#Monnow Valley Studios

[cinemedios]

'Definitely Maybe': 30 años del debut de Oasis

A principios de los noventa, un pequeño grupo llamado Oasis, liderado por los hermanos Liam y Noel Gallagher tendrían la oportunidad de grabar su primer álbum sin saber que los catapultaría a la fama, pero nadie dijo que sería fácil.

A principios de los noventa, un pequeño grupo llamado Oasis, liderado por los hermanos Liam y Noel Gallagher tendrían la oportunidad de grabar su primer álbum sin saber que los catapultaría a la fama, pero nadie dijo que sería fácil. Reseña Musical | ‘Definitely Maybe’ En 1991 un joven Noel Gallagher regresaba a Manchester luego de su gira como técnico con la banda Inspiral Carpets para ver la…

[ostensiblynone]

Melody Maker, 1st October 1994 Page 54 and Page 55 CONTROL ZONE: HI-TECH LOW DOWN Edited by Tony Horkins

AS salvage jobs go, Oasis' debut, "Definitely Maybe", is an extraordinary achievement. Within days of its release it had waltzed into the history books, becoming the fastest selling independent debut in UK history, with advance orders totaling 100,000. Recorded at a total cost of £75,000 using seven different studios, the album betrays few of the problems that dogged its tortured seven-month gestation. "Recording an album should never have been this difficult," reflects Noel Gallagher. "I was busy telling everyone it was the greatest record ever made but it was sounding like shit."

DECEMBER 17-20, 1993 "Supersonic" recorded and mixed by Dave Scott at the Pink Museum, Liverpool, Mark Coyle producing. The first Oasis single, the track was later re-Eq'd for the album.

Dave Scott: "Anthony from The Real People came down to the studio and asked Noel what he was doing pissing about writing indie shit when Oasis were supposed to be a rock'n'roll band. That's when "Supersonic" was written. Noel just started on the riff and they did it first take with him shouting the chord changes to the band as he went, and rapping lyrics off the top of his head which Liam later sang. That line ' know a girl call Elsa, she's into Alka Seltzer'— that was about my Rotweiller dog that kept farting. She's famous for it. The whole thing took eight hours from start to master. We had a very live set-up — 57s, 414s and 58s on the guitars and loads of level to tape. Noel's guitar sound is mostly room ambience."

Mark Coyle: "They had this f—in' brilliant old custom EMI Neve desk in at the time. It was like the old Abbey Road desk, and the EQ section was amazing — huge knobs, chunky faders and everything but the 1028 EQ section was great."

Noel: "The song just came out of nowhere and I knew it was a f—in' classic single as soon as we'd finished."

JANUARY 8-23, 1994 Monnow Valley Studios, Residential studios, Monmouth. First attempt at recording the album tracks. Producer Dave Bachelor, engineers Dave Scott, Mark Coyle, Anjali Dutt. (Trident TSM 40 desk, Studer 24-track Dolby AM series, JBL monitoring, Urei 1176 Limiters, Trident parametric EQs, AMS and Lexicon PCM 70 reverbs).

Noel: "The problems started almost from the beginning. It wasn't with the band, apart from our drummer, who's Ringo Starr incarnate and can't keep time to save his f—in' life. Dave Bachelor was trying to be clever. We're a rock'n'roll band and he was separating everything out, doing it clean and it was sounding too produced."

Mark Coyle: "It was a simple case of conflicting ideas between producer and band. The band weren't blameless, mind—they were using a lot of unfamiliar gear just cause it was there…amps, preamps, gadgets and guitars that Johnny had lent Noel. It ended up sound like just another indie band doing Oasis songs. Dave just wore everyone down to the point where the band clammed tight shut and the communication wasn't happening. He had everyone set up in their own area, separated and out of eye contact and he lost the feel. After the first week, when it was obvious it wasn't working, we moved everything into a smaller area of the studio and tried again."

Dave Scott: "I knew it wasn't working. Bachelor rubbed 'em up the wrong way and he wasn't spending enough time on the sounds themselves. When Liam dared to suggest that what he was doing sounded crap he freaked out. With what went down that day he was lucky not to have his nose broken by the band.

"The set-up itself wasn't that bad, though. We had a good selection of 57s and 58s on the kit, Noel's WEM Dominator amp sounded f—in' great, which we miked with an AKG 414 close up and then another to capture the room. We also used the Marshall JCM 900, I recall. The bass was Dld and the Ampeg amp was miked with a U47, and that went down really well. Bonehead was using my old Gibson SG, same one he'd used on 'Supersonic', and then his Epiphone semi. Noel was using his Epiphone Les Pauls and a few of Johnny Marr's guitars, including a Flying V which he used on 'Slide Away', I think. Although 'Slide Away' has Dave's name on it on the production credits, I remember him trying to slow it right down. His original version sounded very bombastic, very Pink Floyd, like 'Comfortably Numb'. Noel asked my opinion and I said they should play it at the speed they had when they first wrote it."

24-27 FEBRUARY Olympic Studios, Barnes. First attempted mixdown of the Monnow Valley tracks. Finished mixes included "Bring It On Down". Sessions abandoned after four days.

Mark: "The sound was piss weak at the mix. The guitars in particular had all the life squashed out of them. When we'd done monitor mixes at Monnow, Dave was saying we could fix it all in the mix and I think we all knew it was a more fundamental problem than that."

Noel: "I was arsed. I knew it wasn't right but I was that fed up with it all I'd begun not to care. I know that a song never comes out on tape the way it sounds in your head, but these mixes were so wide of the mark it was a f—in' joke. The demos were better."

Marcus Russell: "I listened to the mixes and it was sonically weak, like it was recorded 40,000 leagues under the sea. Dave Bachelor had neutered the band. 'Bring It On Down', the first mix, was almost bled to death. I said to Alan McGee (Creation records boss), 'F—, we've got problems.' He agreed, so did Noel and on the 27 February we abandoned the mix and went back to record the tracks again at Sawmills. Mark was perfect for the production, because he knew the band and their music from being their live engineer for so long."

Noel: "The only track that survived from the Monnow sessions was 'Slide Away', and that's because the performance was that special we knew we couldn't better it. Our Kid's vocals were never going to happen that way again."

23 FEB-4 MARCH Sawmills Studios Cornwall. (Trident Custom 80B with fader automation, Otari MTR 90 24-track AMs DMX, Yamaha Rev 1, Lexicon 480L PCM 70, Fairchild compression, Urei 176, Trident parametric EQs).

Mark: "Because I was their live engineer I knew we had to 'capture' this band rather than produce them."

Noel: "Talk about being isolated! sawmills is miles from f—in' anywhere — you had to get there by boat when the tide was in. We needed to get away from Manchester, London or Liverpool because of the distractions. We had all the tracks done and overdubbed inside 10 days, just whacked through them every day until we had the right takes."

Mark: "They had this amazing Trident console in there, an old series 80B (54-24-24) that had just the best EQ section ever, a load of those old Fairchild valve compressors and Neve limiters, and it just seemed to have a better vibe to it. My approach was to just set them up like they are when they rehearse or play live, where they can see each other, get that vibe going between them and power up."

Noel: "It was f—in' loud in there, no one had headphones on, we just blasted it out. I still have the ringing in my ears."

Mark: "There was total bleed from tracks and you got guitar on the drum mics and drums on everything, but who the f— cares? I'm a fan of that approach, the big fat analogue sound they used to get on Small Faces or Beatles records. Most stuff went to tape with plenty of level with a little EQ on the drums but essentially flat."

Noel: "Once the rhythm tracks were sorted I overdubbed all the guitar parts ane had a laff. We just put loads on there cause the ideas just kept coming."

7-8, 11-13, 16-22, 24-25 MARCH First mixdown of Sawmills sessions at Eden studios, London. Mark Coyle producing, Anjali Dutt engineering, Simon Wall assisting (SSL 4060E with G series Onboard, Total Recall, Studer A 800 24-track with Dolby 361s. Monitoring Quested 2X15s, AR18s, Yamaha NS10s and Auratones. Lexicon 480L, AMS RMX 16 Reverbs, Urei limiters, Drawmer gates and 1960 Valve compression). Mark: "I don't like SSLs much, I prefer a group of people around the faders working the desk and the sound of a good warm EQ section. SSLs make everything sound a bit weedy cause you lose quite a bit of signal in the EQ stage. The reason we went there was because Anjali [Dutt] knew it and had her favorite EQ with her from Battery studios."

Despite the quality of the performances Mark Coyle had captured at The Sawmills, The Eden mixes still proved unsatisfactory.

Marcus Russell: "Some of the vocals were a little shaky but I knew the performances were essentially there, they just needed sorting out. That's where Owen Morris came in. I knew him from his work with Johnny [Marr] and Electronic, and if anyone could sort it out he could.

Twenty-six-year-old freelance producer/engineer Morris is credited as the man who turned things around. His mixes of the Sawmill sessions make up the majority of the album. They include "Rock'n'roll Star", "Cigarettes & Alcohol", "Shakermaker", "Live Forever", "Up In The Sky", "Columbia", "Bring It On Down", "Sad Song", "Digsy's Dinner" and the remix of the original "Slide Away".

17-18 APRIL Out Of The Blue studios Manchester (TAC Magnum desk with Otari 24 track.) "Shakermaker" original Mark Coyle demo recording and "Cigarettes & Alcohol".

Mark: "'Shakermaker' is the original demo tarted up. It had such a brilliant feel we couldn't think about doing it again. No gate and none of this limiting bollocks on there, just maximum sound to tape."

23-24 APRIL Mixes of "Rock'n'roll Star" and "Columbia" by Owen Morris at Loco studios Wales.

2-3 MAY Final weekend of mix of the album's remaining tracks at Matrix, London. Owen Morris producing/engineering. Marcus Russell spiritual guidance and booze monitor.

Noel: "There comes a point where you just have to trust people. We were off on tour, rehearsing and the whole thing in the press was just going mental."

Owen Morris: "I just finished it all off really. I'd heard some of the monitor mixes of Monnow Valley stuff and it's best described as pretty strange. The Sawmills mixes were every odd too, still trying to be too clever. Things were gated and tidied up. It was very un-Oasis. I mixed 'Rock'n'roll Star' and Columbia one weekend, got Liam in to re-do the vocals and they loved it. We mixed the rest of the album in four days at Matrix!

"The biggest problem was the guitars. Noel would fill 10 tracks with stuff all the way through. If you put all the faders up it was a real mess. But by this time the band were that fed up they couldn't be arsed about which one to use, so I acted as producer and did it myself. I just got stoned and worked on arrangements. As you can tell from the album I go for the old Shel Talmy technique and compress the f— out of everything. The most obvious example of that is 'Columbia'. I put tape delays on the kits with a kind of Phil Spector or a Tony Visconti sound in mind. He had a great way of placing sounds, especially guitars. I ripped him off as much as I could, especially on Columbia.

"The actual set-up was pretty much the same for each track. In Loco there was an Amek Mozart and I hired in an Excel compressor and Mini Moog, which we used as a crude filter circuit. It takes off all the top so you just end up with a really fat bass sound. I used an A3 for a Leslie effect and a Lexicon to pitch change and basically shit-loads of compression on everything. The only real effects are imaging programs, stereo shifters and stuff to spread the guitars out. I ended up using a DSP 4000 on the vocals, and it sounded f—in' amazing. Myself and Liam actually took a weekend to re-do the vocals on five tracks—'Cigarettes & Alcohol', 'Bring It On Down', 'Up In The Sky' and a couple of others, using an old pencil-thin AKG that was apparently used on 'Sergeant Pepper'. That mic was perfect because it had natural compression. His voice went flat to tape through the DBX 160. On Liam's voice I put a little bit of anything that happened to be hanging about. There was very little EQing, though, except when I used the DSP 4000, because the anti-glitch program dulls the sound.

"The only real problems I had with the actual performances was the groove on the drums. The drumming was okay—he kind of starts then stops at the end of the song, but sometimes it lacked groove and he hasn't got a great sounding drumkit. I used a lot of subliminal tape delays on a Revox, eighth delays to create movement. As for Bonehead's rhythm tracks, he was brilliant on every single one! Unbelievably tight and solid to the point where you didn't worry about his stuff at all."

"'Cigarettes & Alcohol' was the last mix I did. I confess, I was that drunk and stoned at the end I just put the tape on and stuck the faders up, hence all the noise."

22 JUNE "Sad Song", the bonus track on the vinyl, recorded and mixed at The Windings, Wrexham by Owen Morris.

Noel: "When the vinyl cut of the album was done the grooves were so close, because of the album's length, that it didn't sound powerful enough. In the end we put it out as two 12 inches and we recorded an extra track to fill it up. I demoed the song live on a Radio 1 session then went into the studio the next day and banged it inside two hours using my Epiphone acoustics (Dreadnought 6 and 12-strings). It's my voice on there—Our Kid could never sing a song like that." (The mics used were an AKG 414 on the guitars with a B&K P48 on the room ambience, and a Neumann U87 on vocals. The desk was an Amek Mozart, the reverb was a medium room reflection on a Lexicon PCM 70).

Finally, although the exact date is lost forever in the foggy recesses of Mark Coyle and Noel Gallagher's collective consciousness, we do know the final track on the CD version of the album, the poignant acoustic number "Married With Children" was recorded in Mark Coyle's living room on a Fostex eight-track. Noel played his Epiphone acoustic, and the album was finished. . .

[greensparty]

Album Review: Oasis "Definitely, Maybe (30th Anniversary Deluxe Edition)"

On August 29, 1994, Definitely, Maybe, the debut album from U.K.'s Oasis was released. It came out just as Britpop was making a splash thanks to bands like Pulp, Blur, Suede and Oasis (all one-word band names). It is hands down one of the best albums of the 90s. It came out a few months after Kurt Cobain's passing and the music world was ready for something new. After years of music groups bemoaning fame, here was a band that wanted to be famous and loved being rock stars, which seemed refreshing. As Oasis-mania swept the world, I actually got more into them in 1996, by which point they had oversaturated rock radio. I picked up Definitely, Maybe on CD and loved it. A lot of people say the best Oasis album is 1995's follow-up (What's the Story) Morning Glory?, which is quite good but isn't nearly as epic as Definitely, Maybe (later the name of a 2008 movie that I worked on too). Being released this Friday on the 30th anniversary (a day later) is Definitely, Maybe (30th Anniversary Deluxe Edition).

original album cover

anniversary edition album cover

Through this blog, I've actually gotten to cover some Oasis releases including the 2021 live album Knebworth 1996 and the 25th Anniversary Edition of Be Here Now. Considering the band broke up in 2009, there is still an avid fan base wanting more compilations, live albums, documentaries and anniversary editions. The lineup of Oasis changed many times over the years but the heart and soul of the band has always been the brothers Gallagher: Liam on lead vocals and Noel on guitar and songwriting. Being in a band with your sibling can be both a good and a bad thing. I saw Oasis in 2000 and again in 2001 on the Brotherly Love Tour with The Black Crowes and Spacehog and the Gallaghers had the worst track records of in-fighting of any of those sibling bands.

the vinyl deluxe edition

After the band formed in Manchester, England in 1991 the lineup at this time also included guitarist Paul "Bonehead" Arthurs, bassist Paul "Guigsey" McGuigan, and drummer Tony McCarroll. This lineup was among their strongest. Easily! Disc 1 of this edition is the original album remastered. Every song rocks from the epic opening "Rock 'n' Roll Star" down to the acoustic kiss-off of "Married with Children". Disc 2 is the Monnow Valley versions (they first recorded at this studio and the sessions were scrapped, so you're hearing earlier recordings with these versions), Sawmill Studios outtakes (they recorded the album and Sawmill and these outtakes are ones that weren't used in the final recording) and an early 1992 demo of "Sad Song". The original album is a masterpiece and I don't use that term lightly. It was something that was truly of-the-moment: Britpop, Gen X, mid-90s and yet it was also retro with their Beatles' obsession not quite as overt as it would be on the next album, but also their love of Stone Roses, and yet it was also timeless. It's an awesome blast of Marshall amps in a melodic cocky made-for-arena sing-alongs! These new outtakes and alt versions don't really improve on the album, but it is kind of cool to hear the little differences of what it went from to what it became. Some are better than others, but it's short enough to enjoy what you're hearing as opposed to a box set with multiple takes of each song. We also haven't had any new Oasis music in over 15 years, which makes these unearthed versions seem more exciting than they'd normally be. As I was working on this review, news broke this week that Noel and Liam are reuniting with an Oasis tour in 2025 (no U.S. dates yet, but fingers crossed) and that proves how much these songs have stood the test of time!

For info on Definitely, Maybe (30th Anniversary Deluxe Edition)

Original album: 5 out of 5 stars

Anniversary Edition: 4 out of 5 stars

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Some new re-issues & crucial re-stocks through our doors in the past few weeks. Highlights include new milestone anniversary editions of Mark Lanegan's Bubblegum, Oasis' Definitely Maybe, The Church's The Blurred Crusade and Violent Soho's Hungry Ghost, plus long overdue re-pressings of classics from Shellac, Neu! and Alanis, along with a pair of new Numero Group re-issues. More info below!

American Analog Set - The Golden Band - $60 (LP) - Numero Group YELLOW vinyl re-issue of the 1999 slowcore classic from Austin group. First time back on vinyl in 25 years!

Shellac - At Action Park - $60 (LP) - Back in print! The 1994 debut LP from Bob Weston, Todd Trainer & Steve Albini (RIP). Touch & Go Records 180-gram recycled wax in custom printed cardboard uni-pak style.

Oasis - Definitely Maybe - $75 (2LP) / $130 (4LP) - 30th Anniversary re-issue of the landmark 1994 debut album. Available as a newly pressed Digsy's Dinner inspired 'Strawberries & Cream' coloured 2LP set, or an expanded 4LP box featuring Monnow Valley Versions and Sawmills Outtakes.

Mark Lanegan - Bubblegum XX - $65 (2LP) / $45 (3CD) - Beggar's Banquet 20th Anniversary re-issue of the acclaimed 2004 solo release. Available on Indie-Exclusive 2LP red vinyl, or in an expanded 3CD digipack featuring unreleased songs & demos.

Neu! - s/t - $35 (LP)- Back in print! The iconic 1972 debut LP from influential German krautrock group featuring Klaus Dinger and Michael Rother after their split from Kraftwerk. Big love to @groenlandrecords for continually re-printing these one at such an agreeable price!

The Church - The Blurred Crusade - $60 (LP) - Limited edition BLUE vinyl remaster of the excellent 1982 sophomore studio album from Steve Kilbey & Co. Featuring Almost With You and When You Were Mine.

Alanis Morissette - Jagged Little Pill - $45 (LP) - Back in print! Alanis' gigantic 1995 studio album & first internationally distributed release. Jam-packed with hits like You Oughta Know, Hand in My Pocket, Ironic, Head over Feet, You Learn etc.

Unwound - Single History: 1991-2001 - $70 (2LP) - Numero Group 25th Anniversary Expanded & Remastered 2LP WHITE vinyl re-issue of the 1999 compilation of early singles & compilation tracks. Touring in November!!

Violent Soho - Hungry Ghost - $70 (LP) - 10th Anniversary limited edition BLACK & RED splatter vinyl re-issue of the previously out-of-print and hard to find 2013 breakout studio album featuring Covered in Chrome.

[radiomaxmusic]

Feature LP / Oasis - Definitely Maybe (1994) / September 9, 2024 / 11pm ET

Definitely Maybe is the debut studio album by English rock band Oasis, released by Creation Records on August 29, 1994. The band booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, who lead guitarist and chief songwriter Noel Gallagher knew from his time working as a roadie for the Inspiral Carpets, though sessions were…

[kcyars99]

I remember reading about how messy the break up was and how there was so much infighting between brothers Noel and Liam Gallagher so the fact the band is reuniting is really a shocker for everyone

oh and one more thing yesterday marks the thirtieth anniversary of their debut album

Definitely Maybe is the debut studio album by the English rock band Oasis, released by Creation Records on 29 August 1994. The album features Noel Gallagher on lead guitar, backing vocals and as chief songwriter, Liam Gallagher on lead vocals, Paul "Bonehead" Arthurs on rhythm guitar, Paul "Guigsy" McGuigan on bass guitar and Tony McCarrollon drums.

The band booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, whom Noel Gallagher knew from his time working as a roadie for the Inspiral Carpets, though sessions were unsatisfactory and Batchelor was subsequently fired. In January 1994, the group set about re-recording the album at Sawmills Studio in Cornwall, where sessions were produced by Noel alongside Mark Coyle. The results were still deemed unsatisfactory; in desperation, Creation's Marcus Russell contacted engineer and producer Owen Morris, who eventually worked on mixing the album at Johnny Marr's studio in Manchester.

Definitely Maybe was an immediate commercial success in the United Kingdom, having followed on the heels of the singles "Supersonic", "Shakermaker", and the UK top-ten hit "Live Forever", which was also a success on US Rock Airplay. It went straight to number one in the UK Albums Chart and became the fastest-selling debut album in British music history at the time; it went on to be certified 8× platinum by the BPI for sales of over 2.4 million units. It also was successful in the United States, being certified platinumby the Recording Industry Association of America (RIAA). The album went on to sell over 8.5 million copies worldwide. It is the only Oasis album to completely feature all five original members; drummer Tony McCarrollwas ejected from the band in early 1995, but he would still partially appear on their second album on the track "Some Might Say."

Upon release, Definitely Maybe received widespread critical acclaim and helped to spur a revitalization in British pop/rock music in the 1990s. It was embraced by critics for its optimistic themes and rejection of the negative outlook of much of the grunge music of the time, and is regarded as a cornerstone of the Britpop genre, having since appeared in many publications' lists of the greatest albums of all time. In 2006, the NME conducted a readers' poll in which Definitely Maybe was voted the greatest album of all time. In 2015, Spinincluded the album in their list of "The 300 Best Albums of 1985–2014". Rolling Stoneranked the album at number 217 on its 2020 list of the 500 Greatest Albums of All Time.

[levysoft]

Oasis: ascolta una rara versione di "Sad Song" cantata da Liam Gallagher

Gli Oasis hanno pubblicato una nuova anticipazione della ristampa del loro album d'esordio "Definitely Maybe", in arrivo il prossimo 30 agosto per celebrare il trentesimo anniversario dall'uscita. Si tratta della traccia bonus "Sad Song", in origine pubblicata con Noel Gallagher alla voce, questa volta cantata dal fratello Liam.

Nell'agosto del 1994, l'uscita di "Definitely Maybe" segnò un momento cruciale nella cultura giovanile britannica, con la scrittura di Noel Gallagher e il sound britpop degli Oasis che annunciavano un nuovo inizio. Incarnava uno stato d'animo completamente nuovo del rock e del pop, edonistico, chitarristico e ottimista. Il Regno Unito, che presto si sarebbe liberato da 18 anni di governo conservatore, era pervaso da un crescente senso di cambiamento e speranza, e gli Oasis catturarono quello stato d'animo. Era la stagione della "Cool Britannia".

Dopo aver firmato un contratto discografico mondiale, Liam Gallagher, Noel Gallagher, Paul "Bonehead" Arthurs, Paul McGuigan e Tony McCarroll si sono trasferiti negli studi di Monnow Valley, ai confini gallesi del Monmouthshire, per catturare su disco l'energia dei loro spettacoli dal vivo. All'epoca, le registrazioni iniziali sembravano eccessivamente tecniche e curate, non riuscendo a catturare l'essenza della band. Alla fine, le sessioni furono abbandonate e la band si trasferì nei remoti confini dei Sawmills Studios in Cornovaglia per registrare nuovamente l'album. Dopo di che, con l'aggiunta di Owen Morris per completare i missaggi definitivi, arrivò "Definitely Maybe".

(via Oasis: ascolta una rara versione di "Sad Song" cantata da Liam Gallagher)

[ajoytobeheld]

Studio news: 5 days from blast off

June 17th, 2009

And so we’re now approximately five days from the aural side of this record’s completion (all bar mastering). Last night the very final vocals were completed by myself, Aleks and then the gang. It was slightly weird, as obviously the last song is left to last for a reason. Often it’ll be the song that people are least keen on or perhaps one that we’re not quite sure exactly what direction it should be taken in, but in this case it was because it was one of the songs I near completed vocals for about two months ago, and then forgot about and hadn’t got back into. Then yesterday, with the pressure on, I had a flash of ‘inspiration’ and the song was wrapped up in about 5 minutes. It then received possibly the best reaction from John Goodmanson we’ve ever had. A big “holy shit!” all round.

It’s the second shortest proper ’song’ on the record and has me doing my best David Gedge impression.

It feels amazing to have all the tracking finally completed and as though the pressure is finally off. Plus, it was a euphoric way to end recording, with a rabble rousing gang chorus sing along. Here are some pictures from the final night’s recording. This is my optimum recording get-up. Actually, this is my optimum look for doing anything. Expect it to hit a stage near you, soon:

Monnow Valley is probably definitely my favourite place we’ve ever recorded. You can project vintage (stuff) onto the ceiling while you record:

(I can't show you the stuff)

Ellen was in bed by the time we started on group vocals, so we had to drag her up, pyjamas and all:

Ollie is the best mascot a band could ever wish for. THIS IS HOW CONVINCED WE ARE OF THIS SET OF SONGS: (go look yourself)

Yesterday, me and Aleks compared reference points for art for this album and the first picture we showed eachother was of THE SAME THING!! Srsly. And it’s a really quite unusual thing too. Which hopefully is a hint that we’re on the right track. Got to knuckle down to that now. But today, Wichita come to town to listen to the 8 songs that are fully mixed, and then I think to celebrate how INCREDIBLE they think the songs are, we should all go to Pizza Express for tea, because it’s Buy One Get One on a Wednesday if you print off a voucher, and I think the printer is working now and HI MARK, I HOPE YOUR TRAIN IS ON TIME AND EVERYTHING!!

[electricsoftparade]

Continuing our trend of capturing our recordings in unusual/famed locations (the drums for Stages were recorded in the legendary glass drum room at Monnow Valley) Alex and I have been gifted a once-in-a-lifetime opportunity and tomorrow we will travel to London's spectacular Church studio to record drums and piano for the upcoming Avenue Dot LP. Excited doesn't come close. LOOK at that place. <3

We will try to take as many lovely photos and clips as possible as we go.... Thomas

[m3t4ln3rd]

Everyday Sidekicks announce Hope EP, release video for new single "Fracture"

Bristol quartet Everyday Sidekicks will be self-releasing their sophomore EP, Hope on March 31st. The group said of the title: “Hope to us is a hugely important factor in life. You constantly have obstacles thrown at you that you need to overcome, times change and sometimes it’s not always good things that come your way. Without Hope for things to get better, life can get on top of you.” The…

[ostensiblynone]

When did you first meet the band and what did you make of them as individuals? Was it a good atmosphere in the studio? We first met in Manchester at a studio called Out of the Blue. I was freelancing again and was recording/producing a session for Bonehead’s band The Rain, which also included Guigsy and Tony McCarroll. They had this guy as lead singer who was quite useless but I saw something good in the solidity of Bonehead’s rhythm guitar playing. We all got on really well I remember, even after he asked for my opinion and I commented on the band’s need for a singer. Later on in the session this guy turned up with some guitars for Bonehead’s overdubs. He said he reckoned his younger brother could do a better job on the vocals. The guy with the guitars and younger brother turned out to be Noel.

—In this new interview for Oasis Recording Information, recording engineer Dave Scott recalls working on the band’s early studio sessions at The Pink Museum in Liverpool and Monnow Valley Studios in Wales. Interview by David Huggins. Answers © Dave Scott. Published on Oasis Recording Info in 2012, 2013

[olafsings]

Music History Today: January 7, 2023

January 7, 1994: Oasis started recording their debut album, Definitely Maybe, at Monnow Valley Studio in South Wales. Upon release, the LP was an immediate commercial and critical success in the United Kingdom. The album sold over 8.5 million copies worldwide and brought widespread critical acclaim. It went straight to number one on the UK Albums Chart and became the fastest-selling debut album in the UK.

[creviewsthings]

Hands off Gretel announce new album & release new video for 'I Want the World'

Hands off Gretel announce new album & release new video for ‘I Want the World’

Hailing from South Yorkshire, grunge-punk newcomers Hands off Gretel are here to literally take over the world with their new album ‘I Want the World’. Recorded at Monnow Valley studio in Wales, it’s set for release this coming March 29th via the band’s own label Puke Pop Records. You can support their pledge campaign for it here!

Not only that, they’ve also launched a brand new visual for the…

[10gaugeofficial]

- Photography by Paul McRoe - (at Monnow Valley Studio) https://www.instagram.com/p/CYjJkZxsUit/?utm_medium=tumblr

[radiomaxmusic]

Tuesday, January 30, 2024 8pm ET: Feature LP: Oasis - Definitely Maybe (1994)

Definitely Maybe is the debut studio album by English rock band Oasis, released by Creation Records on August 29, 1994. The band booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, whom lead guitarist and chief songwriter Noel Gallagher knew from his time working as a roadie for the Inspiral Carpets, though sessions were…

[megarockradio]

Oasis - Definitely Maybe | This Day In Music

Oasis – Definitely Maybe | This Day In Music

7 Jan 1994, Oasis started recording their debut album Definitely Maybe at Monnow Valley Studio in South Wales. When released in August 1994, it became the fastest selling debut album of all time in the UK, (being surpassed in 2006 by Arctic Monkeys debut album Whatever People Say I Am, That’s What I’m Not). The album went on to sell over 12 million copies worldwide.…