Oasis Biography

Oasis Albums




1994 Definitely Maybe
1995 (What's the Story?) Morning Glory
1997 Be Here Now
1998 The Masterplan
2000 Standing on the Shoulders of Giants
2000 Familiar to Millions
2002 Heathen Chemistry
2005 Don't Believe the Truth
2008 Dig Out Your Soul

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Oasis Band Bios

Rolling Stone

The Britpop band Oasis rose from obscurity to become the most popular U.K.-based rock band of the mid-1990s.
Formed in Manchester in 1991 as the Rain by Liam Gallagher (vocals), Paul "Bonehead" Arthurs (guitar), Paul "Guigs" McGuigan (bass) and Tony McCaroll (drums), the group soon fell under the leadership of Liam's older brother Noel Gallagher (vocals/songwriting), a former roadie for the Inspiral Carpets, who renamed the band Oasis.
After extensive private rehearsals, Oasis recorded a demo, which Noel Gallagher passed on to contacts at Creation Records, who quickly signed the group. Oasis' first few U.K. singles, released in spring/summer 1994, were increasingly successful; by the time the group's debut album, Definitely Maybe, came out in the fall of 1994, it debuted at No. 1 in Britain, selling millions of copies. In the U.S. Definitely Maybe went gold over the next year, reaching the charts on the strength of MTV singles such as "Live Forever" and "Supersonic."
Though Oasis was instantly popular after only one album, tensions within the band threatened to prematurely end its career -- the Gallagher brothers fought openly, the group launched press attacks against fellow Britpop stars Blur, and drummer Tony McCaroll suddenly quit Oasis in early 1995 after getting into a bar brawl with Liam Gallagher. (He was later replaced by Alan White.)
Despite the turmoil, Oasis pulled through their difficulties successfully, returning in late 1995 with (What's the Story) Morning Glory?, which debuted at No. 1 in the U.K. and became the second-best selling album in British history. When Oasis performed at Knebworth in the summer of 1996, it was reportedly the biggest outdoor event ever held in Britain. Morning Glory? also reached the U.S. Top 10 thanks to alternative airplay of its single "Wonderwall."
Oasis' third studio album, Be Here Now, came out in 1997, with their fourth effort for Epic, The Masterplan, following in '98. The group produced two albums in 2000: Standing On The Shoulders Of Giants and the double -- live set Familiar To Millions.

MTV

From Manchester, England, Oasis became overnight sensations in 1994 on the back of sublime singles and exponentially increasing press interest. Widely regarded in the press as natural successors to the Happy Mondays, Oasis proffered a similar working-class, roughneck chic. The band's creative axis is the Gallagher brothers, Liam John (b. 21 September 1972, Longsight, Cheshire, England; vocals) and Noel Thomas (b. 29 May 1967, Longsight, Cheshire, England; guitar/vocals). They were brought up by Irish Roman Catholic parents in the south Manchester suburb of Burnage. While his younger brother was still in school, Noel, whose C&W DJ father had purchased a guitar for him at age 11, discovered punk, and like many of his peers happily engaged in truancy, burglary and glue-sniffing. After six months' probation for robbing a corner shop he began to take the instrument seriously at the age of 13, later finding his role model in Johnny Marr of the Smiths. Liam was not weaned on music until 1989 when his elder brother took him to see the Inspiral Carpets. Afterwards, Noel befriended that band's Clint Boon, subsequently becoming a guitar technician and travelling the world with them. When he telephoned home in 1991 he was informed by his mother that Liam had joined a band.Paul "Bonehead" Arthurs (b. 23 June 1965, Manchester, England; guitar), Tony McCarroll (drums) and Paul "Guigsy" McGuigan (b. 9 May 1971, Manchester, England) had been playing together as Rain (not the Liverpool band of similar moniker) before meeting with Liam, who became their singer, as they changed their name to Oasis. When Noel returned to watch them play at Manchester's Boardwalk in 1992, he recognized their promise, but insisted that they install him as lead guitarist and only perform his songs if he were to help them. Noel continued as roadie to the Inspiral Carpets to help purchase equipment, as the band set about establishing a local reputation. The incident that led to them being signed to Creation Records quickly passed into rock mythology. In May 1993, they drove to Glasgow with fellow denizens of the Boardwalk rehearsal studios, Sister Lovers, to support 18 Wheeler at King Tut's Wah Wah Club. Strong-arming their way onto the bill, they played five songs early in the evening, but these were enough to hypnotize Creation boss Alan McGee who offered them a contract there and then.

However, they did not sign until several months later, during which time a copy of the band's demo had been passed to Johnny Marr, who became an early convert to the cause and put the band in touch with Electronic's management company, Ignition. With news spreading of the band's rise it seemed likely that they would join any number of labels apart from Creation, with U2's Mother label rumoured to guarantee double any other offer. However, loyalty to the kindred spirits at Creation won through by October 1993, and two months later the label issued the band's "debut", a one-sided 12-inch promo of "Columbia" taken straight from the original demo. BBC Radio 1 immediately play listed it (an almost unheralded event for such a "non-release"). The following year began with a torrent of press, much of it focusing on the band's errant behaviour. Punch-ups and the ingestion of large quantities of drink and drugs led to gig cancellations, while frequent, often violent, bickering between the Gallagher brothers lent the band a sense of danger and mischief.

"Supersonic" reached the UK Top 40 in May. "Shakermaker", owing an obvious debt to the New Seekers' "I'd Like To Teach The World To Sing (In Perfect Harmony)", duly made number 11 two months later. High-profile dates at the Glastonbury Festival and New York's New Music Seminar ensued, along with more stories of on-the-road indulgence. The Beatles-redolent "Live Forever', with a sleeve featuring a photo of the house where John Lennon grew up, reached the Top 10 in October, all of which ensured that the expectation for a debut album was now phenomenal. After scrapping the original tapes recorded at Monmouth's Monnow Studios, the songs had been completed with Mark Coyle and Anjali Dutt, with subsequent mixing by Electronic producer Owen Morris, at a total cost of £75,000. In September 1994, Definitely Maybe entered the UK charts at number 1, and, backed by a live version of the Beatles" "I Am The Walrus", "Cigarettes And Alcohol", a stage favourite, became the band's biggest UK singles success to date, when it reached number 7 in October. In December, they released the non-album "Whatever" (not quite the Christmas number 1), a lush pop song with full orchestration that sounded astonishingly accomplished for a band whose recording career stretched over only eight months.

Their assault on America began in January 1995, and with a few gigs and word-of-mouth reports, they were soon hovering around the US Top 50. In mid-1995, it was announced that drummer McCarroll had amicably left the band and Alan White (b. 26 May 1972, London, England) sessioned on their second album. The eagerly anticipated (What's The Story) Morning Glory? was a rich and assured record. Gallagher's Beatlesque melodies were spectacular, from the acoustic simplicity of "Wonderwall" to the raucous and dense harmonies of "Don't Look Back In Anger" and "Morning Glory". Further gems included "Roll With It" and "Some Might Say", the latter having already provided the band with their first UK chart-topping single during the summer. "Roll With It" and "Wonderwall" were also UK number 2 hit singles, while "Don't Look Back In Anger" became their second chart-topper the following March. Nobody could dispute that (What's The Story) Morning Glory? was one of the finest albums of the pop era, and it went on to become one of the bestselling albums of the 90s by a UK act. Oasis were suddenly receiving the media attention that was previously bestowed on Liverpool's fab four. With the massive attention and success in the charts the volatile relationship of the two brothers came under public scrutiny.
Their sex lives, drug habits and fist fights were all examined and dissected, their uncompromising behaviour and laddish attitudes increasingly both entertaining and irritating. Rumours of the band splitting came to a head on their ninth attempt to break America in September 1996. Following one of their many fights, Noel returned to the UK with the band in tow the following day. The rest of the US tour was cancelled and the press statement that followed reported that although touring was unlikely the band would stay together. Nevertheless, awards continued to flow throughout a remarkable year, highlighting the fact that few modern rock bands have created such a body of high-quality work in such a short time, and no other (except the Beatles) has become a such a massive media success. The band's greatly anticipated third album was introduced to the world by the UK chart-topping single, "D'You Know What I Mean?". The title of Be Here Now was inspired by John Lennon's response to a question regarding the transient state of rock 'n' roll. This philosophy was applied to the album: not since the release of Sgt. Pepper's Lonely Hearts Club Band in 1967 had there been such anticipation for a new record. Queues formed outside record shops on the day of release as 800,000 copies were sold in the UK within 24 hours. The music was much denser than in the past, with guitars overlaid on many tracks and Liam's vocals turned up to 11. Although still relying on the Beatles for inspiration, there were some outstanding songs. "Stand By Me" will stand as one of Noel Gallagher's finest songs and the epic "Hey Jude"-styled "All Around The World" quickly became a live encore favourite.

There were further problems for the Gallagher brothers, however, when Liam was arrested in Australia for allegedly assaulting a fan, although the charges were later dropped. A compilation of the band's most popular b-sides, including live favourites "Acquiesce" and "Stay Young", was released in 1998. The following March, former drummer McCarroll, who had been pursuing a claim for loss of earnings and royalties, settled with the band out of court for an estimated £550,000. A turbulent year came to an end when both Arthurs and McGuigan left the band in August. Arthurs replacement was Gem Archer (ex-Heavy Stereo) while McGuigan's place was taken by ex-Ride and Hurricane #1 leader Andy Bell. The band dealt a seemingly fatal body blow to the ailing Creation label at the start of 2000 by announcing that they would release their fourth album, Standing On The Shoulder Of Giants, through their own Big Brother label. Though it was premiered by February's chart-topping single, "Go Let It Out", the album failed to convince the growing number of doubters who questioned the band's ability to ever reproduce the magic of their mid-90s heyday. Liam even contributed one track, the maudlin "Little James".

The brothers continued to grab the headlines following the album's release, although most of the news concerned their marital problems and Noel's on-off-on decision to play with the band. The latter also founded his own record label, Sour Mash. Oasis returned to the top of the UK charts in April 2002 with their best single for several years, the confusingly titled "The Hindu Times", complete with George Harrison sounding indian guitars. The attendant Heathen Chemistry featured songwriting contributions from Liam, Bell and Archer and demonstated a greater democracy in the band, although Noel still had the upper hand as main songwriter with two gems, "Little By Little" and "Stop Crying Your Heart Out'. Long may they continue to plunder the Beatles" riffs and chords. Oasis have matured into one of the UK's most exciting bands, and are currently performing with their popularity undiminished.

Much Music Canada

Eleven years after their first gig, eight years after their first album, five years after the mid-nineties madness started to subside, there's no mystery why millions still love Oasis: honesty. The men are honest, the music is honest. We trust Oasis. That's why, one Saturday morning this winter, when 120,000 tickets went on sale for the band's two summer shows at Finsbury Park, Noel Gallagher was able to take a call from his manager by lunchtime to say that all the tickets had gone. "That's without them hearing any of the new stuff," says Noel, shaking his head in admiration. "For all the fans knew, we could have made a reggae album."
They haven't made a reggae album. What they've made is Heathen Chemistry: explosive, yes; experimental, no. It's another, great, Oasis album; their fifth. "We've moved on a wee bit," says Noel. "But to re-invent ourselves completely we'd have to be contrived and we're not capable of that. I couldn't take on an alter ego and I know Liam couldn't because I'd be stood behind him going 'you look like a twat'. I don't think I'd look good in leather trousers anyway. We do Oasis music and that's it." Honesty again. Similarly, there's nothing too deep and meaningful about the album's title. It came from a T-shirt Noel bought in Ibiza.
"I love this record," says Noel. "But I would say that wouldn't I?" With any other pop idol, of course you'd share his cynicism. Coming from a man so ruthlessly self-critical as to virtually disown the band's third album, a man who is scathingly dismissive of the marketing hype that threatens to take over his industry, you pay attention when he says: "It's a better collection of songs than the last two or three. It boils down to that: the songs are better. It does get more difficult. You can't just write Raspberry Fields Forever."
"I don't know if I'm a better songwriter," he says. "But there is something in the air around the band that breeds better songs." He is reluctant to analyse it further, but admits that Liam contributing three songs and Gem Archer and Andy Bell one each might well have forced him to raise his game. "Maybe it's a competitive thing, I don't know. Keith Richards said "you don't go after the songs, the songs find you."
"The best songs," he says, "pour out of you. You sit there with a guitar and a piece of paper and a pen, get the first line right, the rest of it comes immediately." That happened to him several times last summer. "I was living in a hotel near Buckingham Palace. Warm day, fuck all on the telly, in love with my girlfriend. I wrote She is Love in ten minutes. Live Forever was like that. Slide Away was like that. They're the songs that mean something to other people. You write it, put the kettle on, come back, sing it into a tape recorder, play it back and go: 'yeah, that's finished.' Fast forward six months and there's 60,000 people in a field singing it to you. What the fuck's that about? That's magic, as Paul Daniels once said."

Noel conjured up Stop Crying Your Heart Out in similar fashion. Buskers be advised: learn it quickly; this track will be the Wonderwall of its time. If She is Love is about Noel's new girlfriend, many will assume that Force of Nature is about his ex-wife (I certainly did). But they'd be wrong. "I'll have to answer this a million times," he says wearily. "I wrote it for a film with Jude Law and Jonny Lee Miller a year before I got divorced and I've got the video to prove it. There you go. I'm going to bring that video to all my interviews for this album." In any event, it's a cracking song.

It's no surprise that Noel still has what it takes - and now it turns out that his brother has too. "When I heard Born on a Different Cloud," says Noel, "I didn't think Liam had written it. I thought he was lying. But he always said, with everything he's been through, if he hasn't got it in him to write songs like that he'd be a waste of space. It was gonna come out one day." Now, it has. Liam's big brother glowed with "massive relief and pride."
If it sounds like they're getting on well, that's because they are. "I've grown to love that boy so much," says Noel. "He is real. People say he plays up to his image but he's always been like that: lippy, loudmouthed, funny. Now he understands that when you're working you can't go on acting like you're sixteen when you're thirty. As soon as he started writing songs, he stopped being a pisshead." Thanks to that change, and - Noel is keen to stress - the calming influence and expert musicianship of Gem and Andy, the recording of Heathen Chemistry was sober and relaxed, unmarked by tantrums or walk-outs. The energy and attitude that have always been the band's strengths went into the music, not the myth-making: and it shows.

The Guardian

After three dreadful albums and much critical disdain, the Gallagher brothers still command a fanbase more loyal than Millwall's and maintain their place in a very select bracket of rock royalty. The reason, experts say, is called Liam

There is something oddly comforting about the rumour doing the rounds on the internet that relations between Liam and Noel Gallagher have plunged to such depths that the two have insisted their Glastonbury dressing room caravans be as far apart as possible.
Rock and pop may shift and alter, artists and whole genres may rise and fall with bewildering speed, the entire music industry may allegedly teeter on the brink of financial oblivion thanks to bad deals and illegal downloading, but one thing at least remains certain: there will always be some corner of a muddy field where Noel and "Our Kid" are locked in a bitter, inexplicable feud, ready to kick lumps out of each other at the slightest provocation. Oasis's sheer immutability has become a joke of which even the band's members are aware. Noel Gallagher is fond of saying both that Oasis will "go on and on and on", regardless of his fractious relationship with his brother, and that their forthcoming records will contain "the same old pub rock bollocks".

Nevertheless, they are a very different band from the Oasis that played Glastonbury a decade ago, in what turned out to be one of the pivotal shows of their career, and not just because the Gallagher brothers are the only members who have not quit or been fired over the intervening decade.

That Sunday afternoon Liam Gallagher strolled on stage with the cocksure swagger of an artist receiving an unprecedented level of blanket critical acclaim that was about to become an unprecedented level of blanket commercial success: "It's really rare that you put a band on that early and they fill the stage with such potential and arrogance," says festival organiser Emily Eavis, a teenager at the time. "You normally see shy indie bands, terrified because it's their first Glastonbury. Everyone was really taken by their how assured they were."

Ten years on "blanket critical acclaim" is not a phrase anyone could associate with Oasis. Since their mid-90s heyday they have released three new studio albums. Two, 1997's Be Here Now and 2000's Standing On the Shoulder Of Giants, were so flatly awful that Noel Gallagher felt compelled to apologise to fans, claiming drug addiction and intra-band ructions had contributed to their failure. The third, 2002's Heathen Chemistry, was even worse, but with nothing to blame for its shortcomings other than a lack of inspiration, Noel Gallagher brazened it out in the press. Virtually every one of Oasis's mid-90s achievements has been overshadowed. Other artists have sold more records, played bigger concerts, succeeded in countries where Oasis failed and even behaved more outrageously: the antics of current press darlings The Libertines, replete with heroin and crack addiction, prison sentences and security guards in the studio to keep warring band members apart, have made the Gallaghers' cocaine-fuelled fisticuffs seem rather quaint. As John Harris, author of definitive Britpop history The Last Party, notes no one in their right mind compares Oasis to the Beatles anymore. "It was a seductive idea, I thought that myself at the height of Britpop, but in the cold light of day it was an absolutely hysterical point of view, there was no excuse for it at all."

And yet Eavis believes the main reason this year's Glastonbury festival sold out so quickly is because word leaked out that Oasis were performing. Matt Allen, editor of the festival's daily newspaper, claims "there is a genuine excitement about Oasis playing this year. Their albums are greeted with muted enthusiasm, but they're very much seen as a band who, if they're in the mood, can get Glastonbury rocking on a Friday night." Despite the cool critical reception, Oasis records still sell in vast quantities: their last three albums all yielded number one singles.

Danny Eccleston of Mojo Magazine believes their ongoing success may be due to nostalgia for a period already being hymned as a halcyon age less than a decade later. "They were fortunate enough to define an era. We're meant to be sniffy about Britpop now, but at the time it was really exciting, there was a sense of the culture revolving around a relatively leftfield concept of rock and roll. Oasis were so central in that that I genuinely think their apogee was comparable to that of the Beatles and the Stones. There are an awful lot of people who came into loving music through liking Oasis and no amount of bad records will take that away."

Oasis's impact in the 1990s had two long-lasting effects. The first was fans who display an almost comical degree of loyalty. Deserted by the supermodels and fashionistas who packed the backstage area at their 1996 Knebworth shows, Oasis have been left with a fanbase that more closely resembles football supporters of tabloid myth than the traditionally fickle rock audience. They are predominantly male, occasionally given to violent outbursts and knuckleheaded anti-social behaviour (Edinburgh council complained about the amount of human excrement found around Murrayfield Stadium after an Oasis concert in 2000) and, despite the band's resolutely leftwing politics, dalliances with the far-right. At their July 2000 gig at Bolton Reebok Stadium, sections of the crowd chanted "no surrender to the IRA" and, more inscrutably, "Heil Liam", the latter slogan raising some intriguing questions about precisely what constitutes the Master Race in the eyes of your average Bolton fascist.

They are easy to mock - Harris describes the audience at a recent Oasis show as "70,000 people, all of whom looked like Grant Mitchell off EastEnders and believed only poofs don't like Oasis" - but they are also staggeringly faithful. Just as no self-respecting fan would desert their team if they were relegated, so Oasis's lacklustre musical output over the past eight years has had little effect on the band's popularity. Indeed, their fans' attitude towards Oasis occasionally looks less like standard rock star hero-worship than dogged Dunkirk spirit.

"It's a very passionate audience," agrees Allen. "When I went to see Oasis at Finsbury Park it was like going to see Millwall: bottles flying around, blokes in Hackett shirts and Burberry caps, a degree of testosterone-fuelled tension. If England get through the football it's made for a great Oasis show at Glastonbury because that whole sense of getting behind our boys is going to be right through the festival."

The second effect of their Britpop success was to fast-track Oasis into a very select bracket of rock royalty. They are the 90s' solitary contribution to a club largely comprised of 60s and 70s survivors - Paul McCartney and the Rolling Stones among them - who remain a vast concert draw, despite rather than because of, their ongoing recording career. "You go and see the Rolling Stones because you know they'll play Tumbling Dice and Brown Sugar - who cares about their new album?" says Harris. "That's where Oasis are now. I don't want to sound mean-spirited but I sincerely doubt whether their new album will be any great shakes. But it doesn't matter because their new album is just a glorified press release that says, 'we're going on tour to play all our great old songs'."

Eccleston agrees: "It's about the quality of emotional engagement with your audience. People turn up in their droves to see Bob Dylan every time he plays, unsure as to whether they're going to get a good gig or not. It's like Christmas. You have to meet up with your family and it might be a decent experience or it might be awful, but you have to go because it's your family."

And while Oasis may have stumbled musically in recent years, no artist has emerged to challenge their place in the public's affection. Robbie Williams may have played more nights at Knebworth, Radiohead may have sold more records, but somehow Oasis remain unique. That is at least partly down to the nature of their mid-90s fame, the brief, dizzying moment when everything from fashion to the incoming prime minister associated with them.

According to Harris, however, it has more to do with one man, who, if anything, seems even more unique in 2004 than at the height of his fame, and who was recently photographed walking around London, wearing on his head for reasons known only to himself a Paul Smith carrier bag with two eyeholes cut out of it: Liam Gallagher.

"The last time I saw them, Liam was pissed out of his mind," he says, "he'd been up for two days, he obviously wasn't talking to his brother and there was this magnificent moment at the end of the concert where he said to the crowd, 'I'm not going anywhere until you've all gone home'. It was great theatre." While the bands that followed in Oasis's wake are full of Noels, none of them boasts a Liam to give them a bit of flash, Harris says. "That's why no matter how washed out they become, no matter how awful their musical legacy is, on their day, Oasis can still be fantastic."

Life in short

Noel Gallagher

Born May 29 1967, Manchester

Education St Mark's High School, Didsbury, Manchester

Married Meg Matthews 1997, dissolved 2001, one daughter, Anais

Liam Gallagher

Born September 21 1972, Burnage

Education St Mark's, Didsbury

Family Married Patsy Kensit 1997, divorced 2000, one son, Lennon. Daughter, Molly, with singer Lisa Moorish. Son, Gene, with current partner, former All Saint Nicole Appleton

Albums Definitely Maybe (1994), (What's the Story) Morning Glory? (1995), Be Here Now (1997), Standing on the Shoulder of Giants (2000), Heathen Chemistry (2002)

Liam "If you're a rock star, be one."

Noel "Being me is best gig in the world


Collin Murray

When Noel scrawled tunes about nothing that meant the world and Liam buzzed off his head with a passion never rivalled by any rock 'n' roll singer in history.
Put simply, this is a glorious rebirth...

Noel is writing songs about queuing too long for a pint of milk and Liam is a whirlwind of inspiration and wondrous bullshit. Fans have been waiting for this moment for ten years...

Why? Because it's been ten years since Oasis made an album that truly changed the musical landscape. It's been ten years since they wrote an album of such spirit that you felt compelled to adopt a swagger as you walked through the streets of your council estate.

Don't Believe The Truth is that album. It's the Oasis that blew you away and an Oasis you've never met.

It's not about one particular song. It never has been. It's about an old attitude that somehow got lost amidst the tabloid hoo-ha and the mountains of cash, coupled with a complete reinvention of how and why Oasis exist.

For the first time in their history, they are functioning as a band. No longer does Noel feel the weight of the world on his shoulders, and Liam's writing tunes with the enthusiasm of a toddler who's just mastered walking. Gem is the rock on which the new Oasis is built while Andy Bell is an enigmatic influence, who makes Liam watch films starring David Essex. They call him Wing Commander Bell.

They are four individuals, who have pushed, pulled, laughed and fought inside the four walls of a studio, for what seemed like forever, to reach the light. And now they've arrived, it's positively blinding.

When they listen back to this record, a newborn confusion reigns. They're not sure who played what and when. All they know is that Zak Starkey played drums, although there is a rumour flying around concerning Liam, two spoons and a box of Cheerios.

Don't Believe The Truth runs to eleven tracks, and Noel has written five. That includes Let There Be Love; a defining moment in Oasis history. A song pulled back from over-production; one that sighs rather than shouts. 'Who kicked a hole in the sky so the heavens could cry over me?' It'll break your heart.

Mucky Fingers - which sounds like nothing Noel has ever written before - is his trip on the Velvet Underground, fuelled by Jack Daniels and an old, beat up organ bought on e-bay.

Then there's Lyla, who is apparently ''Sally's sister'', and The Importance Of Being Idle - a song so stark, so simple and so fundamentally Oasis, that it could have been a b-side in 1994. It's THAT good.

When you hear Part of the Queue, you realise that 'Noel Gallagher the songwriter' has regained some truth. He's once again tackling the little things, and leaving the meaning of life to somebody who has the time to work it out.

Three tunes are Liam's, although he claims to have written over a hundred.

What we do hear is the deafening ninety second Meaning of Soul which spits fifties rock 'n' roll blades at passers by, while Love Like A Bomb is a wistful daydream that he wrote with ''Julie fucking Christie'' in mind.

As for Guess God Thinks I'm Abel, Liam reckons he has a conversation with God one night in a boozer. God told him He was Abel. Simple as that.

Gem is his sounding board, who he drags into their studio at all hours to work on sparks of ideas that are currently flowing from him at a phenomenal rate. Andy describes Liam as ''...outrageously talented. He just invents chords. For every song on the album he probably has ten just as good''.

The opening track on Don't Believe The Truth is Andy Bell's Turn Up The Sun, with it's Midnight Cowboy intro that explodes into threatening, explosive rock 'n' roll. He also pops up with Keep the Dream Alive, a song inspired by a film called Stardust, starring David Essex. Noel won't watch it. The others won't shut up about it.

That leaves Gem's A Bell Will Ring and another layer on an album full of different sounds.

Noel sums up the all-new, harmonious Oasis...

''If somebody said to me, in twelve years you'll be in a band with your brother and two carrot munching geezers who don't like football I would have said fuck off, I'm not joining the Bee Gees.''

Don't Believe The Truth is trulythe long awaited new album from Oasis, a band who now operate with the type of unity and passion usually reserved for the A-Team, on the trail of a group of Mexican cattle rustlers. Thankfully, though, some things will never change




Sources : Q , MTV , Rolling Stone , Much Music and The Guardian

More information on the band can be found at WIKIPEDIA.

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