OASIS: (WHAT’S THE STORY) MORNING GLORY?

Today we have a quintessential UK album from the nineties, it’s the Gallagher’s with my personal, fave album from their back catalogue.

Oasis, (What’s The Story) Morning Glory? on Creation Records

SIDE A:

Hello

Roll With It

Wonderwall

SIDE B:

Don’t Look Back in Anger

Hey Now!

 

Bonehead’s Bank Holiday

SIDE C:

Some Might Say

Cast No Shadow

She’s Electric

SIDE D:

Morning Glory

 

Champagne Supernova

(Gaps denote nameless gaps in the album).

“CRELP 189” -First UK pressing with “Damont” matrix.

This was an album I had wanted on vinyl for as long as I have been seriously collecting it. Its just a slice of pure nineties class. In a sea of shite that epitomises that era, of pop and Euro dance that was constantly on the radio in the middle of the decade, Oasis came along and made it all OK again.

It would have been a Wishlist Wednesday too if it hadn’t been that I accidentally ended up getting off the bus at Jackson’s Corner in Reading rather than where I’d meant to when I was grabbing a costume for my daughters dance performance.

I love Oxfam in Reading town centre and will, no doubt, be bringing you other little gems I’ve picked up in there soon. You’ll certainly have seen my humble brags of finds if you follow my Instagram (or Elder’s).

They even let you listen to your possible finds on the deck they have, like a proper old school record store. I was rather miffed recently as they shut for a few weeks to be redecorated. It made the place a bit brighter but it still has that air of record store grubbiness with hunched people looking through the racks and lots of flyers for local bands and radio shows.

Back in the nineties, I was, shamefully, not that much of a massive Oasis fan. I’d have rather heard them of course than the likes of Aqua or Outhere Brothers, of course, but I certainly went for the more pop centred variation of Brit pop and indie in Blur, Sleeper and Supergrass. My Dad was far more appreciative than me.

As I got older though, my appreciation grew. I think perhaps that my head was turned by the turbulence of Liam and Noel who seemed to be just as often in the press for their spats and naughty behavior as for their music. To be fair, they just seemed like a right pair of prats to me, and they had the most bushy of eyebrows. As Mancunians went, I was far too interested in Robbie than the Gallagher brothers.

In fact, it was when Robbie seemed to give them the boyband nod of approval by going on a “mad one” at Glastonbury when he ditched/was sacked from Take That that made me reconsider (see, listening to crappy boy bands can sometimes lead you to better things).

Ever since, I think of 95 and I think of this album.

Back to Oxfam, and there it was, on the show off shelf behind the till, and I thought sure it would be priced accordingly- after all, you can get this reissued in HMV now for around £25, and, with it’s original price sticker of £2.95 on the front, I felt that it would be priced up further than the re-issue (and the original price).

However, my luck was in and I bagged it for £11.99.

It was in good condition although a little dusty and duly we gave it a spin.

I know this album off by heart, including lyrics. Elder knows it too. So, when side b finished on a track neither of us recognised, we both looked up at the same time and said “this isn’t on the album usually, is it?”

The track is Bonehead’s Bank Holiday and no, it was never on other copies, just the first press. You can also tell a first press as it has “Damont” in the run out/matrix to the side of the label.

It turns out there weren’t that many copies around, it was only released in small number before it went mega and Creation had to send out more to meet demand. Another reason too was that by ’95, most people had switched format to CD, so vinyl was getting scarcer (which makes finding originals from the time harder and more costly than someone who, like Elder, collects stuff from the 60s, 70s or 80s).

Bonehead’s Bank Holiday isn’t the best track for me, it’s a bit of a b side for sure, but its always nice to hear a new track on an old album.

For me, Champagne Supernova is the stand out. In fact, I am so sure it was the standout that if Oasis had of released this and not the far less impressive Roll With It against Blur’s Country House in the well known battle for number one, they would have won hands down.

It is a beautiful, atmospheric, glass of something cold on the side, sun blazing type of tune which makes me get the warm and fuzzies. Its Oasis at their thoughtful, less sneering best and I love it. That it closes the album is perfect, as it’s just the right full stop for an album that mixes it up so well.

Whether you have the special one or the new, go stick it on when the sun’s out and stick the barbecue on. You wont be disappointed.

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Wishlist Wednesday: The Offspring, Americana

Hello there and sorry for being MIA. Life gets rather in the way sometimes (that and Twitter users threatening you with bodily injury for having an opposing view) but I’m back and hoping I get round to restarting the Vinyl project.

Today is Wednesday and that means its time to give you a view into my Wishlist of albums- sublime and ridiculous- which I would love to add to my overstuffed shelves but haven’t for whatever reason.

americana

The album currently annoying me by not being in my collection (well, I have it on CD, but that doesn’t count as its rather scratched from over use) is Americana by The Offspring.

Now, some may think that The Offspring were the worst side of the 90s grunge era, the dying strains of it and partly responsible for the rubbish which came after the likes of Nirvana, Red Hot Chili Peppers and Pearl Jam had either lost too many members or gone awol.

However, they came out just as I was at 6th form, when I partly didn’t know any better just yet of non pop punk crap and so found them rather good, and when I was just starting to explore the fake lip piercing and daft Woolies kids department Barbie vests. I could just as easily listen to The Offspring as All Saints- and did, frequently- as they were less scary than the likes of Korn and Nine Inch Nails.

I bought the album purely on the basis of Pretty Fly for a White Guy, arguably their most well known hit in the UK. Pretty Fly spoke to me not just in a “this is a funny, summer  tune which kind of allows me to nod along with my goth friends” and partly as I could look around my local town center and see chav approximations of the guy the song is about.

However, the album does take some dark musical turns, none more so than The Kids Aren’t Alright.

That song really resonated and was constantly on my playlists, purely down to my being able to relate to it. It was at the time when a friend from school who was seen as a bright star of the future in the art world had sadly committed suicide, and the area I was born in was more and more being held up as the poster town of Broken Britain. A once thriving, vibrant area turned into a pit of teen pregnancy, high unemployment, and youth who had widely given up.

That’s why my poor CD copy has seen much action in very badly put together car stereos and scratched via being chucked across a common room by others.

Its not in my collection as, yet again, its the curse of the nineties when CD and tape were so much more available.

If I want to get the album, not only do I have to either face import tax from the states, or wait for it to possibly turn up as a proper copy from Japan, paying £200 for the privilege. Ouch.

So, The Offspring go into the Wishlist pile, for now.