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Erin Moriarty (12:26)

In 2013, two brutal murders left the city of Davis, California paralyzed in fear.

Jake Brennan (12:33)

The victims were an elderly couple. It was up close and personal.

Erin Moriarty (12:37)

I'm 48 Hours correspondent Erin Moriarty. I thought I had seen it all until I encountered the mastermind behind those murders.

Jake Brennan (12:46)

He's I think the word is psychotic.

Erin Moriarty (12:49)

This is 15 Inside the Daniel Marsh Murders. Follow and listen to 15 Inside the Daniel Marsh Murders on the free Odyssey app or wherever you get your podcasts.

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Jake Brennan (14:07)

Britain loves their pop stars. They don't have a Hollywood to gossip about, so musicians, along with the Royals are natural tabloid fodder. The British press loves pitting pop stars against one another. It sells newspapers, not to mention records, and frankly, makes everything loads more entertaining. And really, isn't that why we're all in this in the first place? To be entertained? If for nothing else, nobody is plucking serious words of wisdom from Noel Gallagher's lyrics. We're in it for the gas and in 1995 there were no bigger pop stars in Britain than Oasis and Blur. Following the success of their debut Definitely maybe Oasis had achieved even greater heights with their follow up what's the Story? Maybe Morning Glory For Oasis, their second album did for them what they'd known was a certainty, made them for a minute anyway, the biggest rock and roll band on the planet, that shine would last longer and burn hotter for more than a minute. In England, though, the Gallagher brothers commitment was paying off. What's the Story? Morning Glory sold a record breaking 347,000 copies in its first first week. It went to number one on the UK charts and stayed there for 10 weeks. It went to number four on the US charts and did for Oasis what so many other British bands had failed to do cross the band over to mainstream success in America. The singles Champagne Supernova and Wonderwall went to number one in the States, whereas Wonderwall only made it to number two in the uk alongside Roll With It Though Don't Look Back In Anger and Some Might say, both hit the coveted number one spot in the UK and the band was on a tear. At the same time, the British band Blur was on their own high flying trajectory, at least in the uk. Like Oasis, Blur was well acquainted with the concept of hit singles. And like what's the story Morning Glory, Blur's 1994 album Parklife debuted at number one and featured four four wildly infectious UK hit singles, Girls and Boys. End of a century to the end in the title track Park Life Number one albums and hit singles are about where the similarities between Blur and Oasis end. Despite each being thought of as two parts of the same Brit pop movement, they are vastly different groups. Opposites really. Blur were at the vanguard of the newly coined Britpop genre, a genre that unabashedly celebrated with a well placed wink and a nod all things British rather than picking up the snark and the snarl of Britain's two most famous rock n roll Johns, Messrs. Lennon and Rotten as Oasis did, Blur took their cues from The Kinks in XTC 2 bands that were decidedly more niche comparatively to the Beatles and the Sex Pistols. In short, they were way more British. Blur's Damon Albarn vibed on the Kinks Are the Village Green Preservation Society album and used it as a jumping off point for what would become known as Brit pop by crafting indelible and infectious English character studies in his lyrics, much as Ray Davies had done with the Kinks prior. The approach suited Alburn and his bandmate Graham Coxson. Both were students of Essex Stanway School. Oasis were anything but studios. Liam was expelled, Noel got into whatever hooligan antics would help him pass the time. Blur were from the south London, Oasis from the north Manchester. Blur were Britpop, Oasis were rock and roll. Blur were a bit safe. You'd take them home to mom. Oasis were straight up dangerous bruisers. You wouldn't leave them in the same room with your mom or your girl or anyone really. It was Beetles and Stones all over in the and Britain ate it up. Other so called Brit pop bands, Suede, Pulp, they had their fans and they mattered, sure, but compared to Blur and Oasis, they were also rants. As far as Oasis were concerned, they were all also rants. What the fuck was Brit pop anyways? Oasis were a rock and roll band, one of the greatest rock and roll bands of all time. Problem with that? Damon Alburn of Blur did indeed have a problem with that. With the rivalry firmly in place, the quote unquote battle of Britpop was on in 1995, with Blur and Oasis set to release competing singles on the same day. How both mega bands ended up with competing singles set to be released simultaneously is still a hotly contested debate, but signs point to Alburn sneakily orchestrating the coinciding releases, despite the fact that pitting singles against one another on the same day, as of practice normally avoided by the music industry because it hampers sales, didn't matter. Damon Alburn, like the Brothers Gallagher, knew how to drum up good press. And nothing stoked the knights of the keyboard more than competing pop stars with highly anticipated singles from highly anticipated forthcoming albums Park Life and what's the Story Morning Glory. The chart battle was on. On August 14, 1995, Blur was set to release the single Country House. Oasis was set to release the single Roll With It. NME dubbed the showdown the British Heavyweight Championship. It was north versus south, upper middle class versus lower working class, students versus hooligans, mods versus rockers, Beatles versus stones, Chelsea versus Manchester City, blur versus Oasis. Blur reigned supreme. Country House sold 274,000 copies to Oasis. Roll With it, which sold 216,000 copies. Oasis dismissed Blur as Chaz and Dave Chimney sweep music Blur called the Gallagher Brothers band Oasis Quo Noel Gallagher then brought a blowtorch to a knife fight and said publicly that he hoped Damon and Alex of Blur would quote catch AIDS and die Ouch at the Brit Awards a couple months later, in early 1996, the entire British music scene waited for sparks to fly between the two warring Britp pop bands. And they weren't disappointed. Upon accepting the award for best Album, members of Oasis wasted at the podium, said they'd like to thank all the people, so many people, and then busted into an impromptu acapella version of Blur's Park Life at the mic, ending instead with the lyric shite life. Liam Gallagher then proceeded to roll around on the stage, attempting to sodomize himself with his Brit Award. Oasis won three awards that night, beating out Blur, who won none. Oasis also broke through in America, a feat Blur wouldn't achieve until 1997 with the release of their fifth album, the Self titled Blur, a year later. And to do so, Blur would have to take a different, decidedly more American approach to their songwriting, leaning as much on the Pixies and Pavement for influence as they would the Kinks in xtc. Whereas Oasis continued to dominate on both sides of the pond over the next few years by being, well, themselves a glorious fucking mess and conquering England in the process. And that spring, Oasis announced they would be performing two shows at Nebworth House in Hetfordshire in August. The two shows sold out in minutes. Approximately 2 1/2 million people applied for tickets, roughly 4% of the UK's total population. The gigs were the highlight in Oasis career, which to that point was filled with highlights. They performed to 125,000 people each night, a total of a quarter million people to that point, the largest outdoor shows in Britain's history. It was clear Blur may have won the battle of Brit pop, but Oasis won the war. A war that was about to result in serious casualties. We'll be right back after this word. Word, word.

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Jake Brennan (24:07)

Nebworth made the band legends cemented their names in glory, and though the shows were the highest of highs, hearing 125,000 people singing back every single, every single word of Wonderwall, full throated, fucking committed. So much so that the band needn't even sing their parts was a trip to end all trips. But despite the adoration, the records flying off the shelves, the songs themselves becoming their own British national anthems, it was time to get back to work. That meant another American tour, the taping of some American TV specials for mtv, and then down to the serious business of making a follow up album to what's the Story Morning Glory. And it wasn't going to be easy. While Noah Gallagher was concentrating on putting together the songs that he had the unenviable task of Trying to outdo the staggering success of the band's previous record with his brother, Liam, Gallagher was sliding off of the rails with his and the band's growing fame. Liam's commitment, commitment to his idealized, chaotic vision of rock stardom was absolute. And the British tabloids were more than happy to binge on the feast of paparazzi fodder he provided. Earlier in the year, he was caught partying with the married and soon to be divorced Patsy Kensett, star of Lethal Weapon 2 and lead singer of 8th Wonder. The two began a whirlwind, or more accurately put, hurricane romance. They stayed up all night, wore matching outfits out in public, lovebirds to a tee. But the rush of that loving feeling did nothing to slow down Liam's hooligan in behavior. Patsy, starry eyed as she was, looked the other way when Liam climbed onto the Runway at a fashion show and called Mick Jagger a fucking dinosaur. She even let Liam get away with classic rock star womanizing on the road. But the endless stream of distractions from the actual music was grinding on Noel's nerves and fueling a growing rivalry between the Gallagher brothers. In 95, the leaked audio from a print interview with NME made the rounds under the title Wibbling Rivalry, exposing the clash between brothers for the world to see. As the interviewer asked about the band's growing reputation as rock star animals, Liam embraced their notoriety as just another part of the gig. But Noel called him out, citing the Amsterdam fight and describing Liam for preferring to be a football hooligan to an actual musician. Liam fired back, claiming Noel was just jealous because. Because he was in bed fucking reading your fucking books. Noel dragged Liam for costing the band a fine of £1,000 each, to which Liam responded, you can stick your thousand pounds right up your fucking arse till it comes out your fucking big toe. From that point on, even as their fame exploded, Oasis lived under the shadow of the public tensions between the brothers. Liam reveled in the attention. The irony was that the clash between he and Noel was because they were both so damn committed to their own visions of what rock stardom was that neither could give the other an inch. For Noel, it was about the music. For Liam, it was about the lifestyle, the party. And in the week leading up to August 23, 1996, and Oasis planned televised MTV unplugged performance for Liam Gallagher. The party did not end. Rehearsals began earlier in the week under tight security. The plan was for no distractions, put in work, get it right. Liam showed up the first day smashed green shirt, green Shorts. He barked out a couple tunes pointed to his throat mid song as if to say I have no voice, and walked out. The band literally did not miss a beat. They kept playing, with Noel singing Liam's parts. The next day at rehearsal, Liam showed up smashed again and again in the same green shirt and green shorts as the band got into it, backed by full horn and string sections, Noel doing his damnedest to adapt the the band's otherwise stripped down wall of sound into an acoustic performance with added orchestral elements. Liam again drunkenly barked into the microphone. By now the television production crew on hand was getting nervous. Liam did nothing to quell their fears. When he walked out of rehearsal for a second day in a row, Noel picked up his little brother Slack again and the band continued rehearsal the next day. The day before the gig, Liam made the scene and had replaced his drunk with a hangover and once more had no voice to sing with. Still in the same green shirt and green shorts, unshaven, his hair long and mangy and far from camera ready, he gave a brief try at the mic and quickly bailed. The band, the crew, the TV production folks, were counting on Noel to once again step up. And of course he did. August 23, 1996 the day of the show. London's Royal Festival hall MTV Unplugged. By 96, the program was already iconic, given the legendary performances turned in by the living musical icons of the day. Bob Dylan, Eric Clapton, Bruce Springsteen among them. The format called for the artist to turn in acoustic, stripped down unplugged versions of their songs in an intimate setting, which for Oasis, who at the time were churning out shows for crowds of upwards of 100,000 people, was an interesting proposition for their fans, particularly those who couldn't score tickets to Nebworth or to their legendary gig at Main Road or whichever other football stadium they were filling with MTV Unplugged. Even if an Oasis fan couldn't make the gig in person, they could watch on television with millions of other fans across the globe, not just in the uk. For American fans of the band, the prospect of the show was especially exciting. I know because I was one of them. Anticipation was high. Noel and the rest of the band, with the exception of Liam of course, knew what was up that day. While the band and crew set up and sound checked, the same thing was on everyone's mind. Will Liam show up and be able to sing? He made it to soundcheck, still drunk, still in the same green shirt and the same green shorts, with the same unshaven mug and the same mangy hair. And after pissing off some drunken dribble into the microphone during soundcheck, the same excuse about not having a voice. Showtime, ladies and gentlemen. Oasis. The band. All but Liam, walk on stage, ready to hit. Noel, seated on a stool with an acoustic guitar on his lap in place of his usual Gibson, remarks into the mic, Liam ain't gonna be with us tonight cause he's got a sore throat so you're stuck with the Ugly four. He then launches into the band's opener, hello. The song is an occasion for the band to get acclimated and for the audience to do so as well. This is new Oasis sans Liam. New for the masses, perhaps, but not for the band or for die Hards who'd seen Noel pull this trick before. Replacing his sauced brother on stage on vocals at gigs was long part of Oasis lore. But never with the stakes so high on television, on such a big stage. And never with Noel trying to wrangle the band through a novel performance, having to replace the power of the band's distorted guitars with orchestral elements. And by the time the band kicks into the second song, some might say complete with swelling B3 organ and a new heavy Northern soul riff to make the song work in the unplugged format, Noel is fully delivering as the band's frontman. His commitment to his songs is obvious and infectious. The rest of the band and the rest of the sidemen and women on stage are swept up in Noel's vibe. He's a different kind of cool than his cool as fuck little brother, more John Lennon than Johnny Rotten. And though Liam's voice is incomparable, Noel is bringing something different to the performance with his vocal. It's rough and it hews the songs into something new and unquestioned, questionably exciting. You can hear the songs as they were written, and you can see with Noel behind the mic with your own eyes the commitment that went into crafting them. These are his songs, and he'll be damned if they're going to be held hostage by his brother or anyone else. By the time Some Might say hits the second verse, Noel Gallagher is in full hero mode. Not in an overt James Bond kind of way, more laid back, far more carrying Grant than Clint Eastwood. And as far as performances go, it is, as Noel would say, fucking brilliant. With millions of tuned in people watching on television and one turned off person watching in the studio audience, hiding behind the kangal on his head and the pint of Guinness in his hand, pulling on it between drags of his smoke, no doubt to remedy his ailing voice. Right there high above the stage in the balcony, the television camera cues in on Liam Gallagher, still wasted and not at home, nursing his throat or sleeping off as drunk, which were the supposed reasons he was missing the gig. But at the gig, in the audience, incredibly drinking and smoking and heckling his brother and the rest of the band from his seat. Brilliant indeed, and a sign of much worse to come by the time Noel rap Don't look back in anger at the MTV Unplug show. With the crowd firmly in his grasp, he looked up to Liam clowning drunk in the balcony and with a smirk. Noel Astley. I'm on the mic in front of everyone. You alright? Total big brother move. As if to say I care, but fuck's sake, I really don't need to now, do I? Look how well I'm pulling this shit off without you. The MTV Unplug show, between the drama and the performance, went down as an instant classic. But there was no looking back. It was time for Oasis to hit the road to America, do some shows and then double back to Instagram, England to begin recording their next album. When it came time for their flight to depart Heathrow, Liam suddenly and without warning made a quick exit, explaining that he'd forgotten that he needed to go house shopping with his new wife, Patsy, and thus would not be able to make the tour. So the tour went on without him. Live commitments were honored, with Noel on lead vocals for the first few shows. Liam then caught up with the band in Manhattan for a disastrous run of shows, where the frontman was either disinterested or too wasted on stage and quickly becoming a mockery of himself in Buffalo. Noel had had enough and the two came to blows, hailing fists to the other's faces before being torn apart. The gig was cancelled that night and so was the rest of the tour. The band returned to London. The tour cancellation and the violent drama surrounding it was front page news back home. Oasis decided the only cure was to head to straight into the studio to get their new record done and to work out their problems through song. They booked time at Abbey Road Studios, fully aware that the last song the Beatles recorded in that space before breaking up was I, Me Mine. The album, the band's third, was completed by spring of 1997 in Surrey at Ridge Farm Studios. Noel was calling it Be Here now, but before it could be released, there is the matter of an album cover to shoot. In typical Oasis fashion, the plan was to take their rightful seat at the table of rock's. Giants. Their host for the afternoon was the spirit of the who's Keith Moon, who had long ago fulfilled his band's hope I die before I get old prophecy, and in doing so had secured his own destructive legend. Moon had a knack for destroying, well, most anything, but most notably very expensive luxury automobiles by sinking them in his swimming pool for the fuck of it. And that was the inspiration for the album's cover. Knoll had the old mansion rented. Some swinging 70s Londoner with ties to the Playboy Empire owned it. It was perfect. It screamed hedonism and was an ideal rock and roll backdrop. Photographer Michael Spencer Jones went to town on props and laid them out around the backyard swimming pool. A clock with no Rs dialed in. Esque Beatlesque. Either or didn't matter, looked cool. A scooter quadrophenia? Check. More random objects. A massive globe with Noel on the other end of an antique telescope staring at it from inches away. A shagadelic television set. Some well placed, disinterested band members, Liam at the forefront. And then the money shot. The crane was steady, a beast of a machine, totally out of place in the back yard of the mansion. It distributed its power judiciously as it lowered the $100,000 Rolls Royce Ghost into the swimming pool. An homage to Keith Moon for sure. But Noel took it a step further and had the license plate switched to match the numbers of the license plate on the police wagon on the COVID of the Beatles Abbey Road. The massive car was placed just so by the crane into the pool, submerged in water. Sunk. Do I even need to complete the metaphor? You get it right. Oasis third album, Be Here now, was by any measure a success, but it still failed to sell as much as what's the Story Morning Glory. Noel claimed the album to be his party record, much as its cover suggests. It was written while he was vacationing on a private island with Kate Moss, Johnny Depp, Mickey Jagger and Jerry hall, and has explained that the album can only be fully enjoyed with, quote, a crate of beer and a bag of Charlie. To this day, fans love it, but Noel claims that it doesn't stand up and that he should know because he, quote, wrote the fucking thing and knows how much effort he put into it. He was for the most part high when he wrote it and avoiding the shitshow reality that his band had become in the frayed relationship with his brother and Noel, just as his brother had let his commitment to the music slip. That's the reason the album doesn't stack up and it's also the reason no Oasis album since has come close to the glory of those first two records. Noel Gallagher credits Oasis fans by saying that it wasn't him that made his songs great, and it wasn't the band that made their performances great. It was the commitment of the fans. The fans who bought the those records, who wore those songs out, who committed them to memory and sang them back at Noel, his brother Liam and their bandmates on stage after they forked over their hard earned cash to see Oasis fill out their local football club stadiums. Noel didn't make the songs great, Noel didn't make Oasis great, and Liam for Shitshir didn't either. No, as Noel Gallagher has said, it was the fans commitment to Oasis that made them great. And once the band let go of their famous commitment to the music, their boastful commitment to themselves, their commitment to being the greatest fucking rock and roll band ever, they dried up and they faded away. Which is of course, a disgrace I'm Jake Brennan and this is Disgraceland. Disgraceland was created by yours truly and is produced in partnership with Double Elvis. Credits for this episode can be found on the show notes page@gracelandpod.com if you're listening as a Disgraceland All Access member, thank you for supporting the show. We really appreciate it. And if not, you can become a member right now by going to Disgracelandpod.com membership members can listen to every episode of Disgraceland Ad Free. Plus you'll get one brand new exclusive episode every month, Weekly unscripted bonus episodes, special audio collections, and early access to merchandise and events. Visit disgracelandpod.com membership for with dealing details. Rate and review the show and follow us on Instagram, TikTok, Twitter and Facebook @DisgraceLandPod and on YouTube at/@DisgraceLandPod. Rocka Rolla He's a bad, bad man.