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(What's the Story?) Morning Glory - 30th Anniversary Review · Real Deal Media

• 0:23
  999 Guess what folks? You take the L away, you put AW
• 0:28
  there baby, you're a winner man. You're the real deal.
• 0:31
  You're picking up chicks. Let me tell you something.
• 0:34
  You buy this set at 3999 baby, you're the cock of the walk man.
• 0:39
  You walk into the bar and you just find the hottest chick and
• 0:42
  you go you me. Guess what she says.
• 0:45
  Why would I go out with you? Because I bought the deal on
• 0:48
  Wild West deals for 3999. That's why she says.
• 1:11
  What's the story, Morning Glory? What a question, what an album,
• 1:18
  what a statement, and what a time to be alive as the 30th
• 1:22
  anniversary is now upon us. Welcome everybody to a wonderful
• 1:31
  members only kind of ordeal here as the real deal music guys are
• 1:34
  back. I am Dean Ryan who is running
• 1:38
  through the woods here, the woods, the rock'n'roll woods of
• 1:42
  Hall of Fame, all the above. Tonight we're going to be doing
• 1:47
  a music review of one of the most classic, iconic albums of
• 1:52
  the last 50 years. Some have said, but specifically
• 1:56
  the 30 year anniversary, which is actually here tonight as this
• 2:01
  is being recorded October 2nd, 1995.
• 2:06
  Thirty years ago today, tonight, one of the most iconic albums,
• 2:10
  as I stated, came out and we're going to discuss it here
• 2:13
  tonight. With all of you.
• 2:15
  In Rodeo Media's official podcast, as we are now making
• 2:21
  way to do that, but someone to join me to really get into the
• 2:26
  minutiae of one of the most influential albums is a man who
• 2:30
  is really, really there to witness it all in 1995.
• 2:36
  He's a wonderful music aficionado, but someone who
• 2:40
  knows how to put some sentences in descriptions together of just
• 2:46
  exactly the feeling of music, but in particularly the band
• 2:50
  Oasis. Let's welcome to the stage here
• 2:54
  the one of the only Matthew Milton, Matt.
• 2:59
  Welcome to be back, Dean. Oh, well, welcome to this late
• 3:03
  night thoughts kind of ordeal here.
• 3:05
  You know, we're going to get into the album, of course.
• 3:09
  And I, I want to really start by talking about the reviews that
• 3:15
  were coming out at the time. But you were in England, right?
• 3:20
  Exactly 30 years ago today. I was going to Glasgow, Scotland
• 3:24
  when the album came out. OK, so you were in the UK, so
• 3:28
  you have an entirely different perspective than little old me
• 3:31
  who was in Orange County and training along on a skateboard
• 3:34
  so. I'm.
• 3:36
  I'm going to, man, I'm going to start by reading a review from
• 3:40
  Rolling Stone magazine, right? You remember that that was a big
• 3:43
  ordeal back then, wasn't it? You know, Rolling Stone came
• 3:45
  out. Yeah, was an issue.
• 3:48
  Oh. Yeah, they can make or break
• 3:51
  you, right? They can make or break your
• 3:52
  album like Cisco. Although they they they had a
• 3:55
  pretty good track record of being absolutely wrong on common
• 3:59
  albums though, so they got some right.
• 4:03
  Oh yes, they got some right. They, they, they certainly, you
• 4:07
  know, I have every album. I think they every Paranoid,
• 4:11
  they've rated Paranoid as just a garbage album that was not going
• 4:15
  to make an impact, so they got that one totally wrong.
• 4:19
  Oh yes, yes, and I'm sure that I'm sure that Rioter was fired
• 4:24
  immediately and probably punished.
• 4:27
  Too. It's not like Black Sabbath had
• 4:29
  just created a genre out of that album.
• 4:31
  So. It's equivalent to the the team
• 4:37
  that traded their traded Michael Jordan for some average player.
• 4:41
  I'm sure they regretted it for the rest of their lives.
• 4:43
  Or the drummer from The Beatles, if you will.
• 4:46
  Well, let's start with this here.
• 4:48
  Look at this look at look at what we have here.
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  Well, obviously hold on a second.
• 4:55
  Let me. Well there it is.
• 4:58
  Like I was saying, this is a straight out from the Rolling
• 5:02
  Stone magazine review back in October 19th.
• 5:05
  So about a week later, 1995, maybe 2 weeks later if my math
• 5:09
  is correct. What does it say exactly?
• 5:12
  Let me see here because I'm going to read this to you.
• 5:15
  Matt hasn't. I don't think he read it.
• 5:17
  At the time he was busy playing probably cricket with the local
• 5:21
  Glasgow team as people do back then from my recollection.
• 5:26
  Well, just for starters. OK, what's the story is a slang
• 5:31
  and a lot of Americans may not have known it it it was a slang.
• 5:38
  Fact. We, I've from my recollection, I
• 5:40
  think it was part of a musical. What's the story?
• 5:43
  Andy, get your gun, something like that.
• 5:45
  If I recall the time. But so what's the story is a
• 5:48
  slang used often in UK, at least back in the 90s.
• 5:52
  It's that is commonly used to ask someone about what has been
• 5:55
  happening in their life or what they have been up to.
• 6:01
  Isn't that something? So as we, we, we can hear the
• 6:05
  Morse code. Let me let me read a bit more to
• 6:09
  you and hold on here a second. OK, there we go.
• 6:17
  OK, good. So let me.
• 6:19
  Here it is, right here. So this is a.
• 6:24
  What is that? Fucking noise, you hear that?
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  So yeah, it was a slang that was used.
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  And then ultimately, it's a slang that will live a long time
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  not in infamy, but in morning glory.
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  Well, here's some of the reviews.
• 6:44
  Many rock bands, they said coming out of Rolling Stone,
• 6:46
  written by John Widerhorn at the time, starting the gate with
• 6:52
  this flying, eager to batter down.
• 6:54
  Obstacles on the. Road to stardom, but few have
• 6:57
  been as hands on as Oasis in England.
• 7:00
  The band's popularity has almost as much to do with the number of
• 7:04
  black eyes and bloody noses that the brothers Noel Gallagher and
• 7:08
  Liam Gallagher have inflicted on each other as as others as it
• 7:15
  does as a number of hits that were to come.
• 7:18
  So that's just a glimpse you, you could really tell right
• 7:22
  there. And I'm, I'm not going to
• 7:23
  subscribe to Rolling Stone to read the whole review there
• 7:26
  'cause I, I mean, I have all of these magazines, but it kind of
• 7:31
  describes the mood and the impression that was the setup of
• 7:37
  the introduction of Oasis to America.
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  It had a little, little digs and little, it was setting the
• 7:46
  precedent in the, the, the tone of, of this band that was really
• 7:49
  big in England. So Matt, let's start with you
• 7:53
  here is let's go to you here is take us back to 1995.
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  Take us back to what you were listening to, what was in your
• 8:03
  record collection and what was kind of the popular music on the
• 8:08
  radio at that time. And I'll do the same as well.
• 8:11
  So let let's start with you. OK, I I had just moved to
• 8:15
  Glasgow, Scotland to do a year education abroad and I was a bit
• 8:21
  of a contrarian musically if if a lot of people like it.
• 8:26
  I, I basically hated it. So I mean, I mean, now looking
• 8:31
  back on it, it's a bit shameful to think of.
• 8:33
  It's just utterly stupid. But I, I listen to, which I
• 8:38
  still do, I listen to a lot of metal.
• 8:40
  I was into Venom, I was into Merciful Fate, a lot of coarse
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  Black Sabbath was a staple and band like 70s British Hard Rock
• 8:51
  bands like UFO and Status Quo. I love Jethro Tull.
• 8:56
  Then let's see what else. So I anything mainstream
• 9:03
  mainstream. Mainstream at the time?
• 9:06
  At the time. I'm thinking like White Zombie,
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  like White Zombie K rock radio. I I love Faith No More.
• 9:13
  I really liked their album Angel Dust.
• 9:16
  I really dug that album. Angel Dust, would you?
• 9:19
  Say, would you, would you say like so you know, we had the
• 9:23
  grunge. Kurt Cobain just died a year
• 9:26
  prior. Yeah, he died in 94.
• 9:28
  And that's what's interesting because I was contrarian about
• 9:32
  grunge, even though when I first heard Man in the Box and I heard
• 9:37
  first heard Soundgarden, you know, I first heard Alice In
• 9:40
  Chains, Soundgard, Nirvana and Pearl Jam, I Alf was like, holy
• 9:44
  shit, these bands are great because they didn't get big yet,
• 9:47
  but as soon as they got big, I was like, fuck them.
• 9:50
  But I, I came around pretty quickly to Alice In Chains
• 9:53
  'cause I realized just how good they were.
• 9:56
  And so by 1995, I was regularly listening to Alice In Chains in
• 10:02
  Soundgarden and Nirvana at that point because I, you know, I,
• 10:07
  the, the mask was off at that point.
• 10:09
  I was like, come on, man, this was such a great era and I was
• 10:13
  just being such a snob about it. OK, so, so, so we're setting the
• 10:18
  stage before, you know, we were kind of introduced Oasis, so
• 10:22
  we're kind of setting the stage. So Matt's telling us, you know,
• 10:25
  he was into kind of that he was a rebellious nature by nature.
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  I I love punk and I'm imagining you had long hair for some
• 10:36
  reason back then. I'm.
• 10:37
  Not my I, I. OK, not then.
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  Yeah, I didn't grow my I had long hair in high school, and I
• 10:44
  didn't grow long again until the 2000s.
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  OK. And then so at this point,
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  you're kind of in the college phase, your college years at
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  this point, and you're now going abroad.
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  And OK, so then As for me, I'm a little younger than Matt.
• 11:02
  I don't want to say how much older Matt is than me, but he
• 11:07
  went to college with my father. That's how he knew it.
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  No, I'm kidding. Used to babysit me when I'm for
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  me. OK, so in the 90s, growing up, I
• 11:21
  was not allowed to. I I was kind of deterred away
• 11:26
  from kind of what you're like the Eddie Vedder's and grunge
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  because at that point in time, too, they, the people's
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  attitudes that were in the limelight in especially music,
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  we're a little off. It was a little funny.
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  You know, it was very contrary to what the 80s were, you know,
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  like, yeah, you know, very big and bold and and then it was you
• 11:50
  had I'm a zero, I'm a loser. It was just very weird, you know
• 11:54
  it. Was very like anti spotlight.
• 11:58
  Antisocial anti spotlight. The the singing was different.
• 12:03
  It was a lot of yearling and, and, and and then Green Day.
• 12:06
  We had a big effect on like my classmates and I thought that
• 12:09
  was kind of weird singing Billy Corgan.
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  So it was very weird to me. Oh.
• 12:15
  You mean Billy? Yeah, to both of the Billy's So
• 12:22
  so I, I didn't have contemporary.
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  I didn't know, I didn't know anything about it.
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  You know, I didn't have, I didn't know anything about what
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  was going on. I I was so sheltered.
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  I only knew what maybe some of the classmates when we had a
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  free day at Catholic school and they brought a cassette tape of
• 12:42
  something. That's maybe how I knew so.
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  But outside of that, I had no idea.
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  Now the ideas came maybe when like the Grammys were on or the
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  American Music Awards and my mother would shelter me.
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  It's just these people are not. And I wasn't even allowed to
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  watch Married With Children. You know, that was very
• 13:02
  different for me. So what, what I was listening to
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  up until that point, I grew up listening to the classics that
• 13:13
  my grandparents were listening to 'cause they, you know, born
• 13:16
  in the 20s and 30s. So like Barry Como, Elvis a
• 13:22
  little bit, not even The Beatles or anything, you know, nobody
• 13:27
  listened to that. So jazz now, then the 90s came
• 13:32
  and then man was fascinating. I got into them.
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  I thought it was very than the melodies.
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  I was all about that. And but then 1995 came and I got
• 13:47
  MTV for the first time. My mother got cable.
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  That was a big deal. You know, that was a very big
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  deal. And with that, The Beatles came
• 13:58
  back. The Beatles Anthology was a big
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  deal and it was a big television extravaganza.
• 14:06
  I don't know if you were recall when, when that was coming
• 14:09
  around in, in in America where you, I think you were here.
• 14:14
  So I probably maybe not. I don't.
• 14:18
  I'm struggling so so The Beatles released a new song.
• 14:24
  They came together with some of the three remaining Beatles at
• 14:27
  that time and and finished some of John Lennon's recordings free
• 14:30
  as a bird. Yeah, free as a bird.
• 14:32
  I remember. And for that generation, for the
• 14:36
  Gen. Xers and the younger, this was a
• 14:40
  big deal for, for me, I, I didn't grow up maybe like Matt,
• 14:43
  where his dad was always having classic rock radio.
• 14:46
  For me, this was all new and it was phenomenal.
• 14:50
  It was things I never, you know, 'cause you're so young and
• 14:54
  impressionable, you're looking for something to just grab glom
• 14:57
  onto, as they say. And I glommed onto them.
• 15:00
  It made me want to play guitar. I wanted everything had to be a
• 15:05
  Beatles song. Everything, everything.
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  So that was the stage for me. Matt setting up 1995.
• 15:12
  And you know when you first hear Revolver, it's a life changing
• 15:15
  experience. Yeah, yeah, you're right.
• 15:21
  Actually, I, I think that was, yeah.
• 15:23
  So I mean, everything, I mean, even the early stuff, that was
• 15:26
  all new to me. So it it, it was, it was just
• 15:29
  such a magical thing to happen. So that's all I wanted to listen
• 15:33
  to, you know, and then my and then now comes to play into
• 15:39
  Oasis. So I'm going to start with a I'm
• 15:42
  gonna ask you, Matt. So you set the stage.
• 15:44
  Now you're in Glasgow. Tell us about the introduction
• 15:48
  now of of of the you know, Oasis coming into the picture now.
• 15:52
  How did you? Find out and all that.
• 15:54
  For me it was a Wonderwall was being played all the time by
• 15:57
  late October. Yeah.
• 16:00
  And I got to be honest, at the time I hated it just because it
• 16:04
  was played all the time. Now, if I was to be real honest
• 16:09
  to myself, I would have said, oh, that's a really catchy, a
• 16:12
  really good song. And I changed, you know, I
• 16:13
  changed my, I totally changed my mind on Oasis within a couple
• 16:18
  years. I especially when I heard their
• 16:21
  later stuff and some of the covers they did.
• 16:24
  And also, I love their instrumentals that they did.
• 16:28
  That totally changed my mind about them.
• 16:30
  So I, I would have had a really scathing review in 1995, but
• 16:35
  really not giving them a chance just because they were played so
• 16:39
  much. And, and you've got to
• 16:41
  understand, you know, in the United States, they didn't.
• 16:43
  They weren't as big as they were in the UK.
• 16:46
  They were just ubiquitous. I mean, they were everywhere.
• 16:50
  And it was just so annoying at the time.
• 16:53
  Yeah, but you know, then. But then also like it's one of
• 16:59
  those things that I did the same thing with Nirvana where, you
• 17:05
  know, deep down, you know that it's game changing and there's.
• 17:09
  It's great, Yeah. And it's going to be considered
• 17:12
  iconic. But you tell yourself, no, no,
• 17:16
  no. Like I've got to be special.
• 17:18
  I've got to have discerning tastes, not like these plebs
• 17:21
  around me who? Sure.
• 17:24
  And but then, then of course, a couple years later, then you go
• 17:27
  oh God, you idiot, are you serious?
• 17:30
  You didn't give this, you didn't give this band a chance, 'cause
• 17:33
  now I mean, I, you know, we'll, we'll get to we'll.
• 17:39
  We'll get to our fandom. Yeah, no, it just I, I had a
• 17:44
  complete sea change. What's the opposite of a heel
• 17:47
  turn? So.
• 17:50
  Yeah, he'll turn over twice. So, OK, so I remember the day my
• 17:57
  my friend. OK, so C DS were a big thing.
• 18:00
  They were new. And I remember there was there
• 18:04
  was Warehouse music, there was Music plus or something like
• 18:08
  that, Yeah. Warehouse.
• 18:10
  The Rasputins. Yeah, yeah, OK.
• 18:15
  There was Columbia Records, Remember Columbia C DS, yeah,
• 18:19
  Amoeba. See, Amoeba was in Hollywood.
• 18:22
  I never could get to that, 'cause you know, I, I was coming
• 18:25
  down here so. Yeah.
• 18:27
  Berkeley There was block, there was blockbuster music.
• 18:30
  You remember that? Yeah.
• 18:32
  But we used to and we. Used to go up to Berkeley to
• 18:34
  find all sorts of really rare stuff that we couldn't get
• 18:37
  anywhere else 'cause, you know, at the time, yeah, it was a lot
• 18:41
  harder to, to, to find, you know, obscure music.
• 18:47
  Well, also too, just so people to refresh people's memory or
• 18:51
  maybe this is new for you, when you would go to these music
• 18:54
  stores, you would find ACD you wanted to hear and you wanted to
• 18:57
  sample it. So there would be like this like
• 18:59
  station, it'd be like a bar and there'd be like ACD guy who
• 19:03
  opens it for you, puts it in and you put your headphones on and
• 19:06
  listen to it. That was like, so, you know,
• 19:10
  progressive of of with technology, you know, at that
• 19:12
  time and. It was interesting.
• 19:16
  We had a quest for two CDs that it took us maybe a couple years
• 19:20
  to finally find them and and one of them was Witch Finder
• 19:24
  General, their second album, Friends of Hell, and the other
• 19:29
  one was actually Judas Priest's first album, Rocka Rolla, which
• 19:32
  was extremely hard to get them. I mean, now it's easy.
• 19:38
  It was harder, but at the time though, he was such a relief
• 19:43
  that, oh great, we don't have to skip the cassette tape and and
• 19:46
  wind it up with the pencil eraser, you know, And I hated
• 19:51
  that. And so, you know, C DS people
• 19:54
  have the CD towers. So my friend, my best friend at
• 19:58
  that time, Stevie, you know, we were adolescents, you know,
• 20:02
  going into the teenage years, all that stuff.
• 20:06
  He brought home 2C DS. And at that point in time, Matt,
• 20:10
  it was all about listening to The Beatles Anthology, riding
• 20:13
  her bikes and, you know, kind of starting to feel things for
• 20:18
  girls. And they didn't know what that
• 20:19
  was about. That was going on.
• 20:20
  I'm like, thought we're going to play toys, man with GI Joe.
• 20:23
  What are? You talking about she?
• 20:24
  Brought home too yeah, I'm talking about last year.
• 20:27
  It's. I.
• 20:30
  Need help. Can you teach me how to trade?
• 20:32
  So. So 2 CDs.
• 20:35
  One of them was Soul Asylum, Runaway Train, which I didn't,
• 20:40
  you know, I thought the guy, I thought he, I thought it was
• 20:42
  Kurt Cobain. They looked alike to me.
• 20:44
  I didn't bother going further. But the next one, he told me
• 20:48
  these are the new Beatles. And I said I'd love to hear it.
• 20:53
  And I heard what's the story? Morning Glory.
• 20:55
  And he let me borrow it. And I must say, and I don't
• 20:58
  think he's listening to this day I still have it.
• 21:01
  I never returned it the original CD from 1995 and man, let me
• 21:07
  tell you it was amazing. You just sparked a memory for me
• 21:12
  why I also resented Oasis at first.
• 21:16
  It was that Liam Gallagher interview where he said they
• 21:18
  were going to be built bigger than The Beatles.
• 21:22
  Yeah. You know which he of course
• 21:25
  later he said like that's the most ridiculous thing he's ever
• 21:28
  said. He also said he also doesn't he
• 21:32
  he was also stoned out of his mind when he said it.
• 21:36
  So, so, OK, so yeah, that goes into a lot of the media
• 21:40
  coverage, the bad press. And and so Noel Gallagher says a
• 21:45
  few things to build hype and they're parting.
• 21:48
  And I don't think that the writers, their British humor
• 21:53
  then at the same time, these guys.
• 21:55
  Were very tongue in cheek too. You couldn't take anything.
• 21:57
  Yeah. And what I learned years later
• 22:04
  is that the the music establishment in America were
• 22:08
  against them, the executives, because they were not playing
• 22:12
  ball the way the other artists were.
• 22:15
  They wouldn't show up when they were, you know, were told to.
• 22:18
  They didn't play footsies. So they get bad press.
• 22:23
  It was clear about them, though. You know, Noel is very
• 22:26
  opinionated, but he always talked about The Beatles with a
• 22:29
  lot of reverence. You know what I mean?
• 22:33
  You know his quote. It just, if I could quote him on
• 22:38
  that, and I love this quote. I've used it.
• 22:40
  His quote was if you're not in it to be bigger than The
• 22:43
  Beatles, then it's just a hobby. Yeah.
• 22:45
  And you know, that's a great goal.
• 22:48
  It just in general, it's a goal in the saying of if you're not
• 22:52
  in it to win it, then you're just in it to be stagnant and
• 22:55
  sobbing. And.
• 22:56
  Yeah. My point There's great ambition.
• 22:59
  The my point being. They still he always showed a
• 23:02
  lot of reverence for The Beatles, though, not only in
• 23:06
  their music but also just in you know, Noel talking about
• 23:10
  Revolver as if you know, that's where music started.
• 23:14
  You know what? I.
• 23:17
  Mean and I point. You know the.
• 23:18
  Beatles weren't like really big in the 80s kind of thing, you
• 23:21
  know, like the. Early 90s.
• 23:25
  It wasn't really a thing, I think.
• 23:28
  Oasis and. And the Anthology at the time
• 23:31
  came out and it it kind of brought a retro wave of artists
• 23:36
  and sound that influenced a lot of established artists.
• 23:39
  They came from Oasis I think. Also, cause in what's the story,
• 23:46
  it's usually like the it's a couple songs and what's the
• 23:49
  story? It's only the beginning that you
• 23:52
  could see why Blur accused them of being trying to be like
• 23:55
  Status Quo. It's like only the beginning of
• 23:58
  the songs and then they change it immediately, as if like to
• 24:01
  confound your expectations, which I thought was brilliant as
• 24:05
  a brilliant setup to some of the songs.
• 24:06
  But well, let's get into that. Let's get into the album.
• 24:11
  Why why don't we? Because we're talking, you know,
• 24:14
  I'm telling people it's epic. Rolling Stone gave it 4 four
• 24:18
  stars enemy, which is oddly a weird review.
• 24:24
  They didn't, you know, think it was going to over shadow their
• 24:28
  big first album. Definitely.
• 24:29
  Maybe. Which was the what is it the
• 24:31
  fastest selling debut record of all time at that point?
• 24:35
  It was really one of the yeah. Yeah, so.
• 24:38
  Literally a year before, a year before, they released their
• 24:43
  debut album, which was huge and made a little splash here, but
• 24:47
  again, they couldn't finish a tour.
• 24:49
  And not even two years later, roughly a year and some change,
• 24:55
  they recorded this album in two. Weeks.
• 24:58
  Think about that. So you have the first song on
• 25:03
  the album starts with the song called Hello, which is my
• 25:07
  favorite song on the. Album, by the way, OK Tell.
• 25:10
  Me about it because there's a bit of controversy behind it
• 25:13
  because he had to give royalties to Gary Glitter, I guess.
• 25:18
  There was a. Sample of it.
• 25:20
  Good. Be back.
• 25:21
  Yeah, so. Go ahead, Matt.
• 25:23
  But just as. Just a straight up rocker to
• 25:25
  start an album. Yeah, it's perfect.
• 25:28
  Man. It's just it's.
• 25:31
  It's very straightforward rocker.
• 25:33
  I like how it also samples Wonderwall at the very
• 25:36
  beginning. I I forgot.
• 25:40
  About that. Yeah, so.
• 25:42
  It's it's. It's cool, it's just, but then
• 25:44
  it goes into really. Just.
• 25:48
  It's it's almost like a 70's rock song.
• 25:53
  Right. You know, it's got that.
• 25:54
  It's. Got that feeling and the energy
• 25:56
  of like a Thin Lizzy or status quo or something, although it's,
• 26:02
  it's a lot more, it's a lot darker.
• 26:04
  You know, the the notes are a lot darker than Status quo,
• 26:07
  where it's more. It does remind me of what or
• 26:10
  even like, yeah. I.
• 26:14
  I can't. I mean, there's definitely them
• 26:16
  though. It's their own identity and
• 26:18
  that's what I like about it too, 'cause it you can say, oh, like
• 26:21
  it reminds me here, this and that, but at the same time it
• 26:25
  just reminds me of Oasis, man, That's to be.
• 26:28
  Honest. Yeah, you're right it.
• 26:37
  Does. It it feels like.
• 26:41
  Oasis is covering an Oasis song from the 1970s, even though they
• 26:45
  obviously weren't around in the 1970s.
• 26:50
  That's the only way I can. Describe it.
• 26:55
  Yeah. So yeah, that's kind of has that
• 26:57
  ruckus it on that. A martyr, yeah.
• 27:01
  I don't. I don't.
• 27:01
  I'm not going. To play this out of tune, return
• 27:03
  but you get the play. Yeah, I didn't.
• 27:05
  Didn't prepare for that, but so yeah, that that song hit, it's a
• 27:09
  great opener to a movie. It's got a really well, oddly
• 27:12
  enough. Or not even oddly enough.
• 27:16
  The the chorus goes. Hello, hello.
• 27:17
  It's good to be it's good to be back again.
• 27:19
  The so Oasis, who's now actually touring, which is one of the
• 27:23
  biggest tours of the year, if not the last couple of years
• 27:27
  last. That's the song they're opening
• 27:28
  with. Oh easily, easily.
• 27:32
  It's the perfect. Song for them to open with of
• 27:34
  course they should open with that I mean that's a no brain
• 27:37
  that's an. Absolute, I know.
• 27:40
  I mean. Just the the.
• 27:41
  The chorus speaks for itself there.
• 27:44
  Look, I'm still jaded in in. A little myth that when led.
• 27:49
  Zeppelin reformed in 2007. They didn't open with It's been
• 27:53
  a long time since we rock'n'roll.
• 27:55
  I'm still pissed that they didn't do that.
• 27:58
  I know. That.
• 28:00
  Makes no sense to me. It's I mean it.
• 28:02
  Really just speaks for itself so.
• 28:06
  Now. So, so, yeah, Noel Gallagher,
• 28:09
  who, who wrote all the songs, his brother, his younger brother
• 28:12
  Shane, It's, it's it is quite enduring.
• 28:15
  How to give royalties to Gary Glitter.
• 28:17
  If you don't know who Gary Glitter is.
• 28:20
  I I don't even want to bring down the show to tell you, but
• 28:22
  yeah, he's got prison, so to speak.
• 28:27
  But. But he did the song, OK?
• 28:29
  He would you glam rock. Would you say he's glam rock?
• 28:32
  Yeah. I mean, he's famous also
• 28:34
  because. The the Bulls used the NBA.
• 28:39
  It's hey. Yeah, so but.
• 28:50
  So anyways, for all those who don't know, that's who Gary
• 28:52
  Glitter is, which you'll soon learn that Noel Gallagher was
• 28:57
  very inspired by glam rock. You know Mots, the Hoople,
• 29:01
  Slade, they, they. Covered They covered Slade song,
• 29:04
  Christmas and. Come on, feel the noise.
• 29:10
  They did that live, but they actually on a studio album
• 29:12
  covered a Slade song. It wasn't, come on, Feel the
• 29:14
  Noise though, I don't think. Yeah, well, they did.
• 29:18
  Yeah, they did the Christmas song Come on, feel the noise,
• 29:20
  which I think is better than quiet riots, but hey, that's
• 29:23
  just me. I mean the.
• 29:24
  Slate one is the the slate original is still the best cause
• 29:27
  Nobby Holder is just having such a good time.
• 29:29
  But one thing I'll say, Oh yeah, there's such.
• 29:31
  An A brilliant. Cover of songs.
• 29:34
  Always loved their Yes I. Like me up into.
• 29:38
  Their cover they did. I'm.
• 29:39
  The Walrus. Right.
• 29:41
  Yeah. They did.
• 29:42
  I'm the walrus. Neil Young Yeah, they did it.
• 29:45
  My. Favorite one of my scooter Neil
• 29:47
  Young songs, Into the Black and yeah, Noel just he knocks it out
• 29:53
  of the park, man. That's wonderful.
• 29:57
  So OK. So that's the opening track.
• 29:58
  OK so now it goes to track 2 and it's called roll with it me.
• 30:05
  Personally. It's one of those songs.
• 30:09
  That I, I, I think that it, it's kind of poppy.
• 30:13
  It was not their first single, I think, I believe it was the
• 30:18
  second or third single. But you had a rival band called
• 30:22
  Blur, who is now releasing their singles on the same day as
• 30:25
  Oasis, which was I thought was great, a great competitiveness
• 30:30
  for music and it makes each band try even harder.
• 30:32
  I, you know, I love that. And I think at the time where to
• 30:36
  them it was turf war and and blood and gang war now.
• 30:40
  Being. Older, they can appreciate of
• 30:42
  how what what that did for both of their bands and music lovers
• 30:45
  alike, 'cause I love both bands, I I think.
• 30:48
  I really do our superior band though, to be honest.
• 30:51
  Yeah. Yeah.
• 30:52
  Oh yeah. Yeah, I mean, absolutely so for
• 30:55
  me. Roll with it, I love it.
• 30:57
  What I what? I do.
• 30:58
  Like about it, 'cause it starts out like a, that totally starts
• 31:02
  out like a Status Quo song. You know, it's got kind of that
• 31:06
  it starts out kind of feeling the, the old rock, old school
• 31:09
  rock'n'roll, you know what I mean?
• 31:12
  But then it goes into sounding like The Beatles.
• 31:17
  It's a it's. Just a it's an interesting song
• 31:20
  and I I that song really grew on me.
• 31:24
  Because it it sounds. Yeah, Oasis doesn't have many
• 31:27
  uplifting songs, to be honest, and so it starts out with the
• 31:31
  uplifting. But then it kind.
• 31:32
  Of goes into some of those melancholy, so it goes like.
• 31:36
  So it goes like this, you know, So OK.
• 31:45
  So it. It does have that jangly sound.
• 31:47
  And I know, I remember at the time there was a girl, a friend
• 31:51
  of a friend who only like country music, didn't like
• 31:54
  Oasis, really. You know what she heard on the
• 31:56
  Ring? But then she heard Roll with It.
• 31:58
  Yeah. And then loved it.
• 31:59
  Like that one that that more has yeah, it just it it has, but it
• 32:04
  also. But it also.
• 32:05
  Has kind of an old school rock'n'roll, like something
• 32:07
  Status Quo would do. But at the same.
• 32:11
  Time and it only starts that way.
• 32:13
  You know when he says you got to roll with it, baby, and then it
• 32:16
  changes to very Beatles, Beatles esque.
• 32:20
  OK, so here's. Where I think it came from and
• 32:23
  you tell me if I'm wrong so. My love.
• 32:34
  Don't tell me it it it's. She's a woman who understands.
• 32:42
  She's the woman who it has that same chord progression.
• 32:46
  Yeah, well, that's why. It just feels old school.
• 32:50
  Yeah. Yeah, it's good.
• 32:54
  It's. It's a.
• 32:55
  That's one that really took a little time for me to to
• 32:58
  appreciate, but it really did grow on me.
• 33:01
  It it it does it's I. Don't think it's their.
• 33:05
  Favorite too, and it only reached #2 in the charts.
• 33:09
  They lost to the large country also.
• 33:11
  OK, well, that brings us to the big one.
• 33:15
  OK. And for this one?
• 33:39
  Well, if you don't know. What that song is?
• 33:44
  Then I I don't know. What to tell you?
• 33:46
  You, you. You must have even the Martian
• 33:50
  from outer. Space 90. 4 if.
• 33:52
  You don't know. Yeah, you've been.
• 33:55
  You've been. Carson carcinogically frozen,
• 33:59
  whatever that is. OK, let's talk about the
• 34:01
  probably the big the biggest track of not just the album, but
• 34:06
  probably their entire career match.
• 34:10
  And I'm talking about Wonderwall track 3 on the album, sung by
• 34:15
  Liam of course, and which which started off an acoustic piece.
• 34:20
  Give us your thoughts of what you thought then, if you could,
• 34:24
  because. That's one of those songs.
• 34:25
  Into What do you think now I. Couldn't stand.
• 34:28
  The song back in October of 95, I just could not stand it.
• 34:32
  It's funny, though, when I moved back to the States, I know it
• 34:36
  it, it was a pretty big hit here.
• 34:38
  But you. Know I just it was.
• 34:41
  Everywhere. It was everywhere I started
• 34:44
  listening. To it differently though, 'cause
• 34:46
  I, I heard some of their, I heard some of their other stuff.
• 34:49
  At that point I was like, actually, this is a good band.
• 34:52
  And so when I moved back to the States, you know, I, I went back
• 34:55
  and gave Wonderwall a chance and I was just.
• 34:57
  So, yeah, I mean, this is just a fantastic song, man.
• 35:01
  There's no way around. Yeah, yeah, yeah.
• 35:04
  And I mean, it is. And, you know, there are a
• 35:09
  couple thongs songs, I think of 1995.
• 35:13
  They were wide. You know, they were iconic,
• 35:16
  widespread. One of them would be tonight,
• 35:20
  tonight by Smashing Pumpkins. Was that 90?
• 35:23
  5. Yeah.
• 35:25
  And then, and I think the jar of flies by Alice In Chains was
• 35:30
  actually 94, but I was thinking to say no excuses by Alice In
• 35:34
  Chains. And then of course, up there
• 35:37
  with that is, is Wonderwall man. That's that's kind.
• 35:42
  Of a defining song for 1995 for me, even though in 1995 I didn't
• 35:48
  like it. True.
• 35:53
  Interesting. OK.
• 35:54
  Well, here, here's my take on it is that was a song that was
• 36:00
  literally that was literally everywhere.
• 36:06
  Yeah. It.
• 36:07
  Was a song. That was contemporary enough to
• 36:10
  be on like K rock radio out here in in in Socal, which had
• 36:16
  alternative Rock, You know, Nirvana, Greendale, that stuff
• 36:19
  chili pepper, it fit in there and it fit on the adult
• 36:23
  contemporary Top 40, you know, on on the pop channel ubiquitous
• 36:29
  is. The word it was everywhere.
• 36:31
  It. Really it?
• 36:32
  Was everywhere. And there was height.
• 36:35
  And I guess it. Wasn't so everywhere is when I
• 36:38
  realized that's one of those examples of the songs being
• 36:42
  everywhere because it's game changing in a way, well it.
• 36:47
  Was actually so. It was in rotation too.
• 36:49
  So it we're going to the next song too, you'll understand.
• 36:52
  But for me, recalling it was there was Wonderwall, There was
• 36:56
  Don't Look Back in Anger, which we're going to review next, and
• 36:58
  then Champagne Supernova. To me, what resonated to me the
• 37:02
  most was Champagne Supernova, which was the only single right
• 37:07
  released in the US. Can you believe it?
• 37:10
  The only single that should tell you like if they had a fair
• 37:15
  shot, I mean, and that was their second.
• 37:18
  Minute acid trip too so. It's so OK, so but but.
• 37:24
  But to Wonderwall, it was a song that I liked it at the time, but
• 37:28
  to me, I like the other ones better.
• 37:30
  But over time, over time, as Matt was saying there, I
• 37:36
  appreciated the drums and I thought Alan White, the drummer
• 37:40
  who just picked up that song in one minute, the jazz, you can
• 37:47
  hear the jazz on it. One of the things that.
• 37:49
  Also, especially with the rhythm section is one thing you realize
• 37:54
  about good drummers as they understand the space between the
• 37:57
  noise. And.
• 38:01
  You know, going into the third verse, he understands that very
• 38:05
  well. That little pause he does just
• 38:08
  makes the third verse come in so powerfully.
• 38:11
  You know what I'm talking about, the little.
• 38:13
  Space between. Yeah, so so.
• 38:25
  So This is why Allen White, the drummer of Oasis, who I It's
• 38:29
  painful that he's not here for the reunion, but this is what to
• 38:34
  me made Wonderwall a. Really.
• 38:38
  Flowing hit because you're hearing this is the rhythm.
• 38:43
  That's essentially. What the guitar is doing, he's
• 38:46
  doing on the snare drum as he's playing, so the guitar is going.
• 38:51
  And he's matching that. With his brushes on the snare
• 38:53
  drum and it just has that rhythmic feel to the entire
• 38:58
  song. And what Matt's talking about is
• 39:00
  the the the pause. You're talking about that?
• 39:14
  Part little little drum fill. And it's, it's, it's not a
• 39:17
  complicated fill, but it's the perfect fill because there's a,
• 39:22
  there's just a little, there's just a slight, there's a slight
• 39:26
  pause like right before he goes into that fill and that slight
• 39:31
  pause. Makes everything.
• 39:33
  It makes the third verse come in so powerfully.
• 39:37
  And and and. The the the very subtle reverb,
• 39:41
  yeah. And that and that.
• 39:42
  Pause. It goes.
• 39:45
  Yeah, so you hear that several. Reap.
• 39:50
  Yeah, that it, that you're right.
• 39:52
  That is, it's like All Quiet on the Rest Western Front.
• 39:55
  Well, 'cause 'cause you. Know it's coming too.
• 39:57
  You know, the third verse is coming and it just it, it's, you
• 40:01
  know, the, it's the, the. Shakespearean.
• 40:05
  Drama of it, you know it is stupid as that.
• 40:08
  Sounds. It is.
• 40:10
  It just adds, it just adds A dramatic flair to the song that
• 40:14
  makes the third verse so powerful, even though the the
• 40:17
  third verse is, you know, just a repeat of the first verse now.
• 40:21
  Let's let's talk about the lyrics too.
• 40:23
  And that's something we're going to do on here for for all of you
• 40:26
  too, because Wonderwall was an obscure movie soundtrack from
• 40:31
  1968 by George Harrison. And to see.
• 40:37
  That and hear. That again, and it sounds like
• 40:39
  nothing like, you know, the original.
• 40:41
  That was an interesting homage to George Harrison because I
• 40:45
  didn't know anything about that. But when you get past that, then
• 40:48
  you get into the lyrics you know you talk about.
• 40:53
  A guy who's. Trying to express himself
• 40:55
  without going over the moon like a lot of R&B songs and baby I
• 40:59
  love you and all that you. You talk about that stuff.
• 41:05
  And this the lyrics are pretty subtle back.
• 41:09
  I mean, they're not lovey dovey, but they're they're very earnest
• 41:14
  and very authentic, like coming from the heart in a very subtle
• 41:18
  way. The third verse there.
• 41:19
  Is a subtle change in the lyrics.
• 41:22
  There is. There's just a very.
• 41:24
  Subtle change is it's the same lyrics of the first verse, but a
• 41:27
  very slight change. It's yeah, the people.
• 41:32
  Catch. You, yeah.
• 41:36
  Which is a which is a. Constant theme throughout the
• 41:39
  Oasis outfit of this particular album.
• 41:41
  It's a contradiction of the first verse, which is very
• 41:45
  interesting songwriting. It is it.
• 41:48
  Is and. But it probably efficiently.
• 41:53
  Contradictory. That's what I appreciate the
• 41:54
  most about it, so. About the singing.
• 42:00
  Liam's voice on this very young Liam Gallagher singing and I
• 42:04
  think he he got it down in like 2 takes.
• 42:06
  Yeah, and it's I. I like that he just doesn't put
• 42:09
  any bells and whistles on it. But that was, you know, Brit Pop
• 42:12
  at the time too. You know, this is coming.
• 42:15
  These guys were from the Manchester scene.
• 42:17
  You know, keep in mind this is the 24 hour party people scene.
• 42:20
  So they were producing, you know, obviously Joy Division,
• 42:25
  they live near Manchester, I think in Mackley, Stone Roses.
• 42:29
  Stone rose is big influence joy. Division.
• 42:32
  Joy Division. Worked with, what's his name,
• 42:35
  the famous producer in Manchester, but it it was the 24
• 42:39
  party, 24 hour party. You're right, ended in, yeah,
• 42:43
  you could say ended in the late 80s, but you know, but Oasis
• 42:48
  came out of that and it was a really special time for music
• 42:51
  where Manchester was the. Center of the.
• 42:55
  Alternative universe in a lot of ways so.
• 42:59
  Especially through the. Late 7 like the whole new wave
• 43:02
  movement came out of Manchester OK, so that that.
• 43:05
  That's interesting too. Just a little background is, you
• 43:07
  know, up and probably till the Stone Roses and and stuff like
• 43:11
  that in the 90s, early 90s music.
• 43:14
  Coming. Out of the UK they.
• 43:17
  Weren't kind of really. Known for their rock music
• 43:20
  throughout the 80s and early 90s.
• 43:22
  You know, you know, starting there, you have The Smiths
• 43:26
  coming out of, you know, northern England, which as
• 43:30
  Matthew Matt was saying is was a lot of rocks or, excuse me,
• 43:34
  dance music scene, Happy Mondays and stuff like that.
• 43:38
  Yeah, Happy Mondays were. Kind of a.
• 43:39
  Combination of the what was it become electronica and and the
• 43:43
  old rock'n'roll, right? But the Joy Division, they came
• 43:48
  out obviously in, you know, 197778 and they started the new
• 43:53
  wave, you know when when punk for the North.
• 43:56
  Were punking. It it might, it might.
• 43:59
  I feel that I'm off thinking a massive attack was from the
• 44:01
  north and and that was much later.
• 44:03
  That's 90s, right? Yeah, that, that's a bit.
• 44:05
  Later, this is I mean, I'm totally like this and you know,
• 44:08
  no order came out of when Ian Curtis hanged himself and wow,
• 44:14
  Joy Division broke up the new order and that that created the
• 44:17
  new wave movement. So so.
• 44:20
  That's what I'm saying is The Beatles and anything be it was
• 44:24
  so far removed. The 60s were really far removed.
• 44:27
  I think the only element of the in Liverpool.
• 44:30
  In the late 80s, that looks like they were going to take the
• 44:33
  mantle of The Beatles, and that was the laws.
• 44:37
  I don't know. Oh.
• 44:37
  Yes, there she goes. By the way.
• 44:41
  Who then formed the group The Coral, who are now opening for
• 44:46
  Oasis as they did in the the mid 90s.
• 44:48
  Isn't that interesting? But yeah, that's totally did you
• 44:51
  know? That yeah, it's totally
• 44:52
  appropriate too. Man, what I was going to.
• 44:55
  Say. Is even in the US there were we
• 44:59
  were so far removed from anything hip, retro, 60s,
• 45:03
  seventies, anything. I think the closest thing in the
• 45:06
  80s and before Oasis and all that stuff to anything 60s was
• 45:09
  the reruns of the Monkeys on MTV, you know?
• 45:15
  So what you did have was a couple of different movements,
• 45:18
  not only the grunge was very much in the in line with the 70s
• 45:22
  garage rock and the whole do it yourself mentality with the
• 45:28
  heavy metal. Volume.
• 45:31
  But then. Yeah.
• 45:32
  Exactly. And then but you also had the
• 45:35
  desert rock and Stoner rock coming out.
• 45:38
  You had you had sleep in San Jose and you had Caius in.
• 45:44
  Palm Springs who'd become? Queens of the Stone well.
• 45:47
  Yeah, let's not. Oh.
• 45:48
  Well. Let's also count the bohemian
• 45:51
  kind of movement in the late 80s going to the 90s.
• 45:54
  You had like the kind of that acoustic, you know, 10,000
• 45:59
  maniacs, Tracy Chapman. Edie Brickell.
• 46:02
  Edie Brickell, Yes, but. Also remember so you.
• 46:05
  Know you had that there's. Sonic Youth in the.
• 46:07
  Pixies who were, you know, the right.
• 46:11
  They were the. Predecessors in R.E.M., they
• 46:13
  were the predecessors of grunge. So they're in college?
• 46:16
  Rock, college rock. A lot of these games are big in
• 46:19
  college. So OK, so that's Wonderwall.
• 46:22
  That was the huge hit. And you know, people have to
• 46:25
  remember too, the Oasis was charting.
• 46:28
  They reached, I believe, top five in their album and the
• 46:32
  songs and and all that stuff and and what a time to do it.
• 46:37
  So now that brings us to track four.
• 46:39
  That brings us to don't Look back and anger, an incredible
• 46:43
  song. And it it, it's just, it starts
• 46:47
  off. Yeah.
• 46:54
  OK, so let's talk. About that while I and if you.
• 46:56
  Look it up online. Online.
• 46:59
  Liam did not sing that song. It was Noel who sang it.
• 47:04
  I don't know why like you see people online saying that Liam
• 47:08
  sang the song. Look in the video Noel is
• 47:10
  singing well it. Clearly doesn't even sound like
• 47:14
  the younger brother. I mean, that's but this was kind
• 47:18
  of a curveball for the protocols of what bands do.
• 47:22
  Like Eddie Vedder didn't have a second singer, Guns and Roses
• 47:25
  didn't have a second singer. He was very much Beatles and.
• 47:28
  You know, a lot of the time with the what I found with Oasis, the
• 47:31
  same thing in The Beatles, the two singers, John Lennon and
• 47:35
  Paul McCartney, obviously distinctive voices.
• 47:37
  But sometimes, yes, for a moment you go, wait a minute, is that
• 47:41
  John? They blend.
• 47:43
  Yeah, and every once in. A while with Nolan, Liam, they
• 47:47
  do the same shit so well. So what I learned is when Noah
• 47:53
  writes the songs he's writing. In.
• 47:56
  The key of his voice. And he has a he has it.
• 48:00
  He's more, I don't know what if you want to say baritone names,
• 48:03
  more tenor, but he's older, so he's writing and more of a a
• 48:09
  song structure that maybe Paul McCartney would be singing, you
• 48:12
  know, like, you know, like John Lennon probably Can't Sing
• 48:16
  Helter Skelter if it came down to it.
• 48:18
  Yeah, there there a. Lot John Lennon John Lennon
• 48:21
  couldn't sing a lot of the songs Paul McCartney sang, so it's
• 48:24
  just out of the. Range, you know, and and it
• 48:27
  doesn't, you know, it's just they're different styles.
• 48:29
  So Liam couldn't really do the big chorus or don't look Back in
• 48:32
  Anger, which was so. Sally can wait, she knows it's
• 48:40
  too late as she's not, so he couldn't do that.
• 48:45
  So he gave Liam two options. Or an option is do you want to
• 48:50
  sing? Wonderwall.
• 48:52
  Yeah, he's goes. Do you want to?
• 48:53
  Sing Wonderwall or don't look any picked Wonderwall and
• 48:55
  rightfully so because that is so his tone even though it's
• 49:00
  monotone and then so anyways, bring us back.
• 49:03
  What did you think of that song the first time 1995 Matt you
• 49:06
  heard it on the radio that was all over the place too in
• 49:08
  America and England. What are your thoughts that?
• 49:13
  One I. I had a lot more time for to be
• 49:15
  honest because. That came.
• 49:18
  Out 90. Six it came out 96 as a single
• 49:22
  I. Heard it in 95.
• 49:23
  Though, because everybody had the album right though
• 49:26
  unfortunately my neighbors played the album.
• 49:28
  I mean, now, fortunately the back then I was my neighbor.
• 49:31
  She always played that album and it was driving me nuts.
• 49:35
  So I, I knew every song by heart when I didn't want to and you
• 49:39
  know, and in 95, but now I'm, I'm grateful for her for doing
• 49:43
  that because you know, some of the songs like don't look back
• 49:47
  and anger just stuck. You know when I I.
• 49:50
  Find myself singing it without even realizing it.
• 49:54
  And then that was the first one where I'm like, yeah, I really
• 49:57
  dig at least this man. Yeah.
• 50:01
  It it was a lot of people were drawing the comparisons to
• 50:04
  imagine because the opening piano chords or the the same as
• 50:09
  imagine from John Lennon. And.
• 50:12
  Noel, as you stated earlier, was it was an homage to John Well,
• 50:17
  and when the. The verse has a very Beatles
• 50:19
  feel to it. It's a lot of symphonic of.
• 50:23
  Course not as much. But the the verse itself, well.
• 50:28
  And I think. This was the first song on the
• 50:30
  album. And we're talking.
• 50:33
  About a decade that wasn't really known for its epic guitar
• 50:37
  solos like the decade prior. Well, this song wasn't any butt
• 50:43
  rock that you might have heard Eddie Vedder or, excuse me,
• 50:46
  Eddie Van Halen, you know, wannabes doing in the 80s.
• 50:50
  This was an iconic traditional guitar solo, Matt.
• 50:55
  Yeah. And that.
• 50:56
  Also remember his was his solos are more in the vein of George
• 51:00
  Harrison or or Neil Young. Yes, you know, classic.
• 51:05
  But also. Just.
• 51:06
  Not putting any bells and whistles on it.
• 51:09
  And he's. Like he's not in BAE Maumstein,
• 51:13
  for instance, and he wouldn't want.
• 51:14
  Well, he's also. He's also left-handed guy who's
• 51:18
  playing a right-handed guitar and again this song, like in the
• 51:23
  the track prior previous to track 4 here, don't look back in
• 51:26
  anger features another drum solo, another drum break where
• 51:32
  he goes down the Toms and everything huge for the last
• 51:36
  chorus. See.
• 51:39
  You know that's. That's one thing that I
• 51:41
  appreciate about my favorite bands and Oasis included, is
• 51:48
  like take a Bill Ward of Black Sabbath, take him out of Black
• 51:51
  Sabbath and it's just not the same.
• 51:54
  You know, you when you take his drums out of Black Sabbath, it's
• 51:56
  still good. But it's just these these guys,
• 52:00
  they add such a different dimension to the music, you
• 52:04
  know, like a. And a lot of the times.
• 52:09
  You know, like the music would overstay its welcome if it
• 52:11
  wasn't for these good drummers. Does that make sense?
• 52:15
  Oh. Absolutely.
• 52:16
  Well. You know it's.
• 52:19
  You compare Alan White, the drummer of of this era of Oasis,
• 52:22
  to the one prior. It's night and day.
• 52:24
  This guy was probably, I would say his style came from the
• 52:28
  school of Buddy Rich. You know, it's the same way like
• 52:31
  Ringo Starr and he's not the hard rocking drummer, but he was
• 52:36
  a rhythmic drummer and I that's what this album needed.
• 52:40
  Well, and that's what that's. What you need Ring Ringo's
• 52:43
  metronomic drums. I mean, the guy was what he was,
• 52:47
  a living metronome Ringo star. And oh, he was.
• 52:51
  And he knew exactly. When to add just a little bit of
• 52:54
  a fill here and there. He, he just, he was a master of.
• 52:59
  That's why when anybody talks a bit about Ringo, I get really
• 53:03
  upset. Most drummers don't, by the way,
• 53:04
  because even, you know, playing on time like he does.
• 53:09
  Yeah, he does not make mistakes. For one.
• 53:11
  The dude just did not make mistakes.
• 53:13
  His his drum. Feels can't be.
• 53:16
  It can't be replicated. But he's also known as the
• 53:19
  singer's drummer, A drummer who's not going to stomp on your
• 53:22
  vocals. But, and I think that's what
• 53:24
  Alan White added to to the band. And yeah, I but he he just also.
• 53:32
  New one to put in a really simple film that just yes.
• 53:36
  Especially came to. Especially when the song is
• 53:39
  climaxing. That just took the song to
• 53:42
  another level. Man, I I well, I have.
• 53:46
  So much high. Regard for him, what he did for.
• 53:49
  That album is. Just insane.
• 53:51
  Well, and and. Also, now we're talking about
• 53:54
  Noel singing his first song. This was a big deal.
• 53:59
  Maybe. You know, somewhat I mean.
• 54:02
  This must have been a surprise. Because there's people who don't
• 54:05
  like Lame's voice, but that's the song they love is Don't Look
• 54:08
  Back in Anger and it is a classic classic.
• 54:12
  What's funny is. I have a lot of Libyan friends.
• 54:15
  My friend Faerus Rose, she's a, she now lives in Egypt, but she
• 54:20
  is just obsessed with that song Don't Look Back in Anger.
• 54:24
  She's always, every time I talk to her, she's mentioned that
• 54:27
  song or she's always posting about it.
• 54:31
  It's also another song that uses that same lyric scheme as the,
• 54:35
  you know, one prior that it's the same line with the switching
• 54:38
  of a word or two here and there. So you see that scheme often
• 54:42
  throughout the album. So OK, so now we have track 5.
• 54:45
  We have Hey Now. Yeah.
• 54:48
  Oh, oh, oh, the champagne super, Yeah.
• 54:50
  We'll we'll get to that one. So now, so we're 4 tracks in.
• 54:54
  You know what that you know what the beautiful thing about Oasis
• 54:58
  is. With by track 3.
• 55:01
  By even track 2IN some cases there you know it's a solid
• 55:05
  album. You think?
• 55:06
  About the first. Couple of tracks, especially the
• 55:08
  first top 4 you Wonderwall. The don't look back in anger.
• 55:13
  That is a huge back-to-back, which leads us to but the old
• 55:17
  side. B You know the side B in the old
• 55:19
  days is just as strong as the first, the side A, So.
• 55:26
  Right and. That's another thing we'd even
• 55:29
  get into is remind Me Please the B sides on the singles, which to
• 55:34
  this day Noel Gallagher regrets not including those B sides on
• 55:40
  the album and and even the next album that followed.
• 55:42
  What's the Story? So OK, so this brings us to
• 55:44
  track 5. This is Hey Now.
• 55:48
  And Hey Now is a song that has never been played live.
• 55:54
  They're not even doing it now. I don't know why.
• 55:57
  Maybe they really hate it. It's kind of a throwaway song, I
• 56:00
  guess you could say. But you know, look, it's kind.
• 56:04
  Of. A throwaway song, he repeats.
• 56:05
  But it's a heavy drum. There's heavy drums in it.
• 56:09
  I think if they played it today, I think it would be just as
• 56:12
  good. And it'd be.
• 56:13
  Fantastic to hear. I like it, but there's not a
• 56:18
  song I. Skip on the album either, so
• 56:21
  yeah. So hey now.
• 56:24
  I took a ride by the side of the road or took.
• 56:28
  I forgot the word but it. It's it's a repetitive scheme.
• 56:32
  Again, good song. I don't know why they've never
• 56:35
  played it, but anyways, that's the way it is.
• 56:37
  Track 6 has no. OK, so this is where I thought
• 56:40
  things get weird at the. Time, I thought.
• 56:43
  This is weird. Track 6 has no name as there's
• 56:46
  No title of the track, it's just an instrumental of a live song
• 56:52
  they did called the I can I'll tell you the.
• 56:54
  Name of the song? Actually, give me a It's Swamp
• 56:56
  song. It's the swamp song.
• 56:58
  Exactly, and it was a song instrumental though I really.
• 57:03
  Do even though it's like they do some good instrumentals.
• 57:06
  It's. It's a.
• 57:07
  Very short song, so. It so it goes.
• 57:11
  Into like this weird, like this bubble or I don't know, it's the
• 57:15
  vortex, it's delta blue. It's Delta bluesy as well.
• 57:19
  Yes, it's. A Blues song in the key of I
• 57:21
  believe a some a minor problem. It's really.
• 57:25
  Like an homage to delta Blues, like what you'd hear in, you
• 57:28
  know, Texas and Louisiana. Yeah, it's good.
• 57:31
  A harmonica. Too.
• 57:32
  They brought back a lot of harmonica.
• 57:34
  Yeah, that that was really nice. So that's track 6 and it's about
• 57:38
  40 seconds long. And again it comes back in track
• 57:42
  11, which will revisit that same song.
• 57:44
  So now we have track 7, which is Some might say now, some might
• 57:50
  say was the first single of the album and it reached and peaked
• 57:54
  at number one. Thoughts on Some might say
• 57:58
  'cause that's some very funky lyrics.
• 58:00
  It has a. Total.
• 58:02
  Status quo beginning. Totally status.
• 58:05
  Quo but it once again so you hear it you're all is this like
• 58:10
  a status quo song and then they can just they throw it they.
• 58:14
  Just throw a curveball. Immediately.
• 58:20
  So. By about. 20 seconds.
• 58:26
  Yes, go ahead. So by about 20.
• 58:30
  Seconds. You realize that?
• 58:32
  Oh yeah, this doesn't sound like Status Quo at all.
• 58:34
  The only reason, the only reason I think Blur said they were
• 58:37
  Status Quo wannabe ban is because of the opening of that
• 58:40
  song and also roll with it the beginning.
• 58:45
  But other than that. It doesn't sound like status quo
• 58:48
  at all. It's yeah.
• 58:52
  A really good song. It's very uplifting.
• 58:57
  I, I, it was, I would think it was recorded before the sessions
• 59:02
  they'd had before the what's the story, Morning Glory sessions.
• 59:05
  Cause the older drummer was on Ellen.
• 59:10
  Oh God, I can't think of his name, but you know what I'm
• 59:12
  talking about. Not Ellen.
• 59:13
  Tony Tony Mccarroll. Tony Mccarroll.
• 59:15
  Yes. For me initially I, I thought it
• 59:20
  was OK. It was in the song that really
• 59:24
  affected me. It didn't move me a lot.
• 59:26
  Now, years later, years later, like hearing it live is much
• 59:31
  different. I loved it, but when I actually
• 59:34
  learned started actually playing that song, I love playing it all
• 59:37
  the time. I love the song.
• 59:40
  The the the lyrics are funny. You know, the lyrics are what is
• 59:47
  it some someone's in the kitchen she's got.
• 59:52
  Oh God, I can't. I can't think of it.
• 59:57
  I just blanked. Yeah, they're.
• 59:59
  Fun they're. Fun lyrics.
• 1:00:01
  They don't make sense, but they're fun, yeah.
• 1:00:03
  Kind of like. The importance of being idol.
• 1:00:06
  What I like about it is the lyrics are just so, so
• 1:00:09
  interesting and so Oscar Wilde now.
• 1:00:14
  Another. Thing interesting about some
• 1:00:15
  might say is that they didn't play it for the longest time.
• 1:00:21
  Live after about 199696 because Liam could not reach those high
• 1:00:27
  notes. It's a high note in the key of D
• 1:00:30
  and I was astonished and actually smitten to hear that
• 1:00:35
  they're playing it live again and they just dropped it down to
• 1:00:38
  the key of C Man, that's all you have to do, Yeah.
• 1:00:42
  That's all you have to do. And it sounds great.
• 1:00:45
  So that that's track 7. Now that brings us to track 8.
• 1:00:48
  That's cast no shadow. And this is a tune and it oh
• 1:00:56
  easily, hands down written by Noel, but written about Richard
• 1:01:00
  Ashcroft of the verb, which he dedicated the song to in the
• 1:01:04
  linear notes in the sleeve of the album.
• 1:01:07
  Go ahead. Give us your review on that,
• 1:01:09
  Matt, if you could. It just.
• 1:01:13
  I mean one. It's such a great homage to the
• 1:01:15
  birds. And that's what's so great about
• 1:01:18
  Oasis too. Like they weren't.
• 1:01:22
  I mean this album. Is kind of a almost like a thank
• 1:01:26
  you to the the bands of the past that inspired them.
• 1:01:29
  You know what I mean? Without it being without it
• 1:01:32
  being like a cast no shadow. That's another one that sounds
• 1:01:35
  like Oasis covering an Oasis song.
• 1:01:39
  From another time. You know what I mean and.
• 1:01:44
  You know it's. It's just the what's so great
• 1:01:48
  about it is when it kind of. Itches you about.
• 1:01:52
  Something a certain time period, but it's definitely the 1990s,
• 1:01:57
  yeah. You know what I mean?
• 1:01:59
  But it. Then there it just, it feels
• 1:02:01
  like a it just. Feels like you.
• 1:02:05
  Know what I mean? The Bands.
• 1:02:07
  Have inspired. Me.
• 1:02:23
  I mean, it is a touching song, It really is.
• 1:02:28
  It's. I think it's their most besides
• 1:02:31
  Wonderwall, probably their most emotionally powerful one.
• 1:02:35
  It's another acoustic driven song and I I'm telling you,
• 1:02:40
  there's something the mid 90s had that the mid. 90s had that.
• 1:02:44
  And I think the big, the success of this album had a lot to do
• 1:02:49
  with it doesn't really sound like the British album.
• 1:02:52
  You would think it would sound like the Blur albums at the
• 1:02:54
  time, Pulp and all those guys. This had a real Californian
• 1:02:59
  acoustic. Yeah, you know, kind of
• 1:03:00
  undertone to it. That's why I don't like calling
• 1:03:02
  them. Brit pop.
• 1:03:03
  They weren't. They were a rock'n'roll band.
• 1:03:05
  No, they were not Brit pop at all.
• 1:03:08
  You have to be insane to think they were Brit pop.
• 1:03:10
  They're just they're a straight up rock'n'roll band.
• 1:03:14
  And I think I think I. Think.
• 1:03:17
  I think culturally, like pop culture wise, they're they're
• 1:03:20
  the Brit pop because you know, they're in the tabloids.
• 1:03:23
  They were beating, you know, they were bringing a lot of
• 1:03:26
  those bands, too, to the sea. They tried to make it like a
• 1:03:30
  second British Invasion as which they were doing with the Brit
• 1:03:33
  pop, but these guys weren't these.
• 1:03:35
  Guys were sort. Of rock'n'roll, though.
• 1:03:38
  And you know what? In In the Wake of the Death of
• 1:03:42
  Kurt Cobain, that was welcomed, you know, I mean, the Spice
• 1:03:46
  Girls came later and a lot of that British New Britain.
• 1:03:49
  Yeah, It, it was a big people liked it.
• 1:03:52
  It really it, it fit in so many genres you know well and it was
• 1:03:56
  just. You know, a lot of the time when
• 1:04:00
  Kurt Cobain died, that did that was a day the music died moment
• 1:04:05
  where you're like, yeah. Right.
• 1:04:09
  Right. What, what?
• 1:04:09
  What's next? Because.
• 1:04:10
  Montel Jordan ain't cutting it. So who who's step up to the step
• 1:04:15
  up to the plate? And they did.
• 1:04:16
  And you know, you got to you got to hand it to a Matt because
• 1:04:19
  Oasis brought a lot of other bands to Americans attention.
• 1:04:22
  And I would also say some of the films and movies, you know, Hugh
• 1:04:26
  Grant made a huge splash and a lot of people wrote on the backs
• 1:04:30
  of this, this new wave of the British invasion, if you will.
• 1:04:35
  So I thought it was a great thing it was 9590. 6 was a
• 1:04:39
  special time because I this is a little aside, but when
• 1:04:43
  Trainspotting came out in 96, I saw it in Scotland, I saw it
• 1:04:46
  opening night in Glasgow. But The thing is, what that did
• 1:04:50
  is it it gave such a revival to Iggy Pop as well, 'cause the
• 1:04:54
  song Lust for Life was, you know, that's wrong on
• 1:04:57
  Trainspotting and just right. You know so.
• 1:05:01
  Then people started really at that time, it became all these
• 1:05:07
  guys, these big guys from the 70s started gain gaining movies
• 1:05:11
  on life. And I think, yeah.
• 1:05:14
  Yeah, and David Bowie, he came back and I think the Oasis
• 1:05:17
  covered Heroes by David Bowie. Yeah, they would have.
• 1:05:20
  Brilliant cover as well so. This was it so.
• 1:05:25
  OK. And and I have overall, you
• 1:05:28
  know, what I'm thinking is at at this time.
• 1:05:31
  So Oasis were kind of like The Beatles, although I didn't think
• 1:05:34
  they ever sounded like The Beatles, really.
• 1:05:36
  Not, not entirely it. Champagne.
• 1:05:38
  Supernova has. There's always moments that I
• 1:05:44
  have a recollection of feeling. Especially like the when.
• 1:05:49
  They when they do minor notes and that just reminds me of it's
• 1:05:53
  very English for one right this. They're.
• 1:05:57
  Very. English band.
• 1:06:00
  And you know, like the. Beatles When you When you hear a
• 1:06:02
  Beatles song, it just sounds so English and.
• 1:06:06
  You know as. We're saying that as I'm saying
• 1:06:08
  they don't sound like The Beatles at all.
• 1:06:09
  Well, Track 9, she's electric. Sounds totally, yeah.
• 1:06:15
  I think there's a lot of. There's a lot of homage to The
• 1:06:19
  Beatles in this album. Well, so.
• 1:06:22
  Much to the point. Of.
• 1:06:28
  Yeah, but then it and and. Ends on the song of Electric.
• 1:06:37
  She's electric and. Little help with my friends.
• 1:06:40
  She's. Electric.
• 1:06:41
  And Champagne Supernova definitely sound the most
• 1:06:43
  Beatles esque of the So the songs.
• 1:06:46
  In the. Album.
• 1:06:48
  OK, so. She's electric comes out I that
• 1:06:53
  I think that was a song my mother liked.
• 1:06:55
  She didn't really like, I don't know.
• 1:06:56
  And she she she's a fan of journeys.
• 1:06:58
  So, you know, people like that need help, but she's electric.
• 1:07:04
  I'm sure even. Either dude.
• 1:07:06
  So hey, neither, Steve. Perry, why do you think he
• 1:07:08
  doesn't want to come back? You're preaching to the.
• 1:07:10
  Choir on that? I'm not a fan of arena rock.
• 1:07:14
  Right, neither is he so, but she's electric.
• 1:07:18
  Look, she's electric. They don't play it.
• 1:07:20
  It's a hard song to sing for Liam.
• 1:07:23
  It's in the key of E major. It's a great song.
• 1:07:25
  It's a fun song. It has reminds me of what The
• 1:07:28
  Who did with Someone's got a fuse Box.
• 1:07:32
  Mama doesn't. Sleep at night?
• 1:07:34
  What was that song called? What was that something?
• 1:07:37
  Fuse Box or whatever. Anyways, it has that country
• 1:07:40
  time, summertime feel to it. And that's, I have to think
• 1:07:44
  Summertime. Like this was the album that was
• 1:07:47
  big in the US by summer of 96, it was a big thing still.
• 1:07:54
  OK, so that's track 9. Now things get interesting.
• 1:07:58
  That brings us to the title track of Morning.
• 1:08:01
  Glory. Track 10 and by the way, I
• 1:08:05
  think. It just came to me something
• 1:08:09
  box, some squeeze box. Bobby's got to squeeze.
• 1:08:12
  Back Daddy doesn't squeeze that. That's 6.
• 1:08:15
  Thank you. OK, so this song begins with
• 1:08:23
  that's that's the bass line. That's the bass line of that.
• 1:08:27
  And I thought, Gee, where have I heard that before?
• 1:08:31
  This goes out into the one I love.
• 1:08:35
  R.E.M. Yeah.
• 1:08:38
  From Doc has a bass line. And here there's a story behind
• 1:08:42
  it. So Oasis toured with R.E.M.
• 1:08:46
  Briefly in Slain Castle and there was a bus stop which.
• 1:08:53
  Michael Stripe his. Personality and your personal
• 1:08:56
  friends with him, aren't you? According to Rolling Stone.
• 1:09:00
  Magazine. Oh, you got to tell.
• 1:09:03
  That story, that's a good. Point SO so anyways so.
• 1:09:08
  Michael Stipe and to me, Liam and Oasis in general, Northerns
• 1:09:13
  couldn't be vastly more different than each other.
• 1:09:17
  Michael Stipe is kind of a Berkeley liberal at that time
• 1:09:21
  and, you know, very. Sensitive so savantage or he's
• 1:09:25
  so Athens, GA he's got OK is that where he's.
• 1:09:29
  From Yeah, they're they're a. Georgia Band.
• 1:09:31
  See, I always thought. They just became a mouthpiece of
• 1:09:34
  the Democrat party and and I say that because when their biggest
• 1:09:37
  album and their biggest songs were out, they did tour one time
• 1:09:41
  and kept talking about the Clinton campaign.
• 1:09:44
  So I thought they were getting paid they in the. 80s they were.
• 1:09:49
  I mean they were speaking out loudly against the supporting
• 1:09:54
  the El Salvador military Hunt does and stuff like that.
• 1:09:59
  Like the song Welcome to the Occupation by R.E.M. is just
• 1:10:02
  brilliant at that. You probably.
• 1:10:04
  Have a. Million songs.
• 1:10:06
  I have a lot. Of.
• 1:10:07
  Respect for Michael Stipe and RE Ms. 80s stuff is unbeatable and
• 1:10:11
  automatic. Look, I.
• 1:10:13
  Like I like. R.E.M.
• 1:10:14
  And so does Noel Gallagher because he used their baseline
• 1:10:17
  as AI think it was. A.
• 1:10:20
  A. A dig.
• 1:10:21
  A dig and who if I can mention because I I forgot to mention
• 1:10:26
  this and don't like Back in anger.
• 1:10:29
  If I ever meet Billy Corgan, I want to ask him.
• 1:10:32
  So, Billy. Corgan, The Smashing Pumpkins
• 1:10:34
  have a song of. Today.
• 1:10:40
  Is the greatest day of our lives today.
• 1:10:53
  Which is just. Like don't look back in anger
• 1:10:55
  you ain't have done. From that you know.
• 1:11:00
  And I think. I don't think it was.
• 1:11:02
  Done on purpose. I just think for the time, I
• 1:11:05
  think bands of whatever's out there subconsciously.
• 1:11:09
  Either it's. Just the first.
• 1:11:10
  It's the sound of. The era it's, but then in the
• 1:11:14
  it's. The sound of the era.
• 1:11:15
  But then the baseline. And and the one I love changes
• 1:11:19
  after the the right 4 notes. It's a great.
• 1:11:23
  Bass line, but it's a thundering guitar, ba ba ba ba and you hear
• 1:11:27
  the helicopters. That's their most.
• 1:11:30
  Rocking like just straight up rocking song I think.
• 1:11:34
  The lyrics to. All your dreams are made when
• 1:11:36
  you're chained to the mirror in a razor blade, and I never knew
• 1:11:39
  what that meant for Probably 20 some odd.
• 1:11:42
  Years, the whole like. The.
• 1:11:44
  Guitar. The distorted guitar at the
• 1:11:47
  beginning, too, and the band that he does.
• 1:11:49
  You know what I'm talking about. That makes it sound like an air
• 1:11:52
  raid siren. Yeah.
• 1:11:54
  That is just. So epic man.
• 1:11:57
  And I'm a sucker. I'm a Stoner rock fan so I'm a
• 1:12:00
  sucker for bending notes so. By track 10, Matt Millen was a
• 1:12:06
  full-fledged Oasis fan. I would say because Morning
• 1:12:09
  Glory the more. The rocking song, man.
• 1:12:12
  Yeah, still. Being played.
• 1:12:14
  Yeah. I mean.
• 1:12:15
  It's if you, if you like, you know, like I, I grew up loving
• 1:12:19
  the band UFO. You know what?
• 1:12:21
  One of the great Hard Rock English bands of the 70s and
• 1:12:26
  they would be proud of a song like this.
• 1:12:29
  Oh yeah, and the. Chorus too.
• 1:12:31
  It's rocking, rocking. And he continued the scheme.
• 1:12:34
  The IT is. I mean.
• 1:12:38
  Well, I mean, Hello is probably my favorite still, but I think
• 1:12:42
  this is the most just straight up rocker of all of every song
• 1:12:46
  on the album. Easily, yes.
• 1:12:49
  It's a rocker to two chords and and also.
• 1:12:52
  Like when I I remember that was the song when the the girl next
• 1:12:56
  door to me was playing this album all the time.
• 1:12:59
  That was the song I'd be like, Oh yeah, great.
• 1:13:02
  OK, now this is more in my realm.
• 1:13:07
  So. OK, so and, and again, they
• 1:13:10
  continued the lyrical scheme of changing a few words here and
• 1:13:14
  there, but I in this case, I don't think he did.
• 1:13:16
  I think it was straight up a repeat of the the the verse.
• 1:13:19
  And I don't think people care 'cause they're just totally
• 1:13:23
  having a stomper of a night and just rocking out when the chorus
• 1:13:26
  comes. I mean that that's what it's all
• 1:13:27
  about. So a girl.
• 1:13:30
  OK, so that's a great song. I even loved when they've
• 1:13:33
  remastered it and turned up the drums.
• 1:13:36
  It's a classic. Song, man.
• 1:13:38
  I mean, I think we're old enough.
• 1:13:39
  We're far enough removed from it now you can say that's an all
• 1:13:42
  time classic. Oh, absolutely.
• 1:13:44
  OK. So then that leaves us again to
• 1:13:47
  track 11. We have one more track to go,
• 1:13:49
  but track 11, like track 6, is No title.
• 1:13:52
  It's a continuation of the swamp song and it goes into this weird
• 1:13:56
  metamorphosis where you're like coming out into this, like
• 1:14:00
  there's like a sink and then you're going into a lake and you
• 1:14:04
  hear the you hear the water noise, which then brings us to
• 1:14:07
  there's a lot of. Radio static at the beginning
• 1:14:10
  too. There's a lot of.
• 1:14:12
  Yeah, a lot, a lot of, I want to say noise, color, noise
• 1:14:18
  configuration. What's interesting is my.
• 1:14:20
  My friend Angelo with his new album is a band called Grand
• 1:14:24
  Yukon Territory. He begins all of this songs in a
• 1:14:28
  similar way of this leading into the leading into the actual
• 1:14:32
  song. Like I'll have like a guy in ACB
• 1:14:37
  for instance, and you can just barely hear.
• 1:14:40
  It's a lot of and so I'm what I'm getting to is this also is
• 1:14:46
  just such a perfect build up for the final track on the album.
• 1:14:50
  OK, so that leads us now to the final.
• 1:14:54
  Track champagne. Supernova and let me just start
• 1:14:56
  by saying. Talk about the.
• 1:14:59
  Best last songs of an album of all time, and to me, a song that
• 1:15:05
  defines a generation. It's Champagne Supernova, the
• 1:15:09
  only single ever released in the US and Australia, oddly enough.
• 1:15:12
  Special people change how many lives are living strange.
• 1:15:15
  You know, it's like the actual song is like 7 1/2 minutes long,
• 1:15:20
  which is. Not single material.
• 1:15:22
  So they had to, they had to cut it down quite a bit, right?
• 1:15:25
  Not single material. I think it was borrowed from
• 1:15:28
  the. Pixies slowly walking down the
• 1:15:30
  hall faster than a cannonball, which is another contradiction.
• 1:15:36
  Man, I got to tell you, I don't like.
• 1:15:37
  I mean, I like the chorus, but I just don't like the.
• 1:15:40
  Name Champagne Supernova for whatever reason.
• 1:15:44
  Well, supernova I've. Do you know what that?
• 1:15:48
  Is you know what it is? Yeah.
• 1:15:50
  Yeah, I do it just for me it felt like especially back.
• 1:15:54
  Then it felt like, oh, they're trying to be The Beatles.
• 1:16:00
  So to me. I found out.
• 1:16:03
  Later in life, Champagne supernovae.
• 1:16:04
  Is champagne and a spliff. I think just marijuana together.
• 1:16:09
  I didn't know that. The you know.
• 1:16:14
  But for me, probably why it was 'cause it was also like it was a
• 1:16:18
  alcohol and drug. Reference.
• 1:16:20
  Well, I mean, yeah, yeah, you know that.
• 1:16:24
  It's something that The Beatles. Would do later on the.
• 1:16:30
  The Beatles career. So but.
• 1:16:32
  You know, looking but once. Again, I'm looking.
• 1:16:34
  At this that was me then but now I just I love the song man,
• 1:16:39
  because it just to me it it feels very nostalgic for that
• 1:16:44
  time period too. It is.
• 1:16:47
  You hit it on the head. You stole my.
• 1:16:49
  My, my breath, right, right there.
• 1:16:51
  Because for me, it's my favorite song of all time.
• 1:16:55
  And when I hear it, especially the original, I, I go back into
• 1:17:00
  summer riding my bike with my friend Stevie in the riverbanks,
• 1:17:06
  you know, and all the way to the beach.
• 1:17:08
  That song was everywhere, like Wonderwall.
• 1:17:10
  So it's like at any given moment, you'll hear Wonderwall,
• 1:17:13
  Don't Look Back at Anger or Champion Supernova at any given
• 1:17:16
  time. And you want to talk about the
• 1:17:20
  most epic solos of solos? That's the tune right there.
• 1:17:24
  That's the tune. But also the verse is so good,
• 1:17:27
  man. Yeah.
• 1:17:29
  The verse is every bit is is is a hook as the.
• 1:17:32
  Chorus. Well man, let let, let.
• 1:17:34
  Let's not forget either. A solo right in the middle of
• 1:17:38
  the verse, like a a melodic solo just out of nowhere.
• 1:17:43
  Who does that last solo quite a bit?
• 1:17:45
  His last solo feels a. Lot like.
• 1:17:47
  George. Harrison solo without being
• 1:17:49
  George Harrison without Once again, it was actually that we
• 1:17:54
  have to give him credit on the album.
• 1:17:56
  The Solo the main solo that you hear at the very end is played
• 1:18:00
  by Paul. Weller.
• 1:18:02
  Oh really? Yes, that's him at the very top.
• 1:18:06
  Shit, I didn't know. It Yeah, Paul Weller plays on
• 1:18:09
  that one. So.
• 1:18:12
  It's an epic and and then you talk about a.
• 1:18:15
  Beautiful, come down like I. Remember being on like MDMA or
• 1:18:20
  like think about think about Cybosella come down the whole
• 1:18:23
  song. Is is.
• 1:18:25
  It's like a thank you note. To all like, I mean, the jam,
• 1:18:29
  Paul Weller, I didn't know that. That makes total sense now,
• 1:18:34
  yeah. I mean.
• 1:18:35
  This is a total like. Thank you to.
• 1:18:37
  All the. Great English.
• 1:18:38
  Bands. That inspired them.
• 1:18:41
  That's what's so brilliant about the album, man.
• 1:18:43
  It's. Well, there's a lot of
• 1:18:45
  brilliant. Things about it, but that just
• 1:18:46
  gives it so much. Yeah, 'cause Paul.
• 1:18:51
  Wow, yeah. Look, man, I I, I.
• 1:18:55
  Just found out. That on Wonderwall.
• 1:18:58
  That wasn't an orchestra we hear.
• 1:18:59
  That's a Mellotron playing by Bonehead.
• 1:19:02
  The really guitars. I never knew you would have
• 1:19:05
  fooled me. You could have told me
• 1:19:07
  otherwise. OK, so that that wow that
• 1:19:10
  because that doesn't that highlight what I said.
• 1:19:13
  Earlier about it being an Omar favorite bands that they had the
• 1:19:16
  jam play a guitars solo on it. Oh, that's right.
• 1:19:22
  That's absolutely correct. Yeah.
• 1:19:25
  Yeah, I, I feel, I feel. Very vindicated for my.
• 1:19:27
  Comment So I you're telling me I didn't even know Paul Weller
• 1:19:32
  could play that? You know he was playing.
• 1:19:33
  High, high notes on it at the very end, but he played it good.
• 1:19:38
  So he's got a lot of history with the band.
• 1:19:41
  Well, I mean, talk about also a classic English band, The Jam.
• 1:19:46
  Oh, I know. And so and and.
• 1:19:49
  And and before we kind. Of close it all out I I will
• 1:19:51
  have to give some honorable mention to the music videos of
• 1:19:55
  the songs, which were very iconic to this day.
• 1:19:58
  Oh, Champagne Supernova is a great.
• 1:20:00
  That's a fantastic. Video.
• 1:20:03
  Yeah, and nobody had a beard. At that time.
• 1:20:07
  In the 90s, you know, like he did.
• 1:20:09
  But Liam did. But Liam did.
• 1:20:13
  And and remember the. Colors too, like.
• 1:20:16
  You know it may not be the most high tech expensive video of the
• 1:20:19
  colored the blue. It was very 60s psychedelic.
• 1:20:23
  Yeah, Martini cocktail. It was really cool.
• 1:20:26
  And the dancers. I mean, that's that's why that's
• 1:20:30
  another thing. You see their videos?
• 1:20:32
  And clearly the directors of videos had the same idea that I
• 1:20:35
  did, that they're all kind of, they all feel like a going back
• 1:20:41
  and looking at the bands that inspired them.
• 1:20:44
  So OK, so this. Album was in rotation in my CD
• 1:20:50
  player for years, all the way in the to the 2000s.
• 1:20:55
  This was an album that I believe inspired a lot of bands that
• 1:21:01
  probably wouldn't admit it because, you know, like Matt
• 1:21:04
  was. Saying you know they.
• 1:21:05
  Love to hate them and they hate to love them and but the sound
• 1:21:09
  was infectious. I heard more bands becoming more
• 1:21:13
  melodic. Green Day's next album, dude.
• 1:21:17
  There was nobody that sounded like them at the time.
• 1:21:20
  No. No, no, no, but.
• 1:21:24
  Well, I mean. You have Green Day.
• 1:21:26
  Releasing you know Blvd. of broken.
• 1:21:27
  Dreams. Which is clearly Wonderwall, you
• 1:21:30
  know, I mean, but that's, you know, that that that's what it
• 1:21:33
  is so, so. That that's kind of the.
• 1:21:35
  Review on that. Keep in mind that that.
• 1:21:37
  Was a a theme? You know the song.
• 1:21:39
  Come as you are. By Nirvana, which is Killing
• 1:21:43
  Joke has a song called the. 80s which?
• 1:21:46
  Nirvana just completely stole the riff from but then and you
• 1:21:50
  know Jazz Coleman of Killing Joke was always complaining
• 1:21:53
  about that but then Killing Joke stole that song from the damned
• 1:21:58
  the damned of the song called life goes on that you got to
• 1:22:02
  hear it. It is a complete the come as you
• 1:22:05
  are riff is completely that the. Killing.
• 1:22:08
  Joke song and the Damned song, Matt, we've reached that point
• 1:22:13
  of the. Conclusions.
• 1:22:16
  We're gonna kind of give our final thoughts on the album, the
• 1:22:20
  time frame, everything all together on on what is now known
• 1:22:24
  as what's the story? Morning Glory final thoughts
• 1:22:28
  Matt Millen of 1995 The Matt Millen tell us 95 couldn't look.
• 1:22:34
  Back in. 1995 in nostalgia the now the Matt Millen at 2025 sees
• 1:22:42
  this, you know 'cause it was such a special time in my life
• 1:22:45
  and what's the story Morning glory is one of the soundtracks
• 1:22:49
  of that man and it but it's not absolutely now like it's looking
• 1:22:55
  back on it with with fresh ears and unbiased ears you know
• 1:23:01
  without. Preconceptions.
• 1:23:03
  It's just fantastic through and through.
• 1:23:06
  I I don't think there. I.
• 1:23:07
  Actually, don't think there's one song that's filler material.
• 1:23:13
  I mean, even you know what? I came to like that song.
• 1:23:16
  And at first I would be I'd. Probably.
• 1:23:19
  Not pay attention for that one, but I I don't know man, like all
• 1:23:25
  of them now like can you say can you say?
• 1:23:30
  When? When?
• 1:23:30
  You listen to the whole album recently like you said.
• 1:23:33
  Can you say you walked? Away from that album, after the
• 1:23:35
  final listen, feeling happy or, or like, would you say that?
• 1:23:39
  I'd say like very nostalgic. It's like, what a great yeah.
• 1:23:43
  Like that was when I lived in. Yeah.
• 1:23:45
  And. It's also.
• 1:23:47
  A little sad because of my. Friend Aaron, who died.
• 1:23:51
  But he was a really close friend when I was in Glasgow, so I
• 1:23:55
  really interesting, yeah. So it's a real bittersweet
• 1:23:59
  feeling. But it's.
• 1:24:01
  It. It's also.
• 1:24:01
  Because the music, there's a lot of music from 19. 95.
• 1:24:04
  That can't take me back. Absolutely.
• 1:24:07
  You know, a lot of music that I would say is dog shit.
• 1:24:09
  From 1995 that. I'll just it didn't age well,
• 1:24:12
  right? Didn't age well, but this just.
• 1:24:15
  Had packed such an emotional punch for me now.
• 1:24:18
  And it it has for since about I'd say since about 1999.
• 1:24:23
  Is when I started. Becoming a real Oasis.
• 1:24:25
  I was actually, no, you know, what made me become an Oasis fan
• 1:24:28
  was they did a song on the soundtrack Snatch called Fucking
• 1:24:32
  in the Bushes. It was a, it was an instrumental
• 1:24:35
  and it's such a rocking instrumental.
• 1:24:37
  And then I went back and stuff and I was like, this band's,
• 1:24:41
  this band's. Amazing man.
• 1:24:44
  And then, but then I went back to this and it just.
• 1:24:47
  Felt like I wasn't it just. Reminded me so much of being in
• 1:24:50
  Scotland again and how you know those that bridge of time, it
• 1:24:55
  can kind of cross that bridge of time.
• 1:24:59
  I totally concur it. There's something special.
• 1:25:03
  About it and and kind of in my final thoughts haziness of it
• 1:25:07
  all, which we're living in through this Hazian is now
• 1:25:12
  there's a lot of clarity you know, I'll be at nostalgia, but
• 1:25:17
  there's a lot of. Clarity.
• 1:25:19
  That comes back from looking back, not in anger, but looking
• 1:25:22
  back at what is the most iconic albums out there and for me,
• 1:25:26
  back in nostalgia for me, even though.
• 1:25:30
  I was only 5. Years old.
• 1:25:31
  When it. Came out but still no.
• 1:25:37
  But for me? As a as a kid who I didn't know,
• 1:25:43
  I had no identity. I identity cry.
• 1:25:46
  I didn't. I didn't know who I was.
• 1:25:49
  There was a uplifting boost of confidence that Oasis gave me as
• 1:25:54
  a teenager that I, I don't think I could get have gotten from
• 1:25:58
  anywhere else, you know, and not no father around and nothing
• 1:26:01
  like that. I got it from that band, which
• 1:26:04
  had a lot of individuality to them and had the same, you know,
• 1:26:11
  appreciation for The Beatles as I did.
• 1:26:15
  They they became ultimately, you know.
• 1:26:17
  Still today is my. Favorite band of all time.
• 1:26:19
  And that album was that. I think that defined a
• 1:26:24
  generation of not just people in England, but a lot of a lot of a
• 1:26:28
  lot of kids here in America too, 'cause they were bigger.
• 1:26:31
  I they were, they were big. I don't think they're as big as
• 1:26:36
  people give them credit for. In, in, in in the United States,
• 1:26:39
  'cause they routinely sold out Madison Square Garden that way
• 1:26:42
  they were like state, they were still that way.
• 1:26:45
  They, I mean, they were. Bigger than status quo ever was
• 1:26:47
  in the States, but they had the same type of because, and I say
• 1:26:51
  that because if they weren't. Then this tour they're on now
• 1:26:56
  wouldn't have ever happened the way it happens around the world
• 1:26:59
  because their sound will never die.
• 1:27:02
  Their songs will never die. And Champagne Supernova is the
• 1:27:07
  ultimate ode to never dying where, you know, maybe Kurt
• 1:27:12
  Cobain and and all the rest of them were talking about how bad
• 1:27:14
  life is. Well, Oasis taught us, you know,
• 1:27:16
  they were saying live forever, have a champagne, you know, just
• 1:27:20
  go for stardom. You know, if you're not in it to
• 1:27:22
  be bigger than Beatles, It's just a hobby.
• 1:27:25
  Who talked like that back then? It was unheard of in the 90s,
• 1:27:29
  but it was refreshing. It's a special time in my life.
• 1:27:33
  I'll never forget it. It was the year that I had MTV
• 1:27:36
  for the first time in the year I got my guitar for the first
• 1:27:39
  time. It was a special time, really.
• 1:27:43
  And and and. Then I.
• 1:27:44
  Knew back then that it was, I knew it was a special time and I
• 1:27:48
  knew this was going to be history that I've remember
• 1:27:50
  forever. And here we are.
• 1:27:53
  So I'm glad to have Matt. I'm so glad you shared this
• 1:28:00
  review, but also this moment with me.
• 1:28:03
  It's a very special occasion, special album.
• 1:28:06
  And for me, I totally agree with you.
• 1:28:09
  It's just. Such a personally, such an
• 1:28:12
  important time in my life. 1st. Time I lived outside the country
• 1:28:17
  which. You know, I ended up doing a lot
• 1:28:19
  in my. Life.
• 1:28:20
  But yeah, it's well, we, we. Want to?
• 1:28:24
  Tell people. Out there we.
• 1:28:25
  Hope that you. Found this special and we also
• 1:28:28
  invite you to go look up the album and you know, find your
• 1:28:32
  own find your own musical note there and maybe you'll see the
• 1:28:37
  special as we do and a lot of people around the world do.
• 1:28:40
  So we're going to end it there as the real deal music guys
• 1:28:44
  here. We finish our first big review
• 1:28:47
  and what is an album you want us to review?
• 1:28:50
  Throw some 90s classics since we're so 90s nostalgia 30 years.
• 1:28:55
  Can you believe it? Let us know what you want to
• 1:28:57
  hear out there. We're going to start doing more
• 1:28:59
  reviews and get into the the deeper tracks that you might not
• 1:29:05
  hear on classic one. Go listen to immediately.
• 1:29:08
  Dean is welcome to Sky Valley by Caius.
• 1:29:10
  I strongly see there you go, right there.
• 1:29:12
  It's already coming, so we want to hear from.
• 1:29:15
  Let us know what you think, but also check out what's the story,
• 1:29:18
  morning Glory, the new deluxe box sets coming out this month
• 1:29:22
  this month. You don't want to miss that, so
• 1:29:24
  we're going to get out of here for.
• 1:29:26
  For. Matt Millen, Dean Ryan, Thank
• 1:29:30
  you night owls and all the members.
• 1:29:32
  Thanks for having me, Dean. This has been a great.
• 1:29:36
  Trip down memory lane too. So well, well, exactly.
• 1:29:41
  And people like Matt and myself. We always stay tuned and we hope
• 1:29:44
  you do too out there. So good night all and and don't
• 1:29:50
  look back in anger.