What's The Story Morning Glory (Oasis)

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Episode Transcript

Speaker 1 (00:00):
Hello, you will be unsurprised to find that it is
good to be back, and welcome tothe McCartney Gold podcast.
This is the podcast which takesan album of popular music,
debates and dissects it and putsit through the evil mistress
that is the sporting knockoutformat to find out what is our
favourite slash the best song onthe album.

(00:22):
With me this evening are myfine compadres brett all right,
kid, what are you fuckinglooking at?

Speaker 2 (00:28):
do you want a slap?

Speaker 3 (00:30):
uh, nope sorry yes, no, that's that's good and guy
mad for it.
What I never know what to sayin these bits, right?
I just, it hits me about fiveseconds before I have to say it
when brett says something and Igo, oh fuck, I haven't thought
of something to say in thislittle bit.
And then I have to think ofsomething and I said that was my
attempt at mad for it.

Speaker 2 (00:51):
He said he was.
He was so uncomfortable.
He just said it very quickly.
All right, can we let listenersinto the utter shit show
disaster that we've had in.

Speaker 1 (01:02):
We've had yes, we've had extreme technical
difficulties for the last 45minutes, so we're going to do
this album now at incrediblespeed, because we all want to go
and have a wee or a poo or adrink too much information, way
too much information, or go tobed or dinner or chat to a
friend, something other thandoing this podcast and and and

(01:23):
sadly, we've been doing it forso long now that we're on our
steam.
So what were we talking about?
Yes, we're talking about.
What's the story?
Morning glory by a band you mayhave heard of called oasis
brett.
Tell us what the runners andriders are.
I'm also sorry about the poosand wheeze comment yeah, that
was.

Speaker 2 (01:35):
That was too much.
Okay, thanks, steve.
Um oasis are alan white orwhitey on drums, paul mcguigan
or Giggsie on bass.

Speaker 1 (01:43):
No, Giggsie, I think you're fine Giggsie.

Speaker 2 (01:45):
Oh, is it Giggsie?
It's.

Speaker 1 (01:47):
Giggsie, because it's McGuigan.

Speaker 2 (01:48):
Oh, giggsie, it would make no sense to be Giggsie,
would it?
Oh, I thought it was Giggsie.
I've always thought it wasGiggsie, you bugger that up.
Stop getting Oasis wrong, paulArthurs or Big Ed on guitar and
composition.
It was recorded at RockfieldStudios in the summer of 1995,

(02:09):
produced by Owen Morris and NoelGallagher.
It was released on the 2nd ofOctober 1995 to varied reviews.
It has sold approximately 23million copies and went to
number one in the UK, numberfour in the US billboard charts.
It had, steve, four singlessome might say, don't look back
in anger both number one, rollof it and wonderful both number
two.
Getting back to your earliercomments, number ones and number

(02:29):
twos- oh, numbers, number onesand number twos.

Speaker 1 (02:32):
That's in the uk.
What were the singles inamerica that did not come out in
england?
I don't know, I'm not a geek.
What were they are?
Champagne sleeping over was asingle, a weirdly.
And morning glory oh, that'sinteresting.

Speaker 2 (02:43):
So six, six different singles off the album.

Speaker 1 (02:46):
Yeah, yeah, strange choices in the states, very
different choices in the states.
There we go.
Uh, what's your relationshipwith this album?

Speaker 2 (02:52):
brett.
I was a massive brit pop kid atthe time, loved it when it came
out, huge, was anticipating itvery excitedly.
Remember, some might say comingout as a single uh, much
earlier in that year andenjoying that and that went to
number one, didn't it?
They'd really arrived by thatpoint, so it was like bated
breath.
So yeah, and that's myrelationship with it before

(03:13):
recording this podcast.
Well, it's changed, since You'vehad to listen to it, I don't
know gonna find out and, as aresult, you absolutely think
it's a captain spoiler.
At this point you're supposedto leave some tension to go and,
by the way, I still love it.
Oh, I fucking hate it.
Now you've got to.
You've got to leave we've gotto get people to listen to more
than three minutes of thisdisorganized shit show there's

(03:34):
rambling.

Speaker 1 (03:35):
Okay, guy, what's your relationship with this
album?

Speaker 3 (03:38):
it's my favorite brit pop album it is the soundtrack
of my youth, wow it was yeah,you guys might have been
definitely maybe here and moreand I was more morning glory
being younger than uh yeah both.

Speaker 1 (03:52):
Um, if you could sorry, if you could actually
bring up the fact that you'reyounger than us every time five
minutes yes, every episode fromhere on um.

Speaker 3 (04:00):
Yeah, yes, it is.
It is the soundtrack to youthclub.
You know hanging out at the oldwreck uh, kicking shit around
in the street yeah whatever youknow, I'm not even trying to be
cool.
I wasn't.
I was a terrible middle classwhite kid from the coxwoods.

Speaker 1 (04:16):
I was buying all of that I had.
I could imagine you playingfootball.
The image of bad boy guylangley, you were buying it were
you I was buying, I was buyinginto it, I was so bad.

Speaker 3 (04:26):
I might have done my homework at 5 pm instead of 4 pm
on the day.
Oh whoa, what a terrible childyou crazy rebel wow yeah, bloody
love, all right there's lots totalk about.

Speaker 1 (04:37):
Let's jump into this then.
So so, before we do, stevebefore we do.

Speaker 3 (04:41):
Um, yeah, I thought I should say that.
You know, some might say thatpuns are the absolute worst type
of humour known to mankind.
But hey, now come on, let'scast no shadow over good humour.
They're not actually even puns,to be fair.
What's the story, you ask?
Well, once you embrace thisworld of post-punage, you see it
everywhere you go.
You order a soup, you get aroll with it.

(05:05):
You knock over a promotional DomPerry on display and bam
champagne soup and over.
But alas, if you do want to goback to punish basics, don't
look back for bangers.
We're gonna have a wonderwalltime, the guts and the morning
glory.
Because she's eclectic.
She's what's the story, morningglory oh, beautiful, beautiful,
well done.

Speaker 2 (05:20):
You showed both of us how to do it, because we've
both had a go at that.

Speaker 3 (05:23):
That is awesome, well done.
That was very good.
I have to say that was banging.
Oh, by the way, swamp Song,swamp Song.

Speaker 1 (05:31):
I've got them all in Wow.

Speaker 3 (05:34):
Ooh 12.
I think so.
Yeah, actually I didn't Hello.

Speaker 1 (05:45):
I'm actually going you to repeat a pun because I,
as I mean, I loathe and detestpuns.
I just hate this because it'spart of the uh, the format now,
um, what was the?
Because?
The roll with it one was thefirst pun ever.
That's actually made me laughout loud rather than just groan
what, what was it?

Speaker 3 (05:54):
it wasn't really a pun, it was just you.
You order a soup, you get aroll with it.
Oh, lovely stuff it's verypleasing.

Speaker 1 (06:00):
It's very pleasing I'm quite taken aback by my
enjoyment of that.
I'm gonna have to go andreassess everything I know now
so what's your relationship withthis album, steve?
You haven't answered yourselfoh, wowzers, okay, um I.
I was a huge oasis fan,absolutely huge.
I loved it yeah, I was a hugemad into them um uh and mad for

(06:23):
it.
Indeed, and the the, the issuebeing, I don't want to come
across like muso blanco any morethan I already do in every
other you don't want to, youmight need to go back with a
heavy fine tooth comb editingall the past 55 episodes yeah,
well, I think that's the, that'sthe long-term project is
reclaiming my reputation by bycleaning up all the edits.

(06:46):
Um, my issue is, of course, thethe eternal one with oasis,
which is the b-side discussion.
Um, the b-side discussion being,um that it was.
It was an incredibly strangeperiod of time where that band
were releasing singles with two,three, possibly four b-sides on
that, in many, if not all,cases, were either as good as

(07:08):
what was on the album or betterthan what was on the album, and
that makes it a problematiclisten, because I saw an
interview with Noel Gelligan theother day saying well, that was
part of being an Oasis fan.
I don't think it's an issue atall and I agree with him, but
equally, it makes this album aproblematic listen in terms of,
in terms of do I listen to thisalbum straight through?

(07:31):
No, because there are two songsI've heard too many bloody
times and at least one that's abit crap.
I say a bit crap.
It's a lot crap, uh, and, andso I'm far more likely to listen
to to the version that I'veremade myself.
In fact, I listened to shout outto the Oasis podcast.
I listened to them earlier andthey did a whole episode doing

(07:51):
exactly what I would do, whichwas just the joy of you know.
What order would you put onthis album?

Speaker 2 (07:58):
Because the B-sides are so strong that you could
really.
The B-sides are ridiculous,yeah.

Speaker 1 (08:02):
I mean, there are at least two b-sides that we'll get
to that are are in the top fiveoasis songs of all time.
Uh, you know, and one of whichor noel thinks is the best song
he ever wrote.
So it's okay, it's.

Speaker 2 (08:14):
It's a discussion.
You don't have to find out whathe considers his best songs
ever in, because I don't know,so we'll find out later okay,
right, the first qualifyinground is hello.

Speaker 1 (08:22):
Finally we've got there.
Uh, hello against, roll with it.

Speaker 4 (08:40):
I don't feel as if I know you.
You take up all my time.
The days are long and thenights will throw you away,
Cause the sun don't shine.
You gotta roll with it.
You gotta take your time.
You gotta say what you say.

(09:02):
Don't let anybody get in yourway, Cause it's all too much for
me to take.
Don't ever stand aside, don'tever be denied.
You wanna be who you be ifyou're coming with me, I think
I've got a feeling I've lostinside.

(09:23):
I think I'm gonna take it away.

Speaker 2 (09:26):
That was a great opening round.
I applaud the person who didthe draw tonight and for once it
wasn't me.
So well done, it's a greatopening round.
It was only my fifth attempt,thanks.
I mean Oasis 94, they come outof.
Definitely maybe they smash it.
Britpop is at its absoluteheight.
The hype and the pressure forthis second album must have been

(09:47):
massive.
And they smash it in with Hello, which is such a great way to
open an album like.
It's just like.
Here we are, let's have it.
It's so them.
And they pull it off withaplomb and then the subsequent
album is brilliant.
So it's just like an act ofbravado that is fully justified.
It's great.
I love it as an opener for analbum I.
So it's just like an act ofbravado that is fully justified.
It's great.
I love it as an opener for analbum.
I think it's a very strongopener um and it's versus roll

(10:10):
with it, which is interestingbecause it's um, it's the only
song they recorded, live, um,and then they did the rest of
the album in a different waythan they had with um.
Definitely maybe um I I.
But I really love hello andnoel Gallagher said when asked
what was Roll With about.
He said it's about fuck all, soI'm voting for Hello is it me,

(10:31):
you're looking for it?
sure is, because I'm voting foryou.

Speaker 1 (10:33):
It sure is.
Love it, love it, love it, goon.

Speaker 3 (10:37):
I'm going to go well before I make my decision.
My hasty decision, I agree,hello was like it's such a great
opener.
Like you say it's great.
It's an often overlooked songby them, I think, because it is
essentially just there to servethe purpose of just being an
intro song, it feels like.
But even I mean even theproblematic Gary Glitter, yeah,
it's very problematic, isn't it?

Speaker 2 (10:58):
That is a little problematic, it's hugely
problematic.

Speaker 1 (11:06):
And he does have a songwriting credit on this, I
know because I had to give itside notes.
Side note because I don't knowhow popular gary glitter was in
america.
Side note gary glitter was anenglish musician in the 1970s
who was very popular in thegenre of glam rock.
Unfortunately, he's now a cardcarrying pedophile.
This is problematic.
Let's move on yeah, yes,absolutely.

Speaker 3 (11:23):
Um, it just sets you up for the rest of the record.
It's exciting.
It's just got an energy to it.
It's got it's a different soundto the last album that there's
more reverb as the drummerschange since the last record.
So you get this kind of muchmore.
There's much more ghost noteson the snare.
There's much more energy in thedrums that's what I was going
to say.

Speaker 1 (11:40):
More ghost notes on the snare.

Speaker 2 (11:42):
definitely, Definitely.
That was the biggest thing onyour notes, wasn't it Steve?

Speaker 1 (11:45):
That's word for word.
That's what I was going to say.
When I listen to it, I thinkabout those ghost notes.

Speaker 2 (11:53):
They are fantastic Because obviously the previous
album they had to mix the drumsin a certain way because of Tony
McCarroll.

Speaker 3 (12:00):
Yeah, and the first album is very much saved by the
mix, isn't it?
It's kind of slammed.
It's mixed by Owen Morris.
It's not produced by him.
It's famous for its mix.

Speaker 2 (12:07):
We covered it in an excellent episode.
I think it was episode four orfive of this podcast.

Speaker 1 (12:11):
Very early on in this podcast.

Speaker 2 (12:12):
But it came out all right in the end, didn't it?

Speaker 3 (12:14):
It did pretty well, didn't it?
So, yeah, hello, has thatenergy Roll with it.
Just makes me think of Blur,the Blur Oasis thing.
Now, yeah, so what?

Speaker 2 (12:25):
are you voting for?

Speaker 3 (12:25):
Because there's stuff to say about everything on
there so we need to know what'sgoing on so we can finish up.

Speaker 1 (12:31):
Yeah, it's going to be.
Hello, you're going to vote forwhat's just happened.
Hello's smashing Roll With it.

Speaker 3 (12:36):
Roll With.
It's great and I love how itsounds different and, like you
say, it's recorded live but is abit of a.

Speaker 2 (12:47):
It's just, it's all right.
Yeah, I've never been a massivefan, although it did, I love it
.
It did reach number two in theuk singles chart, so it did?

Speaker 1 (12:50):
what did?
Uh, what did noel say about?
About, roll with it, about thecompetition, the blur, the blur
versus oasis singles tell mewhat did he say this?

Speaker 2 (12:59):
we covered this story in a blur episode, but yeah, it
was basically a massive thing,wasn't it the he?

Speaker 1 (13:03):
said the blur.
The blur versus oasis singlesto number one.
Competition would have been farbetter if it hadn't been roll
with it and country fuckinghouse which were two terrible
songs if it'd been like.
If it'd been like girls andboys and supersonic it would
have been amazing, but it wasn'tand, yeah, fair play to I am
going to roll with it anyway.
Hello, I remembered as beingcrap.

(13:23):
Uh, in my head it was crap.
I've never re-listened to it,uh, I've, I don't.
I don't listen to this albumall the way through, despite you
know, as I say, I'll listen toselections of other things, uh,
that I've created.
However, in re-listening to thealbum proper, it was far, far
better than I remembered.
Uh, so it's not.
It's not the down vote.
I was intending I just preferroll with it.

(13:46):
So Hello goes through to thequarterfinals.
So now we've got hey Now versusshe's Electric.

Speaker 4 (13:55):
Just as the sky turned black, I took a walk with
my fames.
I'll never relay.
I never define my way back.
You know that I've got a sayTime slipping away, and what

(14:23):
will it hold for me?
She's electric.
She's in a family full ofeccentrics.
She's done things I've neverexpected and I need more time

(14:44):
she's got a sister.

Speaker 2 (14:45):
So I think, both have you done.
Yeah, this is interestingbecause he wrote hey Now, before
the sessions, because he saysif it's got more than two verses
on it, I wrote it before thesessions.

Speaker 1 (14:56):
Yeah, because everything else it just does the
first verse twice.
Because he's like I've not gota second verse, I'll just sing
the first one again.

Speaker 2 (15:02):
So, yeah, they turn up at Rockfield Studios in Wales
.
They're a massive band, huge,you know.
They've had this notoriety.
They've had the whole thingwith going on that comes up with
Blur.
So this is a big summer for us.
It just gets bigger.
But the pressure's already onwhen they go.
And he's only written half thealbum.
They've just been too busy.

(15:22):
And he's only written half thealbum.
They've just been too busy.
Pretty much a lot of the lyricsand finessing of the songs are
done in the studio and the restof the band haven't really heard
them.
They don't demo this album.
He just comes in, he puts downan acoustic and a guide vocal to
the click track and then theyjust build it from there.
So it's extraordinary that thisalbum was done in the speed

(15:43):
that it was done.
Spoiler alert, it was donebasically, he reckons, in 12 to
14 working days, which is almostunheard of, especially an album
like this.
It's not like a quick, sharppunk band.
This is like layered bigballadry.
It's extraordinary.
It is and hey, Now isapparently about being in a band
.
So that's interesting that thisband pulled that off.

(16:03):
And what's it against?
She's electric.
She's electric, yeah, which was, I believe, written for
definitely maybe and you can.

Speaker 1 (16:11):
I think you can hear that more.
It's more of a definitely maybesong well, it sounds like digs
his dinner and digs his dinner.
Just took.
It took its place because itwas apparently easier, better to
play live yeah, it was atoss-up between those two,
wasn't it?

Speaker 3 (16:23):
for me.
I'm voting for she's Electricbecause, it's.
I love the Beatles ending.
I love the sort of janglinessof it.
There's a deafness to thisalbum that you don't have on
previous Oasis records.
Maybe, okay, maybe whatever isan in between song, but there's
a sort of softness and there'smore acoustic guitars and
there's more acoustic guitarsand there's more clean guitars.

(16:43):
I don't know, it just feelslike there's a bit more.
It's them enjoying the studioand taking their Even though
they haven't got much time, butit feels like they're taking
more time and there's a bit morethought gone into the sonics
and the layering of sounds.
It's not just a live, raucousrehearsal room and I've always
just loved that guitar part,that sort of jangly clean,

(17:03):
smith's kind of guitar I thinkthat bit at the end of she's
electric the oh yeah, so beat isreally great is that is the
most beatles they've been upuntil that point like by like
200 percent, more than anythingelse.

Speaker 1 (17:15):
It's so clear isn't it it's so clear.
But what's the greatestinfluence on she's electric?
The kinks.
No, it is the theme tune toexcellent ITV British children's
TV programme you and Me, wow.

Speaker 2 (17:30):
What was that and what's the theme tune?
Pretty good theme tune.
Do you want to hear it?

Speaker 1 (17:33):
Yes, All right, here we go.
I'll put it on here we go.
We'll edit it in See if you canhear this.

Speaker 4 (17:44):
You and me, me and you.
That's a lot For you to and you, that's a lot For you to do.
That's a lot For you to see, meand you, you and me.

Speaker 2 (17:58):
I'm terrible at hearing these things.

Speaker 1 (17:59):
anyway, it's like, literally, you and me, me and
you, lots and lots for us to do,lots and lots for us to see.

Speaker 2 (18:05):
It's literally the same words and the same tune.

Speaker 1 (18:08):
How the fucking cunt can you not hear that?
What do you want?
A fucking map?
It's the same words and thesame fucking tune.
Jesus fuck, it's not exactlysubtle.
Oh my god.
Oh, I can't hear it.
I'm not very good at thesethings.
Have you got ears?

Speaker 3 (18:26):
I was waiting for it to do the she's Electric bit.
I was like where's the verse?
I can't hear it.
When do they talk?

Speaker 2 (18:30):
about your mother.
That's what I want to get toBrett.
What are you voting for, Brett?
So I'm going to vote for she's.
Electric is great.
It is very beastly.
But I really like hey Now, andagain.
Like you, Steve, I don'tremember being a massive fan of
it before, but I really enjoyedlistening back to it, so I'm
going to vote for hey Now okay,so well, I'm going to vote for

(18:50):
she's Electric because, hey, nowis a fucking stinker.

Speaker 1 (18:54):
Oh really, I think it's.
I think it's genuinely awful.
I think that, yes, I think fora number of specific I also.
I don't think Oasis do anythingas bad as this song, until
Little James, right.
I think everything on Be hereNow, including the B-sides, is

(19:14):
better than this fucking turd ofa song, right, I think, bearing
in mind that the whole album ismid-tempo, there is nothing
up-tempo on this album.
Everything is mid-tempo.
If you listen to the it's nottrue.
Which is fine.
I'm fine with that.
I love oasis's mid-tempo thing.
You know, the only b-side theyhad available that would have
upped the tempo was headshrinker yeah which is genuinely

(19:34):
a lesser track.
So that's not going to happen.
Right, hey, now the the versesare are so plodding, they're so,
and then you get to the chorus,which is one of the most
non-chorusy.
It's it.
The tune is bad, the words are,but every, and it's
interminably long.

(19:54):
It's about six minutes orsomething.
It's it's one of the worstthings they ever did.
And this is the point at whichthe whole oh, it was great.
Being a wasis fan, yeah, oh,the b-sides thing is just a bit
of banter, never mind aboutwhat's on the album.
This is the bit that ruins thatwhole argument.
For me, it's so bad and I adorethis band.
If that had been a b-side, itwould have been forgotten.

(20:14):
That's how weak it is rubbishwow, that's amazing.

Speaker 3 (20:18):
I mean don't hold back, just let us have it, would
you have put?

Speaker 2 (20:22):
me and you on before this me and you, you and me.

Speaker 1 (20:27):
She's electric.
I fancy her mom, that's how itwent I don't know how you didn't
get it.

Speaker 2 (20:33):
I gotta be honest I know we've got tin ears, sorry
dude.
Um, wow, that was a surprise.
I knew when you you said at thestart there was one song you
hated and I was trying to workout what it would be.
But I mean, I'm surprisedbecause I don't.

Speaker 1 (20:45):
I don't hate it, I'm just shocked by how we pretty
much do you do hate it?

Speaker 2 (20:49):
that's bullshit.
You do, you do hate it.

Speaker 1 (20:51):
I mean just just no, I don't I love everything.

Speaker 2 (20:54):
I mean listen back to what you just said about it and
how femininely you expressed it.
You have fucking hated it.
You called it a turd of a song,the worst thing they did until
little james it's a stinker, I'dlove to see you talk about a
song you actually hate.

Speaker 1 (21:05):
No, I enjoy listening to it in a way, because the
thing is, it reminds me, itgives me that 1995 feeling.
So I don't, you know it's, Istill have it in the back, I
still had it on the radio and itstill made me feel like it's
1995 and the sun shining andeverything is possible.
So I can't say, I can't saywith hand on heart, that I hate
it.
I was just in the same way thatI was extremely pleasantly
surprised by how good hello cameup.

(21:26):
I was genuinely taken aback byhow weak this is.
Uh, really taken aback.
So yeah, she's electric goesthrough right.

Speaker 4 (21:34):
Okay, next, cast no shadow versus some might say,
here's the thought for every manwho tries to understand what is
in his hands, he walks alongthe open road of love and life,

(21:55):
surviving if he can Surviving ifhe can.
Bound with all the weight of allthe words he'd try to say,
chained to all the places thathe never wished to stay, bound
with all the weight of all thewords he'd try to say as he

(22:22):
faced the sun, he casts noshadow.
Some might say that sunshinefollows thunder.
Go and tell it to the man whocannot shine.

(22:42):
Some might say that we shouldnever ponder On our thoughts
today, cause they all sway fromthe time.
Some might say we will find abrighter day.

Speaker 2 (23:09):
What some might say is the only appearance on this
album of Tony McCarroll.
They recorded the single andbasically they went to.
I think the inciting incidentfor McCarroll to get the
heave-ho was obviously it hadbeen the original drummer in the
band Rain, I think with Bonetand Gwixie.
Well done better.
Foe was um.
Obviously it'd been theoriginal drummer in the band
rain, I think with um boneheadand uh gweeksy.

(23:30):
Um, well done better.
Thank you, um.
And they played this show, thewhiskey go-go.
They'd done their kind of umreveal show in america and it'd
gone fucking awful.
And and noel ganniger was so isthat?

Speaker 1 (23:44):
is that the famous one where they're on meth?

Speaker 2 (23:46):
yeah, and the bass amp blows up and they start
again and there's all thesefamous sexy people there and
it's like, yeah, you're going tobe great.
And the comp there reallybuilds them up.
And you're like, oh, fuck, youknow, just let us get on and
play man.
And it's just like, oh, it's anabsolute damp squib, a disaster
.
And Noel nicks the tour floatand goes off to San Francisco

(24:07):
and writes Talk Tonight in thatweek yes, with tune.
But in that point he comes upwith a plan listen, we've got to
make it more professional,we've got to sack him.
And I think they had tried,they'd taken him to drum
teachers and stuff like that,and they just said, I don't mean
for whatever reason, who knows,but McCarroll, basically, I
think they weren't professionalenough and my, my feeling about

(24:27):
that is that, um, you know,they're all on drugs and stuff.
He had to make.
Uh, he had to make a statementand someone had to go and carry
the can and I think mccarrollwas the easiest person to carry
the can.

Speaker 1 (24:37):
Unfortunately, he did only have about two drum beats,
though, and I mean I I amterrible at hearing drum beats,
and if I can hear that he onlyhad about two things, that he
knew.
There were not enough ghostnotes.
If he played more ghost notes,he could have been still playing
for them now.

Speaker 2 (24:51):
Just a bit scarier on the drums, but scary in the
wrong way.
I mean.
You've just got to feel forTony McCann.
I really enjoyed his drummingon Definitely Maybe.
I think it's perfect on a lotof his drumming on that album.

Speaker 1 (25:02):
It does work really well, yeah, but it doesn't work
on this and alan white reallybrings a flavor to it.

Speaker 2 (25:06):
Yeah, I mean, you can really really hear this album
is yeah, definitely wouldn'thave been able to build it this
way without alan white, and Imight get to that later a bit
more about that, but yeah, Imean also also some might say
was wildly out of time.

Speaker 1 (25:20):
Apparently, yeah that they that they had to put a lot
of those weird sound effectsand stuff all over it and and do
like loads of studio trickeryto get it in time because
everyone liked liam's vocal somuch that they're like we have
to keep that take.
But he's like, yeah, but itkeeps getting out of time
they're like just just sort itout with some studio trickery
mate.

Speaker 2 (25:37):
Oh thanks, just whack it.
Yeah, whack it down in the mix.
I mean, which is very hard todo on it for a rock band to
whack the drums down on thechorus.
That's not really what you'dwant to do, but yeah, I mean, he
had to.
He went and you've got to feelsorry for him because, like you
know he's, he's joined the bestclub, hasn't he?
The peak, best club of just?

Speaker 1 (25:53):
having to show incredible which, ironically,
isn't the best club.

Speaker 2 (25:56):
No, it's really not, it's really not.
I mean arguably the worst clubreally such a bad name, isn't it
?
I mean, yeah, but both thosemen and other people like that
have had to deal with that mustbe so hard, and both of them are
showing great strength to justcarry on and just, yeah, keep
get through the day like, yes,can you imagine getting sacked
and then that becoming thebiggest band in the world even

(26:17):
now, like with the, the wholereunion thing kicking off, and
like just that's then yourlegacy, that's then your whole,
your whole life legacy.

Speaker 1 (26:23):
Yeah, awful, you've got to feel for him, for sure,
yeah, yeah, um.

Speaker 2 (26:26):
So anyway, he's, he's drumming on that.
He's only uh drumming a bitsince album.
Uh, I mean I I do, like somemight say, um, and I think I've
got it as a single.
I bought it as a single when itcame out, but I'm gonna vote
for cast no shadow okay,interesting guy.

Speaker 3 (26:43):
Yeah, well, some might say that's their first
ever song to go to number one,isn't it?
Yeah, I believe so, um it was,and yeah, that, that, that
single.
I mean I don't know how much wewant to talk about it, but that
single is probably one of thebest pop singles I ever owned in
terms of you got some might sayyou've got acquiesce, you've
got head shrinker, you've gottalk tonight.

(27:03):
That's unbelievable.
I mean acquiesce is it is,isn't it it is?

Speaker 1 (27:12):
How have we got hey Now and not Acquiesce?
And again, it doesn't matterbecause we've got Acquiesce,
because people were genuinelylistening to those B-sides, but
Acquiesce is easily top fiveOasis songs ever.

Speaker 3 (27:21):
Some people would say it's top three, top two, it's
in my top three, for sure, Ithink the reality is like you
say.
They were kind of on a bit of awhirlwind.
They didn't really stop.
They went straight into thestudio.
You made the album, then youhad to make some b-sides at a
later date.
It was just kind of when youhad the moment to put them down.
It was kind of more like abeatles mentality.
It's kind of similar, isn't it?

Speaker 1 (27:39):
yeah, it is, and it is part of the fun and I I will
rant about it and stuff, but itis part of the fun of that time
and I loved it um.

Speaker 3 (27:47):
So yeah, some some might say was.
It was a big record for megrowing up, cast in a shadow.
I loved um.
It has a real nice softacoustic thing which again goes
in hand in hand and the drummingagain is brilliant.
Um, but um, some might say forme is is is just magical.
Maybe, maybe because of theb-sides, but I do love the, uh,
the kind of unrelentingcacophony of that last chorus,

(28:09):
where it's just a wall of soundand there's.

Speaker 1 (28:12):
So I love the thing I one of the things I've
forgotten again is how much noelgallagher was into weird sound
effects at this particular pointobviously be here now.
It's not weird sound effects somuch, it's more.
Just 37 guitars on every track.
But.
But this album has weird soundeffects everywhere.
It's a helicopter, it's thebirds tweeting, it's the sea
lapping on the shore, it's somesort of weird effect over across

(28:33):
the middle of.
Some might say that nobodyknows what it is.

Speaker 3 (28:36):
You know, there's there's so much weird sort of bb
, bbc, radio, phonic workshopstuff going on, uh, which I've
totally forgotten about yeah,well, there's lots of little
acoustic intros to songs andthen they kind of go you know
Wonderwall's kind of indifferent places, isn't it?

Speaker 1 (28:53):
Yeah, also, some of those introductions are iconic
in themselves and again, I dothink that, however good Hello
is as an opener, because it'scalled Hello, ha ha ha,
brilliant.
You know it's like.
Can you imagine Acquiesce andagain shout out to the Oasis
podcast, because I was remindedof this by them today?
Imagine opening the album withAcquiesce, because, if you
remember that bit at thebeginning, is him going what's

(29:13):
the?
story, and then Acquiesce comesin and it would have been the
best opening trailer for therest of the album well, they do
trail Wonderwall, don't they?

Speaker 2 (29:23):
at the start?
They do they play the chords onWonderwall right.

Speaker 1 (29:27):
So we've got one for cast no shadow, one for some
might say I have to say I, I Inever, never at the time and not
since re-listening to itthought cast no shadow was as
good as its reputation.
Uh, noel described it in aninterview I saw recently as a
bit half baked in terms of theway that the recording I think
the country, the sort of vaguelycountry style slide guitar, is

(29:49):
totally that.
I think it's misjudged.
I don't think it's stood thetest of time.
I just don't think this song isas good as its reputation.
I think it's a lesser song.
Yes, it was written technicallyeither dedicated to Richard
Ashcroft when the Verve broke upor written about him, depending
on when, when you ask Noel, um,but but you know it's for me

(30:11):
it's, it's one of the lessertracks on here.
Some might say just has thatexcitement again, as you say,
because we have that extra timewith it.
I can't hear some might sayenough really.

Speaker 2 (30:20):
Uh, I love it and he nicked the chords opening chords
of this from wish you were here.
Yes, and he's very happy totell you where he's got stuff
from.
He actually got us a greatquote here.
No, gallagher, I'm not a genius, I'm just a fan of music with a
good knack for putting shitstogether.

(30:41):
Nothing is original.

Speaker 1 (30:43):
There's only 12 notes , anyway uh, some might say,
goes through.
So now controversially, becausewe had to to get a um, the
correct number of uh tracks tomake up the listing here this is
controversial the, the.
We've got swamp songs, one andtwo, uh, which I've put together
because why not, uh?
But more more controversiallythan that, we've got Bonehead's

(31:05):
Bank Holiday.

Speaker 4 (31:32):
We'll be right back.
What's your excuse for puttingthat on?

Speaker 1 (31:53):
My excuse is that it wasn't a B-side, but it was sort
of technically on the album,because if you bought the vinyl
edition it was on the vinyledition.
So arguably it was on what'sthe Story Morning.

Speaker 2 (32:05):
Glory, Not was this 95.
Absolutely no one was buyingvinyl in 95 95.
It was as uncool as it's everbeen to buy vinyl in 1995 it was
a single for your walkman towalk, to walking around town
looking cool or strolling aroundtown in in your, in your oasis
strut, but it suits my cd?

Speaker 1 (32:23):
yeah, but it suits my , uh, my mentality because, um,
it wasn't something that's beenlike in our previous episode
with Jeff Buckley.
It's not something that's beenposthumously added.
It was technically on the albumfrom day one if you bought the
album in that format.
So Bonehead's Back.
I don't feel that we're goingto be here for very long.

Speaker 2 (32:42):
No, this is really.
I'm representing this album.
This is a great album and theseare not.

Speaker 1 (32:46):
Yeah, bonehead's Bank Holiday or Swamp Song people.

Speaker 2 (32:50):
Let's get them done.
I'm going to go Swamp Song.
I think it was used in a filmonce.

Speaker 4 (32:53):
And Bonehead's Bank Holiday is just them.

Speaker 3 (32:57):
It was used in a film .
That's enough.

Speaker 2 (32:59):
That's enough.

Speaker 1 (33:03):
Well, Bonehead's Bank Holiday is not going to be used
in like a carry-on film I mean,I think they're pushing the
luck.

Speaker 2 (33:09):
I think they're trying to do like a kind of um
you know my name, look up mynumber type beatles thing, and I
just don't think they've gotthe right type of charm to pull
it off.
They've got a charm, loads ofit, but just not that type of
charm and yeah, it's just noit's too much, it's much longer
than swamp song as well yeah,there's not a lot to say about
Burnhead's Bank Holiday.

Speaker 1 (33:27):
It's there, it's fun, it's listenable, but there you
go.

Speaker 2 (33:30):
I'm voting for Swamp Song.
What are you going to vote for,Guy?

Speaker 3 (33:32):
Well, I was going to say there's a great video of
Burnhead's Bank Holiday where hesaid an explanation about he
was meant to sing it like aRingo moment.
It was meant to be a kind ofget a few drinks with him to get
some confidence up, and then hejust sort of got so pissed with
liam.
That's why there's an absolutecacophony of them just mumbling
through the lyrics and it's it's.

(33:53):
It's just a mess, but that iskind of a charm of it.

Speaker 2 (33:56):
Okay, that makes it more charming.
I mean, in a lot of theinterviews with there's an
interview of liam gallagher andbonehead talking about it and
they're like yeah, yeah, we justdid our stuff between you know,
about 11 and 2, and then wewere down the pub.
It was happy hour at about 6,so we wanted to get down the pub
.
So those are great pubs in thetown.
So basically the way the albumworked was like I think Noel
Gallagher was there a lot oftime and then they would come in
and do their bits over the topand then he'd carry on.

Speaker 3 (34:28):
He was there like again, I love.
I love the sort of you ever sayyou'd never say that oasis are
artsy, but it gives the albumjust a nice little bit of
artsiness and a bit of like.
It's almost taking you on a bitof a psychedelic little trip in
and out of different worldsyeah, it's kind of a 90s thing
to do that kind of short littlesong.

Speaker 2 (34:38):
Blur did it a lot, didn't.
They were like they're.

Speaker 1 (34:40):
They're kind of okay, your question for the points is
what was it called before andwhy did they change the name of
it?

Speaker 2 (34:47):
oh, I don't know, song or something, yeah, close
can't give you more than that onthe road again rip off.

Speaker 1 (34:56):
No, it was called the jam which is fair enough
because it was a jam.
Why did they change the namefrom the jam?

Speaker 2 (35:02):
because paul weller was turning it.

Speaker 1 (35:03):
They don't want to confuse themselves because paul
weller played harmonica on it,and they felt that having a song
called the Because Paul Wellerplayed harmonica on it and they
felt that having a song calledthe Jam, with someone from the
Jam playing on it, was too metaToo meta oh, that's brilliant.
I love that.
Oh, they should have kept it.

Speaker 2 (35:18):
I'd have liked it a lot more.
That's great.
Yeah, yeah, that's good.
I love it.

Speaker 4 (35:35):
Right, we on to the quarterfinals.
So the first quarterfinal isfor the first time in this
competition.
Do do not please look back inanger versus hello.
Slip inside the eye of yourmind, don't you know?
You might find a better placeto play.
You said that you've never been, but all the things that you've
seen Slowly fade away.
So I start a revolution from mybed, cause, you said, the

(36:00):
brains I had went to my head.
Step outside summertime andstand up beside the fireplace.
Take that look from off yourface.
You ain't ever gonna burn myheart out of the rain.

(36:22):
It's never gonna be the sameTill I find you Come to my house
this age, alone alone, alonealone, alone alone, alone alone,
wow, okay.

Speaker 2 (36:42):
Well, I feel this has been quite straightforward.
He said the best songs justcome to me, fully formed.
I don't know who Sally is.
No one does.

Speaker 1 (36:53):
Well, he said that, but did you hear those lovely
two stories about what hispossible ideas might be?

Speaker 2 (36:59):
Oh, there's one really good one.
Yes, I do know one of themwhich is related to the Stone
Roses.

Speaker 1 (37:04):
Well, if you can work it out, the relation was oh, is
Sally Sally Cinnamon, yeah, butsomebody to the stone roses,
well, the, if you can work itout, the relation was oh is um
sally sally cinnamon, yeah butsomebody, somebody said that to
him years later and he's like,oh, I wish I thought of that
because I could have dined outamazing but the thing is,
apparently he was, he was mashedup, uh, the night before he
wrote it in a strip club, right,and he has since wondered if
sally is a stripper, but doesn'tknow because can't remember

(37:26):
writing it, wow, so okay thereyou go.

Speaker 2 (37:29):
I like that it's nice .
No, it's good.

Speaker 1 (37:31):
What are you voting for, brett?

Speaker 2 (37:34):
um, well, I think hello is a great way to open an
album.
But, um, yeah, don't look backin anger is like an anthemic,
huge, huge song for them.
It's I think it's their secondmost streamed song.
I mean it shows how big it is.
It has massive weight with themwhen they play it live.
So, yeah, I'll have to vote forDon't Look Back in Anger of

(37:55):
course you will right.

Speaker 3 (37:56):
Guy, if it was Acquiesce opening the album,
we'd be in a different position.
But it's not like you saythat's it that's it that's

Speaker 2 (38:14):
it chat is done.
I will not acquiesce to hearmore about it.

Speaker 1 (38:18):
Okay, I forgive whatever you're saying, because
that was quite good.
Um, okay, don't look back inanger.
It somewhat inevitably goesthrough uh to the semis, uh,
three nil, and we'll talk aboutthat a bit more later.
Then we've got uh she'selectric, which has come through
from the qualifiers.
I sound like I know what I'mtalking about for a change.

Speaker 2 (38:35):
I'm beginning to to learn how this works.
You're going to start talkingabout ghost notes soon, with
genuine authority, which will beterrifying.

Speaker 1 (38:43):
She's Electric versus Wonderwall, and I want you to
know I've got my mind made upnow, but I need more time and I
want you to say Do you know what?

Speaker 4 (39:06):
I'm saying, but I need more Cause.
I'll be you and you'll be me.
There's lots and lots for us tosee, lots and lots for us to do
.
She's electric, I'm electric.
Today is gonna be the day thatthey're gonna throw it back to

(39:31):
you.
By now, you should have somehowrealised what you gotta do.
I don't believe that anybodyfeels the way I do.
By now, you should have somehowrealised what you gotta do.
I don't believe that anybodyfeels the way I do about you.

(39:51):
Now, backbeat, the word is onthe street that the fire in your
heart is out.

Speaker 2 (39:53):
Wow.
Well, I've never heard ofWunderball, so you'll have to
tell me a bit about it.

Speaker 1 (39:57):
Yeah, I heard it for the first time listening to this
album.

Speaker 2 (39:59):
Oh did you?
Yeah, so we've got she'sElectric, the Beatles-y one
which you two both liked, versusno.

Speaker 1 (40:08):
No, I liked it more than hey Now, because hey Now's
a stinker, a turd of a song, Ithink was the phrase A turd of a
song.
It was actual phraseology.

Speaker 2 (40:16):
Um so wonderwall is such a massive song that you, mr
sumner, have coined a phrasethat is trademark mccartney and
goal to describe any song thatgets overplayed the wonderwall
syndrome wonderwall syndrome,probably every episode.

Speaker 1 (40:33):
You've trotted that one out, yeah wonderwall
syndrome is quite literallyyou've heard a song too many
times, you can't hear it anymore.

Speaker 2 (40:39):
You can't so what's this song got?

Speaker 4 (40:43):
it's self-syndrome.

Speaker 1 (40:45):
The thing is I I don't have wonderwall syndrome
with wonderwall of all thecapricious shit you've ever
pulled back.

Speaker 2 (40:55):
It's just you've got no credibility.
Man, what are you doing?
No, listen, no, hear me out.

Speaker 1 (41:00):
I did for a very long time and as a result of having
it so badly for so many yearsI've.
I've had a decade and a half atleast, maybe two whole decades
off, so it finally came up fresh.
So it's a it's a fair thing tohave invented wonderwall
syndrome based on a song I'dheard too often, but I I backed
off from it and it came up welloh my god, listeners are you

(41:24):
listening for?

Speaker 2 (41:24):
wonderwall.
Anyone who's stuck with us fora lot of episodes will be like
what you can never usewonderwall syndrome.
Now you've got to develop,you've got to coin the phrase
wonderwall boomerang syndromewhen a song is so overplayed for
you, then you give it a largechunk of your life to not listen
to it and then you come back toit fresh.
Come back to it it's gotwonderwall boomerang syndrome.

Speaker 1 (41:43):
I've got wonderwall.
Boomerang syndrome withwonderwall oh my god also, to be
fair, however much I've killedmy credibility in voting for
wonderwall here, if I don't,I'll be the guy that voted
against wonderwall and saidshe's electric was better, which
will make me look even lesscredible.
So, it's slim picking.

Speaker 2 (41:59):
Yeah, that's true.
That is true, guy.

Speaker 3 (42:02):
Right, talk some sense.
It's a very quick conversation.
Wonderwall is great.
We're going to talk about itlots more, so I'm just going to
vote for Wonderwall.
She's Electric is a lovely song.
I love it.
It makes me happy.
It does remind me of a kids.

Speaker 2 (42:16):
TV theme tune no matter what you say, but it's.

Speaker 3 (42:21):
Yeah, it's not Wonderwall.
There's something aboutWonderwall which we'll get into.

Speaker 2 (42:25):
That beats it hands down yeah, and there's a nice
little falsetto on she'sElectric by Liam Gallagher,
which is very rare, a LiamGallagher falsetto.

Speaker 3 (42:32):
Both these songs are actually vocally, probably two
of my favorite liam vocals yesbecause of his sort of falsetto
moments and just the tone of hisvoice.
If you really ab sort of um,definitely maybe era track, uh,
a morning glory era track, andobviously then beyond he's in
the sort of sweet spot wherehe's his voice is strong enough

(42:53):
to kind of sing and have a realrichness to it before it gets
absolutely shredded and fucked.
But it has more weight and morestability than the first album.
It feels fuller and richer andit's just a nice coming together
, I think on these two songs,particularly Wonderwall, where
you get to hear his vocalregister really nicely- yeah,
his singing on this album isjust incredible.

Speaker 2 (43:13):
His voice is just at peak power.
Oh, it's incredible, justincredible.
His voice is just at peak powerand just it's incredible.
You, you, the, you can see whyum Gwiggsie and Bonet asked him
to join their band and you cansee why when Noel Gallagher went
to see them live, and okay,I've got to join this band and
write the songs, because thatthat voice is just unbelievable.
There's almost a pressure onLiam Gallagher is, basically he

(43:33):
is just probably, you know,obviously would have been
untutored in singing and and Idon't even think he played the
guitar, so he wouldn't havereally trained his voice and
that's, he's just an absolutenatural.
So to then have to go aroundand tour as much as they did
with trying to recreate thesevocals, which are hardcore,
grating, massive rock soundvocals, oh my gosh.

(43:54):
The pressure on him to do thatwould have been very hard and
there's some stories later on wemight get to that would
illuminate that he was feelingthe pressure of having to
reproduce, like you know, towork, you know to challenge
himself, to maintain his ownstandards, very, very hard can I
, can I ask I'm gonna pick youup on something here.

Speaker 1 (44:12):
Okay, this untutored thing.
I don't can explain what youmean in that.
He was untutored.
Well, he's got to.

Speaker 2 (44:20):
So one way you can choose yourself in singing is to
play the guitar and you'lldevelop your ear.
You're pitching so you can hearit.
You can do that and you cantrain your muscle memory.
So when you sing live, you'vetrained your voice to react in
the way you want it to and itwon't just do some weird,
surprising shit.
The other thing that'd beuntutored was probably he
wouldn't have done I would doubtvery much at that time he would
have done vocal warm-ups for agig.

(44:41):
He wouldn't have done things toprotect his voice, he'd have
taken drugs, he would have drunk, he'd have shouted, he'd have
gone out after gigs and shoutedand talked to people and been up
till 4am in the morning allthings which will rag your vocal
cords as fuck.
And then when you build amassive financial vehicle around
it like a hundred date worldtour afterwards which is sold
out, if your singer goes downwith a fucked vocal cords,

(45:03):
you're fucked.
Yeah, yeah, he untuned andthat's and that happens a lot of
bands a lot of bands have tohave.

Speaker 1 (45:07):
That's vocal.
Not what I thought you meant atall.
That makes a lot more sense.

Speaker 2 (45:10):
I mean, I mean, he's an amazing singer.
Um yeah, just incrediblynatural are you voting for
wonderwall?

Speaker 1 (45:15):
yes, yes.

Speaker 2 (45:16):
I am.

Speaker 1 (45:17):
OK, that's good, fair enough.
Is now the time to have thediscussion about?
Don't Look Back in Anger andWonderwall, because Noel gave
Liam both those songs and gavehim a choice and said which one
do you want to sing?
He wanted to sing one, did he?
Well, he just said look, I'mgoing to sing one of these two
songs.
Which one do you want?
And so the question is whichcamp are you in?

(45:38):
Are you in the camp that theymade the right decisions?
I, I, I discovered recentlywhich camp I'm in because, again
, I, I heard it's on the oasispodcast today and, uh, and I'd
never thought of this before andthey've completely convinced me
as to what should have happenedum, which camps you in?

Speaker 2 (45:54):
well, I'm definitely in in the as it is, camp like
wonderwall is perfect for liamgallagher's vocal and not for
noel gallagher's vocal.
And don't look back in.
Anger has that huge high notein it that I don't think um
would have suited liam.
Yeah, yeah, absolutely right,yeah, yeah so definitely, as it
was, they chose right as the twobillion streams for wonderwall

(46:16):
proves and the one billion fordon't look back in anger uh, guy
, I'm the same I do.

Speaker 3 (46:21):
However, I do think liam could have absolutely
destroyed in a good way.
Uh, don't look back in anger,um, but I don't think.
I don't think noel could havesung wonderwall.
He just he doesn't have thewarmth in his voice.
It's a very thin, narrow, pinchsort of vocal compared to
liam's.
So as much, I mean, I'm temptedto use AI to actually listen to
what Don't Look Back in Angerwould sound like with Liam on,
because I'm sure it would soundbloody awesome.

Speaker 1 (46:42):
But he's done it live .
He's done it live acapellarecently, so you can do it right
, there is a third option, whichis where I've landed.
Here we go.

Speaker 2 (46:52):
You didn't give us the third option.

Speaker 1 (46:54):
Well, I know, but I just wanted to see if it was.

Speaker 2 (46:56):
It's the same with fucking Wonderwall Syndrome, and
now I'm liking WonderwallSyndrome Unbelievable.

Speaker 1 (47:00):
Did you expect any less, Brett?

Speaker 2 (47:01):
No, that's true, You're a slippery customer.

Speaker 1 (47:04):
I don't have any integrity, as has previously
been discussed, so let's notworry.
So third option is Wonderwallstays as it is, because clearly
Liam should have sung.
It.
Don't look back in.
Anger gets the acquiescetreatment, which is to say that
liam liam does those amazingverses and then noel comes in
for that soaring chorus.
Oh yeah, once you've heard thatidea.
You can't unhear, no, that is,that is epic.

Speaker 3 (47:27):
I mean there is a reason why that work acquiesce
is so good.

Speaker 1 (47:29):
It is that vocal switch when he comes back in for
the verse liam after that firstchorus the only argument
against doing it is thatacquiesce had done it.
Other than that, I think it's.

Speaker 3 (47:38):
Yeah, it's a good idea.
I think it would have been agreat.
I'm happy the way it turned out.

Speaker 1 (47:43):
Yeah, no, it's fine, it's just once I heard the idea
I was like oh wow, kind of blewmy mind a bit Right.

Speaker 4 (47:48):
The next quarterfinal is, some Might Say which has

(48:20):
come through and against Champover for the first time.
No decoration.
Call my reputation once again.
Someday you will find me Caughtbeneath the landslide In a
champagne supernova in the sky.
Someday you will find me Caughtbeneath the landslide In a

(48:41):
champagne supernova.

Speaker 2 (48:44):
Oh, ok, well, I mean A lot of people like champagne,
supernova.
I think it's the same for me asCast.
No Shadow was for you, steve.
I'm just not that big a fan ofit Really.
Yeah, it's Paul Weller on soloon this one.
Yeah, no shadow was for you,steve, I'm just not that bigger
fan of it.
Really interesting, that's veryyeah it's paul weller on, solo
on this one yeah yeah the secondsolo.

Speaker 1 (49:02):
I think noel does that first one and then you can
hear that okay, switch betweenthe two.

Speaker 2 (49:05):
Yeah, yeah I mean, it's a really nice vocal from
liam gallagher.
I do like it.
I just I don't think I can getpast slowly walking down the
hall faster than a cannonballline.
I just.
I know a lot of people love it.
I know they do.
I think you're splitting thetwo with this song.
Most people will love it andthat's amazing and other people.

Speaker 3 (49:24):
I think that is the beauty of Oasis, though right,
it's the fact that some of thelines, when you read them
written down, it is like GCSE orsomething like that year nine
kind of level sort of rhymingpoetry.
But but because liam gallaghersings it, yeah, it just works.

Speaker 1 (49:38):
I think that's the thing is some of I mean so many
of noel's lyrics are absolutelyshocking.
And sometimes they're shockingand they sort of work for you
and and if they don't, it juststands out.
So you know, I mean some of thelines in.
Some might say like you know,the itching in the kitchen and
the all that stuff.
I mean it's just there's somany just like shocking lyrics
in that, but it's so good, uh,in the way that it's delivered.

(50:00):
You just don't care.
And for me, and again, Iwouldn't ever question someone
who has a line stands out anddoesn't doesn't like it because
there's so many options so fast.
And I love the cannonball line,but I totally know, and he's,
he writes obviously great lyrics.

Speaker 2 (50:15):
I mean he does, but he takes a real risk to really
push the boundaries and that'show you write something that's
really memorable.
So he's not hiding away, but hedid.
I mean it's just.
It just doesn't work for me andit does, it just bugs me every
time I hear it.
Basically it was about, youknow, those puppet shows like
Trumpetown and Camberwick Greenwhich are like again, children's

(50:38):
television programs from the70s hey us listeners.
This is exciting chat.
You can really get on boardwith.
Um, and it was just thischaracter that would very slowly
walk down the corridor and itwas bracket the butler and
that's what he wrote that lineabout.
And then he said I couldn'tthink of anything to rhyme apart
from cannonball.
We've slowly walking down thehall, so that's why I did it
yeah, but I like the juxtapose,I like the.

Speaker 1 (50:58):
It's the oxymoron of uh, slowly, but faster than a
cannonball, which is I love.
Yeah, I love that, um, whatyou're voting for, uh, you're
voting for.
Some might say that yeah, I am,and I'm gonna go for.

Speaker 3 (51:10):
Uh, champagne's been over.
It's kind of got a bit offlower of power.
It's got a bit of you know,having the guest guitar.
It reminds me of sort of, whilemy guitar gently weeps.
It's got a sophistication thatsome might say is great.
It's like a sugar rush.
It's great, I love it.
Champagne supernova is like asort of more of a fine wine yeah
, yeah, yeah, no, I also it does.

Speaker 2 (51:29):
Champagne is a fine wine, so that's correct is it?

Speaker 1 (51:32):
isn't it just champagne?
I don't really know.
Um, I'm out of my depth here.
I don't know where they crosson the Venn diagram of wines
slash champagnes.
All right, I'm definitelyvoting Champagne Supernova.
I love it, always did, I thinkit was it's you know.
I love the fact that it's sucha.
I'm doing a big, long, slow onefor the closer now and it's
like, yep, I love your intentionthere.

(51:53):
I love your intention there.
I love that it's like there'sno hiding behind any pretence
here whatsoever.
That's what I'm doing and I'mgoing to nail it and it's going
to be really fucking long.
Great, love it.
Love all the sound effects.
Love the solos.
Love the fact that it's justthe same words over and over
again, the sort of mantra-nessof it.
Love it so that goes through.
And then, finally, our lastquarterfinal is Swamp Song 1 and

(52:16):
2 versus Morning Glory.

Speaker 4 (52:45):
Thank you.

Speaker 2 (53:34):
I gave you kudos to start off with a great draw and
then you've ruined it with thatMorning Glory straight through.

Speaker 1 (53:39):
That's not a draw.
The Morning Glory's alreadythrough and Swamp Song's come
through from the last round.

Speaker 2 (53:44):
To get to this point where we're even talking about
Swamp Song in the quarterfinalswhen we've already got rid of
other great songs.
Disgraceful, disgraceful.

Speaker 1 (53:52):
Anyway, move on, move on.

Speaker 2 (53:58):
I'm voting for morning glory, obviously okay,
okay I know guy's a big swampsong part two fan, so it's going
to go down to you for thedecider.

Speaker 1 (54:02):
Yeah, okay, uh guy, uh, yeah, it's morning glory,
there's morning glory, morningglory, go see right.
So there will now be a briefinterlude when, for the first
time in the history of mccartneyand goal we, we do an episode
within an episode.
We are going to now vote on, uh, all of the b-sides very
quickly and do exactly the sameformat as we do in a mccartney
goal episode.
However, the rules are all ofyour b-side chat is allowed in

(54:26):
the wider episode.
There is no b-side chat allowedwhatsoever here.

Speaker 2 (54:30):
All you can do is vote we can't come up with
interesting anecdotes or no.
Anecdotes or chats, no, no,just a little bit yep, tiny bit,
no, squeeze it no.

Speaker 1 (54:40):
So here we go, nice and quickly head drinker versus
talk tonight head drinker uhfuck, why did you do this?

Speaker 2 (54:47):
I love both of them.

Speaker 1 (54:48):
Uh, fuck it head drinker oh, I would have voted
talk tonight.
Right head drinker goes through.

Speaker 2 (54:55):
It's better people versus step out step out is
apparently going to be sorry,okay step away from the fact.

Speaker 1 (55:04):
Step away from the fact, for the fact down that's
one for it's better people guy,what you vote for.
Step out, step out.
Oh, this is really hard.
Step out, okay, correctdecision okay, going through.

Speaker 2 (55:17):
Sorry, it's better, people's gone right underneath
the sky versus round our way,don't talk I would have
preferred up in the sky um roundour way obviously right guy.

Speaker 1 (55:27):
I said round our way, right.
Oh, I didn't hear you, it'sapologies.
Right round the way goesthrough, uh three quite rightly,
uh acquiesce.

Speaker 2 (55:35):
This is rocking yes, on, move on.

Speaker 3 (55:38):
Rocking Chair.
I'm joking, it's Acquiesce.
He's joking, of course he'sflicking it, look up.

Speaker 2 (55:44):
Steve, we've got a bit scared there.
Right semi-final of this Quickfinal round Go.

Speaker 1 (55:48):
Don't talk, move it Quick.

Speaker 3 (55:55):
Head Drinker obviously.

Speaker 2 (55:57):
Head.
Drinker Step out Head Drinkerit's Head.

Speaker 1 (55:58):
Drinker Head Drinker goes through.
That's insane.
I don't know what's happeninghere.
Move on, no time.
Okay, round Our Way versusAcquiesce.

Speaker 2 (56:07):
Acquiesce, obviously Acquiesce.
It's fucking amazing.

Speaker 1 (56:10):
Okay, this is insane that Head.
Drinker's got this far, it hasas far it has, though um okay
head shrinker versus acquiesceacquiesce acquiesce, okay,
acquiesce is one amazing yeah,we all knew it was just realized
that I didn't put the masterplan on.

Speaker 2 (56:23):
I can't believe that that's completely I did wonder
what your master plan was, andit was to completely fuck up and
realize right at the end.
You forgot to put it on.

Speaker 1 (56:34):
Amazing okay, so.
So, steve, that was a brilliant, brilliant move, until you
realized that, uh to, to put youout of your misery, brett, that
the best song noel thinks heever wrote was indeed the master
plan, and I forgot to put it inoh, never mind god, I thought
it was going to be accurate,fucking hell that is that should
the final should have beenequius versus the master Band,
because they're two of thegreatest songs in the Oasis

(56:56):
canon.

Speaker 2 (56:58):
But I balled it up.
Never mind, that is prettyspecial.

Speaker 1 (57:02):
Right, you may now talk about B-Sides, if you wish.

Speaker 2 (57:05):
The B-Side embargo has been lifted.

Speaker 1 (57:07):
It has been lifted.
Yes, Step Up was initiallyslated for the album.

Speaker 2 (57:10):
They couldn't put it on because Stevie Wonder said
you've nicked my song.
And I'm quite glad because Idon't think it would have worked
that well on the album.

Speaker 3 (57:14):
No, I love it, but I don't think it's album-worthy,
personally.
Round Our Way and Equiesque.

Speaker 2 (57:21):
Brilliant yeah.

Speaker 3 (57:22):
Yeah, brilliant, round Our Way sounds like a
council estate.
It's got all the characters.
Yeah, brilliant.
It's so visual and evocative.

Speaker 1 (57:29):
My only issue with Round Our Way and I do think
that Round Our Way, equiesqueand the Master and the master
plan should all have been on thealbum if we're playing, and
master plan should have been inthat competition.
Yes, so good.
Yes, that is unarguable.
Uh, my only issue with roundour way is that the horns are
fine.
The horns are fine, but theharmonica is too much.
The harmonica is because it'sthat chromatic harmonica.

(57:49):
Stevie wonder style harmonicais too is too much, um, but
that's fine.
It's still great.
It still deserved to more thanit got.
Talk tonight's one of myabsolutely favorite noble
acoustic tracks, but it wouldn'thave worked on the album
because it's it's underproducedand would have sounded odd in
the form that it appears herebecause it sounds more like a
demo.
But I love it.

(58:09):
Uh, it's better people.
Same applies, but I love it.
Um, rocking chair never got it,never saw it.
It's one of the it's like.
It's widely considered as likeum an oasis um connoisseur's
sort of track.
It's like a real fans,connoisseur's Rocking Chair you
know, it's sort of oh well,everyone likes the Master Plan

(58:31):
and Aquius and Surround Our Way,but oh, it's all about rocking
chair.
Never saw it.
I don't like it, to be honest.

Speaker 3 (58:38):
I like the vocal.
The vocal's great, but I couldsay the song's not yeah.

Speaker 1 (58:44):
Can I just have a moment to regret my utter, utter
life failure in missing off themost important B-side.
What's my brilliantly conceivedidea for a quick fire?
B-sides round, utterly, utterlyin tatters.

Speaker 2 (59:02):
More fire than quick.
Yes, I mean, you only asked usyesterday if we wanted to do
this, so it's like, OK, great,we'll listen to it.
And I thought, oh, cool.
I thought maybe Master Plan wasnot a B-side, because obviously
you wanted specifically theB-sides to these singles of this
album.
I thought maybe it was releasedas a B-side, you know, to
whatever, or something like that.
It was just released slightlyearlier Because obviously their

(59:23):
B-sides collection is famouslycalled the Masterplan and he's
probably, let's be honest, theirmost famous B-side.

Speaker 1 (59:29):
So it is quite hard to understand how that you've
fallen through the cracks onthat, but um, I'm gonna put.
It's not oasis failure, it's myutter failure to know how to do
sporting knockout competitionsto say to the favorite, take you
out.

Speaker 2 (59:42):
Let's just take the favorite out, that's it roger
put the racket down.
You cannot play wimbledon thisyear.

Speaker 1 (59:47):
It's just I, just I knew it was going to wipe the
floor with everything else so Ithought I can't have it in here,
right?
Let's move on as if none ofthat ever happened.
Let let's move on Right.
The first semi-final issomewhat inevitable.
Don't look back in.
Anger versus wonder, stand upbeside the fireplace.

Speaker 4 (01:00:02):
Take that look from off your face.
You ain't ever gonna burn myheart out, and so Sally can wait
.
She knows it's too late.

(01:00:23):
As we're walking on by, hersoul slides away.
But don't look back in anger, Iheard you say, because maybe

(01:00:51):
you're gonna be the one thatsaves me, one that saves me and
after all, you're my wonderwalloof.

Speaker 2 (01:01:07):
That's a clash of the big ballads, isn't it massive?
And they are back to back onthe album as well.
It's very interesting thatconversation we had about if
you'd have got Liam to singDon't Look Back in Anger on the
verse and then Noel on thechorus.
It would have been great.
I just think Wonderwall hasjust got something about it.

(01:01:29):
That's just extraordinary andyou definitely could not have
got Noel to sing Wonderwall andit work.
It is that tone in his voice.
It just carries the weight ofit.
Because it is that tone in hisvoice, it just carries it the
weight of it because it'sextraordinary.
It just really does.
When you really listen to themelody, it doesn't do on the
chorus.
It's very simple melody for thefirst part of it and it's just
his vocal, which is a purelylennon thing.

(01:01:49):
Only singers like lennon andliam gallagher can get away of
that.
Just the way they deliver itthe tone of their voice rather
than the notes they're singingjust carries it gives it an edge
.

Speaker 1 (01:01:59):
He gives it an edge it otherwise wouldn't have and I
think it might have sunk quitebad.
I mean, I love, love noel as avocalist, um, but I think it
without that edge to it, I thinkit would have not sunk without
trace but would not be talkingabout in the same way we are now
.

Speaker 2 (01:02:13):
No, not at all.
And what?
What did um bonehead think the?
What type of music did boneheadthink the demo sounded like?
What type of music do you think?
Reggae, reggae, exactly that hethought it sounded like a
reggae song.
I don't know if you're a jokingguy, but that's what he thought
I think a half.
I think a half, no oh, okayokay, there we go I'm gonna have

(01:02:35):
a think.
I'm gonna let you two talkabout it.
I, because I need to think.

Speaker 3 (01:02:37):
Well, question for you Do you think Wonderwall
would have ever happened if AlanWhite hadn't joined the?

Speaker 2 (01:02:43):
band.
Oh, that's interesting, can youimagine?

Speaker 3 (01:02:46):
Tony Carroll going yeah, no Throughout the entire
song.

Speaker 2 (01:02:52):
I know I'm going to beat Steve to the punch here
because I know he wants to getthis out and he needs his
drummer chat, but Alan Whiteplayed Rods, Hot Rods on this,
as I know you were going to tellus oh, hot Rods, that's my
favourite drum thing.
Yeah, so, which give it thatsofter sound.
You see Hot Rods on things likeMTV, unplugged.
Dave Grohl played them on it.
So they're kind of like boundtogether, sound together bits of

(01:03:13):
bamboo really and they justgive a much softer sound.
But it's incredible.
So yeah, alan white, on thisentire album, you couldn't have
built this album with tonymccarroll, just with noel
gallagher going in, putting aguide down, and then you build
the drums and then everythingbuilds around.
That you need like a seriousprofessional musician I have to
say I've never thought about.

Speaker 1 (01:03:30):
I mean, I've thought about the fact that that it
wouldn't have been as good analbum if mccarroll was still
drumming yeah, but I've never,ever thought about this point
before and the idea ofwonderwall with tony mccarroll
drumming on it is is madnessI've never I've never thought
about that, as, as it's so stark, now you've said it.
Um god, that would have beenawful.

(01:03:51):
He could don't look back inanger.
They could have hidden himsomewhere, but wonderwall there
was nowhere to hide.

Speaker 3 (01:03:55):
Well, that's why I think, why I absolutely adore
Don't Look Back at Endgate.
It's one of those songs, evenwith the piano at the start and
the video especially, it justtakes me back to an absolute
pinpoint, sort of like two-week,three-week period when that
song came out, and it was whenit was on Radio 1, all the time
on the way to school.
But I think what I love aboutwonderwall so much in the sort

(01:04:16):
of oasis canon is it reallyrelies on other people in the
band, well, maybe two of them,liam and and, and alan the
drummer, being at the best oftheir game and that's why it
sends so high.
Um, you know there's a melatron, there's a melatron, it's a
melatron cello, isn't it on it?
And there's, you know, there's,like you say, rods.
It's not an Oasis song bynumbers whatsoever.

(01:04:39):
When that came along, you knowyou've had Hello, you've had
Roll With it, and then suddenlyyou get an acoustic sort of
ballad.
It's a bold decision and it's avery odd song and I think you
know what I'm like whensomething manages to transcend
out of weird, quirky things likethat.
I think I always give it thebenefit of the doubt and, yeah,
I'm going to vote for Wonderwallover the two, which it is like

(01:05:00):
picking children, but that's howit's going to go.

Speaker 2 (01:05:03):
It's your favourite one You've had to.
Yeah, what's the film?
You've had to Sophie's Choice,your two children, your two
Oasis children and you've goneWonderwall.

Speaker 3 (01:05:15):
I absolutely love the chorus on don't look back and
again, I love how it's becomethis thing of um togetherness in
manchester and it's become,it's become.
Obviously it's become afootball chant, but it's just.
It's one of those melodies thateveryone sings, pissed coming
out the pub.

Speaker 1 (01:05:28):
But wonderwall, I think as a whole has has more
redeeming features for me okay,brett, I'm gonna go to you I
want to say that, ironically,despite not having wonderwall
syndrome with wonderwall, I dohave wonderwall syndrome with
don't look back in anger, um.
But it's not true.

(01:05:48):
It just would have been a coolthing to say um, I think I'm
gonna have to go.
Don't look back, uh, becauseit's yeah, fair enough I.
I just love its big anthemicways, um yeah, love it.

Speaker 3 (01:06:01):
Have you had the first version he ever performed
live of it, when he felt, whenhe just wrote it and he goes?
I think there's there's somereally shaky footage of him, or
some audio at least of himplaying it acoustically in the
middle of an oasis show.
Um, no, it's really good, I'llsend it to you.
It's um, I think, does I can't.
I've got a feeling he sort ofhe mumbles some sort of
introductory thing about it andno one in the audience has ever

(01:06:23):
heard it before and no onereacts to it whatsoever.
It's quite a flat reaction andit's just amazing to think of
how songs work as like it's notnecessarily the no song is out
of the box phenomenal, but it ifthey can grow to become
something and be owned by peopleand then they have the value
that they have.
It's a very I don't know.
I just feel it's quiteinteresting gonna play a brand

(01:06:45):
new one.

Speaker 1 (01:06:45):
I all wrote it on tuesday, so no one's heard this
before.

Speaker 4 (01:06:55):
I haven't got a title for that.
Slip inside the eye of yourmind, don't you know?
You might find a better placeto play.
You said you'd once never beall the things that you see.

Speaker 1 (01:07:16):
Brett, you've got to wrap this up.

Speaker 2 (01:07:17):
It's very hard.
I mean, I think Don't Look Backin Anger.
As Guy said, it has a hugecultural weight about it now and
obviously the way it wasadopted in Manchester after the
arena terrorist attacks is justextraordinary.
How it shows how music canbring people together and how it
can cohere people and in someway um help them at a very deep

(01:07:44):
level at time of great anguishand pain.
It's extraordinary and and itis the perfect song in its
message, um and and totallydoubled by the fact the vocal
really works as a footballterrorist anthem.
It can be sung by a mass ofpeople and it just sounds
incredible.

(01:08:04):
But it's against Wonderwall,isn't it?

Speaker 1 (01:08:08):
Hang on, hang on, hang on.
In its message I mean it's- Itsmessage is don't look back.
So if you take its ultimate,there's one line that says that
Don't look back in anger.
It's nonsense.

Speaker 2 (01:08:18):
No, no, but that's what people take.
Though that's what people willtake, doesn't matter what.
If they do a thesis ondissecting the vocals, they will
say don't look back in anger.
That's what they'll take.

Speaker 1 (01:08:28):
That oh, I hate it that people do that.
It winds.
It winds me the fuck up so much.
People are like oh, I've heardone line and I think that's what
the fucking light song's aboutand it's like but that's what
they'll take as their meaningfor it I know, I know I'm wrong.

Speaker 2 (01:08:41):
I know I'm in the wrong, I know I'm being a cock
like now, but I hate it.

Speaker 1 (01:08:45):
It's like when the whole of a song means something
else or means nothing and youtake one line from it.
It's like why do people do that?
I don't, I don't.
I genuinely I'm trying not tobe an arsehole.
I don't understand it.
I don't understand it, butthat's just because it's not the
way my brain works.
It's like you know, I listen.

Speaker 2 (01:09:03):
It's the way people take songs, isn't it?
It's like Born in the USA.
People will initially thinkthat's a really triumphalist
song about loving America, butit's really Bruce Springsteen
saying oh wow, you left loads ofpeople behind after vietnam.

(01:09:25):
So, yeah, it's just whathappens, isn't it?
But I mean, I think, I think inthis case that there is that
point of you know, don't?
He just says, um, it's, he didactually say about it years
before.
It's about not being upsetabout the things, um, you might
have said or done yesterday, butabout looking forward rather
than back.

Speaker 1 (01:09:31):
So it's about just looking forward, um yeah, he
said that on one particular day.
No, gall gallagher being noelgallagher.
He said a hundred otherdifferent things about it,
because that you know the lennon.
The other thing he said is thatI literally wrote it because
I'd heard john lennon say in aninterview oh that could then.
And then the brett, they saidthat the brains you have get

(01:09:52):
gone to your head and it's likeI'm gonna write a song around
that fucking line if it kills me.
Yes, he did say that, and thenand then and then stand up
beside the fireplace.
Take that look up from off.
Your face is what his mum usedto say to him when he made the
boys stand in front of thefireplace and have and have
pictures taken off them atchristmas.
Do you know what I mean?
It's like it's a bunch ofnon-sequiturs.

(01:10:12):
And that's not me criticizingit, because I adore it and they
work.
I just find it odd when peopleare like, yeah, but there's that
one line, what about all theother lines?
It's like I feel bad for allthe other lyrics.
It's like why are you focusingon that?
Anyway, that's just me.

Speaker 2 (01:10:31):
But he did nick the line from John Lennon and he was
determined, as soon as he heardit, to shoehorn that into a
song, which is why, yes, sorry,go on.

Speaker 3 (01:10:39):
He has the.

Speaker 2 (01:10:39):
Imagine chords at the beginning on the piano of the
song.

Speaker 1 (01:10:42):
So it's that kind of nod to Lennon and he's good
about that as well, becausepeople are like you can't put
that on the beginning of thetrack.

Speaker 2 (01:10:54):
I say, imagine he's brilliant.
Okay, absolutely brilliant.
I will vote for Wonderwall wowreally after all

Speaker 1 (01:11:05):
that oh my god, so don't know.
Back and Angus going out.
I didn't see that coming, Ithink.

Speaker 3 (01:11:09):
Before he goes, I have to say it's probably the
best, noel vocal.
Oh, I think he did.

Speaker 1 (01:11:14):
I'm taking aback by that.
Okay, wonderwall goes throughto the final which leaves us
with Champagne Subanova versusthe not really talked about much
yet, morning Glory.

Speaker 4 (01:11:51):
No, to wake up.
Need a little time To wake up.
Wake up.
Need a little time To wake up.
Need a little time To rest yourmind.
You know you should, so I guessyou might as well Watch this

(01:12:12):
story Morning glory.
Well, you need a little time Towake up wake up.

Speaker 2 (01:12:23):
Oh, this is so easy for me.
I know what you're going to say.
Morning Glory what is the story?
I love it.
It's an absolute banger.
It's the most banging tune onthis album.
It's just brilliant.
It's the most have it Oasismoment on this album.
It's fucking awesome.
Have it, Oasis moment on thisalbum.
It's fucking awesome.

Speaker 1 (01:12:39):
I'm voting for Morning Glory Love.
That Okay, Guy.

Speaker 3 (01:12:44):
Er, I'm probably gonna do the same.
To be honest with you, it'sjust.
It's a fucking cacophony ofreverb and the drums sound like
they're being recorded about 50miles away down the road.
It's so echoey and.

Speaker 2 (01:12:57):
Yeah.

Speaker 3 (01:12:58):
But it's the one bit of madness on the record where
it really feels unhinged and Ijust fucking love it.
It's amazing the helicoptersand that sort of like siren
guitar, that sort of that kindof it's like a call to arms.

(01:13:18):
It's a fucking awesome record.

Speaker 1 (01:13:20):
Yeah, okay, good.
Well, that's two for MorningGlory.
Brett, I've been disagreeingwith you a lot of this podcast,
uh, so far it seems, but I Ithink this is easily the most
banging tune on the album.
I think it is the one tune thatthat saves it.
Saves the whole thing frombeing mid-tempo and again, does.
Does it bother me that it's allmid-tempo?
Not particularly, but I I thinkit.

(01:13:41):
If somebody had sat down withnoel and gone should we just
look at all the tempos for thisand he'd realize that everything
was, was mid, because there'sthat famous review that because
all the reviews were bad, prettymuch that all the reviews were
bad and there was the famousreview that said, uh, ended with
the line they sound knackered.

Speaker 2 (01:14:00):
Yeah, no, this was the melody maker and it started
previews up line.
They sound knackered.
Yeah, no, this was that's themelody maker and it started
previews up with.
They sound labored and lazy,which is kind of a contradiction
.
How can you be laboring?

Speaker 1 (01:14:08):
no, no no, no, no, no , that's not what labored.
It means labored means it's.
It doesn't sound like it camenaturally.
It sounds like you're having toreally fucking try out, yeah
exactly.

Speaker 2 (01:14:18):
So how can you do that and be lazy?
You can't you.
That's implying some level ofhard work.

Speaker 1 (01:14:22):
All right, fair enough, I've got your melody
maker.
I've got your review gone forsome easy alliteration, which is
lazy but the thing is that thatthe, the, the reviews were so
bad for this.
Yeah, brett's just celebratingin the back on your own.
No one cares um what.

Speaker 2 (01:14:39):
What were the reviews like for be here now as a
result well, that's what's sointeresting is that they
basically he says that, then hegallagher, says basically they
fucked up on this album becauseit went absolutely massive and
then they gave be here now 10out of 10 because they were so
scared of fucking getting wrongyeah, it was so fun and I
remember I remember reading thebe here now reviews and they
were.

Speaker 1 (01:14:57):
They were ecstatic, they were over the moon with how
great it was, and and then theywere like, oh, hang on, um,
which is?
I mean, that's I love beinghere now, I listen to be here
now all the way through and likeit more than this album.
But that's just me, um, uh, butthat you know, I wouldn't, I
would not argue necessarily thatit's, it's, it's the better
album anyway.

(01:15:17):
Yes, the press, the press gotit wrong.
Quote unquote um, but I thinkmorning glory is the thing here
that that saves the whole thingfrom from from mid-tempo to to
slow.
Frankly, I think it'sabsolutely magnificent and it is
unquestionably my favorite songon the album yeah, wow,
brilliant spoiler cracker, okayso so the final you need to vote

(01:15:38):
first in the final, thenbecause you've just given it
away.
Oh yeah, all right well fine,the the final is because you've
just given it away.
Oh yeah, all right.
Well fine, the final is MorningGlory.

Speaker 2 (01:15:44):
You cannot vote for the master plan.

Speaker 1 (01:15:46):
Versus Wonderwall.
I would vote for.
No, I probably wouldn't.
I'd vote for Acquiesce if itwere here.
Acquiesce should be winningthis competition, but it's not
even on the album, so it can't.
I am voting for Morning Glorybecause, as Brett wisely pointed
out given away and didn't evennotice I was doing it that it is
my favorite song on the albumreally should stop doing that.

(01:16:07):
Note to self um, so it'sbetween you two.
What's what's going to win thismorning, gloria wonderwall?

Speaker 2 (01:16:10):
well, just, I mean, let's just talk about one wall
for a bit more, because I meanthe, the drums in it are amazing
and there's this incredible biton it which I thought about
today.
After that, first there's justa bar of silence.
It's an amazing thing to do.
And then ba-boom, ba-boom, thedrums come back in.
And the drums are amazing andhe tried to time the word

(01:16:30):
backbeat for the drums to enterthe song.
So the drums are all over this.
It's a song that really AlanWhite coming into the band
massively helps.
He helps with the writing ofthis album, the recording of
this album.
It's Noel Gall massively helps.
He helps with the writing ofthis album, the recording of

(01:16:50):
this album.
It's noel gallagher's masterplan, skews the pun to to decide
to bring him in to, to changethings up, to shake the whole
operation up because they neededto go to the next level.
So alan white coming in andthis song is is.
This is a result of that andthere's a great story actually
about alan white, because hecame to the.
He just didn't know anyone.
He turned up to the studio andthey recorded the album in about
three weeks, in their firstweek.
They do um, I've got it here.
They do in the first week, um,they do hello, champagne,

(01:17:12):
supernova.
Um, roll with it.
Don't look back in anger andwonderful in the first week.
It's absolutely insane,especially the way they were
doing it.
Um, alan white turns up and um,so the first week's going great,
but obviously liam and boneheadare going down the pub a lot
and noel gallagher's juststaying up till three in the
morning working on the album.
And then he come one night he'shearing a ruckus and liam's

(01:17:33):
invited everyone back from thepub to the studios and they're
kind of messing the place up abit.
And noel gallagher walks in andfinds um, a fat in his own
words, a fat skinhead playing aguitar that was given to me by
pete town's end.
So he decides to kick everyoneout.
Liam absolutely loses it andthinks it's a complete moment of

(01:17:54):
disrespect, so much so thatnoel gallagher locks himself in
his own bedroom and no, and liamgallagher kicks the door down
trying to find him and, and youknow, attack him basically.
So no, gallagher jumps out thewindow to see alan white in the
car park and says come on, we'vegot to get out of here.
And as they're driving out,liam gallagher is standing there

(01:18:14):
like some kind of monster in ahorror film.
He's managed to work out wherethey're going and throws a
dustbin at the window of the carthey're driving.
And Alan White turns to NoelGallagher and says I thought I
joined Oasis, but it's the Trogs.

Speaker 1 (01:18:28):
It's quite brilliant.

Speaker 2 (01:18:30):
And you know they have a week off recording.
Noel leaves the band for themillionth time and then writes
Cars no Shadow and comes backand they finish the album.
But you know, to come into thisfray that Alan White did is
very hard.
I mean, paul mcguigan left umleft the band on on the tour,
didn't he?
In 95 in september and they gotanother guy in to replace him

(01:18:51):
and he couldn't cope.
He left the band.

Speaker 1 (01:18:53):
The replacement for gweeksy left the band because
it's just too full on so whichis always why watching the
wonderwall video is always sucha strange experience because
there's this one face in it thatyou don't remember and don't
recognise who was in the band,for basically just the duration
of recording that video.
It's very strange.

Speaker 2 (01:19:08):
It's extraordinary, isn't it?
So being in Oasis is afull-time occupation and very
hard.
So I think you know kudos toAlan White there for what he
brings to this album, what hebrings to Sessions, and
specifically very much this songGuy album, which brings to
sessions, and specifically verymuch this song.
Um, guy, what are you votingfor?
I'm gonna vote for wonderwall,just to make it more difficult
for you because it is theirbiggest song, it's massive.

(01:19:30):
Steve has voted for morningglory.
I've voted for wonderwall and Ilove morning glory.
What's the winner of mccartneygoal um?

Speaker 3 (01:19:40):
yeah, I going to vote for Morning Glory.
Oh, because, like you said,this album is stupendously good,
in my opinion.
This time of Noel Gallagher andLiam's vocal oh amazing, it's
unrivaled, really it just wentdownhill slowly from here.

(01:20:02):
But Wonderwall, I think it's aphenomenal song.
Don't Look Back in.
Anger is a phenomenal song.
Champagne Supernova is aphenomenal song.
Some might say it's got thatmany phenomenal songs, but I
still listen to Morning Glory IfI want to wake up in the
morning and be like fuck it,let's go.
That's the kind of record thatyou're just going to whack on.
It just makes you feel like youcan do anything.

(01:20:24):
It's amazing and I know peoplewho listen to this will probably
be like what the fuck havethese guys done?
But I don't care, because it'sfucking Morning Glory.

Speaker 1 (01:20:34):
No, no, no, I think it is also sort of a
connoisseur's choice, I think.

Speaker 3 (01:20:39):
I think that will be a fairly respected answer, but
there is truth in like you saidabout Aquias and other songs as
well.
The songs that boil down theessence of what Oasis are are
the songs that I really comeback to because they're
something I could never beat.
They give you this amazing gangmentality of getting out in a
small town and just getting outof a shit scenario and getting

(01:21:01):
on with your life and just beingyou, and whenever they capture
that on record there's gettingout of a shit scenario and
getting on with your life andjust just being you.
Um, and whenever they capturethat on record, there's a couple
of songs that do it and it'sjust no other band can do it,
and that's what I like from them.
And, like you say, on thisrecord there is really only one
song that really does that 100all the way around, and that is
that is morning glory oh,they're extraordinary.

Speaker 2 (01:21:21):
Yeah, and it's been so nice spending I was listening
to this week, to the album.
I've listened to it for yearsand you know, obviously watching
a lot of videos of theirinterviews they're both so funny
.
They're both very funny in aJohn Lennon type of way, so they
don't have that softeningcharacter in the band like a
Paul McCartney or a Ringo Starr.
There's no one's 11 it, butthey're brilliantly funny.
They've.
They have a huge amount ofcharm and and this the music is

(01:21:45):
so charismatic and it's got aswagger to it.
So it has been a lot of fun tospend time in their company this
week.
I've really enjoyed it.
I've even developed, whenwalking the dog, a bit of a
oasis swagger.
You know, when you just listenyou can't help yourself.

Speaker 1 (01:21:59):
You know, you just swagger off into the sunset.

Speaker 2 (01:22:01):
It's amazing and not many bands can do that.

Speaker 4 (01:22:03):
Walking to the sound of my favorite tune Tomorrow,
never knows, but it doesn't knowtoo soon.
Need a little time to wake up.

(01:22:32):
Need a little time to wake up,wake up.
Need a little time to wake up.
Need a little time to rest yourmind.
We'll see you next time.
We need a little time to wakeup.
Wake up.
Where what's this falling,running, crawling?
Where?

(01:23:13):
We need a little time to wakeup, wake up.