McCartney In Goal
McCartney In Goal is a monthly podcast that debates and dissects the greatest albums of popular rock music. Hosted by David Hughes, and fellow judges, Brett and Steve Sumner, each episode the McCartney In Goal team pick a rock or pop music album that they love and put the songs through an imaginary competitive style-knock out format to find the best song on the album. At times, they may be uninformed, biased and they are often a bit unruly. Come and listen in on the fun - and if you enjoy it, TELL A FRIEND!!! Twitter - https://twitter.com/mccartneyin Website - https://mccartneyingoal.com
McCartney In Goal
What's The Story Morning Glory (Oasis)
Twitter - https://twitter.com/mccartneyin
Website - https://mccartneyingoal.com/
Hello, you will be unsurprised to find that it is good to be back, and welcome to the McCartney Gold podcast. This is the podcast which takes an album of popular music, debates and dissects it and puts it through the evil mistress that is the sporting knockout format to find out what is our favourite slash the best song on the album. With me this evening are my fine compadres brett all right, kid, what are you fucking looking at?
Speaker 2:do you want a slap?
Speaker 3:uh, nope sorry yes, no, that's that's good and guy mad for it. What I never know what to say in these bits, right? I just, it hits me about five seconds before I have to say it when brett says something and I go, oh fuck, I haven't thought of something to say in this little bit. And then I have to think of something and I said that was my attempt at mad for it.
Speaker 2:He said he was. He was so uncomfortable. He just said it very quickly. All right, can we let listeners into the utter shit show disaster that we've had in.
Speaker 1:We've had yes, we've had extreme technical difficulties for the last 45 minutes, so we're going to do this album now at incredible speed, because we all want to go and have a wee or a poo or a drink too much information, way too much information, or go to bed or dinner or chat to a friend, something other than doing this podcast and and and sadly, we've been doing it for so long now that we're on our steam.
Speaker 1:So what were we talking about? Yes, we're talking about. What's the story? Morning glory by a band you may have heard of called oasis brett. Tell us what the runners and riders are. I'm also sorry about the poos and wheeze comment yeah, that was.
Speaker 2:That was too much. Okay, thanks, steve. Um oasis are alan white or whitey on drums, paul mcguigan or Giggsie on bass.
Speaker 1:No, Giggsie, I think you're fine Giggsie.
Speaker 2:Oh, is it Giggsie? It's.
Speaker 1:Giggsie, because it's McGuigan.
Speaker 2:Oh, giggsie, it would make no sense to be Giggsie, would it? Oh, I thought it was Giggsie. I've always thought it was Giggsie, you bugger that up.
Speaker 2:Stop getting Oasis wrong, paul Arthurs or Big Ed on guitar and composition. It was recorded at Rockfield Studios in the summer of 1995, produced by Owen Morris and Noel Gallagher. It was released on the 2nd of October 1995 to varied reviews. It has sold approximately 23 million copies and went to number one in the UK, number four in the US billboard charts. It had, steve, four singles some might say, don't look back in anger both number one, roll of it and wonderful both number two. Getting back to your earlier comments, number ones and number twos- oh, numbers, number ones and number twos.
Speaker 1:That's in the uk. What were the singles in america that did not come out in england? I don't know, I'm not a geek. What were they are? Champagne sleeping over was a single, a weirdly. And morning glory oh, that's interesting.
Speaker 2:So six, six different singles off the album.
Speaker 1:Yeah, yeah, strange choices in the states, very different choices in the states. There we go. Uh, what's your relationship with this album?
Speaker 2:brett. I was a massive brit pop kid at the time, loved it when it came out, huge, was anticipating it very excitedly. Remember, some might say coming out as a single uh, much earlier in that year and enjoying that and that went to number one, didn't it? They'd really arrived by that point, so it was like bated breath. So yeah, and that's my relationship with it before recording this podcast.
Speaker 2:Well, it's changed, since You've had to listen to it, I don't know gonna find out and, as a result, you absolutely think it's a captain spoiler. At this point you're supposed to leave some tension to go and, by the way, I still love it. Oh, I fucking hate it. Now you've got to. You've got to leave we've got to get people to listen to more than three minutes of this disorganized shit show there's rambling.
Speaker 1:Okay, guy, what's your relationship with this album?
Speaker 3:it's my favorite brit pop album it is the soundtrack of my youth, wow it was yeah, you guys might have been definitely maybe here and more and I was more morning glory being younger than uh yeah both.
Speaker 1:Um, if you could sorry, if you could actually bring up the fact that you're younger than us every time five minutes yes, every episode from here on um.
Speaker 3:Yeah, yes, it is. It is the soundtrack to youth club. You know hanging out at the old wreck uh, kicking shit around in the street yeah whatever you know, I'm not even trying to be cool. I wasn't. I was a terrible middle class white kid from the coxwoods.
Speaker 1:I was buying all of that I had. I could imagine you playing football. The image of bad boy guy langley, you were buying it were you I was buying, I was buying into it, I was so bad.
Speaker 3:I might have done my homework at 5 pm instead of 4 pm on the day. Oh whoa, what a terrible child you crazy rebel wow yeah, bloody love, all right there's lots to talk about.
Speaker 1:Let's jump into this then. So so, before we do, steve before we do.
Speaker 3:Um, yeah, I thought I should say that. You know, some might say that puns are the absolute worst type of humour known to mankind. But hey, now come on, let's cast no shadow over good humour. They're not actually even puns, to be fair. What's the story, you ask? Well, once you embrace this world of post-punage, you see it everywhere you go. You order a soup, you get a roll with it.
Speaker 3:You knock over a promotional Dom Perry on display and bam champagne soup and over. But alas, if you do want to go back to punish basics, don't look back for bangers. We're gonna have a wonderwall time, the guts and the morning glory. Because she's eclectic. She's what's the story, morning glory oh, beautiful, beautiful, well done.
Speaker 2:You showed both of us how to do it, because we've both had a go at that.
Speaker 3:That is awesome, well done. That was very good. I have to say that was banging. Oh, by the way, swamp Song, swamp Song.
Speaker 1:I've got them all in Wow.
Speaker 3:Ooh 12. I think so. Yeah, actually I didn't Hello.
Speaker 1:I'm actually going you to repeat a pun because I, as I mean, I loathe and detest puns. I just hate this because it's part of the uh, the format now, um, what was the? Because? The roll with it one was the first pun ever. That's actually made me laugh out loud rather than just groan what, what was it?
Speaker 3:it wasn't really a pun, it was just you. You order a soup, you get a roll with it. Oh, lovely stuff it's very pleasing.
Speaker 1:It's very pleasing I'm quite taken aback by my enjoyment of that. I'm gonna have to go and reassess everything I know now so what's your relationship with this album, steve? You haven't answered yourself oh, wowzers, okay, um I. I was a huge oasis fan, absolutely huge. I loved it yeah, I was a huge mad into them um uh and mad for it.
Speaker 1:Indeed, and the the, the issue being, I don't want to come across like muso blanco any more than I already do in every other you don't want to, you might need to go back with a heavy fine tooth comb editing all the past 55 episodes yeah, well, I think that's the, that's the long-term project is reclaiming my reputation by by cleaning up all the edits.
Speaker 1:Um, my issue is, of course, the the eternal one with oasis, which is the b-side discussion.
Speaker 1:Um, the b-side discussion being, um that it was. It was an incredibly strange period of time where that band were releasing singles with two, three, possibly four b-sides on that, in many, if not all, cases, were either as good as what was on the album or better than what was on the album, and that makes it a problematic listen, because I saw an interview with Noel Gelligan the other day saying well, that was part of being an Oasis fan. I don't think it's an issue at all and I agree with him, but equally, it makes this album a problematic listen in terms of, in terms of do I listen to this album straight through? No, because there are two songs I've heard too many bloody times and at least one that's a bit crap. I say a bit crap. It's a lot crap, uh, and, and so I'm far more likely to listen to to the version that I've remade myself.
Speaker 1:In fact, I listened to shout out to the Oasis podcast. I listened to them earlier and they did a whole episode doing exactly what I would do, which was just the joy of you know. What order would you put on this album?
Speaker 2:Because the B-sides are so strong that you could really. The B-sides are ridiculous, yeah.
Speaker 1:I mean, there are at least two b-sides that we'll get to that are are in the top five oasis songs of all time. Uh, you know, and one of which or noel thinks is the best song he ever wrote. So it's okay, it's.
Speaker 2:It's a discussion. You don't have to find out what he considers his best songs ever in, because I don't know, so we'll find out later okay, right, the first qualifying round is hello.
Speaker 1:Finally we've got there. Uh, hello against, roll with it.
Speaker 4:I don't feel as if I know you. You take up all my time. The days are long and the nights will throw you away, Cause the sun don't shine. You gotta roll with it. You gotta take your time. You gotta say what you say. Don't let anybody get in your way, Cause it's all too much for me to take. Don't ever stand aside, don't ever be denied. You wanna be who you be if you're coming with me, I think I've got a feeling I've lost inside. I think I'm gonna take it away.
Speaker 2:That was a great opening round. I applaud the person who did the draw tonight and for once it wasn't me. So well done, it's a great opening round. It was only my fifth attempt, thanks. I mean Oasis 94, they come out of. Definitely maybe they smash it.
Speaker 2:Britpop is at its absolute height. The hype and the pressure for this second album must have been massive. And they smash it in with Hello, which is such a great way to open an album like. It's just like. Here we are, let's have it. It's so them. And they pull it off with aplomb and then the subsequent album is brilliant. So it's just like an act of bravado that is fully justified. It's great. I love it as an opener for an album I. So it's just like an act of bravado that is fully justified. It's great. I love it as an opener for an album. I think it's a very strong opener um and it's versus roll with it, which is interesting because it's um, it's the only song they recorded, live, um, and then they did the rest of the album in a different way than they had with um. Definitely maybe um I I. But I really love hello and noel Gallagher said when asked what was Roll With about. He said it's about fuck all, so I'm voting for Hello is it me, you're looking for it?
Speaker 2:sure is, because I'm voting for you.
Speaker 1:It sure is. Love it, love it, love it, go on.
Speaker 3:I'm going to go well before I make my decision. My hasty decision, I agree, hello was like it's such a great opener. Like you say it's great. It's an often overlooked song by them, I think, because it is essentially just there to serve the purpose of just being an intro song, it feels like. But even I mean even the problematic Gary Glitter, yeah, it's very problematic, isn't it?
Speaker 2:That is a little problematic, it's hugely problematic.
Speaker 1:And he does have a songwriting credit on this, I know because I had to give it side notes. Side note because I don't know how popular gary glitter was in america. Side note gary glitter was an english musician in the 1970s who was very popular in the genre of glam rock. Unfortunately, he's now a card carrying pedophile. This is problematic. Let's move on yeah, yes, absolutely.
Speaker 3:Um, it just sets you up for the rest of the record. It's exciting. It's just got an energy to it. It's got it's a different sound to the last album that there's more reverb as the drummers change since the last record. So you get this kind of much more. There's much more ghost notes on the snare. There's much more energy in the drums that's what I was going to say.
Speaker 1:More ghost notes on the snare.
Speaker 2:definitely, Definitely. That was the biggest thing on your notes, wasn't it Steve?
Speaker 1:That's word for word. That's what I was going to say. When I listen to it, I think about those ghost notes.
Speaker 2:They are fantastic Because obviously the previous album they had to mix the drums in a certain way because of Tony McCarroll.
Speaker 3:Yeah, and the first album is very much saved by the mix, isn't it? It's kind of slammed. It's mixed by Owen Morris. It's not produced by him. It's famous for its mix.
Speaker 2:We covered it in an excellent episode. I think it was episode four or five of this podcast.
Speaker 1:Very early on in this podcast.
Speaker 2:But it came out all right in the end, didn't it?
Speaker 3:It did pretty well, didn't it? So, yeah, hello, has that energy Roll with it. Just makes me think of Blur, the Blur Oasis thing. Now, yeah, so what?
Speaker 2:are you voting for?
Speaker 3:Because there's stuff to say about everything on there so we need to know what's going on so we can finish up.
Speaker 1:Yeah, it's going to be. Hello, you're going to vote for what's just happened. Hello's smashing Roll With it.
Speaker 3:Roll With. It's great and I love how it sounds different and, like you say, it's recorded live but is a bit of a.
Speaker 2:It's just, it's all right. Yeah, I've never been a massive fan, although it did, I love it. It did reach number two in the uk singles chart, so it did?
Speaker 1:what did? Uh, what did noel say about? About, roll with it, about the competition, the blur, the blur versus oasis singles tell me what did he say this?
Speaker 2:we covered this story in a blur episode, but yeah, it was basically a massive thing, wasn't it the he?
Speaker 1:said the blur. The blur versus oasis singles to number one. Competition would have been far better if it hadn't been roll with it and country fucking house which were two terrible songs if it'd been like. If it'd been like girls and boys and supersonic it would have been amazing, but it wasn't and, yeah, fair play to I am going to roll with it anyway.
Speaker 1:Hello, I remembered as being crap. Uh, in my head it was crap. I've never re-listened to it, uh, I've, I don't. I don't listen to this album all the way through, despite you know, as I say, I'll listen to selections of other things, uh, that I've created. However, in re-listening to the album proper, it was far, far better than I remembered. Uh, so it's not. It's not the down vote. I was intending I just prefer roll with it. So Hello goes through to the quarterfinals. So now we've got hey Now versus she's Electric.
Speaker 4:Just as the sky turned black, I took a walk with my fames. I'll never relay. I never define my way back. You know that I've got a say Time slipping away, and what will it hold for me? She's electric. She's in a family full of eccentrics. She's done things I've never expected and I need more time she's got a sister.
Speaker 2:So I think, both have you done. Yeah, this is interesting because he wrote hey Now, before the sessions, because he says if it's got more than two verses on it, I wrote it before the sessions.
Speaker 1:Yeah, because everything else it just does the first verse twice. Because he's like I've not got a second verse, I'll just sing the first one again.
Speaker 2:So, yeah, they turn up at Rockfield Studios in Wales. They're a massive band, huge, you know. They've had this notoriety. They've had the whole thing with going on that comes up with Blur. So this is a big summer for us. It just gets bigger. But the pressure's already on when they go. And he's only written half the album. They've just been too busy. And he's only written half the album. They've just been too busy.
Speaker 2:Pretty much a lot of the lyrics and finessing of the songs are done in the studio and the rest of the band haven't really heard them. They don't demo this album. He just comes in, he puts down an acoustic and a guide vocal to the click track and then they just build it from there. So it's extraordinary that this album was done in the speed that it was done. Spoiler alert, it was done basically, he reckons, in 12 to 14 working days, which is almost unheard of, especially an album like this. It's not like a quick, sharp punk band. This is like layered big balladry. It's extraordinary. It is and hey, Now is apparently about being in a band. So that's interesting that this band pulled that off. And what's it against? She's electric. She's electric, yeah, which was, I believe, written for definitely maybe and you can.
Speaker 1:I think you can hear that more. It's more of a definitely maybe song well, it sounds like digs his dinner and digs his dinner. Just took. It took its place because it was apparently easier, better to play live yeah, it was a toss-up between those two, wasn't it?
Speaker 3:for me. I'm voting for she's Electric because, it's.
Speaker 3:I love the Beatles ending. I love the sort of jangliness of it. There's a deafness to this album that you don't have on previous Oasis records. Maybe, okay, maybe whatever is an in between song, but there's a sort of softness and there's more acoustic guitars and there's more acoustic guitars and there's more clean guitars. I don't know, it just feels like there's a bit more. It's them enjoying the studio and taking their Even though they haven't got much time, but it feels like they're taking more time and there's a bit more thought gone into the sonics and the layering of sounds. It's not just a live, raucous rehearsal room and I've always just loved that guitar part, that sort of jangly clean, smith's kind of guitar I think that bit at the end of she's electric the oh yeah, so beat is really great is that is the most beatles they've been up until that point like by like 200 percent, more than anything else.
Speaker 1:It's so clear isn't it it's so clear. But what's the greatest influence on she's electric? The kinks. No, it is the theme tune to excellent ITV British children's TV programme you and Me, wow.
Speaker 2:What was that and what's the theme tune? Pretty good theme tune. Do you want to hear it?
Speaker 1:Yes, All right, here we go. I'll put it on here we go. We'll edit it in See if you can hear this.
Speaker 4:You and me, me and you. That's a lot For you to and you, that's a lot For you to do. That's a lot For you to see, me and you, you and me.
Speaker 2:I'm terrible at hearing these things.
Speaker 1:anyway, it's like, literally, you and me, me and you, lots and lots for us to do, lots and lots for us to see.
Speaker 2:It's literally the same words and the same tune.
Speaker 1:How the fucking cunt can you not hear that? What do you want? A fucking map? It's the same words and the same fucking tune. Jesus fuck, it's not exactly subtle. Oh my god. Oh, I can't hear it. I'm not very good at these things. Have you got ears?
Speaker 3:I was waiting for it to do the she's Electric bit. I was like where's the verse? I can't hear it. When do they talk?
Speaker 2:about your mother. That's what I want to get to Brett. What are you voting for, Brett? So I'm going to vote for she's. Electric is great. It is very beastly. But I really like hey Now, and again. Like you, Steve, I don't remember being a massive fan of it before, but I really enjoyed listening back to it, so I'm going to vote for hey Now okay, so well, I'm going to vote for she's Electric because, hey, now is a fucking stinker.
Speaker 1:Oh really, I think it's. I think it's genuinely awful. I think that, yes, I think for a number of specific I also. I don't think Oasis do anything as bad as this song, until Little James, right. I think everything on Be here Now, including the B-sides, is better than this fucking turd of a song, right, I think, bearing in mind that the whole album is mid-tempo, there is nothing up-tempo on this album. Everything is mid-tempo. If you listen to the it's not true.
Speaker 1:Which is fine. I'm fine with that. I love oasis's mid-tempo thing. You know, the only b-side they had available that would have upped the tempo was head shrinker yeah which is genuinely a lesser track.
Speaker 1:So that's not going to happen. Right, hey, now the the verses are are so plodding, they're so, and then you get to the chorus, which is one of the most non-chorusy. It's it. The tune is bad, the words are, but every, and it's interminably long. It's about six minutes or something. It's it's one of the worst things they ever did. And this is the point at which the whole oh, it was great. Being a wasis fan, yeah, oh, the b-sides thing is just a bit of banter, never mind about what's on the album. This is the bit that ruins that whole argument. For me, it's so bad and I adore this band. If that had been a b-side, it would have been forgotten. That's how weak it is rubbish wow, that's amazing.
Speaker 3:I mean don't hold back, just let us have it, would you have put?
Speaker 2:me and you on before this me and you, you and me.
Speaker 1:She's electric. I fancy her mom, that's how it went I don't know how you didn't get it.
Speaker 2:I gotta be honest I know we've got tin ears, sorry dude. Um, wow, that was a surprise. I knew when you you said at the start there was one song you hated and I was trying to work out what it would be. But I mean, I'm surprised because I don't.
Speaker 1:I don't hate it, I'm just shocked by how we pretty much do you do hate it?
Speaker 2:that's bullshit. You do, you do hate it.
Speaker 1:I mean just just no, I don't I love everything.
Speaker 2:I mean listen back to what you just said about it and how femininely you expressed it. You have fucking hated it. You called it a turd of a song, the worst thing they did until little james it's a stinker, I'd love to see you talk about a song you actually hate.
Speaker 1:No, I enjoy listening to it in a way, because the thing is, it reminds me, it gives me that 1995 feeling. So I don't, you know it's, I still have it in the back, I still had it on the radio and it still made me feel like it's 1995 and the sun shining and everything is possible. So I can't say, I can't say with hand on heart, that I hate it. I was just in the same way that I was extremely pleasantly surprised by how good hello came up. I was genuinely taken aback by how weak this is. Uh, really taken aback. So yeah, she's electric goes through right.
Speaker 4:Okay, next, cast no shadow versus some might say, here's the thought for every man who tries to understand what is in his hands, he walks along the open road of love and life, surviving if he can Surviving if he can.
Speaker 4:Bound with all the weight of all the words he'd try to say, chained to all the places that he never wished to stay, bound with all the weight of all the words he'd try to say as he faced the sun, he casts no shadow. Some might say that sunshine follows thunder. Go and tell it to the man who cannot shine. Some might say that we should never ponder On our thoughts today, cause they all sway from the time. Some might say we will find a brighter day.
Speaker 2:What some might say is the only appearance on this album of Tony McCarroll. They recorded the single and basically they went to. I think the inciting incident for McCarroll to get the heave-ho was obviously it had been the original drummer in the band Rain, I think with Bonet and Gwixie. Well done better. Foe was um. Obviously it'd been the original drummer in the band rain, I think with um bonehead and uh gweeksy. Um, well done better. Thank you, um. And they played this show, the whiskey go-go. They'd done their kind of um reveal show in america and it'd gone fucking awful. And and noel ganniger was so is that?
Speaker 1:is that the famous one where they're on meth?
Speaker 2:yeah, and the bass amp blows up and they start again and there's all these famous sexy people there and it's like, yeah, you're going to be great. And the comp there really builds them up. And you're like, oh, fuck, you know, just let us get on and play man. And it's just like, oh, it's an absolute damp squib, a disaster. And Noel nicks the tour float and goes off to San Francisco and writes Talk Tonight in that week yes, with tune. But in that point he comes up with a plan listen, we've got to make it more professional, we've got to sack him. And I think they had tried, they'd taken him to drum teachers and stuff like that, and they just said, I don't mean for whatever reason, who knows, but McCarroll, basically, I think they weren't professional enough and my, my feeling about that is that, um, you know, they're all on drugs and stuff. He had to make. Uh, he had to make a statement and someone had to go and carry the can and I think mccarroll was the easiest person to carry the can.
Speaker 1:Unfortunately, he did only have about two drum beats, though, and I mean I I am terrible at hearing drum beats, and if I can hear that he only had about two things, that he knew. There were not enough ghost notes. If he played more ghost notes, he could have been still playing for them now.
Speaker 2:Just a bit scarier on the drums, but scary in the wrong way. I mean. You've just got to feel for Tony McCann. I really enjoyed his drumming on Definitely Maybe. I think it's perfect on a lot of his drumming on that album.
Speaker 1:It does work really well, yeah, but it doesn't work on this and alan white really brings a flavor to it.
Speaker 2:Yeah, I mean, you can really really hear this album is yeah, definitely wouldn't have been able to build it this way without alan white, and I might get to that later a bit more about that, but yeah, I mean also also some might say was wildly out of time.
Speaker 1:Apparently, yeah that they that they had to put a lot of those weird sound effects and stuff all over it and and do like loads of studio trickery to get it in time because everyone liked liam's vocal so much that they're like we have to keep that take. But he's like, yeah, but it keeps getting out of time they're like just just sort it out with some studio trickery mate.
Speaker 2:Oh thanks, just whack it. Yeah, whack it down in the mix. I mean, which is very hard to do on it for a rock band to whack the drums down on the chorus. That's not really what you'd want to do, but yeah, I mean, he had to. He went and you've got to feel sorry for him because, like you know he's, he's joined the best club, hasn't he? The peak, best club of just?
Speaker 1:having to show incredible which, ironically, isn't the best club.
Speaker 2:No, it's really not, it's really not. I mean arguably the worst club really such a bad name, isn't it? I mean, yeah, but both those men and other people like that have had to deal with that must be so hard, and both of them are showing great strength to just carry on and just, yeah, keep get through the day like, yes, can you imagine getting sacked and then that becoming the biggest band in the world even now, like with the, the whole reunion thing kicking off, and like just that's then your legacy, that's then your whole, your whole life legacy.
Speaker 1:Yeah, awful, you've got to feel for him, for sure, yeah, yeah, um.
Speaker 2:So anyway, he's, he's drumming on that. He's only uh drumming a bit since album. Uh, I mean I I do, like some might say, um, and I think I've got it as a single. I bought it as a single when it came out, but I'm gonna vote for cast no shadow okay, interesting guy.
Speaker 3:Yeah, well, some might say that's their first ever song to go to number one, isn't it? Yeah, I believe so, um it was, and yeah, that, that, that single. I mean I don't know how much we want to talk about it, but that single is probably one of the best pop singles I ever owned in terms of you got some might say you've got acquiesce, you've got head shrinker, you've got talk tonight. That's unbelievable. I mean acquiesce is it is, isn't it it is?
Speaker 1:How have we got hey Now and not Acquiesce? And again, it doesn't matter because we've got Acquiesce, because people were genuinely listening to those B-sides, but Acquiesce is easily top five Oasis songs ever.
Speaker 3:Some people would say it's top three, top two, it's in my top three, for sure, I think the reality is like you say. They were kind of on a bit of a whirlwind. They didn't really stop. They went straight into the studio. You made the album, then you had to make some b-sides at a later date. It was just kind of when you had the moment to put them down. It was kind of more like a beatles mentality. It's kind of similar, isn't it?
Speaker 1:yeah, it is, and it is part of the fun and I I will rant about it and stuff, but it is part of the fun of that time and I loved it um.
Speaker 3:So yeah, some some might say was. It was a big record for me growing up, cast in a shadow. I loved um. It has a real nice soft acoustic thing which again goes in hand in hand and the drumming again is brilliant. Um, but um, some might say for me is is is just magical. Maybe, maybe because of the b-sides, but I do love the, uh, the kind of unrelenting cacophony of that last chorus, where it's just a wall of sound and there's.
Speaker 1:So I love the thing I one of the things I've forgotten again is how much noel gallagher was into weird sound effects at this particular point obviously be here now. It's not weird sound effects so much, it's more. Just 37 guitars on every track. But. But this album has weird sound effects everywhere. It's a helicopter, it's the birds tweeting, it's the sea lapping on the shore, it's some sort of weird effect over across the middle of. Some might say that nobody knows what it is.
Speaker 3:You know, there's there's so much weird sort of bb, bbc, radio, phonic workshop stuff going on, uh, which I've totally forgotten about yeah, well, there's lots of little acoustic intros to songs and then they kind of go you know Wonderwall's kind of in different places, isn't it?
Speaker 1:Yeah, also, some of those introductions are iconic in themselves and again, I do think that, however good Hello is as an opener, because it's called Hello, ha ha ha, brilliant. You know it's like. Can you imagine Acquiesce and again shout out to the Oasis podcast, because I was reminded of this by them today? Imagine opening the album with Acquiesce, because, if you remember that bit at the beginning, is him going what's the?
Speaker 1:story, and then Acquiesce comes in and it would have been the best opening trailer for the rest of the album well, they do trail Wonderwall, don't they?
Speaker 2:at the start? They do they play the chords on Wonderwall right.
Speaker 1:So we've got one for cast no shadow, one for some might say I have to say I, I I never, never at the time and not since re-listening to it thought cast no shadow was as good as its reputation. Uh, noel described it in an interview I saw recently as a bit half baked in terms of the way that the recording I think the country, the sort of vaguely country style slide guitar, is totally that. I think it's misjudged. I don't think it's stood the test of time. I just don't think this song is as good as its reputation. I think it's a lesser song. Yes, it was written technically either dedicated to Richard Ashcroft when the Verve broke up or written about him, depending on when, when you ask Noel, um, but but you know it's for me it's, it's one of the lesser tracks on here. Some might say just has that excitement again, as you say, because we have that extra time with it. I can't hear some might say enough really.
Speaker 2:Uh, I love it and he nicked the chords opening chords of this from wish you were here. Yes, and he's very happy to tell you where he's got stuff from. He actually got us a great quote here. No, gallagher, I'm not a genius, I'm just a fan of music with a good knack for putting shits together. Nothing is original.
Speaker 1:There's only 12 notes, anyway uh, some might say, goes through. So now controversially, because we had to to get a um, the correct number of uh tracks to make up the listing here this is controversial the, the. We've got swamp songs, one and two, uh, which I've put together because why not, uh? But more more controversially than that, we've got Bonehead's Bank Holiday.
Speaker 4:We'll be right back. What's your excuse for putting that on?
Speaker 1:My excuse is that it wasn't a B-side, but it was sort of technically on the album, because if you bought the vinyl edition it was on the vinyl edition. So arguably it was on what's the Story Morning.
Speaker 2:Glory, Not was this 95. Absolutely no one was buying vinyl in 95 95. It was as uncool as it's ever been to buy vinyl in 1995 it was a single for your walkman to walk, to walking around town looking cool or strolling around town in in your, in your oasis strut, but it suits my cd?
Speaker 1:yeah, but it suits my, uh, my mentality because, um, it wasn't something that's been like in our previous episode with Jeff Buckley. It's not something that's been posthumously added. It was technically on the album from day one if you bought the album in that format. So Bonehead's Back. I don't feel that we're going to be here for very long.
Speaker 2:No, this is really. I'm representing this album. This is a great album and these are not.
Speaker 1:Yeah, bonehead's Bank Holiday or Swamp Song people.
Speaker 2:Let's get them done. I'm going to go Swamp Song. I think it was used in a film once.
Speaker 4:And Bonehead's Bank Holiday is just them.
Speaker 3:It was used in a film. That's enough.
Speaker 2:That's enough.
Speaker 1:Well, Bonehead's Bank Holiday is not going to be used in like a carry-on film I mean, I think they're pushing the luck.
Speaker 2:I think they're trying to do like a kind of um you know my name, look up my number type beatles thing, and I just don't think they've got the right type of charm to pull it off. They've got a charm, loads of it, but just not that type of charm and yeah, it's just no it's too much, it's much longer than swamp song as well yeah, there's not a lot to say about Burnhead's Bank Holiday.
Speaker 1:It's there, it's fun, it's listenable, but there you go.
Speaker 2:I'm voting for Swamp Song. What are you going to vote for, Guy?
Speaker 3:Well, I was going to say there's a great video of Burnhead's Bank Holiday where he said an explanation about he was meant to sing it like a Ringo moment. It was meant to be a kind of get a few drinks with him to get some confidence up, and then he just sort of got so pissed with liam. That's why there's an absolute cacophony of them just mumbling through the lyrics and it's it's. It's just a mess, but that is kind of a charm of it.
Speaker 2:Okay, that makes it more charming. I mean, in a lot of the interviews with there's an interview of liam gallagher and bonehead talking about it and they're like yeah, yeah, we just did our stuff between you know, about 11 and 2, and then we were down the pub. It was happy hour at about 6, so we wanted to get down the pub. So those are great pubs in the town. So basically the way the album worked was like I think Noel Gallagher was there a lot of time and then they would come in and do their bits over the top and then he'd carry on.
Speaker 3:He was there like again, I love. I love the sort of you ever say you'd never say that oasis are artsy, but it gives the album just a nice little bit of artsiness and a bit of like. It's almost taking you on a bit of a psychedelic little trip in and out of different worlds yeah, it's kind of a 90s thing to do that kind of short little song.
Speaker 2:Blur did it a lot, didn't. They were like they're.
Speaker 1:They're kind of okay, your question for the points is what was it called before and why did they change the name of it?
Speaker 2:oh, I don't know, song or something, yeah, close can't give you more than that on the road again rip off.
Speaker 1:No, it was called the jam which is fair enough because it was a jam. Why did they change the name from the jam?
Speaker 2:because paul weller was turning it.
Speaker 1:They don't want to confuse themselves because paul weller played harmonica on it, and they felt that having a song called the Because Paul Weller played harmonica on it and they felt that having a song called the Jam, with someone from the Jam playing on it, was too meta Too meta oh, that's brilliant. I love that. Oh, they should have kept it.
Speaker 2:I'd have liked it a lot more. That's great. Yeah, yeah, that's good. I love it.
Speaker 4:Right, we on to the quarterfinals. So the first quarterfinal is for the first time in this competition. Do do not please look back in anger versus hello. Slip inside the eye of your mind, don't you know? You might find a better place to play. You said that you've never been, but all the things that you've seen Slowly fade away. So I start a revolution from my bed, cause, you said, the brains I had went to my head. Step outside summertime and stand up beside the fireplace. Take that look from off your face. You ain't ever gonna burn my heart out of the rain. It's never gonna be the same Till I find you Come to my house this age, alone alone, alone alone, alone alone, alone alone, wow, okay.
Speaker 2:Well, I feel this has been quite straightforward. He said the best songs just come to me, fully formed. I don't know who Sally is. No one does.
Speaker 1:Well, he said that, but did you hear those lovely two stories about what his possible ideas might be?
Speaker 2:Oh, there's one really good one. Yes, I do know one of them which is related to the Stone Roses.
Speaker 1:Well, if you can work it out, the relation was oh, is Sally Sally Cinnamon, yeah, but somebody to the stone roses, well, the, if you can work it out, the relation was oh is um sally sally cinnamon, yeah but somebody, somebody said that to him years later and he's like, oh, I wish I thought of that because I could have dined out amazing but the thing is, apparently he was, he was mashed up, uh, the night before he wrote it in a strip club, right, and he has since wondered if sally is a stripper, but doesn't know because can't remember writing it, wow, so okay there you go.
Speaker 2:I like that it's nice. No, it's good.
Speaker 1:What are you voting for, brett?
Speaker 2:um, well, I think hello is a great way to open an album. But, um, yeah, don't look back in anger is like an anthemic, huge, huge song for them. It's I think it's their second most streamed song. I mean it shows how big it is. It has massive weight with them when they play it live. So, yeah, I'll have to vote for Don't Look Back in Anger of course you will right.
Speaker 3:Guy, if it was Acquiesce opening the album, we'd be in a different position. But it's not like you say that's it that's it that's
Speaker 2:it chat is done. I will not acquiesce to hear more about it.
Speaker 1:Okay, I forgive whatever you're saying, because that was quite good. Um, okay, don't look back in anger. It somewhat inevitably goes through uh to the semis, uh, three nil, and we'll talk about that a bit more later. Then we've got uh she's electric, which has come through from the qualifiers. I sound like I know what I'm talking about for a change.
Speaker 2:I'm beginning to to learn how this works. You're going to start talking about ghost notes soon, with genuine authority, which will be terrifying.
Speaker 1:She's Electric versus Wonderwall, and I want you to know I've got my mind made up now, but I need more time and I want you to say Do you know what?
Speaker 4:I'm saying, but I need more Cause. I'll be you and you'll be me. There's lots and lots for us to see, lots and lots for us to do. She's electric, I'm electric. Today is gonna be the day that they're gonna throw it back to you. By now, you should have somehow realised what you gotta do. I don't believe that anybody feels the way I do. By now, you should have somehow realised what you gotta do. I don't believe that anybody feels the way I do about you. Now, backbeat, the word is on the street that the fire in your heart is out.
Speaker 2:Wow. Well, I've never heard of Wunderball, so you'll have to tell me a bit about it.
Speaker 1:Yeah, I heard it for the first time listening to this album.
Speaker 2:Oh did you? Yeah, so we've got she's Electric, the Beatles-y one which you two both liked, versus no.
Speaker 1:No, I liked it more than hey Now, because hey Now's a stinker, a turd of a song, I think was the phrase A turd of a song. It was actual phraseology.
Speaker 2:Um so wonderwall is such a massive song that you, mr sumner, have coined a phrase that is trademark mccartney and goal to describe any song that gets overplayed the wonderwall syndrome wonderwall syndrome, probably every episode.
Speaker 1:You've trotted that one out, yeah wonderwall syndrome is quite literally you've heard a song too many times, you can't hear it anymore.
Speaker 2:You can't so what's this song got?
Speaker 4:it's self-syndrome.
Speaker 1:The thing is I I don't have wonderwall syndrome with wonderwall of all the capricious shit you've ever pulled back.
Speaker 2:It's just you've got no credibility. Man, what are you doing? No, listen, no, hear me out.
Speaker 1:I did for a very long time and as a result of having it so badly for so many years I've. I've had a decade and a half at least, maybe two whole decades off, so it finally came up fresh. So it's a it's a fair thing to have invented wonderwall syndrome based on a song I'd heard too often, but I I backed off from it and it came up well oh my god, listeners are you listening for?
Speaker 2:wonderwall. Anyone who's stuck with us for a lot of episodes will be like what you can never use wonderwall syndrome. Now you've got to develop, you've got to coin the phrase wonderwall boomerang syndrome when a song is so overplayed for you, then you give it a large chunk of your life to not listen to it and then you come back to it fresh. Come back to it it's got wonderwall boomerang syndrome.
Speaker 1:I've got wonderwall. Boomerang syndrome with wonderwall oh my god also, to be fair, however much I've killed my credibility in voting for wonderwall here, if I don't, I'll be the guy that voted against wonderwall and said she's electric was better, which will make me look even less credible. So, it's slim picking.
Speaker 2:Yeah, that's true. That is true, guy.
Speaker 3:Right, talk some sense. It's a very quick conversation. Wonderwall is great. We're going to talk about it lots more, so I'm just going to vote for Wonderwall. She's Electric is a lovely song. I love it. It makes me happy. It does remind me of a kids.
Speaker 2:TV theme tune no matter what you say, but it's.
Speaker 3:Yeah, it's not Wonderwall. There's something about Wonderwall which we'll get into.
Speaker 2:That beats it hands down yeah, and there's a nice little falsetto on she's Electric by Liam Gallagher, which is very rare, a Liam Gallagher falsetto.
Speaker 3:Both these songs are actually vocally, probably two of my favorite liam vocals yes because of his sort of falsetto moments and just the tone of his voice.
Speaker 3:If you really ab sort of um, definitely maybe era track, uh, a morning glory era track, and obviously then beyond he's in the sort of sweet spot where he's his voice is strong enough to kind of sing and have a real richness to it before it gets absolutely shredded and fucked. But it has more weight and more stability than the first album. It feels fuller and richer and it's just a nice coming together, I think on these two songs, particularly Wonderwall, where you get to hear his vocal register really nicely- yeah, his singing on this album is just incredible.
Speaker 2:His voice is just at peak power. Oh, it's incredible, just incredible. His voice is just at peak power and just it's incredible. You, you, the, you can see why um Gwiggsie and Bonet asked him to join their band and you can see why when Noel Gallagher went to see them live, and okay, I've got to join this band and write the songs, because that that voice is just unbelievable.
Speaker 2:There's almost a pressure on Liam Gallagher is, basically he is just probably, you know, obviously would have been untutored in singing and and I don't even think he played the guitar, so he wouldn't have really trained his voice and that's, he's just an absolute natural. So to then have to go around and tour as much as they did with trying to recreate these vocals, which are hardcore, grating, massive rock sound vocals, oh my gosh. The pressure on him to do that would have been very hard and there's some stories later on we might get to that would illuminate that he was feeling the pressure of having to reproduce, like you know, to work, you know to challenge himself, to maintain his own standards, very, very hard can I, can I ask I'm gonna pick you up on something here.
Speaker 1:Okay, this untutored thing. I don't can explain what you mean in that. He was untutored. Well, he's got to.
Speaker 2:So one way you can choose yourself in singing is to play the guitar and you'll develop your ear. You're pitching so you can hear it. You can do that and you can train your muscle memory. So when you sing live, you've trained your voice to react in the way you want it to and it won't just do some weird, surprising shit. The other thing that'd be untutored was probably he wouldn't have done I would doubt very much at that time he would have done vocal warm-ups for a gig. He wouldn't have done things to protect his voice, he'd have taken drugs, he would have drunk, he'd have shouted, he'd have gone out after gigs and shouted and talked to people and been up till 4am in the morning all things which will rag your vocal cords as fuck. And then when you build a massive financial vehicle around it like a hundred date world tour afterwards which is sold out, if your singer goes down with a fucked vocal cords, you're fucked. Yeah, yeah, he untuned and that's and that happens a lot of bands a lot of bands have to have.
Speaker 1:That's vocal. Not what I thought you meant at all. That makes a lot more sense.
Speaker 2:I mean, I mean, he's an amazing singer. Um yeah, just incredibly natural are you voting for wonderwall?
Speaker 1:yes, yes.
Speaker 2:I am.
Speaker 1:OK, that's good, fair enough. Is now the time to have the discussion about? Don't Look Back in Anger and Wonderwall, because Noel gave Liam both those songs and gave him a choice and said which one do you want to sing? He wanted to sing one, did he? Well, he just said look, I'm going to sing one of these two songs. Which one do you want? And so the question is which camp are you in? Are you in the camp that they made the right decisions? I, I, I discovered recently which camp I'm in because, again, I, I heard it's on the oasis podcast today and, uh, and I'd never thought of this before and they've completely convinced me as to what should have happened um, which camps you in?
Speaker 2:well, I'm definitely in in the as it is, camp like wonderwall is perfect for liam gallagher's vocal and not for noel gallagher's vocal. And don't look back in. Anger has that huge high note in it that I don't think um would have suited liam. Yeah, yeah, absolutely right, yeah, yeah so definitely, as it was, they chose right as the two billion streams for wonderwall proves and the one billion for don't look back in anger uh, guy, I'm the same I do.
Speaker 3:However, I do think liam could have absolutely destroyed in a good way. Uh, don't look back in anger, um, but I don't think. I don't think noel could have sung wonderwall. He just he doesn't have the warmth in his voice. It's a very thin, narrow, pinch sort of vocal compared to liam's. So as much, I mean, I'm tempted to use AI to actually listen to what Don't Look Back in Anger would sound like with Liam on, because I'm sure it would sound bloody awesome.
Speaker 1:But he's done it live. He's done it live acapella recently, so you can do it right, there is a third option, which is where I've landed. Here we go.
Speaker 2:You didn't give us the third option.
Speaker 1:Well, I know, but I just wanted to see if it was.
Speaker 2:It's the same with fucking Wonderwall Syndrome, and now I'm liking Wonderwall Syndrome Unbelievable.
Speaker 1:Did you expect any less, Brett?
Speaker 2:No, that's true, You're a slippery customer.
Speaker 1:I don't have any integrity, as has previously been discussed, so let's not worry. So third option is Wonderwall stays as it is, because clearly Liam should have sung. It. Don't look back in. Anger gets the acquiesce treatment, which is to say that liam liam does those amazing verses and then noel comes in for that soaring chorus. Oh yeah, once you've heard that idea. You can't unhear, no, that is, that is epic.
Speaker 3:I mean there is a reason why that work acquiesce is so good.
Speaker 1:It is that vocal switch when he comes back in for the verse liam after that first chorus the only argument against doing it is that acquiesce had done it. Other than that, I think it's.
Speaker 3:Yeah, it's a good idea. I think it would have been a great. I'm happy the way it turned out.
Speaker 1:Yeah, no, it's fine, it's just once I heard the idea I was like oh wow, kind of blew my mind a bit Right.
Speaker 4:The next quarterfinal is, some Might Say which has come through and against Champ over for the first time. No decoration. Call my reputation once again. Someday you will find me Caught beneath the landslide In a champagne supernova in the sky. Someday you will find me Caught beneath the landslide In a champagne supernova.
Speaker 2:Oh, ok, well, I mean A lot of people like champagne, supernova. I think it's the same for me as Cast. No Shadow was for you, steve. I'm just not that big a fan of it Really. Yeah, it's Paul Weller on solo on this one. Yeah, no shadow was for you, steve, I'm just not that bigger fan of it. Really interesting, that's very yeah it's paul weller on, solo on this one yeah yeah the second solo.
Speaker 1:I think noel does that first one and then you can hear that okay, switch between the two.
Speaker 2:Yeah, yeah I mean, it's a really nice vocal from liam gallagher. I do like it. I just I don't think I can get past slowly walking down the hall faster than a cannonball line. I just. I know a lot of people love it. I know they do. I think you're splitting the two with this song. Most people will love it and that's amazing and other people.
Speaker 3:I think that is the beauty of Oasis, though right, it's the fact that some of the lines, when you read them written down, it is like GCSE or something like that year nine kind of level sort of rhyming poetry. But but because liam gallagher sings it, yeah, it just works.
Speaker 1:I think that's the thing is some of I mean so many of noel's lyrics are absolutely shocking. And sometimes they're shocking and they sort of work for you and and if they don't, it just stands out. So you know, I mean some of the lines in. Some might say like you know, the itching in the kitchen and the all that stuff. I mean it's just there's so many just like shocking lyrics in that, but it's so good, uh, in the way that it's delivered. You just don't care. And for me, and again, I wouldn't ever question someone who has a line stands out and doesn't doesn't like it because there's so many options so fast. And I love the cannonball line, but I totally know, and he's, he writes obviously great lyrics.
Speaker 2:I mean he does, but he takes a real risk to really push the boundaries and that's how you write something that's really memorable. So he's not hiding away, but he did. I mean it's just. It just doesn't work for me and it does, it just bugs me every time I hear it. Basically it was about, you know, those puppet shows like Trumpetown and Camberwick Green which are like again, children's television programs from the 70s hey us listeners.
Speaker 2:This is exciting chat. You can really get on board with. Um, and it was just this character that would very slowly walk down the corridor and it was bracket the butler and that's what he wrote that line about. And then he said I couldn't think of anything to rhyme apart from cannonball. We've slowly walking down the hall, so that's why I did it yeah, but I like the juxtapose, I like the.
Speaker 1:It's the oxymoron of uh, slowly, but faster than a cannonball, which is I love. Yeah, I love that, um, what you're voting for, uh, you're voting for. Some might say that yeah, I am, and I'm gonna go for.
Speaker 3:Uh, champagne's been over. It's kind of got a bit of flower of power. It's got a bit of you know, having the guest guitar. It reminds me of sort of, while my guitar gently weeps. It's got a sophistication that some might say is great. It's like a sugar rush. It's great, I love it. Champagne supernova is like a sort of more of a fine wine yeah, yeah, yeah, no, I also it does.
Speaker 2:Champagne is a fine wine, so that's correct is it?
Speaker 1:isn't it just champagne? I don't really know. Um, I'm out of my depth here. I don't know where they cross on the Venn diagram of wines slash champagnes. All right, I'm definitely voting Champagne Supernova. I love it, always did, I think it was it's you know. I love the fact that it's such a. I'm doing a big, long, slow one for the closer now and it's like, yep, I love your intention there. I love your intention there. I love that it's like there's no hiding behind any pretence here whatsoever. That's what I'm doing and I'm going to nail it and it's going to be really fucking long. Great, love it. Love all the sound effects. Love the solos. Love the fact that it's just the same words over and over again, the sort of mantra-ness of it. Love it so that goes through.
Speaker 1:And then, finally, our last quarterfinal is Swamp Song 1 and 2 versus Morning Glory.
Speaker 4:Thank you.
Speaker 2:I gave you kudos to start off with a great draw and then you've ruined it with that Morning Glory straight through.
Speaker 1:That's not a draw. The Morning Glory's already through and Swamp Song's come through from the last round.
Speaker 2:To get to this point where we're even talking about Swamp Song in the quarterfinals when we've already got rid of other great songs. Disgraceful, disgraceful.
Speaker 1:Anyway, move on, move on.
Speaker 2:I'm voting for morning glory, obviously okay, okay I know guy's a big swamp song part two fan, so it's going to go down to you for the decider.
Speaker 1:Yeah, okay, uh guy, uh, yeah, it's morning glory, there's morning glory, morning glory, go see right. So there will now be a brief interlude when, for the first time in the history of mccartney and goal we, we do an episode within an episode. We are going to now vote on, uh, all of the b-sides very quickly and do exactly the same format as we do in a mccartney goal episode. However, the rules are all of your b-side chat is allowed in the wider episode. There is no b-side chat allowed whatsoever here.
Speaker 2:All you can do is vote we can't come up with interesting anecdotes or no. Anecdotes or chats, no, no, just a little bit yep, tiny bit, no, squeeze it no.
Speaker 1:So here we go, nice and quickly head drinker versus talk tonight head drinker uh fuck, why did you do this?
Speaker 2:I love both of them.
Speaker 1:Uh, fuck it head drinker oh, I would have voted talk tonight. Right head drinker goes through.
Speaker 2:It's better people versus step out step out is apparently going to be sorry, okay step away from the fact.
Speaker 1:Step away from the fact, for the fact down that's one for it's better people guy, what you vote for. Step out, step out. Oh, this is really hard. Step out, okay, correct decision okay, going through.
Speaker 2:Sorry, it's better, people's gone right underneath the sky versus round our way, don't talk I would have preferred up in the sky um round our way obviously right guy.
Speaker 1:I said round our way, right. Oh, I didn't hear you, it's apologies. Right round the way goes through, uh three quite rightly, uh acquiesce.
Speaker 2:This is rocking yes, on, move on.
Speaker 3:Rocking Chair. I'm joking, it's Acquiesce. He's joking, of course he's flicking it, look up.
Speaker 2:Steve, we've got a bit scared there. Right semi-final of this Quick final round Go.
Speaker 1:Don't talk, move it Quick.
Speaker 3:Head Drinker obviously.
Speaker 2:Head. Drinker Step out Head Drinker it's Head.
Speaker 1:Drinker Head Drinker goes through. That's insane. I don't know what's happening here. Move on, no time. Okay, round Our Way versus Acquiesce.
Speaker 2:Acquiesce, obviously Acquiesce. It's fucking amazing.
Speaker 1:Okay, this is insane that Head. Drinker's got this far, it has as far it has, though um okay head shrinker versus acquiesce acquiesce acquiesce, okay, acquiesce is one amazing yeah, we all knew it was just realized that I didn't put the master plan on.
Speaker 2:I can't believe that that's completely I did wonder what your master plan was, and it was to completely fuck up and realize right at the end. You forgot to put it on.
Speaker 1:Amazing okay, so. So, steve, that was a brilliant, brilliant move, until you realized that, uh to, to put you out of your misery, brett, that the best song noel thinks he ever wrote was indeed the master plan, and I forgot to put it in oh, never mind god, I thought it was going to be accurate, fucking hell that is that should the final should have been equius versus the master Band, because they're two of the greatest songs in the Oasis canon.
Speaker 2:But I balled it up. Never mind, that is pretty special.
Speaker 1:Right, you may now talk about B-Sides, if you wish.
Speaker 2:The B-Side embargo has been lifted.
Speaker 1:It has been lifted. Yes, Step Up was initially slated for the album.
Speaker 2:They couldn't put it on because Stevie Wonder said you've nicked my song. And I'm quite glad because I don't think it would have worked that well on the album.
Speaker 3:No, I love it, but I don't think it's album-worthy, personally. Round Our Way and Equiesque.
Speaker 2:Brilliant yeah.
Speaker 3:Yeah, brilliant, round Our Way sounds like a council estate. It's got all the characters. Yeah, brilliant. It's so visual and evocative.
Speaker 1:My only issue with Round Our Way and I do think that Round Our Way, equiesque and the Master and the master plan should all have been on the album if we're playing, and master plan should have been in that competition. Yes, so good. Yes, that is unarguable. Uh, my only issue with round our way is that the horns are fine. The horns are fine, but the harmonica is too much. The harmonica is because it's that chromatic harmonica. Stevie wonder style harmonica is too is too much, um, but that's fine. It's still great. It still deserved to more than it got. Talk tonight's one of my absolutely favorite noble acoustic tracks, but it wouldn't have worked on the album because it's it's underproduced and would have sounded odd in the form that it appears here because it sounds more like a demo. But I love it. Uh, it's better people. Same applies, but I love it. Um, rocking chair never got it, never saw it. It's one of the it's like. It's widely considered as like um an oasis um connoisseur's sort of track.
Speaker 1:It's like a real fans, connoisseur's Rocking Chair you know, it's sort of oh well, everyone likes the Master Plan and Aquius and Surround Our Way, but oh, it's all about rocking chair. Never saw it. I don't like it, to be honest.
Speaker 3:I like the vocal. The vocal's great, but I could say the song's not yeah.
Speaker 1:Can I just have a moment to regret my utter, utter life failure in missing off the most important B-side. What's my brilliantly conceived idea for a quick fire? B-sides round, utterly, utterly in tatters.
Speaker 2:More fire than quick. Yes, I mean, you only asked us yesterday if we wanted to do this, so it's like, OK, great, we'll listen to it. And I thought, oh, cool. I thought maybe Master Plan was not a B-side, because obviously you wanted specifically the B-sides to these singles of this album. I thought maybe it was released as a B-side, you know, to whatever, or something like that. It was just released slightly earlier Because obviously their B-sides collection is famously called the Masterplan and he's probably, let's be honest, their most famous B-side.
Speaker 1:So it is quite hard to understand how that you've fallen through the cracks on that, but um, I'm gonna put. It's not oasis failure, it's my utter failure to know how to do sporting knockout competitions to say to the favorite, take you out.
Speaker 2:Let's just take the favorite out, that's it roger put the racket down. You cannot play wimbledon this year.
Speaker 1:It's just I, just I knew it was going to wipe the floor with everything else so I thought I can't have it in here, right? Let's move on as if none of that ever happened. Let let's move on Right. The first semi-final is somewhat inevitable. Don't look back in. Anger versus wonder, stand up beside the fireplace.
Speaker 4:Take that look from off your face. You ain't ever gonna burn my heart out, and so Sally can wait. She knows it's too late. As we're walking on by, her soul slides away. But don't look back in anger, I heard you say, because maybe you're gonna be the one that saves me, one that saves me and after all, you're my wonderwall oof.
Speaker 2:That's a clash of the big ballads, isn't it massive? And they are back to back on the album as well. It's very interesting that conversation we had about if you'd have got Liam to sing Don't Look Back in Anger on the verse and then Noel on the chorus. It would have been great. I just think Wonderwall has just got something about it. That's just extraordinary and you definitely could not have got Noel to sing Wonderwall and it work. It is that tone in his voice. It just carries the weight of it. Because it is that tone in his voice, it just carries it the weight of it because it's extraordinary. It just really does. When you really listen to the melody, it doesn't do on the chorus. It's very simple melody for the first part of it and it's just his vocal, which is a purely lennon thing. Only singers like lennon and liam gallagher can get away of that. Just the way they deliver it the tone of their voice rather than the notes they're singing just carries it gives it an edge.
Speaker 1:He gives it an edge it otherwise wouldn't have and I think it might have sunk quite bad. I mean, I love, love noel as a vocalist, um, but I think it without that edge to it, I think it would have not sunk without trace but would not be talking about in the same way we are now.
Speaker 2:No, not at all. And what? What did um bonehead think the? What type of music did bonehead think the demo sounded like? What type of music do you think? Reggae, reggae, exactly that he thought it sounded like a reggae song. I don't know if you're a joking guy, but that's what he thought I think a half. I think a half, no oh, okay okay, there we go I'm gonna have a think. I'm gonna let you two talk about it. I, because I need to think.
Speaker 3:Well, question for you Do you think Wonderwall would have ever happened if Alan White hadn't joined the?
Speaker 2:band. Oh, that's interesting, can you imagine?
Speaker 3:Tony Carroll going yeah, no Throughout the entire song.
Speaker 2:I know I'm going to beat Steve to the punch here because I know he wants to get this out and he needs his drummer chat, but Alan White played Rods, Hot Rods on this, as I know you were going to tell us oh, hot Rods, that's my favourite drum thing.
Speaker 2:Yeah, so, which give it that softer sound. You see Hot Rods on things like MTV, unplugged. Dave Grohl played them on it. So they're kind of like bound together, sound together bits of bamboo really and they just give a much softer sound. But it's incredible. So yeah, alan white, on this entire album, you couldn't have built this album with tony mccarroll, just with noel gallagher going in, putting a guide down, and then you build the drums and then everything builds around. That you need like a serious professional musician I have to say I've never thought about.
Speaker 1:I mean, I've thought about the fact that that it wouldn't have been as good an album if mccarroll was still drumming yeah, but I've never, ever thought about this point before and the idea of wonderwall with tony mccarroll drumming on it is is madness I've never I've never thought about that, as, as it's so stark, now you've said it. Um god, that would have been awful. He could don't look back in anger. They could have hidden him somewhere, but wonderwall there was nowhere to hide.
Speaker 3:Well, that's why I think, why I absolutely adore Don't Look Back at Endgate. It's one of those songs, even with the piano at the start and the video especially, it just takes me back to an absolute pinpoint, sort of like two-week, three-week period when that song came out, and it was when it was on Radio 1, all the time on the way to school. But I think what I love about wonderwall so much in the sort of oasis canon is it really relies on other people in the band, well, maybe two of them, liam and and, and alan the drummer, being at the best of their game and that's why it sends so high. Um, you know there's a melatron, there's a melatron, it's a melatron cello, isn't it on it? And there's, you know, there's, like you say, rods.
Speaker 3:It's not an Oasis song by numbers whatsoever. When that came along, you know you've had Hello, you've had Roll With it, and then suddenly you get an acoustic sort of ballad. It's a bold decision and it's a very odd song and I think you know what I'm like when something manages to transcend out of weird, quirky things like that. I think I always give it the benefit of the doubt and, yeah, I'm going to vote for Wonderwall over the two, which it is like picking children, but that's how it's going to go.
Speaker 2:It's your favourite one You've had to. Yeah, what's the film? You've had to Sophie's Choice, your two children, your two Oasis children and you've gone Wonderwall.
Speaker 3:I absolutely love the chorus on don't look back and again, I love how it's become this thing of um togetherness in manchester and it's become, it's become. Obviously it's become a football chant, but it's just. It's one of those melodies that everyone sings, pissed coming out the pub.
Speaker 1:But wonderwall, I think as a whole has has more redeeming features for me okay, brett, I'm gonna go to you I want to say that, ironically, despite not having wonderwall syndrome with wonderwall, I do have wonderwall syndrome with don't look back in anger, um. But it's not true. It just would have been a cool thing to say um, I think I'm gonna have to go. Don't look back, uh, because it's yeah, fair enough I. I just love its big anthemic ways, um yeah, love it.
Speaker 3:Have you had the first version he ever performed live of it, when he felt, when he just wrote it and he goes? I think there's there's some really shaky footage of him, or some audio at least of him playing it acoustically in the middle of an oasis show. Um, no, it's really good, I'll send it to you. It's um, I think, does I can't. I've got a feeling he sort of he mumbles some sort of introductory thing about it and no one in the audience has ever heard it before and no one reacts to it whatsoever. It's quite a flat reaction and it's just amazing to think of how songs work as like it's not necessarily the no song is out of the box phenomenal, but it if they can grow to become something and be owned by people and then they have the value that they have. It's a very I don't know. I just feel it's quite interesting gonna play a brand new one.
Speaker 1:I all wrote it on tuesday, so no one's heard this before.
Speaker 4:I haven't got a title for that. Slip inside the eye of your mind, don't you know? You might find a better place to play. You said you'd once never be all the things that you see.
Speaker 1:Brett, you've got to wrap this up.
Speaker 2:It's very hard. I mean, I think Don't Look Back in Anger. As Guy said, it has a huge cultural weight about it now and obviously the way it was adopted in Manchester after the arena terrorist attacks is just extraordinary. How it shows how music can bring people together and how it can cohere people and in some way um help them at a very deep level at time of great anguish and pain. It's extraordinary and and it is the perfect song in its message, um and and totally doubled by the fact the vocal really works as a football terrorist anthem. It can be sung by a mass of people and it just sounds incredible. But it's against Wonderwall, isn't it?
Speaker 1:Hang on, hang on, hang on. In its message I mean it's- Its message is don't look back. So if you take its ultimate, there's one line that says that Don't look back in anger. It's nonsense.
Speaker 2:No, no, but that's what people take. Though that's what people will take, doesn't matter what. If they do a thesis on dissecting the vocals, they will say don't look back in anger. That's what they'll take.
Speaker 1:That oh, I hate it that people do that. It winds. It winds me the fuck up so much. People are like oh, I've heard one line and I think that's what the fucking light song's about and it's like but that's what they'll take as their meaning for it I know, I know I'm wrong.
Speaker 2:I know I'm in the wrong, I know I'm being a cock like now, but I hate it.
Speaker 1:It's like when the whole of a song means something else or means nothing and you take one line from it. It's like why do people do that? I don't, I don't. I genuinely I'm trying not to be an arsehole. I don't understand it. I don't understand it, but that's just because it's not the way my brain works. It's like you know, I listen.
Speaker 2:It's the way people take songs, isn't it? It's like Born in the USA. People will initially think that's a really triumphalist song about loving America, but it's really Bruce Springsteen saying oh wow, you left loads of people behind after vietnam. So, yeah, it's just what happens, isn't it? But I mean, I think, I think in this case that there is that point of you know, don't? He just says, um, it's, he did actually say about it years before. It's about not being upset about the things, um, you might have said or done yesterday, but about looking forward rather than back.
Speaker 1:So it's about just looking forward, um yeah, he said that on one particular day. No, gall gallagher being noel gallagher. He said a hundred other different things about it, because that you know the lennon. The other thing he said is that I literally wrote it because I'd heard john lennon say in an interview oh that could then. And then the brett, they said that the brains you have get gone to your head and it's like I'm gonna write a song around that fucking line if it kills me.
Speaker 1:Yes, he did say that, and then and then and then stand up beside the fireplace. Take that look up from off. Your face is what his mum used to say to him when he made the boys stand in front of the fireplace and have and have pictures taken off them at christmas. Do you know what I mean? It's like it's a bunch of non-sequiturs. And that's not me criticizing it, because I adore it and they work. I just find it odd when people are like, yeah, but there's that one line, what about all the other lines? It's like I feel bad for all the other lyrics. It's like why are you focusing on that? Anyway, that's just me.
Speaker 2:But he did nick the line from John Lennon and he was determined, as soon as he heard it, to shoehorn that into a song, which is why, yes, sorry, go on.
Speaker 3:He has the.
Speaker 2:Imagine chords at the beginning on the piano of the song.
Speaker 1:So it's that kind of nod to Lennon and he's good about that as well, because people are like you can't put that on the beginning of the track.
Speaker 2:I say, imagine he's brilliant. Okay, absolutely brilliant. I will vote for Wonderwall wow really after all
Speaker 1:that oh my god, so don't know. Back and Angus going out. I didn't see that coming, I think.
Speaker 3:Before he goes, I have to say it's probably the best, noel vocal. Oh, I think he did.
Speaker 1:I'm taking aback by that. Okay, wonderwall goes through to the final which leaves us with Champagne Subanova versus the not really talked about much yet, morning Glory.
Speaker 4:No, to wake up. Need a little time To wake up. Wake up. Need a little time To wake up. Need a little time To rest your mind. You know you should, so I guess you might as well Watch this story Morning glory. Well, you need a little time To wake up wake up.
Speaker 2:Oh, this is so easy for me. I know what you're going to say. Morning Glory what is the story? I love it. It's an absolute banger. It's the most banging tune on this album. It's just brilliant. It's the most have it Oasis moment on this album. It's fucking awesome. Have it, Oasis moment on this album. It's fucking awesome.
Speaker 1:I'm voting for Morning Glory Love. That Okay, Guy.
Speaker 3:Er, I'm probably gonna do the same. To be honest with you, it's just. It's a fucking cacophony of reverb and the drums sound like they're being recorded about 50 miles away down the road. It's so echoey and.
Speaker 2:Yeah.
Speaker 3:But it's the one bit of madness on the record where it really feels unhinged and I just fucking love it. It's amazing the helicopters and that sort of like siren guitar, that sort of that kind of it's like a call to arms. It's a fucking awesome record.
Speaker 1:Yeah, okay, good. Well, that's two for Morning Glory. Brett, I've been disagreeing with you a lot of this podcast, uh, so far it seems, but I I think this is easily the most banging tune on the album. I think it is the one tune that that saves it. Saves the whole thing from being mid-tempo and again, does. Does it bother me that it's all mid-tempo? Not particularly, but I I think it. If somebody had sat down with noel and gone should we just look at all the tempos for this and he'd realize that everything was, was mid, because there's that famous review that because all the reviews were bad, pretty much that all the reviews were bad and there was the famous review that said, uh, ended with the line they sound knackered.
Speaker 2:Yeah, no, this was the melody maker and it started previews up line. They sound knackered. Yeah, no, this was that's the melody maker and it started previews up with. They sound labored and lazy, which is kind of a contradiction. How can you be laboring?
Speaker 1:no, no no, no, no, no, that's not what labored. It means labored means it's. It doesn't sound like it came naturally. It sounds like you're having to really fucking try out, yeah exactly.
Speaker 2:So how can you do that and be lazy? You can't you. That's implying some level of hard work.
Speaker 1:All right, fair enough, I've got your melody maker. I've got your review gone for some easy alliteration, which is lazy but the thing is that that the, the, the reviews were so bad for this. Yeah, brett's just celebrating in the back on your own. No one cares um what.
Speaker 2:What were the reviews like for be here now as a result well, that's what's so interesting is that they basically he says that, then he gallagher, says basically they fucked up on this album because it went absolutely massive and then they gave be here now 10 out of 10 because they were so scared of fucking getting wrong yeah, it was so fun and I remember I remember reading the be here now reviews and they were.
Speaker 1:They were ecstatic, they were over the moon with how great it was, and and then they were like, oh, hang on, um, which is? I mean, that's I love being here now, I listen to be here now all the way through and like it more than this album. But that's just me, um, uh, but that you know, I wouldn't, I would not argue necessarily that it's, it's, it's the better album anyway. Yes, the press, the press got it wrong. Quote unquote um, but I think morning glory is the thing here that that saves the whole thing from from from mid-tempo to to slow. Frankly, I think it's absolutely magnificent and it is unquestionably my favorite song on the album yeah, wow, brilliant spoiler cracker, okay so so the final you need to vote first in the final, then because you've just given it away.
Speaker 1:Oh yeah, all right well fine, the the final is because you've just given it away. Oh yeah, all right. Well fine, the final is Morning Glory.
Speaker 2:You cannot vote for the master plan.
Speaker 1:Versus Wonderwall. I would vote for. No, I probably wouldn't. I'd vote for Acquiesce if it were here. Acquiesce should be winning this competition, but it's not even on the album, so it can't. I am voting for Morning Glory because, as Brett wisely pointed out given away and didn't even notice I was doing it that it is my favorite song on the album really should stop doing that. Note to self um, so it's between you two. What's what's going to win this morning, gloria wonderwall?
Speaker 2:well, just, I mean, let's just talk about one wall for a bit more, because I mean the, the drums in it are amazing and there's this incredible bit on it which I thought about today. After that, first there's just a bar of silence. It's an amazing thing to do. And then ba-boom, ba-boom, the drums come back in. And the drums are amazing and he tried to time the word backbeat for the drums to enter the song. So the drums are all over this.
Speaker 2:It's a song that really Alan White coming into the band massively helps. He helps with the writing of this album, the recording of this album. It's Noel Gall massively helps. He helps with the writing of this album, the recording of this album. It's noel gallagher's master plan, skews the pun to to decide to bring him in to, to change things up, to shake the whole operation up because they needed to go to the next level. So alan white coming in and this song is is.
Speaker 2:This is a result of that and there's a great story actually about alan white, because he came to the. He just didn't know anyone. He turned up to the studio and they recorded the album in about three weeks, in their first week. They do um, I've got it here. They do in the first week, um, they do hello, champagne, supernova. Um, roll with it. Don't look back in anger and wonderful in the first week. It's absolutely insane, especially the way they were doing it.
Speaker 2:Um, alan white turns up and um, so the first week's going great, but obviously liam and bonehead are going down the pub a lot and noel gallagher's just staying up till three in the morning working on the album.
Speaker 2:And then he come one night he's hearing a ruckus and liam's invited everyone back from the pub to the studios and they're kind of messing the place up a bit. And noel gallagher walks in and finds um, a fat in his own words, a fat skinhead playing a guitar that was given to me by pete town's end. So he decides to kick everyone out. Liam absolutely loses it and thinks it's a complete moment of disrespect, so much so that noel gallagher locks himself in his own bedroom and no, and liam gallagher kicks the door down trying to find him and, and you know, attack him basically. So no, gallagher jumps out the window to see alan white in the car park and says come on, we've got to get out of here. And as they're driving out, liam gallagher is standing there like some kind of monster in a horror film. He's managed to work out where they're going and throws a dustbin at the window of the car they're driving. And Alan White turns to Noel Gallagher and says I thought I joined Oasis, but it's the Trogs.
Speaker 1:It's quite brilliant.
Speaker 2:And you know they have a week off recording. Noel leaves the band for the millionth time and then writes Cars no Shadow and comes back and they finish the album. But you know, to come into this fray that Alan White did is very hard. I mean, paul mcguigan left um left the band on on the tour, didn't he? In 95 in september and they got another guy in to replace him and he couldn't cope. He left the band.
Speaker 1:The replacement for gweeksy left the band because it's just too full on so which is always why watching the wonderwall video is always such a strange experience because there's this one face in it that you don't remember and don't recognise who was in the band, for basically just the duration of recording that video. It's very strange.
Speaker 2:It's extraordinary, isn't it? So being in Oasis is a full-time occupation and very hard. So I think you know kudos to Alan White there for what he brings to this album, what he brings to Sessions, and specifically very much this song Guy album, which brings to sessions, and specifically very much this song. Um, guy, what are you voting for? I'm gonna vote for wonderwall, just to make it more difficult for you because it is their biggest song, it's massive.
Speaker 2:Steve has voted for morning glory. I've voted for wonderwall and I love morning glory. What's the winner of mccartney goal um?
Speaker 3:yeah, I going to vote for Morning Glory. Oh, because, like you said, this album is stupendously good, in my opinion. This time of Noel Gallagher and Liam's vocal oh amazing, it's unrivaled, really it just went downhill slowly from here. But Wonderwall, I think it's a phenomenal song. Don't Look Back in. Anger is a phenomenal song. Champagne Supernova is a phenomenal song. Some might say it's got that many phenomenal songs, but I still listen to Morning Glory If I want to wake up in the morning and be like fuck it, let's go. That's the kind of record that you're just going to whack on. It just makes you feel like you can do anything. It's amazing and I know people who listen to this will probably be like what the fuck have these guys done? But I don't care, because it's fucking Morning Glory.
Speaker 1:No, no, no, I think it is also sort of a connoisseur's choice, I think.
Speaker 3:I think that will be a fairly respected answer, but there is truth in like you said about Aquias and other songs as well. The songs that boil down the essence of what Oasis are are the songs that I really come back to because they're something I could never beat.
Speaker 3:They give you this amazing gang mentality of getting out in a small town and just getting out of a shit scenario and getting on with your life and just being you, and whenever they capture that on record there's getting out of a shit scenario and getting on with your life and just just being you. Um, and whenever they capture that on record, there's a couple of songs that do it and it's just no other band can do it, and that's what I like from them. And, like you say, on this record there is really only one song that really does that 100 all the way around, and that is that is morning glory oh, they're extraordinary.
Speaker 2:Yeah, and it's been so nice spending I was listening to this week, to the album. I've listened to it for years and you know, obviously watching a lot of videos of their interviews they're both so funny. They're both very funny in a John Lennon type of way, so they don't have that softening character in the band like a Paul McCartney or a Ringo Starr. There's no one's 11 it, but they're brilliantly funny. They've. They have a huge amount of charm and and this the music is so charismatic and it's got a swagger to it. So it has been a lot of fun to spend time in their company this week. I've really enjoyed it. I've even developed, when walking the dog, a bit of a oasis swagger. You know, when you just listen you can't help yourself.
Speaker 1:You know, you just swagger off into the sunset.
Speaker 2:It's amazing and not many bands can do that.
Speaker 4:Walking to the sound of my favorite tune Tomorrow, never knows, but it doesn't know too soon. Need a little time to wake up. Need a little time to wake up, wake up. Need a little time to wake up. Need a little time to rest your mind. We'll see you next time. We need a little time to wake up. Wake up. Where what's this falling, running, crawling? Where? We need a little time to wake up, wake up.