M = Media
N = News
RS = Radio Session
TV = Television Appearance
The Stone Roses = Release
1989
John Squire - 1964 Country Gent guitar (with Supertron pick-ups) / Pink Fender Stratocaster / Hofner T4S (Pollock) / Hofner 335 (Pollock)
Pedals and effects - Fuzz Face, original Tube Screamer, Cry Baby wah
Mani - Rickenbacker 4005 Bass (Pollock) / Rickenbacker 4005 Bass (Backup, not Pollocked)
Reni - Drums - Custom kit: Floor toms (Pollock), Gretsch bass drum, hi-hats and Ludwig Snare.
Ian Brown - Vocals
Gareth Evans - Manager
Steve Atherton aka Adge - Tour Manager.
1989 - John Squire continues his pollock style painting style:
‘Don‘t Stop’ (oil on canvas, 3'x5') ("Specially commissioned" for the NME Magazine competition, see 23 December 1989 & 17 March 1990. Graham Crossman entered the competition and signed Kirsten Moore's name on the winning slip.)
‘Double Dorsal Doppelganger One' (Cellulose cardboard, canvas and glass, 24" x 28") * John Squire quotes the lyrics from One Love in reference to the painting, rather than Fools Gold. 'I'm no dog I'm a dolphin/I just don't live in the sea' is quoted as inspiration for the piece, rather than Fools Gold. Maybe the painting wa, initially, intended for One Love. See August 1989 - 'Northern Soul' 12 August 1989 Interview *
‘Our Dreams (Collaboration With Jamie) ‘(acrylic, household gloss on plywood, 4‘x 8‘)’;
‘Toaster’ (oil on toaster)
NME logo (Paint splatter style) for their Christmas issue (23rd/30th December 1989), on which the band appeared on the cover.
1988/1989 - The Stone Roses appear in Debris Magazine/Fanzine, Issue 16, 60p
M - 1989 -The Stone Roses are Interviewed and feature in The Cut Magazine
Notes: John Squire answered the question: “What do I plan to be doing in 10 years’ time? Lying in a hammock drinking mango juice —ing.“.
1989 - Strawberry Studios, Stockport
Notes: Not sure when the band used the studios or for what reason but Silvertone Records were sent an invoice. Addressed to Judith Reilly, Silvertone Records, 165-167 High Road, Willesdon, London, NW102SG. Invoice No. 14017. Date 22 May 1989. Vat Reg No. 158 0626 61. Re: The Stone Roses. Studio Time: As Previously Invoiced: £7,820. Tape Costs: 10 x 1/4 @ £30 - £300. 5 x 2" @ £85 - £425. Sub-total: £8,545 + VAT £1,281 - Invoice Total: £9,826.
05 January 1989 Thursday - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Waterfall (LP Mix)
Notes: An all new Waterfall recording started 05 January and finished towards the end of the month (Approx 20th). The recording would be the one to feature on the debut LP. Final overdubs started 23 January 1989.
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." Ian Brown would actually record guide vocals while guitar, bass and drums were captured live, providing each song's foundation before small sections were dropped in and other parts overdubbed. "They were all competent musicians," says Leckie. "I think the standards these days have gone downhill, but the Stone Roses were a gigging band who had been in the studio before, and the main thing was their optimism and the vibe: 'Yeah, we're gonna make it. Yeah, we're gonna have a great time doing it.' It was all about having fun making music, even if they were also very fussy. We had a good time doing that album, and I think it shows in the music."...
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold:... The Fostex was also responsible for the Stone Roses album track 'Don't Stop', which evolved from the 16-track demo of 'Waterfall' being played backwards.
From June 1997 - The Guitar Magazine: The Gretsch Country Gentleman that features on the inside of The Stone Roses sleeve was a live favourite, but John Leckie vetoed its use for the album’s recording, ‘He said it was too woolly, and he was right. For a lot of the first album I hired in a pink ‘60s Stratocaster which I ended up buying because it sounded so good. The Gretsch went missing…
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Some of the songs were reminiscent of 60s pop… IB: "Waterfall" sounded like a Simon & Garfunkel song, "April She Will Come". We’ve never consciously stolen or copied anything. "I Am The Resurrection" had a Motown kind of beat. It reminded me of "You’re Ready Now" by Slaughter & The Dogs – (sings) "you’re ready now, you’re ready now"! Remember that?...
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Anne Ward (accountant, Rockfield Studios): They came out here to Monmouth on 5th January 1989. We found them to be very down-to-earth bunch who made the place their second home. In fact when they came back to make their second album, they were booked from two weeks and stayed 18 months.
January 1989 - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Waterfall (2nd Mix) / (Song For My) Sugar Spun Sister / Made Of Stone / Shoot You Down (Mix) / This Is The One
Notes: Waterfall had a similar arrangement to the demo version. It started with water and had crisp jangly guitars.
Shoot You Down is a different recording, again this sounded like the demo version, still using a drum machine for additional percussion.
Waterfall (2nd Mix) and Shoot You Down both appeared on several in-house Silvertone advance tapes. The initial recordings of Made Of Stone and (Song For My) Sugar Spun Sister would be used on for the LP.
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold: Leckie pushed the faders on a Neve, alongside Battery in-house engineer Paul Schroeder, who until then had never worked anywhere else. "He had only worked an SSL, and he'd also only really worked with drum machines rather than a live kit," Leckie says. "So, he got quite an experience, although I did a lot of the engineering as well."
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.
From 28 November 2022 - Australian Guitar Magazine Vol. 151 - “One of the things that happened right from the beginning was that - because the record company had an equipment hire company called Dreamhire in the same building [as Battery Studios, in Willesden Green]-we could hire anything,” reflected Leckie. “Any amps, any guitars they wanted… they could just go round to the warehouse and pick some out, so of course there was a bit of dithering with ‘Oh, what guitar should I use? What amp should I use?’ Can we try a different bass?’ but you’d end up using what they’d got originally because that’s the sound! “Mani’s painted Rickenbacker bass, always through an [Ampeg] SVT cabinet… and John had a Hofner, a bit like a Gibson 335, but it was a Hofner. He used that sometimes, but his main guitar was a pink Stratocaster from Dreamhire, which I think he ended up buying.
“Then he always hired a silver/black Fender Twin Reverb with JBL speakers. We always used that just because it sounded fantastic, and that’s probably what he used on most tracks [including I Am The Resurrection], I can’t really remember the acoustic guitars. He also had an Ibanez Overdrive - although a lot of the time he didn’t use it - and an Ibanez Chorus, and that was the classic sound!” Leckie remembered he used a Shure SM56 and a Neumann U67 on Squire’s amp, with “the two of them together mic’d pretty dose, almost touching the grill, just off the centre of the cone.” For acoustics, he used a U67, and for Mani’s bass a Neumann U47 or an AKG D12 on the SVT cab....
Official: Advance In-House Cassette
Bootleg:
Between 05 and 22 January 1989 - Album & B-Sides Recording Sessions
Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
I Wanna Be Adored
Notes: The initial recording took place during at Battery Studios but the overdubs were recorded here. The band were going to include the track as the third B-Side to the single, luckily, they kept it for the LP and Guernica was forged instead.
John Leckie said: "People have asked me about the sounds at the beginning on the fade up of Wanna Be Adored and I can’t remember. I remember we had some synthesizer in the studio that someone had left behind and I started fiddling with it and John would do like ten minutes of wailing guitar feedback really loud and screaming but we’d mix it very quietly in the background and with reverb it sounds like something very different”
''Were all the songs arranged prior to entering the studio? Not all of them. When we were at Rockfield finishing the record, we ended up rehearsing and arranging the end of ‘I Am The Resurrection’. We spent two or three days in the studio, not recording, just working out that arrangement, where all the parts go and things. And then we recorded it all in one go. When John first started recording, he didn’t like doing lots of takes, he somehow wanted to go in and nail it first time. He just wanted to play it and that was it. All the time John would have his little porta studio set up at the back, and he’d just work on his part. We’d be saying, ‘Come on John, we need to record the guitar’, and he’d say, ‘I’m not ready yet, we’ll have to do it tomorrow’. He would really work out every note he was going to play and practice, practice, and then when he said, ‘Okay, I’m ready’… So, the arrangements were tightly rehearsed, either before we went in the studio or in the studio. By the arrangements I mean what was put down – what the bassline was, how Reni was going to change the drums and this kind of thing - and also tempos. It was all about the vibe and the feel and whether we got off on it. If we didn’t get off on it and shuffle around, we’d abandon it and do it again.''
From Blood On The Turntable BBC TV Documentary, Mani said:
There was one point in time when we were on £60 a week wages right, lots of money yeah?, you'd have to chase the guy for about a week to get your sixty quid out of him.
Gareth: Maybe he was right? Maybe I was a bit tight but it wasn't there money, in the beginning it was our money we were using. We weren't going to give them a £100,000 to spend. It was for promotion, complimentary tickets, posters, clothes, everything like that. That was the deal I made with the Roses.
1989 - Jive Music Zomba Demo Tape
Made Of Stone / She Bangs The Drums / Adored / Waterfall / Going Down / Mersey Paradise
Notes: I believe this tape dates to late 1988 or early 1989. Made Of Stone & Going Down were recorded in 1988, a version of I Wanna Be Adored was recorded in 1988 too with the intention for an extra B-side to Made Of Stone. The band were convinced to keep the track for the record though, additional overdubs were recorded for the LP version.
The demo tape was sold at auction: 13 Feb 2017 14:00 GMT Lot 160 Location: Cheshire - Omega Auctions, Omega's offices, unit 3.5 Meadow Mill, Stockport Taken from auction description ''STONE ROSES - a ridiculously rare Stone Roses Jive Music Zomba demo / pre-release cassette tape featuring the tracks Made of Stone / She Bangs The Drums / Adored / Waterfall / Going Down / Mersey Paradise''
Bootleg: 1988 - Early Stone Roses Demos Bootleg Cassette
Side A - 1988 - Jive Music Zomba Tape - Made Of Stone / She Bangs The Drums / Adored / Waterfall / Going Down / Mersey Paradise
All Across The Sand (?)
This Is The One (?)
Tell Me (?)
12 December 1986 - The Basement, Stockton Road, Chorlton, Manchester
(Song For My) Sugar Spun Sister / The Sun Still Shines
Side B - Going Down
24 March 1985 - Piccadilly Radio Session - Tell Me / I Wanna Be Adored - Heart On The Staves
1986 - Yacht Club Studios, Bredbury, Stockport - Sally Cinnamon / All Across The Sand / The Hardest Thing In The World
Notes: Handwritten tracklist with no dates. The first six tracks are copied from the in-house Jive Music Zomba Tape (see above entry).
Bootleg: (HF-S stickered, Sony Cassette) Made Of Stone / She Bangs The Drums / Adored
January 1989 Sunday - The Stone Roses Album Cover Shoot
Notes: John Squire and Simon Taylor went to The Curry Mile for the Lemons and then went to set up the 'Bye Bye Badman' canvas for photographing. See The Stone Roses LP page for more detail.
The book shows the original Simon Taylor photo for the LP, Fuji Film Slide (FUJI -RDP D 107), for the Squire piece with added lemons.
From :
Simon Taylor - I shot the album with John Squire one Sunday in January 1989. I went to pick John up from his house at 37 Newport Road, Chorlton.
He greeted me and invited me into a mid-ground floor, rather spare room furnished with a chair, a Fender Twin amp and a guitar. I enquired as to what we might need...he had the album cover painting rolled up ready. 'This' he said, and went to the kitchen, grabbed a knife. 'And this.' 'Oh, ok' said I. 'Anything else?' 'Yeah' he said. 'We need some lemons...'...We ended up rooting about in Rusholme because the shops were always open down the 'Curry Mile' of a Sunday morning, and found ourselves a nice paper bug full of lemons...
After the lemons purchase, we drove over to a photographic studio in a now demolished mill, which is currently a Currys store on the junction of Fairfield Street and Pin Mill Brow in city centre Manchester by Ancoats - just past Piccadilly station. It was not far from where the Roses had done their famous Warehouse gigs a few years before. We did the shoot at a derelict-looking mill that surrounded a courtyard, where my friend had a studio set up.
Between 05 and 22 January 1989 - Album & B-Sides Recording Sessions
Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
I Am The Resurrection / Where Angels Play
''Speaking to NME about the instrumental, Mani revealed: "The end section was recorded in one take by me, John and Reni."''
April 2009 for Clash Music, John Leckie said: ''Were all the songs arranged prior to entering the studio? Not all of them. When we were at Rockfield finishing the record, we ended up rehearsing and arranging the end of ‘I Am The Resurrection’. We spent two or three days in the studio, not recording, just working out that arrangement, where all the parts go and things. And then we recorded it all in one go.'' John Leckie on the album: ''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.''
From 28 November 2022 - Australian Guitar Magazine Vol. 151 - PRODUCER JOHN LECKIE LOOKS BACK ON RECORDING THE STONE ROSES CLASSIC I AM THE RESURRECTION.
Producer John Leckie Looks Back On Recording The Stone Roses Classic I Am The Resurrection.
...Squire was usually meticulous about working out every part he played before he hit the studio, and that approach was evident in the ease with which I Am The Resurrection was recorded. It was one of the last tracks the Roses and Leckie worked on at Rockfield Studios, in Wales.
With the previously improvised and chaotic end section having been pinned down to a more organised arrangement, under the supervision of Leckie, the majority of the track was committed to tape quickly and with few obstacles. The producer believes this was due in no small part to Squire’s fastidious preparation.
“Ever from the beginning, he had his own little cassette portastudio, and he would set up a little room or a cupboard somewhere and work his parts out,” Leckie told Total Guitar in 2011. “He’d do a rough mix of the backing track or a demo and, even when we finished at midnight or two o’clock in the morning, he’d go back to his cupboard and work some more parts out!”
When engineer Paul Schroeder pressed record on the tape machine, the Roses managed to nail the majority of I Am The Resurrection’s backing track in just one take.
“Because we’d worked so much on the end, it was pretty straight ahead when we went back and did the whole song,” explained Leckie. “I’m sure the backing track was done all in one go, but the end part, with the acoustic guitars - the last minute or so - that was added on later and I think you can tell because the drums sound different… I can remember doing those picking acoustics at Konk [The Kinks’ Studio in Muswell Hill].”
The backing track consisted of Alan ‘Reni’ Wren’s drums, Gary ‘Mani’ Mounfield’s bass, Squire’s rhythm guitar and a guide vocal from Ian Brown. Leckie reckons there were up to eight guitar overdubs laid down at Rockfield. As far as instruments go, there was some early experimentation, although the Roses always tended to revert to the gear that gave them their classic sound.
“One of the things that happened right from the beginning was that - because the record company had an equipment hire company called Dreamhire in the same building [as Battery Studios, in Willesden Green]-we could hire anything,” reflected Leckie. “Any amps, any guitars they wanted… they could just go round to the warehouse and pick some out, so of course there was a bit of dithering with ‘Oh, what guitar should I use? What amp should I use?’ Can we try a different bass?’ but you’d end up using what they’d got originally because that’s the sound!
“Mani’s painted Rickenbacker bass, always through an [Ampeg] SVT cabinet… and John had a Hofner, a bit like a Gibson 335, but it was a Hofner. He used that sometimes, but his main guitar was a pink Stratocaster from Dreamhire, which I think he ended up buying.
“Then he always hired a silver/black Fender Twin Reverb with JBL speakers. We always used that just because it sounded fantastic, and that’s probably what he used on most tracks [including I Am The Resurrection], I can’t really remember the acoustic guitars. He also had an Ibanez Overdrive - although a lot of the time he didn’t use it - and an Ibanez Chorus, and that was the classic sound!”
Leckie remembered he used a Shure SM56 and a Neumann U67 on Squire’s amp, with “the two of them together mic’d pretty dose, almost touching the grill, just off the centre of the cone.” For acoustics, he used a U67, and for Mani’s bass a Neumann U47 or an AKG D12 on the SVT cab.
Squire’s playing across the instrumental crescendo of …Resurrection sounds unlike much of his work on The Stone Roses. It has a riffed-up Hendrix-y feel, reminiscent of the heavier, bluesier style on 1994’s Second Coming. So was this a new way of playing that John was beginning to experiment with in the late ‘80s? “If you saw them live at the time, [John] was playing a lot like that,” Leckie tells us. “It was much more rocking live!”...“I knew it was going to be good, but I didn’t think I’d still be talking about it 20 years later!” laughs Leckie. “But that’s because of people loving them and it’s the songs and music magazines voting it the best record of all time. That’s what’s kept it alive.”
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: How about Where Angels Play? Was this just a demo that Silvertone put out, and when was it recorded? JL: Where Angels Play was the only "abandoned" track. It was recorded at Rockfield at the same time as I Am The Resurrection (January 1989). It wasn't meant to be heard.
15 January 1989 Sunday - The Other Side Of Midnight TV Show, Granada TV Studios, Quay Street, Manchester
Soundcheck: Waterfall
Waterfall
Notes: Cressa worked on John’s effects pedals. This was a big break for the band performing for the TV show. Tony Wilson hosted the show. Tony H. Wilson, Factory Records label manager and Hacienda Club co-owner, had once slated the band during their early days but introduced the band saying “’89 begins, then, with a complete admission of error on my part - big apologies.”. Tony Wilson would host the band in The Hacienda, the following month. The show would be a sell-out. It was Paul Ryder, Happy Mondays bass player, who said the roses should be on his show.
There was a VHS tape circulating years ago of the OSM rehearsals featuring the band setting up, tuning up and talking to the TV crew and performing Waterfall two or three times. The session was recorded around noon.
Apprently the band were only asked last minute as another act had cancelled, this story contradicts that Linday Reade had booked the appearence for the band. Linday was Tony Wilson's ex-wife.
From Simon Spence's Book 'War & Peace': Steve Lock, the Granada producer who’d got the band their break on the Tony Wilson hosted The Other Side Of Midnight TV show.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: The photos on the album were taken from your performance on Factory boss Tony Wilson’s Granada TV show, The Other Side Of Midnight. IB: Yeah, we did "Waterfall". Wilson did the Hacienda and our manager did the Internationals and they were rivals so Wilson never used to give us any space. The only reason we got on was because Paul Ryder told Tony Wilson we should be on his show.
From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops: "Tony Wilson, he's alright, I suppose. He put the Pistols on, didn't he. Built the Hacienda. But he shouldn't go round like he's the spokesman for Manchester 'cos he's out of touch. And Jonathan Ross is a tosser. We're saying we're going to do his show now (Ross had been disparaging about the Stone Roses on his show two days before). Then at the last minute we'll pull out. Don't wanna be treated like a fookin' monkey."
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)
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
23 January 1989 - Album & B-Sides Overdub Recording Sessions, Konk Studios, Muswell Hill, London.
Produced by John Leckie for and on behalf of Dodgy Productions. Engineered by Paul Schroeder.
Waterfall / I Am The Resurrection (Acoustic guitars) / Shoot You Down / Phantom Of The Opera / Bye Bye Badman (Guitar)
Notes: The final overdubs for the LP sessions started on the 23rd and were finishd in early February.
In Studio footage can be seen in the She Bangs The Drums video. More footage would later be featured on The Complete Stone Roses VHS Video. The Stone Roses 10th Anniversary Edition includes footage from the same sessions, this would also be included on the 2004 Stone Roses DVD set and the 2009 Legacy Edition DVD too. Phantom Of The Opera is just John and the band messing around, playing an old organ left behind in the studio.
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Ian: We had beginnings and endings for all of the songs - everything was worked out. We were absolute about how that should be- so well prepared. The Stone Roses never ever winged it. We never had to. It was me who coaxed them to do that ending on The Resurrection. Only prog rock groups and players up their own arses did ten-minute guitar solos. But I kept saying to them, 'Look you're great. Let's do a ten-minute song where you're just playing and playing and playing'. For two days I watched them work out the ending of that song. It was just fantastic and it still sounds amazing. To me Mani and Reni were the best rhythm section to come out of the UK and John's the best guitarist. I got to hear them rehearsing and playing all the time. I know they're my mates and I'm biased but they were just fluid - totally fluid and absolutely incredible.
From 28 November 2022 - Australian Guitar Magazine Vol. 151 - John Leckie said: “Because we’d worked so much on the end, it was pretty straight ahead when we went back and did the whole song,” explained Leckie. “I’m sure the backing track was done all in one go, but the end part, with the acoustic guitars - the last minute or so - that was added on later and I think you can tell because the drums sound different… I can remember doing those picking acoustics at Konk [The Kinks’ Studio in Muswell Hill].”
John Leckie said: ‘Bye Bye Badman’, for instance - the guitar that winds its way all through that, he more or less did that in the first take, but it took him three days to practice it...
Official Release: The Complete Stone Roses VHS Video
Official Release: The Stone Roses - 10th Anniversary Edition 2 CD - ECD Section
Official Release: The Stone Roses - 15th Anniversary Edition 2 DVD
Official Release: The Stone Roses - 20th Anniversary Edition Legacy Edition DVD
Bootleg: Audio lifted and edited from the 'Home Footage'.
23 January 1989 - Konk Studios, 84-86 Tottenham Ln, Crouch End, London, N8 7EE
Made Of Stone
From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Roddy Mckenna: The final sessions were at Konk Studios in London, starting on 23rd January 1989. I spent a day playing pool with them there. John was in a back room working out guitar parts. Ian and Mani were listening to obscure hip hop, house and reggae tracks which, at that time, was very unusual for a rock band. People sometimes characterise The Stone Roses as John Squire's band but he was a more conventional musician. Without the others, The Stone Roses wouldn't have been so original.
January 1989 - Made Of Stone Single Recording Sessions
Battery Studios, owned by Silvertone label managers Zomba, 1 Maybury Gardens, Willesden, London, NW10 2NB,
Konk Studios, The Kinks founded studios, 84-86 Tottenham Ln, Crouch End, London, N8 7EE
& Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Notes: The three tracks were finished mixed and mastered (apparently) at these locations (despite the single only crediting Battery Studios).
Paul Schroeder was put in charge of tracks that were intended as B-side material for single releases. This was to help cut costs. The Garage Flowers, of course, were The Roses themselves.
Reni borrowed £10 from John Leckei for his taxi. When Gareth found out Reni had borrowed money from the producer, he tried to punish Reni but it ended up in a fight in the studio in front of John Leckie.
From 01 May 2019 Wednesday - The Independent, Ed Power wrote: Reni had to borrow £10 from Leckie for a taxi so that he could make it to the session on time.
John Leckie said “Ian's a good vibes person, so he’s great to have in the studio. He never showed boredom. He had a skipping rope so he'd sometimes start skipping in he corner. Skipping and smoking, that was his thing. Weed, bags of it, and nothing stronger. I never saw any powders the whole time. Ian was dead against it. He was just very dedicated. The music came first.”
“His tuning was never really a problem. It was all done on tape, no computers or correction, so what you hear is as Ian sang it. Most of them are from a few takes, splicing together the best bits from each one, but that's not unusual with singers. Sometimes, if he’d been up all night smoking he couldn’t really do it, but then he’d go to bed, get up early the next day, go for a run and he’d be ready. He was always prepared. All the words, all his phrasing, had been worked out in advance. Ian wouldn’t give up until he felt he’d given the best he could.”
“Ian does like praise. If you tell him somethings great he’ll believe you. But he also knows when you’re lying. You can’t fake it with him because he sees right through it. You wouldn’t want to cross him. That's why he went so far with the whole paint thing and the court case [the Roses’ notoriow paint attack on ex—lallel boss Paul Birch in 1990]. Anyone who crosses him or rips him off, he’ll have them."
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".
January 1989 - Advance In-House Cassette
Don’t Stop / Elephant Stone / I Wanna Be Adored / She Bangs The Drums (John Leckie Mix) / Waterfall (2nd Mix) / Mersey Paradise / (Song For My) Sugar Spun Sister / This Is The One / Shoot You Down / Made Of Stone / Bye Bye Badman / Going Down
Notes: The advance tape was made for Silvertone to hear the progress on the album recording. The Made Of Stone single tracks feature here complete and ready for release. Elephant Stone appears again.
She Bangs The Drums John Leckie Mix here is similar to the LP mix, it would appear on subsequent pressings of the LP but the original 1989 pressings include the LP version.
Mersey Paradise has slightly louder backing vocals in this mixdown but the same recording as the released version.
Don't Stop sounds like the eventual LP version.
Official: Advance In-House Cassette
From: 31 July 2014 Thursday - Paul Schroeder Interview: 6, During the recording of the first album, was it clear at the time that it was going to be a classic? Was there a particular guitar/ bass/drum line, or indeed all three together, that made you think there was something special there? I came to the project with Roddy Mckenna, their A and R man, telling me how big this band were going to be. So, I expected the music to be great, which it was. The thing that struck me the most was apart from having this fantastic rhythm you also got these exquisite lyrics. And the fact that the album kept on getting better and better with every session.
January 1989 - Advance In-House Cassette
Waterfall (2nd Mix) / Shoot You Down / Mersey Paradise / She Bangs The Drums (John Leckie Mix) / Bye Bye Badman / (Song For My) Sugar Spun Sister / I Wanna Be Adored
Official: Advance In-House Cassette
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.
From Blood On The Turntable BBC TV Documentary, Mani said: When we started recording the first album we used Battery Studios which is in Willesden and we used to use nigh time lockouts, because it was cheaper, and it was like a downtime for the studio so we'd be in there all night.
January 1989 - Album Recording Session
Battery Studios, owned by Silvertone label managers Zomba, 1 Maybury Gardens, Willesden, London, NW10 2NB
Elizabeth My Dear
Notes: Live in the studio footage would later be featured on The Complete Stone Roses VHS Video. The Stone Roses 10th Anniversary Edition includes footage from the same sessions, this would also be included on the 2004 Stone Roses DVD set and the 2009 Legacy Edition DVD too. Battery Studios was formerly known as Morgan Studios.
From 28 November 2022 - Australian Guitar Magazine Vol. 151 -
Taken from City Life Magazine, 05 April 1989, Written by Jacqueline Harte:
''I can't resist asking them about ‘Elizabeth My Dear’, a song off the new album, (whose working title was, incidentally, reputedly ‘Bring Me The Head of James Anderton’) charmingly sung to the tune of 'Scarborough Fair’. It evokes an atmosphere of old England shattered by the sound of a gunshot, evidently aimed at our revered figurehead.
So, here's the question they’ve been waiting for. Ian, if you got the chance, would you shoot the Queen? ''Yeah. first chance I got,'' Has he really thought this through? John: “It'd make things worse - someone else'd only take her place. “ Yes, he of the big ears and the questionable taste in women. Does he really think it'd be an achievement? Ian peers coyly through his fingers and sniggers: “The ultimate achievement. “ I sense a touch of the Bill Grundy’s again. So why isn't he a political activist instead of prancing around in front of an audience?
His logic is irrefusable: “Because there’s more chance of meeting the Queen when you're in a pop band and then just before she goes to shake your, you whip it out.'' He acts out the scenario, pointing an imaginary gun at the cooker: “Blam!".
John's a touch more serious about it. “I see putting that song on the album as a weakness. We always said we were never gonna do it because, much as we disagree with the Royal Family, it’s insincere to rant on about changing the system when you're in a band. If you really wanted to do it you wouldn’t just write songs about it. You can change attitudes but it's so transitory. It’s been going on a big scale since Bob Dylan and no lasting change has come about."
Ian has no illusions either about the value of his own opinions in relation to anyone else's. “It’s wrong that people do care about what you think just because you’re in a pop band. Writing songs isn’t important on a world level, they're only important to yourself. It's only a pop song, it’s only a few words strung together.” John adds: “Ian's only in the band to show off - Ian Brown, vocals and jumping about. I think the songs are important, even on a world level - what's important to mankind is only the sum of what’s important to individuals."
From 01 May 2019 Wednesday - The Independent, Ed Power wrote: “I’ll not rest / Till she’s lost her throne,” sings Brown. “My aim is true / My message is clear / It’s curtains for you …” “I saw it on Clive James last Saturday,” Brown told an interviewer. “They were talking about how the British will never have another revolution because, at the end of the day, who’s going to be the man that puts a blanket of the Queen Mother’s head? I’d do it!” Can you imagine a band voicing such sentiments today? They’d be run off the internet.
Official Release: The Complete Stone Roses VHS Video
Official Release: The Stone Roses - 10th Anniversary Edition 2 CD - ECD Section
Official Release: The Stone Roses - 15th Anniversary Edition 2 DVD
Official Release: The Stone Roses - 20th Anniversary Edition Legacy Edition DVD
Bootleg: The Complete Stone Roses Demo Collection - Tape (IAWS I Am Without Shoes / stoneroses.net (Will Odell)) (Elizabeth My Dear only) Various
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 (Elizabeth My Dear only) Various
January 1989 - Abbey Road Studios, Studio Two, London
Shoot You Down
Notes: The LP was mastered at Abbey Road. The LP recording dates on the master note "July 88-89".
April 2009 for Clash Music, John Leckie said: ''We went to Abbey Road on the very last day, Abbey Road Studio Two, and we only had one day there, and we mixed ‘Shoot You Down’. And then we played it back at Abbey Road, which was great, and everyone was buzzing.'' ''Were they interested in the production process? They weren’t technically aware, no. They never touched the equipment, or sat at the desk and twiddled the knobs, or said, ‘Why don’t you try this?’ If they didn’t like something they’d say, definitely, and probably the most critical one would have been Reni. He’d be the first to tell you if he didn’t like the vocal, or if he didn’t like the drum sound, or if something was out of tune.''
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold: Including further recording sessions at Konk and mixing at Battery Studio One and Abbey Road's Studio Two, the album took a total of 55 work days to complete, spanning October 1988 to March 1989.
30 January 1989 - FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester
Notes: Unconfirmed. This date has cropped up a few times, The band did not play but it might have been a sighting of them together at the club.
February 1989 - The Stone Roses album is sent to Metropolis Studios for mastering
Notes:
From 25 August 2009 - John 'Jeckie' Leckie interview from The Quietus website: Good things are made to last: - The Stone Roses was mastered at Metropolis but at Abbey Road you've got equipment that's thirty years old. You can't beat it. It's called 'Mil-Spec'. Military Specification; it can't go wrong. It'll survive a nuclear attack, like those Silver Microphones . . . they'll blow up and still work. ...When we did this, though, no-one had CDs; The Stone Roses never had a CD release, originally. The main thing was that when it was done for vinyl — and later it was always a copy of a copy — a lot of the bass was cut out, there wasn't much low end. To squeeze sound onto the groove of the vinyl very often you do things like turning the last track down due to distortion created by the increasing tangent of the arm of the record player against the record. You can maintain the overall volume and eliminate that distortion if you reduce your level on the higher frequency and turn the whole thing up.
From February 1998 - Uncut magazine Ian Brown interview: Did you know how good the album was? “When we’d finished recording, Leckie comes up to us and says ‘Listen, this is really good. You’re going to make it’. And I remember thinking ‘I know’. It could’ve been even better. Mani and Reni didn’t get their thing down as heavy as it was in rehearsals. I think Leckie had listened to Waterfall and thought it sounded like Simon and Garfunkel, so he’s turned the bass and drums down. He’s gone for that Byrds, Sixties thing. But Mani was the best white bass player that I’d heard, and I wish that was more audible on the record.”
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Ian: It's timeless. It still sounds fresh. I think if it came out this week it would still make an impact. But I never listen to the records. I've not played a Roses record for a long, long time. Everything's still there in my mind. I remember finally finishing the first LP and John Leckie saying to us, 'You're going to do really well you know'. And we just said, 'Yeah, we know'. And we did. We just felt it. He was a bit taken aback by our confidence. But we did know we were good. We really didn't need anyone to tell us that.
Simon Wolstencroft, by then drumming with The Fall, clearly remembers Brown’s pride in the record that was about to change his life. "We went on a drive out by the airport when he first played it back to me in the car. Ian was buzzing, pleased as punch. It was great and he knew it.”
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: I remember listening to a test pressing and thinking, 'I don't know if this is going to be mega-successful - but as a piece of art, it's brilliant'...
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold: Including further recording sessions at Konk and mixing at Battery Studio One and Abbey Road's Studio Two, the album took a total of 55 work days to complete, spanning October 1988 to March 1989...
TV - 198? - Music Box TV Show
Elephant Stone / Ian Brown & John Squire Interview
Notes: The original broadcast of the promo and interview, I believe, was on Transmission in 1988. Music Box broadcast the Elephant Stone Promo and a short interview. The full interview was made available for the first time on the 2004 DVD set. The 2004 set also notes the date as '1989 Music Box Productions'
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)
Video Bootleg: TV Live & Clip (Video Cassette Made In Japan. Running Time approx: 117mins. VHS Video) Fools Gold (Promo) / I Wanna Be Adore (Promo) / Elephant Stone (Promo) / 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) / Interview (Longish Ian and John interview, 1989) (Transmission UK TV) / She Bangs The Drums (Blackpool Promo) / Rapido Interview (uncut), October 1989 / Fools Gold on TOTP (23 November 1989) / Made Of Stone (Late Show - Power Cut, November 1989) / Elephant Stone (Music Box Pro) - Also... - 12 August 1989 Saturday - Empress Ballroom, Blackpool (Amateur footage) - I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / Sally Cinnamon / I Am The Resurrection
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
17 February 1989 - Legends, Priory Street, Warrington * Support Band(s): The Charlatans
Notes: The band's friend Cressa joins the band, he rehearsed with the band and apepared on the OSM with them, as on-stage guitar effects technician. He even adds some interesting loops and samples during the set.
The Charlatans featured the original line up with Baz Kettley on vocals.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Cressa was the Roses equivalent of the Happy Mondays’ Bez. How did you meet him? IB: I’ve known Cressa since I was fifteen/sixteen through scooters. He was just our mate, we were with him every day and it was, like, you might as well do something as hang about. Here you are, make yourself useful, change the guitar effects for John.
From 06 March 2009 - Uncut Magazine Interview with Ian Brown: He was getting referred to the other day as your style advisor. Would you agree with that? Or did he just have the baggiest trousers? No, a guy called Johnny Paulin was our style adviser and Cressa took his style off Johnny. Semi-flares, baseball caps, that mid- ‘80s look. What’s Johnny doing now? He’s a panel beater at a garage, yeah. I still speak to him every week. What’s Cressa up to now? Cressa still doesn’t have a job. Did great, 44 years old, still signing on. Same as he did… Johnny Paulin then. As far as all the flares and the paisley shirts and all that went - would you say he was single-handedly responsible for that? He was the first lad that we knew to wear semi-flares in ‘86, and then Cressa got into semis and me and John got into it. Then Cressa got into full flares and he gave me a pair of his old ones, jumbo cords, er, then I was the only one to wear flares and they all wore parallels. And at the time we loved it, because no one else had flares at all anywhere.''
1989 - Unity Club, Hull
Notes: Apparently only 10 tickets were sold for the show.
From 14 July 1990 - Number One magazine article: At the beginning of the following year, they went on tour, playing to 12 people in Cardiff and a mere 10 in Hull.
From June 1990 - Melody Maker The Stone Roses Supplement: The first four months of 1989 saw them slogging round some fairly low-key venues – a gig in Cardiff pulled a mere 12 people. At Hull’s Unity Club they played to just 10....
20 February 1989 - Ian Brown's 26th birthday
20 February 1989 - Sheffield University, The Maze Bar, Sheffield * Support Act(s): Kennedy Pill
I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Bye Bye Badman / She Bangs The Drums / Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: Ian Brown celebrates his 26th Birthday. Possibly the debut performance of Bye Bye Badman and the only known performance of the track live during this era too. Setlist is unconfirmed. Cressa joins the band as effects technician. Andy Couzens was in the audience.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: Their tour tapes mixed up hip hop, house and PiL, Burning Spear and Jimi Hendrix...
From thestar.co.uk By The Newsroom 15 May 2016, 11:55am: Sheffield University, The Maze Bar, February 20, 1989. With the successful first album not yet released, the Stone Roses were playing perhaps the smallest venue that the University had to offer. Before the show started, the group freely walked through the bar, signing autographs for those who recognised them. When they finally took the stage, Ian Brown joked about the lack picture on the gig poster bearing no resemblance to him, before going into a set list of songs which went on to be included in the first album. They performed on a stage scarcely 18 inches high, with members of the audience falling onto it in when they were pushed by the crowd. Support came from The Kennedy Pill.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: When and where? Did you see them on the Second Coming tour, and were you surprised by how much each character had changed, as far as on-stage personas go? AC: I didn't see them on the Second Coming tour as I didn't like the album apart from Ten Storey Love Song and Begging You so I can't comment. The earlier gigs I think were just prior to the release of the album, in Sheffield, Chester, and Manchester at the Hacienda, and at International 1 and 2.
23 February 1989 - Middlesex Polytechnic, Canteen, Middlesex, Tottenham, North London
I Wanna Be Adored / Standing Here / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Notes: Debut performance of Standing Here. Cressa joins the band as effects technician. Bob Stanley of St. Etienne was at the show. He would become a long term fan and write a review for the bands debut LP, in Melody Maker, and later he would review this show, see below.
Sounds Magazine interview the band (article written after the show) but it would only be published later, see 18 March 1989.
See Media for the review, 04 March 1989 - Melody Maker Magazine: Live Review by Bob Stafford.
From May 2002 Mojo Magazine, Issue Number 102, Bob Stanley wrote: FEBRUARY 1989, A canteen-cum-gymnasium in the defunct Middlesex Polytechnic. Friends from Manchester had been talking up a group I’d always assumed to be ex- goths and I was hanging around with 40 or 50 other people in this obscure venue off the Seven Sisters Road with middling expectations. I lurked at the back, but in front of the stage were a group of people who I assumed to be nouveau hippies. Very brightly dressed and very excitable. Unusually, most of them were girls, one of whom wore a denim jacket with The Jimi Hendrix Experience scrawled down one arm, The Stone Roses down the other. Then the band dramatically entered the hall, walking right through the crowd, the singer waving a school bell over his head. Most moody too, but the rolling gait, the baggy’ denims, the daft hats — I wasn’t sure whether to laugh out loud. Forty minutes later I was laughing, shouting… Jesus Christ! On a side street in Tottenham, The Stone Roses had just played the most inspiring gig I’d ever seen...
27 February 1989 Monday - The Monday Club, FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester * Doors Open: 21:00 * Price: £4.00 (Advance) * Support: The King Of Slums
Don't Stop (Intro Tape) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as on-stage guitar effects technician and even adds some interesting loops and samples during the set, check out the choir sample at the end of IATR.
Don't Stop is used as the intro tape to the show. I presume Waterfall, or at least a version had been recorded by this time as they used samples of the track backwards for the mix. The mix played on the introduction tape sounds like the same as the LP version.
Part of 'The Monday Club' series of shows at the venue.
BBC 2's Snub TV recorded the show and interviewed the band too. Only a short interview excerpt with Reni was aired and only I Wanna Be Adored and (Song For My) Sugar Spun Sister were broadcast. Reni said "we just ignore the rest of the world and concentrate on Manchester, because we want to be the biggest band in our street."
Andy Couzens was in the audience.
See Media for the review, 11 March 1989 - Sounds Magazine, Live Review by Sam King.
See Media for the review, 11 March 1989 - NME Magazine, Live Review by Andrew Collins.
From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops: Shaun said: "It started in February really with 'Made Of Stone' coming out. We played the Hacienda then and sold it out. It was just the atmosphere. People were willing us to go on."
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Andrew Collins said: I was rather surprised and excited when I was asked to go up to Manchester to review The Stone Roses at the Hacienda. The date that I saw them was February 27th 1989. They were doing a few sort of smaller gigs, just getting a bit of interest going in the album before it was released. It was just absolutely astonishing. I said in my review that I would be telling my grandchildren I saw The Stone Roses at the Hacienda. I was really glad I was there.
From May 1995 - Spin Magazine article, Ian Brown said: "Before the Hacienda got gun-detectors on the door, you'd see 16 year old kids standing at the bar with a gun in a holster, right on view," grimaces Brown.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: When and where? Did you see them on the Second Coming tour, and were you surprised by how much each character had changed, as far as on-stage personas go? AC: I didn't see them on the Second Coming tour as I didn't like the album apart from Ten Storey Love Song and Begging You so I can't comment. The earlier gigs I think were just prior to the release of the album, in Sheffield, Chester, and Manchester at the Hacienda, and at International 1 and 2.
Broadcast: 1989 - Snub T.V, BBC 2 (Directed by Pinko. Produced by Brenda Kelly.) I Wanna Be Adored / Interview / (Song For My) Sugar Spun Sister
Official: 2004 - The Stone Roses - The DVD (2 DVD Set) I Wanna Be Adored / (Song For My) Sugar Spun Sister
Bootleg: All The Colours Fade (Catalog Number: SR 89.) Soundboard - CD
Bootleg: Shoot You Down (Catalog Number: RD 009. Incorrectly listed as Blackpool on the sleeve) Soundboard - CD
Bootleg: Manchester Hacienda (aka "All The Colours Fade") (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 55 mins, Cassette originally priced: £3.50) (Probably a copy of All The Colours Fade CD.) CD / Tape
Bootleg: Live, Manchester Hacienda, 27th February, 1989 - Cassette (Camden Market Cassette, orange coloured sleeve. TDK AD90m) - (listed as Dodgy intro...) / Adored / Here It Comes / Made Of Stone / Waterfall / Sugar Spun Sister / Mersey Paradise / Elephant Stone - Side 2 - Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection / Fools Gold (studio version, incomplete)
Bootleg: Spike Island (1999, Teardrop Records, Sleeve by Peter B. Pumpkinhead. I presume it was Made In Japan. Includes bonus recording 27 February 1989 Monday - FAC 51 The Hacienda, I presume the Hacienda show was lifted from All The Colours Fade) 2 CD-R - CD1 I Wanna Be Adored / Elephant Stone / She Bangs The Drums / Shoot You Down / One Love / Sally Cinnamon / (Song For My) Sugar Spun Sister / Standing Here / Fools Gold / Where Angels Play / Waterfall / Don't Stop / Something’s Burning / Made Of Stone CD2 Elizabeth My Dear - I Am The Resurrection - The Hacienda - Don't Stop (Intro Tape) - I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
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
Video 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 (Transmission) / 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
28 February 1989 Tuesday - Escape Club, Brighton
I Wanna Be Adored / Made Of Stone / Waterfall / Elephant Stone / I Am The Resurrection
Notes: Cressa joins the band as effects technician. The band perform a short set and leave early. Only thirty people turned and there was less in the audience when the band left the stage.
From John Robb's book 'The Stone Roses - Reunion Edition': Ian Brown said 'The gigs had not been packed outside Manchester till then. In March 1989 we played to 30 people in Liverpool, 50 in Leeds. It was on that tour that we played to 12 people in Cardiff and four of them were the Manic Street Preachers. We played in Brighton to about ten people. We didn't have a crowd outside Manchester till the album came out.'
Bootleg: Audience Recording - Cassette
01 March 1989 Wednesday - Club Rio, Woodhead Road, Bradford, BD7 1PD * Doors Open: 19:30-22:30 * Ticket Price: £4
Notes: I have a conflicting date for a Peter Anderson Photo Shoot outside the YMCA in London? Cressa joins the band as effects technician. Show was followed by disco club night.
02 March 1989 Thursday - Coal Exchange aka The Venue, Charles Street, Cardiff * Support Act(s): The Sand Kings (Sandkings)
(incomplete) I Wanna Be Adored / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Apparently less than 20 people attended the show.
Only Where Angels Play is confirmed as being played.
Coal Exchange had only changed it's name two weeks prior to The Venue. Housed in a basement, that was two-thirds concrete bunker, one-third live music venue, it was owned by Pete Loughlin.
The Sand Kings featured frontman Jas Mann, who would later front Babylon Zoo, who sang Spaceman, a number one hit in 1996.
Despite popular belief Manic Street Preachers Nicky Wire, James Dean Bradfield and Sean Moore said weren’t there that night, although all three couldn't discount the outside chance Richey Edwards was.
From John Robb's book 'The Stone Roses - Reunion Edition': Ian Brown said 'The gigs had not been packed outside Manchester till then. In March 1989 we played to 30 people in Liverpool, 50 in Leeds. It was on that tour that we played to 12 people in Cardiff and four of them were the Manic Street Preachers. We played in Brighton to about ten people. We didn't have a crowd outside Manchester till the album came out.'
From 14 July 1990 - Number One magazine article: At the beginning of the following year, they went on tour, playing to 12 people in Cardiff and a mere 10 in Hull...
From From 04 March 1995 - NME (New Musical Express) Magazine: "Yeah," says Mani, "we played to 12 people in Cardiff and six months later it was 6,000 at the Empress Ballroom and Ally Pally. We fully expect that to happen in America. It's just a matter of having confidence and self-belief...
From June 1998 - United We Stand Interview, Mani said: What were the highlights? "There were loads. We once played in front of three people in Cardiff and played a blinding gig....
From 13 October 2018 12:58 walesonline.co.uk By David Owens: The true story of the night when The Stone Roses played to just 12 people in Cardiff. It's a gig that has passed into Welsh music folklore...Imagine being perched on the edge of something momentous, but having no idea of what glorious fate was about to befall you. The evening of March 2, 1989, had started much like any other for student Nick Robertson. Little did he know that by the end of the night his life would have changed forever. The keen music fan had arrived in Wales six months earlier to study medicine at Cardiff University, and had quickly thrown himself into the city's live music scene. He'd read about a band in the NME who were playing his adopted city that evening. Sadly, there was little enthusiasm for the gig from his housemates in Llanbleddian Gardens, in the city's student hub of Cathays. Little matter, he decided to walk the half mile or so to the venue on Charles Street and set out alone.
At the same time, Francesca Murphy was sat in The Panorama pub on David Street, around the corner from Charles Street, sipping a pint with her then boyfriend keenly anticipating the night’s entertainment at the city's latest live music destination – The Venue. The Panorama was the old name of the Trader's Tavern, the pub which stands in the shadow of the Motorpoint Arena, but which back then was famed for the 360 degree panoramic image of Cardiff painted on its elliptical ceiling, which gave the pub its name. It was a regular haunt for the alt-scene crowd she knocked about with – a central pre-gig gathering point for Francesca, who was in a succession of well-remembered local punk and alternative Cardiff bands such as The Cyderfex, French Lettuce and the wonderfully named Sisters Of Murphy, the duo she formed with her sister Christina Murphy. Much like Nick, she was a keen music fan, similarly predisposed to checking out those bands she had read about in the music press. Given the buzz about this one particular outfit, she was keen to see what they had to offer. The 250-capacity Venue on Charles Street had only been opened two weeks when it welcomed the band that would change the face of British music...“I remember it was a horrible night and it was pouring down,” says Nick, now 48 and a GP in Devon where he lives with his Welsh wife and their four children. “I was very much in two minds whether to go at all. I couldn't get anyone else interested, so I wandered down on my own in the rain. “I do remember walking in and there was hardly anybody about and I remember thinking this doesn't look very promising. “There was only a handful of people stood around cwtching plastic glasses of beer. It wasn't an auspicious start. There couldn't have been more than 15 people in the venue.”...I put this claim to the Manics. Nicky Wire, James Dean Bradfield and Sean Moore have told me they weren’t there that night, although all three couldn't discount the outside chance Richey Edwards had turned up. The day before their Welsh debut on March 1, The Stone Roses had played Club Rio in Bradford. The day after their visit to Cardiff on March 3, they would play Legends in Warrington. Not only were all three of these shows poorly attended, but you have to question the geographic wisdom of whoever scheduled the dates. The Stone Roses may have been struggling to get audiences away from the home turf at the time, but two months later on May 2, 1989, the band's eponymously titled debut album saw the world fully switch on to a sound that would become iconic in British music history.
Nick recalls an abiding memory of the gig was catching sight of the trademark Madchester dance for the first time. “I do remember there was this young kid who was younger than me and I was only 18/19 at the time, who was stood at the front of the stage doing this weird what looked like a 'winding the mangle' dance. I thought it was quite bizarre what he was doing. “The band were sat down on a bench by the side of the stage listening to the music and chatting before they ambled on. “Then when they came on this young kid just carried dancing the way he had been dancing. He was obviously a bit of a fan, and it turned out that what he was doing was the Ian Brown dance that would become ubiquitous on dancefloors in clubs and venues across the land at the time. “I also remember Ian Brown shaking hands with this young lad who was obviously a bit of a follower at one point during the gig.”
Nick remembers the sound was loud and the band were in sublime form.
“It sounded really loud because there was nobody there to dampen it down,” he says. “They were blinding. They blew me away to be honest, They were awesome. “The music was right up my street, I loved all the Creation Records stuff that was around at the time, that '60s-influenced sound blew me away. “I was thinking to myself why aren't there more people here? They had a pretty tight set of songs that they had obviously been playing and playing, which formed the basis of the debut album. “They were really tight. They were on a small stage. They all looked like they were getting on and they had great belief despite the small turn out. It was incredible to see them at this point before the money, the drugs and the management fall outs got in the way. “The one song that did stand out that night was Where Angels Play, which I discovered after was a B side. That was incredible. “There was not a lot of conversation, but that wasn't unusual as we would discover,” he adds. “Shaking that lad's hand was about as much audience interaction as you had. They came on and just banged out one great song after another.”...As for The Venue. It only lasted another year before it shut with mounting bills. Ironically, it all ended with another giant of the Manchester music scene. “I remember being sat outside the venue with Peter Hook from Joy Division and New Order who had a band called Revenge at the time,” recalls Stephen Bick. “They had arrived at the venue and there was no electricity. They couldn’t do the show because they couldn’t get the electricity put back on. Apparently it was because of an unpaid bill. “That was the beginning of the end and it closed not long after.” For Venue owner Pete Loughlin, a charismatic character with a good eye for the next trend in music, he would bounce back with The Hippo Club, which was a huge success quickly becoming a citadel for the emerging dance music scene of the '90s...
03 March 1989 Friday - Legends, Priory Street, Warrington * Doors Open: 21:30 * Ticket Price: £2.50 (Advance) £3.00 (On The Door) * Support Act(s): The Charlatans
Notes: Cressa joins the band as effects technician. Part of 'The Friday Alternative'. Apparently, Tim Burgess was in the audience. Tim would later join The Charlatans as lead singer. Venue sometimes noted as JB's, Dudley.
The Stone Roses - 06 March 1989 - Made of Stone U.K. Release Date
Recorded: Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB
Made Of Stone, Going Down, Guernica - Written by John Squire & Ian Brown.
Made Of Stone - Produced by John Leckie.
Going Down - Produced by Paul Schroeder & The Garage Flowers
Guernica - Produced by The Garage Flowers
Label: Silvertone
Artwork: 'Cody Calling' Detail, 1988 Oil on Canvas 61x28inches John Squire
Format: 7inch Vinyl. Catalog Number: ORE 2 (catalogue ORE number in black)
Made of Stone
Going Down
Format: 12inch Vinyl. Catalog Number: ORE T 2 (catalogue ORE number in black)
Matrix A-Side: ORE (T) 2 A - 2 - (x)
Matrix B-Side: PORKY (x) ORE - T - 2 B1
Made of Stone
Going Down
Guernica
Notes: The single peaked at number 90, 18 March 1989, but was voted single of the week in the NME, see 11 March 1989. The single would be re-released in March 1990 with a blue catalog number, rather the original black, and the Made Of Stone font on the front of the sleeve would be considerably bigger on the 1990 sleeve. I cannot tell the difference with the actual vinyl pressings though. The band would credit themselves as 'The Garage Flowers' on any recording production.
I've got a conflicting release date of 27 February 1989?
Richard Skinner was one of the first Radio 1 BBC DJs to play the record.
March 1989 - Sounds Magazine Review "‘Made Of Stone’ (Silvertone) Touted as the stadium sensation of the ‘90s, but I’m still not convinced. ‘Made Of Stone’ has a certain hypnotic power, silvery melodies soaring high while hearts pump frantically below. It’s a bit like some long lost ‘60s classic, except for that relentless shimmery guitar that could only belong to the post-U2 present."
From Melody Maker Magazine, Bob Stafford Interview with Ian "...bits of 'Guernica' sound like planes, but it's just 'Made Of Stone' backwards with forward vocals. I'd love to have done it as an A-Side"
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 02 February 2000 - Adam Walton Interview for Adam Walton Show, BBC Wales Music, Wise Buddha, London:
AW: Do you still get as excited working on new records?
IB: I probably get more excited because with the Roses we used to work on them and rehearse them that much that we only ever got excited when we stuck the tapes on backwards at the end of the session. We used to look forward to finishing the recording of something so we could whack the tapes on backwards, it was the only time we used to really enjoy our own music!
AW: So Guernica and Simone, Stone Roses b-sides that were essentially Made Of Stone and Where Angels Play, but backwards, were just the product of boredom in the studio?
IB: Not really boredom, but looking for something different, and I think it worked as well.
18 November 2021 - The Gearspace.com Community Interview with producer John Leckie: Those 'backwards' Stone Roses tracks that were used as B-sides... my memory's a bit foggy, but I remember reversing some of these in an Akai and finding out they weren't actually straightforward backwards tracks - they sounded backwards whichever way they were played! How was this done? I've been wanting to know for years… - Number 6
John Leckie: Well it took a lot of figuring out but what you do is: Play the tape backwards and overdub instruments on top...and that's it! Playback!
Check out Verve 'Blue' for more backwards mania!
04 March 1989 - JB's, Dudley * Support Act(s): The Charlatans
Notes: Unconfirmed date, often noted as 03 March 1989. Cressa joins the band as effects technician.
From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then about two years later one of the girls who worked in the office in Wolverhampton said she had seen them at JDs in Dudley over the weekend. She came in on Monday and said I saw The Stone Roses last night and they were absolutely fucking amazing …they’ve got this weird dancing guy on stage and it was absolutely rammed and they were going down a storm...
11 March 1989 Saturday - The Buzz Club, West End Centre, Queens Road, Aldershot * Doors Open: 20:00 * Ticket Price: £2.99 * Support Act(s): Jive Turkey & The Colour Mary *
I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Setlist taken from handwritten set. Ian wore a blue shirt.
'Made Of Stone' gets Single Of The Week in the NME magazine too, 11 March 1989 - NME Magazine, "SINGLE OF THE WEEK - THE STONE ROSES Made Of Stone (Silvertone) - While lacking the exuberance of passion of other '89 releases, Stone Roses snatch the first spot with this ridiculously flawless artefact. Addictive rather than explosive, 'Made Of Stone' sees the Mancunian monkeys become marabre Monkees, dreamers haunted by their own shadows. A succinct, sensitive marriage of vacant vocals and effortless jangles, extra attraction lies in a perky Pink Floyd axe solo; the mind-expanding kind which shimmies and shallies before diving through a distortion pedal. Are you all alone, are you made of stone? is the final, painful unanswered question. Irrevocable proof that everything's coming up Stone Roses. And about time, too."
A fan remembers "After they sound checked the band came into the bar for a minute. Ian Brown said to me ‘I like your hair, where d’ya get it cut?' I was a little lost for words as the answer was actually a shop run by a couple of our friends, Kenny and Steve, in Aldershot called ‘Blow Jobs’! . Danny and I chatted to the band’s tour manager, Steve. He was kind of managing them too I think. Danny remembers him describing the way that people would break open lamp posts to run the power for illegal raves in Manchester...' '...
Russell Heath, another Our Price friend was there too, smoking while watching the band. Ian took the cigarette from him, held it for a while, had a couple of puffs and handed it back, mid song. I’ve asked a few people who were there that night for any memories they might have. Dave Driscoll who is the man responsible for loads of Buzz Club live recordings (but sadly not that night!) said, ‘The two things I most remember about the gig… Firstly, Danny saying to Gary, sound check sounds really good “He’s playing through two amps…” To which Gary said.. “Well that’s just being plain greedy..” and being absolute mesmerised watching Reni when playing ’Shoot You Down” with a brush and a beater….’'
15 March 1989 Wednesday - The Powerhouse, Powerhaus, 1 Liverpool Rd., Islington, London, N1 0RP (Nearest Tube: Angel) * Doors Open: 19:30-02:00 , First band on stage 21:00 * Ticket Price(s): £4.00 * Support Act(s): Hollow Men, Turn To Flowers
Notes: Cressa joins the band as effects technician.
17 March 1989 Friday - Sunderland
Notes: Cressa joins the band as effects technician.
18 March 1989 - The Stone Roses interview features in Sounds Magazine
Notes: Steve Double article, See Media for the interview.
M - April 1989 - The Stone Roses appear in RM Record Mirror Magazine
Notes: Article by Craig Ferguson, See Media for the interview.
M - 05 April 1989 - City Life Magazine Interview is published.
Notes: Written by Jacqueline Harte, See Media for the interview.
The Stone Roses - 05 April 1989 - The Stone Roses U.K. Release Date
*See The Stone Roses page*
Notes: Conflicting release dates 02 May 1989.
*
The Stone Roses - June 1989 - The Stone Roses Canadian Release Date
The Stone Roses - June 1989 - The Stone Roses U.S. Release Date CD First USA CD release with Black Letters on the sleeve. This pressing has the 2nd Mix of 'She Bangs The Drums' and includes 'Elephant Stone'. Matrix: MADE BY DISCTRONICS (H) W.O. 11659-1 11842J . Barcode: 012414118424
℗ 1989 Silvertone Records LTD. Made in U.S.A. Manufactured and Distributed by RCA Records, A Label of BMG Music, New York, N.Y. Printed in U.S.A.
I Wanna Be Adored
She Bangs The Drums (2nd Mix)
Elephant Stone 3.01
Waterfall
Don't Stop
Bye Bye Badman
Elizabeth My Dear
(Song For My) Sugar Spun Sister
Made Of Stone
Shoot You Down
This Is The One
I Am The Resurrection
CD October 1990 Reissue - RCA - 1184-2-JX Made In USA. Matrix: Made By Disctronics (H) W. O. 11659-1 11842J . Barcode: 012414118424
℗ 1989 Silvertone Records LTD. Made in U.S.A. Manufactured and Distributed by RCA Records, A Label of BMG Music, New York, N.Y. Printed in U.S.A.
CD 1184-2-JX RE - Printed In U.S.A. - 1184-2-J Disc, Matrix: 11842J MADE BY DISCTRONICS (H) W O 11659-1
I Wanna Be Adored
She Bangs The Drums (2nd Mix)
Elephant Stone 3.01
Waterfall
Don't Stop
Bye Bye Badman
Elizabeth My Dear
(Song For My) Sugar Spun Sister
Made Of Stone
Shoot You Down
This Is The One
I Am The Resurrection
Fools Gold 9.53
Notes: Revised tracklist and altered artwork to define the band's title on the cover. Several sleeve variations are available throughout the years.
05 April 1989 - Polytechnic, Liverpool
Don't Stop (Intro Tape) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / Standing Here / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Japanese reporter Osamu Masui flew in to see the band, he would later interview the band see May 1989.
Officially the band had four t-shirt designs on sale at the merchandise stall:
1989 - Waterfall design - Brand/Tag: Screen Stars - Fabric Blend: Poly/Cotton - Color: White - Pit-to-Pit: 21.5" - Length: 28" - Label Size: No Label (Probably XL)
Waterfall T-Shirt - Brand/Tag: Screen Stars Best, Styled In U.S.A. - Fabric Blend: Label - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
From 1997 - Select Magazine, John Squire said: “One of the two [paintings] I actually like on T-shirts...They usually look cack. I like this and the Stone Roses album one.”
1989 The Stone Roses Lemon (white) - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
'She Bangs The Drums' design - Brand/Tag: Screen Stars Best, Styled In U.S.A. - Fabric Blend: 50% Cotton 50 Polyester Label - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
and 'Standing Here' design.
The T-Shirts were available at £5.00 each at this show.
A slightly different 'Lemon' logo appeared on the bands only official poster on this tour. All official posters were made by Manchester company 'SPLASH'. I had a poster published by 'Splash, TEL: 0161 835 1610', the company was based near Piccadilly Train Station and Vinyl Exchange Record Store. Lost Joy Division and New Order rehearsal tapes would later be found in the basement of a demolished building which was nearby to the SPLASH offices. Celebrity Chef Jamie Oliver apparently bought the building to demolish, to rebuild a restaurant and the tapes were found in the cellar, he sold the reels and tapes at auction.
From John Robb's book 'The Stone Roses - Reunion Edition': Ian Brown said 'The gigs had not been packed outside Manchester till then. In March 1989 we played to 30 people in Liverpool, 50 in Leeds. It was on that tour that we played to 12 people in Cardiff and four of them were the Manic Street Preachers. We played in Brighton to about ten people. We didn't have a crowd outside Manchester till the album came out.'
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2, Running Time (Approx): 60minutes) Tape
10 April 1989 - Reni's 25th birthday
13 April 1989 - Birmingham
Notes: Cressa joins the band as effects technician.
From February 1998 - Uncut magazine Ian Brown interview: The tour of April-May, ’89 has to go down as one of the greatest pop tours of all time. “A big thing was happening in England at that time with ecstasy, and we arrived at exactly that time. I felt great, righteous. I felt we were pure, that we weren’t conning anyone. We were real and beautiful.”
M - 15 April 1989 - The Stone Roses Interview featured in the NME Magazine
Notes: See Media for the interview.
24 April 1989 Monday - Brunel University, Uxbridge
I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Notes: Unconfirmed if 24 April 1989 or 29th? Cressa joins the band as effects technician. A bootleg tape recording was being sold in 1989 on Kensington Market, London.
From 1998 - Record Collector, John Reed article: JOHN REED GETS ALL DEWY-EYED ABOUT MANCHESTER’S MOST STYLISH OFFSPRING. It’s spring 1989. I’m in my final year at Brunel University and bored listless by my degree – I’m studying material science but we don’t want to talk about that. Instead, my idle evening hours are whiled away in the shadowy environs of the academy, spinning discs in the warm-up slot for bands. It’s Saturday afternoon and the Stone Roses are playing that evening. I’ve never heard their records so I pop out to buy their latest 12", "Made Of Stone". Echoes of the Beatles and the Byrds float over gorgeous Johnny Marr-ish fretwork and a shuffling beat. I’m swooning over the singers lilting, mournful tones. And those lyrics are so evocative: "Sometimes I-I-I fantasise/When the streets are cold and lonely and the cars they burn below me/Are you all alone/Are you made of stone". Genius. I’m hooked.
I pop down to the venue to find four dapper-looking lads picking at pizza. They ooze pop star appeal and I’m wary of shooting the breeze with them – but their animated, neatly framed singer could talk for England.
The Roses eventually take centre stage. They sound as superb as they look and while their pouting vocalist waggles his mike around and sings yearning memories that tap my very soul, the band twist and turn through some of the most graceful music I’ve ever heard. I float home on a total high, drunkenly pronouncing the event as a religious experience...
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 45 mins) Tape
Bootleg: Audience Recording - CD-R
Bootleg: Audience Recording - FLAC (Johnky transfer)
28 April 1989 Friday - Gaiety Lounge, Gaiety Showbar, South Parade Pier, Portsmouth, Southsea * Ticket Price: £3.50 (Advance) / £4.00 (On The Door) * Support Act(s): Mild Mannered Janitors
Notes: Cressa joins the band as effects technician.
From flyer ''GAP Presents The Stone Roses (Manchester’s' brightest new band) + Mild Mannered Janitors. Gaiety Lounge, South Parade Pier, Portsmouth Friday April 28th £3.50 adv. / £4.00 door ... No Membership / No Dress Restrictions.''
From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Journalist Richard Machin was among those who paid the £3 entrance and has fond memories of the night. He said “In 1989 I was a student at Portsmouth Poly and was friendly with a lad whose brother played in bands in Manchester, and he first recommended the Roses on a visit to the south coast the previous year. “My then girlfriend was from Warrington, where the Roses had played some of their earliest gigs, so she’d also heard the ‘buzz’ about them from back home, so we were understandably interested when we heard they were playing at the nearby Gaiety Showbar on South Parade Pier in April. “We were among an audience of just a few hundred in Southsea that night, but the Stone Roses were superb and had us hooked. So it was that five of us resolved to drive the 500-mile round-trip from Portsmouth to Lancaster a few weeks later to see the Roses again, this time at the Sugarhouse, which was close to where my parents were living at the time and I persuaded my younger brother (who I think was 15 at the time) to come along as well to experience his first ‘proper’ gig.
M - May 1989 - The Stone Roses feature in Rockin' On Magazine, Japan
Notes: The band are interviewed by Osamu Masui, he wrote (Article translated from Japanese), See Media for the interview.
01 May 1989 Monday - Piccadilly Records signing session, Manchester
Notes: To promote the release of the debut album, The Stone Roses were due to do a signing session. The band didn't show up.
04 May 1989 Thursday - Polytechnic, Haigh Building, Maryland Street, Liverpool * Doors Open: 20:00-00:00, Stage Time: 22:30 * Ticket Price: £3.50 (advance), £4.00 (on the door) * Support Act(s): The Real People *
(Intro Tape: Don't Stop) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / Standing Here / I Am The Resurrection
Notes: This is one of the last few shows Here It Comes would be included in the set. Cressa joins the band as effects technician.
A lemon was thrown on stage during the set.
The Waterfall design T-shirt was made available for £5. Squire told 1997 - Select Magazine: “One of the two [paintings] I actually like on T-shirts...They usually look cack. I like this and the Stone Roses album one.”
See Media for review, 13 May 1989 - Melody Maker Magazine, Penny Kiley.
John Robb's bandmate Keith Curtis of Goldblade said: "You could tell that something was going on. The crowd was really into it. There was a definite atmosphere."
Tim ''I was a teenage'' Vigon (Stone Roses Fanzine writer) 28 May 2011 wrote: ''we got to Liverpool early, expecting the same sort of throng, but the gig was maybe half full, mainly with travelling Mancunians and a few curious locals. Scouse stalwarts The Real People supported, (wearing waistcoats by the way – they’d turn up a few months later in full baggy regalia with their mini-indie-dance classic “Window Pane”) and it felt like any other gig, but we were about to see the Roses…and once their road crew started to set up (even they looked as cool as the band) the mood in the room changed. Those present huddled forwards and you could definitely sense the expectation…Cressa wandered out, we all squeezed forward…the band shuffled on like they owned the place. And they did. The bassline to “I Wanna Be Adored” rumbled forth those who KNEW began to move, a strange mixture of jumping and dancing en-masse…and when the guitar kicked in, it was fucking bedlam. Tapes of the bands’ demos and works in progress on the album had floated around Manchester, so we knew the tunes, and had no real idea what it SOUNDED like in the room right there, but it didn’t matter, everyone was just right there. In it. ''
Bootleg: Audience Recording - Tape
Bootleg: Audience Recording - Tape (Source 2)
05 May 1989 Friday - Queen's Hall, Victoria Road, Widnes *Ticket Price: £4 (Advance) * Support Act(s): Dub Sex *
Notes: Cressa joins the band as effects technician.
06 May 1989 Saturday - International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 * Ticket Price: £5 Support Act(s): Dub Sex *
(Intro Tape: Don't Stop) / Elephant Stone / Mersey Paradise / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / (Song For My) Sugar Spun Sister / Sally Cinnamon / I Am The Resurrection
Notes: Sold Out Show, no tickets were available on the door either.
The band came on to an ultraviolet bathed stage with Jackson Pollock backdrop, with Ian ringing a bell. Cressa joins the band as effects technician. The bar had to be temporarily closed as the bar staff went to get down the front of the stage for the set.
The Waterfall design T-Shirt was priced at £10, double the previous live shows prices.
Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ''2 days later in Manchester, Ian Brown walked onstage on a balmy night for a triumphant homecoming gig, ringing a bell – it was another of those moments, and there seemed to be so many with this band, and the room grooved as one with the band. Unbelievable stuff.'' Steven Lewis said: ''Although we had tickets, we were refused entry initially because the place was too full due to bouncers letting people in, in exchange for tenner’s. In the end people inside kicked open the fire exits to let some air in, and everyone outside just piled in. Several people were getting crushed, including Tony Wilson, who had a look of sheer panic on his face. In retrospect I've no idea what the sound quality was like, you could hardly hear the band over the sound of the crowd, but as for the atmosphere, it was unbelievable.''
John Robb said: "He didn't speak to the crowd, there were no encores, they sloped off and left the hall raptuous. They didn't communicate a single bloody thing, except for total cool."
Steven Lewis said: International II early May 1989. Without doubt their best ever gig, even above Blackpool. For about the first time you actually needed a ticket to get in, usually if you didn't have one you just paid an extra pound on the night. But this night was sold out in advance, although we had tickets we were refused entry initially because the place was too full due to bouncers letting people in, in exchange for tenners. In the end people inside kicked open the fire exits to let some air in, and everyone outside just piled in. Several people were getting crushed, including Tony Wilson, who had a look of sheer panic on his face. In retrospect I've no idea what the sound quality was like, you could hardly hear the band over the sound of the crowd, but as for the atmosphere, it was unbelievable.
Bootleg: Audience Recording - CD-R ((Intro Tape: Don't Stop) / Elephant Stone / Mersey Paradise / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums)
Bootleg: Audience Recording - FLAC (Johnky transfer)
07 May 1989 Sunday - University, Lower Refectory, Sheffield * Doors Open: 19:30 * Ticket Price: £3.50
Elephant Stone / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Over 300 attended the show.
Standing Here is played slower than usual at this show.
From thestar.co.uk By The Newsroom 15 May 2016, 11:55am: Sheffield University Lower Refectory, May 7, 1989. With a growing reputation around the time of the release of their famous first album, the group played what was at the time their biggest show on a big stage at what was the second largest stage at the University at the time, still smaller than the Octagon. Newer songs appearing included Where Angels Play and Standing Here.
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £1.50, Running Time (Approx): 45 mins) Tape
Bootleg: Who Bangs The Drum? (07 May 1989 - University, Sheffield) CD-R - Audience Recording - Elephant Stone / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums / Adored / Sally Cinnamon / I Am The Resurrection
08 May 1989 Monday - Warehouse, Leeds * Ticket Price: £3.50 * Support Act(s): The Hollowmen *
Elephant Stone / Waterfall / Made Of Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Football rivalry was prominent in the crowd, at the front ''Manchester la-la-la!' and Leeds weren't best pleased and chanted 'We Are Leeds'. Ian could hear the Manchester fans and informed them "No, this is Leeds!". Choque of The Hollowmen praised the band for their live performaces on the tour.
From John Robb's book 'The Stone Roses - Reunion Edition': Ian Brown said 'The gigs had not been packed outside Manchester till then. In March 1989 we played to 30 people in Liverpool, 50 in Leeds. It was on that tour that we played to 12 people in Cardiff and four of them were the Manic Street Preachers. We played in Brighton to about ten people. We didn't have a crowd outside Manchester till the album came out.'
11 May 1989 - Trent Polytechnic, Nottingham * Support Act(s): The Charlatans
Notes: Cressa joins the band as effects technician.
12 May 1989 - JBs, Dudley * Support Act(s): The Charlatans
Notes: Cressa joins the band as effects technician. See 04 March 1989.
13 May 1989 - Angel Centre, Tunbridge, Kent
(Setlist taken from handwritten set) Elephant Stone / Made Of Stone / Waterfall / Standing Here / Where Angels Play / Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician.
M - 13 May 1989 - The Stone Roses feature in Melody Maker Magazine.
Notes: The Roses name their favourite things. See Media for the interview.
15 May 1989 Monday - ICA 'Institute of Contemporary Arts' Theatre, The Mall, London SW1 * Doors Open: 20:00 * Price: £4.60 * Support: Symbol Of Light
(Intro Tape: Don't Stop) / She Bangs The Drums / Standing Here / Waterfall / Elephant Stone / Sally Cinnamon / Made Of Stone / I Wanna Be Adored / Where Angels Play / Shoot You Down / I Am The Resurrection
Notes: Sold Out Show. Cressa joins the band as effects technician.
There were crowds of people on the Mall, trying to buy tickets for the show. There was a London Transport strike causing several delays for audience members before and after the show.
Roadie Chris the Piss was selling T shirts. The Waterfall design and the Lemon design (not the same as She Bangs The Drums drawn image) were on sale as were others.
I believe the band did their Photo Shoot with Peter Anderson on this date, outside the YMCA in London, despite my source saying the date was '01 March 1989'.
Show is sometimes bootlegged and traded as 14 May 1989.
See Media for the review, April 1989 - NME Magazine, NME Review of London ICA Gig, April 1989 by Steve Lamaq.
See Media for the review, 27 May 1989 - Melody Maker Magazine by Everett True.
See Media for the review, 27 May 1989 - Sounds Magazine, Live Review by Keith Cameron.
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: Roddy McKenna said: I moved to Chicago to work on a house music project. When I left, the Roses were playing to 300 people and when I returned in May 1990 they were headlining Spike Island before 30,000 fans. I feel very happy for the lads. The Roses were so exciting to be around...
Bootleg: Live At The ICA Theatre - Vinyl (Catalog Number: SRX1989. Side A Matrix: a-25035 (A) 1M . Side B Matrix: a-25035 (B) 1M . This was released in 1989, it was referenced in January 1990 - Record Collector Magazine.) Audience Recording - Introduction-Don't Stop - She Bangs The Drums / (not listed on the sleeve but mentions "And Three Unreleased Songs": Standing Here) / Waterfall / Elephant Stone / (not listed on the sleeve but mentions "And Three Unreleased Songs": Sally Cinnamon) / Made Of Stone / I Wanna Be Adored / (not listed on the sleeve but mentions "And Three Unreleased Songs": Where Angels Play) / Shoot You Down / I Am The Resurrection
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "12th May 1989" Cassette Originally Priced: £2.50, Running Time (Approx): 55mins) Tape
* Rescheduled * 17 May 1989 Wednesday - Edwards No. 8, Birmingham * Doors Open: 20:00 * Ticket Price: £3.50 (Advance) * Support Act(s): Big Red Bus
Notes: Roland Jones remembers they (Big Red Bus) supported the band at Preston and they were supposed to at Edwards No. 8, but it was cancelled. Luckily they got to support them at sescheduled show The Irish Centre. Tickets from this show remained valid for 28 June 1989.
19 May 1989 Friday - Aberystwyth University, The PP Club, Aberystwyth * Doors Open: 20:30-01:30 * Ticket Price: £2 (Advance), £2.50 (On The Door) *
Notes: Cressa joins the band as effects technician. The set was followed by The PP Club Indie Disco.
M - 20 May 1989 - NME Magazine, [Pop stars remember their football-related experiences]
Notes: Ian Brown writes his brief George Best memories. See Media for the interview.
22 May 1989 Monday - Panic Station presents The Stone Roses, Dingwalls, Camden Lock, Chalk Farm Road, NW1, London * Doors Open: 20:00 * Ticket Price: £5.00 (General) £4.00 (Panic Station Club Night Members) * Support Act(s): The Prudes, The Century Boys
(Intro Tape: Don't Stop) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play - Shoot You Down / Standing Here / Going Down / Sally Cinnamon / I Am The Resurrection
Notes: Sold Out Show. Ian came onstage ringing a bell. During the 'Don't Stop' intro tape chants of 'Manchester, Manchester' can be heard, from fans who travelled down to see them perform. After the first song Ian says 'And we don't want to hear anymore Manchester Chants'. Ian was seen swinging on the pipes above the stage. The set timed in just less than hour. Before Sally Cinnamon, Reni sings a line from Waterfall accapella. Cressa joins the band as effects technician.
Bootleg: Audience Recording - CD-R
Ian and John attend A Certain Ratio - 23 May 1989 - The Town and Country Club, Kentish Town, London
24 May 1989 Wednesday - Oxford Polytechnic, The Students Union Bar, Oxford * Doors Open: 20:00 * Ticket Price: £3 * Support Act(s): The Hollow Men
She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection
Notes: Cressa joins the band as effects technician. N.U.S. Cardholders & guests only, guests limited to 3 per person. Future Ride members Mark Gardener and Andy Bell were there, Andy Bell (Ride, Hurricane #1 and Oasis) said: "The gig was incredible, they were on top form. I remember it in freeze frames. Mani's face gurning as he swung round to catch Reni laughing his head off in the middle of a tune. Ian in his element, head nodding as he sings in front of a sea of bodies losing it. Seeing Loz's mad head as we flew around the moshpit singing along with I Am The Resurrection. I went home mindblown, clutching a T-shirt."
Steve Lamacq wrote a long-winded review and it was published in the NME Magazine, 27 May 1989.
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2, Running Time (Approx): 40mins) Tape - She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection (cut)
Bootleg: Audience Recording - FLAC (Johnky transfer)
25 May 1989 Thursday - Park Lane, Shrewsbury * Doors Open: 20:00 , Soundcheck: 22:00 , Stage Time: 23:15 * Ticket price: £3.00 (Advance)
Soundcheck: I Am The Resurrection (accapella) / Mani bass soundcheck "She Bangs The Drums" / John & Mani soundcheck "Waterfall" / Mani "unknown bassline funky" / John testing guitar pedals "Made Of Stone" - "Elephant Stone" - "I Am The Resurrection" / Waterfall - "Reni testing microphone"/ I Am The Resurrection
Notes: Ian starts with a mic test then launches into a solo accapella of I Am The Resurrection. John tests the guitar pedals and then the band perform Waterfall, without backing vocals. Reni tests his microphone levels and then they finish with a version of I Am The Resurrection, different to the usual arrangement.
Simone (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection
Notes: Originally booked for The Fridge Club, the venue was changed due to popular demand. Gizmo, 20 The Parade, Shrewsbury sold tickets for £3 each or if you bought a ticket for this and Fallover (17 May 1989) it only cost £4 for the two gigs.
During the show Ian can he heard saying ''Sit down man - you're making a spectacle of yourself'' during the show. There are fans on stage surrounding the band and Ian is telling the club security to calm down as they were a bit heavy handed with the stage invaders. Cressa joins the band as effects technician. The bands after show party ended up at some fans house on the night leading to the early morning.
Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ''We headed to Shrewsbury, to see them in a club called Park Lane (every bit as neon and cheesy as it sounds). Now no-one came to Shrewsbury, least of all a band who was starting to cause a stir, and this band was special. The promoters, security and everyone didn’t know what had hit them. Even at this point, in a ritzy club in Shrewsbury, the crowd treated these 4 lads like returning rock stars. What a gig. As we wandered out, a bloke we recognised from always being side of stage with the band came up to us and said to us in full Mancunian glory “alright mate, do you fuckers want to meet the lads?”. We thought he was taking the piss, but full of adrenaline and youth we followed to see where we ended up, and unbelievably 2 minutes later were stood in the Roses dressing room. The band sat unmoved, smoking, chatting – things just happened around them. We couldn’t believe it – we got our set lists signed, uttered gestures of adoration at our heroes and generally didn’t know what the fuck was going on. The fella who took us in, was a gentleman called Steve Atherton, better known as Adge, and a bona fide Mancunian musical legend. He was the bands’ tour manager at the time and would go on to manage bands himself, to this day he looks after the likes of The Coral.''
Kevin Williams said: ''I booked the band for £120, and they were on the front page of the NME the week that they played. The gig was moved into the larger room at the venue as we had 500+ people in the queue to get into the venue. I dj'd at the gig and played the Left Banke and Wimple Witch along with Sly and The Family Stone. The band were on fire, and Ian Brown finished the evening at a local singer-songwriters house offering advice on penning a decent tune!'' ''The band were sound checking at 11.00pm with the crowd next door in a separate part of the club ! We were running well behind time. l was the DJ for the evening, and played tracks by the MC5 and The Mock Turtles amongst others. It was a legendary evening... Before the gig, the Roses’ manager was complaining about the lack of a 24- channel mixer, and wanted to pull the gig. We convinced him that it would not be a good idea with 500+ people next door, and more queuing to get in...''
Johnny Kertland said: ''I was the promoter of the gig and we had in fact, two recordings of it! The better recording was ‘cleaned’ up and sold under the counter in my shop, Gizmo, in Shrewsbury. The soundcheck was recorded in its entirety. I parted with a copy to Will Odell a while ago. He is the only person to have ever had a copy off the master tape!''
23 August 2014 - Matthew Mead interviews 25 May 1989 Thursday - Park Lane, Shrewsbury gig organiser John Kertland for This ls The Daybreak
Notes: This Is The Daybreak was a Stone Roses fansite hosted by Matthew Mead.
How did you get involved in booking gigs?
Through being a musician. It seemed easier to put our own gigs on, and then putting on bands from out of town was the next logical step.
Where did you hear about The Stone Roses?
My friend Neville - my promoting partner in 'SFG‘ was offered them by a Manchester based agency. Although I had a friend who had their first single (So Young), I'd never heard of them until January 1989, I admit. We booked them for Shrewsbury through the agent for £125.
Was there a buzz in the town before the gig taking place?
People had been following the band around on tour, a sure-fire sign that something was happening. There were people in town from Leeds, Manchester, Birmingham... A massive buzz was building on the day. We had a tout wanting to buy 200 tickets from my store, 'Gizmo', which was the local ticket outlet. The sun was shining and there was a palpable feeling of expectancy and excitement building.
Tell us about the soundcheck...
Soundcheck was late. The Roses‘ manager Gareth Evans wanted to pull the gig on a technical concern in order to generate more notoriety for the band. We were aware, as promoters, that they'd pulled a gig either the night before or 2 evenings before on a technical issue. I have to hand it to him, all the elements were there to myth—make and he did try his best. However, a bumpy transit van trip to a Hawkwind associated sound-engineer guy near Wrexham provided us with the 24 channel mixing-desk that was lacking. With 500 people crammed into the smaller venue, The Fridge, the soundcheck was very late. Around 9:30pm. The band eventually came on at 11:15pm.
You had to move the gig to a bigger venue — Park Lane?
We did this as we knew the day before that demand was going to quickly outstrip the venue capacity of the original adjoining venue, The Fridge.
What are your memories of the gig?
That the band really rocked. The sound was brilliant, and a testimony to all the people involved in the technical production of the show. My standout memory was dj'ing in the bigger (Park Lane) venue where the show eventually took place. I played some Sike, The Open Mind along with The Left Banke. I also played The Smiths - and a young lady I knew came up and had a chat with me during that. I knew that the Indie balance was shifting as she had been a hardcore Morrissey lookalike until that night. She had bought a 'flag' design Roses T-Shirt and was wearing that with her quiff smoothed down.
Did you see the band after their performance?
No - I was too wrapped up in packing my records up and talking to excited fans.
You recorded the gig, didn't you?
Yes - I have a very good recording of both the gig and the soundcheck. I know that there was another audience recording which has done the rounds on the ‘net - but it‘s not as good. A few photos from the gig have come to light in the last few years - which is nice as I never had a camera at that time.
Bootleg: Soundcheck: Audience Recording / Show: Audience Recording - CD-R
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*IAWS discovery - recorded from master - guaranteed lowest generation you'll find*" Cassette Originally Priced: £4.50, Running Time (Approx): 75mins) Tape - The Sound Check (20 mins): Ian solo singing verses of I Am The Resurrection / Ian clicking some drum sticks / Mani solo playing: an unknown bassline, She Bangs The Drums bassline, Waterfall bassline (small bit) / Squire solo playing very small bit of Waterfall / Mani solo playing She Bangs The Drums bassline, Waterfall bassline, unknown bassline, funky bassline / Roadies/crew/band/promoter talking / Squire solo playing part of Made Of Stone (x2), Elephant Stone intro, and final solo on I Am The Resurrection / Whole band playing vocals part of Waterfall (no backing vocals) / Ian complains he can't hear Reni / Reni sings part of Waterfall solo / Squire and Reni briefly mess about / Whole band play I Am The Resurrection - The Gig: She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection
Bootleg: Tape Source 2 (John Kertland source): Audience Recording
26 May 1989 Friday - Elektra, Milton Keynes *Cancelled*
Notes: From NME Magazine 27 May 1989 'The band, whose self-titled debut album crashed into the national charts at 32, have been forced to cancel forthcoming shows in Milton Keynes and St Helens because of recording commitments'.
27 May 1989 Saturday - Citadel, St. Helens *Cancelled*
M - 27 May 1989 - The Stone Roses feature in NME Magazine declining support slots for The Pixies and New Order.
See Media for the article.
26-28 May 1989 Friday, Saturday, Sunday- RAK Studios, London
Where Angels Play / Standing Here
Notes: Recording sessions for 'Standing Here E.P.' which later became the She Bangs The Drums single.
April 2009 for Clash Music, John Leckie said: ''Was anything recorded that wasn’t used on the album? No, there isn’t. The only one was ‘Where Angels Play’, which was abandoned. And then the record company found it and released it. It’s just a guide vocal and a rough mix - it was never finished.''
30 May 1989 Tuesday - The Guildhall, Foyer, Preston, Lancashire * Doors Open: 19:30 * Ticket Price: * Support Act(s): Big Red Bus
Guernica (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Going Down / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / Sally Cinnamon / Standing Here / I Am The Resurrection
Notes: The 'Foyer’ is the bar area, beneath the main hall. ''This gig was recorded on a Sony Professional Walkman, directly in front of the mixing desk — the band were using New Order's P.A. system.'' Cressa joins the band as effects technician.
From Cut Magazine (see July 1989): ''At gigs they sometimes get 17-year-olds who want them to sign their Smiths t-shirts. “They come up and say: ‘will you write ‘The Smiths are dead’ on my t-shirt?'” “But you don’t look anything like Morrissey, I say.” “I know. We must be confusing them, says lan.''''
From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Guild Hall Foyer, Preston May 30, 1989 the date saw Preston band Big Red Bus play support in what was only their second gig, guitarist Dave Spence recalls, “We were given a tape and told we were supporting them the following week, and while we’d heard of them - because they’d been around a while - the first time we saw them was when we came off the stage at the Guild Hall and went back out front. “We were just blown away by what they were doing. I don’t know what it held then, but the foyer wasn’t even full. “But it was just - and remains so - the most electric atmosphere I’d ever encountered at a live event. And I still go to plenty. It was amazing, and they were riding the wave at the right time.”
The Evening Post reviewer reported, “Like all rock stars The Stone Roses refused to come on stage until it was barely visible through a thick mist of smoke and the audience had been subjected to a barrage of backing tapes. The four lads from Manchester, who have so impressed the music pundits with their own mix of psychedelia and guttural guitar, finally made it to the stage - but for a first impression it was hard to know what to think. “They sounded good, they may have looked good too but it was at least 30 minutes before the aftermath of the over-productive smoke machine allowed eager fans to get a glimpse of their heroes. The Roses have been hotly tipped by all and sundry as a band to watch out for, but on this performance, you have to wonder what all the fuss is about. “Sure, they have some good songs which fall nicely between pop and the usual indie sound but it takes more than that to be something special and win a place in the heart of music lovers the world over. The Roses evoke a 60s sound that plunders more from the era’s free-wheeling spirit than its distinctive laidback sound. “But at times, on Waterfall and I Wanna Be Adored, it sounds like they have transported their jangling guitar noise from the heart of that decade - and it travels well. As far as stage presence goes, singer Ian Brown was content to let his head sway from side to side and the rest of the band kept their movements to a minimum. It was clear from last night’s enthusiastic reception that The Stone Roses have a devoted cult following. Whether they will rise above this remains to be seen.”
Bootleg: Tape - CDr (Recorded by Mark Allen, recording was initially leaked 21 December 2003) Audience Recording
Bootleg: CDr (Mark Allen source, Weirdly my cd-r copy came with bonus tracks by Morrissey/The Smiths)
June 1989 - The Stone Rose appear on Canadian Promo Only Various Artists compilation 'Welcome To Silvertone Records'
Promo CD Silvertone Records - KCD1-7130 BMG Canada
Mary My Hope - It's About Time / Wildman Childman
I Wanna Be Adored / She Bangs The Drums
The Men They Couldn't Hang - Rain, Steam And Speed / Rosettes
London Wainwright III - Therapy / Bill Of Goods
Notes: Canada only promo. From inner sleeve: 'Based out of London, England. Silvertone Records was formed in 1988 by Andrew Lauder as part of the Zomba Group of companies...'
1989 - Mani starts dating Lisa
From 27 June 1990 - Smash Hits Magazine, Mani said: Are you in love? "Yeah. With me girlfriend Lisa. We've been seein' each other for over a year now..."
M - 03 June 1989 - The Stone Roses appear on the cover of Melody Maker Magazine, priced at 55p
Notes: Photos by Tom Sheehan. Article by Simon Reynolds. See Media for the interview.
03 June 1989 - Junction 10, Walsall, Birmingham * Ticket Price: £5.00 * Support Act(s):
I Wanna Be Adored / Sally Cinnamon / Elephant Stone / Waterfall / Going Down / Made Of Stone / Standing Here / Where Angels Play / Shoot You Down / She Bangs The Drums / I Am The Resurrection
Notes: Reni's mother was in hospital. The band did not soundcheck before the show. There was over 400 fans at the show.
Stone Roses fanzine 'Made Of Paper' writer, Tim Vigon, bootlegged and recorded the show on tape.
Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ''In Walsall, at the salubrious Junction 10 a few days later Adge recognised us and again let us come backstage, this time bearing that days Melody Maker, the bands’ first ever front cover, to be signed along with t-shirts, drumsticks and anything else we could get our hands on.''
See Media for the review/interview, 10 June 1989 - NME Magazine, Live Review by Jack Barron (Interview and Review), edited by Helen Mead.
From I Am Without Shoes Fan Website: Ference Feurtado remembers: The first thing that comes to mind is my mate and guitarist in our band coming into our local about 8 o'clock on a Saturday night saying, Let's get a taxi over to J10 as the Stone Roses were on and they were going to be shit-hot. The queue to get in the place was quite large, it was obvious that word and the quality of the album had got around, but it was still a pay-on-the-door event.
I can't remember a support band (if there even was one). Living just a mile or so away we used to go down there quite frequently as it was a place to have a drink a bit later after the pub had shut! Certainly the crowd in there that night was different to the Pop Will Eat Itself/Wonderstuff bratty mommies boys from the posh parts of Walsall (there are some), or the gormless rocker types who were the main kind of clientele at the time.
There were loads of geezers wearing flared jeans and baggy t-shirts and the standard bucket hats - these people were obviously from out of town, and accents at the bar confirmed this.
The songs that stand out for me were I Wanna Be Adored, the opener, with its slow bass intro, Waterfall, and Resurrection at the end. Being a bass player in a local band at the time I was really impressed with Mani's bass playing - I am sure he used a Squire-painted Rickenbacker, obviously the drums and guitar were bang on. It really was that long ago that I would be lying if I said I could remember much more, but I do know that was the best gig I have ever been to.
Bootleg: Audience Recording - Walsall (Vinyl, White Label. This was released in 1989, it was referenced in January 1990 - Record Collector Magazine. Rear sleeve notes 'Promotional Use Only Not For Resale Made In England'. Uses the same audience recording as found on The First Coming & Stoned In Walsall)
Bootleg: Audience Recording - Stoned In Walsall (Chelsea Records, Cat. No: CFC 023, S.A.R.L, P.O. Box 1405, Luxemborg, Made In Germany. Disc Matrix: PX 4305) (Includes bonus tracks 'Fools Gold (A Guy Called Gerald Remix)', this was ripped from a white label 12inch record. It differs from the Top Won & Bottom Won official remixes) I Wanna Be Adored / Heart On The Staves / Tell Me (listed as 'Strawberry Studio Session - 85' but they are actually from the 24 March 1985 - Piccadilly Radio Session) CD - I Wanna Be Adored / Sally Cinnamon / Elephant Stone / Waterfall / Going Down / Made Of Stone / Standing Here / Where Angels Play / Shoot You Down / She Bangs The Drums / I Am The Resurrection / Fools Gold (A Guy Called Gerald Remix) / I Wanna Be Adored (24 March 1985 - Piccadilly Radio Session) / Heart On The Staves (24 March 1985 - Piccadilly Radio Session) / Tell Me (24 March 1985 - Piccadilly Radio Session)
Bootleg: Audience Recording - Walsall Junction (aka "Stoned In Walsall") (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £3.00, Running Time (Approx): 60mins) Tape
Bootleg: Tape (Made Of Paper Fanzine) Audience Recording
Bootleg: Audience Recording - The First Coming (1994 CFC007 Chelsea Records, Uses the same audience recording as Stoned In Walsall) Sally Cinnamon / Made Of Stone / She Bangs The Drums / I Am The Resurrection
06 June 1989 Tuesday - Majestic, Reading * Doors Open: 19:30 - Sometimes Sartre: 20:00 * Ticke Price: £3 * Support Act(s): International Resque, The Jay Breaks, Sometimes Sartre.
Notes: Cressa joins the band as effects technician.
07 June 1989 Wednesday - University, Leicester * Doors Open: 20:00 * Ticket Price: £4.00 (Advance) *
She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Going Down / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Ticket notes "STONE ROSES In The Pitt".
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 45mins) Tape - She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Going Down / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection (cut)
08 June 1989 Thursday - The Sugarhouse, University, Lancaster * Ticket Price: £3.00 (On The Door) *
Soundcheck: I Want You Back (The Jackson 5 cover) / Fools Gold / Voodoo Ray (A Guy Called Gerald) (accapella) / Made Of Stone - Elephant Stone / I Am The Resurrection (accapella) / Waterfall (attempt) / Waterfall / She Bangs The Drums
Simone (Intro Tape) / She Bangs The Drums / Waterfall / Elephant Stone / Made Of Stone / Where Angels Play - Shoot You Down / Standing Here / Going Down / Sally Cinnamon / I Am The Resurrection
Notes: The soundcheck includes the band setting up and testing their instruments. I Want You Back (The Jackson 5) & Fools Gold, are the basslines and riffs played by Mani, it would be six years later when we would hear him play, I Want You Back again (see 29 May 1995). Voodoo Ray, A Guy Called Gerald cover, is just Reni singing the harmony sample used in the dance classic. John tests his effects for Made Of Stone & Elephant Stone during the soundcheck too. Ian joins the band and tests the mic by singing I Am The Resurrection on his own. The band run through an alternate arrangement of Waterfall too.
After Shoot You Down Ian ask the crowd 'See how quiet you can go'. After Standing Here Ian announces 'Sugar Spun Sister, Mersey Paradise and Tell Me... that’s the only communication I'm getting you of innit...Who's from Lancaster? Tell me what it's like'. Cressa joins the band as effects technician.
The Milltown Brothers were at the gig too.
From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Sugarhouse, Lancaster, June 8 1989 the tour to promote The Stone Roses debut album returned to Lancashire in the week the band found themselves on the front of Melody Maker for the first time. Journalist Richard Machin was among those who paid the £3 entrance and has fond memories of the night.
He said “In 1989 I was a student at Portsmouth Poly and was friendly with a lad whose brother played in bands in Manchester, and he first recommended the Roses on a visit to the south coast the previous year. “My then girlfriend was from Warrington, where the Roses had played some of their earliest gigs, so she’d also heard the ‘buzz’ about them from back home, so we were understandably interested when we heard they were playing at the nearby Gaiety Showbar on South Parade Pier in April. “We were among an audience of just a few hundred in Southsea that night, but the Stone Roses were superb and had us hooked. So it was that five of us resolved to drive the 500-mile round-trip from Portsmouth to Lancaster a few weeks later to see the Roses again, this time at the Sugarhouse, which was close to where my parents were living at the time and I persuaded my younger brother (who I think was 15 at the time) to come along as well to experience his first ‘proper’ gig. I’m not even sure we’d bought tickets in advance but remember queuing up in Sugarhouse alley and being very conscious there was a real sense of anticipation, there were clearly dozens of people there from Manchester and Liverpool and a palpable excitement, very different to the relative apathy we’d experienced in Southsea just a few weeks earlier. “The Sugarhouse isn’t particularly well laid out (there are annoying pillars to obscure your view and the stage is pretty small), but I’ve always liked it, an old warehouse building with high vaulted ceilings and a world away from identikit college venues that are more like school halls. “On that night in June 1989 it was alive, a seething mass of humanity and when the Roses came on and opened with ‘She Bangs the Drums’ – not ‘Adored’ as was more typical, then and now – the whole place went nuts, and I remember my poor brother being carried off by the swell with a slightly worried look on his face… “I’ve heard bootlegs of the gig since and it still sounds as great as I remember. We all know Ian Brown has never been the greatest singer but that misses the point, the band were (are still) tight, stuffed full of great tunes and cockiness and this was them at the peak of their powers, just before the Empress Ballroom, playing in the north west to an audience of adoring disciples…and it can’t be overstated how different it felt and how the Roses and that Manchester scene energised music at that time. “I’ve seen the Roses many times since, including at the recent Heaton Park and Glasgow Green ‘comeback’ shows, but The Sugarhouse still ranks as one of the best, for me, because it was a perfect combination of time and place. A brilliant night and brilliant memories.”
Bootleg: Tape / CD () Audience Recording
Bootleg: Soundcheck - Audience Recording - CD
12 June 1989 - Wigan Pier Club, Wigan (Cancelled)
Notes: Cancelled.
20 June 1989 Tuesday - Riverside, Newcastle-upon-Tyne, Newcastle * Doors Open: 19:30, Show Starts: 20:00 * Ticket Price: £4.00 (Advance) * Support Act(s): Shy Reptiles
She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play - Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician.
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 55mins) Tape
Bootleg: Who's From Newcastle? (Printed Glossy CD-R, was available from Vinyl Revival (Manchester Record Store) in the mid 2000's) CD-R
21 June 1989 Wednesday - The Venue, 15 Carlton Road, Edinburgh, Scotland * Doors Open: 21:00 Support Act(s): Shy Reptiles *
Notes: Cressa joins the band as effects technician. Free local music newspaper 'Substance' included a review of the show and an interview with the band.
* Cancelled * 22 June 1989 Thursday - LP Signing Session, Ratt Records, Buchanan Street, Glasgow, Scotland
Notes: Marc, 2023, said: I was lucky enough to see The Roses in a tiny venue called Glasgow Rooftops. On the day of the show, they were supposed to turn up at a record shop called Ratt Records on Buchanan Street. (Now a Greggs) It was before they had broken through to the mainstream. There was only 6 or 7 of us there! The Record Shop owner had bought them food and drink. Anyway they didn't turn up, we were gutted...They still had a reputation even then in those early days but to my amazement, Ian Brown apologised as soon as they came on '"We're sorry about Ratt Records nobody told us". You can hear this in the bootleg....
22 June 1989 Thursday - Rooftop, Sauchiehall Street, Glasgow, Scotland * Ticket Price: £5
Simone (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Where Angels Play - Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Sold Out Show, over 500 people attended the show. The band's first show in Scotland. Tam Coyle helped promote the show, Tam had to leave the Roses in Glasgow at 4.30am as he was working the next day on a building site. Stevie Watt DJ'd before the band came on, he took the band to his parents house so they could conduct a phone interview with an American Magazine. Birdland were playing Glasgow the same night.
Marc, 2023, said: There was no tickets for the show, you just had to turn up. We just got in just and no more, venue would have held around 100 to 150 people. They still had a reputation even then in those early days but to my amazement, Ian Brown apologised as soon as they came on '"We're sorry about Ratt Records nobody told us". You can hear this in the bootleg. Adored started up and they guy and the band were my heroes from then on. I would have loved to have met them of course.
From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young:...Two Scots who helped set them on the road to stardom certainly think so. Roddy McKenna was the man who signed them to their first record deal. While Tam Coyle promoted their first Glasgow gig at Rooftops club in 1989. We talked exclusively to both men about those early days...TAM COYLE:
"The Roses had just released their debut album and ticket sales went through the roof. "We had 500 punters paying a fiver a ticket crammed into the venue. I went home with a carrier bag full of money at the end of the night. I'm not going to claim I had a crystal ball and knew from day one that the Roses were going to be stars. But I could tell the album was a life-changing record - stunning from first track to last. I could see they were cool guys into their music. It was their first time in Glasgow and they said they felt vibes between the two cities. It was one of the most amazing gigs I've ever seen. They looked great too with the flared trousers and drummer Reni wore his beany hat. Soon, thousands of fans were wearing them too. After the gig, they were so chilled with fans. It was daylight when they left. I was still on a building site and went straight to work...
Official: (Posted on Spotify 05 February 2021 Friday, Streaming Spotify 07 February 2021 Sunday) Podcast - Stone Roses at Rooftops in Glasgow (The Stone Roses first gig in Glasgow was at Rooftops in June 1989. Following a recent blog post on my 10 favourite Roses songs I got talking to my friend Tam Coyle, the promoter for this show. I thought discussing his memories might make for a good podcast, we also invited Stevie Watt who DJ'd before the show and Craig McAllister, a fan who travelled up from Irvine for the show.
Me, I was too young, I was only 13 in 1989. I discovered The Roses in 1991 at the age of 15 and then had to wait until later 1994 for them to release any new music! So I was keen to discuss what it was like to see The Roses as they were really starting to break. Hear about Tam worrying about a band called Birdland playing the same night, queues down the street, anticipation, Stevie taking The Roses to his parents so they could do a phone interview with an American magazine, a support band (that Tam had forgotten about!), Craig's friend having the handwritten setlist, the atmosphere, the clothes ... a happening...The podcast is available now on Spotify - Stone Roses at Rooftops, Glasgow, 1989, Memories Bootlegs exist of the show, capturing a band in sensational form, Reni in particular sounds incredible. Thanks to Neil Carmichael for sending me this picture of his signed setlist from the night after he checked out the podcast. I hope you enjoy the stories and memories. https://open.spotify.com/episode/2pUiroyY5TXfJExMHitdJg?si=ahfmfMi_RKOtIPdQceQNPw&nd=1
Official Podcast: Everything Flows Glasgow - Stone Roses at Rooftops, Glasgow, 1989 - Memories (I chat with Tam Coyle, Stevie Watt & Craig McAllister about their memories of The Stone Roses first visit to Glasgow in June 1989. Tam was a young promoter who had to leave the Roses at 4.30am as he was working the next day. Stevie was helping Tam and DJ'd before The Roses and took them to his house so they could do an American phone interview. Craig was a young music fan traveling from Irvine to join the huge queue in the hope of getting in to see the band he had fallen for after seeing them on Another Side of Midnight, on Snub TV and buying the album. Me, I was 13, I was just too young. Oh to have seen the Roses at this time.)
04 January 2018 - Craig McAllister said: My one brief foray into bootlegging began and ended with The Stone Roses. I taped their now legendary Glasgow Rooftops show, just as the band were on the cusp of going massive. Stuffed down the front of my jeans until the lights went out, my dad’s clunky old dictaphone was called into action. The wee blinking red light meant it was recording. Looking furtively to the side I noticed a guy about the same age as me looking at the machine in my hand. He nodded conspiratorially and gave me a wee thumbs up. At the end of the gig he found me and gave me his address, with a promise to send me some bootlegs in return. The Stone Roses were absolutely on fire that night, a terrific gig. I couldn’t wait to get home to play the tape. “Pffffffffff...Sccczzzzzzzz..Adored……..vmmmmmm…. Adoooo–ooored….’Over here Steven!’……sell my soul……’Here!’……’Steven Here!’… skkkkkkshhhhhh Iwannar Iwannar Iwannar I Wanna Be Adored……” It sounded shite. Sorry if it was you who gave me your address. Your memory of a great gig would’ve been ruined forever. I truly did you a favour. Home Taping Is Killing Music indeed. A tape marked as ‘Excellent Quality‘ was nearly always misleading. This usually meant the taper had found a quiet spot away from the whirling masses, away from flying elbows and shouts for ‘Hand In Glove‘ or ‘Feeling Gravity’s Pull‘ every other song. The tape still sounded like the concert was playing underwater and 60 miles away though. And get this! It was actually a considered theory that the best way to listen to a bootleg such as this was to play it in one room while sitting in another! Imagine that! I did it, too! Listening to Dylan mangle ‘Visions Of Johanna‘ in the living room while I cooked the tea in the kitchen. Sounded great as well!...
Bootleg: Audience Recording - CD-R
Bootleg: Audience Recording - CD-R (Version 2)
Bootleg: Audience Recording - Tape (Memorex Tape with handwritten tracklist, cover shows a photo of John holding up the Waterfall painted glass)
Bootleg: (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 45mins) Tape - She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Where Angels Play - Shoot You Down (edit) / Standing Here / Sally Cinnamon / I Am The Resurrection
23 June 1989 Friday - Town Hall, The Crypt, Middlesbrough * Doors Open: 19:30, Show Starts: 20:00 * Ticket Price: £4.00 (Advance), £4.50 (On The Door) * * Support Act(s): Shy Reptiles
Notes: An early posted incorrectly noted the date as 24 June 1989. Cressa joins the band as effects technician. The Crypt is the second room located beneath the main hall.
After the show at a service station, Ian jumps in a steamroller, unauthorized, and the RAC call the cops. Ian is released and the band carry on driving to Nottingham.
See Media for the interview, 15 July 1989 - Sounds Magazine, Interview by Roy Wilkinson.
24 June 1989 Saturday - The Roadmender Centre, Ladys Lane, Northampton *Midsummer Mayhem* Doors Open: 20:30 * Price: £3.50 (Advance) £4.00 (On The Door) * Support: All Grown Up
Notes: Cressa joins the band as effects technician. Part of a series of live shows under the name 'Midsummer Mayhem'.
From Steve Adj interview with Louder Than War (15 March 2017): What are your top 3 Roses gigs? Northampton Road members club. First Glasgow Green gig. Saturday night at Heaton Park.
07 January 2018 - thestoneroses.co.uk published an interview with Matt Mead Notes: ''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. what’s the holy grail for you in respect of the stone roses? What do you know/believe is still out their Roses wise? Holy grail has to be one of the following: Northampton Roadmenders 1989 audio.
25 June 1989 Sunday - Norwich Arts Centre, St. Benedicts, Reeves Yard, St. Benedicts Street, Norwich * Doors Open: 20:00 * Ticket Price: £3.50 (Advance), £4 (On The Door)
Notes: Cressa joins the band as effects technician. At least 260 attended.
26 June 1989 Monday - Bristol Bierkeller, All Saints Street, Bristol * Doors Open: 20:00 * Ticket Price: £4.00 (Advance) *
I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Made Of Stone / Waterfall / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Date often noted as '29 June 1989'. Over 400 tickets were sold for the show in advance. Ian gets the verses mixed up on Shoot You Down and Standing Here.
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "29th June 1989" Cassette Originally Priced: £2, Running Time (Approx): 55mins ) Tape
27 June 1989 Tuesday - Civic Hall, Stratford-Upon-Avon * Doors Open: * Ticket Price: £4, £5.50 with coach * Support Act: The Cantels, Jive Turkey
Notes: Cressa joins the band as effects technician. Backstage Ian was wearing a Co-Op T-Shirt.
Fan, Phil Baker said: 'I was at Stratford gig. It was half full as I think it was a filler gig – not promoted much between Bristol and Birmingham. You’re right the hall was half full. Ian Brown made a joke about people at the back ‘playing football’ if they were bored. Best gig I’ve ever seen. They came on fairly late and we had to endure jive turkey and some other poor support band where the female lead singer/guitarist walked into the sitting and bored crowd!'
28 June 1989 Wednesday - Irish Centre, Diamond Suite, Birmingham * Doors Open: 19:30 * Ticket Price: £3.50 (Advance) * Support Act(s): Big Red Bus
Simone (Intro Tape) / I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection
Notes: 1989 Gig Promo Adverts stated 'Tickets For Edwards No.8 Date Are Valid'. Cressa joins the band as effects technician.
Adrian Goldbeg 'More Music' review: Nine HUNDRED swaying bodies shoe-horned into Birmingham's Diamond Suite last week bore sweaty testament to the ascendancy of neo-psychedelic pop charmer's The Stone Roses. Only months ago, the band comfortably accommodated in a local pub room barely one-fifth the size but, aided by the of their debut album, rapidly generated an aura as 1989's band most likely to... On the strength of this raggedly inspired performance, it’s a reputation they richly deserve. A quartet of Sixties obsessives (and one frantic, Shaven-headed male, go-go dancer), The Roses know that The Look is crucial. Hence the cultivation of a jeans and T-shirt 'slob next door' image, belied by guitarist John Squire's carefully overgrown mop and singer Ian Brown's coiffured mod-like barnet. It's a stylish scruffiness that accords well with their laidback rejuvenation of the soundtrack to swinging Britain. Essentially, they are a compendium and celebration of a decade's greatest musical moments, with a roughly equal respect for vocal harmonies and discordant guitar. The three-minute pop song is certainly there in all its frothy, jangled glory - witness 'Waterfall', a burst of semi-acoustic chimes and molten hook line. But the mind-tripping progressive workout is proffered too, as Squire leads an epic instrumental finale, all snarling guitar and dervish drums. Between these extremes lies a substantial middle ground, straddling formalist -beat and warped West Coast Americana. Distinguished by Brown's spaced-out vocals, and wrapped in double and triple layers of echo, the result is gloriously unresolved tension between melody and aggression. It might all be an exercise in arch revivalism, were it not for The Roses' sheer song writing ability and the purposeful intensity with which they mine the past. But resuscitating the full Sixties’ experience involves the of mind expansion, and The Roses undeniably court a druggish mystique. They hardly need it. Dealing out the dreamy romanticism of 'Sugar Spun Sister', they push nothing sinister than uplifting aural ecstasy.
Bootleg: Audience Recording - Source 1 - Near Complete (Used for 'Hype' Bootleg LP. Missing most of Simone intro, She Bangs The Drums outro is cut short on the Hype LP, I Am The Resurrection outro incomplete on both the tape and Hype LP.)
Bootleg: Hype (Blank labels, initially these are the original pressings. Artwork by Red October. This pressing, and subsequent pressings, edits the recording and several tracks are incomplete.) Vinyl Record - Face A SR A - Face B SR B (Rear Sleeve is plagued with errors) - Audience Recording - I Wanna Be Adored / Elephant Stone / Sally Kinnamon / Waterfall / Made Of Stone / Sugar Spun Sister / She Banks The Drums / I Don't Want You Now (Where Angels Play) / Shoot You Down / I'm Standing Here / The Resurrection
Bootleg: Hype (Made In France. International RO. R.Q. 33 Special Promotion. Tirage Limite Reserve Aux Exploitants Des Juxe-Boxes Et A La Promotion... Artwork by Red October.) Vinyl Record - Face A SR A - Face B SR B (Rear Sleeve is plagued with errors) - Audience Recording
Bootleg: Hype (Made In Holland. Blue 'Butterfly' labels. Same sleeve design, Artwork by Red October.) Vinyl Record - Face A SR A - Face B SR B (Rear Sleeve is plagued with errors) - Audience Recording
Bootleg: Hype (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.00, Running Time (Approx): 65mins) Tape - Audience Recording * Unconfirmed if Source 1 or 2
Bootleg: Audience Recording - Source 2 - Near Complete (I Am The Resurrection is missing 10 seconds or so) (Tape / CD-R)
Bootleg: Hype (Japanese CD-R. Poor quality, incomplete rip from cassette source)
Bootleg: Hype - Audience Recording - FLAC (Johnky transfer)
Bootleg: Audience Recording - Matrix (Source 1 & 2) - Complete (CD-R)
30 June 1989 Friday - Leeds Polytechnic, Ents Hall, Leeds * Doors Open: 20:00 * Ticket Price: £5.00 (Advance) *
I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Ian wore a bright yellow polo shirt, John a grey shirt with a blue jean denim shirt/jacket over the top, Mani in a white t-shirt, Reni in his bucket hat and a striped long sleeve shirt. The pollock style bass and kit were used. Final date of the tour. Unconfirmed set but did include Adored and I Am The Resurrection. Apparently the doors were locked as people were trying to rush the exit doors to let people in.
David Crausby took photographs on the night, he would later exhibit them (see 13 July 2012). He printed a collection of 4 photos (6x6cm, includes 3 photos and a scan of the ticket stub) on Kodak paper, silk finish, on magnetized frames on a strip of blakc metal. Limited edition to only 20 sets, I have a set of the prints but threw away the magnetized frames.
©davidcrausby1989, ©davidcrausby wrote: "I got some Kodak Ektar 35mm film for my brother's camera which he has agreed I can take to the Roses gig at Leeds tonight...We walked down to the Poly- Arghhh SOLD OUT. No tickets available. There was an entourage of pissed off fans outside - the few tickets left on offer were in the slimy hands of touts and despite my best efforts they were wanting £25 a ticket but were prepared to offer me a discount of a fiver.. Yeah right- NO chance.. The band are good but not that good. Some Southern student type told me that the musicpress are going mad for the Roses and that they are going to go big.. I told him; "it's about time." he said he had never heard them before but had heard good things and promptly paid a tout £25 for a ticket. I was gobsmacked. Some people are just made of money. Disappointed, we decided to go to a boozer instead...After a few pints we headed back on a mission...Then at 10.30 we tried to sneak in but we couldn't find a way. Everything was blocked off and sealed up.. I finally managed to bribe a steward- 15 Bar for all three of us. excellent we got in for a fiver each and he pocketed our notes before getting us in sharpish....I took a load of photos and it was a brilliant concert. incredible sound. No loss missing the support act which I hear were the Bridewell Taxis. I went round the back of the amps to see if I could get some good shots of Cressa and Reni but I couldn't get a sound vantage point, instead I got a photo of this lad with long blonde hair who was hiding and helping the band out playing guitar... no wonder their tunes are so good live.. They're even better than they were at Leicester. I had massive jip with Jay's camera. At the end of the roll I rewound it but it was stuck and I couldn't get the film out. The crappy Halina wouldn't open. After this superb gig we were well happy and soaking wet with sweat. We went to the Warehouse in Leeds- a good place- a bit freaky though. I found a wet throughfive pound note then a quid coin, bonus. After the Club we walked round Leeds for what seemed like hours and then set off still wide awake and bushy tailed at 4AM."
Officially the band, still, only had four t-shirt designs on sale:
'Waterfall' design,
'Lemon' logo,
'She Bangs The Drums' design
and 'Standing Here' design. The T-Shirts were available at £8.00 each at this show.
See Media for the review, 15 July 1989 - Melody Maker Magazine, Simon Reynolds.
1989 - Penne Smith Photo Shoot
Notes: Penne Smith took the iconic band photo of the band stood against a warehouse wall. Reni in bucket hat, Mani central with hair covering his eye, Ian at the back and John with his arm around Mani. The poster was published by Splash and was quickly distributed throughout record stores. Not sure if it was ever sold officially on tour though. The session also included a similar photo but with Mani looking to his left and Ian smiling.
M - July 1989 - Cut Magazine Interview with Ian Brown, John Squire & Mani
Notes: David Belcher interviewed the band in a cafe in Victoria Station, Manchester. See Media for the interview.
TV - July 1989 - Transmission TV Show, ITV
Notes: I believe this to a be a repeat of the interview from the 1988 broadcast. Ian & John are interviewed for the show. Elephant Stone promo video is also broadcast.
1989 - Paris Photo Shoot by Kevin Cummins
Notes: You can find several photos in the Japanese booklet for (see February 1996) Garage Flower CTCZ-30001 which were noted as 'Photos by Kevin Cummins / Orion Press'.
10 July 1989 - La Cigale, Paris, France
I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / I Am The Resurrection
Notes:
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 50mins) Tape
The Stone Roses - 17 July 1989 - She Bangs The Drums U.K Release Date
All songs written by John Squire & Ian Brown.
Produced by John Leckie.
Label: Silvertone
Artwork: Abstract from 'Sugar', Detail, 1988 Oil on canvas 32 x 32 inch. John Squire. Photograph taken by Matt Squire.
Format: 7inch Promo Vinyl. Catalog Number: ORE DJ6
She Bangs the Drums (Single Mix)
Format: 7inch Vinyl. Catalog Number: ORE 6 (The first 3000 included a colour artwork postcard)
She Bangs the Drums (Single Mix)
Standing Here
Format: 12inch Vinyl. Triple A. Catalog Number: ORE T 6
Matrix A-Side: ORE T - 6 - A.1 (x) Matrix B-Side: ORE T - 6 B - 1 (x)
She Bangs the Drums (Single Mix)
Mersey Paradise
Standing Here
Format: 12inch Vinyl. Triple A. Catalog Number: ORE Z 6 (The first 5000 included a colour print) (Round black and white sticker on the front "ORE Z 6 Includes special edition full colour print" Inside was usually the sugar detail 'Adored' sleeve. It had a white border with text including a limited edition number, bottom right, and the catalog number OREZ 6, bottom left.)
She Bangs the Drums (Single Mix)
Mersey Paradise
Standing Here
Format: Cassette. Catalog Number: ORE C 6
Format: CD. ORECD-6 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 6. Barcode: 5013705116025. Maunfactured In Europe (On disc face)
She Bangs The Drums (Single Mix)
Mersey Paradise
Standing Here
Simone
Promo CD
She Bangs the Drums (Single Mix) (Radio Edit) 3:32
Silvertone Records. Produced by John Leckie.
Notes: Charted in the U.K. at number 36, re-released 05 March 1990 and peaked at number 34. I have an unconfirmed conflicting date of 13 July 1989 for the release too.
Some 12inch pressings, incorrectly, indicated Mersey Paradise on both label sides.
Promo Poster Read 'She Bangs The Drums (Version) Standing Here Mersey Paradise Simone (Cassette and CD only) 7' ORE X 6 (First 3,000 contain limited edition colour postcard) 12' ORE Z 6 TRIPLE A (First 5,000 contain limited edition colour print) Cassette single ORE C 6 - CD Single ORE CD 6'
On Some Blackpool 1989 Gig Promo Adverts 'Standing Here - July' was written in bold lettering at the end of the advert. Standing Here was intended for the bands new single but Silvertone forced the band to release, the more popular, She Bangs The Drums.
On Other 1989 Gig Promo Adverts 'July 'She Bangs The Drums'' was written in bold lettering at the end of the advert rather than the previously seen 'Standing Here - July'.
Standing Here had a short promo video produced by ex-Jesus and the marychain bassist.
She Bangs The Drums had two promo videos. Silvertone compiled 'previously used' home footage & a second video was made using Blackpool 89' footage, including shots from the soundcheck too (see 12 August 1989).
She Bangs the Drums (Single Mix) was a slight remix that edited the hi-hat intro, raised John's guitars and Reni's backing vocals higher in the mix.
The art print version had a sticker on the sleeve. The black sticker with white writing read 'ORE Z 6 includes special limited edition colour print'. Usually the 'Sugar' I Wanna Ba Adored sleeve was included as the bonus print, although the She Bangs The Drums 'Sugar' detail has also been included inside some sleeves instead. It is unknown if there were two runs of the limited prints or if the designs were split between the initial 5000. After some research it looks like the 'Adored' sleeve was included as the initial print and the 'Drums' Sugar Detail sleeve was only included in the I Wanna Be Adored 12inch years later. Fans may have swapped the prints over to suit the sleeve and release.
From: 31 July 2014 Thursday - Paul Schroeder Interview: 4, You weren't always credited as their producer (Mersey paradise being an example). Was there a tension between John Leckie and yourself because of this? How would have a Paul Schroeder produced debut album sounded in comparison to Leckie's? I cannot answer that. Too many hypotheticals. It is what it is because of the different dynamics.
See Media for the review, May 1989 - Sounds Magazine, Record Review: SINGLE OF THE WEEK THE STONE ROSES.
See Media for the review, 22 July 1989 - NME Magazine, Single Reviews by Roger Morton.
See Media for the review, July 1989 - Smash Hits Magazine, ‘Review’.
The Stone Roses - July 1989 - She Bangs The Drums IKON Video U.K Release Date
Notes: Ikon were the main distributor for Factory Records but also released other music related videos too. Silvertone issued the 'Home Footage' Promo Video on VHS.
It was available to buy in some record stores, Afflecks Palace and it was available to order direct from Ikon, Suite 48, Atlantic Business Centre, Atlantic Street, Broadheath, Altrincham, WA145NQ.
July 1989 - Ian Tilton Photo Session, Studio, Chorlton
Includes photos of the band behind pollocked glass with John holding an oversized camera, Reni in white bucket hat and Mani wearing stripes too. Date taken from ‘What The World Is Waiting For’ Ian Tilton Exibithion catalogue.
The Stone Roses - 25 July 1989 - The Stone Roses Japanese Release Date
CD-2982-47 - Alfa Records. Inc. - Y3,008 Yen
CT-2584-47 - Alfa Records. Inc. - Y2,537 Yen
Notes: The LP sold 20,000 copies in its first week of release in Japan.
27 July 1989 - Riverside, Newcastle
27 July 1989 - She Bangs The Drums (Promo) was set to feature on Top Of The Pops
Notes: From 27 July 1989 - Daily Star Newspaper: BAN THESE POP IDIOTS URGES MP. Tory MP Geoffrey Dickens wants pop nutters the Stone Roses banned from tonight's Top Of The Pops after one of them said he'd like to see Prince Charles dead. The controversial comments came from lead singer Ian Brown, who also said: "I fantasise all the time about putting a blanket over the Queen Mother's head." Furious Mr Dickens says if they do appear tonight, viewers should turn off in protest. "If viewers switch off, the BBC won't put these idiots on again," he fumed.
M - The Stone Roses feature in Rockin' On Magazine, Japan.
Notes: Japanese Magazine includes an interview with Ian, John and Reni. See Media for the interview.
M - 12 August 1989 - The Stone Roses feature on the cover of Sounds Magazine
Notes: See Media for the interview by John Robb.
N - 12 August 1989 - The Stone Roses LP is number one in the indie LP chart.
N - 12 August 1989 - She Bangs The Drums is is number one in the indie 45 chart
M - 12 August 1989 - NME Magazine spread rumours regarding a big G-Mex homecoming show.
Notes: Inspiral Carpets played the G-Mex the year after.
12 August 1989 Saturday - Empress Ballroom, Blackpool, Lancashire * Doors Open: 19:30, Stage Time: 21:30 * Ticket Prices: £6.00 (Advance) * Support Act(s): DJ Dave Booth, DJ Dave Haslam *
Soundcheck: She Bangs The Drums
Don't Stop (Intro Tape) / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / Sally Cinnamon / I Am The Resurrection
Notes: Tickets went on sale in June, A spokesman for the venue was quoted on the eve of the event as saying it was one of the fastest selling gigs in the ballroom’s history with all 4,000, of the £6, tickets being snapped up within three weeks.
Ian's mum and dad were at the show.
The band stayed at The Charlton Hotel, the NME conducted an interview at Room 111.
On Some Promo Adverts 'Standing Here - July' was written in bold lettering at the end of the advert. Maybe Standing Here was intended for the bands new single but Silvertone forced the band to release, the more popular, She Bangs The Drums. Standing Here had a short promo video produced and Silvertone compiled 'previously used' home footage for the She Bangs The Drums Promo Video.
Fans had travelled from all over to see the band perform, many Manchester fans who came down without a ticket rushed the emergency exit doors which were opened by fans from the inside. There was beachballs being thrown about the crowd, loads of Reni style sunhats worn inside the sweaty venue and beer was being thrown around it like it was mandatory.
£7.00 day return coach tickets were available from Piccadilly Records too, the coach departed at 12:00 opposite the Grand Hotel, Aytoun Street, Manchester to let fans enjoy a day out in sunny Blackpool.
Ian walked onstage with an electric yo-yo. Mani, Cressa and Reni threw ice pops into the crowd. Cressa joins the band as effects technician again, he can be seen clearly in the official video too.
In reference to the 1968 Paris riots Ian references the lemons he throws into the crowd "Suck 'em - you don't get your eyes watered with CS gas, it's true!".
Ian Brown questions the audience "Who is and who isn't?" before I Am The Ressurection.
From 16 February 2000 Wednesday - music365.com Ian Brown Q & A Session: From John Eden: "I'd like to know the meaning behind Ian's now legendary repeated utterances at The Roses Blackpool gig when he said, "Who is and who isn't?" Ian: On one - as in, who's swallowed an Ecstasy tablet. 'Cos I hadn't.
The crowd start the Manchester chanting and Ian responds with 'Manchester, yeah yeah I love you! Cause I'm from Glasgow.'.
The band's sense of triumph was shattered when they came off stage to learn that one of Mani's best friends had committed suicide, after being arrested for drug possession. Mani later said: "Everything we did was tinged with sadness."
Outside the show as well as the incorrectly titled 'Tower Ballroom' t-shirts there was also some Lemon shirts and counterfeit 'The Stone Roses Blackpool '89' shirts too. The Blackpool 89' uses a black shirt with white 'The Stone Roses' writing. It has an orange lemon where the 'o' is in Roses. The 'Blackpool '89' writing is in orange too. It is unconfirmed if this was available officially inside the venue, but was seen outside the venue (after the show) and later in second hand records shops.
From Simon Spence's Book 'War & Peace': The Roses played the Blackpool Empress Ballroom on 12 August 1989: a Saturday and the 20th anniversary of Woodstock. The 4,000-capacity venue had sold out three weeks prior. It was a very special day – one where the Roses became truly an unstoppable force. Later, in 1991, Jive/Zomba would release a video of the gig. It was not filmed for such a purpose.
Acclaimed video director Geoff Wonfor, was tasked with making a video for upcoming single 'One Love' at the Blackpool gig. At the time Wonfor was best-known for his work on TV programme The Tube, films such as The Beatles Anthology, Eurythmics Live and McCartney Live. Blackpool Live released in 1991 wasn't intended for release. “It was meant to be a video for just the one song and I said to the band [when he arrived at Blackpool], Well can I shoot you doing it in the soundcheck? They said we’re not doing it in the soundcheck. So, I said so you want me to do it live? They said, no, we’re not doing it in the gig either… I said Well what the hell do you want me to do then? They said, well now you’ve got a thing, haven’t you? So, they didn’t do it in the soundcheck and they didn’t do it live on stage. So, I had to put a video together from close-ups of eyes and drumsticks and guitars and Ian’s hand waving in the air … so I had no sync for them at all…. And that was it; that was the Blackpool gig."
"“Somebody else actually used all my rushes and brought it out as whole gig. When it came out [as a full-length concert film in 1991] it didn’t get a good review in the NME and a lot of people didn’t like it. I couldn’t believe it [when I saw it]. They used all the trims from what I was doing for one song to do an entire gig from. At the gig I was getting my cameramen into it, they were filming other songs, to get them into it, to get them into what I needed. So around what I needed there were just bits and bobs which I was going to slow-mo … but they actually used it as a concert film. But I didn’t actually shoot it as that at all, ever; it supposedly done for one pop video. They then got somebody to put all the trims together for the gig video and credit me as directing the video, cheeky bastards. I had directed it – but I’d directed it for the video… not for a gig… and then I nearly crapped myself when I saw it. It is just bits thrown together."
Wonfor put the footage together for She Bangs the Drums. Jive/Zomba also used the footage for subsequent videos to accompany the release of the Waterfall single [1992] and the unreleased Standing Here single. The band’s manager Gareth Evans missed the show. “Gareth and I missed the Blackpool gig,” said his girlfriend Sue Dean. “Gareth’s car broke down and we got there for the last song… as they were doing Resurrection. We missed the whole thing… maybe it was chaos because Gareth wasn’t there – the band went on earlier than they normally would.”
See Media for the article, 19 August 1989 - Sounds Magazine, Live Review by Shaun Phillips.
See Media for the article, 19 August 1989 - Melody Maker Magazine, Live Review by Bob Stanley.
See Media for the article, August 1989 - NME Magazine Review : NORTHERN SOUL - The Stone Roses - Blackpool Empress Ballroom
See Media for the article, 26 August 1989 - RM Record Mirror Magazine, Live Review by Craig Ferguson.
January 2009 - Uncut Magazine, Stephen Dalton interviews Dave Haslam: You DJ’d at their legendary shows – e.g. Empress Ballroom, Spike Island. What do you recall about them? “Blackpool came around, the band didn’t want a support act. Ian was of the opinion that no band was worthy enough to share the stage with them, which was funny, and maybe even true. So they got a couple of their favourite DJs to play; they used to come and hear me at the Hacienda and they got Dave Booth who did a psychedelic night on a Tuesday at a club George Best used to own called the Playpen. I was playing just before the band came on, electric – it was like Manchester had decamped to that ballroom, it was totally fucking rocking. But they’d set up the decks at the back of the stage and I was playing they were loading a few extra things onto the stage. I played ‘Sympathy for the Devil’ and then the band came on and that rumble of ‘I Wanna Be Adored’ started and I realised that my route off the stage had been blocked. I watched the whole set stuck behind John’s guitar amp. From the stage it was amazing though, and I remember feeling the power of the audience; you could feel their excitement in an almost physical way, like a rush of thunder that could knock you over.
Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ''We got to Blackpool and there was no doubt about it, the whole thing stepped up a notch that day. Hundreds of people wandering around the golden mile, buying uo what became known as “Reni Hats” – the local traders couldn’t believe their luck – selling out of sun hats that had probably sat on their shelves for a decade. People swarmed the town wearing approximations of the bands’ outfit on the album sleeve, a baggy army out in full force – it really was happening. ''...and then the band came on and played one of the most important and iconic gigs of the era. Watching the start from the balcony to see 3,500 people jumping up and down as one as “adored” kicked in was spine tingling. It was so obvious.''
Fans said ''A brilliant gig for everyone - apart from the guy outside trying to flog "Tower Ballroom" commemorative t-shirts! I'll never forget walking into the crush as the DJ played Debaser by the Pixies.''
Martin from the Inspiral Carpets was at the show.
Adam Walton wrote 04 November 2011 Friday - BBC Wales Music at 17:29:
But the real life changing experience wasn't the day that I bought their album (19 May 1989) the real life changing experience came when I saw them at the Empress Ballroom in Blackpool in August of that year. I'd seen a couple of bands before, but I'd not experienced anything like that; still haven't. The sun shone. The prom was full of kids my age in big trousers and bright t-shirts. There was candyfloss and lollipops. A fug of marijuana hung over the Golden Mile. The smiles were brighter than the dayglo signs on the funfair. This is all pretty much pat nostalgia. Ooh, how wonderful things were when I was thin, floppy-haired and fancy free. However, I'm not really a nostalgist. Necrophilia with one's past is unhealthy. As somebody once sang: "the past was yours but the future's mine..." The sounds that came out of the speakers before the Blackpool gig filled me with a wonder and excitement I had never experienced before. It was Damascene, an ear-opening revelation fashioned entirely from incredible noises. I had grown up on my mum and dad's old 50s and Motown rock 'n' roll singles, their Beatles and Bob Dylan albums. I started listening to Peel in 1988, bemused but attracted to the fey jangle of The Pastels, the strange rush of Loop and the banjaxing, splenetic grit of The Fall. I'd never heard Public Enemy, or Sly and the Family Stone, or The Stooges, or A Guy Called Gerald, or Sympathy For The Devil, or the multitude of other records I heard that night in Blackpool. But I went seeking each and every one of them out in the days following the gig. I'd never ever heard anyone playing such a broad and unfettered selection of music. Genres, like the Berlin Wall, came down over those couple of summers - and that was the life changing inspiration. So, maybe this piece is more a tribute to Dave Haslam (the DJ that night) than it is to The Stone Roses. The latter enabled the former to amaze me and broaden my listening. Four thousand people danced: kids from council estates, from nice middle class houses, from cities and villages, from Merseyside, Manchester and Mold. Indie kids, ravers and breakdancers. I try to live that open-minded, joyous dream in every DJ set I do, in every radio show I present, and - almost inevitably - fail every. But it's a goal worth aiming for. The fact that they've reformed and are in danger of further desecrating that early philosophy worries me. But if one person goes to those gigs and gets their head blown as wide open by the possibility of sounds as I did, way back then, it will be a triumph.
Official Release: VHS Video - Live Blackpool (see 04 November 1991, VHS Video was missing Sally Cinnamon & Standing Here)
Official Release: Laserdisc - Live Blackpool (Made In Japan. 12inch Laser Disc in unique sleeve with picture inner sleeve)
Offical Release: VHS Video - The Complete Stone Roses (includes Live Blackpool on the same tape. Inner sleeve shows credits to the recording.)
Official: 2004 - The Stone Roses - The DVD (2 DVD Set) *same video source as above but with remastered audio 5.1. surround sound audio, missing the two tracks. The 5.1. Audio mix was by Ade Pressly at Strongroom Studios.
Official Release: 2009 Anniversary Deluxe Edition DVD *same source as above, still missing the two tracks.
Bootleg: At The Empire Ballroom Black Pool (Incomplete Recording) (White Labels) Vinyl LP
Bootleg: At The Empire Ballroom Black Pool (Poor rip of the above LP) CD-R - I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / She Bangs The Drums / Where Angels Play / Shoot You Down / I Am The Resurrection
Bootleg: Rock Flowers (RFLP 028, Rock Records) - Side A - I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone - Side B - She Bangs The Drums / Where Angels Play / Shoot You Down / I Am The Resurrection
Bootleg: The Flashback (Skin Up Records, Skin UP 001) CD - Official VHS Audio Source Don't Stop (Intro Tape) / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / I Am The Resurrection - Bonus Vinyl Rips: So Young / Tell Me / Sally Cinnamon (7inch Mix)
Bootleg: Blackpool Empress Ballroom (aka "The Flashback") (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 60mins, Cassette originally priced: £3.50) (Will Odell's Blackpool Recording sounds brighter and more EQ'd than The Flashback source.) CD / Tape
Bootleg: Tape (IAWS I Am Without Shoes / stoneroses.net (Will Odell)) Audience Recording
Bootleg: Tape (Made Of Paper Fanzine) Audience Recording
Bootleg: Tape (Cover uses the image from the Silvertone Video release 'Blackpool Live' but the tab denotes 'Blackpool Continental Halo'. On a SONY 90 cassette.)
Bootleg: Tape (Audio lifted from the Silvertone Video release.)
Bootleg: Complete audio lifted from Audience Video Recording.
Video Bootleg: Complete Audience Recording
Video Bootleg: TV Live & Clip (Video Cassette Made In Japan. Running Time approx: 117mins. VHS Video) Fools Gold (Promo) / I Wanna Be Adore (Promo) / Elephant Stone (Promo) / 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) / Interview (Longish Ian and John interview, 1989) (Transmission UK TV) / She Bangs The Drums (Blackpool Promo) / Rapido Interview (uncut), October 1989 / Fools Gold on TOTP (23 November 1989) / Made Of Stone (Late Show - Power Cut, November 1989) / Elephant Stone (Music Box Pro) - Also... - 12 August 1989 Saturday - Empress Ballroom, Blackpool (Amateur footage) - I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / Sally Cinnamon / I Am The Resurrection
Video Bootleg: DVDR (New Stomper Disc. NSD-008. NTSC) Official VHS Rip with bonus promo clips: I Wanna Be Adored (Promo) / Love Spreads (Promo) / Ten Storey Love Song (Promo) / Love Spreads #2 (Promo)
Video Bootleg: Blackpool Empress Ballroom / TV Appearances Video (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Originally Priced: £15.00) Video (PAL) - Running Time (Approx): 100 mins - Music Box Interview with Ian and John, Spring 1989 (features She Bangs The Drums promo vid) / Interview with Ian and John, 1988 (features Elephant Stone promo vid) / I Wanna Be Adored - Sugar Spun Sister (live at Manchester Hacienda Feb 1989) - 12 August 1989 Saturday - Empress Ballroom, Blackpool (Amateur footage) - I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / Sally Cinnamon / I Am The Resurrection - More TV Clips - Rapido Interview with all four Roses in the studio, late 1989 / Made Of Stone live on The Late Show, November 1989 / Fools Gold promo vid / Fools Gold on Top Of The Pops, November 1989
Video Bootleg: Amateur Audience Recording - Blackpool Empress Ballroom / 03 June 1990 - Finland Provinssirock Festival (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*IAWS exclusives - recorded from master - guaranteed lowest generation you'll find* " Originally Priced: £15.00 VHS / £17.00 DVD) VHS Video / DVD (PAL) - Running Time (Approx): 100 mins - Blackpool Empress Ballroom 1989 (Amateur footage) "From IAWS website: Camera work at the Blackpool gig leaves a lot to be desired, and the camera struggles with the lights. Still, it still captures the atmosphere better than the official video, and includes the 'missing songs'; Standing Here and Sally Cinnamon." /
Finland Provinssirock Festival 1990 (Amateur footage) "From IAWS website: Finland mainly features Ian Brown and Reni as they are centre stage, with some good close-ups. The camera occasionally pans to the left to show John Squire and Cressa, but only shows glimpses of Mani on the other side of the stage. Camerawork is steady for the most part, but is occasionally obscured by people in front. Bizarrely, at one point a bicicle is lifted through the audience! The stage is generally well-lit. The sound is very good, with crystal clear guitar and drums, even if it is a tad on the tinny side. The band put in a terrific performance, especially One Love and Sally Cinnamon. The good sound allows you to hear the intricacies of Squire's guitar work, and some great Reni and Ian harmonies. Ian certainly has one of his best singing days. - She Bangs The Drums (last 30 seconds) / Shoot You Down / One Love / Sally Cinnamon / Standing Here / Fools Gold (cut after 4 minutes)
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
1989 - Until The Sky Turns Green Fanzine
Notes: Staffordshire based Fanzine.
17 August 1989 Thursday - 1989 - Made Of Paper: The Stone Roses Fanzine is released in Piccadilly Records, Manchester
Notes: Written & made by Tim ''I was a teenage'' Vigon.
Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ' I’d decided to write a fanzine. You just did that sort of thing then. Nowadays you’d write a blog, or just go on twitter – but I had to DO something…'' ''It was a typically teenage affair – a track by track (complete with marks out of 10) of the album, gig reviews, a ‘feature’ about how us hardcore fans were going to have to accept that the world was about to discover “our” band and they wouldn’t be our little secret anymore…I can’t even look at it now…it’s just an outpouring of young naive enthusiasm'' ''so off to Blackpool I went complete with a ring bound file with all the planned pages for the fanzine in it, hoping to somehow get the band to see it. The day before I went into my mums work and made hundreds of little photocopied flyers advertising the zine – “Made Of Paper ; The Stone Roses Fanzine ; On sale Monday in Piccadilly Records” (they wouldn’t mind I’m sure….)…'' ''I gave out my flyers, threw them from the balcony in the massive empress ballroom – making sure everyone got one’ ‘After the show (12 August 1989), we stalked the side of stage to see if we could get spotted and invited backstage, and right on cue, there was Adge, inexplicably still not irritated by me and bunch of mega fan mates and he hauled us over the barrier and walked us into the after show party they held backstage where the band, growing entourage and a stream of other bands, faces and lunatics partied. We had our cameras and snapped away, the band each looked over the fanzine and gave it their blessing – John Squire – “it’s very thorough”, Reni – “sound but don’t be turning up on my doorstep and shit like that” and then whilst most in the room probably made it through the night with a cocktail of heady chemicals, we were back in the car heading for Macclesfield high pretty much solely on the events of the day.'' ''The fanzine wasn’t ready for Monday…we had to get the photos developed (this was 1989 don’t forget!!!) and i had to get access to my mum’s photocopier at work…By Thursday I had it sorted and sauntered into Piccadilly records with 30 fresh maiden copies of “Made Of Paper”. As usual I sought out my behind the counter friend Martin, and (somewhat belatedly) asked him if they’d sell my fanzine. “Of course,” he replied, “what’s it about” …. when I told him, he shook his head and smiled a little half smile and went off to fetch the manager. The manager came out swearing his head off – “where have you been you little prick, we’ve had people bothering us about this fucking fanzine all week and we didn’t even know about it” …. I mumbled my apologies and said that it was all done now and I had it with me…. “How many copies have you got” …. I told him and his face turned purple. “FUCKING THIRTY? YOU’D BETTER GO AND GET PHOTOCOPYING YOU LITTLE TWAT WE’RE GOING TO NEED HUNDREDS OF THESE”.''
August 1989 - Until The Sky Turns Green Fanzine is released after the Blackpool Show
Notes: Dave Simpson?
23 August 1989 - 09 September 1989 Fools Gold & What The World Is Waiting For Recording Sessions, Sawmills, Golant, Fowey, Cornwall PL23 1LW
Drum Loop (From ? James Brown Vinyl Record) - Made in a Akai S1000, Tuned, speed adjusted and sequenced on Cubase.
Reni
Custom kit: Floor toms (Pollock) were miked with [Neumann] U87s and 421s.
Gretsch bass drum miked with a Shure D12 and Sennheiser 421.
Ludwig snare.
Smaller Noble & Cooley snare, miked with a Shure SM57.
The hi-hat had an AKG 451, padded down.
Bongos / Congas.
John's Gear - Pink Fender Stratocaster (Rhythm) / Hofner 335 (Pollock) (Lead) (Lexicon PCM60 Reverb) / Fender Twin reverb Amp with JBL speakers (the old-style Twin with the silver front and black knobs), miked with Shure SM57 or SM58 together with a Neumann U67.
Aside from the wah pedal, the only other effects Squire used were Ibanez chorus and overdrive pedals.
Mani's Gear - Rickenbacker 4005 Bass (Pollock), DI'd and fed through an Ampeg SVT amp miked with an AKG D12 / Ashbory bass (short-scale silicone rubber strings) * Never made the final mixdown.
Ian Brown - Control Room Shure SM58 Microphone (Lexicon PCM60 Reverb)
Fools Gold / What The World Is Waiting For / Where Angels Play (Version)
Notes: The sessions began on the 23rd and continued.
John Leckie was producing and he engineered along with Paul Schroeder and John Cornfield.
A remote studio located within a creek on the banks of the River Fowey. The only means of access is by boat or, when the tide is out, by walking along a railway line. "The Sawmills' in-house engineer, John Cornfield, largely built the studio, and he was involved in the 'Fools Gold' sessions during the 18 days that we were there.
Video footage can be seen from the Sawmills Recording on USB featured in the 2009 Legacy Edition Boxset. The audio was only the official 4.15 version of Fools Gold.
Apparently John wrote it around a drum break he’d found on a “breaks and beats" album he’d picked up because he liked the photograph on the sleeve, of African-American athletes Tommie Smith and John Carlos giving the Black Power salute on the medal podium at the 1968 Olympic Games in Mexico City. John spent time trying to master sequencers and samplers, hooked on Public Enemy’s Fear Of A Black Planet “Too much like a science lesson,” he ultimately concluded and took the project to John Leckie.
The pink Fender Stratocaster would later become into Ian's possession and he would write his solo effort Can't Me See on it.
From 18 November 2021 - The Gearspace.com Community Interview with producer John Leckie: I am interested in the use of click tracks in your productions. Mainly on The Stone Roses, the Bends and Z (MMJ). Did you use clicks throughout the tracks or would they be turned off at a certain point? Do you generally prefer tracking with or without clicks? (I guess this is a project-to-project question...). - Jimmyz
John Leckie: If you run down the best top 25 records of all time I bet you none of them were recorded with click tracks.
There's no click tracks on The Stone Roses apart from Fools Gold...
Can you tell us anything about the drum loop in Fools Gold? - badger17
John Leckie: The drum loop on Fools Gold was found by John and Ian from a breakbeat record of loops they had. I don't know what it's called or where it comes from. The original demo of Fools Gold had John playing the guitar line and Ian singing all the final lyrics over this drum loop so that's how it was used. It plays through the whole song although the drums are overdubbed playing almost the same pattern to fatten it and in the mix it's taken in and out to add variation. The same loop is used on What World Waiting For and One Love.
05 November 2010 Friday 01:00 ''Story Of The Song: Fool's Gold, The Stone Roses, 1989'' Robert Webb article: The original demo the band took to Sawmills comprised little more than a four-bar drum loop stolen from a James Brown song, a tambourine and some rudimentary vocals. "When the track ran out on that record, you could hear them lift the needle and put it on again," recalled Leckie....Brown almost whispers his cryptic blank verse which, he claimed, was inspired by the Humphrey Bogart movie 'The Treasure of the Sierra Madre'. "Three geezers who are skint and they put their money together to get equipment to go looking for gold," he said. "Then they all betray each other... That's what the song is about."
1999 - Total Guitar Magazine: Leckie remembers the initial demo of Fools Gold as being somewhat naive. "They had a breakbeat record which the loop came from, and the demo was them playing this record with John playing the riff and Ian singing over the top. When it came to the end of the track, they just lifted the needle up and put it back at the beginning, and Ian would carry on singing!" Goes to prove that you don't need costly hi-tech gear to create successful music!...However, six minutes into the song, Leckie added a studio trick to Squire's lead playing. He fed a drum machine's hi-hat pattern into the key input of a noise gate, which was applied to the guitar part. The gate opens up in time with the high-hat rhythm, creating a sliced up effect. Popularised by The Shamen, (Move Any Mountain), this gated guitar effect was also used on Bebop Deluxe's Ship Of Fools (1976).
23 September 2005 Friday 23:59 - The Guardian Newspaper article, by Simon Hattenstone, Ian Brown Interview by Simon in a Milkshake bar in West London: ...Actually, he says, the song Fools Gold anticipated their future. "See, I wrote that based on that film The Treasure of the Sierra Madre, which tells a story of the music business and what man is and all the temptations that's put in front of him. These three guys who've got fuck all go prospecting for gold. They put a penny each in and get a spade and a sieve and after a while they've put so much graft in and they've had no sleep and they're filthy dirty and they're sleeping rough but each man's got a little bit of gold under his pillow, and then he thinks, 'Shit, that man's gonna come and try and rob my gold. Fuck, I better slit his throat in case he actually does. Actually, I might have his piece because I worked a bit harder than him. I was the one at the top of the mountain when he was only doing the cooking'. And that's how it becomes ..."..
From Story Of The Song: Fool's Gold By Robert Webb Friday 5 November 2010 01:00 ''Production was handled by John Leckie and the recording took a little over a fortnight in the late summer of 1989...The original demo the band took to Sawmills comprised little more than a four-bar drum loop stolen from a James Brown song, a tambourine and some rudimentary vocals. "When the track ran out on that record, you could hear them lift the needle and put it on again," recalled Leckie. The loop was recreated in the studio and the band's parts then gradually pasted over the top. Squire worked out his part on a 16-track tape recorder, later adding a wah-wah effect, and the band's drummer, Reni, bolstered the original backing loop. The result, squeezed into vinyl grooves, was as tight as the studio's floor space. Brown almost whispers his cryptic blank verse which, he claimed, was inspired by the Humphrey Bogart movie 'The Treasure of the Sierra Madre'. "Three geezers who are skint and they put their money together to get equipment to go looking for gold," he said. "Then they all betray each other... That's what the song is about."
From February 1998 - Uncut magazine Ian Brown interview: But we were smokin’ at the time. We’d written Fools Gold.”
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: I believe that you recorded almost an album in Cornwall - that got scrapped, is that right? No, no, that’s not right. We did do ‘Fool’s Gold’ in Cornwall and ‘What The World Is Waiting For’. No, the only song that we recorded that never got used was ‘Where Angels Play’.
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold:... Thereafter, with the Stone Roses playing to sold-out venues across the UK, the band members went back into the studio just under six months later, on August 23, to commence work on 'Fools Gold'.
"The record company was looking for another single, but Ian and John were also getting prolific," Leckie explains. "The main thing was, they had a killer track." As it happens, the studio that band and producer entered was quite unique: the Sawmills in Cornwall, one of the UK's first residential facilities and also among the most remote, located within a creek on the banks of the River Fowey. The only means of access is by boat or, when the tide is out, by walking along a railway line. "If they tell you to be there at four o'clock to get the gear in and you turn up at five and the tide's gone, you have to wait 12 hours before your next chance," Leckie remarks. "Everything fits on the little boat and off you go. Then, once you're there, you can't get out unless the tide's in or you want to take a half-hour walk through the woods. It's a fantastic place." The main building, a 17th-century water mill with low ceilings and plenty of natural daylight, contains a live room, a couple of iso booths and 'the cave', a small bare rock area at the back of the studio, in addition to a control room and machine room.
In 1989, as is the case today, the control room housed an 82-channel Trident Series 80B console and 24-track Otari MTR90 MkII recorder.
"I've worked on a lot of projects there," states Leckie, "including a psychedelic album named Chips From The Chocolate Fireball that I produced in 1987 for the Dukes of Stratosphear. This was XTC under a different persona, and the Roses told me that record was the main reason for them asking to work with me." "The Sawmills' in-house engineer, John Cornfield, largely built the studio, and he was involved in the 'Fools Gold' sessions during the 18 days that we were there...Piecemeal in nature, the recording approach for 'Fools Gold' was totally different to that employed for the album. John Leckie didn't hear either this track or 'What The World Is Waiting For' until he met up with Ian Brown and John Squire in Cornwall. Then, what he was presented with in terms of the former song was a demo consisting of a four-bar drum loop and tambourine along with a guitar, vocal and some reverb.
"The drum loop came from a record," Leckie says, "and the funny thing about it was, when the track ran out on that record, you could hear them lift the needle and put it on again. They'd brought the record with them, so we copied the drum track and made the loop in an [Akai] S1000, sequenced on Cubase. We spent ages tuning that loop, trying to get the right tempo and generally fiddling about, and we quite enjoyed doing that. After that, the challenge was where to put the band on top, how to represent their individual characters. With any band, I like to give each of the musicians equal importance.
"The song didn't really have any structure at this point — it was kind of verse, chorus, jam — and so what we did was lay down about five minutes of the loop onto tape before adding the guitar and bass, trying to determine what to put on without destroying the vibe. Tuning the loop had set up the vibe, and whatever we put on it would kind of change it, so different ideas came up, like a second bass line that floats over the top of the main bass line. Then there was the idea of sticking on the one note, 'E', and then coming back to the loop again. This gave us loads of possibilities, which nowadays would be easy using Pro Tools, but back then we had to imagine something, cut the tape, and if we got it wrong, cut it back again."
For Leckie, the more laborious method is also the most enjoyable one. "I've done records on Pro Tools, but I just prefer the whole attitude and discipline with regard to tape. Getting your head around things can be a lot of fun, whereas when you're given the freedom of using Pro Tools it can get painful because you spend all your time exploring that freedom without ever really reaching a conclusion."
While Mani's spray-painted Rickenbacker bass was DI'd and fed through an Ampeg SVT amp miked with an AKG D12, he did also try playing an Ashbory bass with its short-scale silicone rubber strings. This, however, never survived the final cut.
"Of course, the big problem with us wanting to retain the original vibe of the loop was what the drums were going to do," Leckie comments. "Reni would play along, aware that we didn't want to replace the loop, even though on the final record it's mixed out in several places to reveal Reni's playing and provide more intensity. He actually played great across the loop, using his own custom kit made up of bits and pieces: floor toms painted by John Squire, a Gretsch bass drum and a Ludwig snare, although on 'Fools Gold' we experimented with a smaller Noble & Cooley snare. This was miked with a [Shure] SM57, while there was a D12 on the bass drum along with a Sennheiser 421 to provide a bit more slap and clarity. The D12 was to give it more weight, and we had to position both at the same distance to avoid phase problems. The toms were miked with [Neumann] U87s and 421s, while the hi-hat had an AKG 451, padded down. As the Sawmills live area is quite small with a low ceiling, solid stone walls and lino on the floor, the drums always sound very tight in there. Reni also played bongos, and I think he attempted congas, too, but a lot of 'Fools Gold' has a bongos rhythm."
Whereas the drums were positioned in the centre of the live area, Mani's bass amp was closed off in the aforementioned 'cave'. John Squire, meanwhile, played his pink Fender Stratocaster and custom-painted Hofner 335 copy in a far corner, opposite that occupied by the studio's grand piano, with two screens supporting a horizontal one that served as a kind of roof, while a third served as a makeshift door. Inside this setup, Squire used a Fender Twin reverb with JBL speakers, rented from Dreamhire, and played lead parts on the Hofner and rhythm on the Strat, captured with either a Shure SM57 or SM58 together with a Neumann U67.
"Things weren't recorded in a big, open space," Leckie confirms. "They were recorded in closed spaces. But then, the main room itself isn't that big anyway, and the control room is right next to it, separated by a three-foot-thick stone wall, providing perfect separation."
It was in the control room that Ian Brown recorded his vocals, an SM58 having been set up between the main monitors that were only about 15 feet apart. Leckie wasn't concerned about a little spill, and he also had little to worry about in terms of Brown's performance. "It was a pretty simple vocal," he asserts. "The phrasing never changed between the guide track and the final version, and we always had the same reverb on his voice; a Lexicon PCM60, whose reverb is very rich and clear, and which was also used on the main guitar riff."
According to Leckie, 'Fools Gold' evolved as the sessions progressed, especially the song's second half. It was, after all, released in two versions: one clocking in at nine minutes, 53 seconds; the other, an edited down radio mix, lasting a mere four minutes, 15 seconds.
"The playout on the nine-minute, 53-second version kept getting longer and longer," he says. "John would have different ideas for the various parts, saying 'Oh, I need to extend this by three bars,' and we were on the leader tape, picking up on code and everything. That meant we had to edit, copy and jam-sync the code, and then fly in everything that had gone before — like the drum loop and bass — sample it onto the Akai S1000, sync it up with Cubase and fly it back in. The object was to eventually get everything onto tape, so when it came to the mix anyone could replicate what we'd been doing.
"A lot of effort was put into getting the right sound. They wouldn't play anything unless it sounded good. It wasn't a case of 'OK, turn the mics on and keep going.' We'd spend three days working on the drum sound, and then Reni would be too tired to play so we'd say 'Well, let's do the bass.' Mani would spend two days working on the bass sound, and he'd go back and change it. And then John would take delivery of endless guitars and amps, plug them in and try different mics, but it was always the same parts being played and I would share in the learning process. It wasn't a case of wild experimentation, but just getting the best possible sound and something that we all got off on. In fact, whenever there was experimentation, we'd end up going back to the original sound.
"Over the 18 days it was a creative process. The second half of the song was all worked out in the studio, and then there were these crazy noises that I highlighted in the mix. We'd messed around with things like slowed-down cymbals, and at the time none of those experiments had worked, but then when I got to the mix I had all these weird tracks to play around with and you get glimpses of them in the second half of the song. Once I got on a roll, there was a temptation to somehow incorporate all of the experimental stuff, but in the end I just retained the most important elements.
"Having recorded the album very much as a band, doing the 'Fools Gold' parts one at a time was quite different for us. However, because of the groove of the track and the atmosphere working at the Sawmills, everyone enjoyed it. We all picked up on the spirit of the place. The Stone Roses were, you see, a very vibey band. And it also helped that, on the first day we arrived there, the record company phoned to say that they had an advance order of 30,000, meaning that, no matter what we did, the single was going to chart. It was a good position to be in, and while some bands could have felt under pressure to deliver the goods in that kind of situation, the Stone Roses thrived on it."
And they did indeed deliver. Still, the fact that 'Fools Gold' was so different to the preceding album made it stick out like a sore thumb when it was tacked onto the end of the American release. "It was totally out of context," insists John Leckie, who has recently been working with another Manchester outfit, New Order, as well as an American band called Longwave. "In fact, the scary thing was coming up with a single that was nothing like the album, but it enjoyed a lot of success as an 'indie dance crossover', so we obviously got it right!"
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: Do you have / was there any demo material for Fools Gold, What The World Is Waiting For and One Love/Something's Burning? What did it sound like? JL: Yes...there was a demo for Fools Gold (originally considered as a B side) that was a drum loop played from vinyl, with a guitar playing the riff, and vocal with the same lyrics.... It was done by John and Ian at home on cassette 4-track. Same for What World Is Waiting For. There was no demo for One Love/Something's Burning.
IAWS: So is 'What The World Is Waiting For' the same drum sample as 'Fools Gold'? And, to clear this up once and for all, what EXACTLY is Reni playing on Fools Gold, and which part is the sample, as there's been a lot of confusion about that one! JL: Yes, it's same drum loop on 'What World Is Waiting For' as 'Fools Gold'. That was the only one we had! Reni plays full drum kit, bongos, shakers, tambourine etc. all the way through. Its mixed so there is some mystery about it all... I "blurred the edges" so you can't tell which is which... it's all one. It was mixed at RAK Studios at 8:30 in the morning.
September 1989 - Fools Gold & What The World Is Waiting For Recording Sessions, Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB
Fools Gold (Schroeder/Leckie Mix)
Notes: The four days included three days of Fools Gold overdubs, Ian's vocals and on the fourth day mixing. Drum clicks, additional percussion and vocals were mixed at Battery Studios. What The World Is Waiting For with the digital click intro can be heard on the Fools Gold CD pressing with catalogue number ZD43322. The mixing was deemed unsuccessful, see 03/04 October 1989.
From: 31 July 2014 Thursday - Paul Schroeder Interview: 15, Having worked on most of the Roses material at some point or another, what for you personally is the song you are most proud of having had an input on and why? I think that Fools Gold would not have turned out the way it did if it weren't for me. I grabbed the reigns there a little and most of my ideas ended up on the record. I made sure that the rhythm was right to overdub on, I produced a lot of Johns guitar work and I got just the right vocal from Ian that completely sells the song. I even played keyboards on it…uncredited of course… thanks Mr Leckie.
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold:...Then we went back to Battery Studio One for four days, where Ian did his vocals and John [Squire] played all of the little wah-wah guitar licks that he'd worked out to go between the main lines. Paul Schroeder and I did the mix at Battery, but it didn't work out — spending three days on overdubs and then the last to do the mix very rarely works. There's a lack of objectivity and distance, because you always tend to focus on the last things you record. Time off helps. And what's more, as Alan Parsons has said, the time it takes to mix is directly proportional to the number of people in the room..."John Squire always had his Fostex 16-track recorder in the tape cupboard at the back of the studio, and after we'd gone home he would sit there with headphones and work out all his parts," says John Leckie. "He always did that, right through 'Fool's Gold', up until the second album. In fact, part of the reason for the breakdown of that second album was that John would sit in his bedroom with the Fostex while the rest of us waited in the studio for his guitar parts. He wouldn't improvise or make something up in the studio, but he got to the stage where he was really good. For instance, on 'Bye Bye Badman' there's a guitar that plays all the way through — a kind of counter-lead line, going through a Leslie — and I remember him playing that in about half an hour. However, we had to wait four days for that before he came out of the cupboard."
In 1992 - Labatt's 500 - The Taste Of The Nation is Released In The U.K. by PolyGram Special Projects – PSPCD 232. Promotional CD featuring various artists. This includes a unique mix of Fools Gold. It sounds like an early monitor mix. This has less overdubs, no drum click intro and is missing a verse too. The CD credits the song as normal 'Fools Gold (12" Version) 1989 Silvertone Records Ltd. (Squire/Brown) Zomba Music Publishers Ltd. Producer and Mixed By – John Leckie'. ''Labatt's, Canada's favourite lager is in a unique position to be able to bring you this superb Cd featuring great tracks from the last three decades.''
Official: Labatt's 500 - The Taste Of The Nation () 1992
European / Japan Crew
Ian Brown
John Squire
Alan John Wren
Gary Mounfield
Steven William Atherthon (aka Steve Adge) - Tour Manager
Steven Cresser - Guitar Technician
Ian Bromley Evans (aka Gareth Evans) - Company Director
Graham Killough - Lightning Technician
Ian Wild - Front of house Sound Engineer
Mark Coyle - Monitor Sound Engineer
Chris Griffths - Road Crew
Alan Smith - Guitar Technician
Philip Smith - Road Crew/Security
Notes: Taken from the 19th September/9th October European Tour Short Term Insurance/Vias/Japan etc. list. Unconfirmed if Mark Coyle is the same guy who would roadie for Inspiral Carpets and later produce Oasis debut LP.
Fender Twin reverb
Messa boogie Mark III
Fender stratocaster
Gretsh guitar
Honner guitar
Fender F3 acoustic guitar
Boss BF flanger / Boss TU12 tuner / Boss TU12p tuner / Alesis midi verb / Cry baby wah wah pedals (2) / Octavia / Axis fuzz / fuzzface / Ibanez TS9 tube screamer / Ibancz CS9 stereo chorus / Boss TU12 tuner / Alesis midi verb II
Sabien Hi hat cymbals (2) / Premier drum pedal / Pearl hi hat pedal / Cymbal stands (2) / Drum stool / Snare stands / Guitar stands (2) / Floor tom legs (2) / Bass drum legs (2) / Sonar snare drum / Ludwig bass drum / Ludwig floor tom / Pearl snare drum / Zildjan 20in crash/ride cymbal / Paste 20 in heavy ride cymbal /
Cosmic percussion bongo (2)
Ampeg bass cabinet
Ampeg sut-11 bass amp
Rickenbacker bass guitar
Fender precision bass
Pansonic RXCW55L portable / Mega star strobes (4) / Pulsar rainbow strobe / Power Drives (2) / 20ft scaff bar / 10 x 12ft white drapes (2) / 4ft ultra violet tubes @ holders (4) / Kodak carousel projectors and leads (2) / case containing assorted control leads
Total value - £5,910
Notes: Taken from the 19th September/27th October European/Japan Tour equipment list (carnet).
23 September 1989 Saturday - Barraca Club, Valencia, Spain * Doors Open: 02:00am
I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: I Am The Resurrection's outro turns into a Fool's Gold style jam. Cressa joins the band as effects technician.
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £3, Running Time (Approx): 60mins) Tape
Bootleg: (1991 CD) Audience Recording
28 September 1989 - Rolling Stone Festival, City Square, Milan, Italy
I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician. Before Elephant Stone starts Ian shouts 'Go home, go on, off you go, go home, you sit down, we don't wanna know ya', go home or throw some fish, come over don't be shy...'
Danny Kelly interviewed the band in Paris for the NME Magazine in 1989, I presume backstage at the La Cigale gig, wrote: ''...Ian did, however, recently meet someone for whom he has respect, pure or otherwise, when the band played in Milan – the fearsome former middleweight champion of the world. The Master Of Disaster, The Brockton Brawler, Marvellous Marvin Hagler: “Yeah, that’s right. I was sat in this club and just saw him. No-one’d go near him ‘cos he looked pretty intimidating… I just stepped over this rope fence thing and walked up – ‘Marvin Hagler?’, ’Yeah’, ’I’m Ian Brown’ – and shook his hand. It was top… I realised that I was an inch taller than him! And I told him that he’s been robbed in the Sugar Ray Leonard fight…” “I suppose,” Ian considers, “boxers are my heroes.” Not a very trendy point of view, that. “I know, and I know it’s a laddish thing to say, but it’s true. It’s the fact that they’re putting themselves on the edge. They’re amazing. In boxing, you’ve got to be 100 percent completely wised up all the way through...”
Bootleg: The Small Club Gig 1989 (Made In Japan) - CDR
Bootleg: Audience Recording - Milan Rolling Stone Festival (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2, Running Time (Approx): 50mins) Tape - I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / I Am The Resurrection (cut)
Bootleg: Incomplete Audience Recording *Could be confused with 06 October 1989 Recording?
01 October 1989 - Futurama, Dienze, Belgium
I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / Fools Gold - I Am The Resurrection
Notes: Reni teases the audience with a brief Fools Gold drumbeat before launching into Resurrection.
The band are not happy at the show. Ian tells the audience "Go on, go home". Later in the evening, Ian singles out a crowd member and says "I thought I told you to go home". Mani joins in too. A female announcer even interrupts the set over the bands P.A. system. Cressa joins the band as effects technician.
Danny Kelly interviewed the band in Paris for the NME Magazine in 1989, I presume backstage at the La Cigale gig, wrote: ''What’s been the wildest bit of fan business this year? “In Brussels,” John enthuses, “this girl gave us a copy of one of my paintings done in stained glass and lead. God knows how long it took her to do…” “Yeah, but the most extreme thing that happened,” Ian interjects, “had to be that guy who was telling me how he’d been knocked down by a car in London in the spring and had gone into a coma. He said they’d played our album to him and he’s come round. He was thanking me for saving his life and all that. There were tears in his eyes when he walked away.” That’s an astonishing, touching story. “But then his mate comes up and says, ‘Has he been telling you’About his coma and that? Well, it’s all bullshit, he makes these things up…” Gulp. See what I mean about nutters? Change of subject...'''
Bootleg: The Futurama - Audience Recording
Bootleg: October Flowers - Audience Recording - CD-R
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2.50, Running Time (Approx): 55mins) Tape
03 October 1989 - Hamburg, Logo Club, Germany
Soundcheck: Fools Gold
I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / I Am The Resurrection
Notes: Cressa joins the band as effects technician.
From 02 November 2011 - Stone Roses ‘Rose Tinted Memories’ how they changed a fan’s life - a diary from 1989 By Simon Kelly: ...Fly to Hamburg, and say ‘let’s go and check out the venue’. Open up the big, barn type door, and immediately spot John Squire can we come in? Yes, of course. Go and sit down at the sides with Stuart. He is amazed that he is here, in the same room as his new found heroes. Tunes come on over the PA. The first one sounded like The Roses guitar sounds but was new to us, and then the 2nd one went on forever, full of wah-wah and funky sounds. Mani bowls over and says what do you think of the new single!?. This was Fools Gold’ and What The World Is Waiting For’ 6 weeks before it was to be released in the UK. Wow! 3rd October 1989 The Hamburg Logo and hearing THAT intro with the ‘woooooh’ alarm sound over the breakbeat (never did find out what this was!?…). I was at the front, taking photos with Mitsui, another Roses Superfan at the time, and Stuart stood on a chair at the side of the stage shuffling from side to side along with the beat. Trying to find the energy to keep swaying to an elongated ‘Resurrection’ was never easy. We stayed on after the gig, where we met up with a crazy English girl who put us up for the night. She was very proud of the fact that she’d let Clint Boon sign her ‘tit’ when Inspirals were over. Me and Stu had a nervous sleep in her flat that night...
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £2, Running Time (Approx): 45mins)
03 / 04 October 1989 - John Leckie Fools Gold / What The World Is Waiting For Mixing Sessions, RAK Studio Three, London
Fools Gold / What The World Is Waiting For
Notes: The tracks would be used on the double A-Side see 13 November 1989. Fools Gold was originally due for release in October but was delayed to coincide with the sold-out Alexandra Palace show.
Silvertone were given the finished single with What the World is Waiting For on the A-Side & Fools Gold on the other. The record company demanded the band release an edit of Fools Gold as the A-Side, the band managed to keep initial pressings with the sleeve noting 'What The World Is Waiting For' on the sleeve but Silvertone soon started including a 'Fools Gold' sticker on the sleeve. After the first run, the record company re-pressed as a double A-Side but replaced the record title as just Fools Gold on the sleeve.
From https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold:...
So, on October 3 and 4, I went into RAK Studio Three on my own and mixed 'Fools Gold' along with the 'B' side, 'What The World Is Waiting For'. Again, I was working on an SSL, and I took a couple of days to mix both songs."
It's interesting to note that, up to this point, the band members actually intended 'What The World Is Waiting For' to be the 'A' side, with 'Fools Gold' in the secondary role. "I thought 'Fools Gold' was fantastic and so to me it was obvious it should be the 'A' side," Leckie says. "But all along the band had different ideas, and in fact early copies of the 12-inch record did have 'What The World Is Waiting For' as the 'A' side. That got changed around pretty quick, yet it meant that throughout production we gave a lot of attention to the 'other' track."
From October 1989 - NME Magazine, News Article: STONE ME The Stone Roses, one of the big discoveries of '89, have a new single ready for release in three weeks. The track is 'What The World Needs Now' and was produced by John Leckie, who handled the group's eponymous Top 60 debut LP. The song was recorded as a warm-up to the band's date at London's Alexandra Palace on November 18. Before that however the Roses go to Europe for their first shows abroad - taking with them a travelling band of fans from hometown Manchester. Five coach loads are expected to travel round the tour which starts later this week in Valencia and continues through Barcelona, Milan, Ghent, Hamburg and Paris.
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: So is 'What The World Is Waiting For' the same drum sample as 'Fools Gold'? And, to clear this up once and for all, what EXACTLY is Reni playing on Fools Gold, and which part is the sample, as there's been a lot of confusion about that one! JL: Yes, it's same drum loop on 'What World Is Waiting For' as 'Fools Gold'. That was the only one we had! Reni plays full drum kit, bongos, shakers, tambourine etc. all the way through. Its mixed so there is some mystery about it all... I "blurred the edges" so you can't tell which is which... it's all one. It was mixed at RAK Studios at 8:30 in the morning.
04 October 1989 - Luxor Club, Cologne, Germany
I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / I Am The Resurrection
Notes: Cressa's birthday, he celebrated by drinking a bottle of brandy.
The Luxor Club billiard table drew more attention for some fans than the band did. Ian questioned the crowd “You don’t move much, do you?”.
Bootleg: Etched In Stone () Audience Recording
Bootleg: Luxor Club (aka "Etched In Stone") Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*Guaranteed lowest generation copy from master CD that you'll find*" CD Originally Priced: £11.00, Running Time (Approx): 55mins, Cassette originally priced: £3) CD-R / Tape
Bootleg: Luxor Club, Koln 4th Oct 1989 (Made In Japan. Cat No. STR-0435. Sutra Record Label. Same audience source as above, slight different splits to track times) - Audience Recording - CD-R
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
06 October 1989 - Melkweg, Amsterdam, Holland, Netherlands
Soundcheck:
I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: Date changed from '09 October 1989'?. Cressa joins the band as effects technician. Melkweg aka The Milky Way Club.
NME reporter, Danny Kelly, claimed Reni drummed for over an hour on his own during the soundcheck. He also claimed the date was 11 October 1989, see the full article under 12 October 1989 - Les Inrockuptibles Festival (18 November 1989 - NME Magazine).
As the band walk on stage Ian greets the crowd 'Hello, Hello...', shortly followed by '...You miserable bastards'. After Elephant Stone Ian continues 'Any of you have poles up your backs int' thee?' 'Where you from? See these here…Robots, who winds you up?...brain dead fuckers...We're having a bit of nap, we're tired now'. After Waterfall Ian remarked on the audiences’ lack of dancing and reaction 'No-ones gonna laugh at you' 'Two and half thousand people and not a word...shh shh someone's counting their money over here'. Sounded like the band were not having a good time at the venue.
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Mani: Sometimes we'd be off-key, or a bit shaky but it was never truly about those things with us then. If people want perfection they can sit at home and listen to a CD. The Roses were always on the fucking edge then. And we could fall and fail or we could fucking fly - and we frequently did.
Bootleg: Incomplete Audience Recording *Could be confused with 28 September 1989 Recording?
07 October 1989 - Rapido, TV
Notes: First Transmitted 07 October 1989. Rapido feature on The Stone Roses. The 2004 DVD notes 'Released by the arrangement with BBC Music. Recorded for Rapido'
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)
Video 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
09 October 1989 - Kevin Cummins Photo Shoot, Eiffel Tower, Paris
Notes: Band photos taken would later appear in the 1999 - The Stone Roses 10th Anniversary Edition Booklet.
12 October 1989 - Les Inrockuptibles Festival, Le Festival FNAC, A La Cigale, Paris, France * Support Act(s): The La's & Felt * Ticket Price: 120 Francs (This was equivalent to approx. £12.50 in 1989) *
I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play - Shoot You Down / I Am The Resurrection
Notes: Setlist taken from handwritten setlist. Coach services from Manchester and surrounding areas ran the day before. The La's co-headlined the show although the roses came on stage last.
A CS gas canister was let off during Waterfall. The 'tear gas' canister was not uncommon during large events in Paris during the late eighties. Manchester fans can be heard singing “Manchester, la la la", Ian and Reni responded with "Paris, Paris.". The same canisters were used in the 1968 Paris riots, the same riots that the band based the 'Bye Bye Badman' song and the debut LP artwork on.
Cressa joins the band as effects technician.
Edwyn Collins, performing the day after, said 'If you want to hear some old Orange Juice stuff you should've been here last night for The Stone Roses'.
See Media for the article, 21 October 1989 - Sounds Magazine Live Review by Rockford.
See Media for the article, 21 October 1989 - NME Magazine, Live Review by Terry Staunton.
Apparently this NME interview was conducted 09 October 1989 on the same day as the Kevin Cummins Photo Shoot at the Eiffel Tower. It is still unconfirmed, I presumed the interview was conducted backstage at the Les Inrockuptibles Festival, but after re-reading the interview again, the location is still unknown. See Media for the article, 18 November 1989 - NME Magazine, Ian & John are interviewed by Danny Kelly.
Bootleg: ‘Paris La Cigale’ () Audience Recording
Bootleg: CD (IAWS I Am Without Shoes / stoneroses.net (Will Odell)) Audience Recording
Bootleg: Tape () Audience Recording *noted as 07 October 1989, I Am The Resurrection is incomplete.
October 1989 - Garage Flowers Japanese Fanzine
October 1989 - She Bangs The Drums Japanese Release Date
3inch CD Single
She Bangs the Drums (Single Mix)
Standing Here
Japanese Tour
23 October 1989 Monday - Club Chitta, Kawasaki, Japan * Soundcheck * Doors Open: 19:00 * Ticket Price: Y4,500
Notes: The '23 October 1989 Monday - Kanihoken Hall, Tokyo' date is taken from an official Japanese, Silvertone Records, promo poster. Cressa joins the band as effects technician.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken by Paul Slattery during the soundcheck and backstage too.
01 October 2009 Thursday 12:14 - The Guardian Newspaper article, by Guardian Music - Hannah Pool Interview: What's your best Roses memory? Going to Japan for the first time. We'd done five years on the dole and then eight or nine months later we were in Tokyo having kids going crazy to the tunes we'd been working on. It was an unbelievable feeling.
24 October 1989 - Kenji Kubo Photo Shoot in Tokyo, Japan
Notes: Ian Brown wore the famous 'money shirt'. The most well-known photo from the session can be seen in The Complete Stone Roses booklet.
24 October 1989 Tuesday - Kan-1 Hoken Hall, Nihon Seinenkan, Tokyo, Japan * Doors Open: 18:30 * Ticket Price: Y4,500 (Advance: Y3,900)
I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: Cressa joins the band as effects technician.
The '24 October 1989 Tuesday - Club Citta, Kawasaki' date is taken from an official Japanese, Silvertone Records, promo poster.
Cressa joins the band as effects technician.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken by Paul Slattery backstage too.
From 14 July 1990 - NME Magazine, James Brown article: “The first Tokyo gig was like being in Manchester. We’d been told they’d be quiet and polite and clap between the songs, but they all started dancing as soon as we walked on, for a second we were properly gobsmacked. You go to the other side of the world and 2,000 people are singing along and screaming. That was the most satisfying gig. People told us not to expect too much but we were sure they’d dance and they did and it showed that it doesn’t have to be any set way.”
I: “I got a letter from a 15-year-old girl in Japan who got beaten up by her dad every time she came home from school, about how she put the album on and it stopped her committing suicide. All the secret messages she was picking up from it. Double heavy letter. I don’t know what she was asking me to do for her, that was a bit odd, there’s loads of wacky bastards though.”
Bootleg: Stand Still (Buccaneer Records, BUC 024, S.I.A.E. Made In Italy (P) 10/91 October 1991. Black face, white writing disc.) - Audience Recording - CD
Bootleg: Stand Still (Buccaneer Records, BUC 024. Different Disc pressing, same audio) - Audience Recording - CD
Bootleg: Tokyo (aka "Stand Still") (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 65 minutes, Cassette originally priced: ) Intro / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection - CD-R / Tape - Audience Recording
Bootleg: Tokyo Adoration (2014, Label: Gato Gordo.) LP Vinyl - Audience Recording - Side 1 - Intro / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone - Side 2 - Standing Here / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection
Bootleg: Tokyo Adoration (2014, Spanish Pressing, Label: Gato Gordo. Limited Edition to 150. Blue Coloured Vinyl)
Bootleg: Tokyo Adoration (2014, Spanish Pressing, Label: Gato Gordo. Limited Edition to 150. White Coloured Vinyl)
Bootleg: Tokyo Adoration (2015, Spanish Pressing, Label: Gato Gordo, Reference 24274. Yellow Coloured Vinyl)
Bootleg: Tokyo Adoration (2015, Spanish Pressing, Label: Gato Gordo. White & Marble effect Coloured Vinyl)
Bootleg: Tokyo, Japan 1989 Limited Edition (Glossy printed Sleeve reads ''Excellent sound quality. Cassette release only.'' White cover has a photo of the band in black and white, grey spine and dark grey rear with tracklist in white. Cassette has grey sticker with white lines but no text) Side A - Intro / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here - Side B - She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / I Am The Resurrection
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
25 October 1989 Wednesday - Mainichi Hall, Osaka, Japan
Notes: Date taken from Japanese Silvertone Records promo poster. Did this show happen? All the other dates on the promo poster conflict with the timeline.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken by Paul Slattery.
October 1989 - Roppongi Prince Hotel, Tokyo
Notes: The Third Coming, The Definitive Exibithion Catalgoue shows photos taken from the session.
27 October 1989 Friday - Kan-1 Hoken Hall, (Nippon Seinenkan) Nihon Seinenkan, Tokyo, Japan * Doors Open: 18:30 * Ticket Price: Y4,500 (Advance: Y3,900)
I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection
Notes: Additional date which did not feature on the original three date poster. Cressa joins the band as effects technician. The bootleg I heard is just a re-tracked version of the Stand Still bootleg.
October 1989 - Fools Gold Promo Video
From Simon Spence's Book 'War & Peace': Geoff Wonfor was again hired for the promo video shoot. At the end of October, the band flew to Lanzarote, one of the volcanic Canary Islands famed for it’s red mountains and submerged ‘Tunnel of Atlantis’, to shoot it. While there, they would also shoot a video for I Wanna Be Adored, which Jive/Zomba in New York planned to release as an American single.
Director Geoff presided over a chaotic shoot, curtailed by the police: “The band said they wanted to do [the shoot] at night. I said: ‘That begs the fucking question why are we in fucking Lanzarote when I could have been in Twickenham studios with a bit of volcanic rock?’”
“Our gear was impounded at customs, all the cameras, tripods everything, lenses. The upshot was we had one day to do two videos. Then when I asked the band when they wanted to do it, this is where I got a little bit uptight, they said they wanted to do it at night. I said, which begs the fucking question why are we in fucking Lanzarote when I could have been in Twickenham studios with a bit of volcanic rock. Then they had the great idea of lighting the mountain behind, lighting the mountain behind, which is 10 miles away and I had a generator of about four-foot square. They wanted it to look like it was shot on the moon."
"“We eventually found this wonderful place to shoot it,” explained Wonfor, “and we’d just got into it when a cop came up on a motorbike and came across to us. I was really at the end of my absolute fucking tether. We didn’t have any time to do it and all of a sudden, this cop was asking us to leave. I said to the cop, why do we have to leave, I’ve got a note here from the head of your country, state or whatever it is, that we can film here. He said, c’mon I could have a note from your Queen who says I can film in England but it doesn’t mean I can film in Buckingham Palace does it? I said fucking Buckingham Palace? This place is fucking volcanic rock, that’s all it is, volcanic rock, it’s not Buckingham Palace. So, the cop started to finger his gun. I said don’t even bother, because the only thing you can do at this moment in time is fucking kill me and right now that seems like a good option. So, he says, anyway who is this band? I said The Stone Roses. He said, they mean nothing, if it was The Beatles… I said, what do you know about The Beatles? He said, I know everything about the Beatles. I said, if you know everything about The Beatles you sing me, I’m Down. He went, ‘Man buys ring, lady throws it away, same old thing happens every day, I’m down, I’m really down’. He was absolutely word perfect. So, I thought, oh we’re getting somewhere here. And he just said, no, get out. You can’t film. So that was that. So, I went to Ian and said things are a bit iffy and he said, yeah, I don’t know whether I’m going to be able to… I said no, no if we get our arses down, we’ll be able to do the videos – it just means we’ve got one day to do two videos. He said, no, no, not the filming, scuba-diving, when am I going to be able to go scuba-diving? So, I said fucking scuba-diving! Everybody was off their box really, probably me included."
Back in London, Wonfor edited the footage and showed it to the band. “They said, it’s not what we want,” said Wonfor. “I said what? What did you want? They said, we don’t know. I said oh fuck this, I’m out of here, so I left. I’d cut it all together the way I thought, left the suite. I’d booked the suite for another two hours out of my own money so if they wanted to change anything they could. I got back to Newcastle and the phone rings – where are you man, we love you. I said fucking love me? Are you joking? And they didn’t change a thing on it, not one shot on it. I still have flashbacks of the trauma… "
M - 01 November 1989 - Paul Rider Photo Shoot, Nomad Studios, Manchester
Notes: Paul Rider photographed the band. An iconic photo of the band, from the session, was later issued in electric blue for tour merchandise posters. Music stores also stocked the posters too.
M - November 1989 - The Stone Roses Interview features in Smash Hits Magazine.
See Media for the interview.
05 November 1989 - Kevin Cummins Photo Shoot, Studio, Manchester
Notes: Kevin Cummins photo shoot. Images from the shoot would appear on the cover of "Never Mind The Pollocks, Here's The Stone Roses" 18 November 1989 - NME Magazine. The studio is turned into a polythene cube, with the band ‘Pollocking’ themselves with paint. After two hours, the shoot is over and the band walk through Manchester City centre - dripping in multi coloured paint - to Ian Brown's flat to shower. The handprints, down the stairwell of the building, were still there for many years.
Kevin chose a sky blue and white base for the photo shoot, as he was a Manchester City fan.
The photographs are noted in several variations in the The Third Coming, The Definitive Exibithion Catalogue. "Red" "Blue" "Black And White" "Standing". Reni's hat was also photographed from this shoot, the image would later be used for the cover of the 1999 Anniversary Edition and it would be displayed in John Squire's 2004 Art Exhibithion.
From 02 July 2007 Monday - The Guardian article, John Squire said: On one particular photoshoot, where the band members themselves became the canvas, the red I was using was so caustic we were in agony by the time the shoot was over. We were ferried out of Manchester in a van and dropped off one by one in the suburbs. I spent two hours trying to shift it, underwater in the bath, breathing through a snorkel.
The Stone Roses - 06 November 1989 - I Wanna Be Adored U.S.A Release Date
All songs written by John Squire & Ian Brown.
Label: Silvertone / RCA / BMG Music
Artwork: 'Sugar' Detail, 1988 Oil on canvas 32x32inch John Squire
Format: 12inch Vinyl. Printed in USA. Catalog Number: 1301-1-JDX
Matrix A-Side: Emw #05103 1301-1-JDX-A K disc CH
Matrix B-Side: 1301-1-JDXB'' (Scrubbed out reads '1301-1-JDA - B''')
Format: Cassette. Catalog Number: 1301-4-JS K disc CH
Format: CD. Catalog Number: 1301-2-JD Emw #05103X
I Wanna Be Adored (Edit)
I Wanna Be Adored
Going Down
Simone
Notes: U.S. Only Single, The U.K. & Japan would only see a release in 1991, with an alternate track list. Charted at number 18 on the Modern Rock Chart Billboard 1990. The Silvertone press sheet sent to Barry Weiss (Zomba NY) 10 October 1989 indicated the U.S. release date and updated him on Fools Golds due date. The sheet also noted '...This is the track that people have been talking about and we are releasing it 4 weeks prior to the US tour.' Michael Tedesco (Silvertone LA) who wrote and sent the fax also stated '(I'm not comfortable with introducing 'Fools Gold' commercially in the US until we have penetrated the core alternative audience with sales of 80-120,000)...'
The Stone Roses - 13 November 1989 - What The World Is Waiting For / Fools Gold U.K Release Date
Written by John Squire & Ian Brown.
What The World Is Waiting For - Lyrics by John Squire & Ian Brown.
recorded at The Sawmill & Battery Studios, 1 Maybury Gardens, Willesden, London, NW10 2NB. Produced & mixed by John Leckie. Engineered by Paul Schroeder, Paul also played keyboards (uncredited).
Label: Silvertone
Artwork: 'Double Dorsal Doppelganger One' Detail, 1989 Cellulose on Canvas, 24x28inch, John Squire. John said: “I think I’d filed away the idea after falling in love with the Orange Juice album that had two dolphins on the cover. I thought it was a very striking image. It had no reference to the song.”
From August 1989 - 'Northern Soul' 12 August 1989 Interview, conducted at The Charlton Hotel, Room 111, Blackpool (an hour before the band are due on stage) : We'll have a new single out as soon as we can, September maybe, called 'Anytime You Want Me'." It's one of four tracks that he and John are working on at the moment, discarding their backing of 40 unrecorded tunes for new material. "My incentive at the moment is the sleeve for the next single and the four songs for it," says John. "I usually tend to take one element of the lyric and magnify it for the painting. This time it's dolphins because Ian sings 'I'm no dog I'm a dolphin/I just don't live in the sea'. "We went to see a dolphin in Brighton," says Ian taking up the story. "It was really sad because it was in a tiny little pool. None of us said anything for about half-an-hour. We just stared at it. It kept going past and turning its head and smiling. It didn't jump up at anyone else though, did it? There were loads of people around the pool and it kept circling only jumping up whenever it saw us."
Format: 7inch Vinyl. Catalog Number: ORE 13
Fools Gold 4.15
What the World Is Waiting For
Format: 12inch Vinyl. Catalog Number: ORE T 13
Second Pressing (Card Sleeve) Matrix A-Side (Silver label): FES2 (x) ORE(T) 13 A-1 . Matrix B-Side (Black label): (x) ORE T 13 AA 2
Third Pressing (Smooth Matte Sleeve) Matrix A-Side (Silver label): FES2 DFI (x) ORE(T) 13 A-1 EX. Matrix B-Side (Black label): DFI (x) ORE T 13 AA 2 EX
Fools Gold 9.53
What the World Is Waiting For
Format: Cassette. Catalog Number: ORE C 13
Fools Gold 9.53 (Sleeve) - Format: CD. ORECD-13 23 A2 DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face).
Fools Gold 9.53 (Sleeve) - Format: CD. ORECD-13 12 A5 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face), Maunfactured In Europe (In sleeve).
1990 - What A Trip ("CBAK24045/2, 500 Only Special Edition Music & Interview Twin 2 CD Set. This Package Contains Product, TMs & Design owned by two or more companies. It does not claim to represent any of them". What A Trip - Interview. Format: CD. MADE IN U.K. BY PDO CBAK4045 10140301 02 % Catalog Number: CBAK 4045 baktabak. 1990 Tabak Marketing Limited.) Fools Gold 9.53 (Sleeve) - Format: CD. ORECD-13 23 A1 DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face)., Maunfactured In Europe (In sleeve).
What The World Is Waiting For (Sleeve) - Format: CD. ORECD-13 12 A1 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face), Maunfactured In Europe (In sleeve).
Fools Gold 9.53
What the World Is Waiting For
Fools Gold 4.15
Format: CD. Catalog Number: ZD43322
Fools Gold 9.53
What the World Is Waiting For
Fools Gold 4.15
Notes: The single reached number 8 in the U.K. Charts. An Alexandra Palace 1989 Promo Poster Read 'Fools Gold - October'.
The first pressing of the 12inch had What The World Is Waiting For as the main title on the sleeve.
Some of the initial pressings of the 12inch still had What The World Is Waiting For as the main title on the sleeve but included a white circular sticker on the front with a large 'red A'. Sticker: "Featuring Fools Gold". The intention was to put "What the World Is Waiting For" as the A side; however, when Roddy Mckenna, Silvertone's A&R man, heard "Fools Gold" he urged the band to use that as the A-side. The band were not completely convinced, and it was agreed, instead, to release the two tracks as a double A-side.
The story is the same for the 7inch releases, the band were against the idea of the 7inch edit but it became essential for the singles success in TV & Radio airplay.
The second pressings included a limited-edition colour print and the sticker read: "ORE T 13 Featuring Fools Gold 9.53 Includes special limited edition full colour print".
The third pressings came out with Fools Gold as the main title, some with a print but no sticker advertising the fact. All of these pressings had the matt textured finish to the sleeves.
What The World Is Waiting For German CD Pressing ZD43322 still includes the digital click intro for What The World Is Waiting For.
See Media for the review, November 1989 - NME Magazine, Single Of The Week Review by Ian McCann.
See Media for the review, 18 November 1989 - Sounds Magazine, Review by Peter Kane.
See Media for the review, 18 November 1989 - Music Week Review Magazine.
From 09 December 1989 - Melody Maker Magazine, Ian Brown said: "The song 'Fools Gold' is about greed. 'Ave you seen 'Treasure Of The Sierra Madre' with Humphrey Bogart? Three geezers who are skint and they put their money together to get equipment to go looking for gold. Then all betray each other. They all end up dead, don't they? That's what the song is about. It's dead right man. But that song is history for us now."
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: You always rate “Fool’s Gold” as the pinnacle, the path the Roses should have taken. Is the lyric based on The Treasure Of The Sierra Madre? “It is, yeah. About how poor men will all stick together, and then as soon as they get a bit of money, they all turn on each other.” Kind of prophetic, then? “It did turn out like that, yeah. Heh heh!”
In an Q Magazine interview Ian Brown said: In 1989, when (The Stone Roses) were headlining Blackpool, we were on £60 a week. It was only when Fools Gold came out (later that year) that we took £100 a week. We didn't want any more than that, because we wanted to stay hungry and real. With us, it was about music, not cash.
1989 - The Stone Roses - Rock Flowers Bootleg 12inch Fools Gold
HTZ Hard Tymez Productions.
Rock Flowers 1989 Limited Edition Stone. 1A. 12inch Vinyl.
A) Fools Gold 'Fool's' (Exclusive Dance Remix) 5:13
B) Elephant Stone 'Elephant' (12" Version) 4:48
Notes: Bootleg release, initially released with fake a4 press sheet.
16 November 1989 - Mani's 27th birthday
M - 18 November 1989 - The Stone Roses feature on the cover of NME Magazine, priced at 55p
Notes: Headline 'Never Mind The Pollocks Here's The Stone Roses'. The band's most iconic NME magazine cover featured the band covered in paint. See 05 November 1989 for the Kevin Cummins photo shoot. The NME cover was so popular it dawned many bootleg roses T-Shirts throughout the 90's and Ian Brown solo tours too.
At The Palace
18 November 1989 Saturday - The Alexandra Palace, Wood Green, London, N22 4AY * The Stone Roses At The Palace * Doors Open: 19:00 * Price: £8.50 (Advance) * Support Act(s): DJ Dave Haslam, DJ Paul Oakenfold
She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Going Down / Sally Cinnamon / I Wanna Be Adored / I Am The Resurrection / Fool's Gold
Notes: The band suffered several sound issues on stage. John's guitar does not come in until 2 minutes into She Bangs The Drums. Debut performance of Fools Gold. 1989 Promo Posters Read 'Fools Gold - October'. Sold Out Show, 7000 capacity venue.
The merchandise stall was selling
She Bangs The Drums T-Shirts
Waterfall design
Lemon design
and What The World's Been Waiting For T-Shirts amongst the usual and Lemon LP poster.
Eastern Bloc in Afflecks 'Palace' Arcade in Manchester were selling Alexandra Palace Posters for £4.49, She Bangs The Drums & What The World's Been Waiting For T-Shirts for £9.49, What The World's Been Waiting For 12inch vinyl with Limited Edition Print for £4.45 & the She Bangs The Drums VHS Video for £8.99.
In response to the crowd chanting 'Manchester, la la la', Ian can be heard saying 'It's not where you're from, it's where you're at'.
Cressa joins the band as effects technician.
Ticket Touts outside demanded £25 a ticket at 20:30.
Paul Buck (The Mighty Lemon Drops agent), Clint Mansell (Pop Will Eat Itself vocalist) were both at the show and chatted with the band backstage. The after show party was at an old recording studio on Holloway Road, London. Cressa was Djing, Mani was there and over a 100 people attended the party.
Justin Thomas took photos for the media, as did Chris Taylor.
Broadcast: Steve Lock from Granada TV Filmed the entire show but only used highlights for media reports.
Regarding the filming of the show and unused footage for the 'Great North Show Documentary: Madchester' Documentary. From Simon Spence's Book 'War & Peace': Steve Lock, the Granada producer planned on filming the entire concert and on using the footage in a documentary he was making on the ‘Manchester scene’ for Granada TV [Celebration: Madchester – Sound of The North – released May 1990]. “We ended up negotiating with Gareth to film the band and he was demanding £70,000 as a fee,” said Lock. “In those days that was an enormous amount of money and actually most bands would have been happy to be filmed just for the exposure. The negotiations went on for months and months. Gareth had this funny little space in this serviced office complex in Knutsford, with a couple of secretaries and mailboxes; it wasn’t a proper office. I wasn’t even sure it was his office. Gareth continually wanted to up the money. But we came to some kind of agreement that we would film at the Alexandra Palace gig and we went down and filmed two or three tracks; that was the agreement. My over-riding memory of the gig was meeting Gareth afterwards where he had literally bin-liners full of cash that he was putting into the boot of his car from the merchandise he’d sold. Gareth just wanted cash. That’s what he was obsessed with; getting more money, more money.
“The Alexandra Palace footage should have been in the Madchester film but wasn’t,” added Lock. “We never ever reached full agreement with Gareth.”
See Media for the article, November 1989 - Sounds Magazine, Live Review by Roy Wilkinson.
See Media for the article, edited by Helen Mead, 25 November 1989 - NME Magazine.
See Media for the article, November 1989 - NME Magazine, Live Review by Mandi James.
See Media for the article, (freelance, for various newspapers), by David Sinclair: Failing The Acid Test - David Sinclair.
See Media for the article, 20 December 1989 - RM Record Mirror Magazine, Live Review by Tim Southwell.
See Media for the review, with Photography by Chris Taylor, February 1990 - Q Magazine, the article was titled SPACE INVADERS.
From 23 - 30th December 1989 - NME Magazine, Issue: Turning to Ally Pally. Wasn't there a feeling that whatever happened it had to be an anti- climax?
John: Why? Was there that much press before the event? Was there much beyond thenormal news items?"
Reni: "Yeah, the funny thing was it was labelled as a hype after the event.
Mani: "It was crap. lt was a disaster. "
Ian: "It wasn't, It was under par. We were struggling all night against the sound as everyone knows. There where a lot of nothing moments but there were a lot of good moments to!"
Such as? John: "The opening Chord change in 'I Wanna Be Adored'. you see, at least we had a go. We could have played three nights there but we didn't. We did one night...''
Ian: "The promoter said, I've never met people like this, you could sell this place out three nights and make a load of money. But I just couldn't do that. I couldn't say to people come and see me tonight then come and see me tomorrow night and see what different clothes I've got on'." ...
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: After Blackpool, you sold out Alexandra Palace, which is a cavernous place at the best of times… IB: We made the mistake of using our mate as the sound engineer. He’d done the tour but the place was too big for him. We should have got a professional guy but we stuck with our mate. But the atmosphere was great.
From February 1998 - Uncut magazine Ian Brown interview: As the band became bigger, you forsook tours in favour of huge, one-off events like the “days out” of Blackpool and Alexandra Palace. Why? Ally Pally wasn’t what it should have been. We used a friend who was a sound engineer, but he’d never done anything anywhere near that massive. The sound was poor. After the show, me and John left in a car and didn’t say for two hours.''
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: You made no money from Spike Island or Alexandra Palace either? “When we did Alexandra Palace in ’89, they said we could have three nights. We said no, we just wanted to hit it and pull out. We could have made 150 grand a night, but that didn’t matter, because our faith at that time was, we were going to make 10 LPs and end up with more than we knew what to do with anyway. We were only on 60 quid a week around ‘Fool’s Gold’ time. Then we put ourselves up to 100 quid a week in ’91, because we wanted to stay hungry.”
January 2009 - Uncut Magazine, Stephen Dalton interviews Dave Haslam:
“When it came to Alexandra Palace, they added Paul Oakenfold to the DJs, but there were still no support acts. I remember playing ‘Good Life’ by Inner City and I remember the event didn’t quite have the magic it couldn’t have done; the sound was a bit sludgy for one thing. But it was still it a big step in terms of coverage, in terms of the band’s rise; this was when the fact they really mattered couldn’t be denied. The media were all over it, which was fair enough; Hall or Nothing were doing a great job. I remember getting into a row with a TV researcher who for years had been dismissive of the band and the whole Manchester scene, and there he was, saying ‘top one’ all the time and recording a fly-on-the-wall documentary about the band. I didn’t need some LWT researcher telling me how ‘top’ the Roses were.”
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses" Tommy Udo, Sounds and NME writer said: It was really quite amazing going to the Ally Pally show and seeing really young kids wearing these huge Joe Bloggs flares. I felt like I was dressed like an accountant compared to these kids. I definitely felt the generation gap.
Bootleg: Alexandra Palace (aka "It Ain't Where You're From") (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" CD Originally Priced: £11.00, Running Time (Approx): 70mins, Cassette originally priced: £3.50) CD-R / Tape
Bootleg: Remastered Complete Audience Recording (originally sourced from the above but with noise reduction)
Bootleg: Cassette (Red/Pink Sleeve with Ian Brown's face on the front, Camden Market style) Audience Recording
Bootleg: ‘It's Not Where You're From’ (aka It Ain't Where You're From) Audience Recording
Video Bootleg: Granada TV Pro-Shot - She Bangs The Drums
19 November 1989 Sunday - Interview
Notes: Ian Brown. Semi-official release which made it to the shelves of HMV and other record stores, despite the record not being authorised by Silvertone or the band.
Semi-Official Release: What A Trip (The Interview Collection. CBAK 4045, BAKTABAK Recordings, London. Made In England. Matrix: CBAK 4045. A1. <11301>) CD 01 Interview 49:48
1990 Semi-Official Release: What A Trip (4x7inch in transparent display bag. Bag reads "The Stone Roses Interview Picture Disc Collection A Rare Interview With The Stone Roses. A BAKTABAK Limited Edition BAKPAK 1024") 4 x 7inch Picture Discs - Record 1 Side A Interview Part 1 - Record 1 Side B Interview Part 2 - Record 2 Side A Interview Part 3 - Record 2 Side A Interview Part 4 - Record 3 Side A Interview Part 5 - Record 3 Side B Interview Part 6 - Record 4 Side A Interview Part 7 - Record 4 Side B Interview Part 8
1990 Semi-Official Release: What A Trip (Red Coloured Vinyl. BAKTABAK Recordings, BAK 6016)
1990 Semi-Official Release: What A Trip (Orange Coloured Vinyl. BAKTABAK Recordings, BAK 6016)
Vinyl - What A Trip (Green Coloured Vinyl. BAKTABAK Recordings, BAK ?)
Bootleg: What A Trip - (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "It's a long interview with Ian, which talks about the general 1989 scene rather than specifically the Roses, recorded the day after Alexandra Palace." Cassette Originally Priced: £2.50, Running Time (Approx): 50mins) - Tape
20 November 1989 Monday - Reni is spotted eating at The Rock Garden, Covent Garden, London
TV - 21 November 1989 - The Late Show, BBC TV Studios, BBC2 TV, London
Made Of Stone (attempt)
Notes: Live on The Late Show Television programme. The 'limiter switch' on the desk peaked and shut down 45 seconds into the performance. Ian Brown can be heard taunting the engineers 'Amateurs...Amateurs' while the shows presenter, Tracey Mac Leod, attempted to carry on the show. The band did not get a second chance to perform. The sound was cut as the band had peaked the required volume for the BBC recording standards. The system shut down automatically due to health and safety reasons, the volume was too loud. The band turned down during the soundcheck but then turned up during the performance. “We're wasting our time here lads...can’t get things sorted out on this programme"
See Media for the article, November 1989 - NME Magazine: ‘TOO LOUD’ ROSES BLOW BEEB FUSES.
From February 1995 - Select Magazine, The amateur Late Show presenter, Tracey MacLeod said: "I had the producer saying in my earpiece I had to go and introduce the next item and Ian was behind me shouting: 'Amateurs, amateurs!' The producer just said: 'Ignore him, ignore him', like Ian was some kid showing his bottom out of a passing bus. I knew you couldn't just ignore him so I ended, in some kind of stupid way, saying: 'It'll be alright, we'll sort it out in a minute.' It wasn't sorted out; the band didn't play again. Another moment of Stone Roses rock'n'roll history.
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)
Video 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
22 November 1989 - The band stay at the YMCA, London.
TV - 23 November 1989 - Top Of The Pops, BBC TV Studios, London
Fools Gold
Notes: Conflicting dates include 28 November 1989. Unconfirmed but probably recorded on the 23rd November but broadcast on the 28th.
The Roses and the Mondays together on Top Of The Pops. The Roses with Fools Gold which was at number 13 in the charts and the Mondays with Hallelujah, the lead track from their new EP, Madchester (produced by Martin Hannett, who produced the roses debut single and unreleased Garage Flower album).
Backstage at The Stone Roses debut Top Of The Pops appearance in 1989, the band were (according to Mani) “beating on the Fine Young Cannibals’ door and trying to get them E’d up”.
Shaun and Ian Brown met outside the BBC building for a smoke, Shaun joked that the band should swap instruments for their performances but The Stone Roses laughed it off.
For a backstage interview, in the dressing room, see 1990 - The Face, Issue 16.
From 26 December 1989 - Smash Hits Magazine Interview - They’ve had two hits – “She Bangs The Drums” and “Fools Gold” – and appeared on Top Of The Pops the same week as Big Fun. Ian: “They wouldn’t talk to us. They wouldn’t talk to anyone, they just had their little entourage. They all walk the same, all have the same smile – plastic ones. Top Of The Pops is a sick joke. I hated the way they treated the audience. Y’know. ‘C’mon luvvie, stand here – it’s your big chance’. People take a lot of stick just to get on the telly. It’s sad that they’re so desperate to get on the telly – they’ll do anything.”
What do you think of the charts just now? Ian: “They’re the same as they always are. There’s always three good records a year and the rest’s pretty crap. This year we’ve had “Ride On Time” by Black Box, “Let It Roll” by Doug Lazy and “Fools Gold” by The Stone Roses. That’s your three records really.”
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: There was that excellent Top Of The Pops episode when both you and the Happy Mondays were on. That must have felt like a vindication of sorts? IB: Yeah, that was great. We shared a dressing room. Shaun was browned up the max (laughs).
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)
Video 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
24 November 1989 - John Squire's 27th birthday.
22.20.89 - High Drive, Seattle, U.S.A. * Ticket Price: $8 *
Notes: Unknown. There is mock poster dated 22.20.89 online. Unknown reference.
December 1989 - Garage Flowers Japanese Fanzine Vol. 2
Notes: Written in Japanese and English, this issue included the iteninary for the Japan Tour '89, the promotion itinarnary, history and more. Spread out over approx 44 black and white pages.
M - 02 December 1989 - The Stone Roses feature on the cover of NME Magazine
M - 09 December 1989 - The Stone Roses (Ian Brown) feature on the cover of Melody Maker Magazine, priced 55p
Notes: Headline 'The Last Hype Of The Eighties Or The Great Hope For The Nineties?' Article by John Wilde, pretty sure this is the same John who wrote the Complete Stone Roses CD booklet biography? I could be wrong. Photos by Paul Rider. See Media for the interview.
The Stone Roses - 09 December 1989 - Sally Cinnamon Re-release U.K. Date
Sally Cinnamon, Here It Comes, All Across the Sand - Written by John Squire & Ian Brown.
Produced by Simon Machan & The Stone Roses. Mixed by Roger Boden.
Format: 12inch Vinyl
Matrix A-Side: DMC 6867 A-2 / 5 -89
Matrix B-Side: DMC 6867 B-1 / 3 -89
Catalog Number: 12 REV36 (No barcode) Made In England
Label: Black/FM Revolver
Artwork: Front cover photographed by Matt Squire. Back cover photo by Matt Squire, Sue & Tom.
Format: 7inch Vinyl. Catalog Number: REV36.
Sally Cinnamon (7inch Version)
Here It Comes
Format: 12inch Vinyl. Catalog Number: 12 REV36 (Barcode).
Sally Cinnamon (12inch Version)
Here It Comes
All Across the Sand
Format: Cassette. Catalog Number: REV MC 36.
Format: CD Catalog Number: REV XD 36.
Sally Cinnamon (12inch Version) aka 12" Single Mix
Sally Cinnamon (7inch Version) aka Single Mix
All Across the Sand
Here It Comes
Notes: Apparently the re-release was authorised by the band but the promo video was not. Some sources say neither video or re-issue were authorised.
From Simon Spence's Book 'War & Peace': a catastrophe. It was a put together by FM Revolver to promote the re-release of the 1987 single the Roses had recorded for the label. Slung together, without the band’s involvement, from a couple of days filming around ‘Madchester’ shrines such as Afflecks Palace, the band Roses reacted aggressively to its release.'
The original sleeve was slightly revised for the re-releases. The most obvious change was an additional barcode & instead of England the sleeve stated 'Made In W Germany'.
The original 1987 12inch features the original version of All Across The Sand which is unavailable anywhere else. The version here still has the same production and mixing credits, despite the different recording included. According to bootleg sources, both Sally Cinnamon (7inch Mix) and All Across The Sand featured on this re-release were recorded at the same 'Demo' session. They are sometimes labelled as monitor mixes on bootlegs.
The 1989 re-release peaked at number 46 in the U.K. Charts.
From Melody Maker Magazine, 09 December 1989: ''The Stone Roses re-release their indie classic “Sally Cinnamon" this week. The single's been hard to get hold of since its release in February l987. It's re-issued on the original Black label but this time round will be distributed by BMG. The single's backed by two tracks — “Here It Comes" and “All Across The Sand" — while the CD version also features an extra alternative mix of the A side. The tracks have never appeared on CD format before and the alternative mix at “Sally Cinnamon" is not available anywhere else. Meanwhile, The Stone Roses’ favourite support band, The Charlatans, play a Christmas rave at Northwich Winnington Rec. on December 15. To coincide, they release a three-track 12-inch, "Indian Rope", a Dead Dead Good Records.''
1989 - Zomba Records take FM Revolver Records to court over the 'Sally Cinnamon' promo video.
Notes: FM Revolver won the case. They had the rights to the song and the band did not want to appear in the video, so the promo was shot without them.
From February 1990 - NME Magazine: Paul Birch said “We had a meeting with their manager two weeks ago and gave them another advance on the money from the single,” “But they declined to be in the video. “It’s very difficult to make a good video without a theatrical performance from the group, but we made a good job of it at a reasonable cost.”
From Melody Maker Magazine, 10 February 1990: ''Paul Birch is claiming, however, that manager Gareth Evans had already approved both single and video and had even taken on upfront royalty.''
From August 1990 - Select Magzine: "It had shots of a black woman with a black baby and the word 'world' going over it," explains Brown. "It had cuts of Manchester and it had cuts of the front cover of The Face and people reading it on Piccadilly Station. It was insulting. Not only to us, but to anyone watching it. "We went round to see him and told him we weren't happy with it and said, Scrap it, and he said, No....
From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then there was the whole issue of whether we had re-released Sally Cinnamon. The reality was because there was still stock in some warehouse; it had never actually been deleted. It was still available and then it started selling a little better on the back of their success with Silvertone. We then decided we were going to push it a little bit and take advantage of their success. And we shot a video in Manchester. I took this guy to Manchester - the whole Madchester thing was going off and I took him to places like Afflecks Palace, Piccadilly Gardens, sightseeing round Manchester and he edited it together to make the video. The video ended up going on The Chart Show on Saturday morning, which was a big programme, and the single started selling again … scraped the Top 40. That was the bit the band took offence to, the fact that we were taking advantage of their success. Their take was probably we’d never put anything behind it before and suddenly we were trying to cash in and that’s when Silvertone used the copyright argument - trying to stop us using the video because contractually you can’t make a video without the permission of the publishers… and that was our first court case. We were trying to defend the fact we could make a video; we didn’t have access to the band and that’s why the band wasn’t in it. There was no reason why, as we had invested some money in it initially - into trying to release this thing and not made any money back - why we shouldn’t take this opportunity. We won the case … we did still have the right to the track and the video. Zomba were the ones taking us to court.
From Blood On The Turntable BBC TV Documentary, Paul Birch said:
The band didn't want to perform in the video. Gareth said you no longer have the right to the band being in the video.
From Blood On The Turntable BBC TV Documentary, Mani said:
When we saw that Sally Cinnamon video we were gobsmacked man, it was just cheap. We asked him nicely several times, don't do this video y'know? we don't mind you re-releasing the record but this video is just fucking with our heart basically and it's bang out of order.
M - December 1989 - Ian and John visit the Shetland Isles
Notes: Unconfirmed recording sessions. Taken from Rage magazine, issue 10 - 27 February - 12 March 1991 Mike Noon wrote: 'But rumours have been rife around Manchester. One Journalist told me she'd heard the band had spent Christmas in a recording studio on the Shetland isles trying to get new material together, but had returned empty handed. A radio deejay maintained they were currently rehearsing in Wales with plans to record a second LP in the autumn.'
From February 1998 - Uncut magazine Ian Brown interview: We used to go off on writing trips to Scotland, but suddenly he’s going on his own. He cut himself off.
From 03 November 2002 - Sunday Express Newspaper John Squire Interview: Then the Brown-Squire writing partnership dried up, even before their friendship did. "We kept going away together to try and write, but very little would happen," Squire recalls. "In the Lake District we hired a motor launch and stole it for the week - we were there as a taxi into town. Then we went to a remote Scottish island with our air pistols and sat in armchairs blasting ornaments all day." Squire laughs with great affection, but he maintains that the friendship became untenable. "It was like he was on some kind of acid trip. It looked and sounded like him, but I didn't recognise the man I used to love. It was heart-breaking."
1989 - John & Ian go to the Lake District and Scotland to write new material together.
Notes: The trip would inspire John to buy, and live in, property in the remote lakes.
From 03 November 2002 - Sunday Express Newspaper John Squire Interview: Then the Brown-Squire writing partnership dried up, even before their friendship did. "We kept going away together to try and write, but very little would happen," Squire recalls. "In the Lake District we hired a motor launch and stole it for the week - we were there as a taxi into town. Then we went to a remote Scottish island with our air pistols and sat in armchairs blasting ornaments all day." Squire laughs with great affection, but he maintains that the friendship became untenable. "It was like he was on some kind of acid trip. It looked and sounded like him, but I didn't recognise the man I used to love. It was heart-breaking."
December 1989 - Metropolis, John Squire's Porta-studio, London
Something’s Burning / One Love (Anytime You Want Me)
Notes: Anytime You Want Me was the working title of One Love. It was mentioned back in August 1989. From August 1989 - 'Northern Soul' 12 August 1989 Interview, conducted at The Charlton Hotel, Room 111, Blackpool (an hour before the band are due on stage) : We'll have a new single out as soon as we can, September maybe, called 'Anytime You Want Me'." It's one of four tracks that he and John are working on at the moment, discarding their backing of 40 unrecorded tunes for new material.
"My incentive at the moment is the sleeve for the next single and the four songs for it," says John. "I usually tend to take one element of the lyric and magnify it for the painting. This time it's dolphins because Ian sings 'I'm no dog I'm a dolphin/I just don't live in the sea'.
"We went to see a dolphin in Brighton," says Ian taking up the story. "It was really sad because it was in a tiny little pool. None of us said anything for about half-an-hour. We just stared at it. It kept going past and turning its head and smiling. It didn't jump up at anyone else though, did it? There were loads of people around the pool and it kept circling only jumping up whenever it saw us."
Something’s Burning has also been credited, unconfirmed, to September 1989 - Sawmills Studios, Cornwall. Both tracks feature on the 2009 The Stone Roses Legacy edition bonus Demos disc.
Official Release: 2009 The Stone Roses Legacy Edition
21 December 1989 - An application is made to Halton Borough Council to hold the Spike Island event.
"Application For Entertainment Licence To Halton Borough Council. Spike Island, Widnes, Cheshire. Notice is hereby given that I, Gareth Ian Bromley Evans have applied on the 21st December 1989 to the Halton Borough Council for an Entertainment Licen in respect of the above named premises, under..."
22 December 1989 - John Fruin sends Gareth Evans £40,000
Notes: John Fruin from Zomba sent Starscreen, Gareth's company, a cheque for £40,000.
"Herewith fax copies or letters to The Stone Rosea — the hard copies together vith the £40, OOO cheque are in the mail to Starcreen.
May I confirm that we will make a contribution towards the promotional costs incurred by you with your activities with the group, and I'm going to put this together vhen I meet with Steve Jenkins and Andrew immediately we return to the office in the New Year.
Regardless Of the fact that I shall sleep easier once I have all the signed documentation we have been discussing; I look forvard with considerable excitement to a sensational 1990 working with The Stone Roses team. It is going to be a tremendous year. With every best wish and the compliments of the season to you. "
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: The Christmas bonus was totally my idea. I said the band worked hard, it's Christmas we all need money. They agreed to pay £10,000 each, 40,000. I admit I kept some money back from the Christmas advance but the Christmas advance was my idea. It would have never have been there, it wasn't on the contract. It wasn't for me, I didn't spend it, it was for the court case...
From Blood On The Turntable BBC TV Documentary, Mani said: What a f*cking c*nt. The guys got a neck like that then fair play to him, he's got to live with himself, come the judgement day man he's got a lot of fucking questions to ask himself.
M- 23-30 December 1989 - Sounds Magazine Interview
Notes: John Robb interviews Ian and John. See Media for the interview.
M - 23-30 December 1989 - The Stone Roses feature on the cover of NME Magazine, Issue 23 -30th December
Notes: John also painted the NME logo in a pollock style too.
Headline 'Top Of The World - The Stone Roses: Band Of The Year'. The issue was priced at only at 95p (40p more than the November issue?). See Media for the interview.
The magazine includes the photos of the band on top of a snowy mountain. The photos were taken in Grindelwald (Swiss Alps), Switzerland.
Some of the images were used on the bootleg LP's 'Top Of The World' Volume 1 (TOTW 1 World Records Company Volume One Early Demos 1985) & Volume 2 (TOTW 2 World Records Company Volume One Early Demos 1985). I presume the LP was pressed in 1990, probably following the success of Spike Island. The LP was often noted Early Years Of The Stone Roses - Top Of The World. Each sleeve is the same apart from the black and white tracklist, which is stickered onto the rear of the sleeve (over the original tracklist printing). The two releases had different coloured labels, red (volume 1) and blue (volume 2).
The band were apparently interviewed and photographed only a few days before the publication (21 December).
The magazine included the NME Magazine John Squire Artwork Competition, Readers had a chance to win a 'specially commissioned' painting by John Squire. The NME followed up the competition with photos and interview with the winner in the 17 March 1990 - NME Magazine.
We may not know much about Art but we know what you like! Guitarist John Squire's artwork for The Stone Roses' covers ("retarded random daubings" - Antoine Vilsonne, Salford School Of Fine Arts - "The Dogs Pollocks" — NME) has been the top pop image of the year. Remixes? T-Shirts? Videos? Devils Jukeboxes? Mere baubles! Now your super no-expense-expended NMEgives you the chance to win, Own, drool over and fondle your own bona fide art treasure.
'Don't Stop' is a specially commissioned John Squire Original, a whopping three feet by five, already mounted and suitable for cutting up as flares! Which would be a rotten idea since pretty soon the thing'll be worth more than Phil Collins!
All you have to is send £1 million to NME, Or answer three simple questions. For all of you lacking the necessary dosh, here they are:
1 In which song do The Stone Roses actually mention top action painter Jackson Pollock?
2 What, according to Paul McCartney, were Picasso's last words?
3 Which top '80s pop duo took their name from a Roy Lichenstein painting?
Answers on a postcard (or the £1 million quid in a plain brown envelope) to: 'Nice picture, squire', NME, 25th floor, King's Reach Tower, Stamford Street, London, SE19LS.
From February 1998 - Uncut magazine Ian Brown interview: “At the end of ’89, we had our pictures taken at the top of a mountain. We were on top of the world and it felt like it.”
M - 26 December 1989 - Smash Hits Magazine Interview
Notes: Tom Doyle article. See Media for the interview.
27 December 1989 - John Peel Session, BBC Radio 1, London
Notes: The Stone Roses appear on John Peel's Festive 50. An annual review of the year by John Peel choosing and playing his 50 favourite tracks on the run up to Christmas. Made Of Stone was played this time.
Broadcast: 27 December 1989 - BBC Radio1FM - The John Peel Show (Festive 50 Numbers 20-11 alongside sessions from Inspiral Carpets, Filthkick and Happy Mondays)
Inspiral Carpets - This Is How It Feels (Session) / 808 State - Donkey Doctor (ZTT) / Happy Mondays - Do It Better (Session) / Filthkick - Lynching Party/Bar Room Brawl/AA (Session) / Bhundu Boys - Chimbira (WEA) / Inspiral Carpets - She Comes In The Fall (Session) / Happy Mondays - Tart Tart (Session) / Crystal Vortex - Money You Are My Slave (B Ware) / Filthkick - Between The Lines/Meat Rack (Session) / Zaiko Langa Langa - ? / Inspiral Carpets - Sun Don't Shine (Session) / Home T, Cocoa T, Shabba Ranks - Pirates Anthem (Greensleeves) / Happy Mondays - Mad Cyril (Session) / Filthkick - The Harder You Fall/Drowning In Affluence (Session) / Public Enemy - Welcome To The Terrordrome (Def Jam) / Morrissey - Ouija Board, Ouija Board (HMV) / The Wedding Present - Brassneck (RCA) / Morrissey - Last Of The Famous International Playboys (HMV) / The Stone Roses - Made Of Stone (Silvertone) / Mudhoney - You Got It [Keep It Outta My Face] (Sub Pop) / Cud - Only A Prawn In Whitby (Imaginary) / The Wedding Present - Take Me (RCA) / The Jesus And Mary Chain - Blues From A Gun (Blanco Y Negro) / Dinosaur Jr - Just Like Heaven (Blast First) / Pale Saints - Sight Of You (4AD)