In January 1994, the group began re-recording the album at Sawmills Studio in Cornwall, where Noel produced sessions alongside Mark Coyle.

The results were still deemed unsatisfactory; in desperation, Creation's Marcus Russell contacted engineer and producer Owen Morris, who eventually worked on mixing the album at Johnny Marr's studio in Manchester.

"[10] Additionally, engineer Dave Scott commented, "I couldn't connect with him [Batchelor] artistically or technically, neither could I get any idea from him what his vision for the album was.

"[11] Scott described various technical issues that befell the sessions, including defective equipment, poor quality headphones, and excessive sound variation between mixing channels.

"[10] Batchelor was fired, and Noel tried to make use of the music already recorded by taking the tapes to a number of London studios.

Tim Abbot of Creation Records said while visiting the band in Chiswick, "McGee, Noel, me, and various people had a great sesh [session], and we listened to it over and over again.

[13] In January 1994, the group returned from an ill-fated trip to Amsterdam and set about re-recording the album at Sawmills Studio in Cornwall.

The group decided the only way to replicate their live sound in the studio was to record together without soundproofing between individual instruments, with Noel overdubbing numerous guitars afterwards.

In desperation, Creation's Marcus Russell contacted engineer and producer Owen Morris, who had previously mixed the album's songs.

He recalled that Marr was "appalled by how 'in your face' the whole thing was" and would question Morris's mixing choices, such as leaving the background noise at the beginning of "Cigarettes & Alcohol".

[14] Morris also used a technique he had learned from Bernard Sumner while recording the self-titled album by Sumner's group Electronic, routing the bass guitar through a Minimoog and using the filters to remove the high end, which he used to hide imprecise playing, and heavily compressed the final mix to an extent he admitted was "more than would normally be considered 'professional'".

[18] Cannon drew inspiration from Jan Van Eyck's Flemish Renaissance painting The Arnolfini Portrait (1434) for the way it is "littered with visual metaphors", and applied the same significance for the objects on the Definitely Maybe sleeve.

[19][20] The television is showing a scene with actors Eli Wallach and Antonio Casale from Sergio Leone's film The Good, the Bad and the Ugly.

A still of actor Gian Maria Volonté from another Leone film, A Fistful of Dollars, is visible on the television on the back cover.

The continuing success of Oasis partially allowed Creation to ride out a period of tough financial straits; the label was still £2 million in debt, so Tim Abbot was given only £60,000 to promote the upcoming album.

Abbot tried to determine how to best use his small budget: "I'd go back to the Midlands every couple of weeks and people I knew would say, 'Oasis are great.

'"[27] Abbot decided to place ads in publications that had never been approached by Creation before, such as football magazines, match programmes, and UK dance music periodicals.

Keith Cameron of NME called Noel "a pop craftsman in the classic tradition and a master of his trade" and believed that "the only equivocal thing about Definitely Maybe is its title ... everything else screams certainty ... the fact is that too much heartfelt emotion, ingenious belief and patent songwriting savvy rushes through the debut Oasis album for it to be the work of a bunch of wind-up merchants ... it's like opening your bedroom curtains one morning and discovering that some f—er's built the Taj Mahal in your back garden and then filled it with your favourite flavour of Angel Delight".

[35] Melody Maker gave the album its star rating signifying a "bloody essential" purchase, and its critic Paul Lester said, "Of all the great new British pop groups, Oasis are the least playful, the least concerned with post-modern sleights of influence ... Definitely Maybe is 'What the World's Been Waiting For', a record full of songs to live to, made by a gang of reckless northern reprobates who you can easily dream of joining ...

[41] Stuart Maconie of Q described Definitely Maybe as "an outrageously exciting rock/pop album ... a rutting mess of glam, punk, and psychedelia, you've heard it all before of course, but not since the Stone Roses debut have a young Lancastrian group carried themselves with such vigour and insouciance".

Certainly when put next to the flimsy, uncommitted music of most new British bands, Definitely Maybe spits feathers ... Spunky, adolescent rock, vivifying and addictive".

[42] In the US, Rolling Stone included the album in its end-of-year round-up of 1994's most important records, with Paul Evans saying, "Liam Gallagher has God-given cool.

"[43] Neil Strauss of The New York Times wrote of the songs; "On its own, each one sounds like a classic, rippling with hard guitar hooks, strong dance beats and memorable choruses.

"[44] In 1997, Definitely Maybe was named the 14th greatest album of all time in a "Music of the Millennium" poll conducted by HMV, Channel 4, The Guardian, and Classic FM.

"[46] In his review of the reissue, Rolling Stone critic Rob Sheffield said, "Twenty years on, Oasis' debut album remains one of the most gloriously loutish odes to cigarettes, alcohol, and dumb guitar solos that the British Isles have ever coughed up.

[69] Niven reviewed the album from a sociopolitical context of Oasis as a working-class answer to four decades of political strife.

[70] In October 2023, Liam Gallagher announced plans to tour and perform Definitely Maybe in full, marking the album's 30th anniversary.

[71] In September 2024, Manchester City issued a football kit for their 2024–25 season, based on the cover art of Definitely Maybe, in collaboration with Noel Gallagher.

The programme combined existing and unused interview footage from the DVD documentary and focused on the origins of the band, and the four singles from Definitely Maybe.

It also included a clip of "All Around the World" performed live at a rehearsal session in the Boardwalk in 1992, five years before it was eventually recorded and released on Be Here Now.