Quick Answer: Noel Gallagher recorded Oasis’ debut album, Definitely Maybe, mostly just with his 1992 Epiphone Les Paul Standard and a 1953 Gibson Les Paul Goldtop conversion borrowed from The Smiths’ guitarist Johnny Marr. He ran them through a Marshall Valvestate 80V (Model 8080) and a Watkins Dominator, both solid-state amps. The only effect used on the album was a Roland RE-201 Space Echo.
In this article, we’ll cover the history of each guitar and analyze the songs on the album to determine which gear combinations Noel used. For more on Noel Gallagher’s equipment, visit his gear page.
Gear Used by Noel Gallagher on Definitely Maybe
Noel’s Guitars on Definitely Maybe
Noel’s main guitar on Definitely Maybe was a 1953 Gibson Les Paul, a guitar that actually belonged to Johnny Marr, the famed guitarist of The Smiths.
As the story goes, after attending an early Oasis gig, Marr told Noel he needed another guitar since he spent way too much time during the set tuning. Noel joked that it was easy for Marr to say, already having plenty of guitars. Soon after, Marr sent over several of his own to the studio where Oasis were rehearsing, including this vintage Gibson Les Paul Standard and his black Rickenbacker.
He used to spend ages tuning up. You could go to the bar, come back, and he’d still be at it,” Marr recalled. “I told him, ‘You need another guitar, just get one.’ And quite rightly, he said to me, ‘That’s easy for you to say—I’ve got like 12 quid, and you’ve got like 100 guitars.’
So, I said, ‘Alright, I’ll lend you one of mine.’ I started thinking about which guitar to give him. I couldn’t give him something too dodgy or cheap—I had to give him a decent one. I had a sunburst 1960 Gibson Les Paul worth a fortune.
Johnny Marr On Noel Gallagher
Noel eventually returned them all except the Les Paul, which quickly became Gallagher’s main guitar. He even wrote “Slide Away” minutes after first picking it up, and used it on nearly every track of the debut album.
I opened the other case, which contained the Les Paul. It was a moment not unlike Vincent Vega opening Marsellus Wallace’s briefcase in Pulp Fiction. Having never actually seen a real Les Paul before, I kinda stared at it for ages.
I remember making a cup of tea, taking it to my room upstairs and taking it out of the case. I literally wrote “Slide Away” in about twnty minutes. It was a pretty freakishly magic moment. One i”ll never forget.
Noel Gallager – quote from Marr’s Guitars book
Of all the guitars Noel borrowed from Marr, the only other one confirmed in the studio was a 1980 Gibson Flying V, used on “Cigarettes and Alcohol.” However, on that song, its use is certain only during the Monnow Valley sessions, which were not the final version of the song that we hear on the album.
The only other song that features the Flying V is “Slide Away”, where Noel apparently used it on some of the overdubs.
Another song we know for sure wasn’t recorded on the Marr Les Paul, but on Noel’s own 1992 Epiphone Les Paul Standard, was “Supersonic.” This song was recorded at the Pink Museum studio about a month before the Monnow Valley sessions, and at that point, Noel didn’t have the Marr Les Paul. The only other guitar he owned then was an Epiphone EA-250.
Also recored on the Noel’s own Epiphone Les Paul was Shakermaker
Lastly, Noel also used a 1976 Gretsch Country Gentleman to come up with “Live Forever” (though he didn’t record it with the same guitar) and to record “Married With Children.” Interestingly, this guitar used to belong to John Squire of the Stone Roses. It’s the same guitar he can be seen playing at the band’s iconic Blackpool concert in 1989.
I wrote it on John Squire’s Gretsch Country Gent because one of the roadies lived at Mark Coyle’s house and it ended up at my house. When I played it at the next rehearsal Bonehead said, ‘You’ve not just written that fucking song. That’s from somewhere else.’ I’d listened to enough music to know that was a classic.
It was Mark Coyle that came up with the drumbeat because when he was checking the drums on the last Inspiral Carpets tour I would play these chords. It’s funny how a song changes everything.
Noel Gallagher
The only acoustic guitar he was photographed with in the studio was an Epiphone EJ-200 in vintage sunburst, which is most likely the guitar he used on acoustic tracks, such as “Live Forever.”
Noel’s Amps on Definitely Maybe
On Definitely Maybe, Noel Gallagher used a Marshall Valvestate 80V (Model 8080) together with a Watkins Dominator. Both were relatively modest, inexpensive, solid-state amps, costing only a fraction of a vintage tube amp.
Noel ran both amps simultaneously to craft a thick, “in your face” guitar tone. The Marshall provided a modern high-gain edge while the 1×12 WEM added vintage valve warmth
Marshall I think I got when – I don’t know – I must’ve come into money somehow. The two of them togeather sound amazing. That was the live rig until the royalties came in.
Noel Gallagher – That Pedal Show
Noel’s Effects on Definitely Maybe
The Roland RE-201 Space Echo was the only effect Noel used on Oasis’ debut album, Definitely Maybe. According to him, it played a huge role in shaping his sound, alongside the Marshall Model 8080 and the WEM Dominator.
We never messed with [effects] really. It would be way down the line that I got a pedalboard. The only pedal I used was the Space Echo, and I had this on/off switch to kick the delay in. And that was it.
Space Echo was a big part of the sound. We would go into the front of the Space Echo, and just turned the the preamp up full.
The Noel Gallagher Guitars & Gear Interview
Song-by-Song Breakdown
1. “Rock ‘n’ Roll Star”
On Rock ‘n’ Roll Star, Noel used Johnny Marr’s Gibson Les Paul. It’s the main guitar you hear on most of the album, and there’s no sign of any other guitar on this track.
The amp rig was Marshall Valvestate 8080 + WEM Dominator. Distortion is from the amps, not pedals. Space Echo may have added light preamp color or a subtle echo, but feedback and volume do most of the work.
2. “Shakermaker”
The studio version of Shakermaker actually originates from an earlier demo session in October 1993. It was recorded with Noel’s 1992 Epiphone Les Paul Standard, and the performance was later remixed by Owen Morris for the album, with only the vocals re-recorded due to a lyrical issue.
He still had the Marshall 8080 + WEM Dominator. Any echo is from the Space Echo or mix tricks, not modulation pedals.
3. “Live Forever”
On Live Forever, electrics were tracked with Marr’s Les Paul. However, interestingly, Noel wrote “Live Forever” on a different guitar – a 1976 Gretsch Country Gentleman borrowed from Stone Roses guitarist John Squire.
There is also an acoustic guitar underpinning the mix, and Noel most likely used his Epiphone EJ-200 acoustic on that track.
As far as amps, it was Marshall 8080 + WEM Dominator again. Space Echo was used lightly for slap and preamp heft.
4. “Up in the Sky”
On Up in the Sky, Noel’s primary guitar is almost certainly the Marr Les Paul. A brighter layer could be EQ or a second guitar – possibly Noel’s Epiphone EA-250 – but that’s speculative.
Same Marshall + WEM setup. Space Echo is likely in the chain mainly for preamp tone, with little or no audible delay.
5. “Columbia”
The wall of sound heard on Columbia was built on the Marr Les Paul with layered, droning rhythm takes. Feedback in the intro comes from the live room and volume.
Marshall 8080 + WEM Dominator driven hard. Space Echo may have been pushed for background “swirl,” but the tone is essentially dry and amp-led.
6. “Supersonic”
Supersonic was recorded earlier at Pink Museum with Noel’s Epiphone Les Paul Standard. He cut the riff and leads on that guitar; Bonehead adds a separate SG rhythm layer.
WEM Dominator does most of the heavy lifting here. No Space Echo used during tracking – thickness came from double-tracking and studio varispeed tricks.
7. “Bring It On Down”
Bring It On Down was tracked with the Marr Les Paul. Earlier Pink Museum attempts would have used the Epiphone, but the album version is fresh with the Gibson.
Marshall 8080 + WEM Dominator, loud and dry. Space Echo, if present, is minimal – the aggression is pure amp distortion.
8. “Cigarettes & Alcohol”
The album version of Cigarettes & Alcohol was recorded on the Marr Les Paul. Note: an earlier Monnow Valley take used Marr’s 1980 Gibson Flying V, but that version isn’t the album cut.
Marshall 8080 + WEM Dominator, loud enough that the intro hiss is the rig itself. Space Echo is only a light thickener at most.
9. “Digsy’s Dinner”
Guitars on Digsy’s Dinner are the Marr Les Paul. A doubled layer may exist – possibly Epiphone Les Paul – but that’s speculative.
Same Marshall + WEM pairing. Mostly dry; any delay from the Space Echo is very subtle.
10. “Slide Away”
Slide Away was kept from the Monnow Valley sessions. Core parts are Marr’s Les Paul; however, this track also seems to include the Gibson Flying V (1980 model) on at least one guitar layer. Engineer Dave Scott noted in 1994 that Noel “played [Marr’s] Flying V on ‘Slide Away’” during the Monnow Valley recording. Since the album ultimately used that very take from Monnow (with Owen Morris remixing it), it means the Flying V part is likely still present in the final mix.
For amps, it was the same old Marshall 8080 + WEM Dominator. A Vox AC30 may have been tried, but no one knows for sure. Space Echo adds light slap and preamp body.
11. “Married with Children”
Married with Children was recorded at Mark Coyle’s house on John Squire’s 1976 Gretsch Country Gentleman, played unplugged like an acoustic.
No amps, no effects. Just mic’d guitar in the room.
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