The Noel Gallagher Guitars & Gear Interview

[Music] foreign [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] thank you [Music] [Applause] [Music] hey everyone welcome to that photo show Dan here Mick here Noel here oh my goodness uh what an absolute uh honor and treat uh we are in Lone Star Studios null studio in London and uh we're gonna hang out and talk guitars and make some noise and pedals and everything mate thank you so much for doing nice pleasure I'm a I'm a fan of the show obviously and uh yeah I've known you for a bit and uh yeah we all said to come down to the studio and check it out it's uh it's a it's a great well a lot of people that have their own Studios for you know it's an amazing privilege to have you on Studio particularly in London yeah yeah but um yeah this place took quite a while to build but it is honestly is truly amazing it's one of my favorite places to hang out but it's great but no thanks for coming oh man you're kidding amid the uh the hum and throb of some awesome amps that you'll hear in a minute um so comforting Noel's been setting up and playing some uh tones where we've been getting going Dan and I have been stood in the control room kind of just checking ourselves a little second there you playing rock and roll star you're playing all kinds of tunes and riffs and we're it's far out but um I think we should start with guitars now can we do that yeah of course um can we rewind all the way back to the guitar behind the door in the kitchen yeah I'm not it was it uh so first I don't know why it ended up there I thought my dad never played it and I and he wasn't the guitarist he was he was a DJ I can only assume that he'd either won it at a game of cards or either designs of I don't I don't know and uh it was blonde and it had a hummingbird on it I don't know whether it was a Gibson I have no idea but that guitar yeah it kick-started everything really um you know it was I used to get grounded a lot because that was a bit of a difficult child but um and I used to take it upstairs and play along to Joy Division bass lines is how I learned how to I used to play One String at a time and play level Towers apart and all those great Peter hook melodic bass lines and then uh there was a there was a guy who knew a guy you know who smelt a petunia oil right and uh I had no concept of the tuning of a guitar and this guy came around and he tuned it up and it's like oh what do I do now and and you know I think the first thing I've learned to play in it was House of the Rising Sun right and um yeah it was just a it was just a total Escape for me from what was a pretty difficult childhood was you could get and still to this day you know I kind of younger yourself you can just get him you can pass a couple of hours yeah you know in a in a blink of an eye just noodling around I always say some of the best gigs I've ever done I've been in my front room where it's just thinking God I'm brilliant at this system if only I could do it in front of all those people but um yeah no it's been it's been one of the great the great uh accidental uh privileges of my life is to you know be into it you know the more guitarists you speak to it's like the Obsession of the way they look and all that was my thing you know um but no that that that that guitar Lord knows where it is or where it ended up but yeah what thing yeah it's like Excalibur it was quite mad walking in here today to see this Marshall valve State and The wem Underneath so uh watching some of those rehearsal tapes from the early days of oasis you're down there with this yes the space echo on top actually I am playing I haven't played those two for 30 years right and I so I knew I still had it and uh I've got the guitars obviously I haven't got the space Echo suddenly because that was a big part of the sound he would go into the front of the space Echo and just turn the the preamp Up full and uh so we've got down there and the Wham at the bottom the markings are still on it and the base of the trouble is on Full right which is insane and uh and I do and I plugged it in there and just played the cigarettes and alcohol I was like my God that's the sounds that is the sound of Oasis it's all about hits on the track that yeah yeah yeah well it's it's that and they've been driven compressed on the desk right um but yeah we've found some outtakes recently of Definitely Maybe sessions and it's all it's before the track starts this is what it sounds like but um it was never a great it wasn't no big concept behind that sound the when I bought there was a place in Manchester called Johnny Roadhouse anyone that knows the Manchester uh music shops Johnny Roadhouse was amazing everything was 50 Quid everything and uh I'd have bought that for 50 Quid you know and um the uh the Marshall I think I got when I must have come into money somehow and you know the um Led Zeppelin and pistols and all that kind of thing and the two of them together actually just sound I mean it sounds amazing that's that was the live the live rig uh until the royalties came in you know but um those whams I mean wow why two amps don't know I think I found the Marshall a bit thin sounding right and I don't know it might have been my it might have been my sound engine at the time Mark Coyle who ended up producing Definitely Maybe with us I don't know because I'd never seen anybody use two amps it wasn't a thing a Marshall and webms don't particularly go together somebody would have said trying both together and uh that would have been just everything about Oasis at that time was all just accidentally we were just a bunch of guys in a rehearsal room playing and that's what it sounded like and that's what we were trying we never messed with it really you know I would be in the way later down the line that I would get a pedal board you know and it was like a pedal board what else for you know it's like put pedals on I was like what did they do you know and the only pedal I was the space Echo and Anna got this like an on off switch to kick the delay in and that was it but I don't know why economics name in your skin and you know and you don't know any better you know you just whatever sounds great you know so it would have been that really I guess we'll get into more of that as we go on but the two amps thing has remained a theme hasn't it yeah throughout yeah and yeah now now I'm wise enough to have two of the same amps you know but there is something about when I was mixing foxes and Marshalls uh I've got here Vox AC 50 head that was did all the live things from when we became really huge through a marshall cab and and again it wasn't like some huge concept but it was just like well to strike through that Marshall and go oh that sounds great and um I would always have on top of it or beside it the blues Junior for some reason when you're mixing fat things with more direct things it kind of works for me but then I realized many years later it's because I never stood in front of it so I'd be standing here and that amp would be over there somewhere and I remember one day I did stand in front of it and go what the what's that um but uh yeah there is there is so you know like when you get when you're playing big places you can really push it right the volume thing you know like oh you start off in small little clubs and rehearsal rooms and it's kind of now I think a lot of equipment is tailored for every conceivable situation a band could find themselves in you know you don't mean that you don't even have to have enough you can have an interface now on a thing and it simulates it off but back then you know it was kind of your small answer because of a small rehearsal room but remember we got to Arenas and the Marshall just wasn't it wasn't good enough anymore so we just start pushing it stacking things and um there's nothing quite like sound of that rig in an arena there's nothing quite like stadiums are another thing but the arena guitar sound is one of my favorite ever Rock sounds ever and this I also love sound checks I could start a sound check for hours just walking around jamming and you know with the band that it would just sound incredible this massive 10 12 000 space with nobody in it just the best thing ever like Wembley Arena or something like that yeah yeah yeah Wembley sounds great yeah Wembley Stadium sounds great but yeah most of the arenas the O2 not the auto is a little bit too big but when you get those small ones 10 12 000 that's amazing but I think we're talking about Keely did this pedal that that Reverb or the red one the 30mm yeah yeah and it's got this River and I don't know but it sounds like you're in an arena playing it's got this kind of slight delay on it from the reverse amazing but I used to love the the arena sound particularly when you've got a big a big big brilliant not great for the singer can we take a trip down memory lane there and have a listen to this yeah what's you want to listen to first let's let's go with the Marshall on the web and um are you sure you want to sit there yeah yeah this would be amazing mix around somewhere it knows Tech and of course it's a Les Paul well this Les Paul now let me tell you about this list Paul um so we were recording definitely uh nothing I've got it now but oh yeah just a marshall in the van we were recording uh Definitely Maybe the first attempt I in Monroe Valley um the first attempt whoa of the first and the first attempt at in mono Valley in Wales and um and I had an epiphone that's poor right because I couldn't afford a real one I wasn't really into I was into the look of Les Paul's but I didn't The Beatles played that performance that was good enough for me anyway so I'd known Johnny ma for a few years at this point maybe two or three years and he sent some guitars down to record this out he sent this I'll never forget it it just sends this black and white Rickenbacker right that's just in a just a shitty case and I'm looking at it and I and I know it's I'm going surely he's not mad enough to send down The Smith's guitar to a load of scallies from a council listing South Manchester turns out he is that mad right and he says I've sent you this I've sent you this I've sent you a real list Paul oh my great took this guitar out of the case one night and the first thing I played in the bedrooms was what became Slide Away far out what's like that it's going to play on top of these things this guitar it turns out so I'm like I fall in love with this guitar and I love the way it looked and he said we can have it just like that and I was like and it was only years later he got it off Pete Townsend all right and I remember some something got damaged on this guitar and I took it into a guitar shop in New York and they had to take the neck off and when I went back to pick up the guy said the neck doesn't belong to the body right and I was like right and he's and I was like thinking oh Townsend smashed it up probably you know what I mean so there's like a it's a Frankenstein of a guitar anyway talking to Johnny and I'm like guitar what tell me about that guitar got off Pete Townsend he's not panic on this guitar all right this is a Smith guitar and at that point I was like you ain't going that way and I wrote Slide Away on it right and I used it on all of the Definitely Maybe recordings and I used it for years have you it's got a really really funny thin neck I don't know now that the neck is something I don't know what the neck is doesn't match the body anyway and it's like a it's like a I don't know whether it's a fit I'm not sure well the the logo down the headstock usually means it's an earlier one that's what you thought isn't it Simon Simon's with us today uh maybe a 53 conversion or something but um yeah that's that's maybe it's been slimmed down yeah it is or something well yeah I mean there's no lack of taking off the back of it but yeah but [Applause] [Music] [Applause] laughs [Music] and I only realized last night I was doing a bit of on YouTube looking at I thought about taking Marshall valve to see what I didn't realize it's a metal lamp when it came out it was a metal High Gain amp which if I'd have known that at the time but I've never gone near it I know right but it it was such a it complemented that whim yeah so much it was kind of like that would have been the one if I think about it now would have maybe been too retro and that made it sound a bit more modern and in your face and the way they're coupling together that bottom end is amazing yeah yeah yeah yeah if you don't if you're just not the martial yeah so here's no Marshall [Music] [Music] foreign it defines in your face yeah it's like there's no around with that sound and it was why I guess we never use pedals not one of us they're over all all the sounds of the the dirt are all from the amplifiers I don't I remember doing definitely we never had one single pedal apart from the the um the space Echo because that was the sound of our rehearsal room right you know but this guitar I have to say is you know I mean I'd love to know what Townsend did I'm not sure it's like it would have been like a 70s film or something but it's just the most amazing thing it's the best looking Les Paul I think I've ever seen and uh it's got a neck that fits my I've only got little answer a guitarist but when I told Johnny that I I lit I mean the night I wrote sideway was insane night I remember being off in the bedroom in the studio mono Valley and just putting a drink down and I was on the I took it out of the cases wow it's beautiful and I literally wrote Slide Away not the words obviously but the entire kind of structure of it remember he was like because I don't know if you're one I'm one of those people that that think that there's music in these things right and you've just got to get it out so ordinarily when I'm if I'm at home and I've got a guitar at home and I haven't written anything on it for a while it served its purpose to go let's go and get another one and something will happen you know and I you know Slide Away was in there and uh but you know there's not a day goes by that I don't give thanks and praise to Johnny for for giving me this guitars dude because that was a pivotal moment for you you say the songs just started coming and coming and coming after that yeah well it was when I wrote it was when I wrote live forever actually was when um when I wrote when I wrote live we were we were pretty good up until the point where I wrote lived forever and then when I wrote that song I knew enough about music said no or we've gone for it's gone from being Indie to Classic now and it was all it was after that where that's where the Benchmark was set and nothing would would ever be good enough unless it was as good as that yeah sorry it was live forever I'm mixing up my history yeah because they didn't believe you'd written it right still don't but I remember playing it to I remember playing it and if you can imagine it wasn't playing it on I didn't have an acoustic guitar at that point so everything was written on the electric oh wow so uh I was you know in the rehearsal room maybe we got to the end and he was like you're not just written that and I was like I wrote it last night and he's like you've not just written that and um yeah he yeah he was he was adamant that he would find it somewhere you know but it was like um that was one of those songs that just fell out of the sky it took half an hour 20 just was there it's all there and what's great about that song is it's got No Chorus it's just it starts off with me you know I mean and what would be a bridge so the chorus is basically one thing which Liam so this you know was like am I well he's gonna sing that bit I'm like well you're gonna you're gonna sing it the other thing is like yeah and he gave up after him and he gave up pretty soon he's like you're gonna have to sting that bit and I was like okay because that's not gonna sound bad is it defining big song in it yeah yeah it's it's uh used to be funny when he stopped singing that bit and before I started singing it there's a bit where you do 20 000 people all do it and he has anything else he'll never see another problem [Laughter] when did you first know you could write a tune I started you know when I when I obviously had the guitar tuned and I got my own first guitar which was a k k hummingbird right it was black um I got it from my mum's catalog my mum ran the K catalog right and um I I instantly started to not not to be a songwriter but to to do my own thing because I often wonder sometimes I see guitarists right who are extremely extremely gifted and can play anything but they can't write yeah yeah and it's a I often wonder if if I'd have been like a you know a prodigious Talent on fretboard either concentrated on that you know and not on the strumming and my on my timing and and The Melodies and the chords but I started to put together kind of things pretty pretty soon you know I've never been I mean now nowadays I can do I can do covers and you do them when you're doing sessions they always want to cover now in your radio session you know they say new and old one cover you know there's only many so many Bob Dylan songs you can you can and um but yeah I offer if I was a wizard on the fretboard would I would have written songs so simple as the forever you know only only a writer could have written it um and I also think one of the great things about Oasis was we never had that Guitar Hero fella you know I I would play solos you know but they weren't like they weren't like these I mean they were they fit the song and they were and they were melodic and magical and it and they were right but I think the beauty of it was is that anyone could play him well you say that but I've heard a thousand bands play Don't Look Back in Anger and I've never heard anyone play the guitar solo correctly well come and see me like this song when you see someone who still can't work correctly following that one and that's so perfect for that song and a guitar player a someone who's just a guitar player wouldn't approach no if I'd have if I'd have had see now when I make records I do delegate the guitar solo but it's quite a lot because I've I I prefer I prefer listening to all the guitars because I'm a fan of you know when Johnny's air or Paul Stacy's here orwella you know playing your time kind of sitting there like wow not supposed Stacy of course but said the other two but uh but Miss Stacy is an astonishing continuous really really is or if you're watching uh any of the kids thinking who does all the guitar solos on my records the good ones are all Paul Stacy he is amazing um but when you got like well and I just love I just love listening to them play and um I do play a few on this new record but if I'd have got in a session guy let's just say I was right and live forever tomorrow I don't look back in anger and you would get one of your mates to play it this wouldn't be the same as there's something there's something well we all know there is something in the simplicity and once you've once you know too much you can't just simplify yourself you know what I mean you have you have to you have to be a simple kind of it's the melody it's the defining myself as a simple thing it's your Melodies are so strong whether you're playing a guitar or or you know within the song itself and so what you know when you do a Solace like it's the perfect addition it doesn't take anything away just that Focus away from them from what's going on with the rest of the song it adds to the song yeah well I put everything into the melody yeah and the tune if I've got if I've got what I consider to be a Finnish song and the melody is great and the tune is great you're there yeah you can only you can't mess it up after that and you know I've made records which are written in the studio like the one the one before this one that I made which you were present out a few times that was not written on a guitar was written on synthesizers with drum machines and all that and it was a challenge for me and I loved it but I was making that record two years before I knew what I was doing didn't have a single song finished it was all just Vibes you know what I mean uh but with when you're writing on a guitar it's instant once it's there it's there and can't mess with it but um I put everything into the melody everything because that's what that's what people are that's what people remember because how many songs do we know where we don't know the words yeah yeah I don't know any I remember doing a cover of town called malice right or the last time I was doing it Wella I know you kind of Googled it because we were rehearsing it before we got to this gig at Brixton and I was singing it singing it in with the band let's look at the words going is this what it says no matter what we all say when we're in Telecom manager it's yeah it isn't it that song is amazing and it's only until you start is that what it says I'm I'm not big on lyrics As long as the lyrics fit the mood of the song then that'll do for me you know and I think it's a gift is to I know when to let a song go when it's and not and not to make it too clever it's just I just let it go now sure you know go on something else um but it's fascinating when you see great guitarists you know like Charlie and Stacy well and he's just like I look at Johnny sometimes in here and honestly it looks like he's it doesn't look like he's playing the most intricate arpeggiated thing in the world I'd be grimacing on the floor and he's he'll talk to you while he's doing it the track will be going I swear to God I've seen him do this the track will be playing and the way the way he he he does it is when he's [Music] dying oh yeah I guess um how to fix these things but uh it doesn't let you send him the track won't hear it right he's not interested in it so you're coming here and I say I've got three or four though you're like yeah cool whatever and he plugs he's got he'll come down with a couple of guitars and his guy will turn up and just put a paddle board down and be in there and he'll just listen to it and he'll start playing and then he'll start telling you what he's about to do while he's doing it he'll be like so I'm going to do it while he's doing so what I'm going to do here and then I'm going to bring it down there so it's dark and I'll be like how can you do that in all the conversation with someone it's mad what he does it's truly mad what he does and have you ever met him no yeah I mean he he's one of those guys that when he leaves the room you're like isn't music brilliant ah guitars great an art guitarist the best people in the world you know it makes you feel so enthusiastic and good about what you know about what you're doing and you'd be great to get him on the show he's amazing he is coming to our neck of the woods so we'll have to busy yeah he's he when we were doing this last album and it's all written on the guitar it's quite guitar heavy and uh he sees it because like the guitar thing now he's like you see young bands and they kind of wear them right the guitarist kind of wears it that's really interesting and does a noodles around it because buns feel like they have to have a guitarists so they wear it Johnny sees it as a duty he said this to me it's a duty to play these things and we have to we have to bring them back and uh he's got an amazing take on it all and uh you should get him on the side it's a connection as well or not I think one one thing that you and he have in common is because he wrote it because you imagine the melody because you know how to bring It Forward I think that's what connects with people listening and why those songs become so iconic and I guess publicly Dan and I wanted to say thank you yeah because in that period there um especially when it kicked off in the mid 90s genuinely I think you were you encouraged as many people to pick up guitar as anyone else yeah well thank you but I mean I have I have been in many a black cab and the guy and the guy doing the black hole saying you know what mate I started to play guitar because of you and I was going and yet you're still driving a taxi but no no no I get that a lot of a lot of bedroom kind of stuff but that's how I started yeah it's just strumming in the bedroom and then you know but unbeknown to anyone Barnard and Griggs started a thing and Liam got involved and then he asked me to get involved but the fact that you can sit and play a guitar for a couple of hours and it just passes it is is that's an amazing thing to have turned other people on to and yeah I mean the the the the the guitar boom after we came along was huge I think every Guitar Company should give you shares every Ham Company should give you shares because every gig you should be paying you royalties I I haven't done a cover gig in 25 years without playing one of your songs oh wow yeah right you know yeah yeah well well you know it's kind of like there are those particularly the the ones from the 90s honestly they are they're an incredible document of a moment in time for us all the 90s was an amazing time for musicians now we're living in the Golden Age of technology and pedals and all that kind of thing like the last 10 years possibly the last 10 or 15 years have been far out with some of the stuff that comes out now but in the 90s there was like you know we didn't have the internet so gigs were like there was an important thing you know and to be a musician in those times was an incredible thing but those songs that I wrote are an amazing document of those times and you know when we were watching when we did the net worth documentary we were watching all the footage back it's amazing to see so Oasis had this ended up with this reputation as this laddish room kind of band well actually early on it was very very immense there's lots of girls at the games and our kids were like a real proper celebration of something that we didn't know what we were celebrating but it was just something it was some things you know what I mean um well they were they were they were the guitar rules you know what I mean and uh and guitars on the radio it's on the radio all day you know you look at some of the some of the charts somebody showed me a an album chart thing from music week and in one week there was Oasis The Verve Paul Olsen color scene all in the top 10 Manic Street pizzas all in the top ten you know it's crazy amazing how did it go after that and so definitely maybe blows up you start doing big shows you start to take this kind of rig out and all of a sudden as the venues get bigger what are some of the challenges that you faced playing wise well that I got I I swap I remember I swapped the the Wham for an iron orange stack for a while I couldn't touch it with I couldn't tell you which one it wasn't and I bought that simply because of Peter Green right because I love I mean he's one of my favorite ever guitarists and uh and they already know it's a very serious thing and and they look all right let's have an orange cab on stage at the time was like wow man um but like but the the challenge when we went into Morning Glory was we we went we never demoed any of it and I wrote them all on an acoustic guitar on the road or in hotel rooms and the challenge was it wasn't an intentional thing but the song the sound of the songs had changed gone from Rock and Roll style cigarettes and alcohol bring it on down to uh you know Champagne Supernova like eight minutes long or the way that it moves and all that and then um Wonderwall which everybody in the band went I'm sorry but I don't think so right and I remember our kids saying no forget this why are you writing reggae songs and I was like there speaks a man who's never heard Reggie you know it's like what reggae and uh but the SAT because I've got on such a mission as a songwriter and it was and it was happening yeah I could feel it happening and we go back to the from that day of live forever every song that I wrote up until I'd say 97 is now world famous and it was just a moment in time where I was living out of a suitcase I had no girlfriend or anywhere to live uh that was my thing and I was writing you know gave the master plan away as a B-side because someone said well we need an extra track it was like when you put singles out you have to have four tracks on we'd ran out we only had three we'd ran out of songs and it's like we'll write another one and I was like okay it shall be done you know and then kind of played them the master fan nobody said well what are you doing that's why you last took that what you can't have the Beast and everyone was like great let's do it you know and it's only like years later where you go what and talk tonight and half the world away all those green b-sides oh man by the way yeah do you in that period did you just know that's a great song you just you just knew it because it come one of the one of the rules not that there are any hard and fast rules about songwriting at all you can do it on anything you can you know a song is a song is a song it doesn't matter but for me if a song comes quick if it comes quick it's usually going to be a good one now that's not hard and faster because rock and roll style which is one of my favorite ever songs took a long time to write that song it's just I I got the title and was just determined to see this song through it took ages to write and it's a great tune but nine times out of ten the quicker they come the better they are because they're coming from a place that's just inspiration not thinking about it too much but yeah I kind of know I know and there's been I've been wrong a few times but not many not many and I think I remember saying to somebody uh earlier early on like um you have to make it look easy because you have to entice other people into it if you're upstairs grimacing sweating and like sitting past acplay live honestly it looks like he's having him he's not having a fight with a bear all right he's like he's yeah he's nearly yeah that would not make me want to play the guitar right so I was like you have to make this look easy it gets all the people into it but to go to yes usually the quicker they come the better they are and the more simple a song but you know the chords have well starts nothing that's nothing I mean I mean you know and it couldn't but that's like you play that and it can't be done anything else but it's the melody it's what you put on the top of it yeah is what it is and that's you know I see great great guitar players do you know they're playing all these kind of chords and this that and the other end like I said at the top of the scene they can't write you know and you can't learn something you cannot learn it you can learn that you can you can learn the scales and all that kind of thing and the hateful notes that you two play sometimes I know what you think there's a not it's all guitarists do it and it's just a thing I think that I love the blues I do love the blues but there's but there's a kind of note that I thought I couldn't even play it to you now but if you were to Noodle away I'd got that there that one it's like a wheat it's like a weeping sounds like a crying middle-aged woman who's peeling an onion right that note right I've done many a time I've done my iPod gone way up where is he I know it's four in the morning in England I will call him though that's hateful um but it's about it's all about it's all about it's all about what you put on top of it you know and as a you can't you can't learn that that's just something that's in you yeah you know you see this this AI thing now right somebody sent me the Oasis things and it's like we can sound like Liam right and you can you can you can get you can get there you can't write those songs you just cannot do it a machine can't do it it can get as close as machines do yeah you know like amp simulators and this that Neil and all that but it's not here you know and that that's R you know that comes from artists you know and um it's a it's a gift yeah it's a gift and it has been a gift yeah yeah that's having the confidence to let it flow as well I guess well I guess the more I find the more the more you do it the easier it gets if um if you kind of take your foot off the gut and Gus are not right for a bit it kind of It kind of goes away but there aren't well I told me once very early on well I just met him because he went through a period where he didn't have a record dealing with a publishing dealer of anything and he just said look if it dries up just don't chase it once you chase it it's going to get further away you have to let it come to you you know and what I tend to do is write stockpile songs okay and then but I still do chip away every day I play the guitar every no yeah every every day whether it be for 10 minutes before I'm leaving or half an hour at night every day it's just not to sit and write anything but I've I've always got songs that are in various states of completion and then one day I'll just say ah how about that one try that one today and um yeah it's just it's something that uh yeah something that you shouldn't Chase you know if you let it find you I think I think it's I think for me it works anyway yeah so who who were the guitar players when you picked up the guitar and you and there was obviously a connection there who had you heard because one thing that's really interesting about going back and listening to the early the early stuff and the progression of that everyone knows the songs like intimately and everyone can sing along the songs the flipping guitar sounds are just so huge and they and when you go and look at the um the live footage this wall of sound and like at that point marrying that really because it's a rock guitar sounds just massive and marrying that with these incredible songs or something that you know if I think a lot of people as fans if you just if you just listen to themselves like wow it's it's you know but it's all because it's all it's all coming from the amplifiers themselves I know this is a pedal show and all that but there was there was very very little if any pedals we weren't into them they weren't back in the 90s they weren't they weren't a thing they're a thing now I love pedals and I've got thousands of the things and every what every every pedal has got one just one great thing or something that this stream and stuff does you know you know you get lost in that but the only thing the only thing that me and Barnard worked out it's like I was I was saying you just play bar chords right and I only play open chords I will that's why he's a couple so much right is I will go to the ends of the Earth not to do this right right because when you do that in a gig you make a funny movement right I don't look good right you kind of uh whereas if you're playing the open chords you don't even have to look at them you know um but the only thing was like you know gone over just play bar chords and I was like you okay doing that because after in hospital and he was he was great uh you know not even playing Majors he was just like for rock and roll style he was just by that [Music] wouldn't even play the Mages you know what I mean and but that was the only thing that we sat and worked out was like you know if you just play bar chords and I play open chords and of course everything is just coming from the amps the amps are driven that's where the because you can do it with pedals and Tube screamers and blah blah blah and all that I'm in the 60s they're the first pedal right and that was it that overdrived it's better if it's all coming from the amp that that was what that was our thing and it and with with that and as both playing semi-acoustics as well which is a No-No right right we found out everyone you know you go to America and say hey what are you guys playing solid body guitars and we'd just be like what I remember some guy saying to ball Ned uh American saying you just played the same chords online whatever yeah oh and you just paid 40 dollars to go and see it how about that um but uh it's all coming from the amplifiers really getting them as as as to the point where they just are begging for mercy right you know and then took it back a tiny little bit and then let the engineer do the rest um but yeah you can't you can't you can't get that you know you see all these pedal the amp in a box and they are Green Therapy stuff is I mean these guys are geniuses they are I've been in it I I love you know if you order a pedal and you know I love it um the apps in the Box are great but there's nothing quite like and I'm begging for mercy and you know they that that is and it's a it's a dying thing now because the studios are shutting down now you know there's not many places where you could go and get a band to play loud in a studio um or life for that matter yeah I wanted to ask you about that towards the end but let's do it now you know so that whole sound and that whole vibe was all about a lot of noise coming off the stage and you know I I dare say a lot of the guitar parts you came up with was because the guitar was reacting in a certain way yeah yeah yeah how do you how do you deal with that now and how do you feel about that now for bands what now you're either playing in a bar or you're playing in a stadium there is or an arena there's nowhere in between everything that's been most of them are now shut down or they run down or turned into Flats so you're either playing you know quietly you know noodling about oh you oh you play and guitar music new guitar bands don't really get to play Arenas these days but I don't know what I think about it I think obviously when we were coming through just in London alone there was like half a dozen amazing historical venues where all the all the greats played and one by one they all kind of go to the Astoria and the Hammersmith Palais and they all go to the wall and the hundred club and all that um and I guess it's just you know Commerce now in the world dictates everything yeah absolutely everything in the music business all the way to everything so yeah and and I guess I guess I guess music is tale of Music reflects Society in some way doesn't it you know I think I think I think of guitar music now as it's good looking looks good you know it's like a shiny new thing you know but really really you know I wouldn't have a battered old Rover you know than a brand new electric Japanese car I mean but maybe that's just us I would Hazard I guess it's just us it could be maybe we could reflect a little bit unknown so it's all let's pulls in the uh early days and then there seemed to be a quite a swift move to seven Hollows and well for in the real early days it was and then with such Beatles Fanatics we uh we were into epiphones and me and Barnett we went down to let me just put this up here me went to Johnny Rod out in Manchester I know then I know I know it'll be we went to Johnny rodos in Manchester and we both bought epiphones he's got a brown tobacco one with funny enough when the band split up he didn't take with him so I've got it now and I bought this odd looking wine red one and strictly because of the Beatles I had no I'm not that guitar that is this is this I wrote All of what's the story Morning Glory on this ah these are all this is all the rhythm guitar parts [Music] and I didn't I only realized recently because every form of cloned it yeah recently which is really it's a really good version of it actually but we did a bit of digging around on it and it's an 80s Japanese one some guided and it's an odd color well I and it's got such a twang to it and um yeah this was I just like the I just like I'm always forever changing with guitars I get I do I do fall in love with a particular thing and I will stick with it for ages but I I know it's going at a certain point you know like now I'm into jazz Masters I mean well I don't know where that came from um but this this is you know I think of some of the things I wrote on this guitar I mean I don't know back in England as well to Paris in a in a hotel room one night and I wrote I got Champagne Supernova on that guitar I wrote I wrote them all I know and when I think of it and it's just you know it's not it's not particularly sought after it's not vintage it's not this that and the other it's just it just had a Vibe it just it just feels right it feels right when you're sitting there and it feels right and it fits fits your hands and epiphones for years that's all I played because they fit I've only got little lines and it said that they fit my hands until I found this which has got the smallest neck in history when you pick that up it's insane that guitar but this Riviera is yeah I mean that's this is the special special guitar and this stock pickups has nothing been changed wow no I don't I I don't um like I only have a modded one guitar which is that black Les Paul there which is another one that got Johnny which he's he's insane that's what he that's on The Queen Is Dead yeah that's that's his guitar from The Queen Is Dead and I we'd gotten a we got in some fight on stage and that guitar had got damaged so he sent this one down it's only years later he said oh yeah that's the one on The Queen Is Dead but you know the Wawa that goes all the way through it that's the only play line but so years later he was down at my studio and he said we've still got that Les Paul and I was like and I instantly I instantly started to get the sweats because somewhere down the line the pickups have got damaged right and I'd taken them out right and those P90s are from uh Firebird that I had right so and it was only then that he said That's The Queen Is Dead guitar and I was like told me that earlier if I butchered it what does the switch do well I that's a coil tap right which he had put in uh yeah I didn't I didn't know anything about coil Taps and all that but that's on you know the um what's story Morning Glory that's that guitar yeah I want to ask you about that because that's such a great sound right yeah and you know now when game when game does it our game did it in Oasis either have a raft of pedals on to get the sound and that was I bought a couple of Vox conquerors the big Beetle stuff yes and that's just into them you know there might have been a marshall mixed in there somewhere but yeah but that's that's that guitar and that guitar actually is the heaviest it's a piece of equipment I've ever picked up in my life and you know what a solid 10 I would say oh wow and you know I've said to him a few times do you want these back well it's kind of like a bit and it's like no no no no no no man I was like really you know I was like really and um yeah but there's there's a Stratocaster there which when I tell you what that has been on which will blow your mind okay can we can we ever listen to these two before we before we move on um I'd say no I'd say well no because that's gone by that point I get mixed can I turn these off then yeah so sadly the Vox conquerors have been sold because there was just too big and Madden um but I will say you know that pedal that came out that guy that did the Dr Robert pedal yeah oh yeah yeah yeah it's unbelievable it's great that's that's on my new record and it's the closest I've ever heard to that kind of thing I've got a track on my new album called there she blows which just it sounds like the Beatles anyway but it's uh it's uh with that with that thing it's amazing [Music] all right [Music] [Applause] [Music] [Applause] that is that sound that was the live that was my live rig for years and years and years and that's just the end that's just there's nothing on that there's not even well when so there's a pedal here I'm sure you can see yeah we'll get a detail right at the echo drive that has been part of my sound for you so that is the sound when you play it live so [Music] [Applause] [Music] it's amazing I know so I never have the echo drive but I still use this to this day I never have um delay on it at all it's got the it's got a valve in it's got the best drive on it I've ever heard and I for years I couldn't do anything without it I couldn't do anything without it I couldn't do a sound check or a gig or anything without it just had that thing when you played it in a big venue it was amazing um but obviously I didn't have that one recording Morning Glory but that is effectively that sound and this one here so this is a Vox 1830 that I bought off a off a guy so at the bottom it's got the little the little sign says Bass so some fight so it's a base it's a Vox base and I bought it off a guy who works for The Hollies who was selling it and they'd got it from the cavern it was a cavern house all right and when I went to do when we went to do Morning Glory I needed because the songs had got a bit more or a bit less Guaranty and funky they've got a bit more thought out I reached that point in we've all been there where you say to yourself I think I'm ready for a Stratocaster right and then it's a weird moment right if you played these all your life and you get a little Strat and it's like wow what's that nonsense and uh I bought this box and I've had it ever since and this is the this is the doctor Back in Anger box um I played it I only ever used it for the Morning Glory sessions ever I one when I first started the solo thing I had an American guitarist called Tim Smith hey Tim and uh he's like can you use that amp and I was like you joke I know I don't think so you can get one that looks like it you're not using it and um but it's a great it's a great um can we switch that one on [Music] foreign [Music] [Applause] [Music] when it came to the solo I played it on that Stratocaster which is stop me don't get it it's another one but I got off Johnny all right but this one I bought off him because I was feeling a bit bad he's like hey give me another one and um so I'd never had a strap I'd never played anything with single coil pickles I didn't I'm not sure I even knew I was interested in and the difference to it now I played this guitar on the Morning Glory sessions and then this guitar is on Wonderwall it's on don't go back in anger it's on and then it went I never seen it again with the arm went off never seen it for about 25 years then one day I don't know what on Earth it ended up I don't know why I was like well there's that was in somewhere and I took it home and I wrote what a life on it right so this is the guitar from what a life I was talking to Johnny about it and I sang that guitar and he said oh yeah I wrote girlfriend in a coma on that I don't stop me if you think you've heard this one before on that and he listed all these songs and this guitar you know it's a it's a priest it's got the three selectors which in it so pre-cbs I don't even know even as a guitar if it if it hadn't any famous songs in it they're quite rare and worth a few Bob but this guitar is [Applause] thank you do I embarrass myself here like trying to play this guitar solo like myself but it's an um and then you know I never play it I never take it out of its case it's just kind of Johnny's been doing a photograph book for his guitar collection which is going to be amazing and we were here and I was like oh that's Strat and we started talking about it and he's like do you ever play and I was like no I never play it I never get it out for the studio it's just but it's played on some amazing tunes and um yeah but that that and these two are the they're the Morning Glory era sound um it's mad to hear it you know absolutely crank through the ac30 and this thing sounded a killer with a 412. well that yeah the the fox through the Marshall there's something about it that I couldn't I I'm not articulate enough about what happens when you marry the two together other than you plug it in and you go off just stand back get out of the way I'm about to play E minor there's a whole bunch of harmonics and stuff and like the clock you get the jangly of the strings especially on the Strat there but also on uh on the other phone and yet there's loads of overdrive and it just doesn't happen at low volume no no and you've got I I at that point I've mastered the r of playing a semi-hollowed guitar at loud volume yeah yeah it is and I'd managed to and I'd managed to work it and throw the odd backing vocal in as well so I was I really I do miss that sometimes because now I I kind of sit strong and I'm thinking about you know the work the words and all that and I do think my guitar playing that what it was it wasn't it technically no vision and all this but when I see people do the Oasis thing I was like that's all right but it doesn't sound like yeah it's not the real deal and the real deal is a hollow body guitar but being in the right position where it's just about to get out of control but you can still keep it in line and play and play that and you know and pick out the subtleties of the knobs and that um and I got really really good at that uh and it took me quite a while to go through that I took right up until the 2000s I was still kind of learning what it was and um but there's just that you're right there's something about that that you cannot do no matter how good your pedals are there's just something about it because pedals are not a lot an amplifier is alive you know it's alive and you know if you go too far it's gonna pack up on you yeah pedals don't pack up you know unless you're using batteries you know but um did you have to do any work on the guitarist to manage the feedback or was that just no embraced it really yeah gazillion what's up yeah just embrace it got into it as a matter of fact it became I think if you don't use pedals the feedback is a lot more harmonic and natural because if you've got like a you know if you've got a compressor on all this or something like that they can get they can be a little bit oh you know but there's just something about hollow body guitars semi hollow body a casino forget it you're chasing that all over the stage you know to get it but there's something about the semi-hollow guitars that and when I got this guitar air and I learned how to use that Bixby properly and to learn I started to play I started to strum it less and use that more and there's a real art to it that I that I really I really miss now just being a guitarist and kind of just I reckon that I just yeah yeah yeah and I also love it because when I I would um I never had my guitar in the monitors ever really not for over 20 years even in on those giants never had it I you when a couple of times when I left tours and blah blah blah you know uh gang would stand in for me and uh he called me up once and he said just put your monitor set up on I was like right and he went nothing in it and I was like no no he said well there's only vocals in it I was like well yeah and he said aren't you with yourself I was like I'm in the gig I'm on stage I'm in the gig yeah I'm not there's not a separate gig coming out of here I would always stand facing the drummer I don't need to wear the drums I don't need to wear the keyboard player I don't need to I can hear them from PA you know and I would just get and I would not I've I've never heard my guitar even to this day I never have my guitar in the mix ever I have it a little bit now with uh um the in-ear monitors uh which would which again if Oasis came along now and you're using them it's a different kind of a fish all together because we had like crappy monitors and then we had the best monitor system and side fills you know and I remember now it's all in you know because of Commerce you can't afford to bring your own monitoring anywhere anywhere but it's all kind of in-ear and that takes a lot of getting used to and it kind of just it's a strangle the life out of you until you get used to it and then obviously then you can't use monitors anymore because your brain freaks out but yeah I've never had my guitar in there never I was like I heard it from you know over this side and I would oh I would also be staring at the drummer right I just in time with the drummer forget everybody else um but there is an art there's an art to use in this I'm not in the way that you know like spaghetti western you know it's just kind of like I I've got so addicted to that it took me ages to wean myself off that guitar and get into just playing and right and how to really tone it all down because of singing and I have to stand in the middle of the stage now and it was took me ages to get into it whereas with Oasis I was all that in my own world and I was working that and uh I loved it and I do miss it sometimes I gotta say so what's this one can we hear a bit of that in a second or yeah yeah so this if you plug that through the 50 please Nick so I'd never add a really expensive guitar ever and this is about 1996 it was at the end of the Morning Glory tour some guitar dealer had come to where we were rehearsing I'd always wanted a red semi-acoustic because of Johnny and Smith's right didn't know anything about this well I don't know what lines and it just came this guy just came to the rehearsals and the minute I picked it up it just I can get my hand all the way around that if you feel that neck right it is like a child's neck okay oh yeah so that's a 1960. it's sitting yeah so one day I've got tangent there but it's part of the story so one day I'm in Paris and obviously I've had this guitar for ages this is honestly this is one of the best guitars forever it never goes out of tune and I the thing when I thought about the Bixby it's just where you can you know you play and you can work that you know you don't have to play it and you can kind of you don't have to strum it because someone else is doing the straw on the other side of the stones so you're just kind of adding the soup to it so one day I'm in Paris in LA pigalle and I'm in a guitar shop there's one of these hung up and that's the five oh wow there's none of my brother but anyways I end up buying this guitar and taking it to the sound check and I've already got this one and this is in the late late 90s my guitar tech at the time uh for insurance purposes let's take down the serial number and he recognized that the one I just bought was the next one along from this right so we did we did a bit of digging around right and they were made on the same day right by two different fellas and gives them and they couldn't have been any more different as guitars they were one this is like one of my children I won't go anywhere I mean I did keep it in the studio now because Gibson have cloned these and the Gibson ones are as good as it gets so this just stays in here now but this other one it's Dreadful yeah the Bixby with shite the neck was the tune is what Horrible no matter what I did to it I just couldn't get a tune out of it at all and it's so mad that like with lots of back in the days when it's guys I think they call them a Friday afternoon guitar right okay where they want to get off early yeah but yeah I had I had I had consecutive serial numbers of these two and this is just incredible and um the other one was horrible but when Gibson were clone in this one I had them down here and they were saying all right so the thing is um how close do you want it to yours and I was like you've asked me I'd ask you so they were like the thing is though it's such an odd neck we don't think anybody be able to play it and I was like right and they said so would it can we put an extra bit of girth on the neck and I was like well you're gonna clone it you're not you know anyway I understood what he was saying because that neck is fine I mean it's far out it's mad it's mad I don't know but this is honestly thank you [Applause] [Music] foreign [Applause] [Music] used to do it yeah yeah with the food bank yeah and I kind of that's what I got into and this guitar has got the best tone I mean I I wrote little by little on this and let's put it on every every Oasis record from 96 onwards everything and all my solo records all of them it's the it's the main rhythm of electric guitar did you when you were doing uh the big gigs then and you met and you were doing using the feedback and everything did you get to a point where you knew like kind of how far you needed to be away from your amps and you get the points that would be certain frequencies yeah because I never had it through the monitors yeah because I remember because the stages but when it didn't seem to matter in the early days because the monitors you would drown the monitors out anyway but the bigger the stage has got you would be two separate sounds yeah and you'd be like I'll I want the that's too weird I remember it was some big gig and I just said to the guy switch it off and he was like Wow and I was like just turn it off and then I was like that's it right you know it's the sound of the band on stage and I'll give you an example I went I went I've never seen the Rolling Stones until they went and see them at the old two about it's the year they were running up to play Glastonbury I went out front and I was like I was shocked I'll terrible it was right but then about six weeks later I was privileged enough to stand on stage at Glastonbury and watch them and it was outrageous just the sound of the band so you're at the mercy of the sound engineer and I was like my thing was let's take that out of the equation it's like don't you EQ magnets it's like this is this is what I'm listening to and you know and I stood on the side of the stage and honestly they were incredible and that's what that was my thing it was like I want to play with the sound of the band and the feel of the band and um I've never understood people who I've seen thousands of guitarists and people in mind about I'm having monitors slice to switch it off turn it off but um you've got to be a little bit mad to do that in a stadium and and but that's the way they did it in the 60s there was no monitors you know what I mean it's the way you learn I think it's the way I think it's the way you learn how to be in a band to play with other people in a band and doing small gigs I've been to like you know when Stacy does his Rock gigs and all that and been to Ronnie Scott's and stood in and got up and actually just play him with a band close you know and and not and not monitors are Dreadful things anyone is an awful it's ruined my solo career um but there is an art to it definitely um seeing as you mentioned the solo career then we've got a giant board in front of us here I think Dan and I always surprised when we see a big board like this but then that's because it's on a giant stage right no so I was a Don made me aboard like about five or six years ago and I was it was great but he refused right he refused I said to me the thing is though when I'm when I'm playing I'm kind of I'm doing a dance right I don't want to think about it I was going you couldn't make your knobs any bigger could Jenny said no I was like I was like okay be like that then okay I only wrote Wonderwall uses that now and he loves it right because he sits there and he's I can't I can't do that but the reason this is the reason this is so big is this it's got a mic stand in the middle of it for a start yeah and I have to be able to do this without watching this without without thinking about it sure so we start rehearsing now in see you next week next week and I I just call it the dance particularly if you're singing yeah without thinking about it so so it's very spread out I'll admit it's not very Compact and that's because I I just don't want to think about it I don't have to be looking I'm playing and singing at the same time it's just like you know um well the pedals that I've that I use the most I have done since I've gone solo is I never ever use the compressor in Oasis ever I didn't I didn't know what I still don't know right what they do can you explain to me what ratio means people have tried and I've always gone okay okay so right see this is where I switch off and just gone so simple goes in yeah right and it's at a specific level you've got a threshold and the threshold says when it gets Above This level I'm going to turn it down right the ratio is how much it turns down so if you can if it's a half ratio it's turned down by half right three quarters attempt down by three chords right the best it was ever explained to me was by Paul Stacy I was like what I've got one of those Cali compressors right and they're amazing use them for the studio but don't use them live because they're too mad and I and I say what you just said let's put everything at one o'clock and I was like right well you know which somebody had say that on the internet spot everything at one o'clock but that Keely that Keeley compressor is I've used that ever since it went solo and I found it very it was simplified in the sense that when everything's at new you know whenever whenever when all the buttons are at a certain kind of thing that's you know it starts at 50 so very very easy to work so I use that a lot now and that page the Kingsley boost is one of the best pedals absolutely in the history of music it is not on it's on everything I've ever recorded since the day it came out and that guy I've seen interviews with him and I've got the I've got the jester and I've got a few of his pedals are brilliant that is just it's a mad with Boost pedals in it because they they're now there's such a thing and they're just like they're part if I don't own all this 30 years ago I could have been then we'd have been amazing um and then there's a Pete Cornish uh soft sustain which as you can see he's got Paul Stacy's name on it indeed because he he he well that was his name and I got one I got one made and it didn't sound as good as his and I said borrow me that pedal while I go on tour and he said okay then and then I've just never get it back through and every time he comes here he's like am I ever getting that pedal back and I'm like no and I say to him there's not a knight that I don't look at your name right and just think he's never getting that pepper back but I gave him mine and uh but it's an amazing I didn't know what it was until somebody says a fuzz pedal um and that's for all that is I'll kick that in for about that all the way through Oasis from whenever they were made or um that was all the guitar solos was for lives on that I can I can never get I've never used it in the studio but to do solos with it live is amazing and then there's this the greatest delay pedal of all time the dd3 that was uh I've had that that pedal I've had four 20 years and that was at net worth it was because when the space Echo started so you were at the mercy of space heckles packing up I started to use that and uh a photographer friend of mine that's got a picture of the empty stage at net worth before he walked on and I've got a piece of plywood right net worth right biggest Kings of all time at that time I've got a piece of plywood that's about that big and it's got a boss Chromatic tuner on it all right and that and that's it all right to a quarter of a million people right that was it and thought nothing of it right but I didn't I was like probably a little bit pissed off that I had to have something on stage it's like huh you know on my text going I want a tuna for so let's tune your guitar off I was like what are you doing here then why are you here and he's like yeah but you can do it yourself why am I paying you're paying you to tune the guitars but you can't go wrong with that I mean I've got hundreds of delays and they're all Great Australian timeline is amazing that's more of a soundscaping studio thing but I do use it I do use it live there's a there's a setting that says melts it's more like a synth thing and it's got the most beautiful I mean those guys at streaming up yeah I mean yeah just yeah but there's something about a dd3 yeah it's just perfect yeah it's got so I don't know what it is The Equalizer I when I'm dropping between humbockers and single coils it kind of instead you know it just it takes all it makes one of them it makes them both sound similar right okay um so that's what that's for and then I always struggle with this side of the pedalboard because I don't really need it right okay so there'll always be I mean I need that and then what I always thought if I'm I'll I'll need that because I'll do little by little the tremol or there's a tremolo thing on it what I always find is no matter what tour I'm doing or no matter what set list I've got there's always one spare thing that I don't know what to do with and I try I drive him mad over there I go I'll put a thing on it and you're like this gets label gone out and label it can I put another thing on it another thing I just I just I never use them live but kind of I'm still into that in the headspace where I was when I was in Oasis poor game right it's got one of your pedal boards it's like Cape Canaveral right honestly it's got like a billion pedals on it and he's forever fannying around in Sunset because I'll walk past him going yeah mate and he's like yeah just just a minute just a minute and um he he he when he when he you know when we're doing records he'd be like fine I won't get another pedal now you know he's got hundreds of pedals on his pedalboard lesson but he doesn't have to sing so you know what else are you gonna do um but yeah I mean the Mobius I've you know I felt I should have some kind of chorus okay when I was making who built the moon I don't think I don't think I ever put it on I think it's just there because it looks good I don't know and the empress that ecosystem does a particular thing it's like it does a choppy delay thing and a pitch shift at the same time yeah and uh yeah I just use that for me it's for nothing I mean I don't even need a pedalboard I don't know why I've got one you know but but I have got one well and it's a particularly lovey one um well it's Mike Mike it's Mike Hill Ford who's sadly not with us anymore yeah and um well that's been yeah that's been this has been all over the world for me and it's like I'm so used to the so the way that the way they are yeah just the way the the way that they feel underneath your underneath your feet that I couldn't I couldn't do anything without it um and I've got a few of them and some of them some of them I've got like a one that's half size on it for when I when I do guests with other people or small TV one or something but um yeah if if uh yeah if I was strictly just a guitarist I'd be so in I'd be I'd be way more into it than I am you know I'd have I love pedals for miles and why wouldn't you be living in the Golden Age Now is the amp approach similar for high-flying Birds no what what are you I use that so we're looking at a custom Highway custom 50 yeah I I I've always when I went solo the the the tone of the guitar started to clean up yeah okay you know it's not it's not as rock and I never really I never I never I could never find any I didn't have anything that I had um from The Oasis days I have this High what uh combo it's a hundred watt combo that they made me and it was a vertical stack it's Unique they tried to clone it hundreds of times because and it was a one-off and I used to ship it everywhere and it was one of those answers like I've got to get myself away from this amplifier right because if I don't it's going to be the death of me and I was watching this is why YouTube now is amazing and you know the Australian guy with the little right I don't know what is it yeah but he was doing a thing on these High Rock custom 50s and why on Earth I'm in the back of a taxi listening to it on my phone thinking this would be a good idea this sounds great listen to it the time great it's like it's coming through a speaker the size of a thumbnail and um so I got I got a couple of them I wouldn't you know it it just it just suited everything that I was doing and again it's another it's another thing I rarely use them in the studio you know there's two separate I always treat went to the live thing in the studio thing is two completely separate worlds I will never ever ever try and recreate anything from the studio on the stage it's complete my experience well now people working for me and they're like what do you use on the record I'm like forget it we're not we're not here we're not here to reproduce the record even when we start rehearsing next week everybody will enter into it trying to play the record and then I'll lower the point saying we're not we're not playing the record here we're doing a gig so it's not we either have to simplify this or straighten it out because no one's listening to it as a record it's an emotional night between you and the crowd so I don't like I don't like to try and reproduce everything because it's got something called on stage if it sounds good they sound honestly amazing on stage and I wouldn't I wouldn't go into without them I've never used them in the studio well maybe not when I'm in here is I've got a seven a 1971 Fender Vibra looks which is great for the clean Fender thing and then I've just bought a 63 basement which is just I mean without doubt the greatest I've ever made you know it's got everything but the soul I won't say fragile but they're so important to the studio I would never I would never take them out of here it's like this guitar it's too important to me now to take out on the road and if the other ones yeah you know someone said well it's not it's good enough you know what I mean because if this ever got I've had a couple of guitars get damaged on the road like headstock's falling off them and that and it's like kills me you know but um yeah I know I never try and recreate albums on stage you know it's a passing it's a performance in it it's a passing thing it's not like oh you went I didn't sound like the record something wasn't supposed to you know and and again I wouldn't um you know I wouldn't apart from Definitely Maybe I mean maybe maybe it's a thing I should look into apart from Definitely Maybe Oasis never recorded live ever ever once it was all it was everything we ever did Definitely Maybe all of Morning Glory started with me and a click track on acoustic guitar and everything was built on top of that no way every single thing we ever did and how we fell into that was because we never did any demos obviously because doing definitely we're in a rehearsal room and that was the sound of it but no one had heard the songs when we got into to do Morning Glory so Owen uh so we're just going to play it in there and I will just play it and kind of sing it and then we just developed this method of I would do it to a click track so what I do now is so I'll have a I'll play it into my few times Callum will be sat in there and you'll just set an average pace to it and then when I start speeding up from the clip will stop it and then Speed The Click up so whatever you're speeding up to so it feels natural and then go back and then do it so it never sounds like it's played to a click because you're naturally speeding up at the first chorus and then he'll realize it's sped up to BPM then you go back and you speed that bit up at 2 BPM and then keep it there until you feel like it should slow down again so it's a case of getting the click type right and all the movement and it and then going to play it and it takes but it's easier for me as a songwriter because I in the Oasis days I would put the thing down with the guide vocal and then sit in the control room and say right how's this going to take shape instead of Five Guys bashing away loud as just like and then going that certain thing well that's not that's that's actually not what I wanted to sound like so those songs were fully formed when you when you laid those parts down yeah and then you work out okay where you wanted to go and then yeah can you imagine Champagne Supernova is eight minutes long I had to play that without singing it right just to a click and I'd never done a demo no one had ever heard it I thought of under in the control room and I'm going for eight minutes and everyone's like what is that song and I'm like what it is is epic it is um and uh yeah it's something that I I feel I feel way more comfortable doing it like that and when I tell kids fans and they are you know how do you do it and all that and I tell them they're Blown Away by it they're like but how I mean you've got to know the song inside out you have to know it by the time I get into Studio I've had the songs for a year right right and I know them inside out I know all I never use a lyric suit I know all the words on it I know everything when I get here so I know exactly what I'm doing and um yeah you have to know the song inside out and and feel when you're speeding up and then there's an arc to it because then you know I cannot bear doing take after take after take I will he'll tell you over the I just if I'm got it in three I'm going home most of the vocals that I do just one take you know and it's not and that's not a hey man it's one take you know it's just like I know it so well I know how to sing it yeah it's in there and um you've done all the work before yeah yeah all the all the McCartney thing you know it's it's like you know if the studio clock is ticking you know you you better know the tunes when you get in there you know Champagne Supernova some might say roll with it the Morning Glory all those we've done to if you break it all down um maybe one day we'll get the Masters and it'll just be just me and a guitar with loads of geezers in the control room going well there's one Carly enough but that's the funny thing about Morning Glory no one had heard the songs until I rocked off into the studio and that was it you know so one of the one of the things I wanted to to mention quickly um what a couple of very fond memories I have when during that period of time and during the who built the moon uh was in the studio with you and David Holmes and doing some playback and and I'm like that what are those keys they sound amazing they was like no no that's that's no playing through through the rig yeah and some some of the sounds on that were you know you were really getting into those and just just creating these Sonic things yeah he turned me on to that um you know he was like bring as many pedals as you can and I'd I'd like I know a guy yeah yeah yeah and I'd never uh I never made a record like that but um yeah when people say oh man it's just electronic record it's like it's all guitars yeah it's just all the pedals you know and he he we would just buy pedal we almost bought thousands of pedals on that Album sessions but for example another trap black star dancing yes that thing that starts that's on the Hologram um the whole is it called a hologram pump yeah it's a hologram honestly uh this I had one of those um black Strata cache as the edge signature one one of the best guitars ever played in my life beautiful guitar and it's the first setting on the first thing and I hit this chord and it just went and it's one of those moments where you go press record now do it now going to things just I swear to God do it now no oh you've been idiot and uh you managed to capture it and the whole song was built around that you know and in um it's a beautiful world where uh Charlotte the the girl speaking in French that's all built around that hologram effects thing in there I like there's one thing I love about these stream and stuff in these big penalties I love a preset I cannot be asked getting my own sounds it's just like that some guy slaved over that yeah in Utah right for 16 months to get that sound I'm not going to take a bit of top off it with respect for the man you know I stream and stuff it's just like dude do you not want to escape your arm sounds I'm like no I don't written the sun is that not enough I've got to come up there on sounds now I can help uh I love presets and I love Nick in other people's settings um what what what I think that is not shown enough on these YouTube videos that that you know the Anderson's ones and yours and all that there's never just say what the settings are on the amp because I'm playing through a dead and a little there with a El 70 you can list every valve known to man but hell where's the treble you know list every microphone you want it's the Neo 78 through 94.2 with a DOT and a wobble on it and you can't put where's the presents you know is it on seats 200 000 pedal show viewers just went told you yeah because it I just I'll be watching them and thinking but I wonder what the settings are on the on the amp itself because you you'd see them all on the on the pedals but on the amps themselves um I'm forever nicking people saying forever I remember when I went I did the thing recently um uh the Royal Festival all for Peter Blake's 18th 90th birthday party and uh it was me well a Madness to who or what and uh a couple of nights before that mesobia turned up from Gibson and um the guy's coming and said well there's only two in the world there's only two in the UK and one's for you and I was like oh great and they get to uh the festival all and there's one of these amps and it's Pete Townsend's got the other one right so I've said to Nick was going call Nick is saying and he was like come on man so he said wait till his Tech was looking he was like I was like write it down it was like because he's one of the most underrated guitarists oh that's ever been he's amazing and he's unique in a way because he's actually one of the best songwriters that's ever been as well and uh I was like I said to him I'd make a laugh he's going I don't know it's just God it's white you know and I was like um but yeah I was remember one night when me we were playing Oasis playing with Neil Young in Paris and uh you know like you think of I mean he's one of the forget it I just forget it all right there's nothing you can say about him that's adequate enough to express what punk Rocky is and Oasis are opening up for him right and uh after his sound check me and gam kind of it's like if you get last one stays and have a look at his guitars and lifted we're all just lying no guitar so I was just lying on the just beside his hands um uh his guitar crew they were amazing they were going oh yeah just look at the pedal board and it was like junk shop of stuff but um yeah I'm I'm forever trying to Nick people's vibes I haven't got patience for it because I'm because I I now I've accepted over the last maybe five years I'm like no hang on a minute this I'm a writer I write that's what I do I'm not slaving away you know worrying about it anymore just get someone else's that's why I've got another guitarist so other guitarists bless them but you know I will steal your Vibe I will did you watch the get back thing I had right that in 196 9 so the Beatles are playing and all the guitars remember the bit where George's guitar just Falls over yeah they look at it no one had to wear with all to invent the guitar stand no one's bothered to go are you not be a good idea I'll be put them on a stand why now I think of that The Beatles I love that bit where he's playing with the Wawa and McCartney's going yeah I'm not really sure and just getting increasingly chewing with him having this but he's obviously got it because Hendrickson yeah yeah yeah yeah there was the thing that was the thing yeah but um I you know what what I what I loved about the get back thing was I've been saying since the day I understood what the bills was like they're not Wizards they're four scousers trying to make a tune right so when when when they're talking about you know when they're going well hey it's Tucson in Arizona I think it is oh great that fits and then George trying to write a song and they're saying just bring the first thing that comes into your red I'm going see yeah see they're not sitting around like you know with quills going I don't know like something like strawberry fields and I was like fall ads in the band making it up as they go along and it was amazing to see it yeah that's what songwriting is it's just God you know you're something is happening you don't know what it is but you know it's there you've just got to persevere with it and I've always likened it to just going fishing you know the thing that you know the life of the fisherman is kind of like it's in this thing that he's catch up sometimes you don't catch anything yeah you know some days you land a big one you know and that's that's that's how I feel about songwriting it's just it's like you know that you have to be there every single day you know you have to be there because the day that the one arrives you know is a great day and then you get little ones along the way that might add up a bit from this might add on to that you might get a tune out of it you still get that buzz it's the best it's my garden that's what I got I've been in the morning for and I love touring and I'm about to go on a you know a big world tour for a couple years and I love it it's the final payoff you know it's the kind of just you don't really get to know well my records out in June the second and I've been doing a promo tour now where I'm talking about it for the last six weeks I don't know nothing I won't know anything about this record until Midway through this tour and that's when you that's when you understand why it's because that's when you understand what other people are getting from it so you'll start off by playing five songs from it within about six weeks two of those have been gone because they're not moving the crowd and you'll think maybe that's not that's not as good as I thought it was and then you put another one in and that does something so you don't really get to know about the record that you've made until a year into it because you know you're an artist and you sit here walking around thinking I am great I really am but actually they'll let you know yeah wow they'll let you know Council Skies everyone yes yeah uh new album from Noel Gallagher's Lifeline Birds yes featuring your good mate and guitar supplier Donnie Mark I'm I'm Paul Stacy please based on a couple of tracks he's a brilliant bass player he's amazing he's a brilliant is one he's a very very good bass fan I love his bass playing and um he plays some great great guitar on it and Johnny obviously is just I mean yeah but um yeah it's very guitar it's it's a guitar heavy record without being that you know indie rock thing and you've done it all here right in your studio I we mixed it here yeah and funnily enough Callum who's the engineer he did he he was halfway through mixing it before he realized he was mixing it because we're doing we're doing the monitor mixes and I was taking a moment going I don't know if anyone all I'm going to do is got some guy he's going to charge me a fortune and I'm going to say to him I want it to sound exactly like this which I've done before you know you're going to some big mixing Studios and they'll say why don't you just use that like Ah that's actually that's a good idea and uh so we're actually done about four or five tunes and I said to my management we better tell him of course as soon as we told him you see his pants he was just like I was like saying to her starting one afternoon and I was going never mixed the record before no I was like you know you're halfway through one no oh no no no no let me see it's just like mate it's brilliant just keep doing what you're doing no no are you sure and uh yeah so we record yeah recorded every note of it here mixed it here and um it was it's I mean it's a privilege to have your own Studio but how when the the clock is not I mean I only work from 12 to six and only ever I've done so I get to the studio about 11 I've got to you and talk about what we're gonna do and any advice I'd give to anyone is I only attempt two things every day I see I don't I don't just go in there and go oh well I will try that on the way here um I I work two things if I can do the guitar on that and the Glockenspiel on that and they were out of here and if you're not I don't it's great the studios are and an amazing playing music for about six hours I'm like this I want to go I want to go and have something to eat and watch TV for a bit but um it's nice to have a place where the clock is not ticking and uh and you've just only you know you've designed itself and you've you know that everything that's in here is in here for you don't have to move anything and everything works and it's all you know it's a special place to be in my brand of rehearsed in here and it's big enough it's big enough to get six or seven or eight of us in here so yeah it's been amazing and um yeah I mean the records are just incredible yeah no thank you so much this has been incredible I wish I could have I wish I could have done the pedal thing a bit more but I was like I was on the way down I was thinking this is going to be fun this is I'm not really into pedals I was I was wondering actually as an addendum after we say Cheerio maybe we'd get you just switching few or three few things get some sounds going yeah yeah to uh to to play the good people out but needless to say it's been a trip thank you very much thank you wow there you go everyone uh thanks for watching uh have a great day and uh we'll see you soon bye [Music] thank you [Music] thank you [Music] [Applause] [Music] foreign [Music] [Music] [Applause] foreign [Music] [Applause] [Music] [Music] [Music] [Applause] [Music] foreign [Music] [Music] [Applause] [Music] foreign [Music] [Music] [Applause] [Music] foreign foreign [Music] [Applause] [Music] [Music] [Applause] [Music] [Music] [Applause]

Channel: That Pedal Show

Views: 806,731

Keywords:

Id: oS6lMx8uxFQ

Length: 110min 49sec (6649 seconds)

Published: Wed Jun 07 2023

Reddit Comments

[u/BenedictusAVE]

I just watched it and it was a joy to watch. Noel looks good here, and it’s nice to see him being down to earth and not playing up the big ego guy role that he does a lot in interviews.

[u/nutbrownale]

Also alternate title: "Noel gives a tour of all the guitars given to him by Johnny Marr".

[u/prodigalsuun21]

This is better than Christmas.

[u/DannyBoi1Derz]

Ya know? With all the bullshit and drama these brothers produce, especially in recent times, sometimes I forget why I love and why I fell in love with this band so hard. This was a great reminder.

[u/RNRS001]

What a joy to watch. Seeing Noel play lead again immidiately makes me want to pick up the guitar again, much like when I was 16.

[u/whitesebastian]

Start to finish an absolute joy. Can't believe he even talked about that mysterious evolving black les paul. Good natured and funny, great songwriting insight, and so much nerdy guitar / pedal / amp information, he brought out the classics, and unbelievable to hear him play those old riffs again — probably one of the best interviews (even Oasis-related films) ever.

[u/belfastguy81]

Been waiting on them releasing this for a while. Mick & Dan from TPS have been doing brilliant, informative long videos for a long time now, can't think of anyone better qualified to get this scoop. The video is joyous, and Noel seems genuinely happy playing those guitars and riffs again. Loved it.

[u/skamsibland]

Chills down my back when he plays the stuff, holy FUCK this is GREAT

I love how he does G D Am the first thing he does, like it's a fucking tic

[u/illustratedman1013]

Fuck. I can’t wait to watch. Why does work have to be so busy today?!