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Definitely Maybe est le premier album du groupe anglais Oasis sorti le 30 août 1994. Il est considéré comme une référence pour de nombreux groupes des années 2000. Aujourd'hui encore, les frères Gallagher estiment cet album comme étant leur meilleur, notamment grâce aux hymnes Live Forever, Supersonic, l'explosif Cigarettes And Alcohol, Rock'N'Roll Star, la ballade Married With Children, Bring It On Down et Slide Away qui feront d'Oasis un groupe majeur dans l'histoire musicale des années 1990, lançant par la même occasion l'« Oasismania », cette immense popularité mondiale, rarement atteinte par un groupe de rock depuis les Beatles et les Rolling Stones. L'album fut 7 fois disque de platine au Royaume-Uni avec 7 millions d'exemplaires vendus dont 1 million aux États-Unis et 2,1 dans leur pays d'origine, et figure souvent dans le top 100 des classements des meilleurs albums de tous les temps.
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In August 1994, just a few months after Kurt Cobain killed himself (and the grunge movement that he'd become the reluctant figurehead of), Oasis’ debut Definitely Maybe was released.
To put this seismic attitude shift into perspective: Kurt’s working title for the final Nirvana album, In Utero, was I Hate Myself And I Want To Die. Definitely Maybe’s most popular song is called Live Forever.
So how did two punters from Burnage, an unremarkable area of Manchester, become so famous? Despite the fact that the second album, (What’s the Story?) Morning Glory, sold more copies and propelled them to tabloid superstardom and 10 Downing Street, the answers are all here.
The album kicks off with Rock ‘n’ Roll Star, which Noel has since said was the end of everything he wanted to say as a songwriter. He’s right in a sense, as it’s easily one of the greatest songs about being up on stage ever written. On arguably Liam’s greatest ever vocal performance he goads all-comers with: "You’re not down with who I am / Look at you now you’re all in my hands tonight." And that’s without even considering the attendant guitar riffs that snag your brain like barbed wire on your best jumper. If you’ve got a mate or relative who’s having a bad time of it, play them this, then watch them grow 10 feet tall and walk down the street like they rule the whole world.
Although at this point it’s easy to imagine the faces of every other British band of the time sadly searching the classifieds for a new vocation, there are still 10 more tracks left. How about Supersonic, a sky-scraping anthem about individuality adopted by the masses? Or Cigarettes and Alcohol, a brash T Rex paean to hedonism? Or Bring It On Down, a non-stop, no-messing punk stomp to certain death or glory?
It’s easy to trot out the tired argument that these Mancs don’t have the power of The Stone Roses or The Smiths because the songs don’t have the wistful, melancholic air that one comes to expect from songs emerging from that rainy Lancashire city. Is it true to say "It’s just Beatles songwriting with Sex Pistols attitude"? Maybe. But have these songs transcended the Conservative-greyed and Britpop-glossed years in which they became public property to become heroic, gigantic pop monuments in their own right? Definitely.
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