I'm just back from a fortnight in the Chagos Islands, and you cannot imagine a more British place

UNION Jacks hanging from every house. A portrait of the King in every kitchen. A spoonful of Marmite stirred into your tea. The Chagos Islands are the most British place on Earth.

I recently returned from a fortnight’s holiday there, in a traditional seaside bed-and-breakfast where they kick you out at 10am and you’re not allowed back until teatime, and I loved it.

The palm trees lining the seafront – a side-effect of the tropical weather, which like true Brits the locals never stop moaning about – are reminiscent of 1950s Torquay. The sense of military rule is marvellously wartime.

And when you turn on the television, which is no filth-spewing flatscreen but a bulky humming box, there’s a non-stop diet of On The Buses, Benny Hill, and Brideshead Revisited. What very heaven.

The thought of these red, white and blue islands, where all activity halts at noon for a lung-bursting spontaneous rendition of Land of Hope and Glory, being handed over to foreigners is nonsensical.

After all Mauritius, the aggressive power taking dominion, is 1,400 miles away compared to Britain’s positively neighbourly 5,799. They have no more right to this Crown territory than they have to perform a traditional Mauritian Sega dance at the Royal Variety Performance.

And believe me when you’re there, sipping warm Horlicks in a striped deckchair while a bowler-hatted gentleman on a lunchtime stroll spears pigeons with his umbrella and short-trousered schoolboys bowl hoops down the street, nothing could be more absurd.

They don’t know about this betrayal yet. Chagos allows only patriotic news which a Labour election win most certainly is not. But on their behalf I weep for the loss of this last bastion of Empire, islands so British in every aspect they put our own to shame.

Noel Gallagher's most brazen acts of plagiarism, ranked

YOU have to admire the audacity with which Noel Gallagher pinches musical ideas, and Oasis reforming is a chance to enjoy these classic acts of theft all over again. Here they are ranked from worst to best.

Mucky Fingers (2005) 

After a couple of albums which even easily-pleased Oasis fans thought were shite, Gallagher had a minor songwriting renaissance when he rediscovered his ability to successfully rip people off. The title is taken from the Rolling Stones but the music itself is incredibly similar to I’m Waiting for the Man by The Velvet Underground. Kudos to Noel for turning some of the most groundbreaking music ever recorded into yet another plodding rocker. 

The Turning (2008) 

Noel’s record collection clearly consisted of a handful of glam rock greatest hits, so by the time Oasis’s final album limped into view he was running out of people to plagiarise. This song nicks the electric piano riff from Cliff Richard’s Devil Woman, showing how desperately uncool the Mancunian chancers had become by the late noughties. Taking further inspiration from Cliff, Noel is releasing a calendar this year; he pulls the same boring pose in every single photo. 

Shakermaker (1994) 

I’d Like to Teach the World to Sing was a song made world famous by a Coca-Cola commercial. Using such a tune as the basis of your band’s second single was either a pretty bold gambit or an act of sheer desperation. Whichever, Gallagher used all the wit and guile he could muster to disguise the theft by not even changing the lyrics. To be fair, he probably didn’t really expect anyone to hear it outside of Manchester’s Boardwalk club. 

Step Out (1996) 

This was hastily pulled from the Morning Glory album after Stevie Wonder selfishly pointed out that he’d written the chorus, a move which prevented Oasis’s second album being even more mediocre. The song eventually ended up as a B-side to Don’t Look Back in Anger, co-credited to the Motown legend. That’s one way to be able to claim you once co-wrote a song with Stevie Wonder. 

Cigarettes & Alcohol (1994) 

In which Noel reworks T-Rex’s Get It On and then claims that it’s okay because it all just comes from the blues anyway. Marc Bolan’s massive 1971 hit wasn’t even that old when Cigarettes & Alcohol was released, and, like most of Noel’s borrowings, is not exactly forgotten. It would be like a new band today ripping off 2006’s I Bet You Look Good on the Dancefloor and claiming it ‘all just comes from the tradition of Western music’. 

Whatever (1995) 

Despite the frequent comparisons and an artless cover of I Am the Walrus, Gallagher’s pilfering fingers largely stayed away from the Beatles songbook, probably because he couldn’t get his head around all the clever bits. He did, however, steal this tune wholesale from Neil Innes who wrote loads of Fab Four pastiches for The Rutles. The original, Innes’ How Sweet to Be an Idiot, now works as an affectionate paean to the average Oasis fan.