On the other end of the phone was the manager of a new young band - a bunch of Manchester City fans who had just been signed to Creation Records - and they were in need of their first photoshoot for the label. One of them, a youngster named Noel Gallagher, had seen some of Fry's photography for his own band, World of Twist, and requested him.
Three decades on, Fry joins Radio Times to look back at his work on that day, including incredible unpublished contact sheets, as he reflects on the band that would go on to captivate the world...
"Peter Swales had resigned from Manchester City - they were in a good mood after that"
Someone came in with the Manchester Evening News at one point, and Peter Swales had resigned from Manchester City, so they were in a really good mood after that. For City fans, that was quite a revelation. The good times were on the horizon.
The great thing about Oasis is they didn't need a stylist. They weren't like heavily groomed and stylised. I don't think they ever were really, but they certainly weren't then. That's what's so good about these photos. They capture that period, that piece of history now.
"Noel didn't let go of his guitar all day"
That was on the end of a roll of film, and I looked at it and thought, 'This is the one. This is one of the key moments.' If bands are about attitude, and the best bands usually are in my experience, that sums it up. They couldn't give a damn.
This was a complete accident and, as we know, accidents are often more exciting than the plans you make. It was a mixture of flash and tungsten lighting, and the flash just went off by accident.
"Liam is smarter than people give him credit for - and Noel is very perceptive"
I didn't want to force myself on a group that hadn't figured it out for themselves yet. I had a history of working with pop bands, and you can go to five of them, 'Okay, picture!' and they just fall into formation like the Red Arrows. With a group like this, I just said, 'We'll see what happens.'
They were certainly not a difficult group to work with. I think that Liam is smarter than people give him credit for, and Noel was very, very perceptive. I think he knew what he was doing, and I think he was a very smart man. They were very likeable, both of them.
The film really picks up on that. On paper, it looks like a bunch of guys, a bunch of City fans in trainers and jeans rocking around Manchester. But the reality is, they were delivering something that was actually quite moving.
This shot has ended up in the film [Don't Look Back in Anger]. There's a sequence when they're talking about how important Manchester is to the band - they use the shot of them leaning against the lamppost as a group. They almost look like they're waiting for a bus, just having a laugh.
"Liam naturally sat in the driver's seat"
Liam, naturally, sat in the driving seat. I wasn't directing them. I was probably shooting through the window, leaning in the car. We shot this half a roll of film of them sat in the car, but this this ended up being my favourite shot. In terms of composition, it just fell together, everyone looks calm and is doing what they should do. It was easy.
Afterwards we went for a pint near Withington, it could have been the Railway. We talked about Stone Roses and the Beatles and probably the Sex Pistols. We talked about music - as I remember it, that's all we talked about. And afterwards, Bonehead dropped me off at the station.
"There was no friction"
It was pretty obvious who the leader of the band was, and it was obvious who the lead singer was. When you take photos of bands, you work that out pretty quickly anyway. But they were a group of five people. I wouldn't have said that at that point the Liam and Noel perspective had kicked in.
"Taking a guitar into the street is corny - but it had to be done"
I'd also seen a photograph of probably one of my favourite bands, Dexys Midnight Runners, and they had instruments on the street. Oasis reminded me of Dexys in that they had a lot of front. I loved the gang mentality that comes with a group, and Oasis had it in skip loads. There was no shortage of that very early on, which was great.
"A band should look like the skyline of a great city"
View Gallery on the source websiteI thought that's a great idea, but when I looked at the Sex Pistols' pictures, for example, there's no construction in any Pistols shot. This falls between those.
"A bit too Smash Hits"
They're a good-looking band though. They could have easily morphed into a teen band with a few stylists and makeup artists and some hairdressers!
"More constructed photos wouldn't have been right for them"
I wanted a light at the back, and outside, I would have just said, 'Come on, we'll just do a few frames here. Everyone look this way,' and fired off a few shots. I could probably see a little bit, but I couldn't see if somebody's blinking - you can't control everything, and I didn't want to.
It's somewhere between the Pistols and the Smiths, and streets of Manchester, grainy black and white, not too constructed. It just seemed like the way forward at that point.
Oasis: Don’t Look Back in Anger is in UK cinemas now and on Disney+ on 9 October.
Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
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