While the members of Oasis are the most important part to us listeners, there are a lot of people that help out behind the scenes. People that helped bring Oasis into the public eye, people who create album artwork that draws us to buy their albums, people who produce their music and release top-notch recordings. All of these people helped to make Oasis what they are today, and should be noted.

Mark Coyle

A British music producer, known for his work with Oasis.
Coyle worked as a sound technician for many Mancunian bands throughout the 1980s including the Stone Roses and Happy Mondays. Coyle has been a friend of Noel Gallagher for many years, having met when working as roadies for the Inspiral Carpets in the late 1980s. He and Gallagher also wrote and recorded dance music together during this time. When Gallagher joined his younger brother’s band, Oasis, Coyle was brought in as sound technician, a position he held until 1995. He also produced the majority of Oasis debut album Definitely Maybe, which included the demo of Married With Children, which had been recorded in the bedroom of Coyle’s house. He retired from working with them on production duties due to hearing problems, but remains part of the inner sanctum. Coyle has subsequently gone on to work with the band in some capacity on each of their subsequent albums.

Owen Morris

A music producer who has worked with rock bands such as Oasis and The Verve.
He started working in the music industry as a sound engineer at Spaceward Studio in Cambridge when he was 16. He continued as an engineer until 1994 when he started producing some work for Oasis at the end of the Definitely Maybe sessions. He continued working with Oasis for their subsequent two albums (What’s the Story) Morning Glory? (1995) and Be Here Now (1997). Morris appears on the cover of (What’s the Story) Morning Glory? holding the album’s master tape. He developed an engineering technique called “Brick Walling” on Definitely Maybe. This involves turning all the instruments on the album up to full volume, making the songs especially loud. The effect made Definitely Maybe louder than other albums at the time. The NME described the resulting sound as “an ear-splitting sonic stew”.