One Song - Oasis' "Wonderwall"

Episode Date: October 16, 2025

What makes ‘Wonderwall’ the definitive Brit pop anthem of the 90s? This week on One Song, Diallo and LUXXURY unpack the lore of the Gallagher brothers, the inspiration behind the stadium sized hit, and recall Noel’s attempt to record Wonderwall on an actual wall. One Song Spotify Playlist: https://open.spotify.com/playlist/40SIOpVROmrxTjOtH7Q1yw?si=cd17da03fd2e422e Songs Discussed: “Oasis” - Wonderwall “2:1” - Elastica “Alright” - Supergrass “Fake Plastic Trees” - Radiohead “Bang a Gong (Get It On)” - T. Rex “Pumping on Your Stereo” - Supergrass “Rebel Rebel” - David Bowie “Bitter Sweet Symphony” - The Verve “I Wanna Be Adored” - The Stone Roses “She’s So High” - Blur “Supersonic” - Oasis “Morning Glory” - Oasis “Hello” - Oasis “Hello Hello I’m Back Again” - Gary Glitter “Boulevard of Broken Dreams” - Green Day “Kiss Them for Me” - Siouxsie & the Banshees “P.S.K. ‘What Does It Mean’?” - Schoolly D “Wonderwall to Be Here” - George Harrison Learn more about your ad choices. Visit megaphone.fm/adchoices

Once on the name of the show, we want to thank you all for tuning in. Today is going to be the day that we talk about Nolan Lim. My Cunian lies the worker class and Tony Blessingly too. So now you know. Oasis. This episode's about Oasis. There's a WonderWall. We're breaking up after this episode.

I hate you. So today we're talking about one of the most popular and erid-defining songs of the 1990s. That's right, Diallo. This song sent a UK Britpop sensation across the pond of the U.S. We're at peaked at number eight

on the Billboard Hot 100 and went eight times platinum. Grab your parkas and your tambourines. We're talking one song. We're talking Oasis and, anyway, here's Wonderwall. Because maybe. you're going to be the one that saves me

I'm so excited I'm so excited too I'm actor, writer, director, and sometimes DJ D'A LaRiddle And I'm producer, DJ songwriter and musicologist Luxury, aka the guy who whispers Interpolation This is one song The show where we break down the stems and stories

behind iconic songs across genres And tell you why they deserve one more listen You will hear these songs like you've never heard them before Even if you've heard them a million times And right now you can watch one song on YouTube and Spotify. While you're there, please like and subscribe. All right, when did Oasis first come on your radar? All right, I want to paint a scene.

Paint that scene. It's the 90s. I am all in on hip hop. I don't really listen to a whole lot of other stuff. One night I was walking through Harvest Square and I'm walking down street and there was a bar. And I heard this song like wafting out. I probably thought it sounded a little bit like the Beatles, but I knew that it was alternative rock and that I liked it.

And I was like, I like that one. I really like specifically Wonderwall. It wasn't until I got into the album that I realized, oh, I really like this band. I mean, like, you and I have taught on many occasions. I'm a huge Blur fan. I didn't get into Blur until shortly after college. So I was consuming their music after the fact. Wait, so you started with Oasis and then you moved on to Blur?

Absolutely. Absolutely. And you know what? I like Blur and Oasis to this day. I mean, like I'm not one of those. I like Biggie and Tupac. There were all these musical feuds in the 90s where it was like, people had to pick and choose.

I was going to say, is this middle child syndrome, but you're the youngest, so that doesn't quite add up. But that's interesting. You're not picking sides here. You're able to like both. You can see both. To this day, I'm like, why did we ever have to choose between pieces of art? I often found myself defending Tupac to people.

I was on, you know, I was in Harvard. I was the East Coast. We were far closer to New York than we were to Los Angeles. So many people were telling me, oh, you know, Biggie and Tupac, it's not even competition. But I said that Tupac has that passion, you know, like he raises something in you. So, like, you know, he may not be jumping. over on the beat the way the biggie is. But like when he says, you know,

random mees, like, you know, sometimes you feel that me's. You know, you feel that. And I think similarly, Blur were like these smart kids from like the south and yet from the north, you have like these guys who have the growl and the sneer.

And yeah, like sometimes even to this day, like if I'm feeling like a little like, I don't know, maybe the Turner is braddy, like roll with it. Hello, these are the songs that pop up in my head. I've just been consistently on Oasis fan. And it's, been like that since the 90s. The parallels

really interesting, too, because I have to say that the bradiness, you brought a bradiness and there is a confidence that is actually spills into arrogance. Like, that's a big part of what this band is. And honestly, in this moment, one of the reasons looking back, I don't think I quite connected with the Oasis, was that attitude, the arrogance to me,

which was part of their charm and their appeal and obviously a big part of why people like them, it rubbed me the wrong way. And now, I think in retrospect, I can now see where there was humor in it. I can now see there was humanity in it. I can now understand the dynamic of the brothers. There's so many layers to it.

But in that moment, it wasn't common. Like, you really, musicians, you know, you had your Mick Jaggers or whatever, but for the most part, there wasn't this particular emotion wasn't very strong in indie rock. Let me put it that way. Arrogance, like literally Kanye-level arrogance. You really didn't see too much

in rock and roll music in quite this way. Yeah, I dug it. I think it was also like, it was part of the cool Britannia moment for the UK So, like, I was into some of the movies that were coming out at this time. And it just seemed from afar, train spotting is coming out at this time. This is like 96. It was part of this cultural milieu, which is a word that we use on this show, almost as much as iconic.

Good French word. That really felt like something different than what was going on in the States. So, and it was also at a time when, like, they were also doing a lot of electronic music that was really into. And said, that's what I was listening to. I was obsessed with. So I love some of the Britpuff stuff that was elastic. Right. I love super grass.

Early radio head is happening here. Swade. I also like some of this borderline. It's rock music, but it has like electronic effects. Sure. So lush, cocto twins. And of course, the Chemical Brothers. I was listening to mostly British music.

But Oasis kind of slipped through the cracks a little bit. And I think, again, looking back, part of it was it didn't. connect with me one because musically by the way i'm a musician i'm a budding musician musically it sort of bored me i've mentioned on other episodes like chemical brothers in fact when the parts are interesting to me the drummer is playing a cool thing the bass player this is a band that if you're the bass player's a little dull if you're the drummer in a way says it's not you know you're not the superstar the vocalist if you're leum it's hell of fun i was a little bit not connecting to it for a number of reasons and looking back that was another one too it just didn't grab me in the same way that

these other bands I just named it. Sorry they didn't work for you. But obviously they were massively popular in the United States and they were the one British group that was actually able to do a lot of business across the pond. And OASIS was recently united on a massive world tour this year

and reignited the fever of the late 90s with a whole bunch of people in their 40s and 50s there. Because we love these songs. We love these songs. It was a set list of pure hits. It was there to provide for us OASIS fans. Let's watch a little bit of them performing this song, cigarettes and alcohol, and you'll get a sense of the Rabbit Oasis fandom that is out there.

Because when they sing this song, the fans are asked to do the Paznan, which dates back to like a performance in Poland in 1960, where all these, you know, people started jumping up and down with their backs turned to the stage. Let's check out the Pazin in Edinburgh on night three. For those of you who couldn't see that, that is literally a stadium of, I would guess, 80,000, maybe 100,000 people. On the football pitch, yeah. Oh, my God. I mean, I think it speaks to the sort of like,

this is working class music. And singing along to every word, importantly, too. Yeah. I'm glad we started with that one, too, because cigarettes and alcohol is a perfect example of how this band wears its influences on its sleeve. It'd be easy to hear the beginning of the song and think, oh, great, my favorite T-Rex song is.

Bang a Gong, Get It On is beginning. Yeah, I think that's a function of this time. There are so many artists in this period, especially out of the Britpop scene, who adopt, if not the look, of some of their inspirations? Yeah. But literally the sounds,

the first time, you mentioned Supergrasser. Yeah. First time I heard pumping on your stereo, I loved it, but I knew it sounded like something, and it sounded just like Rebel, Rebel by David Bowie. Like, I feel like OASIS often gets tagged with this,

oh, they're such biters, but I feel like all of my favorite British groups at this time, we're biting something. You can look at so many of these artists and say, oh, that sounds like this and that sounds like that. And I think we can talk about that on this episode, but I think at the end of the day, we come to celebrate Oasis, not to bury them.

And I can't stress enough what a huge deal it was for them to reunite. The two brothers, Noel and Liam, that have always made up the core of Oasis, have been known about heads, which is why they famously broke up in Paris in 2009. I mean, like, they aren't the only siblings that ever came out and had some issues. You've got Michael and Jermaine.

You've got Ray and Dave Davies from the Kings, like sibling rivalries, Within the grand tradition. It's always been a thing. It's a grand tradition. Those Osmans going at it constantly. I'll see you with Salt Lake, buddy. But at the end of the day,

this one has always been one of the most volatile, and some of that has to do with the tabloids in Britain really latching onto a story and really pushing it hard. But also understanding that dynamic is a big part of understanding the band, beyond just like them directly hitting you with the songs. One rung out for just understanding it

is the fact that these are two brothers. Noel is five years older than Liam, And Noel is also not to give too much away, essentially the sole songwriter of the band. So he is the leader. Just citing our source is a great documentary about the band called Supersonic really shows you behind the scenes.

And from that, I really got a sense for the fact that they grew up without their father and Noel was five years older. And then when Liam came on the scene, he's like, wait a second, where's my attention? And that dynamic sort of carries them through the rest of life. I want to talk about the difference between the brothers.

Because like you said, you know, Liam is the younger one. Liam actually had the group first. That's right. And then he brought Noel in and then Noel became sort of the back. He sort of took over. Yeah. He sort of took over.

So just to be clear, for those who don't know, Liam is the singer. He's the one who's known for being outspoken and confrontational. He's the one with the sunglasses who sings up into the mic like that. The swagger brother without a doubt. I mean, to watch and perform, you can easily see how he's sort of like come in. Absolutely. To hear A&R execs talk about seeing.

this band in its earliest stage. You're like, oh, yeah, that guy's a he's a rock star. That's sort of what he was born to do. And Noel is witty and he's sharp tongue. He's the older brother. But like you said, he wrote pretty much every song in the first four studio album. And he's extremely serious. And another thing that I, again, learned from this great documentary, which just shows

the making of the band is how dedicated he was. As soon as he joined Liam's, his younger brother's band, he was so dedicated to the songwriting. And Liam, it comes across pretty clearly, like, that he wouldn't deny it is like, I'm here to party. I'm here to be a rock star and have fun. Literally, his role is to come and sing a song that he didn't have any contribution in writing and be on stage and get the adulation. And Noel's like, no, take this seriously, dude.

And that's a big part of their budding heads over the years is like Noel being serious about locking into the business side of it. And Liam being here to party and have fun. I don't know if this is because we are a duo, but I feel like we've inadvertently talked so much about duos on this show, whether it's Depeche Mode. We recently did a Fallout boy. We talked about Oasis. So many groups where one person writes the lyrics and another person sings it.

And I don't think that invalidates what those singers do because I always think of the singers as in some ways as the actor. I want to say a little bit of something about Brit Pop because it is a genre. And like I said, when I first heard it, I didn't know that they were British. I thought it was just another form of alternative rock. And technically it is. Technically, this is alternative rock from the American point of view. But Brit Pop specifically, you're talking about Oasis. You're talking about Blur.

And pulp, the verve. All these wonderful groups that came up in the 90s, they're drawing explicitly on past British fashion music. I think it needs to be pointed out early that, at least initially, with the exception of Oasis, they're not overly concerned with crossing over to the States in the same way that Duran Duran and Depechevon and so many other groups from the 80s were doing that.

I get so jealous of that, too, because that's partially because England is small. And it's London-centered, even though Manchester's where all out of these bands are from. But there's these three papers, the melody maker, the enemy and sounds. Right, you have, and the TV, there's Top of the Pops. It's such a music as culture unifier in many ways. And I think OASIS really benefits from that. And the blur versus Oasis thing that we're about to get into with Brit Pop.

The entire country is paying attention to it in a way that you really couldn't have a place as vast and wide and different as America. country. Yeah. And they've listened to a lot of the same stuff. I mean, like, we've talked already a lot about the Beatles, but there's the Smiths. Yeah. And I want to point out... There's T-Rax, all the 70s Blame stuff too. But I want to point out

a specific type of music. It's sort of like the proto Brit pop. A lot of it did come from Manchester where these guys were from. Liam says the first rock concert he ever went to was the Stone Roses. Yeah. And the Stone Roses put out one of the best albums, I think, out of England

ever. Their self-titled album. the Stone Roses. And it has so many great songs on there. And it really does point a way, it's sort of like a connective tissue between the smiths in the 80s and what will become known as Brit Pop. And it's Manchester too. And it's Manchester.

Like this late 80s, you know, Happy Mondays. Madchester walked sort of so that Brit Pop could run, you can almost say. And it's so Manchester. Literally one of my favorite songs of all time, I want to be adored. It starts with the sound of just trains, just trains.

Because Manchester, like Atlanta, was a train town. Such a vibe. And you can hear the trains and the industry, and then it comes in with that beautiful sound. What's interesting is going back to our conversation about Brit Pop artists borrowing from everybody. There's a famous breakdown on I Want to Be Adored that happens, you know, roughly three quarters of the way into the song.

That basically forms the basis of She's So High by Blur, which is one of my favorites. And I feel like if they don't give credit to that song, like in the back of your head, You're sort of like, oh, they had to have heard this. That song is so good. Here's a little bit of blur. She's so high. I mean, it's literally like they just slowed it down. They're all listening to each other.

Absolutely. For years, I was just like, what does this sound like? But I do think I want to be adored. Fools Gold. She bangs the drum. These are so many great songs from the Stone Roses. They and the Happy Mondays, both groups I would love to do episodes about primal screen. People forget that before primal screen became so electronic, they were often

grouped in with not just Manchester, but you would play these groups at Britpop nights here in the United States where all the cool, you know, hipster nerds were at that time. And we would get down. So like I said, you have all these groups that are influencing this younger generation coming up. Right. All the Manchester stuff, too. We can't stress that enough because they go to the Hacienda. We talked about the New Orders Club on the Chemical Brothers episode. And this is a moment, too, in the mid-90s where the mix of bands and electronic is all happening. The Hacienda, which, of course, is New Orders Club, New Order was Joy Division. These are the royalty of Manchester, in addition to the Smiths and the Fall, and I think

the Bee Gees and the Hollies. There's so much incredible music that comes out of this town that they're part of this lineage of. They basically took from these early Manchester groups and expanded that sound into a loud, brash, rock and roll sound. Let's hear a little bit of Supersonic from their debut album, definitely maybe. Definitely maybe at the time, the biggest selling debut album, one by a British rock group of all time. That's huge for them coming right out the gate with that

level of success. Here is Supersonic. That guy's voice is so good. That's one thing that has really grown on me over the years is my understanding of why Liam was so perfect for this band, for music, for the world, for art in his, you know, like his, it cuts through. It's so clean. He holds a note in such a solid way. We were singing Wonderwall a second ago. It's hard to sing, but maybe That's a long note going to be the one it saves me. I'm warbling halfway through it. I hear exactly what you're saying. But I also hear the sneer.

I hear the sneer of working class lads who want a pint at the pub and support their local football club. We're going to talk about this when we get into the vocals later, the isolated stems, Liam, just singing in your ears. But I was thinking about the connection between the sneer and his use of here. We go again on the show, Blue Notes. This man really knows how to lean into a blue note. And it is such a distinctive part of their sound. It wasn't happening in the Elastikis and the Blur's in quite the same way. If anything, a lot of those bands really avoided blue notes.

That was almost... They were Uber British. In some ways, they were like super... How British humor is so dry. Like, I love blur. I love pulp. Jarvis is super dry in his delivery. You know what I mean?

You know, when he says things like, you know, I'm Jarvis Calka. I'm not Jesus Christ, though I share his... You know, like, it's very dry and sort of like academy humor. Oasis was like the opposite. These guys skipped school. It's sneering. It's almost bullying. I think I might have felt bullied by the music at the time.

Okay, so let's talk about that, as I like to say, let's rip the mandate off. I didn't grow up in the UK, obviously. And I feel about Oasis, the same way I feel about the cure in some ways. A lot of my white friends who are the same age, they held it against the band The Cure and their music because they knew gauce and they didn't like gauce and they like they were associating the music with a person who they found annoying. I see. And I think similarly Oasis, I didn't know any lads. They might have been bullies. They might not have liked me because I'm a person of color. I'm not putting that on the culture. I'm just saying like I could have had some bad run-ins with

some Oasis fans. No, but I'm in that group with you. I associated with the hooliganism in the soccer murder, you know, death. Because I wasn't there, I could appreciate that whole thing, a lot lot easier because it wasn't something that was actually terrified me. Same with The Cure. I could appreciate the cure. I could appreciate there was like a subculture that was very different and therefore interesting to me having grown up where I grew up. That's so interesting because I can relate to Goth because I understand it. My first ever show was The Cure.

And I knew what that was very early on. But to me, agreeing with you, this subculture in the UK that has something to do with soccer and hooliganism. Like, that's very vague to me, but all I know is what is received about it, which is there's lots of violence and braddiness and breaking beer bottles and, you know, going down to the club. Like, if that beer bottle's flying towards you,

you don't think there's anything cool about it. It's very laddish, and I couldn't relate to that if anything I felt from afar that I didn't like it. I felt like that's not who I am, and this music felt extremely connected to that. That's so interesting. I mean, like, I didn't know what we were going to down on this path, but, like, I remember when NWA first blew up,

I didn't like him. And that was because I knew some of those people. Yeah. You know what I mean? Like I knew some of the guys who were gang bang. And so to me, there was nothing cool about that. I was like public getting me all day. Yeah.

But once I got away from that environment, ironically, it was actually when I was at Harvard and immediately graduated from college when I wasn't around that sort of like gang banging element anymore. I was able to really fall in love with NWA because all of a sudden it wasn't a constant threat. This is a really important part of genre stuff. is that it's the music itself. It's the artist.

And it's the culture around it. It's how you as a fan feel like you fit in to this group of goths or don't fit into the group of gotts or metal or hip hop or whatever it is. And in this particular instance with Oasis and the Lattishness, you have to remember culturally, contextually, in the 90s there were all these big laddish magazines. There's loaded. LAD-B.

HM and like it's a big part of the culture was this real kind of boorishness, like leering women are objectified and the, language. It's a really big part of the culture. And again, associated it only through the media, because I'm not in England. It seems to me that it's connected to the boorishness of throwing stuff at there's like this anti-immigrant thing that happens with the soccer hooligans that doesn't necessarily translate to Oasis. But I'm seeing it all as one big, no pun intended blur of activity. And I think that I had negative associations with the band a little bit because of that. I got to say, I feel like as we talk more and more about this band, you are letting some of your

inner Oasis fan out. It is there. It was always there. And I will admit that the first time I ever heard what is still to this day my favorite song from this record, the title track. Oh yes. That laid the groundwork for what prepared for me. I just got chills, bro. I'm so excited. This song is so freaking good. This is what's the story, Morning Glory. It's a crazy fact about the album, definitely maybe. It's their debut. Oasis went through three separate engineers during their studio sessions. And it wasn't until engineer Owen Morris, our unsung hero, stepped in with the band and honed that sort of raw,

almost punk-inspired Oasis sound. Morris continues with the band, working with them on their next album. The amazing, what's the story, Morning Glory? This time the band was aiming for a more melodic and themic sound in the hopes of becoming. And I love this quote,

the biggest band in the world, according to Noel Gallagher. Can I just say, I love hello? It's the opening track on the album. It's the very first track. And I love how you hear a snippet of an acoustic version of Wonderwall right before Hello kicks in.

Let's just hear a little bit of the beginning of this epic classic album. That's a perfect segue into what we, another elephant in the room with this band. I alluded earlier to the cigarettes and alcohol connection to T-Rex. And there's lots of borrowings and inspirations across the cablog. And sometimes they get, sometimes they get in a little bit trouble for it. In this case, in Hello, they got in trouble after the fact they had to add credits

to the tune of 50% because it sounded a little too much like this song. So here's the portion of, Hello by Oasis that was a little too close for comfort. And when Gary Glitters publishers heard that, they're like, wait a second, that sounds like, hello, hello, I'm back again from-Gy-Glitter? 1973, which sounds like this. So I guess Gary Glitters, people called him up there like, hey, we know it's early in Thailand, but have you heard this Oasis song?

But no, but getting serious for a second. Yeah. Is that an interpolation? Is it evocation? What do you call that? It's so tricky. It just proves how case-by-case all of this stuff is. because to me, that actually does cross a line

because it's lyrics and melody combined. To me, that's where the line gets crossed. I think you can kind of get away with chord changes and vibe and VPNs. When you get to melody, that's where it's really case by case. But to me, melody and lyrics is pretty clear cut. Yeah. However, I do think the amount they took was a little bit ridiculous. Crazily enough, it's 50%.

That's shocking to me. That does not feel worth 50% of a song. That does not feel worth 50% of a song. but that's how it went down. So that song is now 50-50, Noel Gallagher, Gary Glitter. Hey, don't put those two names together. That's not fair to all.

I know. And I will also say, I think Noel's been actually quite honest in at least a couple of these cases where he had said, I didn't remember it at the time. It's just one of those things that was stuck in the back of my head.

So I don't actually think it's a case where he goes out and he says, I'm going to steal this little part. Well, for every Noel Colt, there's a counter quote, though, because I also have him saying, I don't give a fuck. I never said I was inventing anything.

And I'm a lover of music, quote, if I nick guitar riffs here and there, I'd have thought the songwriter would be quite fucking pleased. So I love how he's constantly contradicting himself. Which is that things get stuck in your head. And then, you know, sometimes I'll think in my little bit of song, right now I'll go out to somebody and I'll say, hey, do you know this? And I'll go, no, no, no, no, no, they're like, no, no, no, no, it's just a stop

and then I do it. And then eventually somebody else is like, no, that's from that. I'm like, yeah, you're totally right. So I think things just get stuck in your head. So that little bit of Wonderwall that you hear, I've come to find out is from the original version of this song. Noel told producer Owen Morris that he had a song called Wonderwall, and he wanted to record it literally, I kid you not, on a wall.

So they set up a bunch of mics outside the studio, which was in the middle of the countryside in Wales, and Noel sat there with his acoustic guitar and sang to a bunch of sheep. As one does. As one does. All right, so we're having a lot of fun in the studio. But when we get back, we'll dive into the lore of this stadium-sized classic and find out how did they make their songs sound so big.

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So after Noel's failed attempt at recording Wonderwall on an actual wall, he brought the song to the band in the studio to record. Now, Noel didn't have a demo or anything like that. So they built the song around his acoustic guitar part. And now we have to play that. iconic opening guitar riff that someone somewhere on a college campus is playing shirtless right now. Probably pasturing some poor girl. What kind of guitar is that?

Well, that's an acoustic guitar is probably a handful of them mixed together, at least two, possibly more. So he's layered it. He's layered it, but also interestingly, and, you know, for the guitar players out there with no shirt, shirtless or otherwise, that it's played with a capo, which is, as you saw earlier in the episode, when I played it, if you're watching the video, it's that little thing you put on a guitar that makes it go up a couple of pitches.

Is that substitute for a finger? It could be a substitute for a finger, but it's a way to play with the same tuning as the regular guitar, but kind of up, in this case, to F sharp, but you're playing all the chord shapes that you would play if you were playing with the regular E low string. Well, it's interesting is I feel like he's playing

chords kind of, isn't he? Well, what he's doing, what he's able to accomplish because of the capo and the fact that there's the sort of pinned E and A at the very, the two highest strings are just basically pinned to the notes E and A. So as it cycles through the four chords, you're always

hearing those two at the top, which kind of sounds like a second guitar player is just playing those two notes. Oh, I see. And another guitar player maybe playing the regular chords. Yeah. But you can, as a guitar player, play all of those parts simultaneously. As a layman who doesn't play the guitar, sadly. I hear the four notes

is like da, da, da, da, da. So that's right. The chords are 13774. One, three, seven, four. Yeah, those are the relative chords.

One three, seven, four. Exactly. Those are the regular chords. And, of course, they are the same chords as famously Green Days Boulevard of Broken Dreams. I walk a lonely road, the only one that I have ever known.

Don't know where it goes. Well, you did that come out. Came out in 2004. As we've talked about many times, go back to our Olivia Rodrigo episode. Just the very top of it, you don't have to go very far. It's very common for chord changes

to find their way into multiple songs. Nobody owns a sequence of chords. Green Day fans calm down. We're not saying that you copied Oasis. Right. Exactly. Although they might have. We don't know they didn't.

So the song starts with acoustic guitar, but let's start building the track. So what are the drums doing? So this is Alan Whitey White on drums. But it's not the Alan White who is the drummer for the band. Yes. That's a different British drummer named Alan White.

Now, Whitey had just joined the band because they had just gotten rid of original drummer Tony McCarroll. So he's only been in the band for a handful of days. And he comes in and records one of the first songs he ever records with the band is this one. And he plays this beat. I'm just laughing because as a drummer, in that moment, that beat was very Manchester, this doom, cat, cat, cat, cat, cat, cat, the cat kakakit, cat. The syncopation on the snare, where you go, boom,

get, that, boom, I hated it. When it was happening, I remember I had a friend who was a drummer and she played it

and I was like, don't play that beat. I don't like that beat. That beat, it's not okay to play. I don't know. I'm just remembering, though, in that moment,

it bothered me. You know, what I like about it is that it feels vaguely hip hop and if you were following the Manchester, Manchester sounds, it's so bad.

They were always bringing in some of the same break beats that hip hop were bringing in. I think that's what it was. It felt, inauthentic to me. When I was hearing it in some of the early Manchester stuff like you're saying, like the, you know,

chameleons and the charlatans and the Happy Mondays and all these guys, they were all using this beat and to me it felt like it was coming from something that it wasn't really authentic to them. Really? That's interesting. And I think you're right. I think it was connected to the breakbeat connection in hip-hop. I think one of the first Susie the Banji songs I loved was the one with the famous

boom, kiss them for. Which is a scooly diesel. I'm not here. Yeah, and I think that, you know, anything that sort of had like hip hop drums, I was there for. Right. That might be one of the other reasons why I was digging this song.

That's so interesting. And I think that Kiss Me, that song, the Sisy use feels somehow legitimate in some way. Maybe because it's actually of the sample. The sample. It's like actually embedded rather than replayed. It's hard to put your finger on what it was. Similar to my misinterpreting the band Oasis

as being part of this violent, lad, misogynistic culture. Or was I? I don't know. Yeah. But now, like, in just, Just hearing this as a song without all those associations. I just hear it for the music that it is. You mentioned the drums have a fancy moment.

What's the fancy moment? There's a little fancy moment where Whitey sort of reverses the beat a little bit. Here, I'll play it for you and then I'll play it in context. That's pretty cool. That's pretty cool. He threw the one in a different place where you're expecting it. Is he using a brush? So he's using brushes.

Yeah, he's playing the ride. And the snare using brushes very jazz. And it's what you do to be less loud, right? When you're a drummer. It's perfect for a ballad like that. When I used to play some set, I used to love the brushes. I thought that was the coolest sound. So let's come to the bass.

Earlier you said that you'd find the bass parts to be somewhat boring on some of these songs. I'd be curious to know if you feel that way about Wonderwall. Well, Wonderwall has a very functional bass. It's got a little bit of a groove to it. Let's hear a little bit, and then I'll give it to you in context. Like so many things about this band, I rescind my original comment, my original feeling. That's a sick bass line. It sounds amazing.

It's so warm. It does. There is a general warmth to the song. There's a warmth of this song, and I think that's why it's not an accident that I heard it, as I said, wafting out of a Boston pub. Yeah, you know, like you want that warmth, you know. And coupled with those drums right now, like I was feeling, I was feeling the warmth. And that's what you're going to hear kind of coming through the walls and the windows is that like, it's like an EQ cut. You're getting all the high end taken out and those low frequencies like in a ballad are really rumbling, like almost like a dance song.

Interestingly, this is not co-founder of the band Gwigsie. on bass. He's not on the song at all. This is Noel playing bass. You talked about before how the song started with the acoustic. It starts with no like recording wise, not just writing wise, but recording wise, he played with an acoustic to a click track. Okay. And so the drums we just heard were added afterwards. But in between, he also threw down that baseline. So it's Noel playing the baseline. Kind of like Jimmy Hendricks, right? Yeah. On a watchtower. And that's probably another reason why it's more of a functional base. Yeah, very functional. than sort of like a show off.

Right, but also knowing that and knowing that all the guitars and bass you're hearing are coming from the same performer. Again, going back to the Jimmy episode, but also we did an episode with Patrice Russian as our guest. You remind me, she is also doing the same thing. So when you've got the same performer,

it locks in a very special unique way because it's the same person playing all the parts. Let's talk about Noel. Obviously, he's sort of like the brain trust in terms of creating this song and he's on guitar. So what can you tell us about what he's doing on the song. Right. So we've heard the iconic acoustic guitar opening, and we talked about that

a little bit. Let's get into what happens a little bit later when he adds some overdubs. There is a high, plucky electric part. Let's listen, and I'll give you the context. This is in the pre-chorus. And there's an acoustic underneath that. Bring back some drums. That's real nice. It's real nice how that blends. Yeah. Yeah, because the drums are contrasting with that guitar part. The guitar part just repeats in those two bars so the drums can get a little funky in there. Mess it up. Bring in the right female singer and that could be totally like a song featured on Lilith Fair.

You know what I mean? Like seriously. It's melodic and it's beautiful and it's pretty. It's not lads, you know, reading loaded and like to say to you, but I don't know how. All the hooligan is and is on top there. I can't communicate my emotions. Totally. I say that as a fan.

But yeah, that could totally be another, There's a completely different. That could be a Lanus Worset somewhere in the 90s. I could totally see that song. Right. Or if you want to replace something else, sometimes we replace parts. I went ahead and I grabbed some of my favorite beats.

We can also do a version, which is a little bit more jungle, a little drum and bass. If we want it. If we try that one first. Let's try it. Let's try it out. I'm sure there is a drum and bass remix for Wonderwall.

If there isn't, there is now. Let me start with Liam and then I'll bring in. Baby! One, two, three, three, I'm going to be the one that saves me. I think it's a bass. Leah, what do you think about that? Rubbish.

I think it's great. I'm like really genuinely like that. I'm pretending that Liam would hear it. I'd love to hear what I think makes this song grow stronger at the end of the song, which is those amazing strings. I feel like those strings and the piano. I feel like those two things sort of take it out of just this is a great rock song. into like, this is cinema.

Does that make sense? Right. So one surprise in the stems is that what I thought also were actual strings. I mean, listen, in the video, there's dudes playing cellos. There'd be lots of reasons why we've been misdirected. Oh, no, you're telling me these are not strings.

Well, the strings, so here's what's interesting. They actually are real strings. However, they were recorded in the late 60s or a late 50s into one of the first samplers, which is called the Melotron, another Beatles connection. So what you're hearing is strings that were recorded into the one of into tape loops which a keyboard then triggered and I'll show you some more examples of that in the second but first let's listen to what they sound like in the mix I love that

they actually brought the 60s swinging England into the song literally right with a sample so that's literally the Melotron you can get those same sounds as a plug-in in any software program in Ableton and in Logic whatever it is so this is what he would have played he would have sat down at the keyboard and by the way the he in this case I'm pretty sure his bonehead I think that's who's credited on the Melotron. Well, okay. Paul Arthur's. Who's still on tour with them, you know, made up with the...

All the guitars were played by Noel on the song, so they gave him something to do. So Paul was like... They threw bone head of bone. Yeah, it was funny. And sat him down and showed him how to play basically the root notes of the chords on the Melotron. So he would have played literally this. It's so melancholy. It's so melancholy.

That's a great word for it. It's very evocative. And it's really interesting because you really are hearing. Those are real performances of some unknown string player. in probably London in the 50s or 60s. Swinging London, yeah. And another place you would have heard this instrument to make the Beatles connection more explicit

is it is the opening of a song that you may recognize. Can I guess? Yeah, yeah. I'm the Walrus. Well, it might be on there. I'm not sure, but the one I was thinking of was, let me see if I can play it. Let me take you.

Strawberry Fields. So that's Strawberry Fields. The use of a Melotron is very evocative, as so many instruments are of its earliest uses. Once it's embedded in the culture, or because of a famous song that uses it. That's what you're going to think of. So I think subconsciously there's a Beatles influence.

I was going to say, I really want us to go take a look at I Am the Walrus because I feel like that might be Melatron used. It could be. Yeah, the Beatles used it a few times for sure. Oh, that's so exciting. I love the fact that that boneheads on the song. Yeah. At least he's got four notes to play.

Yeah. And then we come to the piano, which is also a part that makes it so epic. And it's actually the piano that takes us out. Yeah. You know, the piano takes us out. It's sort of like that wonderful song by Faith No More. more epic, which also goes out on a wonderful piano note. But let's talk about the piano at the end of wonderful.

Can you play a little bit of it for us? Here it is. You'll hear it mixed in, of course, with some of the other instruments like the strings and the percussion, but this sort of piano melody that only occurs at the very end. Here it is. It'll be a badass remix to start here. Okay. I know you like doing this.

I would like you to do this. Play that part, but give me your drum and bass drums. Oh, hell yeah. Oh, hell yeah. I thought you'd never ask. This is what I think we need. Check this out. America. And that would sound a little something like this. So good. So good. That would be a fun one.

It's a million dollar idea right there. You can't talk about Oasis without talking about the lead singer and we've talked about him a lot. But let's hear his isolated vocals right now. The growl, the snare, the sound of a working class, ready to take on the establishment and the south. We see you, Damon Alburn. What can you play us from Liam? Why don't we just start for the beginning? Today is got to be the day that we. hear these stems. Today's gonna be the day that they're gonna throw it back to you. By now, you should have somehow realized what you gotta do. Can I tell you what I just realized, this epiphany that just hit me. I figured it out. I figured out musically how they are bratty.

It's because of that blue note, the way he leans into that, it's a tritone. The first note is a tritone. It's Don Penn Time. It's Don Penn Time again. That's a blue note. Ben, that's a blue note, Ben. And that is the sound of your, of your nostril going up like Elvis or Billy Idol. Oh, yes. It's going up like this. To, remember on the SWV episode, we talked about how some notes make my eyebrow go up. Yeah.

I think this is the note, this blue note makes your, this is the brady upper lip going up. To. Today. Yeah. Take that Billy Idol. Liam Gallagher is more braddy than you. That's where the brattiness comes from. I think it's these blue notes.

Wow. Today. Let's hear what he doesn't believe about us now. Okay. I don't believe that anybody feels the way I do about you now. He's such a good singer. I mean, I'm not the first person. That's a teenager's arrogance, though, right?

You know what I mean? Like, his opinion is all important. I'm just hearing it now that it's completely stripped away and isolated. Like, that's not something that would occur to a 30-year-old to say. No, but how interesting is it that it's his five-year-old. brother whose words he's singing too. That's also, whenever that happens, like again, Depeche Mode, right? Whenever it's not the vocalist who wrote the lyrics, it puts such an interesting spin on things. But it also might be like Noel talking about Liam. Right.

But making Liam sing it. Or like an app, right? It also happened in the Abba episode. It's like the breaking up couples. Yes. Yes. It's the Fleetwood Mac that we still haven't done. The next word out of his mouth, there bag be word on the street that the fire in your heart is out. can I just say right here that I've never thought that the lyrics of Oasis, and I say this as a fan, were like to be taken at face value. In some ways, they were almost like those Beatles songs that were aggressively like,

I am the walrus. Like there are words and their syllables that are supposed to make you feel something. Totally. And that's why I never doubted like Wonderwall was just, it could have been called Thunderball, which was a James Bond movie, British movie from the 1960s. You know what I mean? Sure.

It could have been Thunderball. Like, the words mattered less than what they made you feel. The words mattered less. And by the way, in the grand tradition of Mancunian, like New Order, like the syllables, it just feels very quickly, not dashed off, but like not overthought. I think that's what it is. It's very quick. And it's about recognizing the poetry that comes in what you're saying.

Recognizing that there's poetry in speedily moving through sound for lyrical content. And people, it'll evoke for different people, different things. And that can be beautiful in a different way. But they use beatily words. You know what I mean? Like champagne supernova feels like something that, you know, you can see Paul or John writing. Right. You know, and so I felt like in a lot of ways, like, you know, whether it was this or some of their other songs, the lyrics didn't matter quite so much as like what they seem to evoke.

Well, speaking of beatily words, the title of this song, add to lad culture, add to all the other things that maybe I wasn't like clicking with Oasis. The fact that this song's title to me, I swear to God, it bothered me. unfairly that it wasn't the word wonderful. It just seemed like it was trying to be not the word wonderful, but actually it was the word wonderful. That's so interesting. I never thought of the word wonderful. Really? It just seems like the original lyric and title was wonderful,

and they were like, let's not be so obvious. Let's make up this word. And that bothered me, but also I was wrong. I thought it was a beetly word. You know what I mean? Like Wonderwall to me was like a beetly word. Well, you're nailing it, my friend, because Wonderwall is the title of a 1968 movie about Swigging London,

Very psychedelic. You go back and watch it. It's sort of unwatchable other than it being incredible footage of that time. Carnaby's Street. All these things we read about is Anglophiles years later about this time period. What's the name of the movie? The movie is called Wonderwall. I did not know this. Importantly, the soundtrack was George Harrison. This is actually the first solo Beatle album. That's great. Was George Harrison's soundtrack to the movie. And he has a song called Wonderwall to be here. And it sounds like this. He's got a melatonon on there. That's with the strings in the back. background arc. This is George Harrison with his Indian influences, and he went to Bombay and recorded it with Sittar and Tabla. Again, the very first solo Beatles record. It was sort of obscure and out of print for many years, but in 1992, they re-released the album on CD, and Noel tells the story that he got a hold of it. Yeah. And once he heard it, the song had been called Wishing Stone, but then he was listening to that song by George Harrison. He's like, oh, wait a second, it's Wonderwall. It's Wonderwall. And to say that you're my wonderwall is like if that means something to you, that sort of is better than just saying, you're my very special cool thing. And mean something to him. In his quote, he goes, brilliant, I've got a Beatles connection. So it was significant to him that he could put into his song something that's connected to this band that meant so much. And listen, he's given a lot of reasons for why this is like, you know, there's the story about the wishing stone of it all is that like, you know, a fan came up to him after a gig and gave him a stone. And that made him think of wishing stone. My father was a painting. and I noticed that he would give, I was at all his shows,

and I would notice he would give different reasons, origins, even titles sometimes to pieces, depending on who he was talking to. And one time I remember asking him, I'm like, yeah, why does it change so much? She was like, sometimes it changes for me. Yeah. You know, and I think that that's the right of the artist

to sort of come up with a different reason from time to time. I think that's right. I think there's a lot, there's a revelatory nature to making art, to making music. You maybe think it's something, but then it turns out to be something else. and that's part of the magic for the artist themselves.

Totally. All right, so let's hear those Liam vocals at the chorus, my man. Because maybe you're going to be the one that saves me. Those notes are so long. It's a bar and a half. He's holding that note and you can hear the breath. So it's all legit.

It's not auto tune. Does Noel come in on the end of the song? He does. Okay. He just does the call and response. Yes. I thought that was a different voice. I said maybe, you're going to be the one that saves me.

You don't get that tag, the Wonderwall tag. Yes. They've heard of course there. They withheld it. I know. Cruely. So cruel. So cruel.

Okay. So now that we've heard the song luxury, what can you tell us about the splits? Well, it'd be a misnomer to call them splits because it's just no goal. No. Keep it all. 100%. And that's the case for pretty much the entire Catholic. when he hasn't got a Gary glitter on there or a teach the world to sing kind of situation.

I mean, he wrote the songs, and I'm sure that, you know, Liam strikes me as a guy who's probably fine. Yeah, I mean, it's all in the family, right? Yeah. They've got their ups and downs. I'm sure that plays into some of the ups and downs, right? It can not play any of it. Listen, anytime we've talked about uneven splits, there does seem to come a point where

people are yelling at each other. Yeah, I mean, there's a dude whose house is higher up on the hill and the other dudes. Like, that makes a difference. Absolutely. Well, listen, I feel like either way, the checks for this song are probably not too shabby for anybody involved. Everyone involved is fine. Over 8 million copies of the single

Alone sold worldwide. We're talking over 1.5 billion streams and placements on countless greatest all-time list from NME to Rolling Stone. Let's watch a clip of the Wonderwall video. Because maybe... I mean, listen, the clowns in slow

motion and the like, you know, miming the cello old dudes. I'm not... I think it was minimalist. And I'm going to say that the first time I saw the video Like the one I like the most is when it's just their faces. Yeah. And it's the black background. Sure. That's the cool part.

That is so elegant and so cool. And they won the 1996 Brit Awards for Best Music Video over Blur. Which sort of strikes me as a you had to be there situation. Oh man. Like that was like the Blur Oasis rivalry at its peak. They get up there and they sing shite life to the sounds of Park Life. I think we got to do a blur episode just to make these way. See, they're bullies.

I'm telling you. These guys are bullies. Damon got in his jabs too. David got his... In fact, I've heard that Damon and Noel are actually really close friends. Yeah, I would be surprised. He's like, he's the only other guy

who knows what we went through. Oh, right, great point. Sure. So they're all buddies now. So, luxury, what do you think the legacy of Waterwall and Oasis is? I think that what, at the time, turned me off because I was a budding musician,

I was looking for things that were left of center. I was myself making stuff that wasn't, that didn't sound like anything, and that was almost pretentiously, self-consciously getting in my own way. of success, right? This may be my big reason why I'm a podcaster now. Couldn't put one foot in front of the other. OAS does not only put one foot in front of the other. They had the raw talent. They had Liam's vocals. It was such a perfect package. But to me, what really stands out in my learning

from this episode is the directness. It is such a shot to the heart by not trying to be too fanciful, by using direct language, simple melodies that are memorable and instrumentation that perhaps we've heard these chord changes before. Perhaps we've heard mellows. before, whatever it is. They're unique repackaging, so to speak, but also unique voice, unique tone, uniqueness as two brothers. It's exciting to me. I hear the excitement now. I hear why this is a stadium chant, a bar room. It's unifying. Everyone feels together singing along. It's in the right key for most people to be able to hit the notes. I get it now. I think I didn't get it before anything. I get it now. I hear it. Yeah, I think I agree. And I do want to say,

Again, I think everybody borrows. I think there are other bands that made a conscious effort to be like, we want to be the biggest band in the world and be that stadium band. I'm thinking about Freddie Mercury at Queen, you know, by the time they do it, we will rock you. That is a song made for tens of thousands of people to chant along with you. And I think that these guys did it and they did it well. And until we started preparing for this episode,

I didn't know that they consciously did it. But I know that as a 20-year-old, a fellow 20-year-old at the time listening to this music, I felt like, oh, this is like non-pretentious, really fun rock and roll from a foreign place, and I really dug it because I like the people they were referencing. I like the Beatles. I didn't know it at the time, but I liked a lot of Bowie and I liked a lot of the Smiths. And they were able to give it. They're citing their sources, their inspirations, yeah.

I was just chuckling at the word non-pretentious because it's funny. Actually, the music is not super pretentious. The music is anti-pretentious, but the band is the most. These are the two most pretentious teams. I don't know. They're pretentious. I've ever heard. I think that they may be egomaniacs.

But it's tongue and cheek. And that's what shines through now with my, I can see it now. That is really funny. Like the way they sort of, their confidence is like they've taken it to the next level where it's tongue in cheek and truthful at the same time. And that's a really difficult balance. And my perception at the time was like negative. But now I'm like, oh, this is great.

I love how confident and funny they are. And I love this song. I think we have a quote from Liam that gets to the heart. of this. He says, some songs people get straight away, and I think this was one of them. I love playing it now. People pay fucking good money and you should give them what you

got. The song is bigger than us. Again, not pretentious. Working class, hey, you paid money to get into this concert at the Rose Bowl, Paul McCartney. Like, we're going to give you the show that you want, and I don't think it's an accident that behind them, they have these massive

massive screens where they're just showing, you know, tabloid headlines and then themselves, like, writ large. Like, it's just like, hey, have you ever wanted to go see a rock band that's not afraid to be just a total rock band? Absolutely. The biggest. And you know these words.

They're going to live forever. You're going to live forever. You're a rock and roll star. All of the above. Supersonic. I love it. All right, One Song Nation. We've got a new segment.

We're calling One Genra, where Luxury and I break down a subgenre and share a record that we think is essential listening. That's right, Diallo. Today we're talking about Italo disco, or as I've heard, some people say, it's hello disco. But that doesn't sound right to me.

I think it's Italo disco, personally. I say Diallo disco, personally. But technically, it's hello, it's Italian, so Italian, Italian. Yes, yes, this is a very popular subgenre that owes a lot to the fact that Italian and the Italian pop state was making very disco-s songs towards the end of the 19th century.

And this disco, and to my ears, when something crosses into the Italo or Italo zone, It's because there's something either sequency or synthy about it. I think it's a little bit leaving the realm of purely instrumental performers of bass guitar and rhythm guitar and live drums. You start to get some early drum machines. You get one of the pioneers of the genre. We will be talking about Georgia Maroder, for example.

He's sort of the godfather of this subgenre. But like all genres, the lines are porous and there's overlap, and certain artists and certain albums may have Italo songs. and regular disco songs and even ballads now and then. So Diallo, what's your pick today? My Italo Disco pick is from the flirts. The song is called Passion. You know, I'll say that I didn't know about Italo Disco

really as a genre until the Electro Clash subgenre sort of came on the scene in 2000, 2001. And I love that stuff. And they were sampling and sort of, you know, when they weren't sampling, evoking. A lot of the music that came out of the Atala Disco scene in the late 1970s, This song, Passion, is about nine minutes of pure goodness.

And it's actually, if you listen to the whole thing, it's the song that Felix the House Cat sampled for one of my favorite electro-clash songs of all times, Silver Screen Shower Scene. I use discogs, by the way, to discover what 12-inch had this version of passion. You get a solid two minutes of just wonderful, bouncy Italian disco. Great tune. And that's a Bobby O. Bobby Orlando production, right?

Bobby O., famous. You know, here's a great example of what I was saying, the genre kind of porousness, is that he technically is one of the inventors of high energy, right? Which is another dance genre, right? Frankie goes to Hollywood, like early stuff. But he's right on the border of that, and maybe the fact that he's American

means that the atalowness kind of crosses over into high energy. To me, they're both, you could play them both back to back in a DJ set, and no one would be mad. You know what I'm saying? Like, that's kind of the ultimate, what matters about these subgenres in a lot of ways. They're very, as you said, porous.

Yeah. And Bobby O, fun fact. I think we talked about this about 100 episodes back, if you want to go. Pet Shop Boys. That's right. Pet Shop Boys. That's right. Petchop Boys produced the original West End Girls. Was with Bobby O. From Italy, to the United States, to England.

Exactly. This was all sort of early electronic music. Exactly right. Exactly right. Luxury, what's your pick? All right, this is a tough one because this genre is very, very important to me. In fact, I had this blog, right? I think you might have...

That's sort of our first contact with my own. Exactly. I had a blog called Disco Workout, and started in 2006, and I would post a lot of Atalo disco and a lot of high energy and a lot of just all the different straight synth-Bob. A lot of this really proto-electronic music was the core of what this blog was about. So we did a lot of Bobby O. We did a lot of Atalo stuff, right, exactly.

And another band that I discovered around this time, which I will be highlighting now is the band, Glass Candy. This is a song called... I always say yes, and this song is a lot of special importance to me because I did a remix of it. This was early in my music career. I reached out to Johnny Jewell from the Bland Glass Candy. I said, I'm a big fan. I'd love to do a remix. He gave me the go-ahead. And then for about a year, we would like meet up in different towns. Like, I met him in L.A., I met him in New York. I met him in San Francisco. And we would just sort of hang out and talk.

And I was such a fan boy that it was really like fun for me to feel like another musician treated me like a year. Yeah, somebody you liked. Exactly. So that was very important. and I want to just thank you, Johnny Jewell, if you're out there. Like, it really meant a lot to me that you kind of vouched for my legitimacy by allowing me to participate in your incredible band and your musical legacy. So this song is also related to Georgia Maroder. We talked about a second ago.

When I heard it, it blew me away as being like a way that this late 70s, early 80s music could come back again because this is in the early 2000s that I'm hearing it. When I first heard the song, I always say, yes, it reminded me so much of the Georgia Maroder of I Feel Love and the Chase, which are two of my all-time favorite songs. The Chase is so good from the movie Midnight Express, which terrified me when I saw it as a kid. I still haven't seen it. Turkish prisons. I heard it has bad stuff.

Horrible. You do not want to be an American in a Turkish prison. But we love Georgio. We love E equals MC squared. Knights and white satin. Just so many. I mean, like the man is a legend. He also did this project called Munich Machine.

This is his work as well. I don't know Munich Machine. Yeah. Marauder is at the heart of so much of the. music that Diallo and I both love. So we talk a lot about how genres have a musical component, a geographical component sometimes, and a time component era. So punk existed in the 70s, but it still exists now. It's a different form of punk. In the same way I'd say it tallow disco lives on, in spite of its legacy being kind of firmly planted in Italy in 82 or 83, you could still make

Italo disco music. I make ataloo music. Some of my music is very much inspired by it. So glass candy is a great example of that to me. So those are our one genre picks for Atalisco. Let us know what you think about them in the comments. And if you want to hear our selections, please check out our one song playlist linked in our episode notes. But don't give us your opinions of us in the comments. Like you guys still love to do.

We're not interested in those. As always, you can find us on Instagram and TikTok. You can find me on Instagram at Diallo, D-I-A-L-O-O-O, and on TikTok at Diallo-R-R-R-R-L-E. You can find me on Instagram at L-U-X-X-U-R-Y. and on TikTok at LuxuryXX. And you can follow our podcast on Instagram and TikTok at at One Song Podcasts for exclusive content.

You can also watch full episodes of One Song on YouTube and Spotify. Just search for One Song Podcasts. We'd love it if you'd like and subscribe. Also be sure to check out the One Song Spotify playlist for all the songs we discussed in our episodes. You can find the link in our episode description. And if you've made it this far, you're officially part of the One Song Nation. Yeah, congratulations. Welcome. We love you.

We have very open borders. Show us some love, give us five stars, leave a review, and send this episode to a fellow music fan. It really helps keep the show going. Well, actually, help me in this thing. I'm producer, DJ, songwriter, and musicologist, luxury. And I'm actor-writer-director and sometimes DJ Diallo. And this is one song. We will see you next time.

This episode is produced by Melissa Duanyas. Our video editor is Casey Simonson. Our associate producer is Jeremy Bimbo, mixing by Michael Harmon, and engineering by Eric Hicks. Production Supervision by Razak Boykin. Additional production support from Z. Taylor. This show is executive produced by Kevin Hart, Mike Stein, Brian Smiley, Eric Eddings, Eric Wals, and Leslie Guam.