This week, I’ve been listening to Oasis’s second album “(What’s the Story) Morning Glory?” from 1995. I graduated from high school in Ohio while Oasis were in the studio recording these tracks. The CD hit records stores only four months later, in October. In the United States, we were almost completely unaware of Oasis, having missed their first album. Some of us may’ve caught the video for “Morning Glory” on late night MTV that winter. And then the single “Wonderwall” was released. By the spring of 1996, “Wonderwall” seemed to be everywhere. Soon after, we also fell in love with “Champagne Supernova.” I bought the CD by the end of April, and these songs were a major part of my 1996 soundtrack.
All of this tremendous music was hitting our ears, along with stories of the sibling band members, Noel and Liam Gallagher. There were stories of rock n’ roll drug use, fighting between brothers, and public cocky braggadocio. The press made a big deal out of their claims they were going to be bigger than The Beatles, which seems a bit of a turn on Lennon’s claim about the Beatles vs. Jesus. Noel was full of great lines for the press like, “We’re not arrogant, we just believe we’re the best band in the world.” He also pointed out that if you say something enough times, a lot of people are going to start believing it.
The third track “Wonderwall,” proved to be Oasis’s biggest hit and most lasting song. They obviously knew they had something with it, as the first track “Hello” starts with a tease of the “Wonderwall” riff. Originally the song was named “Wishing Well,” but was changed to a reference to George Harrison’s first song album “Wonderwall Music“. This song received a lot of play in 1996. In most cases, this would burn me out on a song, but “Wonderwall” is just tremendously good. The feeling comes across as hopeful in contrast to the slower tempo and minor key.
The verses follow a i-III-VIIsus4-IVsus4 chord progression. The highest two notes on the acoustic rhythm guitar remain the same throughout. The rest of the guitar strings are playing a more simple i-III-VII-iv progression, but those suspended fourths (and the raising of the minor iv to a major IV) happen by virtue of those high strings. This plus the strumming pattern (not too unlike “Smells Like Teen Spirit” and Radiohead’s “Just“) make the rhythm guitar immediately distinctive. And I’ve always loved how the drums come in half a measure after the second verse starts. That’s brilliant, and derived from the style of Ringo Starr.
The obtuse lyrics relay the feeling of things going badly, but having a relationship with somebody who could turn things around. The verses consist of four lines followed by a two line refrain. The first four follow a ABCB rhyme scheme, and sometimes the second line rhymes with the final line of the refrain. Every verse ends with “I don’t believe that anybody feels the way I do about you now.” This refrain expresses directly and beautifully something that many of us have felt at one time or another. Surely, accomplishing that is one of the keys of great songwriting. If you write a great line like that and it holds up to repetition, why not make it a refrain?
Today is gonna be the day
That they’re gonna throw it back to you
By now you should’ve somehow
Realized what you gotta do
I don’t believe that anybody
Feels the way I do about you now
Some Might Say
“Some Might Say” kicks off the second half of the album with some T-Rex inspired overdriven guitar. Oasis slam this electric Bolan riff into a wall of bright 90s guitar rock. Tony McCarroll’s drums stomp and smash, with cymbals crashing on the second and fourth beat throughout the chorus and much of the song. Bass guitar rolls along supporting the bottom end without competing with the guitars. Layers of distorted guitar creating a harmonic rich rock haze while the echo drenched vocals deliver the anthemic melody. There’s no denying the Beatles influence, in fact Noel Gallagher constantly did the opposite, perhaps overstating it, but with all the 90s noise here, the melody is rather Paul McCartney.
“Champagne Supernova” stands as one of the greatest album closers of all time. It starts with water sound effects, joined by long notes played on a melodica by guitarist Paul “Bonehead” Arthurs. Single notes played on guitar ring out like bells. An acoustic guitar gently strums an Asus chords with a descending bass note: A-G-F#-E. Another epic anthem, “Champagne Supernova” has an overall wistful feel fought by hopeful rises for the chorus. It’s a disconnected sort of sad longing, a desire for something more without really caring so much.
Each verse consists of two sets of three lines: a couplet followed by a single line refrain. So we end up with a rhyme scheme of AAB CCB. With the one exception, the refrain is always the question, “Where were you while we were getting high?” Its not clear who is better off. Is the speaker missing the absent other, or are they wondering what better thing they could be doing? Because, this hanging out getting high with the promise of being caught beneath landslides doesn’t seem like a good time.
How many special people change?
How many lives are living strange?
Where were you while we were getting high?
Slowly walking down the hall
Faster than a cannonball
Where were you while we were getting high?
I would personally consider this the best song on the album, with “Wonderwall” being a close second. It takes the listener on a journey, with rising chorus, soaring psychedelic rock solos, swirling reverb, dancing drums. The ambivalent emotion comes across perfectly, some could hear desperation, sadness, longing, triumph, listlessness, hope, aspiration. A wide range. Noel Gallagher is a master of writing well-formed ambiguous obtuse lyrics that present first with style and later develop meaning through absorption. He creates that which is relatable through allusion and illusion.