'Oasis was like being on Concorde for six years'

We hear from two people who were on the inside when Oasis first hit the big time.

Johnny Hopkins, Oasis press officer from 1993 until 2000

It was a 24/7 existence. The phone did not stop ringing. It was like being on Concorde for six years, and I loved it. The speed at which they went from A-Z was incredible. They did the Marquee, then the Forum, and then it was straight onto Earl’s Court, Maine Road, Knebworth. They never did Brixton Academy, which would have been most band’s ambition at the time.  

The day (What’s The Story) Morning Glory? was launched we had a party on Sunday morning (1 October 1995) in West London. Booze and brilliant food were served, there was an ice sculpture of the Oasis logo and a string quartet played the songs from the album.  

After that we went to the Parkway pub in Camden to watch Eric Cantona’s comeback match for Manchester United against Liverpool. The boys were City fans but they loved Cantona. 

Then it was on to Smithfields and the Heavenly Social where The Chemical Brothers and Richard Fearless were DJing. Then after that we were off to a midnight performance at the Virgin Megastore on Oxford Street to launch the album.  

Every day was like that. It was a constant whirlwind. But I could pick any of them. It was all really special. 

Johnny Hopkins will be joined by a host of other stellar creatives in a ‘90s music podcast, Breakfast at Mario’s, coming soon.

Brian Cannon, sleeve designer for Definitely Maybe, (What’s the Story) Morning Glory and many more

I first met Noel Gallagher in a lift one day. He was a roadie for Inspiral Carpets and I happened to have an office in the same building. We were talking about trainers and he asked me what I did. At that point, I’d done two or three single sleeves for Verve, as they were known then, which he’d seen and liked. Liam used to hang about the office and, you know, you often hear the term ‘effortlessly cool’ being bandied about, but Liam certainly was – right from the get-go. I knew nothing about their music. I just thought they were two interesting characters that were oddballs but cool at the same time.  

Read more:

• The history of Oasis, through five iconic Big Issue interviews: ‘Liam’s an idiot… But he’s my idiot’
• From the archive – Noel Gallagher on Oasis, Blair and the death of rock ‘n’ roll
• Meet the man who captured Oasis as they went supersonic: ‘It went beyond my wildest dreams’

Noel kept mithering me to go and watch the band, and I kept putting it off because I thought they’re bound to be shit, because all your mates’ bands are always shit. When I finally did see them, I didn’t believe my eyes, to be honest, it was the Hop and Grape in Manchester University. There was nobody there, apart from me, Marcus Russell, who’s their manager to this day, and Johnny Marr, and we just like, fuckin’ hell. Then obviously it just took off like a rocket, didn’t it?  

My philosophy when designing sleeves is to become as much a member of the band as possible, though I don’t play any instruments. Apart from the fact it’s a great laugh, you’re bound to produce better work. My approach to it all was like a bespoke tailor – there’s nothing generic about any of this. Every single sleeve was specifically tailored to that one record. We had details on singles that people wouldn’t even bother doing for album projects. That’s the way we looked at it.

Nothing ever had to be redone or was rejected because I had such a close working relationship with them as a result of literally spending time with them in the studio, on the road, hanging out with them outside of work. So I just knew what they liked and what they didn’t like. That built up a position of trust.

Sometimes Noel had some strong ideas. For “Some Might Say” he wanted the lyrics of the song illustrated in one image, then he just let me run with it. It was done on a shoestring. I mean, my dad made that wheelbarrow with the fish in it and he’s pushing it. We never used extras. 

The music industry is the most fickle industry going and quality is no guarantee of success, as has been proven time and time again. However, I was convinced about Oasis. Alan McGee says, “Oh, you know, we had no idea it was going to be so big.” I kind of disagree with him. I was like a walking advert for Oasis from the demo tape onwards.

People must have seen me coming across the street, and thought, fucking hell, he’s here again, that guy who never shuts up about this band from Manchester. I was obsessed, and I just couldn’t believe how good they were. It’s easy to be blase now, but you delve back into when they that sort of 94/95 period, that psychedelic era – “(It’s Good) To Be Free”, “Columbia”, “Acquiesce” – that’s my Oasis, they were just unbeatable. 

It was a beautiful time. There’s all this nonsense in the media accusing Oasis of being racist or sexist or homophobic. It’s absolutely nonsense. It couldn’t be further from the truth. They were almost like hippies, really, but dressed like hooligans.  

The most exciting time in any band’s life period is that bit where it just starts taking off, but you’re still in the transit van. It’s still your little secret, but it’s happening, that was 94/95, before it went stratospheric with Oasis.  

I still get a buzz off seeing the logo on t-shirts. When the time comes that I’m not excited by that, it’s time to give up, and it will never happen. I’m almost getting emotional about it now, it’s an incredible thing to be involved with it. It’s the project of my life, it’ll never be surpassed.  

For more of Brian’s work visit Microdot Boutique.

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