Oasis CD Bootleg Artwork Wanted 1992-1999

I'm looking for the CD artwork for the following Oasis shows, for the Bootleg Artwork section on the site.

If you have any of the artwork that I'm looking for, could you please Email it to at scyhodotcom@gmail.com

1992
??/??/1992 THE BOARDWALK, MANCHESTER
??/??/1992 PORTASTUDIOS, MANCHESTER

1994
07/04/1994 TRAMWAY, GLASGOW
27/04/1994 GLR RADIO SESSION

03/05/1994 MARK LAMARR SHOW

07/06/1994 MAIDA VALE STUDIO'S, LONDON
08/06/1994 MARQUEE CLUB, LONDON
12/06/1994 GLASGOW CATHOUSE, GLASGOW

24/08/1994 2FM RADIO, IRELAND
25/08/1994 AMSTERDAM, HOLLAND

16/11/1994 STOCKHOLM, SWEDEN

06/12/1994 JOOLS HOLLAND, UK

1995
30/06/1995 ROSKLIDE FESTIVAL, DENMARK
05/10/1995 BOURNEMOUTH, U.

29-30/11/1995 TWO NIGHTS IN BRIXTON

1996
10/03/1996 RHODE ISLAND, USA
26/03/1996 STADTHALLE, GERMANY

13/04/1996 SAN FRANCISCO, USA

10/08/1996 KNEBWORTH, UK (soundcheck)
15/08/1996 CORK, IRELAND

08/09/1996 JONES BEACH, USA

1997
12/07/1997 GLASGOW, SECC
18/07/1997 MUNICH, GERMANY

09/09/1997 STOCKHOLM, SWEDEN
23/09/1997 SHEFFIELD ARENA, UK

03/11/1997 LE ZENITH, FRANCE
10/11/1997 MADRID, SPAIN
17/11/1997 MILAN, ITALY

1999
05/12/1999 DETROIT, USA
11/12/1999 ANAHEIM, USA

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Noel And Pregnant Sara Shopping In London

Oasis star Noel Gallagher pops out to the shops of Marylebone Street with his girlfriend Sara MacDonald, who is eight months pregnant with their first child.

Source: Celebs And Bubs

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South's Tribute For Tony

To mark the death of Tony Wilson, South nightclub is reviving The Haçienda's legendary Temperance night this Friday.

Even the drinks will be at 1986 prices from 10-11pm. The Temperance Club was created by the Hacienda's Paul Cons, now proprietor of South, 21 years ago. The mix of rock, hip hop, indie and house was a key feature of the Madchester era.

Regulars included Noel Gallagher, Ed O'Brien from Radiohead, Ian Brown and Tim Burgess.

Former Haçienda DJ Dave Haslam and Ben Livingstone will host the night at the King St club.

A percentage of the £5 admission will go to Tony's chosen charity, Christie's.

Click here for more information.

Source: www.manchestereveningnews.co.uk

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Oasis Tour DJ At Red Rooms This Saturday

This Saturday night the resident DJs at Red Rooms will be joined Oasis Tour DJ Paul Smith who is also resident at two of London's most famous Bars, The MET Bar and KOKO.

Part of the 1980's Manchester scene, Phil Smith originally worked as stage crew at the legendary Hacienda Club and both the International One and International Two music venues.

From there, Phil worked as road crew for The Stone Roses ('88-'90 &'95), OASIS ('93-'95) and The SeaHorses ('96-'97) before becoming the ON TOUR DJ for OASIS on the Be Here Now Tour ('97-'98), and all subsequent OASIS world tours.

Since then, Phil has DJ'ed clubs in the UK and Ireland. Many of these gigs were DJ'ed with Mani (Stone Roses/Primal Scream), and Guigsy (ex Oasis member), playing cities such as Barcelona, Stockholm, Paris, Buenos Aires and Santiago. He is a Resident DJ at the MET Bar London, KOKO, and Bangers and Mash Club in Stockholm He also DJ'ed the recent London shows for Australian rockers Jet.

Phil was featured in OASIS's 'Definitely Maybe' "making of" DVD and forthcoming OASIS tour documentary film, 'Lord Don't Slow Me Down'.

This weekend Red Rooms will also be continuing the very successful Happy Hour it launched last weekend. So to take advantage of this make sure and be at Red Rooms this Saturday night, the Happy Hour will be running from 9.30pm – 11.30pm. Have a Good weekend!!

Source: www.myspace.com/redroomsderry

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Oasis Nominated For A Vodafone Live Music Award

KT Tunstall will be battling it out against Amy Winehouse, Lily Allen and Kate Nash at this year's Vodafone Live Music Awards.

St Andrews-born KT is going head to head with the other feisty gals for the new title of Best Live Female.

The glitzy bash is in its second year and both music industry aficionados and fans will have the chance to enjoy the London event next month.

Fellow Scots Primal Scream have also been nominated for the Best Live Music DVD for the Riot City Blues tour. They're up against Maximo Park, Oasis and Take That.

The Best Live Act this year will be fought out by Arctic Monkeys, Kaiser Chiefs, Kasabian and last year's winner's Muse, while James Morrison, Mark Ronson, Mika and Jamie T are nominated for Best Male. Announced by presenter Alex Zane moments before an exclusive Vodafone TBA performance by Kanye West, the Vodafone Live Music Awards nominations have been put together by a panel of music industry insiders, including representatives from Music Week and the major record labels.

Voting for the winners is now open to the public at www.vodafone.co.uk/music and by texting BAND and your choice to 61500.

Source: www.dailyrecord.co.uk

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On This Day In Oasis History...

"The Importance of Being Idle" is a song on the British rock band Oasis' sixth album, Don't Believe the Truth, written and sung by lead guitarist Noel Gallagher. It was the second single released from the album in the UK, on August 22, 2005, where it debuted at #1 (see 2005 in music). It was also the first time that Oasis earned two successive #1's in the same calendar year. It was written by Gallagher sometime during the summer of 2004, before the band made their final attempt at recording what would become Don't Believe the Truth. He got the title from the Mark Twain book of the same name which he found whilst cleaning out his garage (it belonged not to him but to girlfriend Sara McDonald.)

Musically, as Noel has commented, the song sounds like tunes from two British bands, The Kinks and The La's. In particular, the sentiment expressed is noticeably similar to The Kinks' "Sunny Afternoon" and "Dead End Street", and the use of falsetto for every other verse line recalls The La's "Feelin'". The guitar sound is similar also to The La's b-sides; "Clean Prophet" and "Over". It also is a breakaway from the sound of Oasis's latter albums, especially the straight ahead rock 'n' roll anthems of Heathen Chemistry. The keyboard used on the pre-chorus sections was bought by bassist Andy Bell from the auction website eBay.

Noel has said that the lyrics of "The Importance of Being Idle" are inspired by his own laziness. Some of the second verse, with the reference to begging his doctor for "one more line", seems to be referring to an actual event as this resembles Noel's account of how he gave up cocaine in 1998.

Most reviewers acclaimed the track as one of the highlights of Don't Believe the Truth, which itself was widely praised as a marked return to form. The band mentioned in interviews in June that it would become the second single, after the UK Number One "Lyla". The b-sides are Liam Gallagher's "Pass Me Down the Wine" and Gem Archer's "The Quiet Ones."

The promo film was directed by Dawn Shadforth, (whose previous videos include Kylie Minogue's award-winning "Can't Get You Out Of My Head"). Shadforth's film for "The Importance of Being Idle' starred Welsh actor Rhys Ifans and homages the style of early 1960s kitchen sink drama British films, and is set during the build up to a funeral procession in a northern town, with the extravagant undertakers parading the coffin at the video's climax and Ifans playing the part of a high-kicking funeral director. The video is based on the film and play Billy Liar with Ifans playing the role of Billy. Noel and Liam therefore play Shadrack & Duxbury, the owners of the funeral parlour where Billy works. The rest band (Gem,Andy and Zak) make a brief appearance as lazy workers playing cards in an undertaker's office. It was widely acclaimed at the time as being probably the best video Oasis had ever made, not least by the band themselves, who were said to be very happy with the finished product. The video is very similar in style and concept to the music video for "Dead End Street" by The Kinks.

Q Magazine readers placed the song at #1 in a list of 2005's greatest tracks.

The video for the song was voted the video of the year at the NME Awards.

The song is included on Oasis' 'best-of' album Stop the Clocks.

Click here for the music video, or here for a live performance.

Source: Wikipedia

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Oasis Start Recording New Album At Abbey Road Studios

Elisa and SallyCinnamon had these pictures taken with the Gallagher's outside the world famous Abbey Road Studios in London on the 6th August.

Noel told the girls that "we started recording the new album on August 6th", and Liam described the new songs as "huge".

Read the full story here (Italian)

Special thanks to Elisa and SallyCinnamon @ www.upinthesite.com

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Cocaine Supernova: Oasis' Be Here Now Is 10

A decade ago today, Oasis released their bombastic third album, later regarded as one of rock's all-time folies de grandeur. So what does it sound like now?

Now this is what I call an anniversary. Never mind Diana, or the first Blair victory, or the decade that will soon have passed since the release of Kula Shaker's epochal K - today is the tenth birthday of Oasis' Be Here Now, and anyone who has not yet taken their copy to Record and Tape Exchange should surely give it at least one celebratory play. You'll laugh; you'll cry; best of all, you will surely be transported back to the strange days of 1997, when Oasis's imperial phase began to draw to a close, and the moment of giddy innocence that was Britpop died with them.

At ten years' remove, you can only marvel at what on earth they thought they were doing. Did Noel Gallagher really listen to a playback of the impossibly over-wrought, soupy, completely meaningless Magic Pie and sign it off? Did no-one listen to the absurdly Bon Jovi-esque intro to Fade In/Out and advise even a slight re-think? As the last five minutes of All Around the World found trumpets colliding with strings, the guitar overdubs piling into infinity and the whole conceit threatening to collapse in on itself, why didn't anybody pause for thought? Most bafflingly of all, isn't "All my people, right here, right now/D'you know what I mean/Yeah yeah/Yeah yeah" among the most woeful choruses ever put to tape?

What's most baffling of all, perhaps, is that precious few of the critical fraternity caught the whiff of spectacular failure (and though I didn't actually review it, by way of a mea culpa, I include myself in that). The Guardian's review claimed that Be Here Now "validates most if not all of the Gallaghers' boasts about their greatness." The Daily Telegraph told its readers that Be Here Now was simply "a great rock record." Q and awarded BHN the full complement of five stars and compared it to The Beatles' Revolver. NME reckoned it was worth eight of ten; in Mojo, Charles Shaar Murray was so enraptured that he lapsed into patois: "This is Oasis's world domination album. Dem a come fe mess up de area seeeeeeerious."

What was going on? There was, undoubtedly, a massed desire to somehow prolong the fun that Oasis had commenced in 1994. In several reviews, you could make out an obvious subtext bound up with the fact that many people had (rightly) thought that (What's The Story) Morning Glory? was not nearly as good as Definitely Maybe, but been wrong-footed by its sky-high sales figures. Perhaps most importantly, 1997 was the last stand of the absurdly positive, romanticized, starry-eyed mindset that Britpop fostered. Be Here Now, let us not forget, was not the only dud to be so hysterically lionized; two years before, very similar gasps of appreciation had greeted Blur's The Great Escape.

As I recall, it took until the end of that year for the penny to drop, when a run of indulgent, arrogant arena shows exposed Oasis's washed-out state, and Liam Gallagher served notice of the strange place at which they'd arrived by dedicating Live Forever to Princess Diana. Not long after, when his elder brother had quit the drugs and moved out of London, there came his own spurt of self-criticism: "It was an album mixed on cocaine. That's why it sounds like it does. Loads and loads of trebly guitars...I wasn't prepared to make things any better. I'd get to a certain point and go, 'Fuck it, that'll do.' We made the record to justify the drug habit."

So, there you have it: the empty sound of being off your head and convinced of your own brilliance at the start of the Blair era and the endtimes of what was known at the time as - oh, please - Cool Britannia. These days, Be Here Now actually sounds grimly fascinating: a crystallization of its time whose absence of restraint (try, for example, timing the length of the intros) is really quite something. For those of us who are occasionally partial to the musical equivalent of visiting graveyards, might it be time for the obligatory 'Collectors' Edition' and DVD?

Source: www.guardian.co.uk

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