Musical theft has built more careers than talent alone. For Oasis, the Manchester band that ruled Britpop in the ’90s, borrowed riffs and melodies weren’t just occasional shortcuts – they formed the backbone of a multi-platinum empire. Their fearless pillaging of rock history created legal battles, financial penalties, and songwriting credit disputes that shaped their career as much as their swagger.
The Gallagher brothers transformed musical recycling into an art form itself, leaving a trail of lawsuits and grudging industry respect in their wake.
10. Half the World Away
Creativity often means standing on the shoulders of giants. “Half the World Away” leans so heavily on Burt Bacharach’s “This Guy’s in Love With You” that even Noel admitted they “sound the same.” This musical borrowing operates like a chef adapting a classic recipe – same basic ingredients but with personal flourishes.
The relationship between influence and influenced took an unexpected turn when Bacharach invited Gallagher to perform together in 1996. This public blessing transformed what could have been seen as theft into accepted musical lineage.
9. Don’t Look Back in Anger
Some songs contain echoes so obvious they might as well come with footnotes. “Don’t Look Back in Anger” opens with piano notes that make John Lennon fans perk up their ears faster than dogs hearing a treat bag open. The intro riffs on “Imagine” with all the subtlety of a neon sign.
Yet something magical happens. The borrowed introduction launches into a completely different galaxy – an anthem that transcended its origins to become something uniquely powerful. When Manchester faced terrorist attacks in 2017, crowds spontaneously sang this song as an act of defiance and unity. No one cared about its borrowed opening then.
8. Cigarettes and Alcohol
Noel Gallagher never hid his magpie tendencies. His swagger had the audacity of a toddler stealing cookies while maintaining direct eye contact. “Cigarettes and Alcohol” lifts its main guitar riff from T-Rex’s “Get It On” as obviously as a fingerprint at a crime scene.
The real genius wasn’t the theft but the transformation. Gallagher cranked up the distortion, added working-class rage, and let his brother snarl over the top like a chained pit bull.
7. The Importance of Being Idle
Modern musicians understand that hiding influences is futile in the internet age. “The Importance of Being Idle” draws inspiration from “Clean Prophet” by The Lars, particularly its opening guitar figure. Instead of denying this connection, Gallagher acknowledged it openly – a strategy as refreshing as finding honest ingredients listed on a fast-food menu.
This transparency represents evolution in how artists approach creativity. By naming their influences, musicians build bridges between musical eras rather than pretending each new sound emerges from a vacuum.
6. She’s Electric
Beatles DNA runs through Oasis like chocolate through a cookie. Many fans have noted perceived similarities between “She’s Electric” and Beatles classics, with some hearing echoes of “While My Guitar Gently Weeps” in the chorus and “With a Little Help From My Friends” in the outro. Yet, unlike other tracks with confirmed borrowings, these connections remain in disputed territory – neither officially acknowledged nor legally challenged.
What makes these perceived similarities fascinating is how they reflect Oasis’s open Beatles worship. The band never hid their musical legends, wearing this influence like a teenager proudly sporting their first concert t-shirt.
5. Whatever
The music industry protects its assets like a dragon guards its gold. When Oasis released “Whatever” in 1994, Neil Innes noticed his 1973 song “How Sweet to Be an Idiot” had been reborn in a new skin. The similarities weren’t subtle – same key, same melodic phrase, same chord progression. It was musical copy-paste.
Innes didn’t just complain on late-night TV – he sued. The courts agreed with him, forcing Oasis to share songwriting credits and royalties. This wasn’t just about money. It was a public acknowledgment that even rock stars with attitude have to play by copyright rules.
4. Supersonic
Creative minds absorb influences like sponges soak up water. Some listeners have claimed “Supersonic” features a guitar solo reminiscent of George Harrison’s “My Sweet Lord,” though this remains disputed. Unlike other Oasis tracks with acknowledged borrowings, the band never confirmed this particular influence. The conversation around perceived similarities highlights our tendency to seek patterns in music.
This disputed connection reveals something crucial about how we experience creativity through the lens of everything we’ve previously heard. Our brains constantly hunt for familiar patterns, sometimes finding connections that may not have been intentional.
3. Step Out
Some borrowings cross the line so clearly that even the most confident rock stars must retreat. “Step Out” mimicked Stevie Wonder’s “Uptight” so closely that red lights flashed throughout the music industry. The song was yanked from “(What’s the Story) Morning Glory?” faster than a politician deletes an unfortunate tweet.
The financial penalty proved substantial – 10% royalties surrendered and songwriting credits shared with Wonder. Imagine if this track had remained on what became one of the defining albums of the 1990s – its presence might have changed the entire narrative around Oasis’s creative legitimacy.
2. Shaker Maker
Corporate America protects its sonic assets with armies of lawyers. Oasis learned this lesson when “Shaker Maker” borrowed too liberally from “I’d Like to Teach the World to Sing,” – itself a reworked jingle that sold millions of Coca-Cola bottles. The soft drink giant reportedly sued for $500,000, proving that even the coolest rock stars can’t outrun corporate legal departments.
The case reads like a plot from “Better Call Saul” – a cautionary tale for songwriters everywhere. The melody that sells soda today might cost you half a million tomorrow if you repurpose it without permission.
1. Don’t Go Away
Music festivals and communities function like ecosystems where ideas flow freely between artists. Some listeners have noted similarities between “Don’t Go Away” and “Feel the Pain” by The Real People – a band that helped Oasis create early demos. While these connections remain disputed with no official acknowledgment or legal action, they highlight how creative scenes often feature overlapping sounds and approaches.
The potential relationship between these tracks points to how artists within shared communities often develop parallel techniques, perhaps taking similar musical approaches but changing emotional contexts through key changes.
