M = Media
N = News
RS = Radio Session
TV = Television Appearance
The Stone Roses = Release

1988
Ian Brown - Vocals
John Squire - Lead Guitar
Alan 'Reni' Wren - Drums, Backing Vocals
Gary Michael 'Mani' Mounfield - Bass Guitar

1988 - John Squire begins his pollock style painting style:
'Untitled' (Elephant Stone, 1988) Oil on calico & plywood (18"x18")
December 1988 - ‘Bye Bye Badman‘ (oil on canvas, 31" x 26.5“) (The Stone Roses, 1989), Information taken from John Squire's official website: Bye Bye Badman (1988) Oil on canvas (34"x34")
‘Cody Calling’ (oil on canvas, 61" x 28") (Made Of Stone, 1989)
‘Sugar'(oil on canvas, 32“x 32") (She Bangs The Drums, 1989, I Wanna Be Adored, 1989)
‘Waterfall’ (oil on canvas, 30" x 26")
‘Untitled 1’ (oil on canvas, 64" x 22")
‘Untitled 2' (The Very Best Of) (oil on canvas, 48" X 26.5")
‘Untitled 3‘ (oil on cotton, 3.24m x2.20m)
Notes: Self-taught artist John Squire started designing the band's paint splash style sleeves in his bedroom.
From 14 July 1990 - NME Magazine, James Brown article: John too lives in his own bizarre stratosphere. His paintings have taken on an important role in the group’s identity. At Spike Island they looked brilliant projected behind the band. “I’ve never tried to pass my paintings off as my own,” he says of his Jackson Pollock pastiches. “We wanted Jackson Pollock’s paintings on the covers but they cost three quarters of a million each,” admits Ian. “People ask to buy my paintings but I haven’t sold any. I like them,” smiles the painter. “Did you ever see Tom Keating? He had a TV show where he used to rip off Old Masters and show you how it was done. He once sold one, there was a big scandal. It’s just that sort of attitude, I’m trying to do me own stuff now though. I’ve stopped dripping and splashing.”

Sam Wollaston interview with John Squire 16 September 2019...Record sleeves? “Yeah, and clothes. The paint drips, that was a stepping-stone to abstract expressionism, then ‘who is Jackson Pollock?’, and I can use this to make my own record sleeves.”
After seeing a book of photographs of The Clash by Pennie Smith, John said: “I remember seeing a photo of Paul Simonon in a dressing room, and the caption said, ‘Paul surveys a Pollock-style action painting on the floor,’” says John. “I was intrigued. I’ve never been averse to popping down the library, or going through the shelves of bookshops to find information. And as soon as I saw a number of Pollock paintings, I was hooked. I thought there was great potential there for sleeve imagery. They already looked like record covers.”
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: My influence on the art with John Squire? Whenever I went to his house he talk to me. He always passed things by me, he'll never admit it, and even on occasions where he had a big canvas out I'd often dip a brush in a can of dulex, or something similar, and splash it about. Like, is it Jackson Pollock?, that sort of thing.
Regarding Waterfall & Bye Bye Badman, John said: “One of the two [paintings] I actually like on T-shirts,” Squire told Select in 1997. “They usually look cack. I like this and the Stone Roses album one.”

N - 1988 - Reni's daughter is born.
Notes: Reni did not know about his daughter until her seventh birthday. A DNA test proved he was the father.
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: Reni is a dad now too – and has been for longer than he ever knew, in fact. “I’ve two kids at home now, two boys, and that wasn’t really planned at all. But I’ve got another little girl as well, she’s nine now. My daughter, right, she’s being chased around at the moment back home by journalists. Her mother’s being hounded out of a bar job because these people keep turning up asking all these questions. Now what’s happened between me and her in the past and what money I give them has got nothing to do with the fucking News Of The World.” So, what’s the story? “Millionaire Star’s Secret Daughter!”? “Stone Rose’s Thorny Past!”? Reni says the story’s not there, and that no one concerned would be selling it even if it was. “None of us are millionaires, anyway, not even quarter millionaires, not even ten per cent.” “I never knew this little girl was mine, right, and I’d been told in the past it was nothing to do with me. But then when I saw her as a seven-year-old child it was just this self-evident thing. So, I had the DNA tests straight away and that was it for me, since that day I’ve seen her weekly as often as I can. I took her straight home to mine and introduced her to her two little brothers. The whole parenthood thing, it just knocks you sideways.”

1988 - Lindsay Reade contacts A&R representitive Roddy McKenna
Notes: Lindsay sent Zomba/Roddy a demo tape of the band. It included recent single Sally Cinnamon, Here It Comes, All Across The Sands, This Is The One and many more.
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: oddy Mckenna (A&R man, Zomba Records): Zomba were very successful with pop and R&B acts, but I wanted to move into the rock side of things. I wanted to set up a separate label for that, which turned out to be Silvertone. we got the stone roses because someone tipped us off on a great band in Wales which turned out to be a second rate U2 imitation which I really hated, and I was feeling really low in the car on the way home until I put on a demo tape I'd been sent, which had this is the one on it. I loved it so much I put it on repeat all the way back to London I went to see them in Manchester and then met them in their managers office, opposite the club. I was conscious that with acts like Samantha fox and Billy Ocean on Zomba's label, Jive, that they might be reluctant to come with us, so made the point that because they were are only rock act I could give them my full attention. I wanted to sign them straight away to an album deal which think helped swing the balance away from Rough Trade, who later tried to sign them but only for a singles deal.
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: Roddy said: "I was working for DJ Peter Powell on Radio 1. His remit was to play the best new artists and unsigned acts. Unfortunately, Peter knew f*** all about music so I'd listen to 200 new tracks and choose the best six for the show. Peter also did a TV programme called The Oxford Road Show in Manchester and I booked the bands. So I got to know the music scene pretty well. Zomba Music spotted my prowess in finding new acts and offered me a job. In 1988, my boss sent me to check out some crummy U2 soundalike band. I was really annoyed, so to make the car journey a bit easier I threw some tapes into a bag to listen to. I put on the Roses' demo, which featured This Is The One, and there was something about it that really got me. The song was like a mantra for the people. I played it over and over again. I then went to see them play in Manchester in a benefit gig and thought they were amazing. I'd had some commercial success on our pop label Jive Records, so was given the chance to find a new band and manage the project on my own....
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses "I was contacted by a longstanding contact from Manchester, a lady called Lindsay Reade, who was Tony Wilson’s wife. She phoned very excited about a new band she was co-managing, called The Stone Roses. She asked if she could send me a cassette recording of the group, I said of course, and she sent it down to me. I remember driving back from a lost cause gig in Wales when I was introduced to the Roses. I had a function on my cassette player that could repeat a song – and I put one track on repeat for almost the whole journey back to London. It was a song called ‘Here It Comes’, which has the killer line in it: “I’d rather be no-one, than someone with no-one”. I had to find out more about. I contacted Lindsay and said, ‘I like this, I’d like to come and see them play live’, because I put great emphasis on being impressed by a band from a live point of view. [So I did], and I was just knocked out by the performance. Directly after the gig I went across the road from the International to the offices of the co-manager at the time, Gareth Evans, and sat in a meeting with him and the band, where I basically told them I thought it was brilliant. We were talking about what bands they were into, and what kind of music I was into, and we just really hit it off. Because I’d had some commercial success as a junior A&R guy I was allowed to go out and sign bands, and that was the first band I came across...
I’d go down to the studio and they’d be playing ghetto blasters with all this different music. It was like hanging out at someone’s flat for an old fashioned record session. Dub reggae, obscure hip-hop, deep Chicago house music, and interspersed with that, The Clash and Zeppelin. It was a cacophony of wonderfulness. RODDY MCKENNA"

January 1988 - Revolution Studios, Cheadle, Stockport, Manchester
Elephant Stone
Notes: Unconfirmed. Michael Johnson was the engineer during the recordings.
If you play the CD version of Full Fathom Five backwards you can hear the alternate version of Elephant Stone, which is denoted in this session here. This version was used on the original Rough Trade White Label (see 30 March 1988). The studio has also been noted as Suite 16 Studios, Manchester. This was the first Peter Hook recording session. Bernard Sumner (New Order guitarist and singer) sat in for a few sessions too, apparently the band asked him to mix the single too.
An unreleased take had Reni taking lead vocals for the song.
Media at the time said the single was recorded in the Summer with Peter Hook.
From May 1989 - Rockin' On Magazine: Peter Hook's the producer on the "Elephant Stone" then. There seemed to be nothing in common between your sound and his. What do you think about the reason he liked your song?
I : He just liked our song I think. We had rated New Order's dance tunes. When "Elephant Stone" was ready to record, we started to look for a good producer for a dance record, then we hit on his name.
What did you learn from him?
I : How to make a good record, that's the main point. And some technical things...
Why didn't you ask him to produce the whole album? Was there a contract problem?
I : No. "Elephant Stone" was a dance record therefore we asked him. We didn't think to ask him more than that...
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Peter Hook said I think Reni thought he was a better singer than Ian. I think technically he probably was but he didn’t have Ian’s soul. Ian Brown has a very distinct, very soulful and very passionate voice, whereas Reni was just a good singer and I reckon there was a little bit of a competition between the two of them there; a little bit of friction that I thought was a bit sad. I think Reni always harboured an ambition to be a singer. PETER HOOK"
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Your first Silvertone single, "Elephant Stone", was produced by New Order’s Peter Hook… IB: Hooky was a mate of a friend called Slim who was roadying for us – he used to roadie for New Order. Hooky’s engineer, Michael Johnson did most of it but Hooky played a part.
Official: March 1990 - Elephant Stone CD Single

1988 - Recording Sessions
Groove (Black Magic Devil Woman)
Notes: Groove-On Black Magic Devil Woman has been compared to an early incarnation of the outro to I Am The Resurrection.
Squire also does some guitar licks around 2:15 to 2:30 that hit some of the same notes as I Am The Resurrection's outro.
According to a fan Groove (Black Magic Devil Woman) was recorded during the Elephant Stone sessions. It was eventually released, uncredited, on the 1995 The Complete Stone Roses 2 Disc Edition Compilation. The Japanese 2 disc edition credits the songs title as Groove-On Black Magic Devil Woman.
Official: May 1995 - The Complete Stone Roses 2 Disc Edition - Groove (Black Magic Devil Woman) aka Groove-On Black Magic Devil Woman

January 1988 - Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN
Elephant Stone / The Hardest Thing In The World
Notes: See 'December 1987'. Peter Hook mixing session in his studios.
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: Who did you see as competition, then? The Beatles? “We did a 16-track demo in ’86 in Peter Hook’s studio which we thought was as good as The Beatles...''
From 07 January 2018 - thestoneroses.co.uk published an interview with Matt Mead ''We interview Matt Mead, who is currently writing the book Flowered Up and who recently was able to share a short clip from The Stone Roses Elephant Stone recording sessions.
You’re a huge Roses collector and i know you’re not able to share some of the items you have or have come across, but what are you top 3 rare items that you have seen/have access too?
Elephant Stone rehearsal tape. A recent find kindly shared with me which I was allowed to share a small snippet of. A wonderful 1hr 30mins of the band rehearsing through and talking in the studio about Elephant Stone. There’s not much more I can say apart from the Roses should do a official bootleg series for the fans, much like Dylan has done
From: Omega Auctions 2020: THE STONE ROSES - ELEPHANT STONE/HARDEST THING IN THE WORLD DEMO CASSETTE TAPE (DIFFERENT VERSION). Totally mega early demo cassette of Elephant Stone c/w Hardest Thing In The World, this early (very much live sounding) demo different to that of other released versions. The tape (Japanese produced TDK High Bias 70us EQ SA 60) has 'Stone Roses Dolby' written on the A side sticker with 'In' ticked. This version has a different intro, Squire's squaliing semitone riff more close to the later commercial release, this can be heard 'fading in' at the very beginning of the track. The Hardest Thing In The World appears to the be same as the commercial release. With original printed inlay card from Suite 16 Recording Studio, Rochdale. A must have for any Roses collector! Provenance: from Geoff Travis' Rough Trade archive.

1988 - Elephant Stone Demo Rough Trade Cassette Tape
Elephant Stone (Demo) / Elephant Stone (Demo with count in)
The tape notes two demos of Elephant Stone and also The Woodentops 'You Make Me Feel'. The Woodentops release was eventually released in January 1988 with the Rough Trade number RTT 179. The black tape has no manufacturer markings and is simply stickered 'The Stone Roses/Elephant Stone'. The tape contains two demo versions of the track which appear to be similar to those that were later released on the 20th Anniversary Edition Demos Disc, with ambient noise heard before the tracks begin (the count-in can be heard). No inlay card. The three-track tape was auctioned off with provenance from Geoff Travis' Rough Trade archive.
Auction Date: 10 November 2020 10:30 GMT LOT 29 - OMEGA AUCTIONS, Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside, WA12 8DN. Auction description: 'THE STONE ROSES - ELEPHANT STONE DEMO CASSETTE TAPE. A killer early demo cassette from The Stone Roses, this tape containing 2 x demos of Elephant Stone and also containing the lovely 'You Make Me Feel' from The Woodentops. The black tape has no manufacturer markings and is simply stickered 'The Stone Roses/Elephant Stone'. The tape contains 2 x demo versions of the track which appear to be similar to those that were later released on the 20th anniversary, with ambient noise heard before the tracks begin (the count-in can be heart) set as well as The Woodentops - You Make Me Feel. No inlay card. The recording is in excellent condition. Provenance: from Geoff Travis' Rough Trade archive.'

1988 - Elephant Stone (Demo) / The Hardest Thing In The World Rough Trade Cassette Tape
Elephant Stone (Demo) / The Hardest Thing In The World
Notes: Elephant Stone is described as '(very much live sounding) demo different to that of other released versions...This version has a different intro, Squire's squealing semitone riff more close to the later commercial release, this can be heard 'fading in' at the very beginning of the track.'. I've never heard this tape but I've got a feeling the version could the reversed version of Full Fathom Five, which appeared on the 1990 CD single. It sounds similar to the released version but different enough to differentiate the two versions. The tape was a Japanese produced TDK High Bias 70us EQ SA 60 has 'Stone Roses Dolby' written on the A side sticker with 'In' ticked. The Hardest Thing In The World appears to the be same as the released version. The tape has the original printed inlay card from Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN. Rochdale. The two-track tape was auctioned off with provenance from Geoff Travis' Rough Trade archive.
Auction Date: 10 November 2020 10:30 GMT LOT 30 - OMEGA AUCTIONS, Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside, WA12 8DN. Auction description: THE STONE ROSES - ELEPHANT STONE/HARDEST THING IN THE WORLD DEMO CASSETTE TAPE (DIFFERENT VERSION). Totally mega early demo cassette of Elephant Stone c/w Hardest Thing In The World, this early (very much live sounding) demo different to that of other released versions. The tape (Japanese produced TDK High Bias 70us EQ SA 60) has 'Stone Roses Dolby' written on the A side sticker with 'In' ticked. This version has a different intro, Squire's squealing semitone riff closer to the later commercial release, this can be heard 'fading in' at the very beginning of the track. The Hardest Thing In The World appears to the be same as the commercial release. With original printed inlay card from Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN. Rochdale. A must have for any Roses collector! Provenance: from Geoff Travis' Rough Trade archive.
John Leckie said: "I initially received a demo tape from Geoff Travis at Rough Trade," Leckie recalls, "and by the time I got back to him they'd signed with Silvertone. I then got the same kind of tape from Silvertone, so it was clear that the band had asked for me to work with them... I can't now remember what songs were on the tape, but I know they included 'Waterfall', 'She Bangs The Drums', 'This Is The One' and 'I Am The Resurrection'.
From October 1997 - I Wanna Be Adored BBC Radio 1 Documentary: John Leckie:
"I first got a call from Geoff Travis at Rough Trade, and he sent me a tape with Elephant Stone, She Bangs The Drums and I Wanna Be Adored, and I said 'Yes, yes, I'll do it!" So then I spoke to Silvertone and went up to Manchester, saw the band rehearsing, saw a gig at International Two, which was pretty amazing, then we went in and did four songs for the album."

N - January 1988 - The Stone Roses sign to Rough Trade Records
Notes: The Rough Trade contract was initially for one single. The deal was short lived and the band left to sign with Zomba. Elephant Stone was, initially, finished and ready for release (Peter Hook produced) for 15 February 1988. The single was delayed due to the band not being happy with the Hooky production.
Michael Johnson was, initially, lined up for the production of the E.P. and Rough Trade penned a release date for 30 March 1988. The band were not happy with the sound of Peter Hook's final mix, so Geoff rang John Leckie to produce. The new release date was noted for June 1988.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: IB: We nearly signed to Rough Trade. In fact, Rough Trade signed us to do "Elephant Stone" with Peter and, as we were doing it, (Rough Trade boss) Geoff Travis said try John Leckie, I think he’ll be good for you. Zomba then bought "Elephant Stone" off Geoff.
RC: So why didn’t you sign to Rough Trade? IB: Because Zomba were offering us eight LPs and Rough trade were only offering an LP or two. But we met John Leckie and we got on....
From February 1998 - Uncut magazine Ian Brown interview: “Cos we nearly signed to Rough Trade, and Geoff Travis recommended John Leckie. We heard the Dukes of Stratosphere (XTC offshoot) LP he did. It was like the sounds of the Sixties, and we thought he must be really clever to get those sounds.”
From Blood On The Turntable BBC TV Documentary, Mani said: Geoff Travis was sniffing about and there was one point we were going to sign to Rough Trade. Primarily becase we had gone down to London. We met him at that pub, The George, at the side of Euston station and he gave us money to get an Italian when we got back to Manchester. We all went that guys spot on...
From 25 August 2009 - John 'Jeckie' Leckie interview from The Quietus website: You never know when the right act will cross your path: - I wasn't in Manchester so I wasn't aware of The Stone Roses at all. The Dukes of Stratosphear album was almost three years before it in 1985, '86. When I met them, they were aware of it, they asked if I was the one who had done that album and I said 'Yeah!' They did enthuse about it a little bit but it wasn't a really important thing, I don't think. I think they really chose me on Geoff Travis' recommendation. Ian Liked The Adverts record as well but it was never really spoken about, we just got on with the work. You just say 'we're going to make the best record we can'.
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: ''Their single 'Elephant Stone' which was to be released on Rough Trade will now be released, shortly on Jive (Hence the delay) and will feature a backwards version on Side B.''
NME magazine article 12 November 1988 noted: 'Following a false start with Rough Trade, they've now signed up with the multi-million Jive/Zomba group to release records on the off shoot Silvertone.''
From February 1998 - Uncut magazine Ian Brown interview: When did the Roses’ classic songs start to appear? “About ’88. We started recording in May/June, and we’d signed the deal (with Silvertone) in April, and then we’d written Bye Bye Badman, Shoot You Down, Elizabeth My Dear. We wrote most of that first album in the few weeks after inking the deal, cos we’d blagged the record company. We told Silvertone that we had about 30 or 40 songs, but we only had about eight. We’d scrapped loads of songs.

23 January 1988 - Dingwalls, Camden Lock, Chalk Farm Road, NW1, London * Supporting: The La's *
Sally Cinnamon /
Notes: Sold Out Show.
Date sometimes confused with 29 February 1988

M - 23 January 1988 - The Stone Roses feature in Sounds Magazine, 23 January 1988.
Notes: John Robb interviewed the band late 1987. See Media for the interiview.

January 1988 - Power Plant Studios, Willesden, London
Notes: Geoff Travis said the initial Peter Hook mix needed remixing so he funded the John Leckie remixing session for Elephant Stone. The story goes that an engineer there, heard the track and told someone from Jive/Zomba Records who were on the lookout for a "rock" band. This story conflicts with the one that Lindsay Reade made direct contact with Roddy McKenna.

M - 11 February 1988 Thursday - The Stone Roses feature in Manchester University Newspaper, Issue 15
Notes: Interview with Ian Brown and John Squire by Lisa Dulledge. See Media for the interiview.

1988 - Ian Brown Demo Mix Tape
Side A Sally Cinnamon (8 Track Demo) / The Hardest Thing (8 Track Demo) / All Across The Sand (8 Track Demo) / Here it Comes (B-Side) / All Across The Sand (B-Side) / Elephant Stone (8 Track Demo) / Sugar Spun Sister (8 Track Demo) / The Sun Still Shines (8 Track Demo) / Going Down (8 Track Demo) / So Young (Single) / Tell Me (Single) / Fernando - Gifted (Martin Hannett)
Side B Fernando - Gifted (Martin Hannett) / Gettin' Plenty (Hannett 1985) / I Wann Be Adored (Hannett 1985) / Sally Cinnamon (Single) / Heart On Staves (Hannett 1985) / This Is The One (Hannett 1985) / Trust A Fox (Hannett 1985) / All I Want, All I Need (Hannett 1985) / Your Time Will Come
Notes: A Private Tape sent from Ian Brown to friend Duncan. The 8 Track Demo's are presumably from the Chorlton Sessions. Your Time Will Come is not included on the tape, Ian writes on the sleeve; ''there was another but the tape ran out!!''. Ian also wrote in an accompanying letter '''Duncan, Here's your tape at last! Side A is mostly 8 track demos which sound pretty weakish but being a technical wizard you'll understand these things. Besides the classic 'Fernando' on Side B the others on the side are all Hannett Production of early tunes we only actually still play 'This Is The One' and when you hear you'll know why!! See you soon, Ian p.s. cheers for the syd/jimi tape x. Also included was a tape from International 30/1/87
Taken from: Private Tape : http://www.thestoneroses.co/wp-content/uploads/2018/01/tape-pic.jpg

20 February 1988 - Ian Brown's 25th birthday

26 February 1988 Friday - International 1, 47 Anson Road, Manchester, M14 * Doors Open: 20:00-01:00 * Stage Times: Monkey Run (originally scheduled for 20:30) 21:30 The Stone Roses (originally scheduled for 21:30) 23:00 * Ticket Price: £3.00 (Advance) £3.50 (On The Door) * Support Act(s): Monkey Run*
Sally Cinnamon / Here It Comes / The Hardest Thing In The World / Going Down / (Song For My) Sugar Spun Sister / Mersey Paradise / I Wanna Be Adored / Waterfall / Your Time Will Come / She Bangs The Drums / Made Of Stone / Elephant Stone / This Is The One
Notes: Set from original handwritten setlist. Possible debut for Made Of Stone. Peter Hook was in the audience, he was recording 'Elephant Stone' with the band.
Apparently, Zomba/Jive Boss, Steven Howard, and A&R Rep. Roddy McKenna were in the audience. Steven was staggered by how big of a following the band had.
Steven Howard: "As an A&R guy coming up from London, it was, like, 'What is going on here?' It was all kids in baggy jeans, flared jeans. I thought, 'If they've got this kind of cult fashion thing going on, there's a whole lifestyle'."
A review featured in the Manchester University Newspaper, 03 March 1988: ''This was the first time I saw them and agree with the reviewer’s comments about the crowd as I wasn't aware that they had such a loyal and committed following. I started off close to the front but not long after they started, I remember being face to face with a paisley-shirted lad with a cut above his left eye which made this soft student move back to somewhere safer. Apart from that what I mainly remember is Reni drumming with his top off and wearing a hat with the sides turned up and I've recently seen a photo doing the rounds which looks like it's from that night. I also remember Peter Hook being there which would make sense if he'd just produced Elephant Stone which was due for release on Rough Trade around then.''
See Media for Melody Maker Magazine, 28 February 1988, Billy Smith review.
See Media for Melody Maker Magazine, 12 March 1988, Jacqueline Harte review.
From February 1998 - Uncut magazine Ian Brown interview: The turning point was getting Waterfall in the set, a song about a girl who sees all the bullshit, drops a trip and goes to Dover. She’s tripping, she’s about to get on this boat and she feels free. Waterfall was the first time we went ‘Wow, this is it’.”

27 February 1988 - The Leadmill, Sheffield * Supporting: The Jack Rubies (Jack Rubins)
(Incomplete Set) Waterfall / Elephant Stone
Notes:
From thestar.co.uk By The Newsroom 15 May 2016, 11:55am: The Leadmill, February 27, 1988. The Stones Roses were performing as the support act to The Jack Rubies, who had appeared on a television show called Famous for 15 Minutes. At the time the Stone Roses were practically unheard of, and they arrived on stage with a line up which at that point did not include the bass player Gary Mounfield. They wore paint splattered shirts, which resembled John Squire’s paintings, and all their instruments had the same Jackson Pollack style paint. There was no crush at the front, with the audience standing well back as an unfamiliar band played a performance of songs which were then unknown to most of those present, including Waterfall and Elephant Stone. One woman in the audience had Ian Brown singing directly to her, kneeling on the stage in front of her as he did so...

29 February 1988 Monday - Panic Station - The Alternative Music Night, Dingwalls, Camden Lock, Chalk Farm Road, NW1, London * Doors Open: 18:00, 20.30 The Sullivans, 21.15 The Motion Pictures, 22:00 My Life Story, 23:00 The Stone Roses * Ticket Price: £2.00 (Members) / £3.00 (on the door)
Notes: Information taken from an advert from Sounds Magazine, 27 February 1988. Conflicting date with the band supporting The La's

04 March 1988 Friday - Warrington
Mersey Paradise / Here It Comes / Going Down / The Hardest Thing In The World / Elephant Stone / I Wanna Be Adored / Made Of Stone / Your Time Will Come / (Song For My) Sugar Spun Sister / Sally Cinnamon / This Is The One / Waterfall
Notes: Venue unconfirmed but might have been Legends Club. Setlist taken from the handwritten list in sleeve notes of the 2002 'The Very Best Of' release.

March 1988 - Gareth and the band meet at Reni's flat to discuss labels
Notes: Squire later said, "I wanted to sign to Rough Trade and everyone else wanted to sign to Zomba."

M - 15 March 1988 - Ian Tilton Photo Shoot
Notes: The first photo session with Mani. The band had the pollock style back drop. Mani was wearing a striped t-shirt with leather jacket; all the band wore coats too.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken from the session.

30 March 1988 - Elephant Stone RT 215 Rough Trade White Label pressing
Notes: The white label (usually looks pink) was stamped '30 MAR 1988' and had 'RT 215 A & B - 1U' handwritten on the label. The 7inch pressing was made for Rough Trade and the initial release was even given a catalogue number RT215. Matrix / Runout Groove reads: RT215A-1J-1-1 There's Something Big Come Up. Side B Matrix: RT215B-1U-1-1 Watch Out For Chocolate Lust.
The 12inch sleeve was designed and finished too for Rough Trade. It looked similar to the initial release but the 'Elephant Stone' title on the front is just the outline rather than solid lettering, same font. The pollock style artwork was the same too but the rear sleeve did not have the production credits. Both tracks were produced by Peter Hook. Full Fathom Five featured on the Rough Trade pressings was the version that appeared on the 1990 Elephant Stone CD single.
A magazine article said the band were due to release Elephant Stone in June with Rough Trade. Both Peter Hook's and John Leckie's mix made it onto the Silvertone released single. The eventual release of Elephant Stone features the 7inch Mix & 12inch Mix. Both recorded by Peter Hook but mixed by John Leckie. The 12inch Full Fathom Five version includes the John Leckie mix, whereas Peter Hooks Full Fathom Five mix was included on the 1990 CD single and Complete Stone Roses compilation. If you play the track backwards you will be rewarded with the original Peter Hook single mix of Elephant Stone. The Hardest Thing In The World is the same version on all releases, produced by Peter Hook.

March 1988 - International 1, 47 Anson Road, Manchester, M14
Notes: I have seen a signed Zomba document dated '12 April 1988'. Roddy says he signed the band after seeing them play a benefit gig in Manchester. The only benefit gig noted on the timeline is the 30 May 1988 - Anti-Clause show (Unconfirmed if the band played another benefit gig in Manchester before 12 April 1988).
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: "I then went to see them play in Manchester in a benefit gig and thought they were amazing. I'd had some commercial success on our pop label Jive Records, so was given the chance to find a new band and manage the project on my own. The Roses were the first band I wanted to sign. At the time, the only person offering The Stone Roses an album deal was me. I turned down the chance to co-manage the band out of loyalty to Zomba. If I hadn't, maybe I'd be sitting on 10 per cent of four million dollars...

10 April 1988 - Reni's 24th birthday

12 April 1988 - The Stone Roses sign to Zomba Records
Notes: Gareth persuaded the band to sign with Jive. The Zomba Productions Limited contract was drawn on the 12 April 1988 to The Stone Roses. The record company increased their offer of an advance from £30,000 to £70,000, the band signed 18 April.
Zomba's business boss Clive Calder later said the initial contract he gave Evans was just "a draft", having all the toughest clauses possible for the artist, and that he fully expected the band's lawyers to come back and demand several revisions. Gareth asked Geoffrey Howard, a Manchester property lawyer, to approve the contract. They believed, due to some of the terms, it would never stand up in court.
The contract deal with Zomba was for eight albums, and stated that The Roses would not be paid for the first 30,000 records sold (if they ever sold that many).
It had a clause about CD sales, which were just then beginning to surge. Ian Brown said, about ten years later, that the Roses were not paid anything for the entirety of CD sales in their deal with Zomba.
The band had signed to Zomba Music, a South African company whose UK label, Jive, was possibly the most unhip in the world.
At the time the band were still signed to FM Revolver but they gave the band up and let them go from the contract, they kept the rights to the recordings and the initial release though (see December 1989 etc.).
Roddy McKenna convinced Zomba, Steven Howard, to form 'Silvertone Records' as the 'Rock' branch of the label. Roddy believed the Jive marketing team would not be able to promote or benefit the bands image. Silvertone was formed in 1988 by Andrew Lauder as part of the Zomba Group of companies. John Squire, apparently, came up with the name. Silvertone was named after the make of guitar sold in the American Sears Roebuck mail-order catalogue during the early 50's.
Andrew heard several Stone Roses demos and agreed with Jive/Zomba directors to take the band on the spin off label. As a teenager in the 60's, Lauder joined the independent Liberty Records. From here, he went on to launch Radar Records. From the ashes of Radar, came F-Beat, and then, Andrew Laudercmoved to launch Demon. As well, Lauder spent time at Island Records (U.K.) as head of A&R. Andrew was the former A&R man for The Buzzcocks at United Artists. Apparently he has credit for signing Dr Feelgood, The Flamin' Groovies, Soft Boys, Hawkind, Motorhead, The Stranglers, That Petrol Emotion, Nick Lowe, Elvis Costello and many more. Andy said "The intention of Silvertone is to reate a small and select roster of artists who complement each other whilst working in different fields."
In 2002, Zomba Recording Corporation was acquired by the Bertelsmann Music Group (BMG), hence the band debut being re-released with BMG credit on the sleeve. Between 2004 and 2008, the newly restructured Zomba Label Group was part of Sony BMG Music Entertainment when those two companies merged. In 2008, when Sony bought the remaining stake in BMG, Zomba became a sublabel of Sony Music Entertainment. Hence the 2009 Anniversary release being released with the Sony label and pressings.
Ian Brown said in an interview that the band signed with Silvertone in April 1988. The deal was agreed by Evans, apparently without consulting the band. The eight-album deal included a clause declaring that the Roses would not see a penny of royalties from their first 30,000 records sold. The contract would be ended in court in May 1991, after a lengthy legal battle between the band and label. The contract was full of conflicting terms and left the band with a ''bad deal''. At the time though, the band wanted to sign with a major to release music mainstream. Dance label Zomba Records umbrella indie label Silvertone Records seemed an ideal opportunity for the band.
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: ''Now boasting an eight-album deal with 'Jive' The Stone Roses are as ambitious as ever.''
From 23 October 2011 0:00, updated 06 November 2012 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: "I then went to see them play in Manchester in a benefit gig and thought they were amazing. I'd had some commercial success on our pop label Jive Records, so was given the chance to find a new band and manage the project on my own.
"The Roses were the first band I wanted to sign. At the time, the only person offering The Stone Roses an album deal was me. I turned down the chance to co-manage the band out of loyalty to Zomba. If I hadn't, maybe I'd be sitting on 10 per cent of four million dollars. I signed them to Zomba but had been lobbying to form a separate guitar label so we moved them to Silvertone Records because I didn't trust the marketing team at Jive to handle such a cool act. I spent £5000 over budget. My boss went nuts and refused to sanction the deal. It was like being sent shopping by your mum and coming back with no change. I got my way. Working on their debut album with producer John Leckie at Konk Studios in London was mad."..
From February 1998 - Uncut magazine Ian Brown interview: When did the Roses’ classic songs start to appear? “About ’88. We started recording in May/June, and we’d signed the deal (with Silvertone) in April, and then we’d written Bye Bye Badman, Shoot You Down, Elizabeth My Dear. We wrote most of that first album in the few weeks after inking the deal, cos we’d blagged the record company. We told Silvertone that we had about 30 or 40 songs, but we only had about eight. We’d scrapped loads of songs.
From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: ...We had an option to pick up an album that we didn’t say we weren’t going to and we didn’t pick it up either. In theory we were supposed to end that agreement contractually before they could go onto Silvertone. There was an argument, and Paul said maybe we should be taking Silvertone to court, and saying actually that was our option for the album and we didn’t decline it. I don’t know how much that would have stood up in court because two years had gone by where we hadn’t said yes, we want to do it. We decided it was probably more money than it was worth and we probably wouldn’t get anywhere with it...
From May 1990 - Sky Magazine, Jon Wilde article: “During their time with us,” says Roberts, “they didn’t seem all that image conscious. Their basic attitude was that they wanted to keep it street level. They always had that affinity. That’s come through in the music and the image and the fashion they’ve adopted. I think the attitude and the image have been developed since they left our company. Obviously, they decided they wanted to be working-class heroes.”
Squire recalled the moment he signed: “We passed round this telephone directory of a thing and said, ‘We haven’t got a clue’, giggled and signed it."
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: I knew that was a bad contract, I knew what I was doing, I knew that contract would never succeed or stand up in court...That's why I signed it, I read it that contract was 'tandem out to slavery'. The contract was a shambles. I can't remember the exact words but it broke every legal conversion.
2000 - Manchester Uni Paper, Ian Brown Interview: You're talking about the record label dispute with Silvertone now,right? Is that still unresolved? "Silvertone's unresolved because we sold upwards of £33m LPs worldwide and that generated £330m, and we only shared £325,000 each on sales.
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Ian Brown: Originally we recorded Elephant Stone for Rough Trade but then Zomba came in with a longer, eight-LP deal, so that's why we went with Zomba...Andrew Lauder (MD, Silvertone Records): Silvertone certainly wasn't formed for the stone roses, I'd been talking with Zomba about bringing my rock experience to them somehow. it was obviously better to do this under the banner of a new label, so I came up with the name of Silvertone and, virtually on the day I signed the deal, 18th April 1988, they told me they'd just signed this band that might be ideal for the new label, so I took the demo tape home with me and really liked it.

1988 - 4 Track Demos, Home Recordings
Where Angels Play / Bye Bye Badman
Notes: Unconfirmed. John & Ian acoustic 4 track demo recording. The recordings have also been credited to '12 December 1986 - Chorlton, Manchester'. Both recordings appear on The Stone Roses 2009 Remastered Deluxe Demos Disc.
From February 1998 - Uncut magazine Ian Brown interview: When did the Roses’ classic songs start to appear? “About ’88. We started recording in May/June, and we’d signed the deal (with Silvertone) in April, and then we’d written Bye Bye Badman, Shoot You Down, Elizabeth My Dear. We wrote most of that first album in the few weeks after inking the deal, cos we’d blagged the record company. We told Silvertone that we had about 30 or 40 songs, but we only had about eight. We’d scrapped loads of songs.
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold: In the meantime, there was also the producer's relationship with the band members, which he now describes as "Very much a collaborative thing. On any given day the guys would come in with songs that Ian and John had demoed on the Fostex, consisting of just guitars and vocals. John always used a capo on his guitar and he'd spend ages tuning, and there was also a lot of bass tuning as well as time spent on the vocals, although Ian sang a lot better in those days. Regardless of some people's negative comments about his singing, to me he was no different to any other vocalist. He'd perform, say, four takes, and I'd comp them and bounce them down. It certainly wasn't a nightmare. He'd always get what we wanted within a couple of hours, and back then you have to remember there was no Auto-Tune."
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Ian Brown: We'd signed the deal in April and then we'd written Bye Bye Badman, Shoot You Down and Elizabeth My Dear. We wrote most of the first album in the few weeks after inking the deal 'cos we'd blagged the record company. We told Zomba we had about 30 or 40 songs, but we only had about eight.

1988 - Rehearsals, Manchester
I Am The Resurrection
Notes:
From April 1995 - The Guitar Mag Feature: Reni: "...I Am The Resurrection, for example, started out as a reverse bass pisstake of Paul McCartney on Taxman. Mani used to play that riff every day, I'd come in and John would doodle some Fender over the top and we'd do it for a laugh at soundchecks. Finally we said, "Let's do it properly - this joke song actually sounds really good!"
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: John: At the time it felt great. It all came together - the people I was hanging about with, the clothes we were wearing, the records we were buying, the drugs we were doing. It all seemed to converge in the songs we were writing at the time. It was great....... I remember doing rehearsals when we were coming down on the back side of a trip the next day....... Or coming down off speed and just strolling in for work and doing a few hours playing ........ Perfect........ I was all wrapped up in it. We'd just wander around together.

13 May 1988 Saturday - Angel Centre, Tonbridge, Maidstone ''The Crypt presents The Mind Explosion'' * Ticket Price: £5 (Advance) £6 (On The Door) * Support Act(s): Voodoo Child, The Ullulators

May 1988 - Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN
She Bangs The Drums / Waterfall / Made Of Stone / This Is The One
Notes: Suite-16 was formerly known as Cargo Studios, where Joy Division, The Chameleons, A Certain Ratio, Nico and many other bands had recorded. In 1984 the studios closed and became Suite-16, run by Shan Hira & Peter Hook. The studios closed again and became a storage unit, it still has a plaque to commemorate its history. The building re-opened as Voltalab Studios and is now a working studio.
I Am Without Shoes was used as the bands intro tape during 1988, it sounds like She Bangs The Drums was reversed from a demo without lyrics, a studio version appeared on the Complete Stone Roses 1995 bonus disc with additional lyrics. It is unconfirmed where any version of I Am Without Shoes was recorded.
Apparently, John Leckie was sent this tape by the band to ask him to produce 'Made Of Stone'.
Lindsay Reade sent out the tape to promote the band. I think Roddy McKenna had a copy as did John Leckie and the tape was also sent out to several promoters and labels too. The sleeve of the cassette is in Lindsays handwriting and lists the three tracks She Bangs The Drums, Waterfall and This Is The One followed by "Original demo from Lindsay". Lindsay co-managed the band and made sure she used her (soon to be ex-husbands, Tony Wilson) contacts.
From February 1998 - Uncut magazine Ian Brown interview: When did the Roses’ classic songs start to appear? “About ’88. We started recording in May/June, and we’d signed the deal (with Silvertone) in April, and then we’d written Bye Bye Badman, Shoot You Down, Elizabeth My Dear. We wrote most of that first album in the few weeks after inking the deal, cos we’d blagged the record company...
From rareandsigned.com: The Stone Roses - The Very First Demo recordings AUTOGRAPHED By MANI Signed. Price: £695.00...The cassette is one of only a handful sent out in 1987 by Lindsay Reade who was their co-manager (and wife of Tony Wilson) at the time.
The sleeve of the cassette is in Lindsays handwriting and lists the three tracks She Bangs The Drums, Waterfall and This Is The One followed by "Original demo from Lindsay". More recently her current partner who was an associate of Manis asked him to sign the inner sleeve which he has done with the dedication "To Dan THE MAN, Love from Mani" with a smiley face...
Official: 'Linday Reade Tape' - She Bangs The Drums / Waterfall / This Is The One
Bootlegs: The Ultimate Rarities (IAWS I Am Without Shoes / stoneroses.net (Will Odell). *IAWS exclusive - you won't find this anywhere else* Running Time (Approx): 80 mins. Originally Priced: £12.00) CD-R "Piccadilly Radio Sessions, 24th March 1985" (24 March 1985 - Piccadilly Radio Session, Piccadilly Studios, Manchester) I Wanna Be Adored / Heart On The Staves / Tell Me - Strawberry Studios, Stockport 1985, 3am - This Is The One - 1st ever take - Rehearsal, Chorlton, Manchester, 18th March 1986 (18 March 1986 - The Basement, Stockton Road, Chorlton, Manchester) Boy On The Pedestal / All Across The Sand / The Hardest Thing In The World / The Sun Still Shines - Acoustic, c.1986 - She Bangs The Drums / Waterfall - Demo, Bredbury, Manchester, 1986 (1986 - Yacht Club Studios, Bredbury, Stockport) Hardest Thing In The World - Demos, Chorlton, Manchester, 12th December 1986 (12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester) Elephant Stone / Sun Still Shines / Going Down / Sugar Spun Sister
Demos, Manchester, Early 1988 (June 1988 - Coconut Grove Studios, Stockport or 1988 - Acetate Versions. Waterfall (1st Mix) June 1988 - Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, North London, NW10 2NB) Waterfall / Shoot You Down - Demos, Suite-16 Studios, Manchester, May 1988 (May 1988 - Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN) She Bangs The Drums / Waterfall / Made Of Stone / This Is The One - Demo, Battery Studios, London, January 1989 (January 1989 - Album Recording Session, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB) Elizabeth My Dear - Waterfront Demos 1983, Pre-Roses band featuring Squire, Mani and Couzens. Normandy (On A Beach In) / When The Wind Blows

1988 - Demo Tape
Elephant Stone / Waterfall / She Bangs The Drums
Notes: Probably recordings from Suite-16 Studios, Manchester & Peter Hook's Elephant Stone sessions too. The tape is mentioned by John Leckie when discussing the bands demos, which Rough Trade sent him for album production consideration. John Leckie ended up remixing the 12inch version of Elephant Stone & Full Fathom Five too for the eventual release.
April 2009 for Clash Music, John Leckie said: ''And then, much later, I got a tape from Geoff Travis at Rough Trade, which had a few songs on: ‘Elephant Stone’, ‘Waterfall’ and ‘She Bangs The Drums’. Then Roddy McKenna, who was the A&R guy at Silvertone, sent me up to Manchester to meet the band.''
From 25 August 2009 - John 'Jeckie' Leckie interview from The Quietus website: The Stone Roses' confidence was no put-on: - You can hear from the demos that the Roses had the songs; all the lyrics were written, they seemed to have had experience, they were very well rehearsed and they wanted to try lots of things. But they weren't frightened. What you hear is the band, that's the way I work, really. They play and I record them and we enhance everything with overdubs and double-tracking — any number of different things. You have to do a degree of arranging but that's part of the creative process. They didn't seem to feel any pressure other than that they were a band making their first album and didn't want to lose the opportunity to make it good. So, there wasn't any pressure to prove themselves — they knew they were good.
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: John: We were making the kind of music that we wanted to listen to and it stood up against the music that we loved. Records we loved by other people, we'd put our own demos on after them and they would stand up.

1988 - Demo Tape
She Bangs The Drums / Waterfall / This Is The One
Notes: Probably recordings from Suite-16 Studios, Manchester although the auction noted the tape as circa 1987.
The tape went up for sale at £695.00 but originally was sold here: 30 May 2014 Friday - Omega Auctions, Omega's Offices, unit 3.5 Meadow Mill, Stockport.
From auction lot description ''The tape, which features She Bangs The Drums, Waterfall and This Is The One, was sent out c1987 by Lindsay Reade, who was their co-manager (and wife of Tony Wilson) at that time. The sleeve of the cassette is in Lindsay’s handwriting and the inner sleeve has been signed more recently by Stone Roses bassist, Mani. Auctioneer. The sleeve of the cassette is in Lindsay's handwriting and lists the three tracks ''She Bangs The Drums'', ''Waterfall'' and ''This Is The One'' followed by ''Original demo from Lindsay''. More recently the vendor's boyfriend who was an associate of Mani's asked him to sign the inner sleeve which he has done with the dedication ''To Dan THE MAN, Love from Mani'' with a smiley face. Mani was actually amazed to see the cassette when he saw it as he had not seen one since they were originally sent out. Great piece of early Stone Roses music and memorabilia. Paul Fairweather says, As a Manchester-based auction house it is fantastic to see these items featuring highly. The market for memorabilia relating to Manchester bands continues to grow and we expect to be showcasing much more over the coming months.
John Leckie said: "I initially received a demo tape from Geoff Travis at Rough Trade," Leckie recalls, "and by the time I got back to him they'd signed with Silvertone. I then got the same kind of tape from Silvertone, so it was clear that the band had asked for me to work with them... I can't now remember what songs were on the tape, but I know they included 'Waterfall', 'She Bangs The Drums', 'This Is The One' and 'I Am The Resurrection'.

30 May 1988 Monday - Anti-Clause 28 Show, International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 ** * Ticket Price: £4.00 (Advance) £5.00 (On The Door) * Supporting: James *
I Am Without Shoes (Intro Tape) / I Wanna Be Adored / Mersey Paradise / Here It Comes / (Song For My) Sugar Spun Sister / Waterfall / Elephant Stone / She Bangs The Drums / Going Down / Made Of Stone / I Am The Resurrection / Sally Cinnamon / This Is The One
Notes: Bank holiday Monday.
I Am Without Shoes is played as the introduction music. The band must have recorded a version of She Bangs The Drums, a demo, to produce the backwards track. The backwards demo was without lyrics, a studio version appeared on the Complete Stone Roses 1995 bonus disc with additional lyrics. It is unconfirmed where any version of I Am Without Shoes was recorded.
Waterfall includes an extended/alternate guitar solo.
Made Of Stone includes a slightly different drum pattern and longer guitar solo too.
The drums only kick in properly after the chorus on She Bangs The Drums.
One of the first times I Am The Resurrection is played, a short variation of the soon to be anthem.
Northwest Campaign For Lesbian & Gay Equality Show. On some leaflets and flyers the show was billed as 'Never Going Underground - Benefit Concert. James, The Stone Roses and guests'. James were annoyed when The Stone Roses put up posters advertising the gig, with ‘Stone Roses’ in big letters, and ‘James’ underneath. The Stone Roses deliberately arrived late on stage and extended their set, meaning that by the time they had finished it was 23:30 and loads of people left before James could play. Advance tickets were available from Piccadilly Records & Grass Roots. The show was organized by Dave Haslam. The International 2 was previously known as The Carousel club, before Gareth took over.
Roddy McKenna (Zomba A&R Representitive) attended the show. Roddy persuades the band to end the Rough Trade deal and buy the recordings back from, label owner, Geoff Travis. Roddy was even offered the oppurtunity to co-manage the band, but he declined.
It was also the first time John Leckie (Future producer) went to see them.
Ian Brown later said he thought it was ''the perfect Stone Roses gig''.
Graham Lambert (Inspiral Carpet's guitarist), Liam and Noel Gallagher (Oasis) were all in attendance.
From Radio-X Article 13 April 2020 18:45 (Updated: 29 April 2020, 14:09): Noel met Inspiral Carpets guitarist Graham Lambert that night, which led to him gaining a job as that band’s roadie, while Liam, claimed that seeing Ian Brown perform changed his life: “If I hadn’t gone that night, I’d probably be still sitting in some pub in Levenshulme.”
From Blood On The Turntable BBC TV Documentary, Noel Gallagher said: International? It was like an old 70's nightclub, y'know?, carpet on the floor. It was a great place for a gig, sound was shit, but it was, y'know, an old nightclub....For some bizarre reason we were in town and it was the Lord Mayors Parade and, er, this guy come up and give us a bunch of tickets and said 'do we want to see a band tonight?' we said 'yeah'. They were just tickets for the International, they didn't have the bands name on or annything like that. And erm subsequently realised, many years later, it was Gareth Evans but apparently he used to do that quite a lot to people who looked cool in Manchester...which I was very impressed about...It was like fucking hell man, this is what it must have been like seeing the Beatles for the first time.
See Media for the review, Sounds Magazine, Sounds Live Review, 11th June 1988, by Stephen Kingston.
From 23 October 2011 0:00, updated 06 November 2012 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: I then went to see them play in Manchester in a benefit gig and thought they were amazing. I'd had some commercial success on our pop label Jive Records, so was given the chance to find a new band and manage the project on my own.
From 06 March 2009 - Uncut Magazine Interview with Ian Brown: First day we met John Leckie, they were having a stand-up fight - a fistfight. John was stood there like, fuckin’, open-mouthed, like: “Who are these guys?” That wasn’t unusual for them.
From City Life Magazine May 1988, Andrew McQueen said: 'It's the first of two benefits to help finance the fight against the infamous Clause 29 (aka Clause 27 and 28) of the local government bill. Brookside's Dean Sullivan (Jimmy Corkhill) is the compere, whilst James and The Stone Roses provide the music.' '...Their exciting drummer and charismatic singer make them one of the most impressive 'live' bands around'...'
Stephen Kingston said: '...Ian Brown starts throwing pints and sarcasm over the unsuspecting audience...'
From 27 September 2013 - Andy Couzens interview: Did you see the band play live after you left? I saw them play at International 2 in about 1988. They needed a rhythm guitar player!
From 01 May 2019 Wednesday - The Independent, Ed Power wrote: Noel Gallagher said '“We were into The Jam and The Smiths before that,” Noel Gallagher would recall. “We thought you had to go to college or be an art student to be in a band. When I went to see the Roses, they looked exactly the same as we did … When I heard ‘Sally Cinnamon’ for the first time, I knew what my destiny was.”'
From Ian Brown Interview from 1999 published in City Life Magazine 2000: ...In 1988 I organised an anti-Clause 28 benefit gig and approached The Stone Roses to play. They were only too pleased to do it. Ian put down a heckler who questioned why they were onstage for a cause like that...
Bootleg: This Is The One () CD-R (Two page booklet (Front and back page, blank inside)) Audience Recording - I Am Without Shoes (Intro Tape) / I Wanna Be Adored / Mersey Paradise / Here It Comes / (Song For My) Sugar Spun Sister / Waterfall / Elephant Stone / She Bangs The Drums / Going Down / Made Of Stone / I Am The Resurrection / Sally Cinnamon / This Is The One - 24 March 1985 - Piccadily Radio Session - I Wanna Be Adored / Heart On The Staves / Tell Me
Bootleg: Anti-Clause 28 Gig (aka "This Is The One) () CD-R (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 50 mins, Cassette originally priced: £2.50) CD / Tape (Copy of the above with an edited sleeve and different rear sleeve) Audience Recording
Bootleg: Nine Miles High (A PGP Production) (Sleeve has two soft toy cows in front of a stone roses poster) (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 74mins, Cassette originally priced: £3.50) I Wanna Be Adored (Hacienda, 1989) / Elephant Stone (Rare mix) aka Elephant Stone 7inch Backwards / Ten Storey Love Song (28 December 1995 Thursday - Sheffield Arena) / Daybreak (Benicassim, 1996) / Tears (Whitley Bay, 1995) / Where Angels Play (Tokyo, 1989) / Sally Cinnamon (Luxor, Germany, 1989) / Sugar Spun Sister (1986 Chorlton Demo) / Going Down (1986 Chorlton Demo) / Mersey Paradise (Blackpool, 1989) / Fools Gold (Spike Island, 1990) / This Is The One (Manchester, 1988) / Begging You (Stockholm, 1995) / I Am The Resurrection (Leicester, 1995) - CD-R / Tape

June 1988 - The Stone Roses leave Rough Trade
Notes: The deal was short lived. Gareth made the calls to Geoff regarding the band's decision. Geoff made a counter offer to match Zomba but Gareth declined. The band bought the Rough Trade funded recordings with the intention to release with Zomba Records. John Leckie mixed/produced the recordings for Silvertone, after, initially, being hired by Rough Trade. The Silvertone debut would only hit the shelves in October.
Geoff Travis: "I would have matched any offer. We wanted to do a serious deal for a number of albums. We knew this was a once-in-a-lifetime band...It was one of the biggest disappointments of my entire life in music. I certainly felt very used."

1988 - Lindsay Reade steps down from co-managing the band.
Notes: When Lindsay found out Gareth had turned down the Rough Trade deal for Zomba, she was furious and quit. She never wanted to see Gareth ever again. Lindsay would still have input into the band and some of their breakthrough appearances, namely The Hacienda show (27 February 1989) & OSM TV appearance (15 January 1989). Lindsay was Tony Wilson's former wife, Tony worked for Granada and hosted The Other Side Of Midnight TV show and he ran Factory Records who built and run The Hacienda club.
Gareth Evans and Matthew Cummings co-managed the band. Sadly Matthew Cummings died in 2007 and rarely spoke out about his role with the band.

June 1988 - Roddy McKenna is appointed as the bands A&R Representitive.
Notes: From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: But their A&R man Roddy McKenna had been tight with the Manchester scene for years — his previous employment included talent scouting for the BBC’s Oxford Road Show. A long-term Clash and Dexys fan, he became fast friends with Ian Brown in particular and convinced them that a label previously synonymous with Tight Fit was a suitable home for the Roses.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: “Underachieving was cool in the ’80s,” says Roddy McKenna. “The Roses were quite different. They really had aspirations to be massive and that was a benchmark.” McKenna was impressed by the group’s self-belief, but sections of the press were less sure.

June 1988 - John Leckie Elephant Stone Sessions
Notes: John mixed the Peter Hook recording for the single. He also mixes the 12inch version of Elephant Stone. Ian records a new vocal for the recording too.

June 1988 - John Leckie agrees to record the band's debut LP
Notes: Originally a tape-op at EMI's Abbey Road Studios, Leckie had assisted on early-'70s projects such as John Lennon's Plastic Ono Band, George Harrison's All Things Must Pass and Pink Floyd's Dark Side Of The Moon, before making his production debut with Be-Bop Deluxe's Sunburst Finish album in 1976. After going freelance a couple of years later, he'd then worked with the likes of XTC, Public Image Limited, Simple Minds and the Fall, and it was on the strength of this resumé that he became involved with the Stone Roses.
John Leckie said "Basically, I was brought in to do my thing. The A&R guy, Roddy McKenna, was quite a tough Glaswegian, and he told me 'You're gonna make this good.' He didn't specify what this meant, but he'd come down to the studio and tell us when he thought something was good or something was bad."
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Roddy Mckenna: Elephant Stone had be produced by Peter Hook of New Order and I got John Leckie in to mix it for me once I'd signed the band. I'd always loved John's work in Pink Floyd, simple minds and others so he was one of my first choices as a producer.
27 June 2010 Sunday 00:04 - The Guardian Newspaper article, by Luke Bainbridge : Ian Brown: Soundtrack of my life - Former Stone Roses singer Ian Brown tells Luke Bainbridge about the records that shaped his life...WHEN WE WERE WORKING ON OUR DEBUT Dukes of Stratosphear 25 O'Clock (1985) Mani had a record by Dukes of Stratosphear, the alter egos of XTC. We thought whoever had produced it [John Leckie] was a genius because he'd made a pastiche of 60s psychedelia and we wanted to make a kind of psychedelic album with state-of-the-art beats. We didn't necessarily like it; we didn't play it out of enjoyment – well, I didn't, Mani did. But I understood from the way it was recorded that the guy who had recorded this could definitely work with us. [John Leckie then produced the first Stone Roses album.] For me, that was more of an academic thing than a record I loved. There was no music around that I loved in the 80s. That was why we started the Roses.
October 1997 - I Wanna Be Adored BBC Radio 1 Documentary: John Leckie: "I first got a call from Geoff Travis at Rough Trade, and he sent me a tape with Elephant Stone, She Bangs The Drums and I Wanna Be Adored, and I said 'Yes, yes, I'll do it!" So then I spoke to Silvertone and went up to Manchester, saw the band rehearsing, saw a gig at International Two, which was pretty amazing, then we went in and did four songs for the album.

1988 - The Stone Roses Interview features in Debris Magazine
Notes: Ian and John are interviewed for Debris Magazine, See Media for the interiview.

June 1988 - Coconut Grove Studios, Stockport
Waterfall / Shoot You Down
Notes: The start of The Stone Roses debut album recording sessions. Precise date unconfirmed. These tracks are commonly noted as 1987 Demos on bootlegs, bootlegs dated '1987 - Strawberry Studios / Yellow 2 Studios, Stockport'.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: The band had toyed with the idea of working with Sly and Robbie or DJ Pierre who, under his Phuture moniker, had shaped 1988’s acid house soundtrack. But Leckie had experience with George Martin and Phil Spector, which counted heavily with John Squire. He got the nod, and rehearsals started at Stockport’s Coconut Grove studios in June ’88...“We always listened to psychedelia,” recalls Mani. “That’s why John Leckie was right for the first LP I’d got these great spoof psychedelic LPs by the Dukes Of Stratosphear which he’d produced.” The first day Reni was late and rang the studio to ask Leckie if he could borrow a tenner for a cab. “In the meantime,” recalls the producer, “Gareth Evans had arrived. When Reni arrived and asked for the tenner Gareth shouted, ‘Don’t ask the producer for money, ask me’ and punched him. There were bloody noses, they were thumping each other against the wall, and then Reni just left. I thought, This is a good start.”
Bootlegs: The Ultimate Rarities (IAWS I Am Without Shoes / stoneroses.net (Will Odell). *IAWS exclusive - you won't find this anywhere else* Running Time (Approx): 80 mins. Originally Priced: £12.00) CD-R "Piccadilly Radio Sessions, 24th March 1985" (24 March 1985 - Piccadilly Radio Session, Piccadilly Studios, Manchester) I Wanna Be Adored / Heart On The Staves / Tell Me - Strawberry Studios, Stockport 1985, 3am - This Is The One - 1st ever take - Rehearsal, Chorlton, Manchester, 18th March 1986 (18 March 1986 - The Basement, Stockton Road, Chorlton, Manchester) Boy On The Pedestal / All Across The Sand / The Hardest Thing In The World / The Sun Still Shines - Acoustic, c.1986 - She Bangs The Drums / Waterfall - Demo, Bredbury, Manchester, 1986 (1986 - Yacht Club Studios, Bredbury, Stockport) Hardest Thing In The World - Demos, Chorlton, Manchester, 12th December 1986 (12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester) Elephant Stone / Sun Still Shines / Going Down / Sugar Spun Sister
Demos, Manchester, Early 1988 (June 1988 - Coconut Grove Studios, Stockport or 1988 - Acetate Versions. Waterfall (1st Mix) June 1988 - Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, North London, NW10 2NB) Waterfall / Shoot You Down - Demos, Suite-16 Studios, Manchester, May 1988 (May 1988 - Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN) She Bangs The Drums / Waterfall / Made Of Stone / This Is The One - Demo, Battery Studios, London, January 1989 (January 1989 - Album Recording Session, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB) Elizabeth My Dear - Waterfront Demos 1983, Pre-Roses band featuring Squire, Mani and Couzens. Normandy (On A Beach In) / When The Wind Blows
Bootleg: The Complete Stone Roses Demo Collection - (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "Piccadily Radio 1985, Garage Flower Sessions 1985, Ian and John acoustic c. 1986, Stone Roses Demos 1987, TSR recordings 1989" Running Time (Approx): 65 mins, Cassette, originally priced: £5.25) Tape - (24 March 1985 - Piccadilly Radio Session, Piccadilly Studios, Manchester) I Wanna Be Adored / Heart On The Staves / Tell Me - 1985 - Garage Flower Sessions 1985 - I Wanna Be Adored - harder version (Garage Flower) / Here It Comes -harder version (Garage Flower) / This Is The One (Garage Flower) - Acoustic, c.1986 - She Bangs The Drums - acoustic, with different lyrics, song structure (Ian+John acoustic) / Waterfall - acoustic, with different singing notes (Ian+John acoustic) - Demo, Bredbury, Manchester, 1986 (1986 - Yacht Club Studios, Bredbury, Stockport) The Hardest Thing In The World - different lyrics (87 demo), Chorlton, Manchester, 12th December 1986 (12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester) Elephant Stone / Sun Still Shines / Demos, Manchester, Early 1988 (June 1988 - Coconut Grove Studios, Stockport or 1988 - Acetate Versions. Waterfall (1st Mix) June 1988 - Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, North London, NW10 2NB) Waterfall / Shoot You Down - (12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester) Going Down / Sugar Spun Sister - Demo, Battery Studios, London, January 1989 (January 1989 - Album Recording Session, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB) Elizabeth My Dear

June 1988 - Coconut Grove Studios, Stockport
I Am The Resurrection / I Wanna Be Adored / Shoot You Down
Notes: The band rehearsed & recorded here for the upcoming album recordings, most of the tracks (which made the LP) were re-recorded in London.
Recordings appear uncredited on The Stone Roses 2009 Remastered Deluxe Demos Disc.
From February 1998 - Uncut magazine Ian Brown interview: We’d had I Wanna Be Adored since ’85 but it used to be at breakneck speed, and we slowed it down.
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Roddie Mckenna: When they rehearsed at the end of the set they'd go crazy, a kind of Sympathy For The Devil and I'd suggested they should turn that into a separate track. As I remember, they'd done a demo of I Am The Resurrection at some studio up north, which sounded really good, but when they tried the ending again later, it just wasn't happening. I suggested they should take the ending from the demo, and use it at the end of the finished LP version of I Am The Resurrection. It just worked.

17 June 1988 - Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, North London, NW10 2NB
I Wanna Be Adored / She Bangs The Drums (1st Mix) / Waterfall (1st Mix) / She Bangs The Drums (LP Mix)
Notes: The Battery Studios were opposite Zomba Records' office and was co-owned by the label too. It is thought that as part of the record contract that the band had to record at Zomba's studio, saving the label money on the recording process.
The Roses called Leckie ‘Swami’, a Sannyasin pseudonym, Swami Anand Nagar, bestowed by Bhagwan Shree, the leader/sex guru/mystic of the Rajneesh movement. The name relates to Leckie's commune, counter-culture background. He had previously worked with George Harrison, XTC and the Dukes Of Stratosphear too. John Leckie said: "Even though there is a punk heritage, they’re hippies. Ian especially. It sounds corny, but there’s a lot of love there, and you don’t really get that with other Manchester bands."
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Tell me about the sessions for the first albums. IB: They were great. We did them in London – we were living in Kensal Rise that summer. There were three sessions: June/July ’88, September ’88 and January 1989. We did the songs in blocks: "Adored", "Made Of Stone", "Waterfall", "She Bangs The Drums". Then we did "Badman", "Shoot You Down", "Resurrection", "This Is The One".
From 06 June 1998 - Melody Maker Magazine: How did recording 'Unfinished Monkey Business' compare to making the two Stone Roses albums? "Well, the first LP was great fun, so that was similar. We did it in four sessions - in Battery in Willesden, a couple in Konk in Crouch End, then in Rockfield and Abbey Road. Obviously John Leckie was great to work with, so it was fantastic....
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Andrew Lauder: The first batch of recording was done in battery studios in about 60 days, up in Maybury Gardens, North London, starting on 17th June which we'd chosen because it was owned by Zomba. Silvertone, having only just been set up, was operating outside a Portakabin in the Zomba car-park, which meant I could pop in and out of the studio to see how things were going whenever I liked.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: “He was a learned man,” recalls McKenna. “My office was inside the studio and I used to see first hand what harm a producer with a monstrous ego could do to a band. John Leckie knew the ins and outs of etiquette.” ...Leckie believes they had no choice and recording at Battery may even have been in their contract with Zomba. “The band were staying in Neasden or somewhere, and they didn’t get any sleep for three days. It was a bit of a nightmare for them.”
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: Moving to Battery Studios in Willesden — right opposite Zomba’s office — the recording was done in dead time, from seven at night until as late as seven the next morning. McKenna: “They wanted to keep an air of mystique, maybe that’s why they wanted to record at night, to avoid meeting the record company.” ... Ian Brown: “We had beginnings and endings for all the songs, everything was worked out. Sugar Spun Sister, for example, had to finish on a particular chord. We were absolute about how that should be — so well prepared. The Stone Roses never ever winged it. We never had to.”
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold:...After mixing the Roses' third single, 'Elephant Stone', Leckie spent a few days rehearsing with them in Manchester before the album sessions commenced at North London's Battery Studios, where four tracks were recorded within the space of 10 days: 'I Wanna Be Adored', 'She Bangs The Drums', 'Waterfall' and 'This Is The One'...Utilising an SSL E-series console and Studer tape machines, the Battery sessions took place between about seven at night and nine in the morning, and the day after they ended, the Studio Two complex was dismantled and converted into offices...
Bootlegs: The Ultimate Rarities (IAWS I Am Without Shoes / stoneroses.net (Will Odell). *IAWS exclusive - you won't find this anywhere else* Running Time (Approx): 80 mins. Originally Priced: £12.00) CD-R "Piccadilly Radio Sessions, 24th March 1985" (24 March 1985 - Piccadilly Radio Session, Piccadilly Studios, Manchester) I Wanna Be Adored / Heart On The Staves / Tell Me - Strawberry Studios, Stockport 1985, 3am - This Is The One - 1st ever take - Rehearsal, Chorlton, Manchester, 18th March 1986 (18 March 1986 - The Basement, Stockton Road, Chorlton, Manchester) Boy On The Pedestal / All Across The Sand / The Hardest Thing In The World / The Sun Still Shines - Acoustic, c.1986 - She Bangs The Drums / Waterfall - Demo, Bredbury, Manchester, 1986 (1986 - Yacht Club Studios, Bredbury, Stockport) Hardest Thing In The World - Demos, Chorlton, Manchester, 12th December 1986 (12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester) Elephant Stone / Sun Still Shines / Going Down / Sugar Spun Sister
Demos, Manchester, Early 1988 (June 1988 - Coconut Grove Studios, Stockport or 1988 - Acetate Versions. Waterfall (1st Mix) June 1988 - Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, North London, NW10 2NB) Waterfall / Shoot You Down - Demos, Suite-16 Studios, Manchester, May 1988 (May 1988 - Suite 16 Recording Studio, Quobeat Ltd. 16 Kenion Street, Off Drake Street, Rochdale, OL161SN) She Bangs The Drums / Waterfall / Made Of Stone / This Is The One - Demo, Battery Studios, London, January 1989 (January 1989 - Album Recording Session, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB) Elizabeth My Dear - Waterfront Demos 1983, Pre-Roses band featuring Squire, Mani and Couzens. Normandy (On A Beach In) / When The Wind Blows

1988 - Reni goes on holiday
Notes: He returns with "fake dreadlock hair extensions".

M - 18 June 1988 - The Stone Roses feature in the NME Magazine
Notes: See Media for the interiview.

July 1988 - Inspiral Carpets release 'Planecrash' E.P.
Notes: The Stone Roses ''Tell Me’ Influenced the E.P., especially the song 'Garage Full Of Flowers'.

July 1988 - The Stone Roses move to Kensal Green, Kensal Rise, London to continue recording.
Notes: Somewhere between June and August the band moved in. During their stay they shared the house with The Bhundu Boys.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: Mani: “We lodged in this African woman’s guest house in Kensal Green. Her name was Petronella. We were sharing this house with The Bhundu Boys and we’d still be sat up all night doing hot knives while the odd business man would come and go in the morning. Hot knife frenzy. No wonder that LP sounds so mellow and laid-back. We were constantly stoned to fuck. Hot knives and trips were the order of the day.”
From February 1998 - Uncut magazine Ian Brown interview: What do you remember about the LP sessions? “Pure fun. Proper good times. We were in London, recording at night. We’d all get a taxi back at seven in the morning and we all shared a house on Kensal Rise. We were skint, they’d give £10 a day for food, which was a load for us. We started in Battery, then we went to Konk Studios, then finished it off in Rockfield in Wales. You’re four years on the dole, suddenly you’re in a country studio with someone cooking for you and a bag of weed in your pocket. Yeah, great.”
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Ian: Me and John would plan all the time. It was all we talked about. We lived together so we had nothing but time on our hands to get things right. When we were writing songs, we'd spend two or three days sometimes just to get one word. Because a word needs to roll right. We were so deeply into it. They were great days. John: I look back and I see that me and Ian had a great working relationship. We were always planning for the band. We had a sense of direction. Me and Reni had a great musical rapport. And Mani was the secret ingredient. I remember when he joined and it suddenly all made sense. He really filled in all the gaps.

August 1988 - The Stone Roses Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB
She Bangs The Drums (Single Mix)
Notes: John Leckie made a few mixes of the song. The album version, the single mix and an alternate mix which appeared on a promo cassette and subsequent album pressings.
From February 1998 - Uncut magazine Ian Brown interview: What do you remember about the LP sessions? “We started in Battery, then we went to Konk Studios, then finished it off in Rockfield in Wales.
Official: Advance In-House Cassette

25 August 1988 - International 1, 47 Anson Road, Manchester, M14 * Support Act(s): The Charlatans
Notes: Unconfirmed show. Apparently, Tim Burgess, The Charlatans future vocalist, was in the audience.

September 1988 - Ian Tilton's Studios
Notes: Ian was wearing a black and white striped shirt. Mani was wearing a blakc and white striped shirt, white collar. Reni in bucket hat and jacket. John was wearing an 'Noel Edmunds' style jumper.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken from the session.

06 September 1988 - Pollocked glass Ian Tilton photo session, Gareth Evan's Farm, Cheshire
Notes: Photos from the session would appear on the Elephant Stone promo posters, press photos and adverts.
The Third Coming, The Definitive Exibithion Catalgoue shows the 'infra red' photo development taken from the session.

1988 - Peter Anderson Photo Shoot
Notes: The only photos from the shoot, I have seen, only include black and white images of Ian and John.

September 1988 - The Stone Roses Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB
Bye Bye Badman / Shoot You Down
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Tell me about the sessions for the first albums. IB: They were great. We did them in London – we were living in Kensal Rise that summer. There were three sessions: June/July ’88, September ’88 and January 1989. We did the songs in blocks: "Adored", "Made Of Stone", "Waterfall", "She Bangs The Drums". Then we did "Badman", "Shoot You Down", "Resurrection", "This Is The One".
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: John Squire: It was mostly recorded on an SSL desk and it just didn't seem fat or hard enough. From a guitar point of view I see my approach as the main failing; I completely deconstructed what I was playing live and rewrote everything for the studio. That just seems and bit simple and the switch from chordal work to solo stuff doesn't seem to work. The album just doesn't have that stamp of a real guitar player to me, apart from a couple of solos. It sounds like a two guitar band, which we weren't.

The Stone Roses - 03 October 1988 - Elephant Stone U.K. Release Date
Elephant Stone, Full Fathom Five, The Hardest Thing In The World - Written by John Squire & Ian Brown.
Elephant Stone, The Hardest Thing In The World - Lyrics by Ian Brown and John Squire.
Full Fathom Five - Lyrics by Ian Brown
Elephant Stone, Full Fathom Five, Elephant Stone (7inch Version) - Produced by Peter Hook. Mixed by John Leckie.
The Hardest Thing In The World - Produced by Peter Hook.
Label: Silvertone
Artwork: 'Untitled' Detail, 1988 Oil on calico & plywood 18x18inch by John Squire. John said: “In a way, that’s probably the most original,” he says. “It preceded any sort of research: it was me throwing paint at the canvas and seeing what happened. I liked it: it seemed to me like there were two Marvel superheroes going nose-to-nose in there. That made it a success - although maybe that was missing the point; that it should be rhythmic, disconnected from any kind of figurative tradition.”
Format: 7inch Vinyl. Catalog Number: ORE 1 (catalogue ORE number in black)
Elephant Stone (7inch Version)
The Hardest Thing In The World
Format: 12inch Vinyl. Catalog Number: ORE T 1 (catalogue ORE number in black)
Matrix A-Side: ORE - 1 - T - A HEY MISTER. CAN WE 'AVE OUR BALL BACK? DAMONT A PORKY PRIME CUT MR LECKIE -
Matrix B-Side: T1 DAMONT ORE T-1 B2 . (Scrubbed out reads something like 'ORE TT 1-B2')
Elephant Stone (12inch Version)
Elephant Stone (7inch Version)
Full Fathom Five (12inch Version)
The Hardest Thing In The World
Notes: A 1990 Elephant Stone & Made Of Stone re-release press sheet mentions Elephant Stone as '...originally released by Silvertone on 3 October 1988...'. Another conflicting date has been noted as 15 October 1988.
Peter Hook (from New Order) produced & recorded the single. It was originally intended for release with Rough Trade (see 30 March 1988).
John Leckie is credited for mixing the 12inch version of Elephant Stone, Full Fathom Five and Elephant Stone (7" Version). I always believed it was Peter Hook who produced and mixed the 7inch version though. Apparently, John Leckie mixing sessions took place during Summer 1988. Mixed by John Leckie for and on behalf of Dodgy Productions.
The only CD source for the Full Fathom Five (12inch Version) is the 2009 Legacy Edition 3 CD, DVD, USB, Vinyl Boxset. All other CD versions of Full Fathom Five are the ''7inch Mix'', Produced by Peter Hook. If you reverse this version of Full Fathom Five you get one of the first Peter Hook mixes of Elephant Stone.
For several years you could only hear the 12inch Full Fathom Five on CD through the bootleg: The Complete Rarities (Forbidden Fruit, FFCD001. Matrix: FF CD 001).
Silvertone included contact details for 'Mel Bell Publicity' in regards to the release of Elephant Stone. The info was taken from the ORE 1 promo (A4) paper media sheet. The media sheet included an untitled pollock style border, similar to the Elephant Stone sleeve but in black and white.
This was the first time an abstract Jackson Pollock style art piece would be used as a sleeve cover. Self-taught artist John Squire started designing the band's paint splash style sleeves in his bedroom. "I've never tried to pass my paintings as my own." he said "We wanted to put Jackson Pollock's on the covers, but they cost three quarters of a million each"
A rather confusing review from Roses supporter Dave Haslam, this dated back to March 1988? Before the single was even released. Maybe the issue date incorrectly printed 'March': 1988 - Debris Fanzine, Debris Magazine Single Review (March) Brief review of the Roses' 'Elephant Stone' single. ... what we'll dip into instead is 'Elephant Stone', the current single from The Stone Roses on Silvertone Records. The Stone Roses are in brilliant form at the moment; 'Elephant Stone' is a rush of sound, a hard beat, and a cool lyric (the 12" mix is a lot weaker than the 7"), but they have songs up their sleeve which will make you splutter with joy. 'Made Of Stone' (a wonderful offspring of 'Paint It Black' and 'Velocity Girl') and 'Adored' are soon to be released on vinyl. I certainly hope so anyway. Dave Haslam.
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: ''Their single 'Elephant Stone' which was to be released on Rough Trade will now be released, shortly on Jive (Hence the delay) and will feature a backwards version on Side B.''
08 October 1988 - Sounds Magzine, Sounds Review by Roy Wilkinson: The Stone Roses - Elephant Stone (Silvertone). A fine, arpeggio-laden jangle from these Mancunian retro tunesmiths. Trad but not-all-bad. Also included is 'Full Fathom Five', a completely weird blare of backward taping that's more than a little reminiscent of a Julian Cope concert intro tape.
05 November 1988 - NME Magazine, NME Single Review by Edwin Pouncey: STONE ROSES - Elephant Stone (Silvertone). New Order fans will certainly want to pick up this Peter Hook produced slice of psychedelic dub attack with full blown modern art visuals. The rest of you would be wiser to stick with 'Sister Ray'. Edwin Pouncey.
John Squire said in the NME magazine article 12 November 1988: 'On a Sunday afternoon The Stone Roses meet at the cemetery gates' That's THE cemetery gates...Ian and John refuse to go in and read the stones. 'Can't be doing with death,' mutters John. The Stone Roses are not pseudo-Morrissey’s preying on the past, so we head for a rather more cheerful field-side picnic table. Here Ian and John often sit at dawn to write songs. Either here, or out in the Cheshire countryside. John won't say where he wrote the current hit 'Elephant Stone', but he coyly admits it's 'about a girl...who i don't see anymore''
From 02 July 2007 Monday - The Guardian article, John Squire said: When we formed the Stone Roses, it was important to me to define an aesthetic that would complement the music. First shirts, then guitars, drums, record sleeves and the band itself, were treated to a lick of paint....
05 November 1988 - NME Magazine featured a Single Review: STONE ROSES Elephant Stone (Silvertone) New Order fans will certainly want to pick up this Peter Hook produced slice of psychedelic dub attack with full blown modern art visuals. The rest of you would be wiser to stick with 'Sister Ray'.
From Blood On The Turntable BBC TV Documentary, Shaun Ryder said: They were fresh, they were real, the music they were doing...it was brilliant.

27 October 1988 Thursday - The Polytechnic, Mandela Building, 99 Oxford Road, Manchester M1 * Doors Open: 20:00-23:00 * Ticket Price: £2.50 (Manchester Polytechnic Student's Union Entitlements, Card Holder Discounted Price) £3.50 (Standard Advance) * Support Acts: The Wishing Stones & Kit
Elephant Stone
Notes: This date conflicts with Happy Mondays - 27 October 1988 Thursday - Astoria, 157 Charing Cross Rd., WC2, London, where The Stone Roses apparently attended. From Melody Maker Magazine, Bob Stafford Interview with Ian "The only group that matters are Happy Mondays. We went to see them at the Astoria and this mad fucker from Glasgow comes up to us and says 'Are you The Stone Roses? Got any E? And a bit later three lads from Leeds come over, same thing..."

M - 12 November 1988 - Melody Maker Magazine Interview
Notes: The band feature in Melody Maker. See Media for the interview.

M - 12 November 1988 - NME magazine article on Manchester's 'Stone Roses' graffiti
Notes: The band’s name was painted all over Manchester. Including painting the walls, spray paint buildings and writing on bus shelters and shop windows, in city centre locations. See Media for the interview.

11 November 1988 Friday - City Of London Polytechnic (Central London Polytechnic), London * Supporting: Sun And The Moon *
(Incomplete Setlist) Sally Cinnamon / Elephant Stone / Shoot You Down / I Am The Resurrection
Notes: One of the first times Shoot You Down is performed. Melody Maker reporter and BBC Radio 1 DJ Steve Lamaq was in the audience.
NME magazine 05 November 1988 article mentions the date.
The Sun And The Moon are made up from members of fellow Manchester group 'The Chameleons'.
From 20 November 1988 - NME Magazine, NME Live Review, 20th November 1988 by Stephen Dalton: THE STONE ROSES Central London Poly.
FIRST SIGHT and first song they couldn’t have come from anywhere else except Manchester which still had so much to answer for. While a million miserable martyrs haunt the self-styled capital of the North, The Stone Roses have grown through the cracked grey concrete into bright and brilliant blossoms.
With the impish grin of Billy Mackenzie and the self-confidence of George Bush, Ian sways smoothly through a strident set of heavenly harmonies and garage guitar. Backed by the best singing drummer since – ahem – Phil Collins, the Roses sound instantly buries all other young pretenders to the Mancs-most-likely-to throne.
This could explain the band’s attitude, the loveable lager lout arrogance of Factory’s football casuals somehow rubbing off through the Peter Hook-produced ‘Elephant Stone’. Or maybe – and more likely – they just know that this killer single, like virtually every song tonight, is an instant pop classic. Cocky bastards.
Ian’s grin never fades, even when chunky melodies like ‘Sally Cinnamon’ give way to James-ian sparsity on ‘Shoot You Down’. This is the flexible sound of an upwardly mobile group. It may not be long before fame forces them to drop the friendly crowd-baiting an audience walkabouts, but tonight The Stone Roses are groovy enough to be forgiven even the trippy blues jam that closes the show. It chokes me to say so, but it looks like Manchester is still the coolest place in the entire solar system. Stephen Dalton.

12 November 1988 Saturday - London Central Polytechnic, London * Supporting: The Sun And The Moon.
Notes: Unconfirmed, NME magazine 05 November 1988 article mentions the date. The Sun And The Moon featured members of The Chameleons.

November - Elephant Stone Promo Video Shoot, London
Notes: The promo video was filmed in London. It was shot in one day and the walls were painted by John Squire. Includes John's artwork on his guitar, the drumkit, bass guitar & even Ian Brown's shirt had Elephant Stone pollock style art on too. Following the video shoot Ian & John were interviewed by Rachel Davies for Rockin In The UK, TV Show. The entire interview lasted over seven minutes but only four minutes was eventually broadcast. Ian & John can be seen with the pollock style backdrop, the audio isn't great but the full recording has been leaked and can be seen online.
Broadcast: Rockin In The UK, TV Show, London (see 06 December 1988)
Bootleg: TV Appearances Compilation (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Running Time approx: 90mins. VHS Video Originally Priced: £16.00, DVD £18) Video (PAL, NTSC) - Running Time (Approx): 80 mins (TV appearences) / 30 mins (Manchester 85) - Ian and John interview 1988 - Elephant Stone / Waterfall on The Other Side Of Midnight show, 1989 / I Wanna Be Adored (Manchester Hacienda, February 1989) - Very short Reni interview (Backstage, Hacienda) - Sugar Spun Sister (Hacienda) / She Bangs The Drums (Slo-Mo Promo) / Longish Ian and John interview, 1989 / She Bangs The Drums (Blackpool Promo) / Rapido Interview (uncut), October 1989 / Fools Gold on TOTP (November 1989) / Made Of Stone (Late Show - Power Cut, November 1989) / Fools Gold (Promo) / Elephant Stone (Promo) / Fools Gold mimed on Satellite TV, and interview with all four Roses / One Love (Promo) / I Wanna Be Adored (Promo) / Waterfall (OSM - improved quality version, but only half the performance) / Love Spreads (Promo) / Ten Storey Love Song (Promo) / Short MTV Interview / News on MTV of Reni leaving / Love Spreads (Feile Festival, August 1995) - Breaking Into Heaven (Feile Festival) / Recording Love Spreads live version for the Help! Album / Begging You (Promo) / Interview with Mani after leaving the Roses / Sally Cinnamon (Promo) / Love Spreads (US Promo, unedited) / Ten Storey Love Song (Unedited promo, without special effects!) / Love Spreads (Finished US Promo) / Love Spreads on Beavis and Butthead / Love Spreads on Red Cross Commercial

14 November 1988 Monday - Bristol Polytechnic, St. Mathias Site, Fishponds, Bristol
Notes: NME magazine 05 November 1988 article incorrectly noted the show as being played at Brighton Polytechnic.

16 November 1988 - Mani's 26th birthday

17 November 1988 Thursday - Kingston Polytechnic, London
Notes: NME magazine 05 November 1988 article mentions the date.

18 November 1988 Friday - Legends, Priory Street, Warrington * Doors Open: * Ticket Price: £2.50 (Advance) £3.00 (On The Door) * Support Act(s): The Da Vincis *
Notes: Richard Ashcroft (The Verve) was in the audience. Listed as 'The Friday Alternative'

19 November 1988 Saturday - International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 * Doors Open: 20:00-2:00am * Ticket Price: £4.00 (Advance) * Support Act(s): Dub Sex
Here It Comes / Mersey Paradise / (Song For My) Sugar Spun Sister / I Wanna Be Adored / Elephant Stone / Waterfall / Going Down / This Is The One / Sally Cinnamon / She Bangs The Drums
Notes: At least 300 tickets were sold but at least 500 people attended the show. Unconfirmed if the set is complete, maybe I Am The Resurrection was played.
Noel Gallagher was at the gig and saw a guy making a recording and asked if he could have a copy of the tape. From Radio X Article 'DOWNLOAD: Radio X presents An Evening In Conversation With Noel Gallagher 4 November 2014, 06:15 | Updated: 11 November 2014, 12:19 ...to speak with a panel of music industry insiders at a special one-off Radio X event for Global's Make Some Noise. A group of prominent music figures delve in to Noel's life in music in front of a live audience.... You can own an audio digital download of this exclusive one-off event for just £1.99, with all net proceeds going to Global's Make Some Noise to change young lives across the UK.' Noel Gallagher told the full story and it was available to download.''
Ian Brown would later write a song about this area of Manchester called 'Longsight M13', the M13 being the area postcode. The week after, 25 November 1988, Silvertone Records Label band 'The Men They Couldn't Hang' performed at the same venue and three tracks recorded from the set would be released on the E.P. 'Rain, Steam & Speed' in 1989.
Bootleg: Tape (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 40 minutes) Audience Recording - Here It Comes (cut) / Mersey Paradise / (Song For My) Sugar Spun Sister / I Wanna Be Adored / Elephant Stone / Waterfall / Going Down / This Is The One / Sally Cinnamon / She Bangs The Drums

20 November 1988 Sunday - Cod Club, The Piranha Bar, Central Square, Birmingham * Ticket Price: £2
Notes: 83 people attended the show. The band were paid £50 for the show. Paul Flower promoted the show, he would later write for Birmingham Mail Newspaper as the Sunday Mercury blogger. NME magazine 05 November 1988 article mentions the '15 November 1988' date. Paul Flower claims the date was 20 November 1988 Sunday. He said every Sunday for two years The COD club was hosted at the Piranha Bar. A year later the owner had gone into receivership and the venue closed down.
From 23 October 2011 04:00 / Updated 24 October 2012 15:53 - Birmingham Mail Newspaper article, Sunday Mercury by Paul Flower: A good year for the Roses?
By Paul Flower on 21 October 2011 10:48 AM: When 83 people went to see the Stone Roses at the COD club in Brum FANS went crazy when The Stone Roses announced their reunion shows last week, with 220,000 tickets sold in one morning...Sunday Mercury blogger Paul Flower, who promoted the gig, recalls: “On Friday The Stone Roses sold 220,000 tickets for the comeback shows in Heaton Park, but once upon a time in Birmingham they struggled to sell a hundred. “It was November 20, 1988 and the band was on the cusp of greatness.
“Curious fans paid £2 a ticket to get in, and the band received £50 for playing the gig. “Their dressing room was a cupboard that contained a mop and bucket and cleaning materials.”
Paul Flower - Frankly it was a terrible place for a gig. The room was wide instead of long and the stage, if you could call it such, was bang in the middle facing a bar which was no more than 10 foot (or 3 metres if you prefer) away. The reason I hesitate to call it a stage is that essentially it was no more than a raised seating platform which barely accommodated a full band and at weekends masqueraded as a micro dance-floor. It was also enclosed by chrome bars (see below) which might've doubled for a crash-barrier if anyone had been inclined to rush the stage - they never were.
Then there was the décor to contend with. Someone had clearly taken the theme of 'disco bar' a little too far, every wall was a glittering or reflective surface and the not-high ceiling sported a number of mirrored balls or half-mirrored where there was not enough space for a full version.
This was The Piranha Bar in Central Square, Birmingham and on almost every Sunday for two years from September 1987 it was the home of The COD Club, a venue for live music from local (and not so) bands whose Birmingham/west mids fan-base was not likely to exceed 300 - this being the nominal capacity.
Most weeks we never got near that number and on the two occasions we did - The Wonder Stuff/Fuzzbox and Inspiral Carpets/Elizabeth Jane - it was a very tight squeeze. Generally the audience was below 150 but as with everything it is sometimes about the quality rather than the quantity and we had a regular crowd of around 15-20 people who became The COD Club family.
A lot of the detail has escaped me in the intervening years, the result of keeping an incomplete diary or not keeping a complete one. Consequently I have no idea why we chose that venue and how it came about - you can imagine the central Birmingham location had a large part to play but it was probably more important that the licensee gave it to us free of charge as long as we could pull an audience. Sometimes this was harder than it should've been.
I was initially dragged back into 'promoting' by a chap called Richard 'Dick' Scrase, he'd been working at Brum Beat (for whom I also wrote) and then moved to run another local publication. He was very keen. I'd previously promoted local acts - as a labour of love - at a pub called The Punchbowl which (unlike The Piranha) still exists at the bottom of the Wolverhampton Road in Quinton. There were some great bands in the area at that time - Kit Form Colossus, The Wardrobe, Pavlov's Dog - but it was always hard work.
The work eventually did for Dick, that and the fact that he chose to independently put on another gig one Sunday in Birmingham with Martin Stephenson and didn't see that it was a problem. Eventually I ended up running it by myself with the help of dedicated and unpaid friends like Kev and Lloyd (below in his guise of singer-songwriter) alongside the ever-smiling Rob and crusty-lothario Ian on the PA.
It was the assistance of another promoter, Dave Travis, who co-ran The Click Club at Burberries which led to the COD's most celebrated and remembered event. The story of Dave's legacy may be for another time but as we did Sundays he did Tuesdays, with Steve Coxon. further up the road on Broad Street. They had a larger capacity up there and he would occasionally put bands my way if they weren't 'big' enough for The Click. They had a similar back-story, being photographer and writer respectively prior to a very successful run as promoters and I'd frequent their nights as regularly (if not more so) than they would mine.
So it came to pass that on November 20th 1988 The COD Club hosted the debut Birmingham performance of soon-to-be Manchester legends, The Stone Roses. At the time they were on the cusp of greatness, Elephant Stone had either just been released or was about to be, they'd just performed a major show at the International in Manchester and they were rocking up to a disco bar on a cold Sunday in Birmingham. In retrospect it's surprising that any 'out of town' bands didn't turn and run on sight of their surroundings, in the shadow of the alpha tower and the wind blowing tornado force as you loaded gear across the plaza with the bewildered old folks often queuing outside to get into a filming of Bullseye at Central TV next door. Perhaps they were just relieved to get indoors in spite of the horrifying décor.
I guess we were a friendly bunch, a sense of humour was compulsory and we were all putting in the effort - not in the understanding that we were part of something bigger (heaven forbid, a 'scene') but because we all believed in the music and that Birmingham needed a place to host great bands - the city had been haemorrhaging venues at that point and if we hadn't done it, who would?
I wish I was able to remember more of the gig, the songs played and the performance itself. This set list from the same tour will probably give an indication. I recall that they were good but with not a major sign of the status and brilliance they would achieve. Perhaps I was distracted, there was always something else to do - whether it was taking money on the door or putting on tracks between the acts.
Of the under-100 people present (83 paid at £2 a ticket) there were a fair number of people from the midlands music scene, people who were clearly more aware of the Roses' potential. The band themselves were paid £50 for the privilege, I suspect that when next year's 75,000 capacity Heaton Park gigs take place that fee will be suitably inflated. It may have been the last time they were paid so little money - maybe it explains why they didn't come back to Birmingham much.......
My major recollection of that night was of going to see them in the 'dressing room' to check if they were OK or needed anything. The term 'dressing room' is about as adequate as the concept of the 'stage' at Piranhas, it was anything but. In fact it was a cupboard that more often than not contained cleaning materials, a mop and bucket and various solvents. I add no joke here, it is not needed and I'm not exaggerating for comedic effect either.
I suspect I remember it as most bands rarely used it, being entirely unfit for purpose. The Stone Roses were all sitting in there though, cramped together, smoking. They seemed oblivious to it all and probably unaware of the year(s) they were about to have and how much they were on the cusp of greatness. They were in a cleaning cupboard though so it's hardly a surprise.
A year later the club was closed, a discovery I made at The Reading Festival when I literally bumped into the guy who ran the club upstairs from The Piranha. He told me the owner had gone into receivership and I should go in and get my gear back. Seven years later on the same site The Stone Roses would also call it quits, naturally unaware of the parallel and with a pronounced absence of mirror balls.

24 November 1988 - John Squire's 26th birthday

26 November 1988 Saturday - The Citadel, St. Helens
Here It Comes / Elephant Stone / Mersey Paradise / I Wanna Be Adored / Sally Cinnamon / Made Of Stone / (Song For My) Sugar Spun Sister / Shoot You Down / She Bangs The Drums / I Am The Resurrection
Notes: NME magazine 05 November 1988 article mentions the date.
an Brown allowed Stone Roses fan Andy McQueen to choose the setlist for this gig, hence the odd running order. Setlist taken from the handwritten list in sleeve notes of the 2002 'The Very Best Of' release. Andy McQueen said: "It wasn't that good a gig actually.
From 2002 Lindsay Baker Interview with Ian "Maybe if you feel lonely, and you go and see a group like that, and, you know, they're like your mates, your brothers, you don't feel so lonely."

28 November 1988 Monday - London Polytechnic, London

29 November 1988 Tuesday - "Rock In Chester - Wired And Wonderful", Olivers, Forest Street, Chester * Doors Open: 21:00 * Ticket Price: £3.50 * Support Act(s): Ride, The Watchmen
Notes: Aka Olives Bar? Andy Bell, Ride guitarist and Oasis bass player, remembers the show well. Pretty sure Andy Couzens was in the audience to see the band.

02 December 1988 Friday - The Quadrangle, London School Of Economics, London * Doors Open: 20:00 * Ticket Price: £2.50 * Support Act(s): The Charlatans
(Unconfirmed Setlist) I Wanna Be Adored / Elephant Stone / Mersey Paradise / Sally Cinnamon / Made Of Stone / (Song For My) Sugar Spun Sister / Shoot You Down / She Bangs The Drums / I Am The Resurrection
Notes: I believe this show was originally a support slot for The Sun & the Moon but they cancelled. The Stone Roses headlined and The Charlatans were lined up to support. Approx 30 people attended. One of The Charlatans earliest shows, pre-Tim Burgess.
NME magazine 05 November 1989 article mentions the date as 'December 1'.
See Media for the review, 17 December 1988 - Melody Maker Magazine, Melody Maker Live Review by Caren Myers.
See Media for the review, 17 December 1988 - Record Mirror Magazine, Record Mirror Live Review by Tony Beard.

06 December 1988 - Rockin In The UK, TV Show, London
Interview
Notes: Elephant Stone promo video is played with segments from the November Rachel Davies interview which took place at the promo video shoot location.
Bootleg: TV Appearances Compilation (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Running Time approx: 90mins. VHS Video Originally Priced: £16.00, DVD £18) Video (PAL, NTSC) - Running Time (Approx): 80 mins (TV appearences) / 30 mins (Manchester 85) - Ian and John interview 1988 - Elephant Stone / Waterfall on The Other Side Of Midnight show, 1989 / I Wanna Be Adored (Manchester Hacienda, February 1989) - Very short Reni interview (Backstage, Hacienda) - Sugar Spun Sister (Hacienda) / She Bangs The Drums (Slo-Mo Promo) / Longish Ian and John interview, 1989 / She Bangs The Drums (Blackpool Promo) / Rapido Interview (uncut), October 1989 / Fools Gold on TOTP (November 1989) / Made Of Stone (Late Show - Power Cut, November 1989) / Fools Gold (Promo) / Elephant Stone (Promo) / Fools Gold mimed on Satellite TV, and interview with all four Roses / One Love (Promo) / I Wanna Be Adored (Promo) / Waterfall (OSM - improved quality version, but only half the performance) / Love Spreads (Promo) / Ten Storey Love Song (Promo) / Short MTV Interview / News on MTV of Reni leaving / Love Spreads (Feile Festival, August 1995) - Breaking Into Heaven (Feile Festival) / Recording Love Spreads live version for the Help! Album / Begging You (Promo) / Interview with Mani after leaving the Roses / Sally Cinnamon (Promo) / Love Spreads (US Promo, unedited) / Ten Storey Love Song (Unedited promo, without special effects!) / Love Spreads (Finished US Promo) / Love Spreads on Beavis and Butthead / Love Spreads on Red Cross Commercial

06 December 1988 Wednesday - Arts College, Belfast, Northern Ireland
Here It Comes / Mersey Paradise / Going Down / This Is The One /
Notes: Unconfirmed.
A fan said "In the space from Wed to Fri they played 2 gigs in Belfast. I'd mates at UUJ where they played a free gig on the Weds. One guy Ronan from Dundalk had it recorded on the dictaphone.. Roses put about 6 off them on the guest list for the Friday evening gig at the Art College. Half way through the recording Ian said.. 'D for effort kids, watch you don't enjoy yourselves...'"

07 December 1988 Thursday - Queens University, Belfast, Northern Ireland
Here It Comes / Mersey Paradise / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / I Am The Resurrection
Notes: NME magazine 05 November 1988 article mentions the date as 'December 6'.
I Am The Resurrection includes an alternate ending.
Bootleg: Easily confused with the 06 December 1988 show.
Some Bootleg tapes, incorrectly, state the date as '11 November 1988 - Manchester International 2'.
Bootleg: Audience Recording - Tape (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "Belfast University, 07 December 1988" Cassette Originally Priced: £2, Running Time (Approx): 40mins) Tape - Here It Comes (cut?) / Mersey Paradise / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / I Am The Resurrection (cut)
Bootleg: Incomplete Audience Recording (My tape notes the date as 07 December 1988 - University, unconfirmed recording date) Here It Comes (fades in) / Mersey Paradise / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / I Am The Resurrection
Bootleg: FLAC (Johnky transfer) Audience Recording
Bootleg: Manchester International 2 11/11/88 (Catalogue Number: SEM161) Audience Recording CD

08 December 1988 Friday - University Of Ulster, Jordanstown Campus Student Union Main Bar, Coleraine, Northern Ireland
Here It Comes / Mersey Paradise / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / I Am The Resurrection
Notes: Free show.
NME magazine 05 November 1988 article mentions the date.
A fan said "In the space from Wed to Fri they played 2 gigs in Belfast. I'd mates at UUJ where they played a free gig on the Weds. One guy Ronan from Dundalk had it recorded on the dictaphone.. Roses put about 6 off them on the guest list for the Friday evening gig at the Art College. Half way through the recording Ian said.. 'D for effort kids, watch you don't enjoy yourselves...'"
During their Northern Ireland tour date they visited Giant's Causeway, a stretch of volcanic rock that lies on the coast of Northern Ireland in County Antrim. It is formed of over 40,000 interlocking columns of stone. Apparently the causeway would influence John Squire's 'Bye Bye Badman' art piece, later used for the cover of the debut album.
Bootleg: Tape () Audience

11 December 1988 Sunday - The Venue, Edinburgh
Notes: The band's debut show in Scotland.

12 December 1988 Monday - Eva Destruction, Rico's, Greenock, Scotland * Doors Open: 21:00-01:00 * Support Act(s): Life Without Drums

1988 - John Squire is living in Chorlton.
Notes: 37 Newport Road, Chorlton, Manchester

1988 - Ian Brown is living in West Didsbury
From 06-19 December 1995 - Raw Magazine, John Robb said: Ian was still living in a threadbare flat in West Didsbury that had nothing but a load of musical gear scattered around the floor and posters of Easy Rider and If, two of Ian's favourite films, on the wall. I still saw him walking along Burton Road near his flat, carrying his keyboard, on his way to Chorlton to write songs with John. He didn't even have enough money for the bus fare. As far as The Roses were concerned though, it really was only a matter of time before they were acknowledged as the best band in the world....

1988 - Roddy McKenna recruits Paul Schroeder for the recording sessions.
Notes: Roddy was the bands A & R representative. He hired Paul, who was Jive's in-house engineer at Battery Studios.

July 1988 - February 1989 - Unconfirmed
Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB
Pearl Bastard
Notes:
Official: The Stone Roses 20th Anniversary Edition

December 1988 - Made Of Stone Single Recording Sessions
Battery Studios (co-owned by Silvertone label managers Zomba) 1 Maybury Gardens, Willesden, London, NW10 2NB
Made Of Stone (Track: Rockfield + Overdubs: London) / Going Down / Mersey Paradise
Notes: The three tracks were recorded, mixed and mastered (apparently) at Rockfield, Konk (Founded by The Kinks) and Battery (owned by Silvertone label managers Zomba).
The eventual single just credits Battery Studios though. Battery Studios was formerly known as Morgan Studios. The band would credit themselves as 'The Garage Flowers' on any recording production.
Apparently Made Of Stone Recording Sessions started in June 1988 with John Leckie. I Wanna Be Adored was mentioned as a B-Side for the Made Of Stone single in several media interviews.
From: 31 July 2014 Thursday - Paul Schroeder Interview: 2, The band are well known for having B-sides that are as good as, if not better, than their A-sides, some of which you worked on, such as Mersey Paradise. Were any of them close to appearing on the debut album and were there songs that did make it on there, that almost didn’t? Don't Stop came from the same recording session as Mersey Paradise and Going Down that were supposed to be B sides. The band thought that it was one of the best tracks they had made so it went on the album much to Leckie’s chagrin. 5, From an engineering/production standpoint, how were the band to work with? Absolutely wonderful…always trying to get the better take no matter what time of the night it was. Great musicians, and lovely people. I even recorded a vocal session with Ian singing with a broken rib. No complaining. 7, You have mentioned before that Don’t Stop was a bone of contention. Some may say it was a brave move to put such a track on a debut album, looking back do you believe it was the right choice to include it, or should they have went with something else? It’s not a bone of contention for me. It’s my only co-production on the record! It was a bold move but also a necessary one. I think it makes the record better. It was called sacrilegious at the time. You don't get more rock and roll than that.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: Adding to this fairly ramshackle situation was Jive’s in-house engineer Paul Schroeder. When John Leckie asked him to set up Reni’s drum kit, Schroeder had to confess he’d never recorded drums before. Surreally, Leckie remembers, “Sam Fox used to hang out in the offices and make us tea. Her and Ian got on great.”
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: ''Following this, another single, 'Made Of Stone' will go out, with an older song, 'I Wanna Be Adored' backing it.''
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: Working on their debut album with producer John Leckie at Konk Studios in London was mad. In one corner, Ian would be listening to hip-hop. Mani would play Jamaican dub-step and John his brilliant guitar parts. When they put all that together, I came up with a name for it - I called it a cacophony of wonderfulness. I had no idea it was going to be as big as it was...

December 1988 - Album & B-Sides Recording Sessions
Don't Stop (Different Mix) / Simone
Notes: Apparently the band wanted Sly and Robbie to produce the album, they were not available at the time.
As well as the final mix of 'Don't Stop' there was a different mix released on a promo cassette. This in-house tape was circulating before the album and the 'Leckie' mix was not used on the record.
From Cut Magazine (see July 1989): They knew John Leckie was the man to produce their sugar-spun, acid-dipped debut LP when they heard his answer to their question about his Buddhism. “When we asked him about Buddhism and what it had been like living on a commune and giving all his possessions away, he just said: ‘Never sell all your possessions or live on a commune.'”
April 2009 for Clash Music, John Leckie said: ''How long did the recording take? The whole thing - the album and mixing and everything - took fifty-five days, off and on between late summer ’88 through to January ’89.''
John Squire used a 1964 Country Gent guitar with Supertron pick-ups, as opposed to Filtertron pickups. The guitar can be seen in several photographs from 1989 and during the Blackpool show video too.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: How about the backwards track, "Don’t Stop"? IB: It was accidental. We got a tape of "Waterfall" on the portastudio, which plays both sides. It sounded great backwards. We could hear lyrics coming out, words suggesting themselves. We went back into the studio, turned the tape over, put the vocal down and then put a forward drum over it. That’s my favourite thing on the first LP. There’s twenty seconds at the end that’s killer, the little rhythm that comes in.