{"id":18966,"date":"2008-02-07T13:00:00","date_gmt":"2008-02-07T12:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/whatever-oasis-strings-in-chelsea-then-a-credit-for-neil-innes\/"},"modified":"2026-09-27T00:42:51","modified_gmt":"2026-09-26T22:42:51","slug":"whatever-oasis-strings-in-chelsea-then-a-credit-for-neil-innes","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/whatever-oasis-strings-in-chelsea-then-a-credit-for-neil-innes\/","title":{"rendered":"Whatever – Oasis : des cordes \u00e0 Chelsea, puis un cr\u00e9dit pour Neil Innes"},"content":{"rendered":"

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Un single hors album entr\u00e9 directement \u00e0 la 3e place<\/h3>\n

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Whatever<\/em> n’est pas une chanson de Definitely Maybe<\/em>. Les \u00e9ditions deluxe plus tardives l’y ont rang\u00e9e. Le disque qui compte, c’est le single autonome que Creation sort le 18 d\u00e9cembre 1994, dans le trou entre le premier album et (What’s the Story) Morning Glory?<\/em>. Noel Gallagher l’\u00e9crit. Liam la chante. Elle dure 6 minutes et 21 secondes, avec un edit radio autour de 3:58. Elle entre directement \u00e0 la 3e place, le premier top 5 britannique du groupe.<\/p>\n

Ils l’enregistrent en 1994 \u00e0 Maison Rouge, \u00e0 Chelsea. Owen Morris produit avec Noel. Le groupe pose d’abord la base : Liam au chant et au tambourin, Noel aux guitares \u00e9lectrique et acoustique, Bonehead \u00e0 la rythmique et au piano, Guigsy \u00e0 la basse, Tony McCarroll \u00e0 la batterie. Le dernier jour, ce sont les cordes. Le London Session Orchestra les joue. L’ancien violoniste d’Electric Light Orchestra Wilfred Gibson est dans la section. Nick Ingman arrange les cordes avec Noel. Le single sonne comme cette coupure. Une figure acoustique claire, Liam sur une m\u00e9lodie haute et ouverte, puis une ligne de cordes que les singles d’Oasis d’avant n’avaient pas eu le budget d’avoir. Mark Szaszy r\u00e9alise le clip : le groupe avec l’orchestre, pas dans une salle de r\u00e9p\u00e9tition.<\/p>\n

Les faces B font autant de travail que la face A. (It’s Good) To Be Free<\/em> et Half the World Away<\/em> sont nouvelles. Slide Away<\/em> est d\u00e9j\u00e0 sur l’album. Half the World Away<\/em> devient plus tard le g\u00e9n\u00e9rique de The Royle Family<\/em>, ce qui la porte plus loin que ce passage au classement. L’histoire du single se joue sur huit notes. La m\u00e9lodie du couplet est proche de How Sweet to Be an Idiot<\/em>, chanson de 1973 de Neil Innes, un air de son disque solo qui passait aussi dans les spectacles live de Monty Python. EMI, l’\u00e9diteur d’Innes, attaque. Oasis transige. Innes re\u00e7oit un cr\u00e9dit d’auteur et une part des royalties. Sur les pressages suivants, son nom est \u00e0 c\u00f4t\u00e9 de celui de Noel. Les huit notes en cause sont celles sous \u00ab I’m free to be whatever I \u00bb et sous la phrase-titre d’Innes.<\/p>\n

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\n

I’m free to be whatever I, whatever I choose, and I’ll sing the blues if I want.<\/p>\n<\/blockquote>\n

(Whatever, Oasis, 1994)<\/em><\/p>\n

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En concert, ils la jouent parfois avec les cordes, parfois sans. \u00c0 Knebworth en ao\u00fbt 1996, l’harmonica de Mark Feltham la traverse. Ils ont coll\u00e9 des lignes d’Octopus’s Garden<\/em> et d’All the Young Dudes<\/em> de Mott the Hoople sur la fin, les \u00ab blues \u00bb tourn\u00e9s vers Manchester City. Le single de studio ne fait pas \u00e7a. Il finit sur l’orchestre et les claps. C’est une sortie de d\u00e9cembre qui n’est pas une chanson de No\u00ebl, un pont pendant que Morning Glory<\/em> s’\u00e9crit encore. McCarroll est toujours le batteur. Quelques mois plus tard, il ne le sera plus. Ce single est un des derniers disques class\u00e9s avec les cinq qui ont fait Definitely Maybe<\/em>.<\/p>\n

La transaction ne l’a pas retir\u00e9e des radios. La 3e place en d\u00e9cembre 1994 est le plus haut classement qu’ils aient eu. La chanson que les gens ont achet\u00e9e, c’est la prise de Maison Rouge, Liam devant une vraie section de cordes, pas le remaster qui a plus tard coll\u00e9 le morceau sur un deluxe de Definitely Maybe<\/em>. Le cr\u00e9dit d’Innes est la correction. Le disque reste celui que Creation a exp\u00e9di\u00e9 ce mois-l\u00e0, six minutes, orchestre le dernier jour, Noel et Morris \u00e0 la production, et huit notes qu’il a fallu partager.<\/p>\n

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Whatever n’est pas sur le Definitely Maybe d’origine. Oasis l’enregistre \u00e0 Maison Rouge, \u00e0 Chelsea, avec le London Session Orchestra, et Creation le sort le 18 d\u00e9cembre 1994. Il entre directement \u00e0 la 3e place.<\/p>\n","protected":false},"author":1,"featured_media":18959,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,293],"tags":[482,463],"class_list":["post-18966","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-oasis-fr"],"yoast_head":"\nWhatever - Oasis : des cordes \u00e0 Chelsea, puis un cr\u00e9dit pour Neil Innes - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/whatever-oasis-strings-in-chelsea-then-a-credit-for-neil-innes\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Whatever - Oasis : des cordes \u00e0 Chelsea, puis un cr\u00e9dit pour Neil Innes - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Whatever n'est pas sur le Definitely Maybe d'origine. 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