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Don’t Look Back With Candour – How Oasis Conquered The World
Although the technique of placing the opening scene of the film at the end (with the story told in the middle) is not very new, it works perfectly for the fascinating Oasis documentary ‘Supersonic’.
They would play in front of 250,000 people on two August nights, where they ended up taking the Knebworth Stage as the most popular band in the world in 1996, riding in a helicopter. The flight may have been just a short hop, but the journey that took the group’s key members, brothers Noel and Liam Gallagher, to their preeminent position in the rock world has been turbulent, chaotic and confusingly frenetic over the past two years. By August 1996 Oasis had reached a stratosphere of popularity that few achieve, and the fact that they got there at such an early stage in their career made them even more surprising.
But if their speed to reach the top of the mountain had been obscured (if Noel and Liam would forgive the analogy) keeping watch at such a level from there was always going to prove a herculean task. They were the most important band of the era and Knebworth was the highest they had ever reached – but this was to prove their glory, Noel Gallagher admits at the end of the ‘Supersonic’ documentary: “After coming from where we came two and a half years ago Knebworth felt it was the end rather than the beginning. . I remember where do we go from here?”
He came from a tough Manchester neighborhood and a childhood where his abusive father was regularly violent towards his wife and older children Paul and Noel. Liam, the youngest of the three, also experienced some rough treatment, and although mother Peggy eventually won legal custody of the children and mostly raised the family herself, Noel and Liam did not form a cohesive bond during their troubled early lives. The documentary makes it very clear; Noel’s description is withdrawn and Liam is antagonistic. Their feuding, often fraught (and evil) relationship centers on what Oasis’ backstory revolves around – and even in the group’s early home movies, before their mutual animosity became the subject of tabloid headlines, it was often treated with mockery and trivialisation. Fisticuffs are just a heartbeat away.
At this point it’s impossible not to start drawing comparisons to Kinks mainstage, Ray and Dave Davies. Not only does Noel take over Liam’s band with a band formed by Rene Dave, but the often fierce sibling rivalry drives other members of the group to lash out, with jealousy and provocation leading to outbreaks of physical violence. What Noel said about Liam could easily be attributed to Ray Dave: “He was always cooler than me, funnier, had a good haircut and the clothes looked good on him. But he was jealous of my singing talent.”
If Ray and Dave go down as the Grimm Brothers of rock, Noel and Liam are peaky blinders engaged in civil war.
Two years after Noel joined the group in 1991, he recalls, “Not a single paragraph was written about us.” But his developing talent as a songwriter and his dynamic live shows in which Liam excelled as a frontman and rock singer brought him to the attention of Creation Records head Alan McGee, who signed him to his label in May 1993. But if anything, the road gets rockier (and not entirely in the musical sense). They went on to produce a series of great singles – including ‘Supersonic’ – while their debut album, ‘Definitely Maybe’, exceeded all expectations in terms of both sales and critical acclaim. It would go on to become the fastest-selling debut album in UK music history but with the music quickly developed a (necessary) reputation for unruly behavior that led to deportation from Holland and a disastrous appearance at a whiskey-a-go-go club. Los Angeles where drug overdoses disrupt the show in such a way that different songs are played simultaneously, resulting in a heated exchange between Liam and Noel on stage, which leads to Noel leaving the tour and, for a short time, the band (he eventually found himself stranded in San Francisco and unable to return Motivated – This episode prompts Noel to write ‘Talk Tonight’, one of the many ballads he would write during this time).
What follows is less a follow-up album and more a nineties cultural phenomenon – (‘What’s the Story’) ‘Morning Glory’ (1995) is one of those rare records like ‘Tapestry’ or ‘Dark Side of the Moon’. The essential embodiment of their times. If much of ‘Morning Glory’ is exceptional, the stats are mind-boggling – 347,000 sold in its first week of release, 13 times platinum in Britain, 4 times in America and officially the fastest selling album of the decade. Even if you’re wary of equating huge sales with musical achievement – football teams, sitcom actors and puppets all have number one singles while The Clash and Neil Young don’t – there’s no doubt that Oasis have produced a very classy album, with at least three ‘ Wonderwall’, ‘Don’t Look In Anger’ and ‘Champagne Supernova’) are the songs of the era.
Lyrically strong but also melodic, it was a welcome antidote to the prevailing grunge rock trend and stands as the undisputed high point of the Britpop movement that originated in The Beatles and The Kinks, two bands that had a large influence on the structure of Oasis. Contemporary critics have viewed ‘Morning Glory’ a little less favorably, calling it derivative of Beatles-tinged material, and they may have a case, but only to a point – let’s face it, the Beatles themselves weren’t averse to borrowing an idea or two, The Byrds, once in a while. Inspired by Dylan and The Who.
At the end of the ‘Supersonic’ documentary, Noel Gallagher reflects on the moment Oasis took to the Knebworth stage: “Nothing in the future will be as big as Oasis – it’s unparalleled in the times we live in.” Before playing a note he announces to the crowd: “This is history – right here, right now.”
Today’s assessment is more relevant than it was then.
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