Oasis Live ‘25 Toronto
Emily and I arrived at our hotel around 8 o’clock in the evening to the sound of planes and 97.7 FM, Toronto’s rock station. With the beautiful Niagara Falls in our rear view, the adventure had begun.
Downtown Toronto on a My Chemical Romance, Nine Inch Nails, Oasis weekend was a sight to see on its own. Not to mention their national exposition and some sort of cosplay event, there were characters everywhere. Emily navigated the city like she lived there, and if you can believe it, put up with me the whole time. We did the CN Tower and in the queue met a wonderful couple that was also there for the show. They asked if we had seen them before, I said I saw them with my dad when I was at the University of Toledo and jaws dropped. They live a mile from campus and his name was Justin, I’m not making this up. On the observation floor of CN Tower, Neil Young’s, “Rockin’ in the Free World” was playing.
After the tower, we did a tour on Lake Ontario on a former Amsterdam canal boat. We chatted with the captain who was an actor, and during the only radio portion of the tour, “Wonderwall” came on the speakers. After that, I closed the hotel bar (it closed at 11) with an affable British couple that were my parents age, Leeds United fans, and had Monday tickets. The bartender poured an unknown number of free Molsons for the lads, Oasis was in the air everywhere, Facebook friends were made.
Day of show we went to the pop-up merch shop where we killed two and half hours with five other fans in line that couldn’t have been better. We swapped stories, jokes, favorite songs and pondered upon which live version of, “Slide Away” was the best. The youngest of us was in a Manchester United jersey that he was bravely wearing to the show, so we talked soccer too. I didn’t see a single thread of Toronto FC gear on the entire trip, but just as we were the next people in line, I get a tap on my left shoulder. It was a Columbus Crew fan. We shared a, “Glory to Columbus” back and forth and he was on his way, not looking back in anger.
Then there was the main course, Oasis at the temporary stadium on an old airport runway. It was the best thing I’ve ever seen in my life. Better than, “Goodfellas” or “The Big Lebowski.” Better than Foo Fighters or Weezer or the last time I saw them in 2008. Better than Tiger Woods winning another Masters, or any of Columbus’ three MLS Cups. Cage the Elephant was a good opener who became a great opener when they started to play, “Sweet Home Alabama” then abruptly stopped and the lead singer laughed. The moment it stopped there was silence, Emily instinctively states, “Oh, thank god.” People turned around to smile at us.
As 8:45 drew closer, Neil Young’s “Rockin’ in the Free World” played just before they came on stage. Thanks, Noel. All the swagger and joy washed over the 50,000 friends I just made. By the time they got through the second song, “Aquiesce” I felt the fees and surcharges were worth that alone, and it just kept going. “Cigarettes and Alcohol” was everything I thought it could be with a crowd that size, facing the wrong way, arms around shoulders singing the opening guitar riff and then jumping like Europeans.
Just when you thought it couldn’t get any more English, during, “Stand By Me” it started to rain, Liam noted that they have rain in Manchester too. Later, when Noel was prompted by some in the front, exclaimed, “Did you just boo Manchester?” He then proceeded to tell the French in the audience he would see them next Tuesday. The rain was steady but no lightning, and the only way I was leaving the stadium was on a stretcher. Standing there in the rain that soaks you to the bone with the love of your life to hear, “Live Forever” can’t be beat.
The encore of, “The Masterplan”, “Don’t Look Back in Anger”, “Wonderwall” and “Champagne Supernova” is to encores what Ohio State is to five star athletes. They may have the best damn band in the land, but Oasis is the best damn band in the world.
It’s a Wonderful Life of Albums: Audioslave
The supergroup is not a new concept, going back to the days of The Traveling Wilburys, Cream, or Crosby, Stills, Nash and Young. Arguably the best supergroup of my lifetime, after a nod to Them Crooked Vultures, would be Audioslave. Formed in 2001 with Chris Cornell of Soundgarden and Rage Against the Machine members Tom Morello, Tim Commerford and Brad Wilk, this was a band that could blow the roof off of a venue. Their self-titled first album is fantastic rock music made by some of the most talented and innovative musicians of the nineties.
The record begins with Tom Morello lighting a match on one of the best riffs of the decade. Named for an Apache leader who resisted western expansion, “Cochise” just rocks. Naming the song after the resistance is very on brand for the Rage Against the Machine members, but the album doesn’t tread in the same territory as one of those efforts. This is a fairly apolitical music driven project, but I’m glad they snuck the title in there. The band could not have picked a better track to open with, and Cornell’s distinctive voice breathes life into the chorus of the track, “Go on and save yourself, and take it out on me.”
Anyone familiar with Audioslave will be able to point to, “Like a Stone” the second single, as the one that took the album to another level. Topping the billboard rock charts and even breaking into the mainstream airplay of the time. The climax of this perfectly constructed hit comes with the Morello wah pedal solo. Slow and deliberate, it takes us on a sonic journey before giving way to the more subdued and thoughtful bridge, “For all that I’ve blessed, and all that I’ve wronged, in dreams until my death, I will wander on.” This is the sound you get when you put together a super group with this kind of clout, and it’s glorious.
With the opener still ringing in your ears, another riff heavy delight comes at you with, “Show Me How to Live.” This was also a single that broke into the mainstream for the band, they were really on a roll. The lyrics pull from some Christian iconography, turning the title into a demand, “Nail in my hand, from my creator, you gave me a life now show me how to live.” If you’re worried that it’s too heavy, there’s another dive into the Morello guitar effects library for the solo to re-center yourself.
I cannot allow this article about 2002’s Audioslave to finish without mentioning, “I Am the Highway.” “I am not your rolling wheels, I am the highway. I am not your carpet ride, I am the sky.” There is a lot to love on this album, especially if you love talent. Cornell’s voice has long been some people’s favorite instrument, and it sounds as good as ever here. When you combine it with Morello’s pedal board and creativity, the deft brush strokes come in waves to cover the canvas from corner to corner.
It’s a Wonderful Life of Albums: Nevermind
I would be remiss to love rock music as much as I do, and neglect to include 1991’s Nevermind in this series. The album comes up on every nineties list of best albums of the decade. Nevermind is the grunge genre’s magnum opus. There were a host of good grunge bands in the early nineties but there was only one Nirvana. Lead singer and guitarist Kurt Cobain was a Beatles fanatic, and his band travel in the same circle of rock lore as the Beatles in that they weren’t around long enough to put out any bad albums. Around long enough to establish greatness and then gone in an instant, like too many in the business, a suicide way before their time.
“Smells Like Teen Spirit” is simply an all time great song, and it kicks off this record with overwhelming force. If I’m honest it’s between this and, “Wonderwall” for song of the decade, a yin-yang argument I would gladly have any time. I love playing this song, everybody with a distortion pedal loves playing this song on guitar, but it’s the drums that are the glue. It is worth watching any live version of this song where Dave Grohl is absolutely abusing the drum kit to perfection. Say whatever you want about Foo Fighters, Dave is at home on the drums for this album and it’s where he feasts with godlike ability.
I was one of those people with Nirvana who, “Knows not what it means” to skip any of the songs on this album, but particularly the first three. Teen spirit comes to its conclusion and then you are immediately greeted with some more massive power chords with, “In Bloom.” The dynamic of quiet verse with a loud distorted chorus was perfected by Nirvana early in the decade, and imitated by many. There isn’t a lot there lyrically, but it works and the trio sound great here.
Following those two tracks would be a nightmare unless you are Kurt Cobain, who had, “Come as You Are” up his sleeve. The great guitar line repeats throughout, and includes the immaculate alt-rock apathy line, “Take your time, hurry up, choice is yours don’t be late.” It can be debated whether the song is about heroin, but it doesn’t matter, it’s just a great song. So much so that it was added to the welcome sign in Kurt’s hometown, it reads, “Aberdeen, Washington Come As You Are.” It’s so sad to think about the music we didn’t get from him, but this is what I call a proper memorial.
Before he retired, my father was a guidance counselor, and thinking about Nirvana and Kurt Cobain always reminds me of how he first came to know their impact. The day after news circulated that Cobain had passed, a student came into his office beside themselves in grief. He was busy raising my brother and I, so forgive him for not being up on grunge back then, but their musical impact on people was clear. The reach of their music was far and wide, harnessing the melodic and the chaotic with equal brilliance.
It’s a Wonderful Life of Albums: Definitely Maybe
People love one hit wonders, but they always leave you wanting more. People don’t like it as much when a band debuts with a thermonuclear explosion like Oasis did with Definitely Maybe, and the cynical would say it’s all downhill from there. Whatever you want to say about it the follow up, (What’s the Story) Morning Glory and its massive hits, you can’t say it was a step down in quality. Oasis led by songwriter Noel Gallagher were shot out of a cannon in 1994, from there it wasn’t downhill, but no looking back.
Freshly acquired from the Sony BMG music club when I was a Junior in high school, my neck snapped toward my cd player where I would find the track number 3, and that’s the first time I remember hearing, “Live Forever.” It would become, and remains, my favorite song. It has everything you could want in a Noel Gallagher classic, from the lyrics, “Maybe you’re the same as me, we see things they’ll never see, you and I are gonna live forever” to the used before, but never this well, chord progression and finally two simple but respectable guitar solos, timeless.
Written and recorded in a single night in Liverpool, “Supersonic” is the single we all wish we wrote. Noel once described that he wrote the song in about a half hour, they ordered Chinese take out and by the time everyone had eaten it, the recording was finished. “I need to be myself, I can’t be no one else” is the only ethos you need to take from this album if you don’t find three others sprinkled among the eleven tracks. On one of their live releases, Liam is heard heckling Noel to, “Write a coupla’ more of theses babies.” I’m sure he would if it were that easy. When you’re the brother who got all the talent, sometimes you write a hit in 30 minutes that Liam could only dream of, and the rest of the time you have to put up with him singing it.
If you catch me on the right day, I will tell you that, “Slide Away” is the best Oasis song, and the best song Noel Gallagher has ever written. If you catch me in a sour mood I will tell you it’s in the top five, and you should get your head examined if you don’t think Noel Gallagher is the best songwriter of my lifetime. Written during one of the numerous Definitely Maybe recording sessions, its origin story is the stuff of legend. Noel reached out to his friend and guitarist of The Smiths, Johnny Marr with a request for more guitars for the record. One of the guitars Marr sent was on old Les Paul that Noel took to his room for the night where he claimed, “The song wrote itself.” It is said to be written about Noel’s soulmate, a relationship that ended when they had to go on tour. You can hear what he lost, “Slide away, and give it all you’ve got, my today, fell in from the top, I dream of you and all the things you say, I wonder where you are now.”
I didn’t have a chance to get to how great the stolen riff is on, “Cigarettes and Alcohol“ or the fact that it kicks off with the huevos of, “Rock’n’Roll Star” or the magical jam session that is, “Columbia.” Noel is the only autograph I ever kept, the reason I learned guitar, the best show I’ve ever been to with my dad. Buy me a drink and I’ll sing you a song, it will probably be Oasis. Probably from this album, possibly you’ll like it. No, Definitely…Maybe.
It’s a Wonderful Life of Albums: Get Born
Some would call it selling out, but I think it’s a pretty good sign if Apple calls and says we want to use your song to promote the music device that defined a generation. Australian rock outfit Jet’s debut album Get Born features so many great songs that if you weren’t there for it you might ask which one they used. “Are You Gonna Be My Girl?” is so upbeat and energetic, it’s as if they intentionally made the song to accent the black outline of a person dancing with an iPod to it.
The tambourine and bass intro that set the stage for the delectable main riff on, “Are You Gonna Be My Girl?” set the oughts on fire. It doesn’t require any sort of preparation, or greater thought process, it’s binary: Are you a human being or not? If you are, this song causes involuntary body movement in people. “So one, two, three take my hand and come with me, because you look so fine that I really wanna make you mine.” What else do you need?
There simply wasn’t a more fun song in the summer of 2004 than, “Cold Hard Bitch.” Back in the waning days of call-in requests to radio stations, there was a litany of hilarious dedications to ex-girlfriends and ex-wives. Often the DJ would egg them on until they let out a deeply satisfied, “She was a cold hard bitch.” The guitar on this track hooks you from the jump, and leads you down a road of playful misogyny, “Gonna take her home cause she’s over romancin’, don’t wanna hold hands and talk about our little plans alright.”
If you need respite from the rock for a moment you’ll find it with the breather ballad, “Look What You’ve Done.” It opens to a sad piano lamenting, “Take my photo off the wall if it just don’t sing for you, ‘cause all that’s left has gone away and there’s nothing there for you to prove.” In this song we see the versatility of the band and it provides some soothing mellow tones to an otherwise energy filled romp.
The album spawned five singles and sold over four million copies, it has something for everyone. The band enjoys a break from chasing tail and takes aim at the disc jockey on, “Rollover D.J.” “I wanna move but it don’t feel right, ‘cause you been playing other people’s songs all night.” “Radio Song” also offers a nice relaxed album track for you to fall in love with, this album uses all 48 minutes to the fullest. To not love this album, you would have to be some kinda cold, hard…Well nevermind.
It’s a Wonderful Life of Albums: Permission to Land
I was just starting my sophomore year in high school when the single, “I Believe in a Thing Called Love” started getting airplay and it blew up. The song was everywhere that fall, and I was lucky enough to get the recommendation from a football teammate on just how solid the whole album was. From the opening distorted chords of, “Black Schuck” I was hooked and after a few listens to Permission to Land I started to believe in a band called The Darkness.
The sound was a throwback, a mixture of hard rock and glam with lead singer Justin Hawkins looking like he was straight out of an eighties hair metal video. It topped the charts in the United Kingdom and has sold just shy of two million copies worldwide to date, the debut brought back some of the antics and debauchery that made rock and roll fun. It could reasonably be thought, this is the kind of band that gets banned from hotels and smashes things.
A great guitar riff can be great in era, and it is inexplicable that they were allowed two guitar solos on a radio song in 2003. “I believe in a thing called love, just listen to the rhythm of your heart, there’s a chance we can make it now, we’ll be rocking ‘til the sun goes down” is simply so infectious that every time I hear it I have to pretend I can still do the falsetto part like I’m a teenager, something that should only be attempted in the shower.
Joyful is always the word that comes to mind when I think about Justin Hawkins running into an old crush at a dance club while rattling off all the extra-curricular activities they used to do together. “Friday Night” is easily the most innocent sounding song, and does a lot to balance the darker parts of the album. Whether it be needlework, badminton, cycling or rowing on the weeknights, we’re always dancing on a Friday night with you, mystery girl. That girl who, “God, the way she moves me to write bad poetry” and whom we all know so well.
“Growing On Me” and “Love is Only a Feeling” were singles that didn’t reach the same popularity their biggest hit, but add to the depth of the album nicely. After all, how could this over the top flashback of an album not have a ballad? It’s a record that was different from anything else at the time, the fervent energy the band had back then really shines through. It’s still worth a spin today, just listen to the rhythm of your heart.
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