Noel Gallagher To Return With New Album Chasing Yesterday In March

Former Oasis man confirms Johnny Marr and lost of sax solos set for second High Flying Birds LP as he post first single online.

Former Oasis man confirms Johnny Marr and lost of sax solos set for second High Flying Birds LP as he post first single online.


FOR A MAN WHO ONCE DECLARED he doesn’t own a computer and won’t use email, Noel Gallagher was very busy online this afternoon (October 13) announcing his return to music.

The erstwhile Oasis leader and his High Flying Birds revealed plans for his second solo album, Chasing Yesterday during a Q&A session hosted on Facebook, before posting its first fruits onto Youtube. The record will be with us on March 2, but first single In The Heart Of The Moment – below – is out next month (November 17) complete with B-side Do The Damage.

Chasing Yesterday is the first full album Gallagher has produced himself, but full creative control had its drawbacks it seems. “It was a major pain in the arse,” he explained. “It’s not that I’ve ever had people telling me what to write or what direction to go in, but managing sessions from one end of the week to the other proved extremely difficult. I had all these people looking at me and saying, ‘Right, what are we doing today?’ I was making the whole thing up as I went along.”


“I know I’m going to be accused of sax crimes. But fuck it. There’s nobody to tell me not to do it.”

Noel Gallagher


One recipient of this approach was Johnny Marr, who guests on Ballad Of The Mighty I, and apparently joined in the chaotic spirit of things by improvising his guitar parts. “I tried to get him to play on the last album but it never happened,” noted Gallagher. “So when I put this track together and knew he would be perfect for it I called him and asked if I could send him the rough mix. He said: ‘No, I don’t want to hear it. I’m just going to react to it on the day.’ He didn’t even want any pointers. Well, that was brave of him. He just arrived with two guitars and a bag of effects pedals. And I have to say, he’s unbelievable. He’s way up there, on another level to the rest of us. The result is a burst of energy that helped make Mighty I one of the best songs I’ve ever written.”

However, that’s not the only new element this freeform approach has yielded, as seasoned Oasis-watchers will be surprised to learn that Chasing Yesterday boasts several saxophone solos. “I know I’m going to be accused of sax crimes,” admitted Gallagher. “But fuck it. There’s nobody to tell me not to do it. And when you listen to that saxophone, please, don’t think about the guy from Spandau Ballet.”

An arena tour will take place March next year, with tickets going on sale this Friday at 9am (BST). See for full details. There’s no word yet on whether a touring saxophonist has been booked.



Oasis – Definitely Maybe




Oasis-Packshot-Definitely-MaybelThere’s nothing more exhilarating than the feeling that something great is about to happen. It’s a force that courses, unmanageably, through Oasis’s debut album even today. Forget Britpop, New Labour, and the soap opera the band would become. None of these things exist when Up In The Sky’s yob-psych reaches its zenith of hypnotic churn, or as you approach the climax of Columbia, with Liam Gallagher’s “yeah-yeah-yeah”s peeking cheekily through the supercharged stew of guitars. This is transcendental rock’n’roll music that celebrates the moment, not a moment.

But say you were spirited 20 years back to the beginning of 1994, what would you find? Perhaps not everything you’d expect or think you remember: Whigfield and Doop at the top of the UK charts, and Burnage’s finest about to blow their big chance.

1993 had ended pregnant with promise for Oasis. Fervent propaganda on the part of Creation Records and pungent encounters with the press had built expectations. Live, they were proving themselves unlike any other UK group for a decade: heavy guitars, unhurried tempos, and a wildly charismatic frontman whose magnetism seemed in inverse proportion to his on-stage activity.

Recording was another matter. The boxy demo version of Columbia included on Disc 2 of deluxe versions of this reissue package had circulated on white label. But despite Radio 1 support, not everyone was convinced. Even at this stage Oasis were in a state of becoming, a trepidation you hear in the more ‘indie’ Oasis of future Shakermaker B-side Alive, with its saturnine tinge of Dinosaur Jr.

The other, ultimately dominant Oasis strand – the pugnacious rock’n’roll DNA of the Stones, Stooges and Sex Pistols – shone through their strongest demos, but it resisted translation. Sessions at Monnow Valley in early 1994 had majored on tidiness and separation and the band hadn’t thrived. Decamping to Sawmills in Cornwall, this time with Oasis’s live sound man Mark Coyle abetted by Anjali Dutt, had brought better performances, but the mixes were dry, diffident. The version of Columbia on Disc 3 of this set – with a sample of the late Tony Benn recorded off the radio – shows how close they came to ho-hum.

Enter engineer Owen Morris, an associate of Noel mentor Johnny Marr. His achievement – applying tricks studiously gleaned from Phil Spector and Tony Visconti to deepen the rhythm tracks while ladling on loudness and compression – was the making of Definitely Maybe and what emerged from his remix and mastering was somehow simultaneously gritty and epic. Marr listened to the result and was reportedly horrified. “The Smiths would never have been so crude,” noted Morris.

Brash and hairy – qualities unaltered by Ian Cooper’s remaster – The Smiths this wasn’t. Tony McCarroll’s heavy, spartan drumming comes on like Slade’s Don Powell ‘doing’ Crazy Horse’s Ralph Molina. Paul ‘Bonehead’ Arthurs’ rhythm guitar is a safety net woven from down-strokes. Like any great rhythm team, they’re the defensive midfielders who allow the flair players to grandstand – which they proceed to do with a combined desperation, arrogance and glee. Noel’s guitars are gloriously, untidily OTT; brother Liam’s vocals attain the blazing Lennon-Lydon meld that 1993 demos of live favourite Fade Away, even Rock’n’Roll Star (both Disc 3, deluxe editions), prove was not always a given.

The sound and the spirit matched the content of Noel’s songs, its affinity with lodestars of working-class defiance like Alan Sillitoe’s Arthur Seaton, who knew all he wanted was a good time: “all the rest is propaganda.” The subsequent typecasting of Oasis music as mindless swagger overlooks this vein of darkly humoured realism. If you don’t delight, even a little bit, at “She done it with a doctor on a helicopter” this record is probably still not for you – but even in the raucous daftness of Supersonic there’s a sour sting, our ’aving-it heroine reduced to “sniffin’ in a tissue, sellin’ the Big Issue”. Definitely Maybe’s idea of fun is more cheap acid at the swing park than champagne supernova.

OASIS Supersonic – Official Video



And though true sub-notes of contemplation are hard to find in Noel’s initial tranche of songs, there’s vulnerability in his solo version of Half The World Away recorded live in a Tokyo hotel room on September 16, 1994, as Oasis madness spiralled in earnest. It’s this expanded edition’s one true unreleased gem – where Noel’s steady, small voice gives the song’s dream of escape a tinge of warning: be careful what you wish for.

What happened next is a matter of record, but still – viewed from mid-1994, with Oasis still a scruffy bunch of indie herberts – madly absurd. First-week sales of Definitely Maybe hit 86,000, making it the fastest-selling debut album in UK chart history (at that point), on the way to 15 million-plus worldwide, while its songs became anthems of Britain’s now-tarnished ’90s bubble. The alignment of cultural and economic trends that allowed Oasis to happen on this scale had not occurred for decades and may never come again, but it required music as undeniable as Definitely Maybe’s to light the blue touchpaper. What followed was less edifying, as Oasis’s brand of rock’n’roll rebellion became less easily distinguishable from lairyness. Liam wasn’t Johnny Rotten. Noel wasn’t Keith Richards. And though you could ask what they had to kick against (open doors, even Number 10’s), you could also note that – however initially strident or belligerent – outsiders who want in are more easily assimilated than those who want out.

Ultimately, when the prize was offered, you can’t blame them for grabbing it. As Arthur Seaton mused in Saturday Night & Sunday Morning, “If you went through life refusing all the bait dangled in front of you, that would be no life at all.” And the fun, while it lasted, was everyone’s.


Watch the trailer for the Chasing The Sun series below:




Check out their live UK TV debut on The Word here:

Oasis: Definitely Maybe Reissue & Rarities Incoming



OASIS WILL RELEASE their first three albums, Definitely Maybe (1994), (What’s The Story) Morning Glory (1995) and Be Here Now (1997), in deluxe edition formats later this year.

1994 debut Definitely Maybe will be the first to appear on May 19 and will be available in an array of formats including standard CD, digital download, special edition 3CD, 12-inch vinyl and a deluxe box set featuring the LP, CD and an exclusive 7-inch.

Even more tantalising is the limited edition release of the band’s original 8-track 1993 demo cassette which will be available to order (on cassette!) from


And if that’s not enough Oasis for you, a limited edition remaster of the band’s debut 12-inch, Supersonic, will be available on Record Store Day 2014, otherwise known as Saturday, April 19.

The Definitely Maybe: Chasing Sun Edition will include a remastered version of the original album alongside all the B-sides and previously unheard acoustic and live versions of Live Forever, Shakermaker, Half The World Away, Sad Song, unreleased demo Strange Thing and the strings from 1994′s Whatever, the latter recorded on cassette at Maison Rouge Studios by Oasis sound guru Mark Coyle.

Watch the trailer for the Chasing The Sun series below:

Check out their live UK TV debut on The Word here:

20 Best-Selling Vinyl Albums Of The Last 20 Years


The Official Charts Company has announced the 20 best selling vinyl albums in the last 20 years, and here they are from 20-1. At number 20 we have the The Beatles’ ‘Anthology 1’ Released in 1995, it was the first instalment of a trilogy set of albums by the Beatles. Comprising a mixture of 60 tracks of live performances and unreleased sounds.


In 1996 the face of hip hop changed with the release of DJ Shadow’s ‘Endtroducing’ . The American studio album was produced under the label Mo’Wax and comes in 19th place. Despite the basic production and the high use of samples, this album is considered to be a landmark album.


Described as the second coming of The Beatles, Oasis was at the height of their fame 15 years ago. Released in 1997 ‘Be Here Now’ became Oasis’ third album and had been a highly anticipated album by their fans and critics. Being 17th top seller in vinyl comes as no surprise.


Pulp were seen to be pioneers in the Britpop movement and in 1995 ‘Different Class’ propelled the group to fame. The 5th studio album bought two singles: ‘Common People’ and Disco 2000’ both being in the top 10 in UK charts.


Canadian musician Neil Young’s ‘Harvest’ was the best selling album in the US in 1972. Doing something different within the rock genre he used London Symphony Orchestra, which helped him top the Billboard 200 album chart for two weeks.


In 15th place Prodigy released ‘Music for the Jilted Generation’ in 1994. Focusing on electronic dance music the group remastered this album in 2008 including bonus tracks.


Nirvana recorded live album ‘MTV Unplugged In New York’. This was the first album released by the band since Kurt Cobain passed. This album is 14th in the countdown to number 1. It won a Grammy for Best Alternative Music album in 1996.


Blur’s Parklife was the album that bought the band back to the forefront of the Britpop movement in 1994. Certified four times platinum in the UK, Blur fought off competition from Oasis with hit singles like: ‘Girls and Boys’ and ‘To The End’. Frontman Damon Albarn said Parklife was “the travels of the mystical lager-eater, seeing what’s going on in the world and commenting on it.”


‘Second Coming’ was the second studio album by the Stone Roses. It took the band 2 years to record the album, released in 1994. At number 12 the band sold 1 million copies. The album has an unusual track listing with 99 tracks, 77 of which are silent after the song ‘Love spreads’.


The third studio album by Paul Weller: ‘Stanley Road’ is at number 11. The album took its name from a road where he grew up in Woking. Paul told the BBC he hopes he can one day create an album as perfect as this one.


As of 2012 the Prodigy’s ‘Fat Of The Land’ has sold 10 million copies worldwide despite being released in 1997. Drawing inspiration from the old English phrase, the band will definitely be living well. The album comes in the countdown at number 10.


‘Made In Heaven’ released by Queen in 1995 was the 15th and last album that featured the late Freddie Mercury. The album debut at number one in the UK and went four times platinum, selling 20 million copies worldwide.


Massive Attack’s Protection/No Protection is the second album remixed by British producer Mad Professor. This album bought a fusion of different sounds and genres together.


‘Beatles Live At The BBC’ is rated 7th highest selling vinyl. Made in 1994 it is an album dedicated to performances by the Beatles which were originally broadcast by the BBC in 1963 to 1965.


Leftfield’s Leftism is the first album by electronica musicians Paul Daley and Neil Barnes. Released in 1995 by Columbia Records the album features reworked songs and some new original pieces.


The King of Limbs by Radiohead was a self-released album in 2011. With it being their 8th studio album the band let little information out before its release. The album was originally released as an MP3 download followed by a CD. It’s 5th in the best-sellers list.


The Scottish indie pop band Travis released ‘The Invisible Band’ in 2001. The name of the album refers to the band having famous and influential songs but not being regarded famous themselves.


‘Dummy’ is Portishead’s debut album. Based in Bristol the group made the album in 1994 and later won the Mercury music prize in 1995.


With ‘Definitely Maybe’, Oasis went straight to number one in 1994 in the UK, gaining positive commercial and critical success. Oasis helped revitalise the Britpop genre along with other groups like Blur.


What’s The Morning Story Glory’ by Oasis is the number one selling vinyl in the last 20 years. Released in 1995 won the award for the Best British album in the last 30 years at the 2010 Brit Awards.

Memorable Liam Gallagher Quotes

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You already knew that Liam Gallagher was a bitter ole’ man, but you only knew the crazy extent to which he’s been leaving the sweet stuff outta his tea if you’ve been paying attention to music news lately. Last week, the former evil brother of Oasis went after Daft Punk by saying he could’ve written their hit song Get Lucky in “a fucking hour.” This week, he blessed Oasis fans with a “fuck you!” for boycotting his new band, Beady Eye. All things considered, now seems like an appropriate time to enjoy a collection of Liam Gallagher’s greatest verbal disasters. Here are 12 memorable Liam Gallagher quotes. Read them. Learn them. Use them.

12. On business and brotherly love: “I like Noel outside the band. Human Noel – that’s my brother – I fucking adore him and I’d do anything for him. But the geezer that’s in this fucking business, he’s one of the biggest cocks in the universe. June 2013

11. On Wayne Rooney: “He looks like a fucking balloon with a fucking Weetabix crushed on top. He’s better off as a skinhead, isn’t he?” (The Telegraph, August 2012)

10. Liam on Song Writing: “I don’t know what any of my tunes are about, they’re just out there. I’m not good with words. I just say the first thing that comes into my head”

9. Liam on Beyonce: “My arse is going to fuck her arse!”

8. Liam on University Students at Concerts: “Is that some fucking shitbag who’s throwing fucking lager, can’t handle a soft arse from fucking Camden town? Well get on this fucking student […] Here you are, student, if you want me to go offstage, don’t be throwing fucking pound coins. Why don’t you try and come up here and fucking make me come off? Alright dickhead?”

7. Liam on Life after Death: “I live for now, not for what happens after I die. I’m going to hell, not heaven. The devil has all the good gear. What’s God got? The Inspiral Carpets and nuns.”

6. Liam on His Favorite Hair Cut: “I don’t know I’ve liked them all or I wouldn’t have fucking had them but just the normal one, the normal fucking one, the feathery normal one, I don’t know if there is a name for it, but I like them all. I like to change it every now and again. I like the bowl cut, man, that was a couple of months ago it was a bit ahead of it’s time.”

5. Liam on Fellow Musicians: Everyone in England at the moment, all these ‘rock stars’ in England, they can fuckin’ turn like that, they’re little pussies, man. You know what I mean? They all lick people’s arses because they need their little song on the radio. That didn’t happen with Oasis, man. We did it the way we did it. And we never licked anyone’s arse. So, that’s why I don’t like a lot of these bands. And plus, I don’t like them because their music’s shit. Or once you get into knowin’ them, they make me wanna vomit, half of these kids in bands today.”

4. Liam on Being Mellow: “Yeah, I’ve mellowed, but not in the sense of liking Radiohead or Coldplay …. I don’t hate them, I don’t wish they had accidents. I think their fans are boring and ugly and don’t look like they’re having a good time.”

3. Liam on Mumford and Sons: “They look like fucking Amish people. You know them ones with the big sideys that don’t use electricity? Growing their own food and putting barns up. I need music to be a bit more sexy and played by people who look a bit fucking dangerous.”

2. Liam on Alternate Career Paths: “If I wasn’t a musician, I don’t know. I’d be God, maybe? That would be a good job.”

1. Liam on Drunkenly Riding a Dog in Public: “That’s what rock stars do–I haven’t got a motorbike license, so a dog it is! I don’t care, mate. I really don’t care. I don’t want to be took as a ‘serious musician’ either. I find that a fucking insult. It’s boring and not colorful. I’ll leave that to some other cunt.”

Midlife crisis? Not really.  Just an arrogant bitch.

L’Osservatore Romano Releases “Decent Best Rock Albums List”


“The Beatles, Oasis, Pink Floyd, Michael Jackson and U2 may be one step closer to paradise.

But Bob Dylan is still “Knockin’ on Heaven’s Door.”

The Wall Street Journal reports the official newspaper of the Papacy, L’Osservatore Romano, which has previously denounced rock music as the devil’s work but in a surprise change of tune on Sunday the Holy See’s official newspaper published what it called “a semiserious guide” to the top ten rock and pop albums of all time.

The list included The Beatles’ “Revolver,” which was given the top slot, Pink Floyd’s “The Dark Side of The Moon”, Oasis’ 1995 bestseller “(What’s the Story) Morning Glory?” and Michael Jackson’s blockbuster “Thriller.”

“Some songs seem to have been written yesterday…. while others still send shivers down the spine for their illuminating simplicity and musical thrust” the writers of the article said about “Thriller.” Of Oasis’ record, L’Osservatore Romano said “the album was never equaled” in part because of the disruptive in-fighting by the Gallagher brothers, the leaders of the group.

vatikano-eoIn its 147 years as the Vatican’s newspaper of record, L’Osservatore Romano [presumably funded by God’s bankers] has rarely chased advertisers, or even news. Hard to find beyond the world’s smallest state, the Vatican’s daily paper largely dedicated its pages to theological monologues with headlines like “The Leprosy of Sin.”

Those days are over. Now, the Vatican mouthpiece has orders to carry hard-hitting news, international stories and more articles by women.

What the Vatican is calling their “little handbook of musical resistance,” is rounded out with Oasis’ (What’s The Story) Morning Glory?, U2’s Achtung Baby, Fleetwood Mac’s Rumours, Donald Fagen’s The Nightfly, Paul Simon’s Graceland, and David Crosby’s If I Could Only Remember My Name.

The article by Giuseppe Fiorentino and Gaetano Vallini said that Dylan was excluded from the list despite his “great poetic vein” because he paved the way for generations of unprofessional singer-songwriters who have “harshly tested the ears and patience of listeners” with their tormented stories.

The “little handbook of musical resistance” was published in an attempt to offer an alternative to mediocre and cheesy tunes that feature in Italian popular festivals like the 60-year old one of Sanremo, which starts Tuesday in the north-western Italian region of Liguria and is widely-watched on television.

The albums are perfect listening material for anyone who finds himself marooned on a desert island, the Holy See’s newspaper noted.

In the last two years, under new editor- in-chief Gian Maria Vian, L’ Osservatore Romano has shed some of its serious image and taken a more open approach, finding merit even in popular movies such as the “Harry Potter” series and “The Lord of the Rings”, The Wall Street Journal said.

Sources:: The Wall Street Journal, The Vatican, L’Osservatore Romano, God’s Bankers, Wiki, Google