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Sheer Effortless Elan: Oasis' Definitely Maybe Reissue Reviewed
Alex Niven , July 2nd, 2014 10:38

Al Niven has a new 33 1/3 book coming out on Definitely Maybe, so who better to review the reissue of Oasis' 1994 debut? Plus, read an extract from the book at the foot of this feature

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I should imagine that, when it comes to Oasis, Quietus readers fall into two distinct camps. The first group, schooled in the well-trodden debates of the last twenty years, from John Harris's The Last Party to Simon Reynolds' Retromania, is probably inclined to view Oasis as, at best, a vulgar superstructural expression of the Blairite phase of neoliberalism; and at worst, a sublime travesty of the whole meaning of progressive art, politics and human endeavour.

I don't want to completely reject this view, for which there is some justification. However, there is a second, more interesting group I think, whose perspective is worth seeking out, and whose ambivalence about Oasis is likely to have been piqued by the recent avalanche of retrospective comment features in recent weeks dedicated to the strange, conflicted year that was 1994.

The 20th anniversary of Definitely Maybe (which is also, as you might have noticed, the 20th anniversary of Britpop as a whole) gives those of us who loved Oasis at their inception in the mid 90s – and those of us who have always dismissed them out of hand – a chance to reconsider matters. Did the Gallaghers' headlong descent into tabloid farce and creative decay post-...Morning Glory really irrevocably undermine everything that was energising and radical about their project in the first place? Or can the early Oasis narrative be redeemed in spite of its disastrous legacy?

Any defence of Oasis, of course, must centre on their August 1994 debut, which has just been reissued and repackaged in a deluxe 3CD format. A book I've written for the 33 1/3 series about Definitely Maybe (an extract from which is published along with this piece) goes into quite a bit of detail about the minutiae of the songs, the class politics, the historical backdrop to the album's gestation and so on. To avoid merely rehashing the book's arguments, I'll try to focus here mainly on the strengths and weaknesses of the reissue itself.

Although Definitely Maybe: Chasing The Sun Edition is predictably flabby and mostly gratuitous (as commercially motivated re-releases tend to be), it also highlights some of the things that made Oasis's debut such a powerful sonic statement on its original release.

Unfortunately, it often achieves this feat negatively. A properly remastered edition of Definitely Maybe was always going to be a more than usually interesting prospect because of the album's famously fraught recording history. To start with, Definitely Maybe was in a significant sense an album without a producer, a fact that some people will find delightfully postmodern while others might cynically argue is all too apparent. Mark Coyle, a friend of Noel Gallagher's who became Oasis's soundman in 1993 after a stint touring with Teenage Fanclub, is down on the inlay booklet as official production head. This is only partially true. Creation initially recruited veteran producer Dave Batchelor to supervise recording sessions at Monnow Valley Studios in South Wales, but the resulting tapes were judged to have suffered from the use of too many click-tracked overdubs – a lousy way to recreate the band's combative live drone (listen to the rather feeble Monnow Valley version of 'Bring It On Down' included in the reissue for conclusive proof of this).

Coyle then took charge alongside Noel Gallagher and engineer Anjali Dutt (she of Loveless fame) as the sessions relocated to Sawmills Studios in Cornwall. Although the emphasis on simultaneous performance – and the resulting 'spillage' between tracks – at Sawmills produced a much more powerful set of recordings, a sense remained that something had been lost in the transition between live and studio environments. Creation therefore handed the tapes to Owen Morris, who worked alone in post-production on the Sawmills recordings (as well as a couple of earlier demos, and one song, 'Slide Away', from Monnow Valley) until they were deemed to have realised Noel Gallagher's ambition that the album should sound "like an aeroplane taking off".

The problem with the remastering job on Definitely Maybe 2014 is that it brings the songs back somewhere close to the classic-rock orthodoxy of the Monnow Valley sessions. Morris's roaring 'brickwall' mixes, with their excessive use of compression, tape delays, tambourine samples, harmoniser effects and varispeeding, were part of the reason the original version of the album sounded so vital, so punk. Although the difference is subtle, the remix has noticeably smoothed out the rough edges of Definitely Maybe's egregious torn-speaker onslaught, producing a sanitised collectors' edition more in keeping with the compromised morals of Oasis post-1996 than those of the bellicose dole band of 1993-4.

So much for CD1. CD2 is slightly more worthwhile, because it collects together the regularly brilliant B-sides from the Definitely Maybe campaign. At their best – the catatonic grandeur of 'Listen Up', the Tony Benn-sampling white label version of 'Columbia', the pile-driving Mixolydian riff in 'Cloudburst', the glorious accelerated melancholy of 'Fade Away's chorus – these songs demonstrate the sheer effortless elan of Oasis at their pre-dadrock peak. On the other hand, all of these recordings have been widely available since they were released in 1994, and the remixing job has once again left them sounding pretty lukewarm. The new versions might fit snugly into the middle of an iTunes playlist, but they have none of the egregious mid-fi velocity of the originals.

By far the best material on this release is contained on CD3, which juxtaposes the demos from a 1993 cassette tape called 'Live Demonstration' with a handful of interesting live versions. The demo of 'Rock 'n' Roll Star' – complete with loveably post-adolescent Liam Gallagher vocals – is poignant for its half-baked fragility, not least because its desperate idealism only really makes sense when it isn't being sung by a millionaire rockstar. The only previously unreleased composition in the whole package, 'Strange Thing' draws a suggestive line of influence back to the Stone Roses and Happy Mondays, as does a sketchy first draft of 'Cloudburst'.

Meanwhile, the version of 'Supersonic' recorded at Glasgow Sound City makes the most of that song's neo-psychedelic brutalism, and underlines just how vigorously weird Oasis must have sounded to live audiences in 1994 – a sort of bastard child of shoegaze, punk, glam rock, the better Manchester bands and mangled jukebox populism. As the Sound City performance winds down, Britpop spin-doctor Jo Whiley can be heard uttering breathless hyperbole to Radio 1 listeners, and the nightmare postscript to Definitely Maybe hovers ominously into view. But it would be a shame if we followed Whiley and her ilk by treating Oasis as just another group of sell-out cock-rockers. Even on this largely pointless cash-in, the subtler, riskier truth about these curiously effusive songs is not all that difficult to recover.

An Extract From Al Niven's 33 1/3: Definitely Maybe

Definitely Maybe is indebted to both grunge and shoegaze in a number of ways, some superficial, some more profound. The grunge influence entered the album largely by way of Noel Gallagher's somewhat grudging respect for Nirvana's Nevermind. Although, lyrically, Gallagher's humanism was apparently a deliberate reaction to Kurt Cobain's deadpan nihilism (see especially the Nirvana song 'I Hate Myself And Want To Die'), when it came to actual music there was a large amount of common ground between the two. In fact, there was even a loose personal connection linking Gallagher and Cobain: Mark Coyle, Gallagher's best friend and co-producer during the Sawmills Studio sessions for Definitely Maybe, toured with Nirvana in 1992 as sound engineer for their support band Teenage Fanclub (another Creation act).

Whether or not Coyle carried over anything from this experience into his production work on Definitely Maybe, there are a number of moments on the album that speak of an affinity between Oasis and their Seattle counterparts. 'Slide Away' adopts the classic grunge technique of combining a heavy rock base with a melody that alludes to Neil Young and The Beatles. On a smaller scale, the leaden power chord sequences in 'Supersonic' and 'Bring It On Down' are heavily reminiscent of those on Nevermind. So, too, are the phaser effects used to treat many of Noel Gallagher's overdubbed lead guitar parts. Phasing is an electronic effect that produces two slightly different copies of the same note. Throughout Nevermind – and especially on its lead singles 'Smells Like Teen Spirit' and 'Come As You Are' – Cobain uses phasing and the very similar 'chorus' effect to create a swirling, underwater guitar sound. Reportedly with the aid of the Boss PH-3 Phase Shifter, Gallagher replicates this underwater tone fairly often on Definitely Maybe, notably in the solo halfway through 'Shakermaker', in the outro to 'Rock 'n' Roll Star' and in the main guitar line that eddies throughout 'Columbia'. Indeed, divested of its twelve-bar-blues references and kitchen-sink allusions ('Shakermaker's' collage of British consumerism, Liam Gallagher's Mancunian vowel palette), Definitely Maybe might almost be mistaken for a grunge record. Cobain's ambition for Nirvana was to combine the melodic subtlety of The Beatles with the hard-rock dynamism of Black Sabbath, and Oasis achieved a very similar synthesis in their early compositions, although their interest in the Sex Pistols and glam rock contrasted subtly with Cobain's taste for seventies metal.

The shoegaze influence in the early Oasis sound is just as pronounced as the debt to the grunge of Nevermind. Although they were viewed as something of an anomaly within the shoegaze label Creation, Oasis were nevertheless a neo-psychedelic rock band with a taste for distorted guitars and classic sixties pop, so in fact they fitted in relatively well with the Creation house style. Moreover, being connected to the Creation stable along with My Bloody Valentine, Ride and others meant that Oasis rubbed shoulders with a number of people who had been influential in establishing the shoegaze sound. Perhaps chief among these was Anjali Dutt, the main sound engineer on both My Bloody Valentine's Loveless and Definitely Maybe (as well as records by Swervedriver, Spacemen 3 and the Boo Radleys). Dutt's involvement in the studio brought a much-needed element of nuance to the album, an emphasis on the cerebral and the textural that seems to have been carried over partly from her experience of working with the shoegaze bands.

But the major shoegaze influence on Definitely Maybe arrived from a source outside of Creation. Throughout the last weeks of 1993, Oasis toured with Verve (later to be renamed The Verve), a band formed in Wigan, just outside Manchester, who were heavily associated with the shoegaze sound at this point. While My Bloody Valentine and the Thames Valley bands were probably too culturally distant from Oasis to offer any direct inspiration, Verve were from a broadly similar background, and hence much more easy to assimilate into Definitely Maybe's pot of influences.

Verve's 1993 debut album Storm In Heaven is far more esoteric than anything Oasis ever produced. But with hindsight it sounds very much like a darker, weirder cousin of Definitely Maybe, and it seems likely that Oasis's experience of touring with Verve on the eve of the early 1994 recording sessions was part of the reason for the similarity. Noel Gallagher almost certainly stole the title of 'Slide Away' from the Storm In Heaven track of the same name, one of the biggest indie singles of 1993. Oasis and Verve also shared an almost identical visual aesthetic: the Brian Cannon/Michael Spencer Jones partnership designed all of the early Verve cover sleeves, and many of these ideas would later be recycled and refracted in their artwork for Oasis.

Most importantly of all, Storm In Heaven's echo-drenched guitar textures provided another model of how indie rock might be made to sound expansive and all-encompassing on record after a period in which it had largely been content to be marginal and recondite. In seeking to achieve the engulfing wash of sound on Definitely Maybe, Oasis drew heavily on Verve guitarist Nick McCabe's latter-day acid-rock techniques, from his reliance on delay and reverb effects to the use of slide guitar as a psychedelic device. Brian Cannon's cover for Verve's second single 'She's A Superstar' featured a photograph of a cascading waterfall. This was an embodiment of the sort of romantic grandeur Oasis would try to emulate and extend.

Definitely Maybe: The Chasing The Sun edition is out now. Al Niven's 33 1/3 book Definitely Maybe is published by Bloomsbury and is available from Monday July 7th. There is a launch party featuring a 1994 themed DJ set by tQ scribe David Stubbs at the Peckham Pelican on July 16th

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Bomehead's Boner
Jul 2, 2014 3:02pm

How come Cloudburst wasn't on Definitely Maybe but Digsy's Fucking Dinner was?! That is a crime. And anyone who says Tony McCarroll couldn't play the drums should have a word with themselves. Great piece BTW, but I don't think I fall into either of the camps of Quietus readers Al mentions in his opening para when it comes to why I like Oasis - "a vulgar superstructural expression of the Blairite phase of neoliberalism..." Come on Al, I'm carting you off to Pseud's Corner for that. They sounded great when you were off your tits. Simple as that.

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mr blue meanie
Jul 2, 2014 3:42pm

surely there's a third camp who view Oasis as a third-rate john lennon/small faces tribute act who took their name from a poster in a leisure centre? popular they may have been but that video where they rip off the beatles yellow submarine is an absolute low in human cultural endeavour...

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Jul 2, 2014 4:40pm

nothing on there as good as 22 grand job by the rakes

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Tenbenson
Jul 2, 2014 5:12pm

Pretty well argued. They did offer something genuinely different when they started, and it was the big fuck-off NOISE of it. Live, the four of them at the front in a line, with McCarroll thumping away at the back, creating this wall of guitars was a big, bold statement. The singles had 4 good tunes on each cd, sound value to me at 16. The album sounded massive too - Columbia, etc. I didn't know about all the dicking about with it and these new mixes don't appeal (and I will never knowingly buy something that has Jo Whiley on it). And then... it all fucked up. The next album was at least 60% boring, the wall of noise was gone and they started going on and on about the fucking Beatles ALL THE TIME. No interest any longer, I was much more interested in the new stuff by Fugazi, Orbital, dEUS... Noel's a pretty funny dude though.

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Jul 2, 2014 5:31pm

"a vulgar superstructural expression of the Blairite phase of neoliberalism"

You what, mate? This ^^^ sort of thing is not big or clever. Especially when applied to a pop group that deserve about as much close scrutiny as a tin of beans.

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mckenzieg
Jul 2, 2014 7:26pm

Christ almighty, some folk seem to be having trouble with basic understanding and comprehension, good read that Alex. I wont be buying the remaster as the original still sounds super loud, heavy and psychedelic when I play it, which isn`t often but I did play it a bit when this reissue came out, and its all I need, I did see them in `94 and yes they were deafening, crushingly so, I always though Sex Pistols were major influence at this time, much more so than The Beatles.

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Quirk
Jul 2, 2014 8:35pm

In reply to :

Few things are.

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Patrick
Jul 2, 2014 8:47pm

"The grunge influence entered the album largely by way of Noel Gallagher's somewhat grudging respect for Nirvana's Nevermind."

Hahaha. 'Grudging.' Hahaha.

Mentioning Definitely Maybe in the same sentence as Nevermind. A sublime travesty indeed.

They had a Rock n' Roll swagger about them, I'll give them that, but seriously, 'You gotta roll with it' Hahaha…

Neo-psychedelic Cock-Rock-Karaoke Featuring A Coked-Up Beatles Pastiche For Punters Owning 3 Albums

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mr blue meanie
Jul 2, 2014 9:30pm

In reply to mckenzieg:

I'm sorry but psychedelic isn't just a guitar effect you can switch on and off... this music is about as psychedelic as a pair of beige 70s C&A slacks... same goes for the Verve too.

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steve57
Jul 2, 2014 9:47pm

"Britpop spin-doctor Jo Whiley can be heard uttering breathless hyperbole to Radio 1 listeners..."

Perfect. Thank you.

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Pedant
Jul 2, 2014 10:11pm

Was quite enjoying that until the author confused remix and remaster within the same paragraph.

It's a remaster. No changes were made to the mixes (definitely not tape-delays removed or anything like that).

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RJC
Jul 2, 2014 10:26pm

Fantastic stuff Mr Niven. The day McCarroll was replaced by White was when the wave finally broke and rolled back.

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LiamsHouseParty
Jul 2, 2014 10:46pm

I agree with a lot of the rarities chosen to be included in the Definitely Maybe Reissue but it's sorrily missing some of the earlier 92 demos like 'Tabloid Jeans' and '10 B&H Please' which includes the genius call and response exchange between Liam and Noel - 'Can i have 10 B&H please- are you over 16? 10 B&H please and a strawberry ice cream'

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Giggsy_spaceman
Jul 2, 2014 11:02pm

In reply to mr blue meanie:

the last time i looked "up in the sky" was quite psychedelic and i'm sure the early verve records i have in my collection are as well.

your maybe meaning they didn't live the hipster psychedelic life, of growing their own veggies, not wearing shoes (though dickie ashcroft didn't wear shoes), growing beards, riding bikes and listening to sperm whales mating calls at dinner parties.

yes, they took their psychedelic leanings fae the beatles and liked football.

floats ma boat.

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mr blue meanie
Jul 2, 2014 11:49pm

In reply to Giggsy_spaceman:

Nah, i meant that in terms of music that is in some sense mind expanding, they aren't much fucking use... tellingly enough, on the liner notes to the Can Tago Mago reissue, when Bobby Gillespie talks in awe of jamming with two members of the seminal German 70s outfit, it was Liam Gallagher who didn't have a fucking clue who they were... Oasis are cod psychedelia like the strawberry alarm clock relocated to 90s Manchester. Try listening to some other music, there's rather a lot out there thats much better than this...

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Scott Sanders
Jul 3, 2014 8:02am

In reply to mr blue meanie:

Stick me in that camp.

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Jul 3, 2014 9:37am

In reply to :

Just going to leave this here...

https://www.youtube.com/watch?v=_YzK5kk2Z3E

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mckenzieg
Jul 3, 2014 12:04pm

In reply to mr blue meanie:

Cheers for that little titbit of knowledge. Next time I fancy buying some thing I think is psychedelic sounding, I`ll run it past you first to see if it really is psychedelic/ mind expanding enough to fit your definition, yeah? Some people have a different opinion to you, get over it,

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mr blue meanie
Jul 3, 2014 12:14pm

In reply to mckenzieg:

I wouldn't bother with that mate... by the sounds of it you'd be better off sticking with your Beatles and footie. If you fancy some psychedelia, just take any old crap and draw some paisleys on it, that ought to suit you just fine.

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squee haux
Jul 3, 2014 12:47pm

Nevermind had a sensational cover and a few decent songs while Definitely Maybe had a decent cover as well as a collection of sensational songs. No need to buy the remastered edition because the original sounds as fresh and brilliant today as it did when it was first released. Anjali Dutt engineered Loveless and Definitely Maybe? Sheer genius. Sheer shimmering genius.

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mckenzieg
Jul 3, 2014 1:26pm

In reply to mr blue meanie:

Don't think I mentioned football or The Beatles, bit puzzled with that one? Either way I'll bow to the obviously superior knowledge on psychedelia, you supercilious arsehole, mate.

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Baggieboy
Jul 3, 2014 6:28pm

In reply to squee haux:

You were obviously brainwashed mate. They were crap. 'Hole in my Shoe' by Niel from the Young Ones was better than their turgid stuff. They were in the right place at the right time. That's about it really and all this pseudo intellectual claptrap about them is very tiresome. Glastonbury next year anyone? They are a taste less worse than Kasabian after all...no offence.

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Badhead
Jul 4, 2014 10:13am

Blur were better (someone had to say it).

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Jul 4, 2014 1:42pm

In reply to mr blue meanie:

Ripped off?Like how The Beatles ripped off Chuck Berry and about a thousand other far more obscure Motown acts?Just because Oasis have plundered more popular acts doesn't mean thats a bad thing.Everything But the Girl was named after a shop in Hull but did that stop them from being a great band?Course not.

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Jul 4, 2014 1:43pm

In reply to Patrick:

You gotta roll with it?That will be Roll with It on Moning Glory you plank

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Jul 4, 2014 1:48pm

In reply to Baggieboy:

If that was the case then how come Whats the Story sold about 22 million?If they were just the right band at the right time and had little talent but luck it wouldn't explain how they kept on selling albums in the millions for the next 15 years.There was a hell of a lot of talent there,in both Noel and Liam

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mr blue meanie
Jul 4, 2014 10:31pm

In reply to :

So, by your logic, popular equals good? that must mean that the best things the uk currently has to offer are the likes of One Direction and various nobodies spawned by x-factor like programmes and their ilk... and mumford and suns, and coldplay... yeah, they sell a lot, must be amazing... must remember to check them out sometime

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Reprobus Marmaritarum
Jul 5, 2014 6:22am

Oasis are the ultimate expression of the braying football chant, perfectly pitched for slurred, tearful renditions by groups of emotionally inadequate, overgrown adolescents on their staggering way back from the pub. Maybeeee, you're ther one that saves meeeee... erm'a Wonderwaaaaaalllll... I love you, mate... beeeuargh (and vomits into hedge)

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Jul 5, 2014 5:12pm

In reply to mr blue meanie:

Apart from the fact that Oasis united a generation of kids which no other band has done since (maybe the Libs at a push and Arctics Monkeys).The difference between 1D and Oasis is the fact that Oasis weren't put together by some svengali in order to make money but it took them 3 years of gigging before they made their album and achieve what they did. Wilfull ignorance wont save you here pal,get over it your wrong and your name is a Beatles rip off (booooo!!!!)

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Jul 5, 2014 5:15pm

In reply to Reprobus Marmaritarum:

As were New Order who actually wrote a footie anthem,so whats your point?Are the plebs not allowed to like music?Is that it?There are two sides to Oasis and always have been.Yeah theres the anthems but then theres the side that wrote Talk Tonight and Half a World Away.Plenty of great bands have been chanted at a football match,does that make them any less great?

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mr blue meanie
Jul 5, 2014 5:58pm

In reply to :

well done that man... of course the plebs are allowed to like music... and oasis are their ideal band. and yes my name is a beatles rip off - its called being ironic you bozo. on another note... there have been of course many popular bands who were excellent - happy mondays and stone roses being obvious choices.

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Jul 5, 2014 9:08pm

In reply to mr blue meanie:

Ah so when you do it's ironic but when Oasis do it it's somehow some boorish theft?What a fool.And the Roses stole from plenty of older bands and are as guilty as Oasis for this.

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mr blue meanie
Jul 5, 2014 9:12pm

In reply to :

it's not the 'theft' u fool...everyone borrows... its what u do with it that counts. tell u what, if you can quote me some contemporary lyrics that are more embarassing than those of wonderwall, i'll consider retiring from this tedious debate

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mr blue meanie
Jul 5, 2014 9:33pm

In reply to :

actually, scratch that... its champagne supernova that contain the immortal lines 'slowly going down the hall, faster than a cannonball..' fuck me, james joyce must be spinning t'wards the molten centre of the earth in envy. if my five year old wrote something as poor as that for his homework, i'd be hauled up in front of the school head and reported to the local social workers fraternity...

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Jul 6, 2014 10:37pm

In reply to mr blue meanie:

ok so you borrowed a name from one of The Beatles most awful mistakes and you used it to spout rubbish.Noel took his influences and made one of the two best British albums of the 90's.You slag off his lyrics but nobody claims Noel to be a Dylan/Cohen/Morrissey lyricist.I argued that he took the influences and made something great with them,where as you did what with your life??

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Jul 6, 2014 10:39pm

In reply to mr blue meanie:

You are absurd,why are you bringing Joyce into this?Famously Joyce loved to sing so maybe he would have enjoyed it.Who is to say?Your an absolute fool mate.If you hauled any child anywhere I'd give you a sound beating

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Jul 6, 2014 10:42pm

In reply to mr blue meanie:

Plus get your albums right you moron both Champagne Supernova and Wonderwall were on What's the Story,we are discussing Definitely Maybe here.If your going down the rubbish lyric route at least use some songs on the right albums eh?

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mr blue meanie
Jul 7, 2014 11:41am

In reply to :

Ah, the threat of the sound beating is never far away is it when talking to people like you? By the way, you write you're - as in a shortened version of 'you are' and not 'your' in a sentence like that and i never said anything about hauling a child anywhere... it was I being hauled in front of the headmaster that I wrote. Violence, inability to write or read properly... no doubt you are a proper Oasis fan. Still... maybe I'm being a bit too cruel. At least Oasis provided some easy songs for buskers to learn... kind of a remedial rock, care in the community service.

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Reprobus Marmaritarum
Jul 8, 2014 7:09pm

In reply to :

To quote the great man himself: "When being interviewed around the release of Dig Out Your Soul, Liam replied: "At least there's no Wonderwall on there. I can't fucking stand that fucking song. Every time I have to sing it I want to gag."

For once I find myself in full agreement...

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Jul 9, 2014 5:17pm

In reply to mr blue meanie:

Hahaha the usual smug condescension this sort of argument always leads to.Without ever meeting me I'm some sort of thug and you are some sort of thwarted genius.Dear me pal in what way can I not express myself?It's sad to see you swinging so blindly in order to try and hurt me.

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mr blue meanie
Jul 10, 2014 4:24pm

In reply to :

A very strange way you have of looking at things... despite the fact that it was you who offered me a 'sound beating', (and you complain that I categorise you as a thug) i have no desire whatsoever to 'hurt' you - not unless you actually wrote of these appalling songs that is... And I'm suggesting that I'm sort of thwarted genius... because I pull you up on some (very basic) writing errors? Wow... All along i've only been insulting Oasis because they're depressingly dull and completely devoid of imagination. that's a critical opinion, nothing personal

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Jul 11, 2014 10:56pm

In reply to mr blue meanie:

Yeah but the lyrics you made examples of weren't even off the album under review, you utter cretin.

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mr blue meanie
Jul 12, 2014 12:02am

In reply to :

yawn... i'm bored of this now. I'm going to leave you to your no doubt extensive collection of cds and brain cells... if its more than about 30 on each count, i'd be very surprised.

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Jul 13, 2014 12:32am

In reply to mr blue meanie:

Both my collection of vinyl and brain cells would beat yours.No wonder your getting bored since you have shown your self to be an utter idiot on every exchange we have had.

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Jul 13, 2014 12:45am

In reply to mr blue meanie:

Yeah they are so unimaginative is that why Noel made an albums worth of music with Amorphous Androgynous,worked with Chemical Brothers, and both Liam and Oasis worked with Death in Vegas?and The Prodigy?And have a look at this clip and what is Noel's bag?Oh yes a Can CD so yeah they clearly do know the band and enjoy more challenging music.https://www.youtube.com/watch?v=r30X_Be_7p0

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