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Oasis's Greatest Songs – Ranked!

30. Lord Don't Slow Me Down (2007)

A stand-alone single that was reportedly removed from Don't Believe the Truth to cut down on the number of Noel Gallagher-sung tracks, Lord Don't Slow Me Down offered fruitful, grimy repurposing of the old guitar lick from the Yardbirds' version of Bo Diddley's I'm a Man – by way of David Bowie's The Jean Genie and the Sweet's Blockbuster.

29. Those Swollen Hand Blues (2009)

Keeping up the curious habit of putting better songs on B-sides than their albums, the flip of Falling Down borrowed its title from Pink Floyd's The Wall and its atmosphere from former Floyd frontman Syd Barrett's disturbing final recordings with the band: it's authentically spooky and unlike anything else Oasis recorded.

28. Be Here Now (1997)

Deficient in the songwriting department it may have been, but there are moments where the claustrophobic, clenched-jaw din of Be Here Now works, at least in inasmuch as it literally sounds like the 90s spinning wildly out of control, from the horrible noise that opens it to its finale – which seems to feature someone urinating – the title track fits that bill perfectly.

27. Gas Panic! (2000)

Standing on the Shoulder of Giants stripped away the sonic excesses of Be Here Now, but was virtually devoid of memorable songs – at least its predecessor was piquantly daft. Gas Panic! Is the exception; a troubled, churning depiction of cocaine addiction named after a Tokyo bar.

26. All Around the World (1997)

The coked-out stupidity of Be Here Now in full effect: All Around the World is a great song – a product of Noel's early songwriting purple patch – that deserved a better fate than being inflated to nine and a half minutes of melodramatic key changes, guitar solos and would-be Hey Jude-esque na-na-na-ing. Twenty years on, its preposterousness seems more charming than it did at the time.

25. Going Nowhere (1997)

A poster of Burt Bacharach was strategically placed on the cover of Definitely Maybe, but his influence on Noel's songwriting is most evident on this overlooked B-side: you see how the sweetness of its strings and muted horns had no place amid the wilful ugliness of Be Here Now.

24. Married With Children (1994)

The lo-fi concluding track of Definitely Maybe is obviously a minor entry in the pantheon of Oasis greats, but Married With Children is worth considering, largely because it is one of the few times the kind of sharpness and wit you get as standard in Noel's interviews crept into his songs.

23. Stay Young (1997)

Tucked away on the B-side of D'You Know What I Mean? Alongside a dreadful cover of Heroes, Stay Young deserved more prominence: rejected from Be Here Now in favour of the abysmal Magic Pie, it had a beguiling lightness and a melodic touch noticeable by its absence from the album.

22. Whatever (1994)

Subject of a lawsuit that got the Rutles mastermind, Neil Innes, a co-writing credit, Whatever's melodic borrowing from How Sweet to Be An Idiot doesn't alter the fact that Oasis's 1994 Christmas single was a great song in its own right: live, Liam Gallagher added lyrics that highlighted its similarity to Moot the Hoople's All the Young Dudes.

In the Netherlands in 1994. Photograph: Michel Linssen/Redferns 21. Shock of the Lightning (2008)

Towards the end of Oasis's existence, you occasionally got the impression that Noel's willingness to experiment was doing battle with a desire to give their audience what they expected: there's a hint of motorik to Shock of the Lightning, a single that recaptured some of their initial insouciance.

20. Let's All Make Believe (2000)

Once again, with Standing on the Shoulder of Giants, you had to examine the accompanying B-sides to find the best songs: Let's All Make Believe is a low-key delight, the lyrics of which address atheism and – perhaps – the ructions among Oasis's members.

19. Columbia (1993)

On first arrival, Oasis were occasionally touted in the press as baggy throwbacks influenced by Happy Mondays. On Columbia, you can just about see that: a loping dance beat, cyclical guitar grind, a hint of druggy oddness about the lyrics: "What I heard is not what I hear / I can see the signs, but they're not very clear."

18. Lyla (2005)

A great lead single from an otherwise unremarkable album. If Lyla had been a flop single that came out on Bell Records in 1974 by a platform-shod band called something like Thumper or Bumper, it would be acclaimed as a lost junk-shop glam classic by the kind of people who, by the time of its release, wouldn't give Oasis houseroom.

17. Fade Away (1994)

The combination of the overfamiliarity of their early singles and the workmanlike plod that became Oasis's default setting means that it's easy to forget how brattily exciting they seemed on arrival, but you can hear it – and a remarkably youthful-sounding Liam – on the punky, electrifying Fade Away.

16. Half the World Away (1995)

That Half the World Away ended up as the theme tune to beloved sitcom The Royle Family makes sense, and not merely because of their shared Mancunian origins. Like Talk Tonight, it has a warmth and fragility you rarely find in Oasis's oeuvre: allowing a vulnerable side to the elder Gallagher to shine appealingly through.

15. Rockin' Chair (1995)

On the other side of the dreadful Roll With It lurked the superb Rockin' Chair, a last great example of Noel in wistful, get-me-out-of-Burnage-I'm-suffocating mode that betrayed the influence of the Smiths in its freewheeling acoustic guitar picking and extended outro.

14. The Hindu Times (2002)

Oasis developed a hugely annoying habit of trailing their lacklustre latterday albums with singles that erroneously suggested that things were back on course: The Hindu Times isn't quite up to Definitely Maybe standard, but it's raw, exciting and insistent in a way that the rest of Heathen Chemistry isn't.

13. Round Are Way (1995)

An anomaly in the Oasis catalogue, Round Are Way's delightful vignette of provincial life is sunshiney 60s psychedelia shot through a snarky Gallagher lens and decorated with gleeful brass: it's a shame they didn't do more songs like it.

12. Supersonic (1994)

Oasis's debut single was a rough studio mix of an off-the-cuff jam with hastily written lyrics – Noel apparently downed a large gin and tonic in the studio before writing them, hence the song's most famous line – but its spontaneity worked in its favour: Supersonic sounded like an incredibly bullish statement of intent.

11. Wonderwall (1995)

Wonderwall seemed to become ubiquitous within weeks of release, a ubiquity it has never lost: 25 years on, you are still guaranteed to hear a busker belting it out at least once a week. It has undoubtedly dulled Wonderwall's charm, but songs become ubiquitous for a reason: certainly, Liam manages to invest its largely nonsensical lyrics with real emotion.

10. Talk Tonight (1995)

The aftermath of a disastrous crystal meth-fuelled gig in LA, and a subsequent fight that saw Noel quit Oasis, set to music; a lovely acoustic ballad that found Noel wrestling with that most un-Oasis like topic: fear of failure.

9. Cigarettes & Alcohol (1994)

A charitable interpretation of Oasis's light-fingered approach to other people's songs (in this case by T Rex) is that it was a rock equivalent of sampling. Certainly, it gave them a familiarity that, on Cigarettes & Alcohol, clashed thrillingly with the venom of Liam's delivery.

8. The Masterplan (1995)

Oasis's willingness to relegate songs as good as The Masterplan – far more appealing and less portentous than subsequent lunges for anthemic status – to B-sides was both a masterstroke and a mistake. Initially, it made Noel's songwriting look startlingly abundant; although if he had stockpiled them, the third Oasis album might have been a very different beast.

7. Rock 'n' Roll Star (1994)

A perfect example of how circumstances overtook Oasis, Rock 'n' Roll Star's snarling hymn to self-belief sounded hugely exciting and powerful performed by a band on the brink of fame, but didn't make a huge amount of sense a few years later, played by people who were literally rock'n'roll stars.

6. Don't Look Back in Anger (1995)

Footage of crowds spontaneously singing Don't Look Back in Anger after the Manchester arena bombing underlined how the song has become part of the fabric of British life. The tune is indelible and the lyrics mix placeholder gibberish with a prescient note of caution regarding hero worship: "Please don't put your life in the hands / Of a rock'n'roll band / Who'll throw it all away."

New York, 1994. Photograph: Steve Eichner/WireImage 5. Live Forever (1994)

A song that launched a million closing-time sing-alongs, Live Forever was the song that marked Oasis's shift from headline-grabbing music press phenomenon to vast mainstream success. You can still see why: the melody is fantastic, as is Liam's vocal, and its mood of battered-but-blazing optimism remains incredibly infectious.

4. Morning Glory (1995)

Cocaine helped ruin Oasis's third album, but before the inevitable crash, they came up with one of rock's great paeans to the drug's dubious power. Weirdly, it's all in the sound, not the lyrics. Morning Glory is potent, feral and aggressive, topped off with a particularly sneery Liam vocal: it's impossibly thrilling while it plays, but you wouldn't want to live there.

3. Acquiesce (1995)

With hindsight, Noel's insistence that Acquiesce should be the B-side of the inferior Some Might Say was an early sign of a hubris that would be Oasis's artistic undoing. It's a fantastic song, and the pleading tone of the chorus still makes it sound like a rather moving depiction of sibling relations, despite its author's constant insistence that it isn't.

2. Slide Away (1994)

Definitely Maybe is packed with songs that yearn for escape from everyday life, but Slide Away is the greatest of the lot, the pent-up frustration of the verses, perfectly embodied by Liam's vocal ("We talk of growing old / But you say 'please, don't'") exploding into the chorus's irresistible, longing euphoria.

1. Champagne Supernova (1995)

(What's the Story) Morning Glory opened with a song that rewrote Gary Glitter's Hello! Hello! I'm Back Again and ended with Britpop's equivalent of the great elegiac anthems that marked the waning of glam: Bowie's Rock 'n' Roll With Me, Mott the Hoople's Saturday Gigs, T Rex's Teenage Dream. Exalted company, but Champagne Supernova earns its place; self-aggrandising and melancholy, it's the sound of Noel, at the peak of Oasis's success, apparently realising it is a passing moment, offering the perfect epitaph for swaggering mid-90s hedonism ("Where were you while we were / Getting high?") and delivering an oft-mocked line ("Slowly walking down the hall / Faster than a cannonball") that's actually a pretty good description of someone treading gingerly to avoid attracting attention to their head-spinning state of chemical refreshment.

Oasis And The Gallaghers: Their Best Albums Ranked!

"Sometimes being a brother," American children's author Marc Brown famously wrote, "is even better than being a superhero." Sibling rivalry has certainly driven the Gallagher brothers to extraordinary heights, both together within the uneasy alliance of Oasis, and thereafter in their solo capacities since the band split in 2009.

What they shared while growing up in suburban Burnage, south Manchester, was a passion for two rock idols, The Beatles and the Sex Pistols. After much in-studio huffing, puffing and pugilism, 1994's Oasis debut, Definitely Maybe, delivered a confident amalgam of those two influences, and almost single-handedly reinstated home-grown rock in the British pop charts. For the next couple of albums, Noel drew on a stockpile of anthems composed pre-fame, but the problems started thereafter, when he felt increasingly straitjacketed by the imperative to write for stadiums. Successive albums lacked creative movement and, increasingly, zip.

Oasis almost single-handedly reinstated home-grown rock in the British pop charts.

For fans, the bust-up in Paris which finally terminated Oasis in August '09 has brought the inescapable benefit that each makes livelier, more interesting music alone. Initially, it appeared that Noel held all the cards, as the songwriter extraordinaire breezily cast off his shackles to embrace disco beats and Laurel Canyon vibes, while Liam's neo-Oasis efforts with Beady Eye rather unjustly foundered. When Liam began trading under his own name, with help from high-end co-writers, the tables turned.

Since then it's been more of an even fight. With a new High Flying Birds album on the way, Noel has even been making noises that a rapprochement with his brother might not be as far fetched an idea as it was only a few years ago. Amid ever-depleting numbers in the classic-rock superleague, the heritage wages would surely be astronomical. Until then, here are MOJO's pick of the ten best albums by Oasis and Liam and Noel's post Oasis projects...

10.

Oasis

Heathen Chemistry

Big Brother, 2002

Though the final two Oasis LPs had their moments, such as ultimate piledriver The Shock Of The Lightning off '08's Dig Out Your Soul, this fifth studio outing was the last consistently thrilling one. Having booted out all three of Liam's original bandmates from The Rain and supplanted them with handpicked indie-rock pros, for Heathen Chemistry, Noel opened the door to others writing songs. Gem Archer's Hung In A Bad Place and, particularly, Liam's Songbird – a breezy love letter to his then-fiancée Nicole Appleton – brought fresh energy, while Noel's perennial England-out-of-the-World Cup weepie Stop Crying Your Heart Out topped off a promising new blend that never quite matured.

Noel Gallagher Interviewed: "I'd hear Blur or Pulp on the radio and think, Fuck these idiots…"

Noel Gallagher's High Flying Birds

Chasing Yesterday

Sour Mash, 2015

On release of his second solo record, Noel recalled how he and Gem Archer would reflect on critiques of late-Oasis stodginess, wondering, "What do they expect – space-jazz?" This, clearly, was to prepare the troops for Chasing Yesterday's expansion on solo Noel's first freedoms, to include sax solos (hear blissful, West Coast-ish opener Riverman) and two revised outtakes from a shelved collaboration with cosmic '90s dance troupe Amorphous Androgynous. Themes of middle-aged ravers regaining the old magic, and an appearance by Johnny Marr on wonderfully dreamy disco-pumping closer Ballad Of The Mighty I, sealed another chart-topping victory.

Oasis

Standing On The Shoulder Of Giants

Big Brother, 2000

The sixteenth-fastest-selling album in UK chart history got a universal kicking at the time of its release, as critics perhaps detected, of all things, a crisis of confidence in Oasis's leader over creative direction, after the "cocaine expansionist" lunacy of 1997's Be Here Now. Despite side two's Noel-sung missteps, the lumpy Gas Panic! And Little James's cheesy new-father lyrics, the rest of Standing On The Shoulder Of Giants has weathered much better than later records. Opening breakbeat instrumental Fuckin' In The Bushes is a pulse-quickening Zeppelin-esque monster, while the hazy-lazy Go Let It Out offered a superb, acoustic-rattling response to the hot post-Britpop sound of The Beta Band.

Liam Gallagher

As You Were

Warner Bros, 2007

Even while Beady Eye was failing commercially, it was Noel who advised, with a winner's smirking disinterest, that his younger brother should go solo, with "his name in lights" – an obvious reference to late-'60s Elvis. The parallel wouldn't be irrelevant when Liam ultimately did so two years later. With the push of a major label behind him, a raft of elite-class songwriters helped sculpt material that essentially celebrated Liamness. Thus, while Noel's solo records sought routes away from Oasis-style rabble-rousing, As You Were simply gloried in it (Wall Of Glass; Greedy Soul), while also, on For What It's Worth, mining the singer's troubled private life with winning vulnerability.

"People want you to rewrite fucking Don't Look Back In Anger 14 times..." Noel Gallagher interviewed!

Noel Gallagher's High Flying Birds

Sour Mash, 2011

Even on first listen, Noel's solo debut felt like a liberation. Swapping Oasis's stampede of multitracked guitars for a strummed acoustic, and his strained bark for a more natural, choirboy-esque vocal purity, …High Flying Birds birthed a sound that played to his own strengths (thoughtful, sophisticated), rather than Liam's (headlong). Everybody's On The Run and If I Had A Gun… saw him take his foot off the gas to wonder at the world, while proven pop smarts resurfaced in Kinksian whimsy (Dream On) and piano-house-like euphoria (AKA…What A Life!). Britpop's songwriting master had got his edge back.

"It's the sound of Noel Gallagher pushing onwards, while once again playing to his strengths…" Read MOJO's verdict on Noel Gallagher's new album, Council Skies.

Beady Eye

Different Gear, Still Speeding

Beady Eye/Dangerbird, 2011

Following Oasis's split, it spoke volumes that, within weeks, Liam had announced a new band alongside the other three members (guitarist Gem Archer, bassist Andy Bell and final-tour drummer Chris Sharrock), leaving the increasingly isolated 'Chief' Noel to go it alone. By the time Different Gear… emerged, its sense of 'continuity Oasis' felt mistimed – quite simply, the world wasn't ready to welcome Oasis back yet, in any guise. Beady Eye's debut is, however, something of a lost classic, delivering flagrant Lennonisms (The Roller), Who-esque thrills (titled Beatles And Stones, oddly), and piano-trashing rock'n'roll (Bring The Light) with a vitality that bespoke years of repression under the old regime.

Noel Gallagher's High Flying Birds

Who Built The Moon?

Sour Mash, 2017

Following his team-up with The Chemical Brothers on '96's Setting Sun, Noel had experimented with 'going dance' in Oasis circa '03-04 via abortive sessions with Death In Vegas, then solo with Amorphous Androgynous. He doubtless felt pressure to modernise, and things eased in that direction with 2017's team-up with Belfast producer/movie soundtracker David Holmes. WBTM upheld solo Noel's sense of casting off shackles, echoing New Order, Phil Spector and The Prodigy, and, in Holy Mountain's use of the glam-y horn riff from Bryan Ferry's Let's Stick Together, reconnecting with early Oasis' 'genius steals' mentality.

Oasis

The Masterplan

Creation, 1998

A central plank to Oasis's mid-'90s dominance dictated that Noel's songbook was so stuffed with classics, the extra tracks on singles packed more chart-topping potential than any other band's A-sides. Here, as a stopgap after their 1996 Knebworth mega-gig and Be Here Now, they reinforced the point: The Masterplan trounces all later Oasis LPs, too. Three cuts – opening brotherly-solidarity duet Acquiesce, bittersweet soul-searcher Half The World Away, and the orchestral title track – really were Number 1s that slipped the net. Others, like acoustic tearjerker Talk Tonight, clearly weren't, but their variety of mood and instrumentation make a fine companion to the Oasis-in-overdrive 'proper' LPs.

Oasis

(What's The Story) Morning Glory

Creation, 1995

It's hard to overplay the breathless, pre-social media phenomenon of Oasis through 1994-95, and how their ascent was mirrored in their second LP's expansion on the debut's raw materials. Most importantly, in Wonderwall Morning Glory had the heartstring-tugging megahit to facilitate the band's crossover worldwide. At every turn there was growth, from Noel's primetime vocal debut on the anthemic Don't Look Back In Anger, to Champagne Supernova's Quadrophenia-on-steroids finale. Quite how much was 'held back' for LP2 by career mastermind Noel is still questionable, but these mighty choruses would soon resound around Earls Court, Maine Road and beyond.

READ: Blur and Damon Albarn: The Ten Best Albums

1. Oasis

Definitely Maybe

Creation, 1994

Their second album may have become the UK's third biggest-selling studio long-player of all time, but with every passing year this debut becomes more established as an unassailable career zenith. Often plausibly compared with Never Mind The Bollocks, Here's The Sex Pistols, this album's cultural impact was in some ways as far-reaching (if not politically), as it reignited British rock. It also took endless tinkering mix-wise to finesse Noel's beefed-up guitars, but there was a purity and purpose to his songs on Definitely Maybe that can never be repeated. From Live Forever's gutter-level stargazing and Slide Away's desperation to Rock'N'Roll Star's magical self-fulfilling prophecy, it simply cannot be bettered.

Noel Gallagher: 10 Songs From Oasis To The High Flying Birds

Hail to The Chief.

Noel Gallagher returned this week with new single 'Easy Now', as well as an announcement that his fourth solo album, Council Skies, will be released later this year.

The man behind Oasis' biggest hits has been one of the most recognisable and opinionated voices in British music for coming up 30 years, writing anthems beloved by multiple generations.

Calling himself The Chief, he led the UK's biggest band as chief songwriter, lead guitarist and occasional singer before one fight too many with his brother, lead singer Liam, brought the band to a messy end.

Gallagher has gone on to enjoy solo success, and we've taken a look at 10 songs – plus five bonus tracks – that tell his story in his own words.

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ROCK & ROLL STAR (Definitely Maybe, 1994)

While America had grunge and pop-punk, the UK rock scene of the early 1990s centred primarily around shoegaze, with its distorted vocals and droning riffs. Oasis kicked the door down with the first track on their debut album, a raucous ode to being a dreamer on the dole. "In my mind my dreams are real… tonight, I'm a rock & roll star".

SLIDE AWAY (Definitely Maybe, 1994)

Arguably Noel's greatest ever love song, written about his relationship with then-girlfriend Louise Jones. Liam's vocal, recorded in one take, was described by his brother as his finest moment as a singer, with the song proving that sneer and swagger weren't all Oasis were bringing to the table.

DON'T LOOK BACK IN ANGER ((What's The Story) Morning Glory?, 1995)

One of the two mega-selling singles from second album (What's The Story?) Morning Glory, 'Don't Look Back In Anger' was the first time Noel took lead vocals on an Oasis album track. Almost 30 years later it's basically the alternate national anthem, and it took on new meaning when it became associated with Manchester's response to the terrorist attack on an Ariana Grande concert. Gallagher has said if he knew the lasting impact the song would go on to have, he'd still be writing it today.

CHAMPAGNE SUPERNOVA ((What's The Story) Morning Glory?, 1995)

Oasis at their most Oasis, the ne plus ultra of Gallagher. The closing song on Morning Glory is triumphant, rousing – and completely nonsensical. Noel confessed he often finds himself wondering "what the f*** is that all about?" when playing the song. His answer? "Looking out at a sea of teenagers singing the words of a nonsensical song by a band that were broke up when they were two – that's what it means".

THE MASTERPLAN (Wonderwall b-side, 1995)

Some of Oasis' greatest material is to be found on the B-sides from the first two albums. Songs like Acquiesce, Talk Tonight and Half The World Away became staples of their live set despite never having been included on a studio album. They were eventually collected in one place in a compilation called The Masterplan, and the title track – the b-side to 'Wonderwall' – is frequently cited by Noel as one of his finest songwriting moments.

GAS PANIC! (Standing on the Shoulder of Giants, 2000)

It's not all "walking down the hall faster than a cannonball" in the Gallagher oeuvre, as this highlight from the underwhelming (and grammatically suspect) Standing on the Shoulder of Giants proves. Written about the panic attacks Noel was suffering at the time, his anxiety manifests as a "tongueless ghost of sin" tapping on the window at night.

THE IMPORTANCE OF BEING IDLE (Don't Believe The Truth, 2005)

Tired of being accused of ripping off The Beatles, Noel decided to rip off The Kinks for this 2005 number one single. In truth that's a cheap shot at a clear highlight of the latter-day Oasis canon, a stomping tribute to the joys of doing nothing. "Give me a minute/a man's got a limit/I can't get a life if my heart's not in it", declares the titular idler.

AKA… WHAT A LIFE (Noel Gallagher's High Flying Birds, 2011)

Oasis imploded in a maelstrom of smashed guitars and flying fruit backstage at the Rock en Seine festival in Paris in 2009. Three years later Noel returned with his solo project, Noel Gallagher's High Flying Birds, and this Hacienda-inspired disco stomper comes across as a sigh of relief from The Chief.

DEAD IN THE WATER (Who Built The Moon?, 2017)

Noel branched out even further from the Oasis sound on 2017's Who Built The Moon, taking psychedelic and glam rock influences to form an experimental album that features a French woman playing the scissors. On its final track though he proved he could still do balladry with the best of 'em, including the raw version of a song he'd demoed during an appearance on Irish television.

Read More: 10 Pulp songs that tell their story as Britpop legends prepare for reunion tour

EASY NOW (Council Skies, 2022)

Following that more out-there sound, which was followed by a series of Eps, Gallagher has reached back into the bag of tricks marked 'soaring and epic' for the first cut off new album Council Skies. Strings? Check. Guitar solo? Check. Rhyming 'prayer', 'there' and 'fare'? Double check.

BONUS

LIVE FOREVER (Definitely Maybe, 1994)

Written in response to Nirvana's 'I Hate Myself and Want To Die', this Oasis classic is a paean to being young, in love and just ALIVE. Gallagher wrote the song on the construction site on which he was working at the time and says he knew instantly he had a classic on his hands.

SOME MIGHT SAY ((What's the Story) Morning Glory?, 1995)

The last Oasis song to feature original drummer Tony McCarroll and the band's first UK number one, 'Some Might Say' is a perfect illustration of the band's huge sound and Liam's sneering vocals. McCarroll, who Noel said was sacked for being "crap with a s***e haircut", sued the band after his dismissal but ended up settling for just £600,000 and agreeing to give up his claim on any future royalties. Some might say he was poorly advised…

I HOPE, I THINK, I KNOW (Be Here Now, 1997)

Everyone knows the story of the third Oasis album. By now the biggest band in the world and doing industrial quantities of cocaine, the band decamped to France to make an album that was bloated – it lasts 71 minutes – over the top – one song contains around 25 of the same guitar line on top of each other – and ultimately the end of the band's imperial phase despite it selling nearly 500,000 copies on day of release. It's not all nonsense though – 'I Hope, I Think, I Know' is the band on top form.

LITTLE BY LITTLE (Heathen Chemistry, 2002)

Though their later albums were invariably patchy, you could always rely on Oasis for a great single and this certainly fits the bill. It's also a veritable goldmine of Gallagher-isms, AKA lines that don't really make sense but damn well SOUND like they do. "True perfection has to be imperfect"? Don't think about it, just sing along.

LOCK ALL THE DOORS (Chasing Yesterday, 2015)

For his second solo album Noel went way back into the vaults, finally finishing a song he'd demoed for Definitely Maybe. According to The Chief, the melody for the verse came to him as he left a Tesco Metro one Sunday night.

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