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

1990
John Squire - Fender Stratocaster

White Fender Custom Jaguar/Stratocaster
Sunburst Fender Jaguar

From June 1997 - The Guitar Magazine: custom-ordered guitar built for Squire by Doncaster-based luthier Stewart Palmer...Palmer also built Squire’s Strat/Jag mutant guitars, one sunburst, one white, which John played at the ‘baggy Woodstock’™ Spike Island gig and waved around in The Stone Roses’ One Love video. Squire says the body shape was inspired by Fender 5-string basses, but the luthier reveals that the body is simply the horns of a Strat stuck to the lower body of a Jaguar. The neck is from the dismemebered Jaguar....‘It was a real back-breaker,’ grins Squire, ‘At the time, I just wanted anything to avoid using Les Pauls; it was the whole Clapton, Page, Jeff beck, Slash thing – everyone seemed to have a Les Paul at some period and I spent a lot of time trying to avoid that. But U can see now why so many people use them. They sound right for the way I play, and they’re comfortable.

Mani - Rickenbacker Bass
Reni - Drums
Ian Brown - Vocals
Gareth Evans - Manager
Steve Atherton aka Adge - Tour Manager.

1990 - John Squire continues creating art in a different style:
‘One Love’ (cellulose and calico, 18"x18"), from CD Single "One Love, 1990, Cellulose and Paper on Canvas"
Notes: From NME Magazine article, June 1990: 'The Stone Roses have scrapped the cover artwork for their new single 'One Love' after spotting ''the suggestion of a swastika'' in John Squire's sleeve illustration. The unintentional 'swastika' formed part of an abstract painting by guitarist Squire. But the effect was only noticed when the proofs came back from the printers - the band discovering to their horror that people could misconstrue the design as being the Nazi emblem. ''If you looked at it in a certain way you could see the suggestion of a swastika in the painting,'' a Stone Roses spokesman told NME ''When he realised, John just tore up the proofs.'' As well as proofs of the sleeve, a number of T-Shirts featuring Squire's original painting were also made up, but will now be withdrawn.''. “Anyone who knows us knows we’re not Nazis," explains Ian Brown in a Select interview, “but if some kid in Barcelona goes into a bar with a T- shirt on — Stone Roses, looking a bit like a swastika — ends up getting stabbed. How would we feel then?"
‘Spike Island’ (acrylic on calico, 40"x32") *The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 150.

1989 / 1990 - Fool Gold Unreleased A Guy Called Gerald Mix
Notes: Ian and John wrote a letter to Andrew Lauder and Gareth Evans, using Lanzarote Palace letter headed paper, which included "Attention of Andrew Lauder, Gareath Evans. Can we not put out the Gerald Mix of Fools Gold. We realise sales point wise good idea but song is poor and we don't want records with Stone Roses printed on that make you want to sit down and go to sleep Please sort this it's very important to us. No ?Pasarian!? You can fools some of the people some of the time etc... Ian Brown John Squire The Stone Roses X ". Andrew Lauder, born 1948 in Hartlepool, County Durham was the bands A&R (Artists and Repertoire) representitive. He also formed Silvertone Records under the Zomba label in 1988.
Not sure if they used the white label remix or the Top Won and Bottom Won mixes.
See 18 May 1992 for the 2 track remixes single of Fools Gold ORE CD Z 13 featuring Fools Gold (The Top Won Mix!) (aka A Guy Called Gerald Remix, Gerald Simpson) 10:03 & Fools Gold (The Bottom Won Mix!) (aka A Guy Called Gerald Remix, Gerald Simpson) 7:00.
White Label Vinyl - Fools Gold (A Guy Called Gerald Remix)
Bootleg: Stoned In Walsall (199x, Chelsea Records, Cat. No: CFC 003) CD Fools Gold (A Guy Called Gerald Remix).

1990 - What A Trip U.K. Release Date
1990 - 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 - 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).
Vinyl - 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
Vinyl - What A Trip (Red Coloured Vinyl. BAKTABAK Recordings, BAK 6016)
Vinyl - What A Trip (Orange Coloured Vinyl. BAKTABAK Recordings, BAK 6016)
Vinyl - What A Trip (Green Coloured Vinyl. BAKTABAK Recordings, BAK ?)
Notes: Semi-official release which made it to the shelves of HMV and other record stores, despite the release not being authorised by the label or band. Recorded 19 November 1989.
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

1990 - The Stone Roses appear on Various Artists Compilation 3x20 (Colours) Music From British Independent Record Companies 1980-1990
Made in U.K. by Caroline International Ltd. Imported by Omagatoki Co. Ltd. Distributed in Japan by Shinseido Co. Ltd. Design by intro, London. Photography by Michael Banks. Price: Y5,150.
1x20 Disc 1 (Red) Music IND CD1 includes The Stone Roses - Sally Cinnamon & Primal Scream - Ivy, Ivy, Ivy
1x20 Disc 2 (Blue) Music IND CD2
1x20 Disc 3 (Yellow) Music IND CD3 includes The Lightning Seeds - Pure
Notes: Various Artists Compilation.

1990 - The Stone Roses appear on Various Artists Compilation Black Out
REV XD 166
Here It Comes / Sally Cinnamon (remix)
Notes: Revolver cash in again on Sally Cinnamon. The remix is just the shorter '7inch' version. Both tracks credited Written by Squire/Brown, Published by Zomba Music, 1987 FM-Revolver Records.
The CD was planned to be manufactured in Switzerland. Originally titled Black Out - The Best Of Black Records.

1990 - Bananarama broke the top 30 in 1990 with ‘Only Your Love’, which sampled Reni’s ‘Fools Gold’ loop (along with Primal Scream’s ‘Loaded’ and The Rolling Stones’ ‘Sympathy For The Devil’, in a classic satire on baggy).

1990 - The Stone Roses turn down the Lennon Tribute Show in Liverpool due to recording commitments.
Notes: From August 1990 - Select Magzine: They didn't play the recent Lennon tribute in Liverpool either because, as Reni puts it, "Kylie Minogue doing Lennon covers is sick".

M - 1990 - Ian Brown features on the cover of Bop City Magazine.
Notes: From review ‘What will you be doing in five years?' asked Linda Duff of The Daily Star (again at the press conference), ‘Let me look into my crystal ball.' replies Reni in his usual sardonic tone. 'What a stupid question' finishes Ian. We all have hopes for the future, let’s hope the Roses keep originals and overthrow all those old fuckers (a'la Phil Collin & Queen) who keep returning to torment the charts with the same old crap.''

M - 01 January 1990 - The Stone Roses appear on the cover of Japanese Rockin' On - Volume 10 Magazine
Notes: Includes photographs from the October 1989 Japanese tour by Kenji Kubo and photos by Bruno. An interview conducted by Osamu Masui.

M - January 1990 - The Stone Roses appear on the cover of Finland magazine 'Beat Botnia'

M - January 1990 - Ian Brown features on the front cover of The Face Magazine, Issue 16
Notes: The Stone Roses Interview and Happy Mondays feature in the article too. Article by Nick Kent. Interview was conducted backstage 23 November 1989 - Top Of The Pops. This article and Nick Kent was rubbished by the Roses, who said Kent made a lot of it up. Kent later admitted that he made the Wilson quote about Ian Curtis up completely.
Gareth Evans later said that he whispered in Tony Wilson's ear "If you mention drugs, I will shoot you." See Media for the interview.

January 1990 - The Stone Roses feature in Record Collector Magazine
Notes: See Media for the Article by John Reed.

January 1990 - The Stone Roses LP is re-released.
Notes: The initial re-release entered Number 19 in the national U.K. charts, 03 February 1990. John Leckie duly arrived at Rockfield Studios, near Monmouth, on Sunday, January 28. “The intention,” he recalls, “was to go there for three weeks and commence the second album with the new songs they had.”
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: I interviewed Tommy Udo the other day, the old NME dude, and he said that he heard that one of you in the band once said you wanted to record one album and disappear and be immortal. Is that true? We probably did have that ambition at the time, yeah. We did, yeah...

28 January 1990 Saturday - John Leckie arrives at Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Notes: From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “John Leckie duly arrived at Rockfield Studios, near Monmouth, on Sunday, January 28. “The intention,” he recalls, “was to go there for three weeks and commence the second album with the new songs they had....They were meant to turn up at Rockfield on the Sunday night,” says John Leckie.

N - 30 January 1990 Monday - The Stone Roses Paint FM Revolver Record Label Offices / Home Address, Goldthorn Hill, Wolverhampton.
Notes: Was this 30 January 1990 Tuesday?
In retaliation to the recent unauthorised promo video for the re-release of Sally Cinnamon, the band visit FM Revolver Record Headquarters in Wolverhampton.
The band stopped of at Fads D.I.Y. centre, Northenden to stock up on paint, brushes, overalls etc. Steve Adge drove the band to FM Revolver Base, Goldthorn Hill and they then carried on to Rockfield Studios after.
They apparently entered the building started a debate with Paul Birch (aged 35) and then the band started painted the managing director, his cars, his girlfriend (later wife) Olivia Darling (aged 22), Revolver offices (furnishings, decorations and carpets) and press officer Clare Britt too.
They smashed the windows of Paul Birch's Mercedes 200 Series, poured paint over it, the Datsun Sunny and the Metro MH too. Ian was apparently the culpret for putting a brick through Birch's £25,000 car window.
There were rumours the band had agreed with the actual re-release but it was the promo video they did not agree too. Other sources say the entire re-release was unauthorised by the band, Gareth Evans had agreed for them. Ian put a brick through Paul's £25,000 Mercedes.
Paul Birch contacted the police but also contacted NME, Melody Maker and other media, faxing a statment about the event. Paul sold the story to The Sun newspaper, who published the story and photos the next day.
From May 1990 - Sky Magazine, Jon Wilde article: Both Birch and Roberts claim that the attack on their offices was a premeditated publicity stunt. “On the afternoon of their visit,” says Roberts, “we had a call from a journalist, a girl who claimed to be from the NME, saying, ‘Have The Stone Roses arrived yet?’ So it seems that the press were tipped off.”...
From Blood On The Turntable BBC TV Documentary, Mani said: I think we told Steve Adge to stop at Fads D.I.Y. centre in Northenden. We got loads of tins of paint and some overalls and stuff like that and Steve's going 'Why??' and John's like 'I'm going to do some art.'. So we loaded up and went 'do you mind if we stop in Wolverhampton for a second?' whilst he was driving us down. He's come to the door and Reni's let him have a full five litre tin of gloss and John's let him have one over him and his mrs. Then we were just like brooke bond chimps on LSD running round.
From Melody Maker Magazine, 10 February 1990: ''ALL four STONE ROSES members face jail if convicted on charges of criminal damage arising from a disturbance at their former record company FM Revolver last Monday [January 29]. Three members of the band entered the Wolverhampton record company offices at 6pm and poured blue and white paint over Revolver Managing Director Paul Birch and his girlfriend Olivia Darling. According to Revolver press officer Clare Britt, they then charged out of the office smashing the windows of Birch's £25,000 Mercedes and pouring paint over two cars in the car park. The Stone Roses are angry aver Revolver's reissue of their “Sally Cinnamon" single but particularly the accompanying video Revolver made without the band’s consent. It features black and white Manchester Street images, The Hacienda, The International and record shops in the city. Birch is claiming, however, that manager Gareth Evans had already approved both single and video and had even taken on upfront royalty. Revolver also claim that Evans rang Paul Birch the following day and said words to the effect, “Hi Paul, how's your f***ing car this morning, you ain't seen nothing yet." When contacted by the Maker, Wolverhampton police confirmed that they arrested the three members of the band at Rockfield studios in Wales where they are recording their new LP and had later picked up Gareth Evans in Manchester as well as a fourth member of the band. The manager was later released without charge. All the band appeared at Wolverhampton magistrates court the following morning, charged with causing criminal damage. They appeared handcuffed and were charged under their full names, John Thomas Squire, Ian George Brown, Alan John Wren and Gary Michael Maurnfield. All four pleaded guilty. They were remanded on bail until March 6. Finally, the band are still officially denying that they are appearing at an all-day acid rave at Spike lsland, Widnes, during the hank holiday weekend.''
Taken from Rage magazine, issue 10 - 27 February - 12 March 1991 Mike Noon wrote: 'If the guy had somehow insulted us in the same way in a pub, we'd have done him then' claimed John Squire about the particular brand of justice they meted out to Revolver boss Paul Birch.
From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then the paint episode …On the afternoon it happened I was in the office and we got a call from the NME and they said, are The Stone Roses there yet? It got put through to me and I said, what are you talking about we haven’t seen them for two or three years, they don’t come in here. He said oh, right, I must be confused. So obviously somebody had tipped off the NME that this was going to happen. So, I left the office, we had a base in London … then I got a call from Paul, he was really upset, said you won’t believe, his voice was shaking, The Stone Roses have been and they’ve poured paint all over the offices, all over my car and they were really aggressive. At that point I said, well maybe we can make something out of that too and our press officer, who was in our London office, said Well this is obviously going to get out but maybe we should be trying to tell our side of the story before someone else does and we rang up The Sun. Just literally the reception number … they were very excited and said don’t speak to anyone else, we want to run this as an exclusive … it snowballed from there. They sent someone up to Paul to do photos and an interview … and then it appeared the next day as a major news story. Then I got some weird calls over the next couple of weeks. I tried to speak to Gareth but it was all a bit threatening. You don’t know who you’re dealing with; that kind of stuff. Then I got phone calls on my mobile with no one speaking on the other end for about a month. I left the company in about February/March 1990.
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: And why do they come across in interviews as really aggressive? Offers Ian, 'An integral part of the human being is to have aggression, you should be angry and you should be aggressive', you should say what you think'.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris...“The paint business had to happen,” says Gary ‘Mani’ Mounfield, “‘cos this cheeky bugger kept putting this shit record out. We warned him …. but that’s the way people deal with things in Manchester. If people keep taking the piss, you go and fucking batter ’em. Only we didn’t: we thought we’d make an artistic statement.”
From 2004 - Blood On The Turntable BBC TV Documentary, Paul Birch said: The story they didn't tell was that they had this paint stripper with harmful chemicals, you know the cans with the big X on the side? harmful to your skin. Mani: I think that's me that, I was gonna do his cars with it, but it all happened so quickly I didn't get a chance to anyway, we smashed the cars so there was no need for the nitrmots. We then pelted back to the car. Steve was like 'what you done?' and we were like 'drive!' and we drove down to Monmouth to Rockfield Studios. As we got there Black Sabbath wee just loading out of there with that geezer Butler and Tony Iaomi and there going 'We fucking hate that Paul Birch, nice one.'
Ian: "The video was insulting", Brown said at the time. "Blokes selling fruit, a few pigeons, some black woman holding a baby, a picture of me on the front of The Face, a few people in flares... So we went and painted him."
From 12 June 2020 15:46 - Birmingham Mail, Black Country articles, Local Democracy Reporter: Joe Sweeney:...So they decided to pay a visit to the premises and threw paint all over Mr Birch, his wife Olivia and the couple's offices and cars. Now a Wolverhampton Labour councillor for Blakenhall, Mr Birch set up the independent record firm in 1980. Throughout the forthcoming decades, he signed dozens of up and coming bands as well as the talented but unpredictable 'Madchester' indie act. Artists who have been released on Revolver over the years include Leo Sayer, Bruce Cockburn, Be-Bop Deluxe, The Plasmatics, UK Subs, The Vibrators and Rose Royce. The label also released the eponymous first album by Jane's Addiction. While the unconventional attack has entered the rock history books, the music boss, now 66, says he still remembers the day vividly.
"There was a knock at the door and my wife came up to my office and said The Stone Roses are here to see you," he said. "I didn't take it seriously at first and after about ten minutes she came back and said The Stone Roses are still waiting downstairs to see you.
"I came to the front door and then all hell broke loose. They had members of their management team with them as well and they just barged in and there was paint flying everywhere. It was absolute mayhem. "You think you know how you're going to react in a situation like this, but believe me, you don't know how you will react.
"I had several cars at the time and they attacked those as well. There was a Mercedes on the drive and it ended up costing ten grand in repairs alone for just that one afterwards.
"The story they didn't tell at the time was that they had this paint stripper and harmful chemicals - the cans with the big 'X' on the side - harmful to your skin. I didn't know if they intended to attack us with it or not."
When the attack happened the band were on their way to a recording studio in Monmouth, Wales, before deciding to make the detour to Wolverhampton. In a later TV interview, band member Gary Mounfield - known as Mani - spoke about the incident. The bass guitarist said the group asked to stop at FADS DIY store in Northenden, on the outskirts of Manchester, to get tins of paint and overalls so guitarist John Squire could 'do some art'. The band were subsequently arrested and appeared at Wolverhampton Magistrates' Court charged with causing £15-20,000 worth of criminal damage. Following the incident, Mr Birch said he estimated that the media hype alone had bought the group in excess of a quarter of a million pounds in publicity. He has had no contact with any members of the band following the court case.
Mr Birch added: "The damage caused was huge. My wife had to use pumice stone for weeks afterwards to try and get the paint out of her hair. "I know people look back on it with a sense of nostalgia, but at the time it was quite frightening." The successful businessman now juggles his duties in local politics, alongside still managing Revolver Music and a separate business Revolver World, a cooperative that imports and markets Fairtrade-certified coffee and tea.

30 January 1990 Monday - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
One Love / Something's Burning
Notes: John Leckie Recording Session. Paul Schroeder was the Assistant Engineer on the sessions, Simon Dawson was the in-house engineer. This was the first time Simon met the band, Simon would later work with the band on their return to Rockfield. The band turn up late. FM Revolver Incident approx 18:00, arrive at studio 21:00 and recorded until 04:00.
The NME state a slightly different story, see Media for the full article - 13 October 1990 - NME Magazine, Article and diary by Terry Staunton. The NME say the band were arrested at the studio and spent the night in the cells Monday night to Tuesday.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' War Of The Roses article by John Harris... John Leckie said:
“On the Tuesday night, there was no word from anyone. I was sitting there at Rockfield with Paul Schroeder [engineer and eventual Roses producer} , all the gear had turned up … and no one was returning the calls. The record company was saying, ‘Well, we don’t know where they are.’
And on Tuesday night, 48 hours late, at about nine o’clock, the door opens and they all fall in, covered in blue and white paint. They just fell in the door, giggling — couldn’t give a fuck, just flopped on the chair, paint over the carpet. And they told me what they’d done.”
As usual, the band was chaperoned by Steve ‘Adge’ Atherton, their tour manager and fixer. “Steve Adge said, ‘The cops are coming — any minute now, they’re going to find out where we are,'” says Leckie.
“I got them to run through One Love and Something’s Burning, and then we went to bed at four. And at about eight the next morning, the police came and took them away.”
“I was woken by the sound of tyres on gravel the next morning,” laughs Mani. “I pulled my curtains back and had a little peek, and the first thing I saw was John and Ian getting put in a police car. The coppers kept knocking on my door but I didn’t answer it. The others were banged up from 11 in the morning — and I just went and handed myself in at half four in the evening. Had a nice day in the sun.
“We were two nights in the cells: they held us one night in Monmouth, and another night in Wolverhampton. They did our fingerprints. But the weird thing was, we told the coppers what papers to get the next morning: we said, ‘It’ll be in the NME.’ And you know what was free with the NME? The poster of us covered in paint. Just the sweetest irony, man. Unreal. We signed the poster for the coppers and wrote ‘Exhibit A’ on it.”
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.
Official Release: 2009 The Stone Roses Legacy Edition - Something's Burning *hidden track not featured on the sleeve just noted as '20 Untitled'

M - 31 January 1990 Tuesday - The band are arrested.
Notes: Ian and John are arrested for the FM Revolver paint incident in their hotel at 8am, Reni at 11am, Mani and Steve Adge handed themselves into Monmouth police station at approx 16:00.
Gareth was arrested in Manchester but released without charge.
They spent the night at Monmouth Prison until being driven to Birmingham.
The NME state a slightly different story, see Media for the full article - 13 October 1990 - NME Magazine, Article and diary by Terry Staunton. They say the band appear in court 31 January 1990.
From 2004 - Blood On The Turntable BBC TV Documentary, Paul Birch said: Gareth was on the phone the next day (30 January) figuring out what happened.

N - 01 February 1990 Wednesday - The Stone Roses appear in Wolverhampton Magistrates Court and plead guilty to criminal damage.
Notes: They were released on bail until 06 March 1990.
The five were taken to Birmingham and held at Birmingham Road Police Station. Wednesfield Police Station Press Office, said: “Five men were being held in police custody in connection with a possible charge of criminal damage.” The fifth man was driver and band tour manager Steve Adge, who was later released.
In the afternoon Gareth Evans turned up at Birmingham Road Police Station. He was laden with goodies, including a bag of refreshments, a selection of Stone Roses T-shirts and a copy of the NME. The CID accepted the Lucozade and snacks but refused to pass on the t-shirts, assuring Gareth that “They’ve had a bath and they’re alright”. The officer did however agree to pass on the band’s eagerly awaited copy of the NME. Distributing the t-shirts among bemused members of the public also queueing at the desk, Gareth then left, saying “See you in court, lads!”
Normally at 13.45 Wolverhampton Magistrate’s Court hearings would finish sessions for the day but at 14:04 it was announced, that if a charge was fortcoming, the police could deliver the band, prior to 14:30, for a 'special' session. Mr Price represented the band in court.
Bail was granted on condition that the band stay away from the FM Revolver offices in Wolverhampton and London and they make no contact with either Birch or his girlfriend Olivia Darling.
15.15 the band left the dock. Outside the chamber Gareth declined to comment other than to say “everything will be contested”. On emerging they headed for a car waiting to take them back to South Wales.
See Media for the article, February 1990 - NME Magazine: STONE ROSES ARRESTED, CHARGED WITH CRIMINAL DAMAGE. Roses banged up! Full details (below), plus NME newshounds STUART MACONIE and ANDREW COLLINS’ account (below) of the lads’ big day in.
See Media for the article, The Metro Newspaper, Manchester, 02 February 1990.
See Media for the article, 10 February 1990 - FM Revolver court case reports.
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: If the band had gone to prison, we would have all won out of it. It would have been a nice holiday for them, they'd have got fit, done plenty of weights, and they'd had have to have write songs, what a better place to write songs?
From Blood On The Turntable BBC TV Documentary, Mani said: Even on the way down to court that morning, we didn't know. Kiss your bird, see you in six months. We were working out how not to get bummed in prison.

02 February 1990 Thursday - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Notes: Released on bail, see 06 March 1990 for next date in court, the band return to the studio.

1990 - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
One Love / Something’s Burning
Notes: John Leckie Recording Session.
The tracks were recorded and re-recorded upon the bands release from Police Custody. Apparently a 30 minute One Love recording exsists.
It was suggested One Love would see release before Spike Island but it took six weeks to the mix the two songs.
In that time John Leckie had travelled to Seattle to produced The Posies album and flown back to find Paul Schroeder and the band still trying to finish the mixes, Simon Dawson was the in-house Assistant Engineer for the sessions. One Love went through several versions. An alternate mix can be heard on Acetate promos, there's also a Mono mix on various promo cassettes. The story goes that Paul and the band finished a mix, they were happy with, but accidentally bounced it down as a mono track.
John Leckie produced the final mix, Adrian Sherwood was sent the track for mixing. The On-U sound producer's remixes would later appear on the 1992 Waterfall single.
From 14 July 1990 - NME Magazine, James Brown article: You’ve just recorded a 30-minute long single. How do you break that down to a six-minute 12”? J: “Cut out 24, ha ha ha. The first six minutes are good, then it goes on a bit.” I: “If the two tracks were good then we would put out a two-track album. Anything’s possible, anything at all.”
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: ...By sheer coincidence, Simon returned to Monmouth just as Rockfield was undergoing a reorganisation, and landed a job there as House Engineer in 1988. He met the Stone Roses for the first time in 1990, when they came to Rockfield to record their 'One Love' single. He acted as Assistant Engineer on that session (along with one Paul Schroeder) to the Roses' producer John Leckie, who had produced the group's by‑then highly successful debut album....

Official: Acetate 12inch Vinyl - One Love (Alternate Mix)

M - February 1990 - The Stone Roses feature on the cover of Record Collector magazine, Issue Number 126, Priced at £1.75

M - February 1990 - Q Magazine, Peter Kane article was titled 'Space Invaders'.
See Media for article.

07 February 1990 - The Stone Roses serve a writ on Revolver to stop the Sally Cinnamon video being shown.
Notes: The case is adjourned for three weeks.

M - 10 February 1990 - Spike Island rumours
Notes: Spike Island show is unconfirmed at this time, although rumours had spread.

The Stone Roses - 19 February 1990 - Elephant Stone U.K. Re-Release Date
Label: Silvertone
Artwork: 'Untitled' Detail, 1988 Oil on calico & plywood 18x18inch John Squire
Format: 7inch Vinyl. Catalog Number: ORE 1 (Red ORE catalogue number)
Elephant Stone (7inch Version)
The Hardest Thing In The World
Format: 12inch Vinyl. Catalog Number: ORE T 1 (Red ORE catalogue number)
Format: Cassette. Catalog Number: ORE C 1
Format: CD. ORECD-1 21 A2 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 1. Barcode: 5013705900129. Maunfactured In Austria (In sleeve and on disc face)

Format: CD. A0020014080-0101 35 A3 DADC AUSTRIA IFPI L555 (Clear Ring: IFPI 94A6) Catalog Number: ORE CD 1. Barcode: 5013705900129. Maunfactured In Austria (In sleeve and on disc face)

Elephant Stone (12inch Version)
Full Fathom Five (7inch Version)
The Hardest Thing In The World
Elephant Stone (7inch Version)
Produced By Peter Hook, Elephant Stone (12) & (7) Mixed by John Leckie.
Notes: Full Fathom Five is the Peter Hook produced version, it would also appear on The Complete Stone Roses compilation. Elephant Stone debuted in the U.K. charts at 25 and peaked at number 8.
A 1990 Elephant Stone & Made Of Stone re-release press sheet mentions Elephant Stone as ''...back in the shops from 19 February 1990...''
From February 1990 - NME Magazine - ELEPHANTITIS
The Stone Roses look set to crash back into the top ten with a reissue of their first Silvertone single 'Elephant Stone'.
The track, produced by New Order's Peter Hook, has been unavailable for some time, but is back in the shops this week.
Advance orders for the record are reportedly around the 75,000 mark - and if sales live up to expectations, the record seems likely to crack the top end of the chart. The Roses already have two records still in the Top 100 - the 'Sally Cinnamon' reissue and their 'What The World Is Waiting For' / 'Fools Gold' double A-side.
'Elephant Stone was originally released in October 1988. But the current interest in the Roses has prompted Silvertone into making it available again.
The reissue has the band's backing, so it's unlikely they'll be daubing Silvertone's offices with several cans of paint - as they allegedly did with their old label FM/Black, who reissued Sally Cinnamon last December.
'Elephant Stone' comes backed with original B-sides 'Full Fathom Five' and 'The Hardest Thing In The World'.
It's followed by a reissue of 'Made Of Stone' a week later. Backed by 'Going Down' and 'Guernica', it's out on February 25.
Both 45s will also be available for the first time on cassette and CD.

20 February 1990 - Ian Brown's 27th birthday

M - 20 February 1990 - Interview, Tara Hotel, London
Notes: An interview tape with three of The Stone Roses was recorded. Neither Reni or Mani did not attend.
The interview was conducted at the last minute for US magazine Alternative Press, but was also used in May 1990 - City Life magazine.
It was recorded in the hotel they were staying in. The intention was to eventually share the audio, but it remains unreleased.
The NME also conducted an interview, on the same day at a 'West End Hotel'. The interview featured in the 17 March 1990 - NME Magazine, also see 14 July 1990 - NME Magazine, James Brown article.
Sky Magazine also conducted an interview, on the same day. See May 1990 - Sky Magazine for the interview.

M - 1990 - The Stone Roses are photographed for Vogue Magazine (USA) in London
Notes: Photos by Michel Haddi/Contour.

M - 1990 - The Stone Roses appear on the cover of Rave On Magazine, issue one, priced at £1.75
Notes: "Blooming mental - the rebellious Roses and their artistic flares. Happy Mondays - The only good thing at the beginning of the week. Inspiral Carpets - Cool As What?" Included a fold out poster too.

The Stone Roses - 1990 - What The World Is Waiting For / Fools Gold U.S.A. & Canada Release Date
Label: Silvertone / RCA / BMG Music
Artwork: 'Double Dorsal Doppelganger One' Detail, 1989 Cellulose on Canvas, 24x28inch, John Squire.
Format: Canada 12inch. Catalog Number: 1315-1-JD
Fools Gold 9.53 / What the World Is Waiting For / Fools Gold 4.15
Format: USA 12inch. Release was pressed on black and Limited-Edition Gold Vinyl. Catalog Number: 1315-1-JD - Manufactured and distributed by RCA Records, a label of BMG Music, New York, NY. Printed in USA. (The gold pressing in cellophane wrapping usually had a black sticker with gold outline and text reading 'Limited Edition Gold Vinyl 1315-1-JD')
Gold Matrix A-Side: Emw #08438 13/5-1-JD-A
Gold Matrix B-Side: Emw #08438X 13/5-1-JD-B
Fools Gold 9.53 / What the World Is Waiting For / Fools Gold 4.15
Format: Cassette. Catalog Number: 1315-4-JS
Fools Gold 9.53
What the World Is Waiting For
Fools Gold 4.15
Format: USA CD Promo Only. Catalog Number: 1315-2-JD . Published by Zomba Enterprises Inc. (ASCAP) Manufactured and distributed by RCA Records, A label of BMG Music. Silvertone Records Limited.
Fools Gold 4.15 / What the World Is Waiting For / Fools Gold 9.53
Notes: The U.S market saw a gold, amber coloured translucent vinyl release. The promo only cd was apparently seen shelved and for sale in some record stores in the U.S. The cassette was apparently released in December 1989, although unconfirmed.

The Stone Roses - 1990 - What The World Is Waiting For, Japanese Release Date
Label: Silvertone / Alfa
Artwork: '' John Squire /
Format: CD. Catalog Number: Silvertone/Alfa 18B2-103
What The World Is Waiting For
Fools Gold (12" Mix) aka 9.53
She Bangs The Drums (12" Mix) aka LP Version
Elephant Stone (12inch Version)
Guernica
Going Down
Produced by John Leckie.
Notes: Japanese only E.P. featuring unique artwork. There were at least two variations of the front cover. The lemon had a dark blue border, a light blue border or no outline border at all.

The Stone Roses - 1990 - What The World Is Waiting For, Australian Release Date
Format: 12inch. Catalog Number: ORE 13T XB01515 BMG Arista/Ariola Limited in Australasia.
What The World Is Waiting For / Fools Gold

Format: 7inch (custom sleeve included a 'Contains Free T-Shirt' banner over the dolphin artwork). Catalog Number: ORE 13 XB01515 BMG Arista/Ariola Limited in Australasia.
Fools Gold 4.15 / What the World Is Waiting For
1990 Australian Fools Gold Pack Band T-Shirt - Brand/Tag: no brand - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 19.00" - Length: 26" - Label Size: L
Format: Cassette. Catalog Number: PROMO 17 (Sleeve notes: 'What the World Is Waiting For. Limited edition - also includes excerpts from The Stone Roses self-titled debut album ORELP 502 - LP, OREC 502 - MC , 1184-2-5-CD')
Fools Gold / What The World Is Waiting For / I Wanna Be Adored (Excerpt) / Made Of Stone (Excerpt) / She Bangs The Drums (Excerpt)
Notes: To tempt Australian buyers the release included a 7inch Fools Gold record, a t-shirt with inconic painted band photo and a promo cassette too, all bundled together. The cassette featured short excerpts of the albums tracks plus Fools Gold 4.15 & What The World Is Waiting For in full. Squire / Brown noted as (Mushroom) publishing on the 12inch vinyl label.

February 1990 - One Love Recording Sessions
Notes: One Love is mixed, edited and finished in mono.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: The Stone roses seemed to be on top of the world by the end of ’89. But the you came back in summer 1990 with "One Love", which was viewed as an anti-climax by critics… IB: And by us. We went to master it the first time and the engineer had accidentally pressed the mono button. The guy at the mastering suite said, I’m not making a mono record. We said, no, it’s great really loud. So we re-mixed it but looking back, we tried in vain to make an anthem to cover all bases – we wanted to appeal to everyone in clubs and indie kids and whoever. But it was a poor chorus, I think.
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: ...about why the “One Love” single hadn’t really been much cop (John Squire: “It just wasn’t ready”);
From Autumn 2001 Mojo Collections Number 04: One Love and Something’s Burning were finished upon their release from police custody (eight months later, the group were fined £3000 each for criminal damage)...Moreover, mixing the songs took six weeks: time enough for Leckie to travel to Seattle, produce an album by The Posies, and return to find the group and Paul Schroeder still embroiled in the task. Eventually, time was called — and One Love and Something’s Burning were tentatively placed on Silvertone’s release schedules...
Official: Cassette - One Love "Mono"

1990 - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Standing On Your Head (Studio Version 1990) / Mr Shy Talk
Notes: Apparently an early instrumental version exists in demo form.
Mr Shy Talk is an unconfirmed jam track recorded during the One Love sessions or it could be a Metropolis, John Squire's Porta-studio demo.

March 1990 - CATH Vol.1 Fanzine 1990 - Spring
Notes: Includes Primal Scream and The Stone Roses

The Stone Roses - 05 March 1990 - Made of Stone U.K. Re-Release Date
Label: Silvertone
Artwork: 'Cody Calling' Detail, 1988 Oil on Canvas 61x28inches John Squire
Format: 7inch Vinyl. Catalog Number: ORE 2 (catalogue ORE number in blue)
Made of Stone
Going Down
Format: 12inch Vinyl. Catalog Number: ORE T 2 (catalogue ORE number in blue)
Format: Cassette. Catalog Number: ORE C 2

Format: CD. ORECD-2 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 2. Barcode: 5013705900228. Maunfactured In Austria (On disc face)

Format: CD. A0020019108-0101 24 A2 DADC AUSTRIA IFPI L554 (Clear Ring: IFPI 94S1) Catalog Number: ORE CD 1. Barcode: 5013705900228. Maunfactured In Austria (In sleeve and on disc face)
Format: CD. A0020019108-0101 24 A2 DADC AUSTRIA IFPI L554 (Clear Ring: IFPI 94F1) Catalog Number: ORE CD 1. Barcode: 5013705900228. Maunfactured In Austria (On disc face) HMV Price: £3.99, 50137059002280003997 STONE ROSE MADE OF S SING CD L W6 370 ORECD2 103.
Made of Stone
Going Down
Guernica
Notes: Made Of Stone enters the U.K. charts at number 20. This re-release has 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 this sleeve. The vinyl pressings look the same. One of the tell-tale signs you have a repress would be the French inner sleeve. A generic white sleeve with French disc care text 'Precautions Essentielles Pour La Bonne Conservation De Ce Disque...'.
A 06 February 1990 Elephant Stone & Made Of Stone re-release press sheet mentions Made Of Stone as 'back in the shops from 5 March 1990...'
I have a conflicting unconfirmed date of 26 February 1990 too.

N - 06 March 1990 - The Stone Roses appear in Wolverhampton Magistrates' Court
Notes: The band arrived at court at 09.30am for a 10am hearing.
FM Revolver accuse the band of criminal damage, estimated damages between £15,000 to £20,000. Jeff Howard, represented The Stone Roses.
The entire hearing lasts for less than ten minutes, the media exaggerated the hearing was less than 60 seconds. The case is adjourned (see 12 April 1990) when the defence and prosecution fail to agree on a figure for damages.
Richard Davis took several photographs, outside the doors of the court, for the media. Richard was in court for the hearing and made the following notes on the day: ‘The Stone Roses are charged with causing £15-20,000 worth of damage to their old record label FM Revolver Records of Wolverhampton. This allegedly involved the band members splattering paint over FM’s offices. The band admitted to the offence but claim their attack was justified in light of FM recently re-releasing Sally Cinnamon, without their permission’. ‘Furthermore, the band are miffed about the accompanying video of Sally Cinnamon, which FM recently made. After a brief hearing in February, today saw all four Stone Roses at Wolverhampton Civic Court charged with Criminal Damage to FM Property. The case started at 10.00am but within five minutes, the packed courtroom (filled with fans) heard, yet again, that the case would have to be adjourned’. ‘The band heard the charges which were made out to them in their real names, Alan John Wren, Ian George Brown, Gary Nigel Mounfield and John Thomas Squire. Due to the serious nature of the case, the Court decided to set a new date, April 12th at Wolverhampton Crown Court’. ‘After posing for photos outside the court – much to the amusement of court officials and passers-by, the band drove of brandishing a banner that read ‘THE MANCHESTER FOUR ARE INNOCENT’.
From 17 March 1990 - Sounds Magazine, John Robb wrote ''Ian Brown. John Squire, Gary Mountfield and Reni appeared at Wolverhampton Magistrates Court last Tuesday charged with criminal damage. But the case was adjourned when the defence and prosecution failed to agree on a figure for the amount of damage the four allegedly did to the offices and property of FM-Revolver Records. The trial is now set to take place at Wolverhampton Crown Court on April 12.'' '"I've been up all night," explained a characteristically shagged-out Ian Brown, in between signing autographs, adding ironically 'it's a good day out'. 'See ya in hell' quipped Reni, seconds before he was ambushed by the flashbulb extravaganza on the door step. Gareth Evans said 'The Stone Roses have a management well organised for situations like this.'
See Media for the article, March 1990 - Melody Maker Magazine: Bob Stanley wrote the article STONE ROSES ON BAIL.
See Media for the article, April 1990 - Bitz News: STONE ROSES COURT DRAMA The case continues…

N - 06 March 1990 - The Stone Roses begin recording the One Love Video.
Notes: First day of filming the promo video. Geoff Wonfor was hired for the video shoot.

N - 10 March 1990 - The Stone Roses appear in court again
Notes: The case is adjourned to give Revolver time to prepare their defence.
NME reports that The band lose the case against the Sally Cinnamon promo video injunction.

The Stone Roses - March 1990 - 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 Vinyl. Catalog Number: OREX6 (The first 3000 included a colour artwork postcard)
She Bangs the Drums (Single Mix)
Standing Here
Format: 12inch Vinyl. Triple A. Catalog Number: ORE Z 6 (The first 5000 included a colour print. Sticker on the front cover read "ORE Z 6 Includes special limited edition full colour print")
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)

Format: CD. ORECD-6 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 6. Barcode: 5013705116025. Maunfactured In Europe (On disc face and in sleeve)
She Bangs the Drums (Single Mix)
Mersey Paradise
Standing Here
Simone
Notes: Charted in the U.K. at number 32, two places higher than the original 1989 release.
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.
After some research it looks like the 'Adored' sleeve was included as the initial print and the 'She Bangs The Drums' 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?

M - 17 March 1990 - Sounds Magazine - Spike Island is confirmed.
Notes: The article noted ''...tickets, price £13, are on sale now. You can get them by post from G&M Promotions, PO Box 7, Poynton. Cheshire SK1 2 1FP— enclose an SAE and add 50p per ticket booking fee. There's a maximum of four tickets per postal application. For credit card purchases and coach trip enquiries call, 061-969 4959. And tickets are also available at the Piccadilly box office in Manchester.

M - 17 March 1990 - The Stone Roses feature on the cover of NME (New Musical Express) Magazine & Brixton show rumours.
Notes: Front page headline read 'Stone Free? Stone Roses in the charts and in the dock'. 'The Stone Roses have reportedly pencilled in two shows at London's Brixton Academy in June. The shows, which have been provisionally booked, would be warm-ups for an American tour.'
See Media for the article, 17 March 1990 NME Magazine (double page spread): A BRUSH WITH THE LAW.

N - 31 March 1990 - NME report Ian Brown was spotted in 'nitespot' Cafe De Paris, London with members of the Liverpool Football Team.

10 April 1990 - Reni's 26th birthday.

N - 12 April 1990 - The Stone Roses appear in Wolverhampton Magistrates Court
Notes: There is still no agreement on compenstaion costs. The court is adjourned until the 26 April 1990, and committed to Crown Court. Hundreds of fans waited outside, town centre traffic had to be diverted due to the crowds.

M - 14 April 1990 - Sounds magazine announce summer shows.
Notes: Sounds magazine announce 'Glasgow, Manchester and London for late June and/or early July, Sounds understands'

N - 18 April 1990 - Ian Brown is spotted in London's Charing Cross Road
Notes: Ian and his dad, Vincent Brown, went to watch the Rugby League Challenge Cup Final at Wembley Stadium. His team Warrington lose 36-14 to Wigan.

N - 26 April 1990 - The Stone Roses appear in Wolverhampton Crown Court
Notes: Paul Reid defended the band. Unconfirmed date for charge, I have an initial date noted as 09 October 1990.
See Media for the article, August 1990 - Select Magzine: ..."So we did what we did and he called the police and then sent press releases out." He adds, laughing, "All the publicity hasn't done us any harm, y' know what I mean."
"We did what we did" is a euphemism for an unsolicited paint job. Incensed by Birch's disregard for their requests, the band drove to the FM/Revolver building and, with the engine still running, covered him and his office in paint. It was John Squire's splatter artwork on a large scale. A stone birdbath was also pitched through the rear window of Birch's car and two cans of paint strewn over the interior upholstery. The four Stone Roses were taken to Wolverhampton Magistrates Court and pleaded guilty to criminal damage. Since the damage was in excess of £5,000 and the prosecution and defence could not agree an amount (the defence said it was £8,000; FM claimed it was £22,000) the case has been referred to Crown Court for sentence.
They could end up in prison. Would this worry them? "Course it would," asserts Reni, "who wants to go to jail?"
But if they're prepared to fight for causes, and feelings obviously run high on this one…
"I can think of better things to go to jail for," says Ian, and Reni caps his sentence with typical dry humour, "…than a video."
Whatever the verdict, Brown is convinced of a moral victory.
"We always did what we thought was right and we still think what we did was right. So whatever happens to us is really irrelevent, cos we know what we did was right. If someone on the street did that kind of thing to us, we'd 'ave 'em."...

April 1990 - Hit Studio International, TV Studios, London
One Love
Notes: The band mime the song to promote its upcoming release. The single would not see the shelves until July 1990 though. Weirdly the 2004 DVD credits the song as '1989 Fuji International Productions with special thnks to Fuji International Productions (UK) LTD.'
Official: 2004 - The Stone Roses - The DVD (2 DVD Set)

M - May 1990 - The Stone Roses Interview features in Sky Magazine
Notes: Interview conducted 20 February 1990, Hotel, North London. See Media for the article by Jon Wilde.

M - May 1990 - The Stone Roses on the cover of City Life Magazine, Issue 150.
Notes: Interview conducted 20 February 1990, Hotel, London. Photos taken by Matt Squire. See Media for the article.

04 May 1990 - One Love Video Shoot
Notes: Some more shots are filmed for the promo video.

M - 14 May 1990 - The Daily Mirror carries a news story about a shooting at Manchester International
Notes: Ian Brown and James' Tim Booth were in the audience watching reggage act 'Ini Kamoze' when the venue was under gunfire. This and other similar events conied the media term 'Gunchester'.
The club was previously managed and co-owned by Matthew Cummings & Gareth Evans. The Stone Roses later appeared to show their respects to the victim, along with Tim Booth and Saul Davies from James.
The International 2 was sold to Manchester businessman and nightclub owner Paul Coombes, in the summer of 1990. Paul promoted all the shows up to the closure of the venue in the summer of 1992. The site was sold for redevelopment, the building was demolished and replaced by a gated apartment building complex. It was a similar story for The International 1 which was turned into retail stores.

Scandinavian Tour
Merchandise
1989 The Stone Roses Lemon (white) - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: Grey - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
1990 The Stone Roses Lemon (dark grey or light grey) - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: Grey - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
1990 One Love (sleeve image) T-Shirt - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
1989/1990 - Fools Gold - Brand/Tag: Screen Stars - Fabric Blend: Poly/Cotton - Color: White - Pit-to-Pit: 22.50" - Length: 31" - Label Size: XL

15 May 1990 Tuesday - The Station, Norregade 1, Copenhagen, Denmark * Doors Open: 20:00 * Ticket Price: 130,- + Gebyr *
(Intro Tape: Small Time Hustler (The Dismasters)) 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 / Fool's Gold / Where Angels Play / Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Notes: What The World Is Wating For was on the setlist after Fools Gold but was not played, it was written as 'What The World'. Cressa joins the band as effects technician.
The band make a few setlist changes and debut Elizabeth My Dear & Don't Stop. They also debut new songs One Love & Something’s Burning.
According to the ABS (ABS, Nationwal Wesminister (aka NatWest) Bank) contractual agreement written / signed 02 April 1990 between Thomas Seifert, PP Infrarouge and Gareth Evans PP Starscreen Ltd. the band agreed to one show of 60 minutes for a fee of £2000 (23,000DK) + 80% nett ticket price after 658 admissions.
One Love, Fools Gold & the 1989 tour lemon design T-shirts (Screen Stars Best, Styled In U.S.A. 100% Cotton Label, XL only) were on sale during the tour. Charles Hunfeld worked for Zomba and managed the band's merchandise and press on the tour. After the tour Charles also attended the Spike Island show.
From 26 May 1990 - Melody Maker Magazine Review: According to Reni, the opener in Copenhagen was "f***ing average, really average"
Bootleg: CD (IAWS I Am Without Shoes / stoneroses.net (Will Odell)) Audience Recording
Bootleg: Standing Here - CD-R - (Odilon Records. Cat. No.: OR-019. Made In Japan. The inside booklet/cover advertises the availability of OR-001 1CD (26 June 1987) and OR-002 1CD (22 December 1995). 15 May 1990 - Copenhagen, Denmark. CD-R with printed label face) - Audience Recording
Bootleg: Standing Here - CD-R - (Odilon Records. Made In Japan. CD-R White label face with black text. Bootlegged from the above bootleg. Slight variation with rear artwork.) - Audience Recording
Bootleg: Audience Recording - Tape (Master, 2012 Transfer)
Bootleg: Audience Recording - Tape (Master, 2020 Transfer)

16 May 1990 Wednesday - Mejeriet, Stoba Soder Garten 64, 22354, Lund, Sweden * Doors: On Stage: 22:20 *
Notes: The band return to Sweden after five years, alot's changed since 1985. 700 people attended the show. Cressa joins the band as effects technician. The band were late on stage, several fans were angry and heckled the band before they come on. The band had a 10 hour journey ahead of them after the show.
Peter J Walsh took several photographs for the Manchester’s City Life Magazine.
According to the ABS (ABS, Nationwal Wesminister (aka NatWest) Bank) contractual agreement written / signed 02 April 1990 between EMA Telstar Concerts AB, Sweden and Gareth Evans PP Starscreen Ltd. the band agreed to two shows of 60 minutes per show.
From 26 May 1990 - Melody Maker Magazine Review: According to Reni, the opener in Copenhagen was "f***ing average, really average", while the second night, at a shoebox-sized venue in Lund, attracted a selection of diehard punks who ceremoniously gobbed at their new idols. Manny grimaces: "Ian got one right down the front of his shirt, a real slug!"
From July 1990 - Q Magazine, Article by Adrian Deevoy: ...TWENTY minutes after The Stone Roses are due on stage in Lund, they locate a suitable “soup shop” in the old town, a 10-minute walk from the concert venue. It’s an amusing sight as the band - without a watch or indeed a care between them – shamble into the upwardly mobile, mildly pretentious Swedish beanerie. In a country where everybody seems blond, tanned, preposterously well-preserved and turned out, The Stone Roses make a pale and interesting contrast. In fact, the piano player all but stops. Sauted herrings remain unmasticated in open mouths and gravadlax perch unattended on wooden forks, dripping dill mustard on to the pastel pink tablecloths.
“Smart gaff, this,” says Ian, beaming at the slack-jawed customers, his over-long waterproof trousers noisily buffing the stripped pine floor. John studies the restaurant’s paintings in which all the daubed women appear to be exposing sections of their chests. “I detect something of a breast theme,” he says. “Yeah, tits everywhere, man,” Mani concurs intellectually. A waiter of pugilistic aspect eyes the band uneasily as Ian romantically flambes a sugarcube over a candle and presents it to John who, in turn, tucks into the burnt offering with knife and fork. The waiter shifts his bulk awkwardly, flexing his leg-like arms as, for reasons unknown, Ian deliberately misses his mouth and pours his coffee over the table. He finally snaps as Brown saunters into the kitchen area and steals a piece of lettuce. He rushes over and strikes a macho pose over the foursome. “This is a restaurant,” he booms, twitching with anger. “Behave yourself!”
“I were just off anyway, mate,” Ian smirks, munching contentedly. “Relax.” The band fall silent. Hands deep in pockets, nodding farewells to the bemused clientele, Ian shuffles out.
By the time the band return to the Lund concert hall, the 700 paying customers have been standing on the dancefloor – there is no bar as this would mean age restrictions – waiting for their underground English heroes’ set to commence for over two hours. As the band scuttle in through a rear entrance a muffled chant can be heard permeating through the building. Although filtered through the randomly melodic Swedish accent, it us just decipherable to the trained ear: FUK-IN BAS-TUDS! FUK-IN BAS-TUDS!
“The punters,” explains the group’s agent a trifle unnecessarily, “are not happy.” Ian’s suggestion that they leave it for another hour before taking the stage is met with the uncomfortable thing that is “a severe bollocking”. The agent later apologises to each member. “My problem was, I was getting it in the ear from the promoter and all I could say was, I know that they should be on stage but they’ve buggered off for a bleeding bowl of soup.”
The band shrug off the knuckle-rapping with their characteristic combination of charm, cheek and curmudgeonly muttering. “The boss shouts at the husband,” says Mani, “the husband beats the wife, the wife screams at the kids, the kids kick the dog, the dog bites the postman, the postman doesn’t deliver your giro….” “Exactly,” says the agent, looking deeply puzzled.
In the dressing room, the band engage in the time-honoured last-minute preparations that pop groups have made since the champagne bottle first cracked across the bows of the good ship rock ‘n’ roll. Cresser tries to limbo dance under a chair, Ian stuffs his pockets full of cherries, John busies himself with an elaborate hay fever cure and Mani has a wee in the sink.
IT is 10.20 when the band eventually appear on stage as silhouettes in a cloud of dry ice that would make any Swedish steam room proud. Sadly, the concert calls for liberal use of the word “rusty”. The band have not played live since their Alexandra Palace extravaganza seven months ago and it shows: intros require jump-starting, backing vocals slip into the realms of pain, the foldback well, doesn’t, and nothing quite seems to gel.
John Squire, standing head down at the corner of the stage like a guilty schoolboy, coaxes the regular Hendrix-derived selection of sounds from his guitar. Mani reliably pumps out his rubbery Beatles bass lines and drummer Reni clatters about his kit like a three-armed Keith Moon but somehow the three elements refuse to hang together.
To top it all Ian Brown is in a near-psychotic state of mind. Loping rhythmically about the stage like a monkey at a discotheque, he stares into space, mouthing incomprehensible thoughts which are clearly being express-delivered from another dimension. He occasionally rolls his eyes back into his head in a frustrated attempt to lose himself in the music. When this fails, as it invariably does, he crouches and mischievously surveys the audience in the predatory style of John Lydon.
The previous evening in Copenhagen he had repeatedly asked the confused crowd, “What’re y’doin’?” some 20 times, until even the roadies – all long time acquaintances of the 26-year-old singer – were exchanging concerned glances and the telephone numbers of bespoke straight-jacket tailors. Tonight, though, more than anything, Brown appears professionally bored.
Tomorrow is Stockholm, a larger more prestigious show with an estimated audience of 3,000. Wide-eyed and restless, none of the band sleeps on the 10-hour journey, preferring instead to watch – for the sixth time – the almost uncomfortably gritty Northern drama Rita, Sue And Bob Too and re-runs of ‘70s Ali-Frazier fights. “There was something about Ali when he was young,” says Brown, who, it has been said, shares a lot of the young fighter’s sassy arrogance. “He just… shone. Really sad, though, the way he just… went. Shame that, ‘cos he was so strong. I like to read about strong people like Ali and Malcolm X, used to really like Bruce Lee, Martin Luther King and Pete, although I’ve never hero-worshipped anyone like musicians or anything. I’ve had a lot of respect for people but I’ve never idolised them.”

17 May 1990 Thursday - Exit (The Fryhuset) Langholmsgaten 38, Stockholm, Sweden * Doors: (on stage) 22:30 *
I Wanna Be Adored / Elephant Stone / She Bangs The Drums / Shoot You Down / One Love (attempt) / Sally Cinnamon / Standing Here / Fool's Gold / Where Angels Play / Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Notes: The band arrived at 10am in the morning, after a tour bus drive through the night. Cressa joins the band as effects technician. The Fryhuset held 1,500 people and was a former meat warehouse turned Youth Centre 'YMCA-style' building in an industrial area. Peter J Walsh took several photographs for the Manchester’s City Life Magazine. Pennie Smith was at the show.
After the show the band went into town to party, starting at Melody's club and ending with a ghetto blaster in the back of someone's car, see the article below for details of the 'Warehouse rave at the docks' which never happened.
From March 1995 - Q Magazine, Adrian Deevoy wrote: Who the hell do THE STONE ROSES think they are? Ian Brown, The Stone Roses' slight singer, and myself are in a toilet cubicle in a Stockholm nightclub. We are, let's not be coy, taking drugs. Brown bends low over the lavatory lid and inhales a generous white line smoothly through a rolled bank note. He straightens up, smiles and says, "help yourself." Outside, a small voice is repeatedly whining, "Go on, let us in I've got some great speed." Dabbing at his tiny nose, Brown sniffs, "Nah, leave him out there with his category Bs."...
According to the ABS (ABS, Nationwal Wesminister (aka NatWest) Bank) contractual agreement (written / signed 02 April 1990 between EMA Telstar Concerts AB, Sweden and Gareth Evans PP Starscreen Ltd.) the band agreed to two shows, 60 minutes per show.
See Media for the article, May 1990 - NME Magazine, Live Review by James Brown.
See Media for the article, 26 May 1990 - Melody Maker Magazine, Live Review: WHERE ANGELS PLAY.
See Media for the article, July 1990 - Q Magazine, Article by Adrian Deevoy.
See Media for the article, March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy
Bootleg: Audience Recording (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "" Cassette Originally Priced: £3, Running Time (Approx): 80mins) Tape
Bootleg: Audience Recording - CD-R

19 May 1990 Saturday - Voice, "Slamdal..3" Oslo, Norway
Notes: Cressa joins the band as effects technician.
According to the ABS (ABS, Nationwal Wesminister (aka NatWest) Bank) contractual agreement written / signed 03 April 1990 by Gareth Evans PP Starscreen Ltd. the band agreed to one show of 60 minutes for a fee of £3000 (34,000) + a percentage nett ticket price after so many admissions.

25 May 1990 Saturday - One Love requested release date
Notes: Apparently the band wanted the release to be pushed for a weekend release, so everyone could hear the record before the Spike Island show and so the record could be sold at the gig. Due to a change in the sleeve artwork and Silvertones decision to push the record back, the single would not see release until 02 July 1990.

May 1990 - Citadel, St. Helens
From June 1998 - United We Stand Interview, Mani said: ...Another time, we played a gig just before Spike Island in St Helens under an assumed name. There were about five people there and we just sat down and played another blinding gig. I enjoyed moments like that as much as I enjoyed Spike Island where there was 25,000."

26 May 1990 Saturday - Spike Island, Widnes, Cheshire
Soundcheck: I Am The Resurrection
Notes: The band did a soundcheck on Saturday afternoon. The stage and show set up had started two weeks previously. Apparently the P.A. system involved speakers from Gareth's International Club, unsuitable for such a large outdoor event.
Video Bootleg: Incomplete Amateur Audience Recording *Only three minutes of footage is available to see in different segments online.

26 May 1990 Saturday - Spike Island Press Conference, Piccadilly Hotel, Manchester * Doors: 20:00
Notes: The band said they did not want to play second fiddle by supporting The Rolling Stones on their European tour.
‘What will you be doing in five years?" asks the Daily Star. “What a stupid question," retorts Ian Brown.
According to the Silvertone press sheet, Silvertone officials were staying at Lord Daresbury Hotel, Warrington.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken by Paul Slattery.
See Media for the article, 29 May 1990 - Melody Maker Magazine: WAR OF THE ROSES.
See Media for the article, 09 June 1990 - NME Magazine, Live Review by Roger Morton: THEIR SATANIC MAD-JESTERS - The Stone Roses.
A recording of the conference was sold, 08 February 2022 Tuesday 10:00 - Omega Auctions Sales: Stone Roses - Spike Island Press Conference Cassette. A cassette recording with approx 1 hour of audio from the Stone Roses press conference at the Picadilly Hotel, Manchester on 26th May 1990.
Bootleg: Press Recording (BASF 90 CR-E II. The taper recorded over a german symphonic recording.)

27 May 1990 Sunday - Spike Island, Widnes, Cheshire * Doors Open: 14:00 Curfew: 22:30 * Ticket Price: £13 / £14.00 * Support Act(s): 14:00 - DJ Dave Haslam, 15:00 - Ruff & Ready, 16:00 - DJ Frankie "Frankie Knuckles" Bones, 16:40 - Thomas Mapfumo (Zimbabwean Drum Orchestra) 17:30 - The Jam MCs, 18:30 - Jah Wobble (Live) with DJ Gary Clail & Doug Wimbish, 19:30 DJ Paul Oakenfold, 21:00 The Stone Roses *
? Hugh Masakela support act?
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 / Elizabeth My Dear / I Am The Resurrection
Notes: Sold Out Show, apparently sold out from just one small press article published in the NME magazine. Officially 27,000 tickets were sold but approx 30,000 attended the gig.
The show took place on a Bank Holiday Weekend on the man-made Spike Island nestled along the River Mersey. The nearby roads were very busy with show traffic.
Initial tickets were priced, and printed, at £13 but some tickets were adjusted, by biro pen, to £14 to cover any selling fees. From 08 October 2004 Friday 00:00 - The Independent, Andy Gill Interview: "At Spike Island [the Roses' big 1990 gig], we made sure tickets were £13, which meant we were only breaking even - we did so many things like that, where we weren't chasing the dollars..."
Coach & Concert Ticket Prices Varied but departed from all over the Country, From Aberdeen (£49.00) to Taunton (£42.00) and everywhere in-between. Cressa joins the band as effects technician. This would be the first time many fans would hear the new single live, both One Love & Something's Burning would be played.
The sound was not very good by all accounts, open air show with windy conditions and the P.A. system could not suffice to a crowd of 30,000. The weather was sunny though.
The organisers did not order enough beer, the ques were long and it took hours to get served. Cigarettes were unavailable and the kiosks apparently stopped serving beer at 18:00 as they had run out. There was 8 arrests at the show, mainly due to drunk and disorderly behaviour. The ticket stub entry terms indicated 'Number 2 : If anyone near you has problems, please help.'
The bands stage lights for the show were organised by 'Close Encounters'.
Ian McCullouch, A Guy Called Gerald, Peter Hook, Marc Riley, Bez and Shaun Ryder were backstage at the show. Members of Lush, 808 State, Primal Scream, Nigel Pivaro, Pete Wylie, Revenge (Peter Hook's band), The Christians, The Bodines, Yargo, The Fall, Inspiral Carpets, Joe Satriani, Andrew Berry, Sonic Boom and The Charlatans were seen backstage at the show too.
Ian had the term V.I.P. scrubbed off all the security passes, saying ''Everyone's equal. There are no V.I.Ps in this world''. Backstage guests are surprised to learn that the only free drink on offer is Coca Cola. The Silvertone hospitality marquee, supplying a buffet and a pay-bar service was intended for media and guests. Several guests had sold or donated there tickets and passes to die hard fans.
Noel Gallagher and Arthur 'Bonehead' were both in the crowd. Bonehead was photographed with his mates and his van. His van had been pollock styled like the roses artwork.
What The World Is Wating For was on the setlist after Fools Gold but was not played, it was written as 'What The World'.
Andy Phillips & Andre Csillag took several photographs for the media.
Reporters/Photographers Juergen Teller was there for i-D, Patrick Harrison was there for The Face and Dave Swindells was there for The Observer. See 10 June 2021 for Spike Island photo book published by IDEA. James Brown and Kevin Cummins were working for the NME/freelance.
David Morgan? who published 'This Is The One' photo book essay in x with several shots from the show.
As the band came on stage Ian can heard proclaiming 'The time is now, do it now!'.
The show ended with a firework display.
The merchandise stall was selling:
1990 One Love T-Shirt - Brand/Tag: Screen Stars Best, Styled In U.S.A. - Fabric Blend: 100% Cotton Label - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL £10

Elephant Stone T-shirt - 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 £10 each.

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 £10

Spike Island T-Shirt (Square John Design) - Brand/Tag: (Smaller black label) - Fabric Blend: Poly/Cotton - Color: White - Pit-to-Pit: 22.50" - Length: 31" - Label Size: XL

What The World Is Waiting For (Dolphin) Brand/Tag: Screen Stars Best, Styled In U.S.A. - Fabric Blend: 100% Cotton Label - Color: White - Pit-to-Pit: 22" - Length: 31"

Made Of Stone T-Shirt - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL

A full set of 5 official postcards were available for £2. The Stone Roses Lemon LP, Made Of Stone, Fools Gold (with release info), The debut LP (with Waterfall design and release info) and a black and white band photo from Pennie Smith (the same image was also for Splash posters around the same time).
Cressa and Ian sold audience recordings from the show to local record stores. Afflecks Palace in Manchester was supplied with regular bootleg cassettes from Cressa and his mate, Lee Daly. Ian and Cressa also give away several tapes for free to friends and fans too.
From Simon Spence's Book 'War & Peace': Briefly Evans had arranged a £100,000 deal with Central TV to film the event. The company had set up an 8-camera shoot and outside broadcast vehicle on site. On the day of the gig the Roses refused to be filmed. Only the quick thinking of promoter Phil Jones resulted in footage existing of this seminal moment [it has been found]. A random kid had been hanging out with his little camera during the stage build, and when the Central TV deal collapsed, Jones told the kid he could film the show.
From 06 March 2009 - Uncut Magazine Interview with Ian Brown: Because again, Peter Hook was saying again the other day that Reni came storming over at Spike Island and was like, to Gareth: “Gareth, get all these fucking Reni hat salesmen off the site.” And it turned out it was Gareth… That’s right. He did have a beef with that because Gareth was trying to make money off it. Yeah, he had a load of Reni hats up on the merch stall that we didn’t know about. But him and Gareth were always fisticuffin’.
From Blood On The Turntable BBC TV Documentary, Mani said: The words piss up in a brewery spring to mind on that one....

From NME Magazine article, June 1990: '...Meanwhile, big money negotiations to televise The Stone Roses' gig at Spike Island fell through last week. Central Music had led the race to record the gig for screening by BSB and Central TV in a deal rumoured to be worth £100,000 for the band. However, talks between TV officials and the Roses broke down.'
From August 1990 - Select Magzine: Bridges had to be built to allow access from the banks of the Mersey and Manchester Airport flight paths were suspended to allow for the firework finale. On top of which, local residents and councils caused ructions.
"Oh yeah, non-stop," sighs Ian. "On the morning of the day there were people in barges and boats trying to knock our bridges down. They (the local residents) had a petition of, I think it was 80, to try and stop it. Two days before, the council tried to take the drinks licence off us and the Chief Constable said, No, let them have it. "We had loads of problems, we had to have about 20 meetings with them - some councillors trying to make their names, y' know, saying it was a drugs party and all that kind of stuff." After all that people whinged about the lack of beer tents and The Stone Roses were reputedly £400,000 lighter of pocket.

See Media for the article, 29 May 1990 - Melody Maker Magazine, Live Review: Stone Roses Spike Island, Widnes.
See Media for the article, June 1990 - NME Magazine: Witness For The Prosecution.
See Media for the article, June 1990 - NME Magazine: Stone Roses' 'island of sanity'.
See Media for the article, 09 June 1990 - Sounds Magazine, John Robb wrote: Island of Lost Soul
See Media for the article, 03 June 1990 Sunday - The Independent Newspaper
See Media for the article, 09 June 1990 - Melody Maker Magazine, Live Feature: THE STONE ROSES - ISLAND FLINGS.
See Media for the article, 09 June 1990 - RM Record Mirror Magazine, Live Review by Iestyn George
See Media for the article, July 1990 - Bop City (Manchester Fanzine): WAR OF THE ROSES

January 1997 - Q Magazine: Look Back At Spike Island - The Stone Roses Play Spike Island. See 1996 Media for the full article.
After triumphant gigs in London and Blackpool,30,000 baggy trousered fans converged on a toxic dump called Spike Island in the Mersey Estuary to witness The Stone Roses' crowning moment and the apogee of indie dance. No. 45 - Witness: Various - Event; Stone Roses at Spike Island - Date: May 27, 1990 - Location: The River Mersey, Cheshire.
Phil Jones Promoter: The money had been put up by The Roses" managers, Gareth Evans and Matthew Cummings. The band felt it was big enough to headline its own festival, and the main stipulation was that it should be somewhere there had never been a rock gig before, When we heard about Spike Island in the Mersey Estuary. where the Halton Annual Fair was always held, we thought it sounded perfect.
We had no idea how many people to expect, because the group was getting So big so fast. We put one advert in the NME, and from that we sold all the tickets. We started to hit problems early On. It was very hot and sunny when we were preparing the site. and the roadies started to complain about sunburn, but they weren't getting brown. It got so bad that some of them went to see a local doctor and it turned out that there was a chemical factory not far from the site and, after several days' exposure to whatever it was pumping out, they were getting chemical burns.
Come the day, we had sold 29,500 tickets, and reckon at least another 3,500 must have got in one way or another but, according to the licence, the island only had a capacity of 32,000.
Pennie Smith Photographer: From 10am until about eight that evening, when the band went on, there was nothing to do and yet the crowd stayed calm and peaceful, which can only have been down to massive drug consumption.
John Robb Journalist/musician: The significance of Spike Island wasn't so much in the event itself, but that it was the zeitgeist. It was the first time in years that fans were out in force dressed the same way as the band, with the Reni hats and the flared trousers, like a streetsy, harder version of the American West Coast hippy thing.
Bob Stanley Member of St Etienne: Spike Island came in the wake of two brilliant gigs, one at Alexandra Palace in London, and one at the empress Ballroom in Blackpool, so the anticipation was enormous. I'd driven up from London and it was a bit depressing to find yourself in a horrible field, surrounded by huge electric pylons, factories and chemical plants.

Phil Jones: Things got a bit scary in the afternoon. It wasn't just that we were two thousand over-capacity, but the Mersey was in full flow and rising rapidly, so the island was getting smaller. I was worried that we might have to evacuate.
Andy Fyfe Journalist: We got to the site at three in the afternoon, by which time the backstage beer had all been drunk. The treatment of the fans was pretty despicable - just a couple of burger vans and one beer tent for 30,000 people.
Paul Slattery Photographer: The beer drought was largely overcome backstage by the use of dope. There was loads of spliff around, literally clouds of marijuana smoke drifting from every direction.
Phil Jones: There was a drama while Thomas Mapfumo was on stage with his
African drum group. We'd leamed that some bloke was Ferrying people across in
a boat to get them in for free. I went down to the waterside with the security guys and we had a shouting match with him across the water. It was just a tiny rowing boat but every time we went off to deal with other stuff, he'd start again and we'd have to go back. In the end we put a brick through the bottom of his boat.
Dave Haslam DJ: I went on at about six thirty, to do some DI-ing and, although the other DJs were fine. they'd been playing the wrong stuff and the crowd wasn't really responding. For me, though, it was a hometown gig, so played all the things I knew went down well at The Hacienda - The Charlatans, 808 State. Primal Scream. St Etienne and Sympathy For The Devil.

Pennie Smith: The Roses arrived about an hour before they went on, I had expected them to be nervous, but there was no sense that it was anything other than just another gig to them.
Ian Brown: I was one hundred per cent relaxed. If all these people had come to
see us, they wanted it. So why should I have been nervous?
John Robb: There were loads of people backstage, like Shaun Ryder, Ian McCulloch, Nigel Pivaro from Coronation Street, Peter Hook, 808 State. I got to the front just as the whole place exploded, the entire crowd just bouncing up and down to I Wanna Be Adored.
Phil Jones: About five minutes after they went on, I was in the bar trying to have a relaxing drink when an ambulance guy came up to me and whispered in my ear that a kid had just died in front of the stage. When something like that happens, it totally destroys you. Here was this thing we'd all worked months to put together as a great, joyful celebration and some poor kid loses his life right in the middle of it.

Roger Barrett Site manager: What had happened was that, because there had been no rain, the ground was dry and dusty so, when the crowd leapt up as one for the Roses, it kicked up a huge dust cloud. To make matters worse, having formerly been a chemical plant, the dust was toxically polluted. Several kids
immediately had asthma attacks, and this one lad in the thick of the crush
actually stopped breathing and had a heart attack.

Phil Jones: On stage. the band knew nothing about it, but we were all in shock for about ten minutes until word came back by radio that in fact the boy hadn't died. He was on his way to Whiston Hospital in Widnes in an ambulance. As a result of that incident, the Health and Safety Executive now routinely check for dust evels before any outdoor gigs.

Paul Slattery: I saw the gig From the Side Of the stage, where I was photographing them. There was a huge lighting tower, like a giant robot, out beyond the crowd, and the rig on stage was one of the most astonishing I'dever seen, with lights that rotated and raised and lowered. As it started to get darker, of course, the effect of the lights really kicked in.

Bob Stanley: I was disappointed because I'd thought Blackpoo was absolutely brilliant. This didn't seem to me like a great Roses performance, more like they were on auto-pilot. It should have been brilliant but, in retrospect, the best thing about It was being able to say you were there. In some ways, it was actually the beginning of the end.

Sarah Champion Journalist: It "happened" right at the end of the Roses set, just as we'd all given up hope. The haunting acoustics of Elizabeth My Dear, followed by an awesome version of I Am The Resurrection. Spacey guitar riffs, a pink Floyd-scale lighting rig, beams criss crossing the sky like Berlin border lights.

Bob Stanley: By the end. your hair felt very Odd and greasy, like it was totally coated with chemicals from the factories.
Phil Jones: We all stood in the production Office afterwards, swigging champagne, and distinctly remember Ian Brown saying to Shaun Ryder. "So Shaun William Ryder, what did you think of that?" and Shaun says "Well. it was alright, man."

Pennie Smith: As a festival, it was a bit of a non-event, but the significant thing was that the tribes had come out for the first time, and for a huge number Of people it was their first exposure to this sort of community.

John Robb: Spike Island was where the '90s started. The Roses provided the dream and set the template for every British guitar band of the '90s.
Noel Gallagher: Spike Island? A cultural watershed, great bands, great setting, great vibe, shit sound. A pity no-one other than the Fab Five got anything from it.

From 20 February 1993 - NME Magazine article by Iestyn George, Martin Talbot with additional context by John Harris and Fred Dellar: Pete Smith said “They’re all really decent blokes. I remember when Ian had a fight with one of the park guards at Spike Island, helping out this kid. There were loads of kids hanging about and Ian was just talking to them. Then this one young guy came running across the field and a park security guard jumped on him and hit him. Ian saw what happened and it all kicked off. It was quite funny watching these blokes having a go at Ian, they didn’t know who he was and they didn’t know he did karate – he could have split them in half, he’s really tough, but like I say, he’s a good bloke. “He was handing out free tickets to the kids outside before the gig, so they didn’t have to buy them off the touts.”

From June 1998 - United We Stand Interview, Mani said: What was Spike Island like? "It was a weird one because I'd sorted our kid out with about three hundred tickets for his mates but on the day of the concert I just paced around the flat all day giffin for a spliff until I was picked up about half eight at night. Spike Island was probably the first truly straight gig that we'd done but it was good to see that many people there because we'd taken a real chance putting the gig on and it cost a lot of money. It wasn't a particularly great gig but it was a good coming together of people."

From Blood On The Turntable BBC TV Documentary, Noel Gallagher said:
I just remember being there all fucking day. Thank god it wasn't raining and I know the support bands were all fucking atrocious, whoever put that bill together had no sense of the event. The sound was shit, they played a fucking blinder but y'know you coudn't hear nothing because the wind was coming in off the, whatever the fucking river it is off the, mersey.

From 20 May 2007 Sunday - The Observer (the memories may have come from Steve Adge): A lot has been said about Spike Island, but I only have fond memories of the event. I picked the band up late afternoon in Manchester and drove them across to the venue. It was really hot, and most of the fans had been there since the morning. We used to bring ice pops to gigs and hand them out to everyone to cool them down, and they went down well that day. As we arrived there was a little bridge you had to drive over. Supposedly, there were frogmen in the water in case any ravers fell in. There were masses of kids hanging outside the backstage area without tickets and when the band saw them, they gave me all their guest tickets and I handed them out to the kids saying, 'That's a present from the band. Enjoy yourself.' Then I went to the front of Spike Island, where kids without tickets were trying to scale the fence, and sorted as many of them out as I could in true Rose’s fashion. My other favourite memory of the day is the huge inflatable globe I bought for Ian Brown. I blew it up, gave it him and he said: 'What's that?' 'Just hold it in your hand,' I said, 'and all the journalists next week will be saying you've got the whole world in your hand.' And they did. The band came on just as the sun was setting, and they were amazing. I know some people have said there was a problem with chemicals in the air because the gig was next to a chemical plant, but I only know of a couple of people who were there who now have six fingers."''
From February 1998 - Uncut magazine Ian Brown interview: The Spike Island “mega-gig” the month before had also been a bit of fiasco… “We had a wanker [Evans] running it. We trusted him. We’re not the kind of people that put on a show where people have their sandwiches taken off them at the gate. That reflects on you, cos the kids think ‘Oh, they’re doing that’. The way people were treated on that day was despicable. The sound wasn’t good enough cos he didn’t spend enough money on the PA…” “Another thing, we never helicoptered into Spike Island. There was a chopper, but it wasn’t us. We got a bus!” Were you very naïve, business wise? “It wasn’t that, we just weren’t going for the dough. I used to say ‘If we all end up in a mansion with a pool each, we’ve achieved nothing. So what? So, another four kids got rich. It doesn’t mean nothing. We’ve got to change the music business, we’ve gotta change the world.”

From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Peter Hook said: I was stood with Gareth and his partner and Reni comes steaming over and he was going fucking MAD! He says, “I fucking told you to go out there and take off all the bootleg hats! They are all out there selling those hats; will you go and sort it out?” And Gareth says, “Believe you me Reni, we will go and do that immediately and get those bastards thrown off the site.” And as Reni steams off, Gareth turned to his partner and said, “I told you it was a bad idea. We’d better get those hats off the stall!” He was a rip-off genius.
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Kevin Cummins said: We were at the height of Eighties excess at Spike Island with the NME. We felt we could do anything we wanted, so at Spike Island we arrived in a helicopter so we could do an aerial shot of the place. Because it was a manmade island we thought it would make a great shot as a backdrop for the live pictures. So we flew there in a helicopter, and when we landed backstage these two goons came over to ask if we had backstage passes. We just kind of asked, ‘Do you really think we’re trying to sneak in like this?’...They had a really cheap PA system, which was hidden behind the screens at the side of the stage, and the sound was blowing around all over the place because the place was so exposed. But on stage it sounded great. When we came off they were really buzzing because they thought they’d played a really great gig, and everybody was saying, ‘Fucking hell, that was a bit shit, wasn’t it?’, and I was thinking, ‘No it wasn’t, it was fantastic!’ The only place you could hear it properly was on stage. It was the kind of PA you’d put in a youth club or something, it was terrible.

Merchandise: ''Sunset Sunday'' shirts went on sale at the show. As did the unique Squire artwork used on the promo posters. The Roses, via their tour manager – Steve Adge, had asked the Donnelly brothers to take control of the merchandise for Spike Island. “Steve had been coming to see us and we got an official approach to say, right Gareth [Evans, Roses manager] wants to meet you and wants to discuss you doing the merchandise for Spike Island,” said Anthony. ‘’We get Securicor to come to the office because we’d got delusions of grandeur and we said, right we want De La Rue machines. What for? We’re doing this gig and it’s going to take hundreds of thousands of pounds on merchandise. We were putting a plan in place." ". It was Tim Mulryan who put us together with Gareth. He was the manager of Steve Coogan; Tim was another one of our happy ecstasy friends who’d drop in. Then it gets a bit nearer the gig, and it’s not happening. Tim’s fuming. Gareth’s gone really weird. In the end, at Spike Island, we just went to watch the gig. We would have made a good job of it [the merchandising] – we were notorious at the time, yes, but our integrity was never in question. If we said we were going to do something we would deliver.” Evans kept control of the Spike Island merchandising, using New Line Promotions to make the T-shirts. It was estimated close to 30,000 were sold at Spike Island, plus thousands of ‘Reni hats’. Even though the hats and the Roses ‘lemon’ T-shirt became chief signifiers of the era, how much money the band made from such items was negligible.

Oakenfold remembers Spike Island fondly, from his vantage point in a DJ booth up on a tower: “It was electric, a sea of people. It came right in the middle of something that was changing music - and we knew it. I thought, ‘Wow, I’m part of this!’”

From https://freaksceneblog.wordpress.com/ June 23, 2017 by Robbo72 The Stone Roses – A Live Crucifixion....Spike Island. May 27th, 1990 was the day that changed everything. ‘Sunset Sunday’ it proclaimed from the t-shirts at the merch stalls. I bought an official t-shirt plus a snide one for good measure outside from some scouser flogging hats, scarves, flags, and somewhat ambitiously for such a scorcher, umbrellas from the back of a paint-splattered van. Spike Island. It sounded so exotic. Legendary. Still does. Like Woodstock. To those that weren’t there, despite the subsequent reports, it still sounds like a trip. And it was a trip. Quite literally for me, as it was the first time, I’d driven a car on a motorway. Hull to Widnes. Easy. I’d been to Widnes loads of times, following Hull F.C. However, there were no satnavs in those days. Only three squabbling teenagers hunched over an Ordnance Survey map, taking wrong turn after wrong turn. It should’ve been easy. At every service station on the M62, there were young lads and lasses making the same pilgrimage. We should’ve just followed them. Anxious stuff for a first-time motorway driver. When we finally arrived, the mythical island was a lump of land bordered by foreboding chemical factories. I’m telling you this with the benefit of hindsight. We didn’t give a fuck. We were home. We were here to see The Stone Roses. And it felt like a mini-revolution. For me, there was no mini about it; I entered a boy and came out the other side a completely different person. It was that seismic. My band had arrived. I can only liken it to the first time you take ecstasy or acid. After you come down, you look at the world differently. You can never get back home again. Your perception is altered forever. Only that day, I took nothing. No drugs. Not even a beer. I was Stone-cold sober. The queues for the bar were fucking ridiculous, so we just camped down near the front, in the sweltering heat, with a packet of Embassy each and a bottle of water between four of us. To me, despite my awkward transition from shy, tie-dyed indie-kid to be-flared, Wallabeed scally, The Roses were still really, an indie band. White boys with guitars. There was a lot of shit on that long day, but there was something I’d never equated indie music with at a gig, despite Fools Gold, and actively resisted until that day. A young DJ called Paul Oakenfold was banging out dance music. That was what the townies were into. Not me, the baggy indie-kid with no interest in electronic music. Everyone in the 28,000-strong crowd moved as one, entranced to the hypnotic groove being pumped through the sound system. Rave music at a rock gig? Fuck that! But it pulled me in. It was like being on drugs. Not that I knew what the fuck an E was like yet. But some magical force loosened me up and I went with it. Maybe those rollies grinning ravers were passing us had been something else. Or maybe it was just that fucking infectious. As the sun came down, everyone was proper raving, and every single fucking person in that field was smiling...
Bootleg: Spike Island (Flip004, Blue Faced Pressing) CD - Audience Recording - I Wanna Be Adored/ Shoot You Down - One Love / Fools Gold / Where Angels Play / Water Fall - Don't Stop / Something Burning / Made Of Stone / Elizabeth My Dear - I Am The Resurection / I Am The Resurection
Bootleg: Spike Island (Flip004, Silver Faced Pressing. Same source/copy of the above (Yep, another bootleg of a bootleg). Matrix: FLIP 004 * 1) CD - Audience Recording
Bootleg: Spike Island (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: Spike Island () Audience Recording *missing Waterfall & Shoot You Down. Don't Stop is incomplete.
Bootleg: On Spike Island ('Camden Market' Red coloured paper with black printing. Cover shows a photo of Ian singing. Source A Audience. On a TDK D 90 cassette.) Side 1 - 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 - Side 2 - Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Bootleg: We Are The Resurrection () 2 Vinyl LP - Audience Recording - Record 1 Side A - I Wanna Be Adored / Elephant Stone / She Bangs The Drums / Shoot You Down - Record 1 Side B - One Love / Sally Cinnamon / (Song For My) Sugar Spun Sister / Standing Here - Record 2 Side C - Fools Gold / Where Angels Play / Waterfall / Don't Stop - Record 2 Side D - Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
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 "All The Colours Fade" source) 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: Spike Island (Zooey Record ZR-002, Made In Japan *I presume it is a copy of Spike Island Flip004) - CD-R
Bootleg: Spike Island (Zooey Record Cat. No. 72615, Made In Japan. Slight artwork variant, on the rear spines 72615 number but on the back still mentions Zooey Record ZR-002 this is bootlegged from the above. White face label with black text) - CD-R
Bootleg: Complete Audience Recording Matrix / Incomplete Soundcheck Audience Recording 2 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

Spike Island E.P. (Catalog Number: FRIGHT 044, Fierce Recordings. Issued in a clear plastic bag with a sticker that reads "Spike Island" above an illustration of the Fierce Recordings logo. The contents of the bag also consist of a paper (1 Spike Island E.P., 1 Ian Badge, 1 Banana (Ian's favourite), 1 Grass from backstage (where the stars were), 1 Cigarette (the raving was good but the craving was better), 1 Personal Number for entry into the big 'So Young' draw (3 copies of the original 12" 45 are to be won. Winning numbers will be published in the music press classifieds during December 1990) The Ian Badge is actually a badge pin of the Fierce Recordings logo, the Banana is a small yellow shaped piece of candy, the grass is in a small bag, the cigarette is candy, the personal number is a three digit number stamped on the insert. There are variations of this release in which the 'monkey' insert is printed in different colours.) - 7inch Vinyl - Side A - Spike Island fan interviews/crowd noises - Side B - Spike Island PA announcements/post performance fireworks

Video Bootleg: Incomplete Amateur Audience Recording (Includes soundcheck, setting up footage and fireworks at the end)

M - 31 May 1990 - The Stone Roses appear in The Rolling Stone Magazine
See Media for the article, The Stone Roses: Ready to Bloom in the U.S.A.

M - June 1990 - The Stone Roses appear on the cover of Japanese Crossbeat Magazine

M - June 1990 - The Stone Roses Supplement is included, free, with Melody Maker Magazine.
Notes: The magazine was sealed in a plastic bag with the supplement inside. See Media for the supplement.

M - June 1990 - Ian Brown appears in Number One Magazine.
See Media for the article/interview.

03 June 1990 - Feria De Nimes Festival, France *Cancelled*
Notes: The Stone Roses refuse to appear because of its bullfighting connections.
From 05 May 1990 - NME Magazine: ROSES BUTT OUT OF FRENCH BULLRING GIG
The Stone Roses have refused to take part in next month's massive French festival in Nimes, because it forms part of the local bullfighting season.
The group were negotiating with the promoters of the 30,000 capacity festival on June 3, which is due to take place in huge public gardens near to the town's bullring. But the band, who are opposed to all bloodsports, pulled out when they discovered they would be playing just a couple of hours after the night's bullfights. A spokesman for the band said: "We don't want a ritual slaughter as a support act."
The group were also asked to take part in this weekend's John Lennon tribute concert in Liverpool but declined because of recording commitments. Meanwhile, the group's latest court appearance in Wolverhampton attracted nearly 100 fans and well-wishers outside the town's magistrates building last Thursday. All four members have now been committed to Dudley Crown Court to face trial on criminal damage charges, following the paint-daubing spree at the Wolverhampton offices of their former record company FM Revolver. A date for the trial has yet to be finalised.

03 June 1990 - Provinssirock Festival (Seinajoki's Provinssi Music Festival), Seinajoki, Finland * Doors: (On-Stage) 12:30am * Support Act(s): The Mission, De La Soul, The Cramps and The Oyster Band.
I Wanna Be Adored / Elephant Stone / She Bangs The Drums / Shoot You Down / One Love / Sally Cinnamon / Standing Here / Fool's Gold / Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Notes: Cressa joins the band as effects technician. The band were interviewed at the show, see August 1990 - Select Magazine. They only come on stage at dusk 12:30am due to the sunset in the country to a sold out crowd of 25,000 people although reports say only approx 10,000 people were sober and actually listening/watching the band.
From August 1990 - Select Magzine: One event of note concerns the bearer of a Confederate flag. "Oi, Nazi, take Confederate flag down. We don't want it," Ian shouts, coming dangerously close to paranoia about all things Nazi. Either the bloke doesn't understand English, or he's in the confrontation game, as he merely edges nearer the stage. Brown tries four more times, even mock-shooting him twice with his hand before 'Shoot You Down'. Eventually, an unidentified assailant snaps the flagpole into irreparable little pieces. Nazi? Nah. The poor guy's a Lynyrd Skynyrd fan..."25,000 people pissed. Yeah's' alright," quips The Stone Roses' singer, Ian Brown; if you can quip in monotone, that is. He's talking about the state of the crowd at Seinajoki's Provinssi Music Festival, the most popular event in Finland's open-air calendar...
Bootleg: Incomplete Audience Recording lifted from the video recording ()
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)

M - 06 June 1990 - The Stone Roses appear on the cover of Volume 03 Number 06 of Japanese Magazine 'Crossbeat 'A New Vision Into Tour Rock Life''

07 June 1990 Thursday - One Love test pressing is completed
Notes: One Love was ready but the release was delayed. See 02 July 1990.

Merchandise
1990 One Love (The Complete Stone Roses image) T-Shirt - Brand/Tag: Screen Stars Best - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 22" - Length: 31" - Label Size: XL
1990 - Fools Gold - Brand/Tag: Soft Tee - Fabric Blend: 100% Cotton - Color: White - Pit-to-Pit: 20.00" - Label Size: M
Notes: Unconfirmed if official.

07 June 1990 Thursday - Maysfield Leisure Centre, Belfast, Northern Ireland * Doors Open: 19:00 * Ticket Price: £9
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 / Fool's Gold / Where Angels Play / Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Notes: Cressa joins the band as effects technician. This gig was played on the basketball courts inside the gym of leisure centre. At least 500 attended the show.
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: There was another great one we did in Belfast, at the Mayfield Leisure Centre. And I always remember there was a little kid, about five or six, on someone’s shoulders, and we were loving that. He was a little toddler kid on someone’s shoulders, singing along. Well, bigger than a toddler, but he was only little. But he knew the words? Yeah he knew all the words, aged about five or six. We loved that...
Bootleg: Belfast In The Area - Audience Recording - (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "It's has only just been uncovered by the bootleg market, and certain songs are done really well, especially IATR - well loud and mental." CD Originally Priced: £11.00, Running Time (Approx): 75mins, Cassette originally priced: £3.50) CD-R / Tape
Bootleg: Belfast In The Area - Audience Recording (Re-tracked from the above)
Bootleg: The Resurection (Spelling mistake on the sleeve too. Same source as Belfast In The Area but track times split differently, missing Something's Buring. Made In Japan.) CD-R - 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 / Fool's Gold / Where Angels Play / Waterfall / Don't Stop / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Bootleg: In’t Milk Brilliant? - (23 December 1995 - The Apollo, Ardwick Green, Manchester. Bonus Tracks: 07 June 1990 Thursday - Maysfield Leisure Centre, Belfast, Northern Ireland - Sally Cinnamon / (Song For My) Sugar Spun Sister / Standing Here) 2 CD-R - Audience Recording

The Stone Roses (attempt to) attend The Charlatans - 08 June 1990 - Mayfair, Glasgow, Scotland
Notes: From 23 October 2011 0:00, updated 06 November 2912 13:34 - The Daily Record, article by Fiona Young: TAM COYLE (The Stone Roses 22 June 1989 Thursday - Rooftops, Sauchiehall Street, Glasgow, Scotland Gig organiser) said: "And I missed their gig (The Stone Roses) on Glasgow Green in 1990. The night before, The Charlatans headlined The Mayfair and I went with the Roses but they got mobbed and left. I went to the pub to get the Scotland supporters' bus. So when the Roses were wowing fans, I was watching Cameroon beat Argentina 1-0 on TV in a pub outside Paris. It was great going to the World Cup - but I was gutted to miss the Roses...."

09 June 1990 Saturday - The Big Top, Glasgow Green, Glasgow * Doors Open: 18:30 On Stage: 22:00 * Price: £14.00 * Support: The Slam DJs
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 / Fool's Gold / Where Angels Play / Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Notes: Sold out show in a 8000 capacity big top tent. The bands last show for 5 years. Reni would not perform again with the band until 2012, a whopping 22 years later. Cressa joins the band as effects technician.
James 'Harri' Harrigan and Stuart McMillan from the Slam DJs opened the show.
Steve Adge filmed the show with a handheld camcorder, only an short excerpt of footage has been seen in the Shane Meadows 'Made Of Stone' Film.
The after show was at the Sub Club, where the party went on until 07:30.
The Third Coming, The Definitive Exibithion Catalgoue shows photos taken by Paul Slattery.
From 27 June 1990 Smash Hits Magazine, Ian says: "I've been deaf since the Glasgow gig on Saturday. I think I'm shoutin' and no one can hear me." "I got these trousers from Umbros in Glasgow...Only a fiver and they're hipsters too."
See Media for the article, 16 June 1990 - Sounds Magazine, Live Review by Grahame Bent.
See Media for the article, 16 June 1990 - Melody Maker Magazine, Live Review by Allan Brown
16 February 2000 Wednesday - music365.com Ian Brown Q & A Session: From Daniel Mushing: What is your favourite gig you have ever played? Ian: Glasgow Green, 1990, or Budokan, Japan, 1995, or Brixton Academy, 1999.
From Mani interview for I Am Without Shoes fan site: > IAWS: Favourite gig in the Scream Team? Favourite gig in the Roses? With the Roses it would have to be Glasgow Green. IAWS: I didn’t go, but I’ve got the bootleg, and even on that you can sense the atmosphere. Mani: Yeah, top gig. My other favourite Roses gig would have to be Feile Festival in ’95. It’s the thing about the Celts you see, they really know how to enjoy themselves. IAWS: The English do tend to be a bit more passive. Mani: Yeah, they go for the old chin-stroking, but the Celts are just mad for it and know how to party.
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: Out of all those big gigs then - like Blackpool, Ally Pally, Glasgow Green and Spike Island - which one resonated with you as your best performance?
Glasgow Green in ’90, yeah. It was so hot inside; I think all the crowd were on ecstasy. It was just going off with sweat and it was just coming down like rain. It was like rain inside the tent, dripping off the ceiling. We played great that night, and Glasgow is the best place in the UK to play. Best show we ever did, I think....
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: The soundboard audio of Glasgow Green 1990.
Marc, 2023, said: I was at the Glasgow Green show in June 1990, I still have a ticket for it somewhere. The door people took your ticket off you at the door of the tent but a mate of mine managed to grab a few at the end...
Official: Podcast Episode 24 (Produced by Paul Shields, Recorded in The Green Room) - James 'Harri' Harrigan and Stuart McMillan from DJ Slam opened the show - Timestamps : 0:00 Intro / 0:40 What is a DJ? / 6:30 Early Days / 18:40 Warming Up for The Stone Roses / 25:20 Domenic Capello & Subculture / 34:00 Becoming a Father / 42:10 Robbed at Gunpoint in Sub Club / 46:00 Production & Manakinz / 54:00 Harri & Dom / 1:04:10 Fan Q+A / 1:09:40 Fame / 1:12:40 What Does Music Mean to You?
Bootleg: Complete Audience Recording
Bootleg: Source 1 - Glasgow Green (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*This was recorded direct from the master - guaranteed best quality you'll find...It's the closest you'll come to feeling the atmosphere at a Roses gig (unless you've been to one), and is a fantastic performance by the lads, apart from Reni actually. I would recommend getting this on CD/MiniDisc as to get the full, deep bass.*" CD Originally Priced: £11.00, Running Time (Approx): 70mins, Cassette originally priced: £4) CD-R / Tape * Waterfall - Don't Stop is incomplete, Something's Burning is missing* - Audience Recording - 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 / Fool's Gold / Where Angels Play / Waterfall / Made Of Stone / Elizabeth My Dear / I Am The Resurrection
Bootleg: Source 2 - Glasgow Green aka "Into The Silence" (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "Slightly worse than the other Glasgow Green bootleg, it doesn't sound as close." Cassette Originally Priced: £4, Running Time (Approx): 70mins) (Probably copied from Into The Silence CD, see below) Tape - Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection / She Bangs The Drums / Shoot You Down / One Love / Sally Cinnamon / (Song For My) Sugar Spun Sister / Standing Here / Fool's Gold / Where Angels Play /
Bootleg: Into The Silence (1995, Made In Japan, 3D Reality Records, Cat. No. 3D-SR-061) Silver Factory Pressed CD - Audience Recording - Waterfall / Don't Stop / Something’s Burning / Made Of Stone / Elizabeth My Dear / I Am The Resurrection / She Bangs The Drums / Shoot You Down / One Love / Sally Cinnamon / (Song For My) Sugar Spun Sister / Standing Here / Fool's Gold / Where Angels Play /
Bootleg: Glasgow Green 2015 Remaster (Don't Stop) - Audience Recording

11 June 1990 Monday - The Stone Roses cancel there appearance on The Terry Wogan BBC TV Show
Notes: The band cancelled the appearance as the BBC did not want to include an interview in the broadcast. I have an unconfirmed conflicting date for 11 July 1990 too.
NME Magazine, 14 June 1990: ''They were booked to do it but blew it out because Terry wouldn't be chatting to them on the show.''
See Media for the article, 14 July 1990 - Sounds Magazine: NO GO FOR ROSES AND TERRY ON THE TELLY

June 1990 - Ian Brown attends Moss Side Carnival
Notes: 2000 - Manchester Uni Paper, Ian Brown Interview: When did you notice that things were starting to go wrong? "Things changed when the guns came in. As the drugs get dirtier in come the guns. From '89-'90 things changed really fast. I was up at Moss Side Carnival and I watched the Cheetham Hill gang walk through in army formation, eight strong in rows, each man with a holster. This is June 90, this is a different day....

M - June 1990 - Beirut Show Rumours
Notes: Sounds magazine reported plans of a show in Beirut but, apparently, the show does not go ahead due to initial funding.

N - June 1990 - Alan Wren's son is born.

21 June 1990 - Chicago, Illinois, U.S.A. (Cancelled)
22 June 1990 - New York City, New York, U.S.A. (Cancelled)
29 June 1990 - Hollywood High School Gymnasium, California, U.S.A. (Cancelled)
30 June 1990 - San Francisco, California, U.S.A. (Cancelled)
Notes: All the U.S. dates were cancelled. A combination of Reni's son being born and the band wanting to be free of their contract with Silvertone.
One Love had been delayed and there was even talk of the band wanting to take several mixes of song to another record label.
A press release on this date read: “America doesn't deserve us yet,".
From July 1990 - Q Magazine, Article by Adrian Deevoy: Next month The Stone Roses make their maiden voyage to the Americas. How do they expect the country to react to them? “Hard to tell, isn’t it?” shrugs Ian. “Never been there. Heard there’s a lot of major league bullshitters there. But we’ve run into that already. America isn’t that big a deal to us. It’s as important to us to be big in Halifax, Moscow, Stockholm as it is in New York. As long as people appreciate what we’re doing. Turn on, tune in and don’t drop out.”
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Peter Hook said "New Order’s manager Tom Atencio had got them a ten-day club tour of America. And one day Gareth phoned them up and said, “Listen, when we arrive at the airport, how many people will be there? Because I want it to be like The Beatles.” Tom explained that they were just a club act doing 600-capacity venues and that wasn’t going to happen. Gareth’s response? “Well we ain’t fucking coming then!” Crazy."

M - 27 June 1990 - 10 July 1990 The Stone Roses appear on the cover of Smash Hits Magazine, 0.55p
Notes: Stone Roses are on the cover saying ''we're the best band on the planet (but which planet?)''. The article is very interesting and well worth a read.
Steve Adge, The Stone Roses Tour Manager, explains to Smash Hits that the band will be late two hours for the interview. Apparently the band we're still in bed and they needed to edit the One Love video later.
According to Smash Hits the band turned up two and a half hours late, Ian and Reni had cut themselves shaving before the photo shoot too.
The interview must have taken place the week after Glasgow Green 09 June 1990.
John reveals he was two cats called William and Ruby and owns five guitars. See Media for article by Miranda Sawyer.

M - 30 June 1990 - The Stone Roses Book is given away with Melody Maker Magazine
Notes: The Stone Roses booklet, often found loose and sold solo was originally included (in a cellophane bag) with the above music newspaper. The weekly newspaper only cost 55p, even with the extra booklet.

July 1990 - Hawaii (Cancelled)
July 1990 - Hawaii (Cancelled)
Notes:
From 23-30 December 1989 - Sounds Magazine Interview: “It looks like we’ll be going to the States at Easter,” says Ian. “They asked us to go before, but so far we’ve resisted.”
Taken from Melody Maker magazine, June 1990: ''MANCS OVER AMERICA THE STONE ROSES will playing a short series of shows around the USA in the weeks ahead - and the first date has been confirmed as Hollywood High School Gymnasium, on June 29. Precise venues for the other gigs have yet to be confirmed, but it is known that the band will be playing in Chicago on June 21, New York (22), and San Francisco (30), after which they will have two dates in Hawaii early in July. Their debut album has been in the Billboard Top 100 for four months.''
From NME Magazine article, June 1990: '...The band have also confirmed that they will be playing their first dates in America next month, where their album has continually hovered around the bottom of the Billboard Top 100. The band then set off to Hawaii to play a couple of small shows at the beginning of July.''

M - July 1990 - The Stone Roses appear on the cover of Q Magazine
Notes: See Media for article, 17 May 1990 Thursday - Exit (The Fryhuset) Langholmsgaten 38, Stockholm.

M - July 1990 - The Stone Roses appear on the cover of Japanese Buzz Magazine, Volume 15

The Stone Roses - 02 July 1990 - One Love U.K. Release Date
All written by John Squire & Ian Brown. One Love & Something's Burning lyrics written by Ian Brown.
Produced and mixed by John Leckie.
Label: Silvertone
Promo Video by Geoff Wonfor.
Artwork: 'One Love' 1990, Cellulose and Paper on Canvas, John Squire.
Format: 12inch Vinyl Test Pressing. Catalog Number: ORET 17 A1/B1 TEST PRESSING COPS 7.6.90
One Love
Acetate - One Love (Acetate Mix)
Format: 7inch Vinyl. Catalog Number: ORE 17
One Love (7inch Version)
Something's Burning (7:50)
Format: 12inch Vinyl. Catalog Number: ORE T 17
Matrix A-Side: (x) ORE (T) 17 A1
Matrix B-Side: (x) ORE (T) 17 B1
One Love (7:45)
Something's Burning (7:50)
Format: 12inch Vinyl. Spanish Pressing.
One Love (Alternate 'Schroeder' Mix)
Something's Burning (7:50)
Format: Cassette. Catalog Number: ORE C 17
Format: CD. ORECD-17 13 A6 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 17. Barcode: 5013705900723. Made In Austria by DADC-Austria (On disc face) Maunfactured In Europe (In sleeve).
Format: CD. ORECD17. Made In Austria by DADC Austria. (Matrix: A0100188470-0101 13 A1 DADC Austria IFPI L553 *)
One Love (7:45)
Something's Burning (7:50)
Format: CD Promo. Catalog Number:
One Love (Radio Edit) 3:18
Notes: Silvertone were hoping for the record to be finished and released before Spike Island, but due to court cases, delayed recording sessions and a six week mixing torment the records release was delayed twice.
04 June 1990 - One Love scheduled Release Date, postponed until the 'Nazi' artwork was revised.
Official Silvertone Records promo posters started appearing thoughout June and dated the release 'July 2nd'.
An alternate mix appears on the, very rare, One Love Acetate pressing.
Apparently the Spanish pressing of One Love includes the Schroeder mix, not sure what the difference is though?
The single was released in the UK, U.S., Australia, Brazil, Germany, Japan, Spain, and France. The single peaked at Number 04 in the U.K. Charts. Compact Disc was priced at £3.79 & the Cassette Single £1.99.
A 1990 Elephant Stone & Made Of Stone re-release press sheet mentions 'The Roses brand new single is set for release at the beginning of April, 1990' & another mentions the new follow up to Fool's Gold would be released 09 April 1990. The band had already prepared the song and a mix for release by March, and had even recorded the promo video too. The song went through various mixes and remixes until it was completed by John Leckie in June.
Promo Video featured the band playing surrounded by fire, apparently the fire was made by using t-shirts with the initial One Love 'swatstika' sleeve on.

From NME Magazine article, May 1990: I WANNA BE ADOLFED! 'The Stone Roses have scrapped the cover artwork for their new single 'One Love' after spotting ''the suggestion of a swastika'' in John Squire's sleeve illustration. The unintentional 'swastika' formed part of an abstract painting by guitarist Squire. But the effect was only noticed when the proofs came back from the printers - the band discovering to their horror that people could misconstrue the design as being the Nazi emblem. ''If you looked at it in a certain way you could see the suggestion of a swastika in the painting,'' a Stone Roses spokesman told NME ''When he realised, John just tore up the proofs.'' As well as proofs of the sleeve, a number of T-Shirts featuring Squire's original painting were also made up, but will now be withdrawn. The single itself has again been remixed by Adrian Sherwood - but it's the original John Leckie produced version that'll appear first on Silvertone. The band have also confirmed that they will be playing their first dates in America next month, where their album has continually hovered around the bottom of the Billboard Top 100. The band then set off to Hawaii to play a couple of small shows at the beginning of July. Meanwhile, big money negotiations to televise The Stone Roses' gig at Spike Island fell through last week. Central Music had led the race to record the gig for screening by BSB and Central TV in a deal rumoured to be worth £100,000 for the band. However, talks between TV officials and the Roses broke down.'

From August 1990 - Select Magzine: The design chosen was a series of horizontal and vertical rectangular blocks in dark and light colours. T-shirts had already been printed, though not released to the public, and Chris, the drum roadie, wore one to Manchester's Hacienda Club. The bouncer refused to let him in on the grounds that the shirt design resembled a swastika (other bouncers might like to add this unusual number to their repertoire). The interpretation was news to the band, but when the garment was turned inside-out the dark blocks were found to be in the shape of the Nazi emblem.
The T-shirts were burned and John tore up his artwork and rearranged it. But why, if the resemblance was so tenuous, take such drastic measures? It's a question of responsibility, as Ian explains. "What if someone's in Barcelona… We know we're not Nazis, anyone who knows us knows we're not Nazis, but if some kid in Barcelona goes into a bar with a T-shirt on - Stone Roses, looking a bit like a swastika - ends up getting stabbed. How would we feel then, y' know? We didn't want it to get out of control, so we nipped it in the bud."

See Media for the article, 30 June 1990 - NME Magazine, Single of the Week Review by Jack Barron
See Media for the article, 30 June 1990 - Melody Maker Magazine, Single Review
See Media for the article, June 1990 - Smash Hits Magazine, Single Review.
From February 1996 - Q Magazine, Article by John Harris: "I thought we needed to take a bit of time out," Squire recalls. "I thought we’d rushed into that song. We didn’t like the chorus; we were hacking it over that same drumbeat…it wasn’t what we should have been delivering. And I was getting sick of the whole ‘Madchester’ thing. I felt like we were flogging something for somebody, but I didn’t know what it was or who they were. A lifestyle, I suppose. An attitude."

One Love Video
Notes: Simon Spence War & Peace noted: The band had wanted the video to be directed by The Bailey Brothers but the idea had been derailed by Tony Wilson’s objections to the Mondays’ famed video team working with Roses. Geoff Wonfor aided the band with the promo video.
“The Roses ended up doing the [One Love] video in Vector Television in Stockport [Heaton Mersey, a massive studio where they made ads and programmes, and where Take That’s first video was made in 1991],” says Keith Jobling of The Bailey Brothers.
“The guy there didn’t have a clue what he was doing. They super-imposed on the fire back drop and it was amateur, awful, rubbish. On a technical level you play at the highest level you can afford.”
For One Love we had about three ideas with them and we kind of got stuck on one to do it on the top of a building with a helicopter,” said Jobling.
“And we were genuinely disappointed when Wilson came along and threw his toys out of his pram and said there’s fucking no way you’re doing it. He turned up once when they were there and typically, he put this really brave smile on and was really nice to them. The Roses said, okay guys we’ll talk to you and we’ll get the label to get in touch and Wilson would be going no, no you’re not fucking doing it. You can’t fucking do it. Well, why? He said, Think about it, it’s not right for the story. And we’d be like what story are you talking about? He’d be like the story about the war of the bands [between the Mondays and Roses] … and we’d be like oh yeah, I forgot – because there wasn’t one. Wilson was a genuine mate, we spent huge amounts of time with him. It would have been like a family feud if we’d turned round and said we’re doing it. We’d talk to him and say look there’s nothing wrong with it and it’s a really good song. He’d say give it to someone else I don’t want the Bailey Brothers touching it…
“Part of the reason we never did anything was we were warned that you’ll never get paid, you’ll get fucked over, don’t trust him Gareth,” reflected Jobling. “I very rarely heard anybody say a good word about Gareth… if he’d had leprosy people would have been kinder about him.”
From February 1998 - Uncut magazine Ian Brown interview: The ‘One Love’ single was a mistake, wasn’t it? “I agree. The chorus wasn’t strong enough. We tried for an anthem. We wanted to cover all bases and ended up covering none.”

The Stone Roses - 1990 - One Love Japan Release Date
Label: Silvertone / Alfa
Artwork: 'One Love' 1990, Cellulose and Paper on Canvas, John Squire.
Format: CD. Catalog Number: Silvertone/Alfa ALCB-103
One Love (7inch Version)
One Love (7:45)
Something's Burning (7:50)
Notes: Japanese E.P. included One Love (7inch Version) on CD.

The Stone Roses - 1990 - One Love U.S. Release Date
Label: Silvertone
Artwork: 'One Love' 1990, Cellulose and Paper on Canvas, John Squire.
12inch Vinyl. Catalog Number: 1399-1-JD
Cassette. Catalog Number: 1399-4-JS
CD Digipak. Catalog Number: 1399-2-JS
One Love (7:45)
Something's Burning (7:50)
One Love (7inch Version)
Notes: U.S.A. edition included One Love (7inch Version) on CD.

M - 04-17 July 1990 - Ian Brown appears on the cover of Popshop Magazine
Pop Shop.
See Media for the article.

M - 14 July 1990 - Ian Brown appears on the cover of Number One Magazine
See Media for the article.

M - 14 July 1990 - The Stone Roses Interview appears in NME Magazine.
See Media for the article.

N - 28 July 1990 - Reni appears at the opening of Central Station Design's Exhibition in the Manchester Art Gallery
Notes: Reni appears wearing a sou’wester and wading boots. Reports that he was armed with a chainsaw are never confirmed.

M - August 1990 - The Stone Roses feature in Select Magazine.
Notes: Interview conducted 03 June 1990 - Provinssirock Festival, Seinajoki, Finland. See Media for the article.

N - August 1990 - Reni is arrested for causing an obstruction on the highway and for disorderly conduct.
Reni was parked on Barton Road, West Didsbury, Manchester. The arrest would lead to Reni claiming 'Police Brutality', as he was attacked in the Police Station.
Notes: The case would only appear in court November 1991.
From Melody Maker Magazine, 23 November 1991 "...Reni claimed in Manchester City Magistrates' Court last week that he was beaten up by police after being arrested on a charge of causing an obstruction last August. Reni claimed in court that he was attacked in the police station after the arrest, was "raced" along a corridor with his hands in cuffs behind his back, and that he had blood "all over his face" after the alleged assault. Reni has already lodged a formal complaint against the police, and insisted last week that he would take the complaint ''all the way''. The prosecution alleged that Reni had acted in a "totally unreasonable manner" after being asked to move his car from Barton Road, West Didsbury. Prosecutor Mrs Karen Brooks said that Reni had sworn at a police sergeant, who had been "forced" to grip the drummer in a headlock and have a colleague handcuff him. Replying to the charges, Reni told the court that his then three-month old baby son had been in the car, and that he had "panicked" when told he was being arrested. He claimed that he was dragged out of the car before he had chance to comply with the police's request to move the vehicle. Reni, charged under his full name Alan Wren, was acquitted by the magistrates on a charge of disorderly conduct. He pleaded guilty to parking in a no parking area and causing an obstruction, and was fined £50."

August 1990 - Silvertone were granted an injunction on the band.
Notes: This prevented the band from recording for anyone else. Apparently the band had signed a 'deal' with another label on 22 August 1990, see 04 March 1990. Silvertone did not want to lose the band. Andrew Laudier, Silvertone boss, tried to help the band and tried to convince them to stay, but sadly he could not release them from their contractual obligations.
From August 1990 - Select Magzine: Andrew Lauder, Silvertone Records: "It was generally felt that they were the sort of group that were suited to what Silvertone was going to be," explains Lauder. "They were heading for Rough Trade at that point. I was confronted with, basically, a yes or no situation. Luckily, I said yes. I mean, it was on a plate really." They were signed under a potentially constricting eight-record contract. Could they opt out of it at any time? "Um, not really," says Lauder, "and I hope they wouldn't want to. We give them a lot of freedom to do what they want." "Well, they can look after themselves, basically, and they're gonna do what they want to do," he says. "Knowing them, it's a very tight group. It's a bit of a John-Paul-George-and-Ringo, y' know? Rather than a group like The House Of Love where it's, uh, right, Guy - he's the singer - who's the bass player and the drummer? "So it's very much a group and they're very strong with each other. They've got a strength which a lot of bands don't have."
From Blood On The Turntable BBC TV Documentary, Shaun Ryder said: Y'know when you're a musician and writer where all you want to do is get your music out, y'know I've not been allowed to record for seven years. I know what that feels like...feels shit

N - 1990 - Paul Wren (Reni's brother) appeared in Manchester Crown court on three charges of false representation.
Notes: Unconfirmed date. Could be June 1992. Over a three-week period, he had taken £1400 from Reni's account claiming to be Alan Wren. Reni's bank branch reportedly authorised payment when told that the man at the counter is ‘a drummer who's a bit vague.’

14 September 1990 - Run DMC release 'What's It All About' featuring a sample from Fools Gold
7inch
CD
Notes:
From May 1995 - The Spin Magazine: "I've got 500 CD's, ten are by white artists," says Brown. "I'm not interested in what [whites] have got to say, they can't tell me nothing." He says he was "double 'umbled" when Run DMC sampled 'Fool's Gold' on their track "What's It All About"; entering the sampler's gene-pool of breakbeats and licks, alongside JB, was the ultimate accolade.'
From 05 December 1994 - The Big Issue Magazine: ...Ian doesn’t even enjoy listening to his own voice on record. “I don’t get a kick out of it,” he says. “The best thing I’ve heard it on is that Run DMC song What’s It All About which samples Fools Gold.”

15 September 1990 - The Stone Roses appear in Sounds Magazine
Notes: The band discuss their label dispute. See Media for the article.

09 October 1990 Friday - The Stone Roses appear at Wolverhampton Crown Court
Notes: Alistair McCreath was prosecuting whilst Paul Reid QC was defending.
The band are, finally, charged with criminal damages and are fined £3,000 each, plus £95 prosecution costs each, for the Revolver paint-throwing incident. Damages are deferred, Judge Michael Mott QC decided any compensation claims should be heard in the civil, rather than criminal court.
The judge said that if the £3,000 fines were not paid, each member of the group would face three months in jail. The defence asked for a period of 12 months in which to pay the fines, but Judge Mott QC set the limit at six. "I'm not inclined to allow 12 months for payment. Judging by the defendants' finances, these fines represent just the small tip of a very large iceberg."
FM Revolver claimed that the damages totaled to £23,000. After the hearing, Birch threatened to sue The Stone Roses for breach of contract if they didn't pay the full amount for the damage they caused. He claimed that the band did not fulfill the terms of their deal with FM/Revolver.
The band are described by their defence as “four young men with an obsessive regard for music."
See Media for the article, 13 October 1990 - NME Magazine, Article and diary by Terry Staunton. Terry notes the date incorrectly as 'October 5'.

1990 - Inspiral Carpets appear on the Various Artists Compilation - 1990 Manchester Y12-21 Japan Promo Only CD
She Comes In The Fall 4:40 / This Is How It Feels 3:03 / Biggest Mountain 4:29 / Commercial Rain 4:43
The Charlatans - The Only One I Know 3:58 / Then 4:11
The Stone Roses - One Love 3:35 / Fools Gold 4:16 / I Wanna Be Adored 4:51 / She Bangs The Drums 3:49
Made In Japan. JASRAC CD M.F.D. by Alfa Records
Notes: Not For Sale Sample Only. Includes a beautiful sleeve with a cartoon Tom Hingley taking the Inspiral's cow to market. Maybe he sold the cow for some magic e's (rather than the traditional fairytales magic beans). There is no credit for the sleeve.

N - November 1990 - The Stone Roses are headhunted by major labels
Notes: The news sparked anger by both the label and the band. The label did not want to lose the band plus they still had a contract to fulfil. The band were not happy that their manager had leaked the news to the popular music news magazine.
From NME Magazine 03 November 1990: 'Rose’s manager Gareth Evans told NME this week: ''Warner and CBS are both fighting over the band at the moment and they're obviously talking about substantial sums of money'. 'CBS said: 'There's nothing to indicate that The Stone Roses will sign to us at the moment. We'll have to keep our ears to the ground, but at the moment it's just a rumour.'

16 November 1990 - Mani's 28th birthday

N - 1990 - Mani's dad Colin dies.
Notes: Colin Mounfield died of a heart attack, he was 52. His mum suffered a stroke not long after. From 01 March 1995 -'The Face Magazine' Issue 78, March 95: Mani said: “My dad died from a heart attack in 1990 and that just knocked me fucking head sideways for a year and a half. Him dying really was a big crossroads point for me. He’d stopped work because he was poorly but he couldn’t pay the bills and had to go back to work. That’s when he had the heart attack. That fucked me right up, me and him were so close. And then my mum got really ill and that was another big one. But I’m still here, you know. Stronger than ever. I fell in love last year and I’ve got a baby on the way later this year – that’s just going to be double by for me.”

M - 23 November 1990 Friday - Children In Need Charity Auction, Dry Bar * Doors Open: 18:00-20:00 *
Notes: Auction of items donated by local bands, Factory and The Hacienda in aid of Children In Need. New Order's Stephen Morris and Peter Hook were comperes for the night. The items were donated by Steve Adge and the band.
Lot 28 was a selection of signed Stone Roses memorabilia.
Lot 31 was a selection of albums, singles, signed t-shirt, Take Your Time 12inch single and proof of the album cover from Andy Couzen's band The High.
Lot 33 was The Stone Roses debut album framed silver disc. The silver disc was previously owned by John Squire and sold for approx. £200.00.

24 November 1990 - John Squire's 28th birthday

15 December 1990 - The media report the band are involved in a food fight
Notes: Apprently the band attended a festival in Spain where they were involved in a food fight with The Mock Turtles. The Stone Roses threw squid at the band members.

19?? - The UK Singles Release Date
CD - ZD43632 Special Limited Edition The UK Singles On The Silvertone Label. Made In Austria.

The Maxi Collection

1991
11 January 1991 - BBC Transcription Service - Top Of The Pops 1365 / 1366 - London Release Date: 11 January 1991
Vinyl Radio Broadcast Promo Only
Notes: Includes a snippet from One Love

13 January 1991 - Bluestone Studios, Farm, Pembrokeshire, South Wales
Notes: Second album rehearsals. Blue Stone was owned and maintained by one Noreen Vaughan. Date and notes taken from 19 November 1994 - NME Magazine, Paul Moody and John Harris timeline.
"It's in the middle of winter and the band entertain themselves
any way they can. They use pool cues as baseball bats and fire pool balls
across the studio, eventually breaking a large double glazed window. Ian
apologises the next morning.
Reni's catchphrase becomes "What day is it?".
After heavy snowfall, the four of them take large silver trays and
toboggan down a nearby hill. Their favourite pastime (besides shooting lit balls of paper at each other through a space heater) is to build a bonfire outside the studio and throw aerosol cans into the blaze, causing lumps of red hot metal to explode outwards like shrapnel.
In tribute to Noreen, Bluestone's owner, John takes her £400's worth
of Harrods carving knives and helped by the others, fashions a circumcised nine foot phallic symbol out of snow (in the style of Henry Moore) on the doorstep. Such is its impact that local farmers dub Noreen 'The old cock and ball', a nickname she has yet to loose.
The band refuse to eat anything other than chips, when they are served baked potatoes they throw them on the fire, much to distress of Bluestone's waitress, Pippa...."
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “My dad had died two months earlier, and my head had gone,” says Mani. “[Sarcastically] It was nice of Gareth to stick us there, trying to get us to write songs. We always got stuck in these establishment houses in the countryside. There was a photograph hanging on the wall, of this woman, Noreen, shaking hands with Princess Anne. Me and lan nudged each other and said, ‘We’re here again’. And we systematically set about an orgy of destruction.”

1991 - Gareth Evans meets with David Geffen of MCA.
Notes: After meeting for dinner, Gareth would walk with a cheque for £300,000. Gareth signed a contract for the sum to be used for the current court proceedings. MCA approved the money. Gary Gersh, head of A&R for Geffen, made out the cheque. Gareth stayed at The Russell Hotel in North London whilst making the deal.
09 March 1991 - Sounds Magazine published an article detailing a £2.2 million Geffen record deal, see Media for the article.
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: I was in America as a guest of Warner Brothers, while I was over there in the Hilton Hotel a message came over from David Geffen 'would I like to go out for dinner?'

10 February 1991 - Rumbelows League Cup semi-final first leg, Leeds United play Manchester United at Old Trafford, Mani attends
Notes: Gordon Strachan (former United player) runs into and falls over some advertising hoardings, Mani spits on him. Apparently Mani could be seen on the TV broadcast too.
March 2000 - Jockey Slut Magazine includes a Ian Brown Q&A Session: Is it possible that when the '91 League Cup semi-final between Leeds and Manchester United was one telly, we might have seen various Roses gobbing at a Leeds player taking a throw in? Albino Priest, Lo-Fidelity Allstars. "You would only have seen the one - Gary Mounfield. I think he was gobbing on Gordon Strachan."

February 1991 - Bluestone Studios, Pembrokeshire, South Wales
Notes: The band leave the all night rehearsal sessions.
"On leaving, in the dead of night at the end of February, a van comes to pick them up. It gets stuck in the snow and a tractor has to pull them out. As they depart John Squire assures Noreen that all damages will be
paid for. Ian signs the Bluestone Guestbook as 'The laziest man in show
business'. Reni writes 'What time is it?'. Mani scrawls, 'Nothing off for good behaviour, Viva la proletariat' and, 'PS the sheep are tight'. John Squire in tiny letters simply signs his name."
From February 1998 - Uncut magazine Ian Brown interview: Squire also said “The band were on different drugs at the same time. It can be destructive if everybody’s on a different plane.” True? “Yeah. I smoked weed. You’d have to ask Reni what he was on, and Mani was on everything.”
From Autumn 2001 Mojo Collections Number 04: John Leckie, meanwhile, was suffering. “We were booking studios and they were being cancelled at the last minute,” he says. “It just dragged on. I was getting calls — from lan, usually — saying, ‘Oh yeah, we’re ready, we’ve got some great songs, let’s book a studio tor a month.’ We’d be due to go in on a Monday, and lan would phone me the Thursday before at midnight and say, ‘We can’t do it.’ That happened three or four times. It was crazy. Silvertone would just phone me up all the time, asking, ‘Have you spoken to the band?’and I’d be like, ‘Well, have you spoken to them?'”
1998 - Hot Press, Interview by Stuart Bailie, in a bar in Chorlton:
"The Gulf War had just started" Ian recalls. "And we used to play Stevie Wonder’s Heaven Help Us All every day. Me Mani and Reni. But John wouldn’t come out of his room. In fact, he was working on the songs Love Is The Law and Happiness Is Eggshaped (later to appear on the Seahorses album).
"So I was watching the Gulf war and reading Exodus and listening to Stevie. And I could hear Squire walking past my door, sniggering, as if to say, he’s a dick, playing Sir Duke. It was alright him playing his Led Zeppelin, but I was a dick for playing Stevie."

20 February 1991 - Ian Brown's 28th birthday

M - 27 February - 12 March 1991 - The Stone Roses feature on the cover of Rage magazine, Issue 10 - 27 February - 12 March 1991
Notes: Mike Noon article with a discography and images. See Media for the article.

N - 04 March - 06 March 1991 - The Silvertone/Zomba court case begins in the Royal Court Of Justice, The Strand High Court, London.
Notes: In August 1990 the band were issued with an injunction, they were not allowed to record any new material, and their planned second LP had to be shelved, indefinitely.
Judge Humphries would see the case through, fortunately, in favour of the band.
The four members of The Stone Roses and their management are sued by their record label and publishers who seek a court declaration that the Roses should remain bound by their contract. The band declare the contract to be invalid and they do not appear but are represented by John Kennedy. Barbara Dohmann QC was the band's defence lawyer.
Peter Prescott QC, on behalf of Silvertone, begins “With us, The Stone Roses’ career began to take off – before that their success had been pretty modest.
“It is particularly galling for my clients that the group said that the contract is invalid and they are free to go off with another company.”
This meant that Silvertone had put “money down the drain” and wasted skill and effort.
The Roses ‘left’ Silvertone, with whom they originally signed in 1988, to ink a deal with the ‘other company’ on August 22 last year. But Silvertone then took out an injunction preventing them from releasing any records on another label.
Mr Prescott said of the band’s contractual obligations to Silvertone: “They can’t now be heard to say, Boo hoo, I want to get out of it now.”
Barbara Dohmann QC, questioned Mark Firman, a lawyer with Zomba Music.
See Media for the 10 March 1991 - Sounds Magazine article.
See Media for 1991 - Q Magazine Article.
From NME magazine 23 February 1991 'John Kennedy, the group's lawyer, says that the Roses's claim that their contract with Silvertone is not binding will be presented to the court in the form of a legal document running to more than 40 pages. And NME understands that Silvertone's defence case will take up at least three weeks of the court's time. It was originally thought that the case wouldn't be heard until November, but the group were keen for an early hearing as they are still under a court injunction preventing them from releasinf any new material.'
From Melody Maker Magazine, 16 March 1991: ''Peter Prescott, QC, for Silvertone, asked Judge Humphries to grant a declaration that the contract is enforceable. The judge granted an interim injunction stopping the group from recording for any other company pending the outcome of the case. Mr Prescott claimed Silvertone took a big financial risk in signing The Stone Roses before they were established, and invested £1 million in the band before seeing any profit. He said ''Unless they’re an eccentric philanthropist, no record company is going to support a group in this way unless it has an exclusive right to their recording services. It is normal in the trade for such a contract to be entered into - and for a substantial time.'' Mr Prescot added that the group were given legal advice when they signed. ''They can't now say, 'Boo-hoo, we want to get out''. The group and their manager, deny breach of contract by seeking to join another record company...'' ''...Silvertone, however, admitted that the contract ''had got garbled in some way'' and contradicted itself. Part of the document, read in isolation, said The Stone Roses were tired to Silvertone until nine months after the company had released their minimum recording commitment in the US - even though the company was under no obligation ever to release records in America. If there was no US release, the contract would never end, and the band would be bound to Silvertone for the rest of their lives. But Mr Prescott argued that a reading of the ''the four corners of the document'' made it clear that the contract meant not nine months from release in America but nine months from delivery by the group to Silvertone of their minimum recording commitment. 'The words 'released in the US' must be treated as a mistake'' he said. He asked the judge to give effect to the ''true underlying intention gathered from the words of the document read as a whole.'' The Stone Roses did not themselves appear in court, but it's likely they will be called as witnesses during the case which is expected to last several weeks'
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses" Roddy McKenna said: In the court case, all of Gareth’s skeletons got taken out of the closet and danced in front of the band, and they realised they had been completely mismanaged by him and they sacked him. So then they end up going into a scenario where they’re unmanaged, they’ve got no A&R guy, they’re being told by everyone that they’re worth millions, they’ve got a lawyer telling them he’s going to negotiate a fantastic deal with Geffen, so no wonder they went AWOL.
From Autumn 2001 Mojo Collections Number 04: “We weren’t confident of winning,” John Squire said, “but we were determined to do or die. If we’d never been released from that contract we wouldn’t have worked for them again, so we were discussing plans to only release boodegs, or to just tour.”

11 March 1991 - Greg Lewhrke sent a letter to Gareth Evans
Notes: The letter sends thanks from David Geffen to Gareth for helping sign the band.

18-22 March 1991 - The Stone Roses appear in the Law Courts in The Strand, London
Notes: The band hear the testimony of Geoffrey Howard, their solicitor at the time of signing the Silvertone deal. Geoff would also later represent and give evidence for Gareth Evans during his legal entanglements with the band in 1992. The case continues.

M - 23 March 1991 - Heaton Park Show Rumours.
23 March 1991 - Taken From NME Magazine: ''Roses in field on their own - THE STONE ROSES are currently scouring the South East of England in search of an appropriate venue to stage a huge comeback gig in the summer. Insiders confirmed that the Manc four-piece, who have not performed in public since last summer's Spike Island bash, are looking to re-establish themselves in grand style with their biggest live event yet. August Bank Holiday weekend is thought to be the favourite date. A spokesperson for the band, however, denied reports that they are to perform at a weekend festival planned to take place at Manchester’s Heaton Park on August 10 and 11. Inspiral Carpets, 808 State, The Fall and Buzzcocks have been billed to appear, with a number of other bands from Liverpool and Manchester, said to be involved. Meanwhile, The Stone Roses, Silvertone court case continues, with the latter claiming that much of the acrimony between iabel and band arose atter the band refused to appear on Wogan to promote their single. The case is expected to continue tor another two weeks.''
Notes: Don't worry this event would take place...21 years later. The rumoured show at the time was the Cities In The Park festival. The band were asked to headline Saturday night a few times. When Martin Hannett died the festival was advertised as a tribute to him. The band declined the offer and The Beautiful South and OMD headlined the Saturday Night whilst Electronic and Happy Mondays took to the stage Sunday. 04 August 1991 Sunday - Cities In The Park, Heaton Park, Prestwich, Manchester.

25-26 March 1991 - The Stone Roses appear in court again
Notes: Reni does not attend due to illness. Ian and Mani appear sitting with fans while the case continues. The reasons behind the band's non-appearance on Wogan in July '89 are discussed.
During the proceedings Silvertone turn on the band's management. It's revealed in court that Roses manager Gareth Evans' real name is Ian Bromley. He changed it while working at Vidal Sassoon's in the 1960s.
Silvertone allege that Gareth has signed a ten year deal with the band and receives 33.3% of all their earnings. Silvertone also claim that Gareth never provided the band with any detailed information about the finances of his company, Starscreen Management.
Band members hear about the £40,000 Christmas bonus for the first time. They were furious.
The proceedings take a decisive turn when it is revealed that the contract with Silvertone is somewhat one-sided; according to two of several bizarre clauses the label wasn't obliged to release Stone Roses products anywhere else in the world and the band only get half-rate royalties on any greatest hits package.

27 March 1991 - The Stone Roses appear in court again
Notes: Date taken from 30 March 1991 - Sounds Magazine, see Media for the article.
Mani and Ian appear in court.
Gareth Evans compounds Ian Brown's assertion that the Stone Roses were inadequately paid by Silvertone Records. Initially, the band were earning only £70 per week before tax and National Insurance deductions. This eventually rose to £200, £150 per week after deductions, but did not include allowances for clothes or equipment.
Silvertone’s lawyers claimed that Evans was being adequately funded, a claim that he denied in court. The band were paid £3,000 per month by Zomba Productions, Silvertone Records’ parent company, and £15,000 per quarter, a total of £8,000 per month. They were also paid a Christmas bonus of £2,000 each in 1989. Gareth aka Ian Bromley dribbled: “I knew Zomba were a hard company,” he said. “I didn’t want to rock the boat; I wanted to get on with the whole thing and relied on the prospect of a new contract as a reward. We built Silvertone up into what it is now.”
Evans claimed that he looked after all the band’s business interests but the final important decision on signing to Silvertone was made by the band.
Gareth Evans, when asked if he was optimistic at the outcome, replied “No f**king comment!”
The case is adjourned until 09 April.

April 1991 - Sounds Magazine Closes

09 April 1991 - The court date is moved to 25 May 1991

10 April 1991 - Reni's 27th birthday

N - 18 April 1991 - Martin Hannett dies.
Notes: James Martin Hannett dies. Born 31 May 1948, Martin died aged 42. He produced the band’s debut single and the unreleased debut album, released later as 'Garage Flower' in 1996. Apparently, the band appeared at his funeral along with a whole host of musicians (including former band mate Andy Couzens), friends and family of Martin's.

20 May 1991 - Ian and Mani were in Rotterdam, after travelling there to watch Manchester United clinch the European Cup Winners Cup.
From December 1995 - United We Stand (Late) Fanzine / February 1996 - Red Issue Fanzine (Manchester United Fanzine): TJ: Thinking about slightly less aggressive times, what do you remember about Rotterdam?
JS: I was away on holiday having a really ace time (heavy sarcasm).
GM: It was the best night of my life, even Ian Brown went over for that one. We started off in Amsterdam, had a couple of cakes and a good crack, then arrived in Rotterdam and it was pissing down and we had no coats on. First off we sat round the Barcelona end and it was a fucking riot of colour and noise, but I knew inside we were going to do it. The boys couldn't be stopped that night Tony. Inside the ground was three quarters of pure United. It was the best sight I've ever seen at a footy match.
TJ: Is there any truth in the rumour that you left your girlfriend waiting in the car?
GM: Not exactly, we couldn't get there on our own, so we had to get The Hadge (Roses tour manager) to drive us and he's a Blue. So she stayed at the hotel with him. We all went back later pissed up and out of it and he was gutted cos United had a big European success.
JS: The Hadge must have been the only Blue in Holland that night.
TJ: You two have both got match books, where do you sit at OT?
JS: We used to be in F, but we're in the South Stand Lower now.
GM: Yeah, some of the Black Grape boys sit behind us, Muzzer and Bez etc. It's turning into a right little pop stars enclave. Mick no mates will probably want to move down there soon.

N - 20 May 1991 Monday - The band finally won their lawsuit against Silvertone Records.
Notes: Q Magazine, Select and Bitz News claimed the final court date was 20 May 1991 Monday. “Gazza misses out but the Roses clean up,” says Gareth, alluding to Paul Gascoigne’s career-endangering injury in the FA Cup final. “We are looking forward to a new release this autumn,” says Mel Posner, head of Geffen’s international A&R department.
The entire case took eight weeks to resolve.
The judge broke the contracts major flaws down to the length, 7 albums, he thought it was too much and the fact that their was no obligation for the record company to release the product. The band could be held within the contract forever. The judge felt that action was not justified.
The Stone Roses were initially represented by local Mancunian lawyer (property specialist not a music business lawyer), Geoffrey Howard. With the band feeling they couldn't afford the real thing, Geoffrey missed the implications of many a sub-clause. Zomba could license product endorsement whether the band agreed or not; they could terminate the contract by a nominal payment at any time, but the band couldn't. The territorial agreements were deemed unfair (i.e. where Silvertone could release Stone Roses records, listed in the contract as "the world and its solar system"!) and a clause which tied the band to the label for nine months after the American release of their last recorded work. Since Silvertone were not obliged to release material in the States, the latter clause could have tied the band to the label forever. A statement from Silvertone claimed that instead of "United States" this should have read "United Kingdom", and was "a drafting error of the word-processor age".
The Stone Roses won, with lawyer John Kennedy (who also worked for The Waterboys, Sinead O'Connor and the Live Aid project among many others), and were free from the injunction and the contract.
According to the band’s former contracts, Silvertone/Zomba gave the band no royalty payment on CD sales and kept merchandising revenue too.
Silvertone would go back into litigation to appeal the case (Announced late June 1991), the entire ordeal would only end in May 1992. The Stone Roses would remain free from their publishing and recording contracts with Silvertone.
The band took what they had left of the new recordings to American label Geffen.
Howard Jones (ex-Roses manager) said “I thought David Geffen was a genius,”.
See Media for May 1991 - NME Magazine article.
See Media for 1991 - Q Magazine article - Stone Roses Vs Silvertone STONE FREE.
See Media for June 1991 - Bitz News article.
See Media for July 1991 - Select Magazine article.
See Media for July 1991 - Select Magazine Special article.
A June 1991 NME Magazine article included: ‘IN THE most important and highly publicised music Industry trial since Holly Johnson sued ZTT in 1988, THE STONE ROSES have claimed ultimate victory over Silvertone/Zomba.'' 'The label's action, which has set the Roses back 12 months in real terms, was brought against the band following an injunction prohibiting them recording for any other company.' 'Silvertone/Zomba sought a High Court ruling binding the band to their original 1988 recording and publishing contracts, pleading some £1 million was invested to break the then anonymous group. Silvertone's QC Peter Prescotti told the court that the Roses could not now be tolerated “crying ‘boo-hoo, we want to get out.' 'Acting on the advice of highly respected music industry lawyer John Kennedy (whose clients include the Waterboys and Sinead O'Connor), the band claimed that their original contracts were, due to multiple oppressive clauses, unenforceable in English law. Kennedy told NME this week that the case was “extremely hard fought, and at times, unpleasant. “ The Roses' QC, Barbara Dohrnann, agreed.' '...the Roses have been virtually reclusive in Manchester until the trial began on March 5.'''Silvertone/Zomba are currently seeking legal advice, and up to a month is expected to elapse before they announce whether or not to appeal. No comment was available from the company at the time of press, although insiders appear shocked that Judge Humphries came out so strongly in favour of The Stone Roses.' 'Meanwhile. the band are free to continue business as usual with their new label Geffen.' 'The head of Geffen's international US A&R department, Mel Posner. told NME: "The Stone Roses are now signed to us worldwide. We are looking to forward a new release in Autumn this year.’’ 'The Roses are currently compiling damages claim against Silvertone, which Kennedy verified would be a “considerable sum". It's estimated that Silvertone will also have to find in excess of £700,000 court costs, including the bands’ legal fees.'
From February 1998 - Uncut magazine Ian Brown interview: You couldn’t trust the record company, but you couldn’t trust the manager because he’d got you that deal. It must have felt like you were being shot by both sides. “Yeah, that’s why we sacked Gareth Evans in 1991 and he sued. We were doing more time in courtrooms than in studios. But we had to win the case against Zomba otherwise we’d have ended up on the dole, cos our pride would never had let us record for Silvertone again. There was even talk of doing our own bootlegs. But the court stuff did bog us down, and as a unit we became separate. I was down in the courtroom every day, but they were all in Manchester.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “We weren’t confident of winning,” John Squire said, “but we were determined to do or die. If we’d never been released from that contract we wouldn’t have worked for them again, so we were discussing plans to only release bootegs, or to just tour.”
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: And then when you got into your Silvertone tussle and you went quiet for a while. Did that ever get a real, serious consideration?
Yeah, because at the time if we’d have lost the court case in ‘91 with Zomba, we wouldn’t have been able to release any more records so we’d have just done gigs, and the plan was that we would have bootlegged the gigs and sold them at the next gig, so they’d only be available as live albums and we’d have to do new songs as live versions. If we’d have lost that case, that was our plan - just to do gigs and sell bootlegs on the door...
From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Roddy McKenna, Zomba A&R Representitive said: To the outside world it’s perceived as Zomba are a terrible label; a crappy contract trying to tie up a poor little band, and it’s not as simple as that. Basically you had a scenario where the band signed an initial deal which was very unfair towards the artist, but the reason for that was that Gareth would not spend the necessary money to get a proper music business lawyer to look over the contract, so he got his own building lawyer in. Normally in the music business you issue a contract and the lawyers blue line it, because you purposefully put in a load of things you know are going to be taken out - it’s a standard negotiating position. So what he does is he signs the contract and sends it back, giving the record company things like merchandising rights. So the record company always knew that contract was unsafe and would have to be improved. Basically the band had signed a new contract that gave them much better terms and conditions, so the record company were working on the basis of a new contract, but crucially one member of the band hadn’t signed that new contract. Gareth kept on saying he was going to get on to it, and [Silvertone boss] Andrew Lauder never put pressure on him. So when the band fell in with this smart lawyer, John Kennedy, when they fell into his conniving hands, he took the view that he was taking Zomba to court on the basis of the original contract. The record company was made out to be a far worse animal than they actually were, but they didn’t pay the going rate for the band so they lost them.

N - 26 May 1991 - The band immediately sign to, U.S-based label, Geffen
Notes: Geffen apparently offered the sum of £20 (or $20) million for five albums, all information is still unconfirmed including how many record sales would be required. Gary Gersh, Head of A&R at Geffen Records, financial offer was, apparently, considerably less than at least three of his rival record companies.
The advance for the first LP was rumoured to be approx £1.5 million, Ian Brown later confirmed that the amount was £4 million but minus tax the band saw £125,000 each. Ian and Mani gave money to their parents to help their mums retire from work. Mani would buy a property in Monmouth. Ian would donate money to charity too. Reni and John also bought their own homes. I think Reni paid for his house in Gorton.
Melody Maker Magazine 09 March 1991 rumoured an initial deal was offered for one album at £2.2 million, but this was actually the advance payment for the first LP of the five.
Mel Posner, head of Geffen's international A&R department, said: "We are looking forward to a new release in the Autumn". If only Geffen knew it would be another 3 years until the LP would be finished.
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: Is it true you took 100 grand from your Geffen deal and walked around Manchester giving it away? “It wasn’t 100 grand. I wanted all my money in cash; I didn’t want a bank account. But they made me get an account when I got my recording contract, so I went in and drew it all out. I gave 30 or 40 grand to my mother, retired my mother. The rest wasn’t just to bums on the streets; I gave it to hostels and the Salvation Army. And that Christmas I went and bought big jars of sweets and teddy bears and donated them to kids’ homes. For myself I bought a car, which was nine grand, but I still lived in a little rented flat. The rest I gave to my family.”
June 1991 NME Magazine article included: '...a five-album deal worth a substantial amount had been agreed. Geffen were not party to any new demos before signing the band, Kennedy advised us' John Kennedy, The Stone Roses lawyer for the Silvertone/Zomba case.
Sounds Magazine 30 March 1991 included: 'One of the band's lawyers, John Kennedy, said of the Geffen deal 'The royalties are good, very good'' '
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: "Geffen actually signed us in March '91," recalls Brown. "They paid all our court costs but it was two and a half years later before they even sent anyone over. That surprised me. They kept sending money over but didn't want a return. They said, Whenever you're ready, whenever you're happy, just take your time and give us an LP as good as your last one and we'll see what we can do with it. They trusted us. They'd ring up and say, Have you done anything in the last six months? And I'd say, Yeah, I've been down the beach with my boy. Musically, I've done nothing. And they'd say, Right you are, keep at it. As long as you're happy. And even when we gave them this album, they said, If the next one takes five years, that's OK. Take your time."
So what did you do with the money?
"They gave us a million pounds up front," says Brown, completely unfazed by the figure, "and when we finished the record they gave us another million. I got a house in the mountains in Wales by the sea. But mostly me and him give it away."
"I retired me Mam, first thing," says Mani. "Got her out of the rat race. She had the lion's share of what I had. She's as happy as Larry."...
From 01 March 1995 - Ian Brown appears on the cover of 'The Face Magazine' Issue 78, March 95: Ian currently has about eight grand in his bank account, Reni tells me that later (“I’ve got about three, Mani’s probably got even less and I really can’t speak for John”). “The Second Corning” apparently cost over a million dollars to make in total.
In an Q Magazine interview Ian Brown said: When we signed to Geffern (in 1991) it's true that we got £4 million upfront, but £2 million of that went straight to the taxman, and so we only saw about £125,000 each, which isn't much, is it? Even today, I am very far from being a millionaire, but I couldn't care less, I'm an artist, not a businessman.

1991 - Ian & Mani & John start spending the Geffen Record contract advance.
Notes: The Stone Roses collected an advance of £2,000,000 from Geffen.
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: But Mani says you and he used to do coke “like it was going out of fashion” … “For a week, I did. In the first week of the Gulf War in ’91, me and him did four grams of coke a day. Then we went running in the morning, a five-mile run the day after we’d done four grams of coke. By the end of the week, we were nearly having heart-attacks. That’s the only time I ever took it, for that week in 1991.”
From February 1998 - Uncut magazine Ian Brown interview: What about the theories that wealth had made you lose your sense of urgency? “We never had a load of money. We only got £100,000 each, and I gave it away within three days, to my family. The rest of the Geffen advance went on recording equipment, wages and tax.”
From February 1998 - Uncut magazine Ian Brown interview: We got our dough [by signing to Geffen] in 1991, but John moved to the Lake District. So, yeah, that’s when it started… changing.” There was a story that one day you walked around Manchester with £100,000 in a holdall, giving out wads to the homeless. Is this true? “It was a carrier bag.”
1998 - Hot Press, Interview by Stuart Bailie, in a bar in Chorlton: "I got £125,000 in ’91, and I gave it all away. Within three days, it had gone. I gave it to me mother, me brother and sister, and I put 30 grand on the house."...
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “We all went to the south of France and hired a helicopter and stayed in £5OO-a-night hotels for a few weeks,” says Mani. “We went, ‘Right, let’s fuck off and spend some money’. We flew into Nice first, chartered the helicopter from Nice to Cannes, then on to St Tropex, and booked into the Hotel Byblos [famously upmarket retreat], stayed there a couple of days, went to Monte Carlo and got kicked out of the casino. “Were we instant millionaires? No, that’s absolute bullshit. I think we took a hundred grand each. But we were in the studio for a year and a bit, which gobbled up a lot of that. I think we got £2 million for the second album, but we could never hope to recoup it.”

May 1991 - Rehearsals, North Manchester
Notes: Apparently the band rented Steve 'Adge' Atherton's house in Manchester to rehearse. They rented a van and headed up to his to practise.

May 1991 - John Squire flies to Tenerife with his girlfriend Helen.
Notes: Helen works as a stallholder on Manchester's Castlefield Market.

May 1991 - Ian, John and Mani travel to the European Cup Winners Cup final in Rotterdam, Netherlands to see Manchester United defeat Barcelona 2-1.
From 01 February 2009 Sunday - The Guardian, article by Luke Bainbridge: ...Then I started working and probably didn't go again until the late 80s. I went to the Cup Winners' Cup final in Rotterdam in 1991.

July 1991 - John Leckie Session, Sawmills, Cornwall
Notes: Unconfirmed recording session.

21 July 1991 - Sally Cinnamon Japanese Release Date
ALCB
Notes: The CD included an additional booklet with colour 1989 photos of the band, some live photos which I have never seen published since.

July 1991 - Reni plays football with A Certain Ratio
Notes: The band's publicist Philip Hall engages the band in their interest in football and finds Reni a team to join. A BBC team is formed that includes members of Yargo and A Certain Ratio. The team train at Platt Fields (Manchester City's training ground) on Tuesday nights. Ian Brown occasionally shows to support Reni.

1991 - Ian Brown's son is born
Notes: From 01 March 1995 - Ian Brown appears on the cover of 'The Face Magazine' Issue 78, March 95
But Ian’s been to the crossroads, says he’s got a perspective on what’s important. You see, Ian’s a dad now. “Yeah, I’ve got one boy, he’s two and a half. It just doubles your joy for living, having a child. I don’t consider myself to have ever got wrapped up in some fame game anyway and now I’ve got a boy I definitely know what’s what. You’ve got to bring them up right, man. Tell them what to do in life, like my father did with me. You’ve got to make sure your child grows up in a place where there’s as much peace as possible.”
Where are you bringing your son up, Ian? “I want to stay around Manchester, but I’ve moved out of Salford. I’d rather you didn’t print where I’ve moved to because loads of people will be flicking round. But I’m splitting my time now between there and Wales. I bought this place in north Wales up in the mountains in an old slate village. It’s got a coal fire and you can see the sea. It’s beautiful. It’s two hours from Manchester and it’s unspoilt. I can take my boy to the beach any day I like. “What it means is you have to start writing songs at seven o’clock at night, because you make sure you deal with your son first. Seeing my boy singing and dancing and jamming about, right? That’s the best. He sits there and he puts the headphones on and..,” Ian Brown stops talking and. sways his bead about in an impersonation of his two-year-old listening to Bob Marley. The whole Brown filmily have probably got that goldfish pout.
So, did fatherhood account for all that time? “Well, after the court appeal in June ’92, I just travelled about. I went to Rome to see where the emperor put his foot down in the Coliseum. I went to Barcelona to see where Christopher Columbus set sail before he went and robbed everyone. I wanted to see where my head was at. “I just thought it was funny that there was so much concern about four people going off and making a record in their own time. I didn’t feel responsible. Between us we’ve spent a million pounds and about half of that’s gone on tax and the rest on recording. That thing Tony Wilson said about working-class bands going off and spending money as soon as they get it. Well, I’m from a working-class background and I went and spent it. But we didn’t go to Monte Carlo and spend it all on a black jack table. I gambled away exactly £5 of it.

August 1991 - Madison Square Garden, New York (capacity 14,000) *Cancelled*
August 1991 - The Forum, Los Angeles (capacity 12,000) *Cancelled*
Notes: Above shows rumoured from July 1991 - Select Magazine Special article, see Media for complete article.
From 06 April 1996 - Ian Brown & John Squire feature on the cover of NME (New Musical Express) Magazine, 85p: Evans said they made a critical mistake when they refused to play Madison Square Gardens, in New York, and the LA Forum following the release of 'The Stone Roses'. He believes those gigs would have sparked a wave of American success, similar to that currently enjoyed by Oasis. He said: "That was where they went wrong. They had those two gigs and they didn't play them. The gigs were sold out. If they had played there and played the simple songs from the first album, America would have loved them. But they wouldn't play."

August 1991 - Reni appears in court
Notes: Reni appears in court for four charges, including threatening behaviour and illegal parking.
He pleads not guilty.
In court it is announceed that Reni is the owner of three houses in
Manchester including one maisonette in a desirable mini-estate, near the G-Mex centre, and is earning reasonable amounts of money from being a landlord. See November for the verdict.

September 1991 - Alan Wren's son 'Cody' is born.
Notes: Reni and his girlfriend, a paediatric doctor at St. Mary's Hospital, bring a baby boy into the world.
Coleen, Marlon and Cody.

August - September 1991 - John Leckie & Brian Pugsley pre-production for the Second Coming Sessions
Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST
Notes: The Stone Roses begin initial sessions for Geffen records, whilst John Leckie & Brian Pugsley prepare for the 1992 recording sessions in Wales & Manchester.
From P.D. McCauley Interview with Simon Dawson on the subject of 'Begging You': "This was really the main one for sample loops. The loops were done before the group came to Rockfield, by a guy called Brian Pugsley, who structured the loops they had created. John had them on disk, and I think Brian just got them in the right place and at the right time -- quite a lot of work, I think. Brian also programmed a bass pulse, a sample of an oscillator generating a sine wave at a low frequency, which we ended up using in the verses of the song. Mani had come up with a bassline, but we liked the pulse. It was quite difficult though -- because the pulse was a straight sine wave from an oscillator, it had no harmonics, so we had quite a problem at the mix getting it so you could hear it. We were cutting from the bass to the pulse, and matching it up was quite tricky. You can hear it when you've got a really nice pair of speakers.
"Other than that, there are a few different loops in their -- old soul loops running backwards, slowed down -- so no-one can recognise them -- and there's also a backwards guitar riff, which John had to learn to play in reverse. We turned the tape over so it ran the opposite way, then John experimented over the backwards music until we found something that worked when we turned the tape back over. It became the main riff, and we decided to triple-track it, so John had to do it the same three times, which is quite hard to do over backwards music! There are also some jets in the middle of the song, which John Squire recorded at an air show with his DAT player holding his mic up in the air, and which we layered in."
From February 1998 - Uncut magazine Ian Brown interview: Were things falling apart within the band? “Yeah. We did Fools Gold and One Love to a drum loop, and Reni played over the top. So now John’s got no confidence in Reni. All we ever hear is that Reni’s the greatest drummer anyone’s ever seen, but we’ve got a guitarist who doesn’t want to play with him. He wants to play to loops. Eventually, Reni’s turning up at the studio going, ‘What the fuck am I doing here?'” That must have destroyed Reni? “Bitterness crept in, but in a way, Reni got enjoyment because he thought that John would have to come round. He never did. When Reni left the band, John never phoned him up. He hasn’t laid eyes on him in two years. He’s said in interviews ‘Oh yeah, I’ve seen him’, which Reni’s blazing about. So yeah, that was the start of the decline.”

The Stone Roses - 02 September 1991 - I Wanna Be Adored U.K. Release Date
All songs written by John Squire & Ian Brown.
Where Angels Play - Lyrics Written by Ian Brown & John Squire.
All songs produced by John Leckie except Sally Cinnamon (Live at The Hacienda)
Label: Silvertone
Artwork: 'Sugar' Detail, 1988 Oil on canvas 32x32inch John Squire
Format: 7inch Vinyl. Catalog Number: ORE 31
Format: Cassette. Catalog Number: ORE C 31
I Wanna Be Adored (Edit)
Where Angels Play
Format: 12inch Vinyl. Catalog Number: ORE T 31
Matrix A-Side: DAMONT ORE T 31 A1
Matrix B-Side: DAMONT ORE T 31 B1
I Wanna Be Adored
Where Angels Play
Sally Cinnamon (Live 27 February 1989 Monday - FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester)
Format: CD. ORECD 31 ' 1:3 MASTERED BY NIMBUS Catalog Number: ORE CD 31. Barcode: 5013705902826. Maunfactured In EEC (On disc face and in sleeve)

Format: CD. A1264 ORECD 31 : 1:0 IFPI L155 MASTERED BY NIMBUS IFPI L122 Catalog Number: ORE CD 31. Barcode: 5013705902826. Maunfactured In EEC (On disc face and in sleeve)
I Wanna Be Adored (Edit)
Where Angels Play
I Wanna Be Adored
Sally Cinnamon (Live 27 February 1989 Monday - FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester)
Notes: This was the first time Where Angels Play was released. Silvertone Records included the unfinished recording on the B-side, without the bands approval. It also re-appeared on the 1992 Turns Into Stone compilation, again the release was unapproved by the band and it even funded Silvertone's legal battle with the band regarding their own contract. The label was using the band's music to fund the label's legal fees against the band...utter madness!
The first 25,000 12inch singles included a free print. Press media outlined 'Includes previously unreleased Where Angels Play' Out Now, The First 25,000 12" include a free print...'
Regarding Where Angels Play - From 23-30 December 1989 - Sounds Magazine Interview: “That was meant to be on the album,” says Ian, “but we didn’t get a good enough version of it.”
From 24 August 1991 - NME Magazine: ''THE STONE ROSES have a single, and re-formatted limited edition of their debut album released by Silvertone next month.'' ''The single, ‘I Wanna Be Adored', of the band's debut LP, is backed with one previously unreleased track titled ‘Where Angels Play’, recorded during the original album sessions. CD and 12'' Formats will also Include ‘Sally Cinnamon’ recorded live at the Hacienda In '89. Silvertone are also planning to use a video shot in Lanzarote at the same time as ‘Fools: Gold' to promote the track. ‘I Wanna Be Adored’ Is due out on Silvertone through Zomba on September 2, two weeks prior to the re-release of The Roses debut LP on September 16''.
1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: In summer 1990, you played what, in hindsight, felt like a farewell concert – Spike Island. The only new song was "Where Angels Play". Was that going to be your next single? IB: That was going to be on the second LP but Silvertone released a rough demo on that "Complete Stone Roses", so we dropped it.
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.

The Stone Roses - 1991 - I Wanna Be Adored Japan Release Date
Label: Silvertone / Alfa
Artwork: 'Sugar' Detail, 1988 Oil on canvas 32x32inch John Squire
Format: CD. Catalog Number: Silvertone/Alfa ALCB-392
I Wanna Be Adored
Where Angels Play
Sally Cinnamon (Live 27 February 1989 Monday - FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester)
Fools Gold (Extended version) aka 9.53
Notes: Japanese CD E.P. release.

The Stone Roses - 16 September 1991 - The Stone Roses debut U.K. Re-Release
Notes: From 24 August 1991 - NME Magazine: ''THE STONE ROSES have a single, and re-formatted limited edition of their debut album released by Silvertone next month.'' ''...Limited Edition gatefold pressed on two 45rpm 12" discs. CDs and cassettes will also carry hit singles 'Elephant Stone' and 'Fools Gold'. All formats of the LP will feature new sleeve art, replacing the legendary mock Pollock painted by guitarist John Squire''

The Stone Roses - 04 November 1991 - The Stone Roses Blackpool Live U.K. VHS Release Date
VHS
VHS WIV006 Winning International Video. Approx. Running Time: 58 Minutes.
12 August 1989 - Empress Ballroom, Blackpool
I Wanna Be Adored / Elephant Stone / Waterfall / Sugar Spun Sister / Made Of Stone / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / I Am The Resurrection
Notes: All releases are missing Sally Cinnamon & Standing Here. See 12 August 1989 for show details.
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.
The recording 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.
Standing Here included shots not used in the video release, Douglas Hart produced the edited 'short' video.
VHS Dealer was initially priced at £7.48 and scheduled for release 04 November 1991. From full colour 'Music Week' advert:'A Major Consumer Marketing Campaign Will Cover This Release. This historic recording which took place in the Empress Ballroom, Blackpool is the only Stone Roses footage available. This exceptional video marks the turning point in the band's career as the dramatic press headlines followed the tour in a tidal wave of hero worship'.
The same video was re-released in 1995 as The Complete Stone Roses Video, VHS was priced at £10.99, and included extra promo videos, interviews and TV Appearances too.
In 2004 the footage was included in the 15th Anniversary 2 DVD set; the footage and audio had been restored and remixed in 5.1. stereo but still did not include the 'missing' tracks which were played on the night. The remixed audio was slightly different to the original VHS releases as they were missing the 'warped' intro and outro credit sections, which still only appear on the videos. The 2009 Legacy edition uses the same version as the 2004 mix.
From a magazine article 02 November 1991: ''Roses Roses: Pool's Gold. THE STONE ROSES are to have more of their back catalogue re-issued by former label Silvertone. Steve Osbourne and Paul Oakenfold are already working on re-mixes of a number of tracks, one of which is believed to be their Top Ten 45 ‘Fool's Gold’, to be released as a single. Meanwhile, Windsong Productions release Blackpool Live, an 11-track video of the Roses' Blackpool Empress Ballroom date in August 1989. Priced £10.99 it's out on November 4 and features: ‘I Wanna Be Adored’, ‘Elephant Stone’, Waterfall’, ‘Sugar Spun Sister’, ‘Made Of Stone’, ‘She Bangs The Drums’, "Where Angels Play‘, ‘Shoot You Down‘, ‘Going Down‘, ‘Mersey Paradise and ‘I Am The Resurrection‘.

N - 09 November 1991 - The Stone Roses were approached to play the 50th Anniversary Oxfam Festival
The band were asked to play 30 May 1992 - 50th Anniversary Oxfam Festival, Eastnor Castle, Herefordshire
Notes: From NME Magazine, 09 November 1991: THE STONE ROSES have been asked to make a return to the live stage by headlining a show in the grounds of an English stately home next May. The band who haven’t performed live since the Spike Island and Glasgow Green shows of May last year, have been approached by Oxfam to top the bill of the concert to mark the charity's 50th anniversary. A spokesman for the band said: "They're seriously considering the request, but it's too early to make a full commitment to the event. There are other things in the pipeline and the band are in the process of mapping out their immediate future. ‘Organisers are currently scouting locations in the West Midlands for the concert, which will feature four or five major acts, to be confirmed in the next few weeks. The fund-raising gig is just one of a series of specie! events Oxfam are planning for 1992.
From Melody Maker Magazine, 15 February 1992: ''THE STONE ROSES were at the centre of confusion last week after Oxfam allegedly claimed that the group would be headlining a massive outdoor benefit show for the charity at Eastnor Castle in Herefordshire on May 30. A spokesman for the event told MM that he received a fax from Oxfam stating that the Roses would definitely be appearing - but had then been told by the band's agents that they were "not confirmed”. The mainstream deepened just before the Maker went to press last week when the group's own publicists called the MM news desk to insist that the Roses would certainly not be playing the show. Whatever, the event will go ahead, and a number of other leading acts - including Ride and Seal - have been asked to appear. The final bill is expected to be announced within the next two weeks.''

N - November 1991 - Alan Wren was acquitted on a charge of disorderly conduct.
Notes: Reni is cleared by Manchester Magistrates on the charges of disorderly behaviour and police obstruction, having refused to move his car which was causing a blockage on Burton road.
He admits to two offences, parking in a no waiting zone and causing an obstruction, and is fined £50. In court Reni states: " I have already
lodged a complaint about the way I was physically abused by the Police"
Notes: From November 1991 - NME or 23 November 1991 - Melody Maker Magazine : " RENI IN THE DOCK, Roses Drummer Accuses Police of Brutality, The Stone Roses' drummer Reni claimed in Manchester City Magistrates' Court last week that he was beaten up by police after being arrested on a charge of causing an obstruction last August. Reni claimed in court that he was attacked in the police station after the arrest, was "raced" along a corridor with his hands in cuffs behind his back, and that he had blood "all over his face" after the alleged assault. Reni has already lodged a formal complaint against the police, and insisted last week that he would take the complaint ''all the way''.
The prosecution alleged that Reni had acted in a "totally unreasonable manner" after being asked to move his car from Barton Road, West Didsbury. Prosecutor Mrs Karen Brooks said that Reni had sworn at a police sergeant, who had been "forced" to grip the drummer in a headlock and have a colleague handcuff him. Replying to the charges, Reni told the court that his then three-month old baby son had been in the car, and that he had "panicked" when told he was being arrested. He claimed that he was dragged out of the car before he had chance to comply with the police's request to move the vehicle. Reni, charged under his full name Alan Wren, was acquitted by the magistrates on a charge of disorderly conduct. He pleaded guilty to parking in a no parking area and causing an obstruction, and was fined £50."
From 19 November 1994 - NME Magazine, Paul Moody and John Harris timeline: Aside from legal hoo-hah, he is also the owner of three houses in Manchester – including one maisonette in a desirable mini-estate near the G-Mex centre – and is earning reasonable amounts from being a landlord. He and his girlfriend – a paediatric doctor at St Mary’s Hospital – are expecting a child.

November 1991 - Ian Brown buys the 'Garage Flower' Session Tapes
Notes: Ian & tour manager Steve 'Adge' Atherton go to Strawberry Studios and buy back sixteen 1985 session tapes, produced by Martin Hannett. See 1985 for the Garage Flower Sessions.

1991 - John moves to the Lake District.

16 November 1991 - Mani's 29th birthday
24 November 1991 - John Squire's 29th birthday

1991 - Gareth Evan's is sacked.
Notes: As far as I am aware The Stone Roses manager was sacked at the end of 1991. NME magazine released a statement in January 1992 saying Gareth had been let go and the band were without a manager. Gareth would later take the band to court for compensation after being sacked (see 13 June 1992).
From 01 February 1992 - NME Magazine: 'The Stone Roses have parted company with their manager Gareth Evans....'
From May 1993 - NME Magazine - GOOD EAR FOR THE ROSES - ...“Basically, we walked out of court and that was it,” he says. “Ian Brown said, business is business and that they didn’t want me to have 20 per cent of the Geffen deal. They never thought I’d take issue with them over it, but there you go.”
Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: What was the fatal mistake the Roses made in their final years? The court case? Signing to Geffen? “Not getting a manager. We were all chiefs; no-one could make a decision. We were like this big, lumbering dinosaur, even though we’d only made one album. Maybe there should have been someone there saying, ‘Look, fucking get on with it.’ You’re not going to turn to your pal and say that.”

14 December 1991 - Waterfall Remix Promo ORE T DJ34 Release Date
Label: Silvertone
Artwork: (Generic Sleeve)
Format: 12inch Vinyl. Catalog Number: ORE T DJ34
Waterfall (Remix) aka (Paul Oakenfold 12inch Remix)
One Love (Remix) aka (Adrian Sherwood 12inch Remix) 7:10
Notes: Promo Only, Acetate Demo 12inch Vinyl. Apparently Silvertone Records asked Paul Oakenfold to do, what he did to Primal Scream's Loaded but the final remix wasn't too dissimilar from the original. Including extended intro, extra percussion, louder backing vocals and Don't Stop bassline snippets thrown in for good measure. The Adrian Sherwood 'One Love' remixes date back to the single release, unreleased up until now and the eventual Waterfall single (see Waterfall 1992)
From NME Magazine article, June 1990: '...The single itself has again been remixed by Adrian Sherwood - but it's the original John Leckie produced version that'll appear first on Silvertone...''
From a magazine article 02 November 1991: ''Roses Roses: Pool's Gold. THE STONE ROSES are to have more of their back catalogue re-issued by former label Silvertone. Steve Osbourne and Paul Oakenfold are already working on re-mixes of a number of tracks, one of which is believed to be their Top Ten 45 ‘Fool's Gold’, to be released as a single....''
Taken From NME Magazine, 21 December 1991 ''...The label, who go back into litigation in early 92' to appeal against the High Court ruling freeing the Roses from both their publishing and recording contracts with the company, issued an Osbourne/Oakenfold mix of 'Waterfall' on 45 last week. The track is backed with 'One Love'.''

30 December 1991 - The Stone Roses - Waterfall U.K. Release Date
Both songs written by John Squire & Ian Brown.
Produced by John Leckie.
Waterfall additional production and remix by Paul Oakenfold & Steve Osborne.
One Love remix by Adrian Sherwood.
Label: Silvertone
Artwork: 'Waterfall' Detail, 1988 Oil on Canvas, 30x26inches by John Squire. Waterfall was partially influenced by Jasper Johns piece ‘Flag’ (1967). “That’s the most explicit reflection of any song,” says John.
Format: 7inch Vinyl. Catalog Number: ORE 35
Format: Cassette. Catalog Number: ORE C 35
Waterfall (7" Version) aka (Paul Oakenfold & Steve Osbourne 7inch Mix)
One Love (7" Version) aka (Adrian Sherwood 7inch Remix)
Format: 12inch Vinyl. Catalog Number: ORE ZT 35
Matrix A-Side: COPYMASTERS MILES. DAMONT. ORE TZ 35 A1. (The '5' is written over the '4', maybe this was intended to be ORE 34)
Matrix B-Side: DAMONT. ORE TZ 35 B1.
Waterfall (12" Version) aka (Paul Oakenfold & Steve Osbourne 12inch Mix)
One Love (12" Version) aka (Adrian Sherwood 12inch Remix)
Format: CD. Catalog Number: ORE CD 35
Waterfall (7" Version) aka (Paul Oakenfold & Steve Osbourne 7inch Mix)
One Love (7" Version) aka (Adrian Sherwood 7inch Remix)
Waterfall (12" Version) aka (Paul Oakenfold & Steve Osbourne 12inch Mix)
One Love (12" Version) aka (Adrian Sherwood 12inch Remix) 7:10
Notes: The Single Peaked At Number 27 In The U.K. Charts. FOPP Records indicated the release date for ORET35 as 30.12.91
Waterfall Promo Video was recycled footage from Blackpool (see 12 August 1989)
From M62 Magazine, Issue Number 02, July/Aug 1988 Debi Read wrote: And what about songs like 'Waterfall' and 'This Is The One' I ponder, are there any plans to release these as singles? 'Yes, but we havn't planned any futher ahead. We'll just do what's right at the time, but 'Waterfall' would make a good single' adds Ian.