyed teenagers, pretentious Manc-wankers and old cynical types like ourselves!

Drove down (not that I really needed to) and missed The Blue Orchids set due to being able to find the events bar instead, and chatting about 5 a side footy with, well, pretty much everybody I know!

The Inspirals took the stage at 9 and premiered lots of material from the forthcoming "Beast Inside" LP, in a set which was punchy and exciting in parts but a little inconsistent, but ably augmented by their marvellous slide show, psychedelic patterns of their backdrop, and a superb forward-projecting light show. Overall an excellent show (as the Inspirals usually are) with keyboard-driven delights "Commercial Reign" and encore "Out Of Time" highlights.

Oh, and allegedly, this was the gig which inspired a couple of young Manc brothers to look at an Inspirals tour poster, and name their band after tonight's venue...

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The campaign’s launch provided a splash for the Advertiser, which ran with the headline ‘Don’t let the Oasis slide away’ – a reference to the band’s 1994 song ‘Slide Away’.

Advertiser editor Pete Gavan said: “If there’s one thing we’ve learned this strange and terrible year is the importance of physical activity and health.

“We can understand why an organisation like GLL might think it’s too hard to make a profit from it with lockdowns and the extra costs of keeping it clean and the necessity for fewer customers at a time – but the greater need is with the people of Swindon.

“Oasis is more than just something of an icon for our town, it is more than just a place of fond memories, where we learned to swim or played badminton or five-a-side.

“For many people in this town, the Oasis is vital – a place to be active, to have fun, to get away from life’s day-to-day pressures.

“If you want to see it open again, then it’s up to all of us – get involved, and make your voice heard.”

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An actress and singer has backed her hometown daily’s bid to save a leisure centre she grew up visiting.

Billie Piper has lent her support to the Swindon Advertiser’s campaign to save the Wiltshire town’s Oasis leisure centre, which has been closed since November.

Operator GLL cited Covid-19 and running costs for its closure, but the Advertiser is calling for the facility to be declared an asset of community value.

The Doctor Who actress, who also had three UK number one singles as a teenager, told the Advertiser it would be “heartbreaking” if the Oasis was allowed to close for good.

Her support prompted the Advertiser to run with the headline ‘Because we want to!’, the name of her first number one hit, on its front page on Thursday, pictured above.

Ms Piper told the newspaper: “It’s such a crucial part of the Swindon community, providing a place for people of all ages to exercise and have fun and make their own memories.

“To permanently lose this iconic local landmark would be heartbreaking for the community, some of whom rely on the space for their physical and mental health, and also for the loyal employees who will lose their jobs.”

Speaking to HTFP, Advertiser editor Pete Gavan said: “It was brilliant to get the support of a Swindon legend.

“We’ve been running the campaign to help secure the future for the Oasis since the closure was announced late last year.

“The Oasis is hugely important to the Swindon community and has been for decades and we’ll keep pushing until a solution is found for its doors to open again.”

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Oasis played their first gig on the 14th August, 1991 at the Boardwalk club in Manchester,  bottom of the bill below The Catchmen and Sweet Jesus. Noel, who was working as a roadie for Inspiral Carpets, went with them to watch Liam's band play. He and his friends did not think Oasis sounded particularly spectacular, but he began to consider the possibility of using the group as an outlet for a series of songs he had been writing for several years. Noel approached the group about joining on the provision that he would become the band's sole songwriter and leader, and that they would commit to an earnest pursuit of commercial success. Arthurs recalled, "He had loads of stuff written. When he walked in, we were a band making a racket with four tunes. All of a sudden, there were loads of ideas." Under Noel, the band crafted a musical approach that relied on simplicity, with Arthurs and McGuigan restricted to playing barre chords and root bass notes, McCarroll playing basic rhythms, and the band's amplifiers turned up to create distortion. Oasis thus created a sound described as being "so devoid of finesse and complexity that it came out sounding pretty much unstoppable".

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The site of The Boardwalk – Oasis rehearsed here and played their first gigs here with Noel Gallagher. Inspiral Carpets also rehearsed here

After over a year of live shows, rehearsals and a recording of a demo, the Live Demonstration tape, Oasis's big break came in May 1993 when they were spotted by Creation Records co-owner Alan McGee. Oasis were invited to play a gig at King Tut's Wah Wah Hut club in Glasgow by Sister Lovers, who shared their rehearsal rooms. Oasis, along with a group of friends, hired a van and made the journey to Glasgow. When they arrived, they were refused entry as they were not on that night's set list; the band and McGee have given contradicting statements about how they managed to get into the club. They were given the opening slot and impressed McGee, who was there to see 18 Wheeler, one of his own bands. McGee offered them a recording contract; however, they did not sign until several months later. Due to problems securing an American contract, Oasis signed a worldwide contract with Sony, which in turn licensed Oasis to Creation in the UK.

Following a limited white label release of the demo of their song "Columbia", Oasis went on a UK tour to promote the release of their first single, "Supersonic", playing venues such as the Tunbridge Wells Forum, a converted public toilet. "Supersonic" was released in April 1994, reaching number 31 in the charts. The release was followed by "Shakermaker", which became the subject of a plagiarism suit, with Oasis paying $500,000 in damages. Their third single, "Live Forever", was their first to enter the top ten of the UK charts. After troubled recording and mixing sessions, Oasis's debut album, Definitely Maybe, was released on 29 August 1994, entering the charts at number one within a week of its release, and at the time becoming the fastest selling debut album in the UK. 

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Address

‘The Forum’ Live Music Venue, The Common, Tunbridge Wells, TN4 8YU

Telephone Number
08712 777101 

Brief History
The late 80’s/early 90’s saw an increased interest in the music scene in Kent. There weren’t many places to house live music events, performances or the hundreds of fans that came with them.

Michael Oyarzabal, Peter Hoare, Jason Dormon, and Mark Davyd. Were very aware of this issue and were successfully putting on shows without any venue to do so consistently. In 1993 they opened The Forum as a new music venue in a building which was previously a public toilet. They’ve been adapting with the times and putting on amazing gigs ever since.

How many people does it hold?
250

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Tunbridge Wells Forum - Black Honey

Who has played there?
They’ve built up quite an impressive list of venue alumni over the past 25 years. Here are just a few of the artists that have played gigs at Tunbridge Wells Forum: 

Adele, Biffy Clyro, Coldplay, Foals, Green Day, Muse, Oasis, Royal Blood – if you were lucky enough to be at any of those shows you’ve done VERY well.

Have there been any “I was there” moments? 
So many unbelievable shows at this venue, there’s been quite a few memorable gigs that only a handful of people can say “I was there”. A relatively recent example of this is the skyrocketing popularity of Royal Blood. They are one of the best live bands in the UK and have been packing out festival main stages all over the world this summer.

Here they are playing Tunbridge Wells Forum in 2014 in front of 250 people:

How do I get there?
You’ll find the Forum at the bottom end of town on Fonthill Common, opposite the King Charles The Martyr Church. It is only a five-minute walk from Tunbridge Wells rail station, which has frequent direct connections in and out of London.

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Tunbridge Wells Forum, a converted public toilet

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Background story for the song Shakermaker..

 

Noel Gallagher states that the lyrics are taken from the world around him. For example, a Shaker Maker was a popular toy in the 1970s, the character of "Mr Soft" was taken from a Trebor Soft Mints commercial, which featured Cockney Rebel's song "Mr Soft", "Mr. Clean" is a song by The Jam, one of Noel Gallagher's favourite bands, Mr Benn is a British children's cartoon and the entire last verse - "Mr Sifter sold me songs / When I was just 16 / Now he stops at traffic lights / But only when they're green" - was written in a taxi on the way to the recording studio to record the song. Apparently, Liam Gallagher was pestering Noel to finish the song. At this point, the taxi stopped at the traffic lights outside "Sifters" (a record shop on Fog Lane, Didsbury, Manchester), named after people 'sifting' through records and run by Peter Howard since 1977. Noel penned the lyric and it became part of the song. Noel used to frequent the store to buy old records before Oasis started releasing albums.

Oasis - Shakermaker (Official HD Remastered Video)

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Painted and unpainted figures

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Artist - Mick Minogue

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DESCRIPTION

Mr Soft Boxed Sculpture made for the Streets of Beige online 'Big Ass Monster Show'. To me Mr Soft was the thing of childhood nightmares. That song would send me running behind the couch. He still haunts me to this day. If no one wants to be the new owner of this creepy devil I may have to bury him forever. He wants you to imagine that everything is happy and safe and to the beat but its not...ITS NOT!!! That lamp post is literally the light at the end of the tunnel, the shining beckon of hope. If it wasn't for that brave lamp post in 1987 our world may have been a very different place today.

"Shakermaker"
 

I'd like to be somebody else
And not know where I've been
I'd like to build myself
A house out of Plasticine

Ah, shake along with me
Ah, shake along with me

I've been driving in my car
With my friend Mister Soft
Mister Clean and Mister Benn
Are living in my loft

Ah, shake along with me
Ah, shake along with me

I'm sorry but I just don't know
I know you said I told you so
When you're happy and you're feeling fine
Then you'll know that it's the right time
Then you'll know that it's the right time

To shake along with me
Shake along with me
Shake along with me
Shake along with me

Mister Sifter sold me songs
When I was just sixteen
Now he stops at traffic lights
But only when they're green

Ah, shake along with me
Ah, shake along with me
Ah, shake along with me

Ah, shake along with me
Shake along with me
Shake along with me
Shake along with me
Shake along with them
Shake along with me
Shake along with them
Shake along with me

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Shaker Maker is a toy for making figures. Water and a powder must be mixed in a shaker and after turning the shaker the mixture flows into moulds inside the shaker. Because of fast polymerisation the consistency of the mixture becomes like pudding in seconds. After some days it hardens. Shaker Maker was invented in the 1970s by the firm Ideal Toy Company. The toy was primarily sold in the US and some countries in Europe. In the 1990s and the 2000s there were two relaunches of Shaker Maker but these met with less success. Shaker Maker is a toy for children aged four years and older which makes it easy for them to make their own toy figures. The base element is a powder called "Magic Mix" which comes in a range of colours. After mixing with water it has to be shaken. After some seconds the shaker has to be turned so that the mixture can flow into a mould which is installed in the shaker. After five to ten minutes the mixture hardens, and the figures are ready to be taken out of their mould and placed on a drying stand. The figures shrink dramatically as they dry, and final drying can take another few days. When the figures are completely dry they can be painted and decorated.

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Record shop Sifters became part of Oasis history when Liam Gallagher sang about it in Shakermaker - now Liam's used it for his new Pretty Green fashion shoot.

The famous “Mr Sifter” from Oasis song Shakermaker has become a star of Liam Gallagher’s latest fashion campaign for his clothes label Pretty Green.

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Pretty Green fashion shoot on location at Liam Gallagher's favourite places including Mr Sifter's record shop in Burnage pictured here (Image: Dan Reid)

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Liam returned to his favourite Manchester childhood haunts to shoot his Autumn/Winter collection for his fashion firm. Now, the latest images from that shoot have been released which include the Sifters record shop in Burnage where Liam and brother Noel Gallagher famously used to buy records - and which was immortalised in Oasis’ 1994 single Shakermaker.
In it Liam sings: “Mr Sifter sold me songs when I was just 16 / Now he stops at traffic lights / But only when they’re green” - a reference to the shop’s location on the junction of Fog Lane. Mr Sifter himself - real name Peter Howard - also posed up during the fashion shoot, although he tells The Diary he wasn’t dressed in Liam’s togs for the occasion adding: “Although I was pretty greenish”. Peter, 66, says he still can’t believe all the attention his shop receives from legions of Oasis fans from across the world thanks to that one song reference. He laughs: “All these years on I’m still basking in this reflected glory. “All I’ve done is flog a few records and be lucky enough for the lads to come in back in the day.

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Mr Sifter himself - real name Peter Howard.

“It’s incredible that it’s now 30 years since Shakermaker came out, but the fans have been coming ever since - and still keep on coming.” Peter says music fans have travelled from far and wide to make the pilgrimage to the shop - which he has run on Fog Lane since 1977. He named the shop Sifters as a nod to people sifting through records, and his nickname as “Mr Sifter” has stuck ever since. He chuckles: “Often they just come in and stare at me for 20 minutes and then bog off. It can be a bit embarrassing when I’m just standing there eating my sandwich.
“I don’t think a lot of the young ones relate to the humble CD or LP so they’d rather marvel at my age instead. “We get people from all over the world, they come from South America, Brazil, lots from Japan. To be honest sometimes we get more foreigners in here than from Burnage or Didsbury.” Sadly, Liam himself didn’t take part in the shoot and Peter says it’s been some years now since he’s seen either of the rock star brothers in his shop. But Liam loved Sifters enough to include it in his "Streets of Manchester" fashion campaign which celebrates five years of his fashion firm. The different images have been released area by area on his Pretty Green website, with Sifters and Castlefield the latest two locations that have been revealed since this article was written in 2014..

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Liam Gallagher (Image: Jon Baxter)

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Exclusive images of the new Pretty Green A/W14 fashion collection by Liam Gallagher.

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Pretty Green A/W fashion campaign shot on location at Liam Gallagher's favourite childhood haunts in Manchester including Castlefield pictured here(Image: Ron Dick)

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  1. Pretty Green A/W14 fashion collection by Liam Gallagher, pictured in Burnage18 of 27

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In the images, two models pose moodily in Pretty Green’s mod-style fashions, including Liam's trademark Deansgate parka jackets. Meanwhile Sifters will be getting more fame later this year (2014) when article written - as Peter reveals that an episode of Come Dine With Me filmed there recently, for an episode due to air in November.

The band Oasis were sued by Coca-Cola and forced to pay $500,000 in damages after it was alleged that the Oasis song "Shakermaker" had lifted words and melody from "I'd Like to Teach the World to Sing," a Coke jingle. Asked about the incident, Noel Gallagher joked "Now we all drink Pepsi."

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the new Pretty Green A/W14 fashion collection by Liam Gallagher, pictured at Eagle Inn, Salford

Comment by MarriedChicksAreHot

 

I also assumed it was deliberate satire of Coke's faux corporate hippiness by using semi-nihilistic self-centered nonsense. The first two lines of shakermaker sound like that anyway. The Coke line

I'd like to build the world a home and furnish it with love

...corresponds to the Oasis line

I'd like to build myself a house out of plasticine

And the Coke line

I'd like to see the world for once all standing hand in hand

...corresponds with

I'd like to be somebody else and not know where I've been

Maybe I read too much into it because of the melody. Also because I associate Oasis with coke lines in other contexts too.

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Oasis - Live Forever (Official HD Remastered Video)

Live Forever - Song Cover by Oasis

"Live Forever"
 

Maybe I don't really wanna know
How your garden grows
'Cause I just wanna fly
Lately, did you ever feel the pain
In the morning rain
As it soaks you to the bone?

Maybe I just wanna fly
Wanna live, I don't wanna die
Maybe I just wanna breathe
Maybe I just don't believe
Maybe you're the same as me
We see things they'll never see
You and I are gonna live forever

I said maybe I don't really wanna know
How your garden grows
'Cause I just wanna fly
Lately, did you ever feel the pain
In the morning rain
As it soaks you to the bone?

Maybe I will never be
All the things that I wanna be
Now is not the time to cry
Now's the time to find out why
I think you're the same as me
We see things they'll never see
You and I are gonna live forever

Maybe I don't really wanna know
How your garden grows
'Cause I just wanna fly
Lately, did you ever feel the pain
In the morning rain
As it soaks you to the bone

Maybe I just wanna fly
Wanna live, I don't wanna die
Maybe I just wanna breathe
Maybe I just don't believe
Maybe you're the same as me
We see things they'll never see
You and I are gonna live forever

Gonna live forever
Gonna live forever
We're gonna live forever
We're gonna live forever
We're gonna live forever
We're gonna live forever

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OasisDNA - Live Forever Noel Gallagher handwritten lyrics from my collection

What is the meaning to the lyrics and music of this song..

 

Despite Noel Gallagher, the writer of “Live Forever”, being in his mid-20’s when it was written, it can perhaps be classified as an expression similar to teenage angst. The singer (Liam Gallagher) has reached a point in his life where he does not want to conform to the mundane routines which have thus far defined it.
 

Instead he ‘wants to fly’, an expression which likely means exploring the world and chasing his dreams.  But he is not a blind optimistic who believes everything is going to materialize in his favor. That is to say that he recognizes his own shortcomings. However, he feels that in the process of ‘flying’, he will be able to ascertain how to rectify them.
 

The singer is clearly excited by the prospect of the freedom that not only lies ahead for him but also the one whom he is addressing. And he believes that by adopting such a disposition, throughout their lives’ journeys they will have great experiences. Indeed their reward for operating this way will be that they will “live forever”. And within the context of the song, what this expression seemingly refers to is the idea of living a fulfilling life. But outside of that, it also alludes to the notion of leaving a legacy behind for the world to enjoy even after a person is no longer physically present.
 

Conclusion

Conclusively, there are allusions to the writer’s mother in the song. And the way the track reads, on a personal level, is like an expression of his desire to leave home and pursue his dream of being a musician. He perceives the associated risks but also the rewards if he were to persevere.

However, being that he does not use any explicit references to his own life, “Live Forever” has a general applicability. And the song, at its skeletal level, is based on the singer being antsy, desiring a change in his life which can only be fulfilled by chasing his dreams.


 

Liam Gallagher and Coldplay - Live Forever (One Love Manchester)

One of the most notable live performances of “Live Forever” occurred on June 4th, 2017 at the One Love Manchester concert. This was a charity concert held in Manchester, England to raise funds for the victims of the Manchester Arena bombing. Liam performed “Live Forever” along with Chris Martin and Jonny Buckland of Coldplay. Liam delivered another brilliant performance of this classic at the Brit Awards of 2018. He performed the song in honor of all the victims of the aforementioned bombing in Manchester. In an interview, Liam revealed that “Live Forever” is the song he loves playing the most. He went on to disclose that the song is about his mother Peggy Gallagher. According to him, it’s always a nice song to sing for his mother. On that note, it’s worth mentioning that the use of the word “garden” in the song is said to be a reference to the writer’s mother, who is known to be very-serious about gardening. The origin of this iconic song can be traced back to 1991, which was before its writer, Noel Gallagher, even joined Oasis. In fact his composition of “Live Forever” was one of the factors which ultimately convinced Liam, his brother and Oasis frontman, to let him join the band. Indeed Oasis and others involved were awestricken when Noel first presented the song to them in full, which occurred in 1993.

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Chris Martin from Coldplay

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Jonny Buckland

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Peggy Gallagher - Mother

Noel Gallagher’s composition of the song was inspired by the 1972 track "Shine a Light" by the Rolling Stones. That said, this song was born long before Noel became a member of Oasis. Back then he was a poor lad who did menial jobs for a local building company. And fortunately (for the world of music), while working, he had his foot injured in an accident. He was then put on light duty and under the circumstances was able to write more songs. And one of the songs he began working on at the time was “Live Forever”. In a roundabout way, this song was actually constructed as a response to Kurt Cobain, who (along with the rest of Nirvana) dropped a track in 1993 entitled “I Hate Myself and Want to Die”. Noel was appalled by that message. And while he was a fan of Nirvana, he did not want to emulate their pessimistic, self-destructive demeanor in England. Moreover he considered the sentiments between “I Hate Myself and Want to Die” and “Live Forever” ironic, since at the time Kurt Cobain was rich and famous yet miserable, while Gallagher and his companions were poor yet greatly looked forward to life. This Oasis classic officially has two different music videos. One of the videos was designed for British consumption and the other for American audience.

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British Version

The British version, which was directed by Carlos Grasso, came out first. Part of it was filmed at Strawberry Fields. This is an area of Central Park dedicated to the memory of music legend John Lennon (1940-1980). In fact the cover art for “Live Forever” features a photograph of the house where Lennon was raised, which is situated in Liverpool, England.

 

American Version
The American version, which was directed by Nick Egan, also features references to Lennon as well as other famous musicians who passed away prematurely. In addition to Lennon, other notable deceased music icons that are referenced in the video include the following:

 

Kurt Cobain (1967-1994)
Jimi Hendrix (1942-1970)
Jim Morrison (1943-1971)

 

The only non-musician featured amongst the group is legendary English footballer Bobby Moore (1941-1993).

Noel Gallagher is credited as the sole writer of “Live Forever”. The song was however, produced by the entire band in conjunction with Mark Coyle.

Best British Song
 

UK radio station Radio X held a poll in 2018, in which “Live Forever” was voted as “the best British song ever”. It took the top spot away from Queen’s 1975 classic, “Bohemian Rhapsody”.

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There were a few notable stories which came out of 2016s Oasis: Supersonic, a documentary about Britain’s favourite pair of bratty brothers; the Gallaghers. However, while tales of the highs of their stardom are tantalising with glittery stardust we found ourselves curiously—perhaps morbidly—following Oasis to their depths. One such story involves Los Angeles, the famous Whisky-A-Go-Go, and crystal meth. This is the story of Oasis’ worst ever concert.

Los Angeles

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When Oasis jumped across the pond for their first US tour there were murmurings around the musical world that perhaps America wasn’t quite ready for the Gallaghers and Oasis. The band’s infamous lack of respect for the formality of the music industry did provide them with some much-needed column inches to help take a thwack at America, but it also posed a host of probable problems for their tour manager in an increasingly sanitised US rock scene. When arriving in Los Angeles, the band wasted little time bringing these issues to the fore.

Liam and Noel Gallagher perform at the Whisky-A-Go-Go in Los Angeles..

For those of us who were not around in the early 1990s, or at least not paying attention to Liam and Noel Gallagher, we thought we’d try a visualisation exercise. Imagine Liam and Noel Gallagher as they are today, now remove any gracefulness or wisdom they have gained with age. Now, add in the intoxicating know-it-all-ism of youth, the energy of a Duracell bunny, the backing of a nation smitten by their new rock and roll sound, a newfound bounty of cash, and cocaine, lots of cocaine. Then mix it all together, pour it into a swaggering body and recoil in abject horror as they smirk and smash their way through America, or any other country in their way. That is the kind of Oasis that Los Angeles had to deal with in ’94.

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True to form it didn’t take them long to cause some musical mischief. The band were thrown out of the KROQ radio station for swearing on air. They then found themselves fighting with bouncers at the legendary Viper Room. They’d even had a visit from the LAPD, arriving at 6am with guns drawn because Bonehead refused to stop playing ‘Supersonic’ on his guitar as loudly as he possibly could. It appeared as though the scene was set.

The band arrive at the soundcheck at one of the most important and famous venues in the world, the Whisky-A-Go-Go, the band had dreams of emulating some of the greatest rock acts of all time. Think Led Zeppelin, The Who, The Doors and everyone in between, this was the beginning of Oasis’ expected domination. However, their penchant for a rock star lifestyle had led them to look for cocaine but their Brit-abroad-balls left them finding the “ninja speed” drug; crystal meth.

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Liam, reflecting on the incident, says in Supersonic film: “I don’t know who fucking got it but it was there and we all thought it was coke. We’re doing big fucking lines of it and it just kept us up for fucking days”. The band were not in the right place.

With a huge introduction from the perversely hair-cutted compere, calling them “the best band in the universe”, Liam saunters on stage with a frazzled look and tells the audience: “The fookin’ band aren’t coming. You’ve just got me tonight.” A sentiment which would later be all too likely an event, but not tonight, as the band dutifully follow him on stage. On reflection, maybe they shouldn’t have.

Whisky a Go Go - West Hollywood Los Angeles California

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What follows is a truly terrible set, quite possibly one of the worst you will ever see or hear. It was a performance full of undulating incidents of rock and roll infamy. It was a set full of issues, including [Deep breath] exploding bass amps, Noel playing songs completely different to the rest of the band, Liam threatening the audience after one crowd surfer nearly kicked over his mic, Noel sings with a camp tone, Liam, therefore, can’t be bothered to sing and sits his way through most of the songs.

Then the brotherly fights begin. Liam, getting right up into Noel’s face and telling him to go “fuck himself” and then bopping him on the head with a tambourine. The singer then offered another view of that particular incident, stating: “He’s lucky I didn’t launch a monitor at him or something, or a fucking drummer.

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Los Angeles

Liam then goes into a full crazed animal mode and paces the stage like an angry tiger until, thankfully, the set ends. Liam walks off stage and straight out on to Sunset Blvd with a towel wrapped around his neck and Noel flees to San Francisco, quitting the band for a fortnight all because someone on their team didn’t know the difference between cocaine and crystal meth.

Oasis would go on to dominate the world of rock for the next decade and then some, still finding new fans with their solo work to this day. While this is undoubtedly one of their worst gigs ever, it would actually work in the band’s favour. In America, it would transform them from “that British band” into a rock and roll outfit worthy of trashing Sunset strip. In Britain, it would cement them as children of Britannia—ballsy, brash, brutal, and usually inebriated.

They were us, and we were them and since then, it’s never really changed.

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