Oasis and their second album released in 1995, the second most selled album in the history of UK. It is also an album that you “Must Hear Before you Die”. When this album was released to the market, there was a “Britpop Battle” between Blur and Oasis. About the front of the album, there is a myth that it was inspired by the front of the Abbey Road album by The Beatles, the front of the album was shot on Berwick Street in London and there you can see Sean Rowley, Brian Cannon and Owen Morris. Wonderwall, the anthem of this group, what can I say about wonderwall that has not already been said? This song reached the number 2 in the UK Charts and was written by Noel Gallagher for his girlfriend. It is curious that Green Day took this rhythm and accords for his song “Boulevard of Broken Dreams”. At the end of the 90s the song was voted as the best song of all the time. Don’t Look Back in Anger, another anthem from the group, it can change your mood instantly into a sad or melancholic state. This song was released as the fourth and last single of the album and is the first song when Noel sings. In an interview Liam Gallagher said that he was the one who had the idea of the “so Sally can wait“. Noel confirmed this in the bonus DVD entitled “Clock the Box”, created with the “Stop the Clocks” retrospective album. Noel admits: “I was doing it in the sound check and the so Sally bit, I Was not singing that … and he [Liam] says: Are you singing so Sally can wait? And I said No, and he said: Well You Should do. Some might Say feels a lot with some additional rage than the average, this could be because was the last Oasis track to feature original drummer Tony McCarroll, who was asked to leave the band before the main recording sessions for (What’s the Story) Morning Glory? When tensions arose between McCarroll and the Gallagher brothers. Champagne Supernova, the last song where you can hear the waves of the ocean at the beginning joined with a very smooth guitar riff and voice from the vocalist. The song was released in the U.S. as a radio single and enjoyed great success there, becoming the band’s second No. 1 single on the Modern Rock Tracks chart. It also peaked at No. 20 on the Billboard Hot 100 Airplay, becoming the band’s third top 40 single on that chart. In an interview Noel said: “Some of the lyrics were written when I was out of it. There’s the words: ‘Someday you will find me/ Caught beneath a landslide/ ln a Champagne Supernova in the sky’. That’s probably as psychedelic as I’ll ever get. It means different things when I’m in different moods. When I’m in a bad mood being caught beneath a landslide is like being suffocated. The song is a bit of an epic. It’s about when you’re young and you see people in groups and you think about what they did for you and they did nothing. As a kid, you always believed the Sex Pistols were going to conquer the world and kill everybody in the process. Bands like The Clash just petered out. Punk rock was supposed to be the revolution but what did it do? Fuck all. The Manchester thing was going to be the greatest movement on earth but it was fuck all. When we started we decided we weren’t going to do anything for anybody, we just thought we’d leave a bunch of great songs. But some of the words are about nothing. One is about Bracket The Butler who used to be on Camberwick Green, or Chipley or Trumpton or something. He used to take about 20 minutes to go down the hall. And then I couldn’t think of anything that rhymed with ‘hall’ apart from ‘cannonball’. so I wrote ‘Slowly walking down the hall/ Faster than a cannonball’ and people were like, ‘Wow, fuck , man’. There’s also the line ‘Where were you while we were getting high?’ because that’s what we always say to each other. But the number of people who’ve started clubs called Champagne Supernova is fucking unbelievable. And the album isn’t even released yet”. This song closes a fucking great album! Almost all the songs in there are incredible! Definitively, Oasis won the Britpop Battle with this album, not only on sells but also in influence.
Disc 1: Original LP (Creation Records CRE CD 189 (U.K.)/Epic EK 67351 (U.S.), 1995) includes: Hello, Roll with It, Wonderwall, Don’t Look Back in Anger, Hey Now! (untitled), Some Might Say, Cast No Shadow, She’s Electric, Morning Glory, (untitled), Champagne Supernova.
Disc 2: B-sides. Talk Tonight, Acquiesce, Headshrinker, It’s Better People, Rockin’ Chair, Step Out, Underneath the Sky, Cum On Feel the Noize, Round Are Way, The Swamp Song, The Masterplan, Bonehead’s Bank Holiday, Champagne Supernova (Lynch Mob Beats Mix ’95), You’ve Got to Hide Your Love Away. Tracks 1-3 from “Some Might Say” CD single – Creation CRESCD 204 (U.K.), 1994. Tracks 4-5 from “Roll with It” 12″ single – Creation CRE 212T (U.K.), 1994. Tracks 6-8 from “Don’t Look Back in Anger” CD single – Creation CRESCD 221 (U.K.), 1996. Tracks 9-11 from “Wonderwall” CD single – Creation CRESCD 215 (U.K.), 1995. Track 12 from LP version – CRE LP 189 (U.K.), 1995. Track 13 from promo 12″ single – Creation CTP 221X (U.K.), 1995. Track 14 from “Some Might Say” CD single – Epic ESCA 6251 (JP), 1995.
Disc 3: Bonus material (previously unreleased except where noted). Acquiesce (Live @ Earls Court, London – 11/5/1995). Some Might Say (Demo) (from “Some Might Say” CD single – Epic ESCA 6251 (JP), 1995). Some Might Say (Live @ Roskilde Festival – 6/30/1995). She’s Electric (Demo). Talk Tonight (Live @ Bath Pavilion – 6/22/1995). Rockin’ Chair (Demo). Hello (Live @ Roskilde Festival – 6/30/1995). Roll with It (Live @ Roskilde Festival – 6/30/1995). Morning Glory (Live @ Roskilde Festival – 6/30/1995). Hey Now (Demo). Bonehead’s Bank Holiday (Demo). Round Are Way (Live on MTV Unplugged – 8/23/1996). Cast No Shadow (Live @ Maine Road, Manchester – 4/27 or 4/28/1996). The Masterplan (Live @ Knebworth Park – 8/10 or 8/11/1996).
Three-disc edition features the album with a bonus disc of B-sides and another disc of 14 unreleased live tracks and demos. If Definitely Maybe was an unintentional concept album about wanting to be a rock & roll star, (What’s the Story) Morning Glory? is what happens after the dreams come true. Oasis turns in a relatively introspective second record, filled with big, gorgeous ballads instead of ripping rockers. Unlike Definitely Maybe, the production on Morning Glory is varied enough to handle the range in emotions; instead of drowning everything with amplifiers turned up to 12, there are strings, keyboards, and harmonicas. This expanded production helps give Noel Gallagher’s sweeping melodies an emotional resonance that he occasionally can’t convey lyrically. However, that is far from a fatal flaw; Gallagher’s lyrics work best in fragments, where the images catch in your mind and grow, thanks to the music. Gallagher may be guilty of some borrowing, or even plagiarism, but he uses the familiar riffs as building blocks. This is where his genius lies: He’s a thief and doesn’t have many original thoughts, but as a pop/rock melodicist he’s pretty much without peer. Likewise, as musicians, Oasis are hardly innovators, yet they have a majestic grandeur in their sound that makes ballads like “Wonderwall” or rockers like “Some Might Say” positively transcendent. Alan White does add authority to the rhythm section, but the most noticeable change is in Liam Gallagher. His voice sneered throughout Definitely Maybe, but on Morning Glory his singing has become more textured and skillful. He gives the lyric in the raging title track a hint of regret, is sympathetic on “Wonderwall,” defiant on “Some Might Say,” and humorous on “She’s Electric,” a bawdy rewrite of “Digsy’s Diner.” It might not have the immediate impact of Definitely Maybe, but Morning Glory is just as exciting and compulsively listenable.