Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Insta - @everythingflowsglasgow
Trust me #80 Sweet and Tender Romance by The McKinleys
I always love when my sister Carla phones me up. I especially love it when she phones and I barely get a word in as she sets off telling me about her latest adventures, her creative energy burning bright, passion shining like the brightest stars.
During the filming of her documentary Since Yesterday - The Untold Story of Scottish Girl Bands, Carla travelled to Dunbar to meet Jeanette McKinley to learn all about her time in Scotland's first girl band - The McKinley's!
Carla told me about what she had learned; the glamour of the 60's - Jimmy Page playing on Sweet and Tender Romance, supporting The Stones at Wembley Arena, playing with The Beatles, being on Ready, Steady, Go!, interest from Brian Epstein ... and then the tough stuff; no money, sharing a bed and a bag of chips on tour, being dropped ...
Since Yesterday reflects on The McKinleys and loads of other Scottish girl bands and redefines what success is. Whether that is simply getting on stage as teenage girls in front of hostile predominantly male crowds, recording Peel sessions or being in a band with your sister or your friends.
Carla raved about Sweet and Tender Romance and no wonder. This is 2 minutes and 9 seconds of 60's power pop. A pounding piano motif ushers in a cool groove before Jeanette and her sister Sheila create a Spector-esque wall of sound through the force of their harmonies.
Jimmy Page comes in at 1 minute 13 seconds and lets rip on lead guitar. Page only plays for 15 seconds but it is electrifying. The sisters come back in for one final chorus, repeating the closing line several times and that's it. Glorious!
Like a leaf on the breeze
I fly high on the sky
Then I fall on my knees
When you whisper goodbye
Sweet and tender romance
Last night I had the absolute privilege of seeing and hearing Jeanette sing the song at Mono, following the Glasgow premiere of the documentary. Backed by the Hen Hoose band, Jeanette (in her 80's) still has it. We also had the delight of seeing Louise Rutkowski from Sunset Gun singing Be Thankful for What You Got and Rose McDowall bring the house down with Since Yesterday. All three were tremendous - once a pop star, always a pop star. We were then treated to the first performance in 40-years by Sophisticated Boom Boom who were beautifully raw and cool.
Anyway, back to Sweet and Tender Romance. Written by Bill Bates, Ken Lewis and John Carter, the song was originally released by Bick Ford in April 1963, PJ Proby was among another few artists to record and release the song in a little over a year before The McKinley's version. Many years later The Bangles would record the song.
I love the pace and raw power of the song. There is teenage innocence portrayed through the lyrics, someone is completely head over heels in love. Jeanette and Sheila's voices are so natural together, I just fell for this song hook, line and sinker and hope you do too.
Sweet and Tender Romance is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE
Check below for all previous blogs in my Trust Me series.
Those of you who visit my blog regularly will likely know that I have a younger sister,Carla, who I am immensely proud of. Carla has a fierce creative energy that burns incredibly bright. Over the last 7 or so years, quite a lot of that energy has been invested in the making of a documentary entitled SinceYesterday - The Untold Story of Scottish Girl Bands alongside her friend Blair.
While filming a music video together, an off-the-cuff remark along the lines of 'someone should do a film about Scottish girl bands' resulted in the duo beginning to track down and interview members of bands from the 60's up to present day.
Their time, energy, resilience, empathy, hard work and patience was rewarded earlier this week on Wednesday 21st August when their documentary premiered as the closing film at the Edinburgh International Film Festival.
Photo by Euan Robertson
What began as a hobby quickly became quite serious, as Carla balanced being a music obsessive with top notch detective skills. Carla would phone me up enthralled to tell me about her day with Jeanette McKinley from The McKinleys who released Sweet and Tender Romance on Parlaphone in 1964. A young Jimmy Page played guitar with them, they supported The Beatles and played on Ready Steady Go! and with The Stones at Wembley Arena.
Then Carla would tell me about The Ettes who were super DIY punk, Lung Leg who burst out of grunge and riot grrl, Sophisticated Boom Boom, His Latest Flame, The Hedrons and the wonderful tale of getting in a car with Rose from Strawberry Switchblade. Maybe that will make the book ... as there will be so much recorded that didn't make the film.
In 2021 I helped Carla and Blair take their project to the next stage by managing a kickstarterfor them. 659 generous people raised almost £29,500 to allow them to develop animation, clear archive footage and bring other people on board. Suddenly, a film was appearing.
Fast forward (and it didn't feel so fast when Carla and Blair were spending weeks on end locked in an editing suite! ) 3-years and the film has arrived!
Since Yesterday is a global story told through a local lense. It's emotional, beautiful, funny, soulful, defiant and it gives a voice to some astonishingly creative, resilient and wonderful women.
The documentary redefines success, celebrating landmark achievements that have been overlooked by the Scottish music scene and the wider industry at large. Sophisticated Boom Boom (morphing into His Latest Flame) were the first band to play The Barrowland as we know it, as they were the support act for Simple Minds. This is something that I am positive the good folk at The Barrowland will look to highlight in the venue after watching the film.
There are harrowing stories about sexual abuse being common at gigs, bands being dropped (or not even being signed) because a member was pregnant or 'could become' pregnant. Rightly, the film highlights the severe lack of diversity in publishing and at festivals.
There are memories of how it felt to get in a room and make a noise with friends, reflections on tours, using cardboard boxes for drums and lots of funny stories - Rose McDowall could do stand up! While I love The Hedrons being interviewed together, they come across as a real gang and they giggle their way through the interview - laughing at the absurdity of 12-songs taking them around the world, but then recoiling in horror as they recall the reason why major labels rejected them.
Peel sessions, demo tapes, Smash Hits covers, Top of the Pops, supporting The Stones, Mick Jagger's catwalk, offers, rejections, fall-outs, make-ups, fanzines, touring, fun .... Since Yesterday covers all this and much, much more.
The interviews are moving, everyone opens their hearts to the camera. Carla's passion for music, her own experiences and strong feminist values must have helped with this. Blair has done a magnificent job in filming and congratulations to all the team for pulling together the interviews, old footage, memorabilia, photos and animation to create something that flows beautifully.
Since Yesterday brings us right up to the present day; Hen Hoose, Amplifi, The Cords and many more. Wonderful teenagers and women who are creating, fighting, advocating, inspiring, pushing boundaries and looking out for each other. The DIY ethic and sense of communities that are being created is exceptionally inspiring; focusing on safety, support, platforms and encouraging creativity and co-working.
Who knows? Maybe in 20-years time there will be another documentary about them.
Who knows where this film will go? Who will it inspire? But right now, my sister and her friends have united Scottish girl bands from the 60's to present day. They have told their stories and documented them on a film that has brought them together. That in itself, is a remarkable thing. I am intrigued as to what will stem and flower from the energy and community that I was part of for a while at the premiere. Well done to all involved.
I'm super proud of Carla and I am super proud of my youngest daughter Rosie who appears throughout the film, discovering all kinds of Scottish girl bands along the way and making friends to form her own band.
Rosie (natural poser!) and her Aunt Carla on the red carpet
Who knows if Rosie will form a band later in life?! She was buzzing at and after the premiere where she met so many strong women. The film could well position these women as role models for young girls who watch it over the months and years to come.
Here are some links (below) to interviews that Carla and Blair did ahead of and at the premiere. Lots more news to come!
I've reminisced about the blisteringly hot summer of 1995 on a few occasions over the last month or two.
T in the Park absolutely baked and I remember a dust storm when Black Grape and The Charlatans played the main stage. There was a lot of excellent music around to soundtrack the time and later that month The Charlatans would release their eponymous album.
The Charlatans - T in the Park 1995
The band had barely paused for breath, the LP was released only 17-months after Up To Our Hips and with the run of singles off both albums, it seemed pretty seamless. That is something The Charlatans have always had, particularly through the glorious 90's - consistency. Quality and quantity.
The Charlatans was originally going to be called The First Shag In Ages! Which would of course have been an excellent title, but on reflection, the eponymous title is a definitely more classy!
Lets revisit the album, a melting pot of songs, grooves & jams. The Charlatans have always had a lovely sense of looseness about their work, but on this album in particular, it's showcased in a beautifully raw way, more so than anything before or since.
Nine Acre Court opens the album and there is a groove and urgency to the track that the band really had in 1995. I always remember the band opening their Knebworth set with this song. Emotions were running high on stage and off.
They take it up a notch with Feelin' Holy. Tim Burgess lays the band's drug intake bare in his Tellin' Stories autobiography and there is no doubt what he is on about here. The band gel superbly on this LP, there is a raw live feel to much of the album and a sense of energy, purpose & belief.
One drop, can make you feel how I love
One sweet buzz, can make you feel how I feel
Feeling holy, hello bellow me
Just Lookin' has a super cool vibe to it, the band know they are on form - you can feel it and you can see it in the video and footage from their appearance on Later with Jools. It's super loose, the band are locked in a groove and Burgess sounds fantastic. I love when the beat cuts out allowing him to sing;
I bet you talk about freedom
Then throw it to the sea
You better smile on for my sweet dreamer
You'll never shake it away from me
The closing 45-seconds capture The Charlatans at their best, Jon Brookes gives things an added kick, Mark Collins is in the zone - lovely!
Crashin' In is simply sublime. The sound of a band smashing it. This is one of my all time favourite Charlatans songs and my favourite ever TV performance by the band was them tearing through it on The White Room. Just look at Tim looking on in admiration at his band and Jon Brookes on drums in particular. They are on fire. Did I mention Mark Collins being in the zone? He's all over this album, guitars pushed to the fore.
Then the classic Charlatans hammond sound takes over for Bullet Comes, the beats are heavy, Burgess starts with a whisper, building to ask what you gonna do when the bullet comes round? And then giving the advice to live it like you love it
It's a great groove. When I look back to this era and this year, The Charlatans were capturing a loose live sound on record like no other band at the time. At 3 minutes 28 seconds you can hear Burgess mumbling something, which makes me think this was captured live. The last 90-seconds are the sound of the band lost in music and Burgess urging live it like you love it.
Talking of grooves, Here Comes a Soul Saver rides in on one, Burgess sounds sweet, the organ is just sublime, everything gels beautifully for the instrumental and then Tim comes back in it's the sunshine of your life, can you feel it when it's right?
The loose Stones-y sunshine vibe of Just When You're Thinkin' Things Over sounds just as fresh today as it did back in 1995. You look good when you're heart is on fire, it's a matter of taste yeah! is one of my favourite Charlatans lyrics. There is plenty of time over the 5-minutes for the band to groove, the first instrumental starts quite slow and then builds with Mark Collins really fizzing on guitar, building it up and then letting it fall back into the shuffling Stones-y riff & rhythm. The last minute is the band in full flight.
From Stones-y to stoned. Tell Everyone has a lush, dreamy, slow & stoned feel to it. Toothache is a dirty, loose n raw jam with such a menacing groove that it attracted a remix by The Chemical Brothers, who released their debut album Exit Planet Dust in that glorious summer of 1995. Then we're into No Fiction, The Charlatans are totally on it.
A sense of escapism comes across on See It Through, it takes a while to get going, and then there is a flowing vocal melody underpinned by Rob Collins on hammond.
I want to free all the monkeys
Don't want to live in the zoo
Thank You closes the album, a funky psychedelic instrumental, save for Burgess saying a few words, beginning by saying thank you, as if talking to fans.
I've really enjoyed revisiting the album and hope you do too.
A great little documentary came out on the band via Granada as they were recording the album. Check it out below.
Oh yeah, George has left The Beatles, leaving John, Paul, Ringo and Yoko to kind of break down in the studio, letting out their own frustrations in experimental noise.
On Sunday, The Beatles all head out to see George to try and persuade him to come back. It doesn't go well. They then hear through the grapevine that Harrison is in Liverpool, so that leaves them with a few days of hanging around.
At one stage, early in Part 2, Paul McCartney has tears glistening in his eyes as the remaining Beatles sit around contemplating that this might be the end. It's a very emotional and moving scene. We are also able to listen to Paul and John talking off camera, thanks to a microphone hidden in the Twickenham Studio canteen.
But...
George returns! The band move out of the cavernous Twickenham Studios (which really didn't help in any way at all) and into a kind of DIY Apple studio in Saville Row. It's just a small rehearsal room and Glyn Johns, seemingly single handedly, constructs a control room and studio.
All of a sudden, John Lennon seems like a different person. Acting up for the camera, bantering with McCartney, changing into fresh clothes, finding energy and enthusiasm for the project.
George is back, but he is off camera for large chunks of part 2. Was that part of the deal for him coming back? He's sitting in the corner behind John and Yoko and due to the reduced size of the room, the cameras can't get to him easily.
For a while it's just all Paul and John, laughing with each other, bouncing off each other, in the zone. It's so beautiful to watch.
And then Billy Preston comes in and the band are all over him. Smiling, laughing, talking of the Hamburg days. Preston sits in with them, looking super stylish and cool, but also like the cat who got the cream ... or The Beatles!
Preston jams with ease and the mood is lifted again. The decision to banish any thoughts of travelling to record a finale to the film/documentary also helps with the relaxed atmosphere. And McCartney changes the performance date decisively, pushing it back to allow more time to play. McCartney also takes charge and the others let him - saying that they need purpose for and outcomes from every day.
And then George is smiling! The scowls from episode 1 seem like a distant memory / nightmare. All of a sudden George is suggesting they release Get Back as a single - next week. For the first time, the band are a real band - singing from the same sheet (with help from Mal Evans writing down the lyrics) in the rehearsal room and also in the control room. Everyone is on the same page - even Michael Lindsay-Hogg who had previously been trying to badger the band into travelling and scenes ... he is just enjoying the mood, the music and the opportunity to watch the band at work - just like us.
The beauty of the documentary really shines in part 2. The Beatles at work and play - together. Lennon wisecracking, McCartney in the zone, Starr loving it and George is even allowed to make suggestions without being shot down!
I particularly love the footage of the band playing George's For You Blue with Lennon improvising on the slide guitar that has just been brought in. We get to see the take that was used on the original Let It Be album, with Harrison highlighting that he wants something raw, recorded in a maximum of 4 takes.
There is also incredible footage of The Beatles 1968 trip to India, beautifully edited to fit in with a conversation that Paul is leading about watching his homemade footage the previous night.
And then conversations change from the band playing on Primrose Hill to playing on the roof of the building they are in. We see the smile on Paul's face as this suggestion is relayed to him and then we see him boosting himself and others on to the roof for a look. This is a brilliant scene, a real pleasure to witness the suggestion and the first look at the rooftop.
I'll go back to watch part 2 of Get Back many times over the months and years ahead. From feeling a little heartbroken watching the tension, frustration, lack of direction and George walking out in part 1 ... to laughs, smiles and the sight of The Beatles playing and having fun - beautiful.
I was introduced to The Beatles Let It Be album as a teenager. i distinctly remember buying the cassette from Impulse Records in Hamilton and playing it on the way back to Carluke in the car with my Mum.
It's not the best Beatles record, it's not my favourite, but I love it. The rawness, the guitar sounds, Lennon singing everybody had a wet dream, a mention for Matt Busby, McCartney pouring his heart out ... and then I'd learn of the rooftop gig. One of my favourite Beatles moments.
And I learned of how the album came about, of how the film that documented recording was essentially a documentary of The Beatles breaking up on screen.
And then came the trailer for Peter Jackson's new version of the documentary that promised the band playing together, joking and looking like a band.
Who is right? The legions of fans who had watched bootleg footage over the years? Or Jackson?
Only one way to find out.
Part 1
At one point in Part 1 of the Get Back documentary George Harrison says that The Beatles have 'been in the doldrums for at least 18-months' and it shows. It's January 1969 and they are sitting around in a cavernous studio with dates circled in the calendar for a rehearsal and a show.
Over cups of tea and toast, a glum faced Ringo, scowling Harrison and spaced out Lennon with Yoko by his side (often knitting) and a couple of George's Hare Krishna mates sitting cross legged in the background, The Beatles look a little lost. Paul McCartney, in contrast, looks like he has had a double espresso, raring to go.
Trusty sidekick Mal Evans is there, a very cool looking Glyn Johns who looks like he should be in a band himself and director Michael Lindsay-Hogg, almost permanently smoking fat cigars, are trying to cajole them into action.
The trouble is, they have very little new material ready to go. There are immediately bug bears - Lindsay-Hogg constantly goes on about filming the performance in far away places that none of them have the desire to go to, while straight away Harrison is moaning about the sound and lack of equipment. Eventually George's own recording machine 'careful with that, that was £10,000' is wheeled in out the back of an Apple branded truck.
Lennon has Don't Let Me Down, McCartney has Two Of Us and that is about it. They play endlessly with Don't Let Me Down, McCartney adding backing vocals and ad libbing endlessly to try and generate some energy.
His friend Lennon produces some outrageous rock n roll vocals, even while sitting down, but the energy isn't there. Lennon and Ono were heavily rumoured to be in a heroin haze around this time.
Harrison plays All Things Must Pass, but in almost the same breath he says he's not sure he wants any of his songs used. Lennon has the bones of Gimme Some Truth that the band jam through.
George speaks in awe of his friend Eric Clapton, the band play I'm So Tired looking bleary eyed / bored / stoned and Lennon nods off.
At one point during this stage McCartney was beginning to annoy me, as well as Lennon and Harrison, as he attempted to find something in Don't Let Me Down. Eventually Glyn Johns steps in to offer his own solution and things thankfully move on.
Paul talks about something being too complicated, needing to be simplified, then complicated, but it's complicated enough ... I'm surprised George didn't down tools and walk off at this point!
'I'm trying to help you, but I always feel as if I am annoying you.' Paul
McCartney is the one that downs his bass, frustrated by the pressure of leading the band after the death of Brian Epstein.
You could cut the air with a knife, the tension is palpable. This is when George says his famous line about playing whatever Paul wants him to play, or he'll not play at all. This is only day 3.
On day 4, in the face of adversity McCartney starts jamming Get Back. Harrison, despite yawning at the start, realises he is on to something. The footage is remarkable, Paul finding the melody, improvising lyrics, George joining in on guitar. And then Paul finds the hook get back, get back, get back to where you once belonged. Ringo sings it with him. Lennon has yet to turn up!
Lennon rocks up wearing the same clothes as the day before, Lindsey-Hogg goes back to talking about going away, and the good vibe is lost.
At one point McCartney gets frustrated from the lack of enthusiasm, Harrison says that a lot will come out of it if we get the enthusiasm. McCartney says he wants to do a show but doesn't feel a lot of support. It leads to The Beatles default leader saying this will be the last. We either go home, or we do it.
Maybe we have a divorce, says George. Well I said that at the last meeting, says Paul. Who'll get the children, jokes John.
You think things can't go any lower ... then McCartney introduces the band to Maxwell's Silver Hammer! Mal Evans even bangs a hammer! Lennon's eyes have no spark at all.
On to 8th January Harrison introduces I Me Mine, allegedly about McCartney. If Paul, realises, he hides it well, probably just delighted that George has something to offer. Paul then has a conversation with John to say they are facing a crisis. Lennon offers him the reassurance that he comes up with the goods when he has his back to the wall.
There is a great moment when John and Paul share a microphone, standing up to sing Two Of Us. But then they are back to Maxwell's Silver Hammer!
Then, as The Beatles are all off in different corners of the room, with Lennon discussing a potential amphitheatre show, McCartney is seated at a piano, playing Let It Be, working on the song lyrics and structure. Starr looks on wistfully and comments to someone that he could watch Paul play piano all day long.
Tension is everywhere though and the people involved in filming and recording notice it. Lindsey-Hogg says to John - Paul and you are not getting on as well as you did. The distraction of not knowing where the actual performance will be filmed takes up a lot of time and discussion. Ranging from hiring boats to Africa, to dance halls, to the Tower of London. George is mightily pissed off at this point.
Day 6, Paul shows up with a fresh faced Linda McCartney looking beautiful and cool. As if to show off to Linda, Paul immediately goes to the piano to play Another Day. Mal Evans leans against the piano and Paul begins to play The Long And Winding Road, Mal writing down lyrics and giving his opinion
Mal's face is lovely, just smiling at his friend displaying his immense creative talent. Linda looks on adoringly. What an absolute joy to see this footage - McCartney totally in the zone, he then plays Golden Slumbers as Linda takes pictures. George arrives and Paul then plays Carry That Weight, his idea for a song for Ringo.
George plays For You Blue, Lennon and Yoko arrive with John still wearing what he describes as his continuity clothes, with moss growing under my arms.
Harrison plays a Dylan song, maybe a sign of where he was at, or where he wanted to be. John and Paul re in a jokey mood, George clearly isn't in on the joke.
The footage is remarkable, the four play Let It Be, all of them recognising the beauty in the song. Yoko and Linda chat, laughing and smiling together. For a brief moment, everything seems harmonious.
Day 7 - George does not look happy! Paul and John seem to be interacting well, McCartney is leading on conversation and direction. He is always facing John though, Harrison sits quietly smoking on his amp and is shot down when he attempts to join the conversation.
McCartney talks about some chords being fashionable or unfashionable, and vamping! Harrison's scowl intensifies as Paul bounces Get Back off John for help with the lyrics. The old partnership is still there. Harrison, is sidelined. It's noticeable he remains seated even when Lennon and McCartney are standing to play Two Of Us.
It's ironic the song the band are playing is titled Two Of Us as Harrison gets up for lunch to announce.
I think I'm leaving the band now. Now. get a placemenmt, write into the NME.
Post lunch, the remaining Beatles appear to have a nervous breakdown on film with Yoko howling as the Paul, John and Ringo create heavy metal noise and feedback.
In April 1994, at the age of 18 years old (and 3-months) I saw Oasis for the first time. It was in the Tramway in Glasgow, supporting The Boo Radleys as part of Glasgow Sound City. It was the start of a love affair.
Like any love affair, there were highs, lows, wild nights, disappointments.... but from April 1994 through to Knebworth in August 1996, I went on the most incredible journey with a band that I have ever been on. It was a joyous romp with a band that just kept on giving, the only way was up - from the Tramway in Glasgow, in April 1994, to Knebworth in August 1996, it was like a dream.
Oasis were prolific, they just didn't let up, releasing 2 albums and 9 singles with b-sides that should have been on the albums. They played relentlessly, partied harder than anyone and generally lived it up. The press loved them - Liam's looks and attitude, Noel's talent, ambition and humour mixed with the rock n roll lifestyle, brotherly love and hate, meant that they were a media dream come true.
Everything culminated with two extraordinary nights at Knebworth in August 1996. Two huge nights, where Oasis blasted through their (already) formidable catalogue of songs.
A full list of singles, albums and key shows is listed at the end of this feature length blog. Lets have a look at the years 1994, 1995 and 1996 and my memories of them;
1994
The band released an incredible 5 singles - Supersonic, Shaker Maker, Live Forever, Cigarettes and Alcohol and Whatever. The b-sides got better as the band went on - Fade Away, Listen Up, It's Good To Be Free, Half the World Away....
And there was the glorious debut album Definitely Maybe that shot for the stars and smashed straight through them on course for the sun and beyond.
I was fortunate to see them on 5 occasions in 1994 - at the Tramway in April, at the Cathouse in June, in a packed tent at T in the Park in July and then twice at the Barrowland Ballroom in December. They were electrifying, Liam was charged, looking incredible, sounding even better and Noel knew everything was building, teasing the crowd by saying things like 'do you think we're any good?'
They were backed by a super tight band, Bonehead on rhythm guitar, Guigsy on bass and Tony McCarroll on drums. There were no lookers but in Bonehead and Guigsy they had complete loyalty and belief. Bonehead was told to only play barre chords, Guigsy may as well have only had 2 strings on his bass and McCarroll was the most basic of drummers, but this helped with the ferocious intensity that the band delivered when they arrived on the scene in 1994, creating a Burnage Wall of Sound.
That Wall of Sound was helped by finding the right producer at the right time. Oasis had been doing the rounds of producers but couldn't capture their ferocious live sound on tape. Owen Morris was the man to rectify that.
At the Tramway in Glasgow I could see Liam mucking about in the background before they took to the stage for a short set that was broadcast live on Radio 1. Live Forever already sounded like an anthem, Cigarettes and Alcohol was the Pistols meets T-Rex and Supersonic was like the Pistols meets the Mondays. I was hooked and bought a t-shirt and poster from the merch stall.
Two months later I queued up at the old Cathouse in Glasgow to see them again. I could hear them soundchecking as I waited outside. Some of us sang along, not only to the lyrics, but Noel's guitar lines as well. It felt like something special was happening.
Then I witnessed one of my all-time favourite gigs; Oasis playing a tent at T in the Park. It was absolutely rammed, they played football on stage, they were totally on the cusp. They were winning hearts and fans everywhere. This was just a week prior to the release of third single Live Forever. They were unstoppable.
Things were going crazy, all over the world. Noel left the band, rejoined and the band blitzed it.Oasis played over 100 gigs in 1994. They were everywhere. They wanted to break all over and they had the songs and attitude to do it.
I remember turning on the Evening Session on Radio 1 to hear them playing Sad Song and I was just blown away at it's dreamy beauty.
Where we're living in this town
The sun is coming up and it's going down
But we're all just the same at the end of the day
I bought all the singles on 7-inch and CD. For some reason I bought Definitely Maybe at Woolworths in Lanark and I remember chatting up the girl on the counter who was impressed I was buying it. I made mix-tapes of Noel's demos that came out on NME and Melody Maker cassettes along with live shows taped off the Evening Session.
It was exciting. I had been too young for the Roses. Now I had my band. This was their time, it was my time, it was our time.
Oasis returned to Glasgow in December to play the Barrowland Ballroom. Things didn't quite go to plan as Liam stormed off stage a few songs in after losing his voice. Noel played acoustic before the band joined him at the end.
I remember walking down the stairs to the cloakroom at the end and everyone was talking about how brilliant Noel was. His acoustic version of Slide Away was mesmerising. There was no doubt that Oasis was his band.
Noel urged everyone to keep their ticket stubs and they would be back. He was true to his word and shortly after Christmas Oasis returned with Liam in fine voice and full flow to play again. My brother had got a new pair of Adidas trainers and one came off when we were bouncing down the front. It was thrown on stage and Noel picked it up and said 'It had to be Adidas didn't it?'
What a year! In 8-months the band had released 5 singles that were effectively EP's due to the quantity and quality of music on them, culminating with the non-album stunner Whatever. Definitely Maybe flew off the shelves; Liam and Noel were icons. A nation was mad for it.
Memories of that year - finding my band, making new friends, attending 5 outstanding shows, singing anthems from the bottom of my heart and generally having an amazing time.
The Oasis juggernaut continued, picking up pace. 1995 began with a length tour of the USA before returning to the UK to play the Cliffs Pavillion in Southend, recorded for prosperity in the Live By The Sea film. A trip across the water to Paris effectively sealed drummer Tony McCarroll's departure from the band, although he stayed on to play the bands biggest show to date.
Sheffield Arena (see previous blog) was a strange choice for the first Oasis arena show. However it hit the mark, selling out and allowing them to make a huge statement in the same month (April 1995) that they gained their first (overdue) number one single with the euphoric Some Might Say.
April also saw the band play the first of two performances on the long gone and sadly missed White Room show. Music was everywhere on TV back in the mid-90's. Nowadays all we have is Later With Jools.
Noel singing Talk Tonight with his hero Paul Weller was a touching moment. The passing of the flame? Noel was certainly making good on his promise to release a single every few months like The Jam.
Check all Oasis' White Room performances on YouTube - sensational
Onwards, to Glastonbury, where Noel proceeded to make a duffel coat the must have fashion item that year. The band blitzed it, check this sensational version of Slide Away. Liam Gallagher's vocals were soulful, powerful and rock n roll. The band partied hard; Evan Dando and Robbie Williams tried to hang on, but no-one could keep up with the Gallagher brothers - on stage or off.
Summer continued with two shows in a tent at Irvine Beach in Scotland. I was in Magaluf on holiday at the time - sadly! Those that went speak of sweat dripping off the roof and the band threatening to blow the roof off.
Oasis in 1995 were an incredible live outfit, bolstered by the arrival of Alan White on drums, but battle hardened after over 100 shows in 1994 and straight into it again in 1995. Liam Gallagher's voice (see Slide Away above) at this stage was quite exceptional. Pure rock n roll, some said he was the missing link between Lennon and Lydon. Liam only turned 24 in September of 1995, he was the best rock singer in the world
Shows in Japan were reminiscent of Beatlemania and all roads led to Earls Court for two nights around the release of (What's The Story) Morning Glory?
Prior to this though, we had the Britpop battle between Oasis and Blur surrounding the release of Roll With It and Parklike in August. It was nuts, 1995 was a great time to be a teenager. Music was everywhere. Blur won the battle but Oasis won the war. Nothing could stop them.
October 1995 was the month were Oasis truly went Supersonic. They delivered the follow up to Definitely Maybe in the shape of Morning Glory, played 2 sensational shows at Earls Court and also released Wonderwall.
Wonderwall went crazy. Yet somehow it never made it to number one! Kept off the top spot by Robson and Jerome - housewives favourites. It didn't matter, this was number one in so many peoples hearts.
I have a fond memory around this time of driving from Carluke to Lanark with my friend Dave to drop something off at one of his work mates houses. His mate didn't exactly stay in the best part of Lanark. It was rough to say the least. The sun was shining, it must have been an Indian Summer, windows and doors were open all down the street. And What's The Story Morning Glory? seemed to be coming out of all of them.
We pulled up at Dave's mates and She's Electric was blasting out of his house. It was incredible, driving through this estate and listening to Oasis coming at us from all angles.
Oasis were leaving everyone else in their dust. They had The Masterplan, Acquiesce, Round Are Way, Rockin' Chair and Talk Tonight as b-sides!
Memories of 1995 - Sheffield Arena doesn't seem like 21-years ago! Watching a band go stratospheric and strapping in for the ride with them was an incredible buzz. The songs, releases, clothes, haircuts, shows, TV appearances, radio and magazine interviews, the laughs, the craziness, nights out and in being soundtracked by Oasis....the band truly did come along at the right moment in my life.
1996
Where could it go from there? The answer, was even higher, further and faster....for a time.
Wonderwall was still everywhere, helped by a cover version by Mike Flowers Pops. Remember that? There was brilliant pre-internet rumour that his version was in fact the original and Noel had covered it. It doesn't deserve to be posted, but here is a link just in case you fancy it.
Building on a phenomenal 1995, Oasis released the emotional epic Don't Look Back In Anger in February. This Noel sung heartstring puller won them even more fans. The melodic Wonderwall was rooted in Noel's love for The Beatles and Don't Look Back In Anger took it one step further by cheekily starting with the chords of Lennon's Imagine. The Brian Cannon and Microdot cover was also a nod to the story of The Beatles decking out Ringo's kit in flowers after he walked out on the band at one point.
Noel had reportedly given Liam the choice between singing Wonderwall or Don't Look Back In Anger and Noel's voice really suits the sky scraping chorus of the latter. He also ended up singing Wonderwall live on many occasions, sadly I have never heard a version of Don't Look Back In Anger with Liam on lead vocals.
So by early 1996 (from April 1994) Oasis had released 2 albums, 9 singles/EP's and played well over 200 shows; not to mention the countless media interviews, TV shows and acoustic sessions. The media loved them, the Gallagher brothers sold copies of the NME, Melody Maker, Select, Vox, Q, Record Collector, Loaded, FHM...... by the bucketload.
There was no let up; in early 1996 I travelled through to Edinburgh to see Oasis play Ingleston Exhibition Centre. There seemed to be a different mood about the night than previous shows I had attended. Talk of Hibs, West Ham and Aberdeen casuals meeting for a fight filtered the air. There seemed to be a sense that it was all going to kick off in the crowd. Thankfully it didn't and the Oasis rocket kept soaring.
There were shows in Germany and America but everything was now gearing towards 2 nights at Maine Road, home of the brothers beloved Manchester City.
Noel walked on stage with his arms aloft to huge applause before strapping on his Union Jack guitar and I can't have been the only person that went out and bought a Penfield jacket immediately after reading reviews and checking pictures in the NME.
Liam looked positively scruffy by comparison, wearing jogging bottoms and an umbro training top pulled over a shirt on the second night. Somehow we was still cool as f**k, especially hearing him scream 'Manchester, are you mad for it?' when it came out on DVD.
It was pure celebration, they had the best songs, they had the best songwriter, the best front man and now they wanted to be the biggest. What could they do next?
The answer was to do something that even a year previously would have seemed quite unthinkable - 2 huge shows at Balloch Country Park near Loch Lomond in Scotland and 2 monumental shows (125,000 capacity) at Knebworth in England - scene to previous historical concerts by the likes of Queen and Zeppelin.
But then an 'indie' band (Noel always dismissed this term - they were rock n roll) playing two stadium shows would have seemed unthinkable. Oasis has crossed over and now they were going to prove it.
Knebworth remains one of the best musical experience of my time. The whole excitement surrounding getting tickets, travelling down, the size of the place, the blag to get into the front pit and witnessing an astonishing and historic performance close up.
How could they follow Knebworth?
Many could reasonably argue that they never did and maybe they should have split. Leave a perfect legacy.
Certainly they couldn't keep up the pace. Something had to give. Cracks appeared when Liam turned up for MTV Unplugged at the Royal Festival Hall drunk and incapable of singing, leaving Noel to turn in a remarkable unrehearsed performance while his brother heckled him from the box,
Liam then pulled out of the Oasis American tour with the very un rock n roll excuse that he had to find a house to live in with wife Patsy Kensit.
From 1994, and even before - really from their King Tut's show where Alan McGee saw them and signed them on the spot (read eye witness account by Boyfriend drummer HERE) things had been going crazy; it was all up, up, up; all high, high, high. The resulting crash was probably predictable and crash they did. No-one could keep up that pace forever, they needed time out.
So Liam was probably right to take time to go and find a house and to stop the bandwagon rolling. In my opinion it took until the Heathen Chemistry album in 2002 to get back to full form and back on track.
Regardless - Oasis in 1994-1996 were truly Supersonic. I'm so glad to have been there while they were getting high, to have been 18-20, to have been to the shows, to have bought the records, to have experienced something that Liam has described in the trailer to the Supersonic documentary as 'f**king Biblical man'.
It was.
Albums
Definitely Maybe
Rock n Roll Star, Shaker Maker, Live Forever, Up In The Sky, Columbia, Supersonic, Bring It On Down, Cigarettes and Alcohol, Digsy's Dinner, Slide Away, Married With Children
Sad Song (bonus track on the vinyl release)
(What's the story) Morning Glory?
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
Bonehead's Bank Holiday (bonus track on the vinyl release)
Singles
Supersonic
b/w Take Me Away, I Believe (live), Columbia (White Label demo)
Shaker Maker
b/w D'Yer Wanna Be A Spaceman?, Alive (8-track demo), Bring It On Down (live)
Live Forever
b/w Up In The Sky (acoustic), Cloudburst, Supersonic (live)
Cigarettes and Alcohol
b/w I Am The Walrus (live), Listen Up, Fade Away
Whatever
b/w (It's Good) To Be Free, Half The World Away, Slide Away
Some Might Say
b/w Talk Tonight, Acquiesce, Headshrinker
Roll With It
b/w It's Better People, Rockin' Chair, Live Forever (live from Glastonbury 95)
Wonderwall
b/w Round Are Way, The Swamp Song, The Masterplan
Don't Look Back In Anger
b/w Step Out, Underneath The Sky, Cum On Feel The Noize
Key gigs
1994
24/03 100 Club London - Oasis stamp their mark on London
07/04 Tramway, Glasgow - Going out live on Radio 1, the band also give a famous interview to the NME that is later released as the Wibbling Rivalry 7-inch single
26/06 Glastonbury - Oasis take to the mid-afternoon slot like superstars, with Liam and Noel in shades
31/07 T in the Park, Hamilton - One of my all time favourite gigs, Liam and Noel pack out the tent and play football on stage
09/08 Riverside, Newcastle - Noel is attacked on stage as Oasis 'mania' takes hold.
05/09 Hacienda, Manchester - The band return to Manchester
Sept - Japanese tour - Oasis mania really does take hold
Liam on tour in Japan 1994
29/09 The Whiskey A Go Go, Los Angelese - Liam destroys a gig after being up all night doing crystal meth. Noel promptly leaves the band.
15/10 Metro, Chicago - Many close to Oasis cite this as their favourite show or live recording of the band
07/12 Barrowland Ballroom, Glasgow - Liam storms off stage after losing his voice leaving Noel to finish the show on his own and then with the band. Noel promises they will return.
27/12 Barrowland Ballroom, Glasgow - The band are true to their word and if you kept your ticket stub you got back in to witness a sensational performance.
1995
17/07 Cliffs Pavillion, Southend - recorded for the Live By The Sea video
20/04 Bataclan, Paris -
22/04 Sheffield Arena, Sheffield - Oasis first UK arena show, Noel plays Don’t Look Back In Anger
23/06 Glastonbury -
14 and 15/07 Irvine Beach - 2 shows in a tent on Irvine Beach
5 and 5/11 Earls Court, London - incredible shows with The Bootleg Beatles supporting
1996
22 and 23/03 The Point Depot, Dublin - The Sun nearly cause a riot by trying to 'reunite' Noel and Liam with their Dad
27 and 28/03 Maine Road, Manchester - Liam takes to the stage in trackies and an umbro top!
03 and 04/08 Loch Lomond - the warm ups to Knebworth and a Scottish celebration
10 and 11/08 Knebworth - biblical!
23/08 Royal Festival Hall, London (Noel Unplugged)
