Much has been written about Oasis's early days with Tony McCarroll, the original drummer whose raw, thunderous beats powered 'Definitely Maybe', 'Whatever', and the band's first No. 1, 'Some Might Say'. But one chapter of the story remains little known.
In a rare interview with HELLO! – one of his only press appearances amid the band's reunion – Tony revisits Oasis's first, ultimately scrapped attempt to record a debut album, sharing never-before-heard memories of the sessions that didn't exactly go to plan at Monnow Valley Studio in Wales.
As one of Oasis's founding members, Tony's place in the band's history is unshakeable, even if he's not part of the 2025 reunion shows. And it's clear he wishes the lads well.
"What we started back in the Boardwalk days has become this. Be proud. I [expletive] am," he shared recently in an open letter to the band — before cheekily adding: "If the drummer fancies a stage partner for Supersonic at Heaton Park, give us a buzz."
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Read drummer Tony McCarroll's untold band history in his only media interview.
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For the first time, Tony has also opened the vault on a collection of personal photos from those chaotic early sessions — intimate behind-the-scenes moments from the band's earliest attempt to make a record, some of which can be seen on these pages. Prints and images from the session are now available at his official website.
Here, in a candid Q&A, Tony tells HELLO! what really went down inside Monnow Valley, from awkward isolation booths to drunken tractor escapades – and why that first version of Definitely Maybe was ultimately left on the cutting-room floor.
Plus, he shares his fondest memories from his time in the band.
From the May 1993 King Tut's gig where Oasis were discovered to recording at Monnow Valley in January 1994 – that was a fast turnaround. What happened in the seven months between?
Most of us were still somewhat living our normal lives with work and everything. Even though we'd bagged a record deal, there was a lot of toing and froing to agree the record contract.
Probably the longest few months of my life. It still hadn't been signed, and anything could've gone wrong.
But we hoped for the best – that we'd put pen to paper and finally release a record. It's what we'd always dreamed of.
What was it like leaving the Boardwalk, where you used to play gigs in Manchester, and setting up in Monnow Valley? Being in a room on your own must've felt strange…
I've got to say I was already nervous about our first major studio experience.
You're being set up in a room on your own for the first time ever – no eye contact with the band – I felt a bit isolated, really.
But I think we all felt a bit of that. Headphones on, surrounded by microphones… quite a vulnerable situation when you've never done it before.
What was the mood like when you first played back the songs?
We'd only ever known playing together in the same room with each other in a rehearsal situation. We lost a certain energy and tempo when recording separately.
On top of that, the mixes were so clean – what the monitors were pelting out just wasn't what we recognised as us and our band.
What else stands out from those sessions?
At first, it was a bit of a jolly-up. Boys on holiday, away from home and loving life.
But you soon realise a studio can be a pressure cooker. You've got a job to do and must get on with it. Luckily, the drums were done quickly.
The Supersonic cover was taken there – I remember a few snaps and set-ups for that by Brian Cannon and Michael Spencer Jones.
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Did you keep copies of those first recordings? It's been noted they were lost due to the tape being mislabelled and only recently found for the 30th anniversary reissue of Definitely Maybe.
I'd usually walk away with a rough monitor mix tape if I could. Now buried in the Tony archives somewhere!
I did find a few very early tapes recently, and a fair few personal Kodak moments from that session.
Some of those shots have never been seen before – I've added them to my website.
Alan McGee said the band spent £45,000 on those sessions before scrapping them. What was different when you re-recorded the album at Sawmills Studio in Cornwall?
When we were in a live or rehearsal situation, we were at our best.
Eye contact, foot tapping, a general vibe together — it brought the best out in us.
It was much more relaxed and familiar. The recordings went much more smoothly from then on.
Only Slide Away from the Monnow Valley sessions made the final album – in a remixed form. Did anything else survive?
Were there any other photos or footage taken during those early sessions?
I brought along a few Kodak cameras and took some intimate shots around the studio.
Looking at them now is like a time capsule. People would be used to seeing the meticulously planned images of the band.
But these are the intimate reality of the studio, up close with a view from behind my drum kit. Notably some of Liam singing, Bone tuning, us all out and about whilst various associated names do their thing in the back.
The real behind-the-scenes of that first shot at Definitely Maybe. I've put some of those online too.
And what about the legendary combine harvester story? The tale goes that Oasis met the Stone Roses, who were recording their Second Coming album down the road at Rockfield Studios, then decided to 'borrow' a combine harvester to go out for a night-time ride. What's the truth? Were you driving?
There were some who over-iced the cake in certain situations back then – and understandably so.
After being in the studio with the Roses we did try to start a tractor with a screwdriver. Amongst other things we were very drunk.
Thank God the thing didn't start. And yes, I would've been the driver.
What's the fondest memory from your Oasis years?
Always playing live. The gigs notably getting bigger – us getting better… Our Glastonbury debut stands out as one of my favourites.
Live Forever. What a song. Much sentiment and feel. Beautiful.
Do you ever listen to their later stuff and imagine how you'd have drummed it?
I don't think about drumming them, but I do listen and break down what the drummer's doing. As I do with a lot of bands and drummers. It's a drummer thing.
Do you go to many gigs now?
Not as many as I used to. There'll be a few bands every year I'll venture out and see.
If you could go back to the early 90s, would you do anything differently?
No. It might've had a different result.
You said you saw Liam not long ago and there's no hard feelings. Do you keep in touch with the others?
Not really – but I'm sure it would be pleasant if our paths crossed.
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