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

Merchandise
1992 Waterfall (full flag) - Brand/Tag: Screen Stars (by Fruit Of The Loom) - Fabric Blend: Poly/Cotton - Color: Grey - Pit-to-Pit: 23.50" - Length: 30" - Label Size: XL
Notes: Unconfirmed if official or not. Released just after the Waterfall single, see December 1991.

1991/1992 - John Leckie & Brian Pugsley pre-production for the Second Coming Sessions
Begging You
From P.D. McCauley Interview with Simon Dawson on the subject of 'Begging You'/From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said:: "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 there -- 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."

1992 - Ian Brown buys a property in North Wales
Notes: A Farm house near the mountains, short drive from the beach and a coal fire.

1992 - John Squire's daughter Jamie? Janie? Squire is born.
Notes: John and partner Helen Plaumer have their first child.
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: Are you happy right now? “Well, I’m glad we came to America. I like to get away and travel, you know. I’ve got a little girl, she’s three now. That’s had an immeasurable impact on me. I notice being far away from her. “I’ve been spending most of my time recently, though, in a rented cottage near Lancaster on my own. It’s in the middle of nowhere. I feel more comfortable in an out-of-town environment – I’ve still got strong ties with Manchester, but I grew up in a suburb and I was never some terrorist from a tower block. This cottage in Lancaster is just a one-bedroom place with mountains of guitars and amps in the kitchen and everything, it’s lust set up for me to do one thing, really. I intend to move when I get back. Get somewhere bigger, get things sorted out.” John Lennon once sang: “Life is what happens to you when you’re busy making other plans.” John Squire’s been thinking a lot about that recently. “I’m going to make a conscious effort to live in the present now, rather than in the past or in the future. I’ve been thinking a lot about that in the last week. About life as a journey and how the journey’s more important than the destination. I’ve started to feel really empowered.”
From 06 September 2002 - The Guardian Newspaper interview: As Squire tells it, the relationship fell apart during the second album. "When my daughter Janie came along, we had to go away to write, because we couldn't get enough time together on our own," he says. "We went to the Lakes, Scotland. But very little came from those trips. The partnership was drying up. "We were still great friends. Probably too friendly. Maybe if we'd have had a go at each other then it would have been sorted out." Instead, minor musical differences erupted into chasms. Brown wanted the band to go in a more groove-oriented direction in the vein of Fool's Gold.

1992 - Clapton’s Rehearsal Room, Tintwhistle, near Glossop
Daybreak (Demo)
From June 1997 - The Guitar Magazine: ‘Some things were very live though. Daybreak was a demo, recorded in this little rehearsal room at a nightclub called Clapton’s in Tintwhistle near Glossop. It started off as an instrumental jam, and Ian put lyrics to back at Rockfield. That’s me improvising. You’d like more of that? Well, that was the sort of thing that me, Reni and Mani would play all the time.
From October 1997 - Melody Maker Magazine: Ian Brown: “We used to play a lot together, from 10 in the morning till seven at night, for three or four years. Then, for some reason, John didn’t want to play with Reni. “We started the album in ’92 playing to loops. Reni would be, ‘What am I here for?’, and that was the start of it. In one year, out of 300 days in the studio, we had a meal together four times.”
03 January 1998 - NME Magazine: Ian Brown: “Around ’93 I wanted to finish it. It was about ‘91/’92 that John didn’t want to work with Reni no more. We’d done ‘Fools Gold’ and we’d done it to a loop and Reni had played over the top, same with ‘One Love’. So John had no belief in Reni’s ability, at the same time as everyone’s saying and knowing that this kid’s the best drummer in the world. But my man, he didn’t want to work with him now. So I’m saying we always wanted to be the JB Allstars, we always wanted to be the best players – how are we gonna be the best players if we’re not playing together? But how are we ever gonna do this if you don’t wanna work with this kid? So we’re starting the album sessions and Reni’s like ‘Why am I here? You don’t need a drummer…’ As we walk into the session for the ‘Second Coming’, John turns to me as Mani’s putting his key in the door and says, ‘I’m not working with him again’, meaning Mani. Now I understand he had me in the same boat, but at the time I didn’t."
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
The Second Coming Demos (2004, Manufactured In The EEC. World Wide Music Network, WWMN/SR/2004/002) CD-R -Demonic Voices Talking Over Water (Take 1) / Demonic Voices Talking Over Water (Take 2) / Breaking Into Heaven / Driving South (Loose Version) / Good Times (Long Version w/ Different Lyrics) / Love Spreads / Love Spreads (Reprise) / Begging You / Reni & John Jam / Daybreak / Jam #1 / Tightrope / Jam #2 / Breaking Into Heaven / Love Spreads (without Ian) / Jam #3 / How Do You Sleep (Ian & John only) / The Worlds Longrst Drum Solo

1992 - John Leckie Sessions, Unconfirmed Location
Love Spreads
Notes: From P.D. McCauley Interview with Simon Dawson on Love Spreads: “They did this in pre-production with John Leckie, and when it came to Rockfield it was completely different -- quite thin-sounding. '' *according to 'The Cherub Album' bootleg notes. Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa?
From February 1998 - Uncut magazine Ian Brown interview: By this time, John was writing heavily Led Zeppelin-influenced material, and yet both you and Mani were quoted recently as saying you “never liked Led Zeppelin”. How did they become the primary influence? “We’re in the studio, and for me those three [Squire, Mounfield and Wren] are the best players to come out of England. But they’re sat around watching Led Zeppelin videos and going, ‘Wow, look at that’. And I’m watching them watching Led Zeppelin and thinking ‘You’re all over these guys. They’ve not got that funk, they’ve not got what we’ve got. I thought, ‘Don’t they realise where we are in history, who loves us? We were better and bigger than Led Zeppelin. We weren’t trying to be them old blues guys.” Was it a case of loss of self-confidence, caused by being cocooned in the studio, each day getting further away from the Roses “phenomenon” and your adoring public? “Yeah. It’s simple for me. John Squire did not know who he was. He did not know who the Roses were. Looking back, he never realised the love people had for us.”
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
The Second Coming Demos (2004, Manufactured In The EEC. World Wide Music Network, WWMN/SR/2004/002) CD-R -Demonic Voices Talking Over Water (Take 1) / Demonic Voices Talking Over Water (Take 2) / Breaking Into Heaven / Driving South (Loose Version) / Good Times (Long Version w/ Different Lyrics) / Love Spreads / Love Spreads (Reprise) / Begging You / Reni & John Jam / Daybreak / Jam #1 / Tightrope / Jam #2 / Breaking Into Heaven / Love Spreads (without Ian) / Jam #3 / How Do You Sleep (Ian & John only) / The Worlds Longrst Drum Solo

February 1992 - The John Leckie Second Coming Sessions, The Rolling Stones' mobile studio, Old Brewery, Ewloe (near Buckley), North Wales
Breaking Into Heaven / Love Spreads / Driving South / Ten Storey Love Song (Attempt)
Notes: John Leckie checks in with the band during rehearsals for the second coming tracks. The mobile studio unit is hired for six weeks. Some progress has been made since the inital sessions for Geffen records, but not enough for a summer release as originally scheduled.
The Old Brewery Recording Studios includes a rehearsal studio with 12 bedrooms. Apparently Mani scratched an unprintable graffito concerning Bill Wyman on the unit.
Sessions tend to start at 16:00 or 17:00 and sometimes even later. The band apparently brought six songs to the sessions (including Driving South, Breaking Into Heaven, Tightrope, How Do You Sleep?, Love Spreads) but only three or four were tight enough to be recorded.
Ian keeps himself teetotal during the sessions and continues his keep fit life style, including boxing. John restricts himself to only a few glasses of wine too during the sessions.
From April 1995 - The Guitar Mag Feature: John Leckie said: "We'd had two sessions with the Stones' mobile and in the first four weeks we did three tracks and in the second six week session we did just one, Ten Storey Love Song. They just didn't have any life in them...
From 2001 I Am Without Shoes Exclusive Mani Interview: > IAWS: Did Ian have tunes written for Second Coming and did John request priority for his work, or was Squire simply the only writer producing new material at that time? > Mani: Well, John was being the prolific one, coming out with some great songs, so we let him get on with it. I think that is when it started coming unravelled though, Ian resented it when John cut him out of songwriting and worked on his own, and their relationship deteriorated from there. It’s sad in a way, but you move on, you have to, and everyone’s friends change over time. You just move on and better yourself again!
From mixonline.com, John Leckie said: Didn't you work with the Stone Roses again? We then spent maybe 10 weeks with the Rolling Stones Mobile Studio, which had the first Helios desk. I'd used this truck in France with BeBop Deluxe back in 1977...
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... Finally, in March, John Leckie found himself in close proximity to The Stone Roses and a recording desk. The group had wanted to step outside the usual studio circuit and in keeping with their wishes, he hired The Rolling Stones’ mobile studio (in which Mani quickly scratched an unprintable graffito concerning Bill Wyman) and moved it into the Old Brewery, a 12-bedroom house near Buckley, north Wales. Horseplay quickly entered the frame. “It was an egg frenzy,” smirks Mani. “We’d wait for John Leckie to lock the mobile studio up and walk across this courtyard, then we used to just egg him to fuck. I remember the ” food was shit, as well. Anything you didn’t eat the night before came back at you the next day with a layer of mash and melted cheese on it. We were fucking emaciated. Whose idea was it to go? Not mine. I fuckin’ hate Wales.”
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: When were you first introduced to Ten Storey Love Song? JL: John did a demo (which he sang) and brought it to the first session at Ewloe. All the lyrics and guitar parts were there.
IAWS: Were there any unreleased songs, alternate takes, studio demos that have yet to see the light of day? I find it very difficult to believe that each track was completed to your satisfaction first time. JL: There were no unreleased songs. There were a few unfinished alternate takes and breakdowns...... and also a few demos.

20 February 1992 - Ian Brown's 29th birthday

30 March 1992 - I Am The Resurrection U.K. Release Date
Both songs written by John Squire & Ian Brown.
Label: Silvertone
Artwork: Front cover 'Bye Bye Bye Badman' Detail, 1988 Oil on Canvas, 31x26.5inches by John Squire.
Produced by John Leckie for and on behalf of Dodgy Productions.
* Remix by Simon Harris for Music Of Life Production
** Remix by A Guy Called Gerald.
Published by Zomba Music Publishers Ltd. An original sound recording made by Silvertone Records Ltd. ℗ 1989 Silvertone Records Ltd. © 1992 Silvertone Records Ltd.
Format: 7inch Vinyl. Catalog Number: ORE 40
Format: Cassette. Catalog Number: ORE 40C
I Am The Resurrection (Pan and Scan Radio Version) *
I Am The Resurrection (Highly Resurrected Dub) *
Format: 12inch Vinyl. White label promo.
Format: 12inch Vinyl. Catalog Number: ORE T 40
Matrix A-Side: DAMONT. ORE T 40 A1
Matrix B-Side: DAMONT. ORE T 40 B1
I Am The Resurrection (Extended 16:9 Ratio Club Mix) *
I Am The Resurrection
Fools Gold (Bottom Won Mix!) (aka A Guy Called Gerald Remix)

Format: CD. ORECD40 ' 1:2 MASTERED BY NIMBUS IFPI 2308 (*IFPI number is so small it is barely visible, underneath the Mastered By Nimbus) Catalog Number: ORE CD 40. Barcode: 5013705903525. Manufactured In Europe (On disc and in sleeve)
I Am The Resurrection (Pan and Scan Radio Version) *
I Am The Resurrection (5:3 Stoned Out Club Mix) *
I Am The Resurrection
Fools Gold (Bottom Won Mix!) (aka A Guy Called Gerald Remix) **
Notes: I Am The Resurrection (Highly Resurrected Dub) & I Am The Resurrection (Extended 16:9 Ratio Club Mix) have never been released on CD format.
Apparently there was promo video produced using the Pan and Scan Radio Version and editing more previously used footage from the Lanzarote shoot (see the videos for Fools Gold and I Wanna Be Adored).
Simon Harris, who did the mixes, said: 04 February 2020 - Discogs, harrismix said: I didn't get paid much to do it but I just found the multitrack so I might have another go at it.
18 July 2020 - Discogs, harrismix said: referencing I Am The Resurrection (12", 33 ⅓ RPM, Single) ORE T 40 - Thanks for the nice comments, I still have the multitrack! perhaps I'll have another crack at it :) - Simon Harris
18 July 2020 - Discogs, harrismix also replied: Thanks, I knew I was out of my depth with a brilliant track so I decided just to bring the drums out a bit and make them a bit drier . . . . . I really didn't want to mess with it too much
From Promo Advert ''All Formats Released March 30th - Deleted April 13th. Featuring Brand New Remixes By Simon Harris. 12" & CD Contain Previously Unavailable Remix Of Fools Gold By A Guy Called Gerald. 12" Includes Free Full Colour Print. ''
Peaked At Number 33 In The U.K. Charts. I Am The Resurrection (Highly Resurrected Dub) is still unique to the Cassette & 7inch releases only.

April 1992 - The John Leckie Second Coming Sessions, The Rolling Stones' mobile studio, Old Brewery, Ewloe (near Buckley), North Wales
Ten Storey Love Song
Notes: The mobile studio unit is hired again for another month and parked outside Ian's property in the Welsh hills. Date was noted as September 1993 in April 1995 - The Guitar Mag Magazine.
The band have at least ten songs (including Driving South, Breaking Into Heaven, Tightrope, How Do You Sleep?, Love Spreads, Tears, Good Times and Daybreak) but only four or five were reay for recording. The band had only worked on Ten Storey Love Song since the last mobile unit session.
John Leckie tells the band to go and do some demos on their own, as studio fees are getting exorbitant. The band ignore his advice and make a booking at Square One Studios in Bury.
From April 1995 - The Guitar Mag Feature: John Leckie said: "We'd had two sessions with the Stones' mobile and in the first four weeks we did three tracks and in the second six week session we did just one, Ten Storey Love Song. They just didn't have any life in them. I told them there's no point in hiring an expensive studio and coming out with demos so I said "Go away, sort yourselves out and we'll try again." They were spending a grand a day and producing nothing! I was under contract to keep the album within budget although I was never told what that budget was. If it had gone over budget I was liable personally for the costs. In the end it just got too much. There comes a point where you have to devote some time to your own life, other albums and projects."
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: Ian Brown said: "In April '92 we spent a month with John Leckie producing and then we never returned again until July '93. We started again then and finished in September '94 and had a few months off in-between. We never even thought about doing the LP during 1990, 1991. Or 1992."
From February 1998 - Uncut magazine Ian Brown interview: Was John changing as a person? “Definitely. He became more insular. There was only me could get in his front door. Simple. Reni’s knocking on his door and John’s hiding behind a chair. Then once he’s cut me off – around 1992 – that’s it. We used to go off on writing trips to Scotland, but suddenly he’s going on his own. He cut himself off. I carried on writing my own things but he refused to work on anyone else’s stuff. I went along with it ‘cos I thought it was temporary.
From April 1995 - The Guitar Mag Feature: In September 1993, the Stone Roses completed four months of writing and demoing, recording tracks live to DAT. Enter John Leckie, the veteran producer who can count The Fall and XTC amongst his credits, and the man who gave the band's debut album a unique uniformity of sound. The Roses spent ten more weeks recording, this time using the Rolling Stones mobile, which they parked outside Ian Brown's place in the Welsh hills. The results of these sessions were early versions of Daybreak, Tightrope, Tears and Ten Storey Love Song. The Roses themselves, according to Ian Brown, were thrilled with the results. As their tenure at Rockfield commenced, they told Leckie that this was the kind of sound they were after for the rest of the album. "He didn't even comment," reflects Ian Brown in hindsight. "But when it came time for the proper recording Leckie said he didn't think we had the songs. We'd given him three of the best tracks on the album! I thought Daybreak was fantastic as it was."...
From Autumn 2001 Mojo Collections Number 04: The first stint at the Old Brewery lasted six weeks; on reflection, Leckie was happy with the progress they’d made. “And then,” he says, “the same thing would happen: lan would phone me up and say, ‘We’ve booked the studio for two weeks’, and then phone up on the Friday and say, ‘We can’t do it’. We eventually went back to the Old Brewery for a month, and not much happened. Everybody was having other attempts at things. It was a bit half-hearted at that stage. lan was getting fit, skipping non-stop. A lot of dope got smoked. “After those four weeks it was OK, but they knew they were beginning to drift, stagnate. I said, ‘Why don’t you do what most bands do and play a gig? Rehearse up a set and go and play a 30-minute show somewhere’. Mani was up for it, Reni was up for it, I think you could have talked John into it, but lan didn’t want to do it. They could easily have done it. Even if we’d done it in the studio and got some mates in, at least it would have been something to work towards.”

10 April 1992 - Reni's 28th birthday

May 1992 - Silvertone drop their appeal against The Stone Roses. Turns Into Stone is in the pipeline.
Notes: From NME Magazine 16 May 1992: ''THE STONE ROSES. currently working on tracks for their long awaited second LP. have won their two-year legal battle with Silvertone. The label has dropped its High Court appeal against last years ruling which freed the Roses from their ‘oppressive’ record contract, consequently allowing them to sign to Geffen for £4 million. John Kennedy who represented the band in court last year, told NME: ‘Were delighted that it's over at long last.‘ Silvertone. meanwhile, are set to release an album of B-sides and out-takes this summer after digging deep into the vaults for tracks record during their 1989 LP sessions...''

18 May 1992 - Fools Gold U.K. Re-Release Date
Label: Silvertone
Artwork: '' John Squire / CD2 'Unconfirmed' (Black Card Sleeve) Unknown.
Format: 7inch Vinyl. Catalog Number: ORE 13
Fools Gold 4.15
What the World Is Waiting For
Format: 12inch Vinyl. Catalog Number: ORE T 13
Format: Cassette. Catalog Number: ORE C 13
Format: CD1. Catalog Number: ORE CD 13
Fools Gold 9.53
What the World Is Waiting For
Fools Gold 4.15
Format: CD2. "Fools Gold (A Guy Called Gerald Remixes) " Catalog Number: ORE CD Z 13
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
Notes: Re-release charted at number 73. From Original Promo Advert ''Available Again May 18th MC - 12" - CD1 - CD2 Fools Gold - What The World Is Waiting For CD 2 contains previously unreleased mixes of Fools Gold in original packaging'', despite Fools Gold 'The Bottom Won Mix!' A Guy Called Gerald mix appearing on the 30 March 1991 I Am The Resurrection release.
All the sleeves had Fools Gold as the main title on the front cover.
Regarding The Top Won Mix! and The Bottom Won Mix!, a version found on a 12" bootleg (A Guy Called Gerald Remix can be found on the Stoned In Walsall CD) is different from either of the two mixes here and remains officially unreleased (allegedly neither Ian Brown nor John Squire liked this mix to be released). Gerald undertook a number of different remixes of 'Fools Gold' (about 6), from which The Stone Roses then (allegedly) chose the ones they liked. However, whether they liked either of these two mixes remains a mystery, as this release was a low-key affair and the Roses had, long since, left Silvertone, so they would not have had any input into the release.
In 2000, the release of 'The Remixes' album finally saw the reissue of the 'The Top Won Mix!' in edited form.

1992 - Labatt's 500 - The Taste Of The Nation is Released In The U.K.
Label: PolyGram
Catalog Number: PolyGram Special Projects ‎– PSPCD 232
Fools Gold (Version)
Notes: This includes a unique mix of Fools Gold. It sounds like an early monitor mix. This has less overdubs, no drum click intro and is missing a verse too. The CD credits the song as normal 'Fools Gold (12" Version) 1989 Silvertone Records Ltd. (Squire/Brown) Zomba Music Publishers Ltd. Producer and Mixed By – John Leckie'. ''Labatt's, Canada's favourite lager is in a unique position to be able to bring you this superb Cd featuring great tracks from the last three decades.''

21 May 1992 - Singles Collection Japanese Release Date
Label: Silvertone
Artwork: '' John Squire
Limited Edition 7 CD Boxset (Limited to 8000)
So Young
Elephant Stone
Made Of Stone
She Bangs The Drums
Fools Gold
Waterfall
I Am The Resurrection
Notes: 7 CD set. ALCB-539-545, Y7,800 Yen. Packaged in irregular jewel cases with just the front sleeve for each single.

June 1992 - Singles Collection
Label: Silvertone
Artwork: '' ? John Squire
Limited Edition Vinyl Boxset (Limited to 5000, 8 x 12inch Singles with 2 x LP Gatefold LP. SRBX2)
Elephant Stone
Made Of Stone
She Bangs The Drums
Fools Gold
One Love
I Wanna Be Adored
Waterfall
I Am The Resurrection
The Stone Roses - Gatefold Double LP
Notes: The vinyl boxset includes I Am The Resurrection as ORE T 40 with a colour print.

June 1992 - Compact Disc Singles Collection
Label: Silvertone
Artwork: '' ? John Squire.
CD Boxset, SRBX1 Maunfactured In Europe, Barcode: 5013705903427.
So Young - Format: CD. ORE CD 37 1:1 Mastered By Nimbus. Catalog Number: ORE CD 37 Barcode: 5013705903427
So Young
Tell Me

Elephant Stone - see 19 February 1990 (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))

Made Of Stone - see 05 March 1990 (CD. ORECD-2 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 2. Barcode: 5013705900228. Maunfactured In Austria (On disc face))

She Bangs The Drums - see 17 July 1989 (CD. ORECD-6 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 6. Barcode: 5013705116025. Maunfactured In Europe (On disc face))

Fools Gold - see 13 November 1989 (CD. ORECD-13 23 A2 DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face))

One Love - see 02 July 1990 (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).)

I Wanna Be Adored - see 02 September 1991 (CD. ORECD 31 ' 1:3 MASTERED BY NIMBUS Catalog Number: ORE CD 31. Barcode: 5013705902826. Maunfactured In EEC (On disc face and in sleeve))

Waterfall - see 1992 (CD. ORECD 34 ' 2:1 MASTERED BY NIMBUS Catalog Number: ORE CD 35. Barcode: 5013705903328. Maunfactured In Europe (In sleeve))

Notes: 8 CD Boxset. So Young was only available with the exclusive Compact Disc Singles Collection, with a new, uncredited, sleeve design.

The Stone Roses - June 1992 - Turns Into Stone U.K. Release Date
All songs written by John Squire & Ian Brown.
Label: Silvertone
Artwork: Photography by Ian T. Tilton, F. Lewis & J. Pender.
Format: Vinyl. Catalog Number:
Matrix A-Side: DFI 926 ORE LP 521 A1 ORE LP 521 A1
Matrix B-Side: DFI 926 ORE LP 521 B1 ORE LP 521 B1
Format: Cassette. Catalog Number: ORE
Format: CD. Catalog Number: ORE
Formay: CD. 1992 - BVCQ-104 Made In Japan. The Japanese lyric booklet indicates Something's Burning as an 'Instrumental'.

Elephant Stone (12inch Version)
The Hardest Thing In The World
Going Down
Mersey Paradise
Standing Here
Where Angels Play
Simone
Fool's Gold 9:53
What The World Is Waiting For
One Love (12inch Version)
Something's Burning (12inch Version)
Notes: 11 track Silvertone compilation of B-Sides & Non LP Singles. The original vinyl pressings play up until the 'run off groove'. Both Simone & Something's Burning end abruptly due to the pressing's run out groove.
From 02 July 2007 Monday - The Guardian article, John Squire said: We didn't want to be defined by the Manchester music scene of the time as just another indie band, and I saw the energy within abstract expressionism reflected in the music, and vice-versa. It was a form of synaesthesia, of converging senses and creative languages. What I didn't expect at the time was just how important the artwork would become to the band and those who followed the music. But throughout the Stone Roses era and the years that followed, my art was forced to take a back seat.

The Stone Roses - June 1992 - Standing Here U.S.A. Promo
Label: Silvertone /
Artwork: '' John Squire
Format: CD. Catalog Number: JDJ-42101-2
Standing Here
Elephant Stone (12inch Version)
Notes: Promo CD released to promote Turns Into Stone in America. Includes unique custom artwork too.

13 June 1992 - Gareth Evans starts court proceedings for compensation for his dismissal earlier this year.
Gareth Evans started 'Breach of management contract' proceedings with lawyer Geoff Howard in May 1992.
The Silvertone case had changed their relationship with management. The Stone Roses legal team (John Kennedy) backed down, Gareth had substantial evidence including the 1986 agreement and the thank you letters from Geffen. The band lost the case in court. Gareth was offered an out of court settlement and a week later he was sent a letter from the band confirming officially he was no longer the bands manager. Gareth bought a 27 hole golf course.
From Blood On The Turntable BBC TV Documentary, Gareth Evans said: In retrospect I should have been more open with the band on the legal side.
From Blood On The Turntable BBC TV Documentary, Andy Couzens said: The Stone Roses would have happened without Gareth, they happened despite Gareth, they would probably still be together in one form or another and been a lot more successful...if Gareth hadn't got involved. He was chaos.
Notes: NME Magazine, 13 June 1992: War of the Roses Part 792 THE STONE ROSES’ former manager, Gareth Evans, is sueing the band for over a million pounds in compensation for his dismissal earlier this year. Cheshire-based Evans, who with partner Matthew Cummins launched the Roses from Manchester's two International clubs they owned in the late '80s, started proceedings a against his former charges in the High Court in London last month. “I am seeking at least a million pounds." says Evans, who negotiated the band their multi-million deal with US major Geffen Records. "The Stone Roses have a five album deal with Geffen and if they are successful it could net them anything up to £50 million. I simply want monies which are owed for the part I played in thrashing out the deal. Right from the start i was hustling and bustling ever day for them. All the record companies turned them down until i got hold of them." John Kennedy, legal representative for the Roses. told NME: “Yes. Gareth Evans is suing the band, but as for the figure of £1 million, make of it what you will."
From 20 February 1993 - NME Magazine: '...the band, who sacked Gareth Evans at the end of 1990. Evans is sueing his former clients and expects his case to go to the high court in the next month.'
From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then, after Geffen signed, I had a call from Gareth at one point saying, I know there’s a lot of water under the bridge, but would you testify in court... it was something to do with the band breaking contracts and would I say they’d broken our original contract and they had this history of breaking contracts. It was when they dumped Gareth and he was trying to then say this band serially break contracts. They did it with FM Revolver, with Silvertone, with me… I said I’m not sure how much of a leg we had to stand on with that original contract and I just don’t want to get involved. I think I’d managed through the whole process to not be painted as one of the bad guys and I didn’t want to be involved in a situation where I had to take sides and I didn’t think Gareth was the best bedfellow.
From Blood On The Turntable BBC TV Documentary, Shaun Ryder said: What they had at the time, fucking hell my left leg could have fucking managed them and made them big.

1992 - Sally Cinnamon U.K. Re-Release U.K. Date
Format: 12inch Vinyl
Catalog Number: 12 REV36 (No barcode)
Label: Black/FM Revolver
Artwork: Photogrpahed by Matt Squire
1992 - Format: 7inch Vinyl. Catalog Number: REV36
1992 - Format: 12inch Vinyl. Catalog Number: 12 REV36 (Barcode)
1992 - Format: Cassette. Catalog Number: REV MC 36
1992 - Format: CD. Catalog Number: REV XD 36 (Barcode: 5016681003600) (Slimline Case) Distributed by Sony Music Operations. Cover re-designed by Design Definition.
Notes: The third re-release. Featured the same versions as the 1989 re-release.

November 1992 - Turns Into Stone Japanese Release Date
Notes: CD BVCQ-104 , Y2,500 Yen.

16 November 1992 - Mani's 30th birthday
24 November 1992 - John Squire's 30th birthday

December 1992 - Ian Brown and the band are spotted on several occasions in Chorlton.
Notes: Ian is spotted in his BMW parking outside a chip shop on Beech Road, Chorlton. The band are spotted drinking in The Beech and The Horse & Jockey pubs in Chorlton. Mani continues with his season ticket for Manchester United at Old Trafford, he also flies to away games. John, Ian and Mani celebrate the United's victory against City at Manto's, a bar on Whitworth Street in Manchester. Reni is a Manchester City supporter, he did not celebrate.

1993

1993 - John Squire continues creating art:
1993 - 'David and his 34 slightly misshapen brothers', images were used for the 1995 Ten Storey Love Song release.
December 1993 - ‘Second Coming‘ (mixed media, collage over a painted pasted cloth, 30“ x 40"). John Squire called it "A nightmare", he completes the piece before the LP is even finished.

1993 - Strawberry Studios, Stockport closes down.
Notes: The studio where the band recorded The Garage Flower sessions shuts.

1993 - Helen Plaumer sets up her own clothing business.
Notes: With the help of John's Geffen advance, Helen sets up a children's clothing business. Their daughter appears on the front of her first catalogue.

20 February 1993 - Ian Brown's 30th birthday

1993 - John Squire 8/16 track Home Recording, Loco Studios, Manchester
Ten Storey Love Song
Notes: From P.D. McCauley Interview with Simon Dawson/May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: "We created the intro and the outro to this around what John Leckie had already recorded, partly at Loco Studios, where we went for a couple of weeks, and partly at Rockfield. There's an old Moog analogue synth on it, actually. There's a particular kind of synthy noise at the beginning and the end of that track, although you hear it more at the end now, I think. I didn't play that, though! That was from a late night session with Reni and Paul Schroeder, before he left. The Studio Manager at Loco had this Moog at home, and he bought it in for us to play around with." John Leckie apparently heard John's demo recording and encouraged John to re-create it in the Rockfield Studios. Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa? *Circa 1993 according to 'The Cherub Album' bootleg notes.
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -

1993 - Studio, Unconfirmed Location
Good Times (First Coming) / 'Tribal Jam'
Notes: One six week, $60 thousand dollar session produced a single three minute effort.
From P.D. McCauley Interview with Simon Dawson “Even before he (Paul Schroeder) had taken over as producer, the plan had been to construct the LP from jamming and live playing as a group''
The title Tribal Jam was taken from the bootleg sleeve, it has elements from Love Spreads & the bridge from Breaking Into Heaven. Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa? *Circa 1993 according to 'The Cherub Album' bootleg notes.
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Mani: Just to be playing with those guys, that was enough for me. Who wants a fucking job? I'd rather be with Ian, John and Reni playing in a room and living on a fucking bag of peanuts. Just for the joy of what we could create.
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R

March 1992 - The John Leckie Second Coming Sessions, Unconfirmed
Reni Drum Solos
Notes: From 06 March 2009 - Uncut Magazine Interview with Ian Brown: A lost ‘Fool’s Gold’ album would make lots of people very happy eh? Do you kind of wish that you’d have been a bit more active with your time off? Or was it a pretty natural how it all turned out? Yeah I do now, I feel like we wasted the three years definitely, yeah. At the time I didn’t think it mattered, but I think my response to that is why I’ve done six solo albums. You know, I’ve just got a work ethic now I think because of that. I haven’t had a year off since I went solo and I think it’s because of that. Yeah, we wasted three years probably. We didn’t have manager; we had no one to get us in line. It was just four chiefs and no indians. And because we were recording we just got away with away with it. I mean, the first two weeks we booked the studio it was just like an expensive record player. We just sat smoking weed and listening to tunes at a grand a day, then we went sledging on antique silver trays for the week. Did a bit of mountain biking. Suddenly we’ve done five weeks in the studio...At that point were you feeling, when you come through in the album, and you had a big squad of people around you……We didn’t actually. We didn’t have a big squad actually. We just had Steve our tour manager. And every now and then we’d see the A&R guy from Geffen. Once a month. But they didn’t hear any music until ‘94.''
From Blood On The Turntable BBC TV Documentary, Mani said: We approached it in a different way. We didn't have the songs before we went in. We thought 'right the most stupid and expensive way to do it is to move into the studio and try and write as you go' and it just went tits up. It was just like throwing money into a bottomless pit.

1993 - Studio, Unconfirmed Location, could be Square One Studios
Good Times / Jam / Ride On
Notes: During the rehearsal tape you can hear the band chatting too. From P.D. McCauley Interview with Simon Dawson "'Good Times' is very live. As I've said, the band don't usually play to clicks or anything, and 'Good Times' is a classic example of a song which speeds up all the way through, without it jarring on you. You never think "Oh, they're speeding up" -- the track just seems to grow naturally into that great guitar solo at the end".”
Jam *Circa 1993 according to 'The Cherub Album' bootleg notes. Leaked Mid 1999 From A Tape Given To A Fan from Mani, during a DJ set.
From April 1995 - The Guitar Mag Feature: As with the track Ride On (the b-side of Begging You) the band can occasionally get things done incredibly fast. According to Mani, "we're the best band in the world for intros, endings and b-sides!" In this case, the whole thing was recorded and mixed inside four days, sonic clarity sacrificed in favour of that elusive vibe. Reni: "Technically that song was so-so but spiritually it was spot on and that was what we aimed for throughout the album. That's why Tightrope's on there the way it is."
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: Mani said: ''...We spent the last six months before the LP came out working day and night. I’ve got tapes of us playing through the night, blues gear and that, that no other band could touch.
Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*IAWS discovery - recorded from master - guaranteed lowest generation you'll find...Taken directly from Ian Brown's personal DAT tapes.*" CD Originally Priced: £11.00, Running Time (Approx): 70mins) CD-R - Bootleg: Second Coming Demos Part1 (IAWS) - 1994 - Unconfirmed Location, Studios, Ian Brown & John Squire Session - Your Star Will Shine (setting up) / (take it away john) / (1st run through, Run through with Ian mis-timing) / (take your coat off, it's clicking) / (nah nah) / (losing the melody) / (going backwards) / (from the second verse - lead vocals from John on last few lines.) / (excuses excuses - Ian just can't remember that melody...) / (this is hard work - John begins to get annoyed...) / (yeah! last run through proves successful, nice singing with both of them at the end.) - Good Times (Setting up, then Ian, Mani and Reni start to play. Some great hi-hat work from Reni.) - (Mani and Reni discuss the song.) / (Ian, Mani and Reni go through it again.) / (John joins in…) / (John, Ian and Reni from the chorus, then Mani joins in.) / ("Anyone got any smash?" - Ian and John, then Reni joins, then Mani.) / Funky jam / ("She's My Heroin") / (Pulling it together…) / (Sounding Great) - Redemption Song - cover of Bob Marley (Vocals, Guitar: Ian Brown, Bass: Simon Dawson) (first run through) / (Ian's learning) / (all the way through) / (guitar goes wrong) / (all the way through again) / (bass joins in) / (final redemption)
Bootleg: Second Coming Rehearsal Sessions 93-94 (2000 - Wild Museum. WIN002. Disc Matrix: WIM-002. IFPI L491) CD (Copy of the above)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R

1993 - Rehearsal Studio, Unconfirmed Location, could be Rose Garden, Square One Studios, Bury
Notes: NME run a story where to try to track down The Stone Roses.
From 20 February 1993 - NME Magazine - Article by Iestyn George, Martin Talbot with additional context by John Harris and Fred Dellar: Pete Smith (not his real name) was – at one time - a personal crew member and close friend of The Stone Roses. Pete Smith hasn’t seen his business comrades for a while now and, aside from the rumours, he’s not sure where they are, or what they’re doing. He says it has been too long, and that even the Roses’ tight-knit crew have lost faith in ever working for them again....Pete has known Mani the longest, since 1976. He met him on Market Street outside an alternative record shop run by a bloke who loved obscure vinyl. They were both punks. Shortly after, he met Ian and struck up a friendship. “We used to sign on at the same dole office in Didsbury. We used to go to the pictures or sit around smoking draw all day. His girlfriend was out working so if the band weren’t rehearsing there wasn’t much else to do.”...
The studio is an inconspicuous stippled grey building that looks like a family bungalow, situated at the end of a row of terraced houses. The narrow road is lined with cars, though there’s no black BMW among them. The front door of the studio is wide open, just above it hangs a sign which reads ‘NO ENTRY WITHOUT STRICT AUTHORISATION’.
We go in. “Can I help you?” asks a stern looking man. Erm… yeah. We’ve just come to see the Roses, are they here? He eyes us suspiciously. “Who are you?” Friends, we’ve come to say hello. “Mmm, well I think they’ve all left for the afternoon, they might be back later.” “Who are you looking for?” asks a passing bloke struggling with a large amplifier. “The Roses? Well I think one of them’s still here, upstairs. Down that passage there’s a door, just knock on it.” So we’re standing in front of a wooden door, sick with apprehension. Adjacent to the door is a large room, full of equipment – The Stone Roses’ equipment. There’s Reni’s paint-splattered drums, the bongos and Ian’s tambourine. They’re here. In the middle of the room there’s a tape recorder – with a tape in it. As fans we’re desperate to steal it, but the first outsiders to listen to the new songs, hear what they sound like now, find out if they really have gone Led Zep. But we don’t – decency prevails – we might just possibly live to regret it...
It’s John Squire. Initially he appears bemused – not surprisingly – but then his expression relaxes into one of cool indifference. He opens the door further and stands in full view. He looks incredibly healthy, his hair is still as unkempt as ever, but longer and darker, his unshaven appearance befits the guise of the artist at work, and it suits him. He seems preoccupied, shy perhaps, but nonetheless laid-back. He’s wearing a loose-fitting maroon shirt and jeans – straight jeans....It’s because… well, we’re doing a story on where the hell you’ve been. Thankfully, he smiles. “Right?” It’s just that there are so many rumours going around, so many questions we want to ask, we just want to know what’s really going on. He frowns. Are you angry that we’ve found you? He shakes his head casually as gently shrugs, “No.” So will you talk to us? “I can’t right now, I’m putting something down.” For a new song? We inquire. John looks at his boots before giving us a non-committal glance. “Why don’t you come back later, what time is it now, four? Come back about eight, that’s when the others are turning up.” We try to suppress our excitement at the possibility of talking to them all. Do you mind if we take a picture of you before we go? “Yes.” Why? “Well it’s just…” You haven’t brushed your hair? He laughs. “Yeah.” With an affable smile he sinks back into the gloom....At seven-thirty we’re back. We’re early because we can’t help being suspicious. John has practically agreed to an exclusive interview after having refused to speak to absolutely everyone for such a long time. We’re convinced it can’t be this easy. But his red car is still in the drive. And here comes Mani walking down the road clutching a packet of fags. His head is shaved and he’s wearing a long white T-shirt and jeans. Despite looking cheerful and oddly care-free, he strides determinedly towards the studio like he’s on a mission. He goes inside. Next to arrive is their ‘manager’ Steve Hadge, looking equally as intent and just as happy, he also goes inside. No sign of Ian yet.
At eight on the dot we ring the bell and an unidentified voice comes on the intercom: “Yes?”. We’re here to see the Roses, they know we’re coming, can you let us in? “Erm, they’re in a meeting,” we’re hastily informed. “We can’t disturb them, try later.” Oh good. We sit outside for almost an hour. Nothing happens. Then Hadge comes out, smiling. “Hi, how’s it going?” he asks congenially, casually strolling towards our car. “You alright?”
Well, we’re not, but we tell him, yes, we’re fine. So what’s happening Adge? Are they going to speak to us? “I dunno,” he replies, “I doubt it, not while they’re grafting.” That’s odd, we wouldn’t have come back but John told us to. He looks around him, perturbed, something is bothering him. “Erm, yeah, I know he did… but Ian’s not here yet, and you know what he’s like, he’ll probably talk to you. Anyway I’m off to get some milk. See ya.”
He drives off in his car – the shop is a one-minute walk away – and after 15 minutes waiting for his return, we being to understand what’s happening. We figure Hadge, amiable as he appears, has told the band that under no circumstances are they to speak to us, and instead of being rude, he’s telling us to piss off in the nicest possible way. We’re further convinced when his car arrives in front of a black BMW, the car we’ve been waiting for.
Ian Brown gets out of his car, grinning, and strides towards us. He actually looks better than he ever did. No bags under his eyes, no worry lines, his hair is back to how it was circa Spike Island but clean and brushed. He looks as stylish and handsome as ever in his jeans, T-shirt and leather jacket. We explain why we’re here. His listens, nods and looks none too surprised.
“It’s too soon though, innit?” he says, almost rhetorically.
Not really, we only want to know what’s going on.
“Yeah, but it’s just too soon,” he insists. “We’re not ready. Don’t take my picture.”
He starts to walk off towards the door of the studio, slightly uncomfortable at the sight of a camera. It’s only fun, we’re not the tabloid press, and you know us, don’t you trust us? “I do trust you,” he says, turning briefly to smile at us. “Come back in a few months and we’ll do a proper interview, it’s too soon now. Sorry, but I really gotta go now.” He heads towards the patio doors, shouting out as he disappears behinds the curtains, “Come back in two months.”
Through the gap in the curtains, we can see them playing pool. They may be in the studio again but they don’t look much like they’re recording.

N - 20 February 1993 - NME Magazine states 'The Stone Roses are set to release their first single for three years this summer'
Notes: Geffen's Gary Walsh expressed his worries about the band and the lack of communication between them and the label. Gary seeks the band new management and the band give Geffen false hope with the news of a single will be ready. NME print the newly sourced incorrect information, from this article it would be at least another 18 months until the band release Love Spreads.
See Media for the article, 20 February 1993 - NME Magazine.

March 1993 - Rose Garden Sessions, Square One Studios, Bury
Daybreak / Tightrope / Love Spreads / Good Times / Breaking Into Heaven / How Do You Sleep? / Begging You / Ten Storey Love Song
Love Song
Notes: Trevor Taylor run Square One Studios in the late 1980s and early 90s. Trevor was struggling to keep up with the bills. Apparently The Stone Roses bought the studios from Trevor but other accounts say they hired the space for a year at a cheap rate. It re-opened as The Rose Garden studios, although it is unconfirmed who were the owners of the building.
While the band were rehearsing they ordered pizza, one day it was Elbow's guitarist Mark Potter who delivered.
From April 1995 - The Guitar Mag Feature: John Squire: "Daybreak just happened, perfect from the beginning. We recorded it on a 16-track, Ian sang over it and it was pure, man. Ten minutes flat it was done."

1993 - John breaks up with girlfriend Helen Plaumer
Notes: He and Helen had a daughter (1992) and John moved away to the Lake District.
Notes: From 01 March 1995 -'The Face Magazine' Issue 78, March 95: Are you happy right now? “Well, I’m glad we came to America. I like to get away and travel, you know. I’ve got a little girl, she’s three now. That’s had an immeasurable impact on me. I notice being far away from her. “I’ve been spending most of my time recently, though, in a rented cottage near Lancaster on my own. It’s in the middle of nowhere. I feel more comfortable in an out-of-town environment – I’ve still got strong ties with Manchester, but I grew up in a suburb and I was never some terrorist from a tower block. This cottage in Lancaster is just a one-bedroom place with mountains of guitars and amps in the kitchen and everything, it’s lust set up for me to do one thing, really. I intend to move when I get back. Get somewhere bigger, get things sorted out.”

N - 1993 - Frankie Brown is born.
Notes: Ian's son is born.

April 1993 - Geffen A&R chief Gary Gersh leaves Geffen
Notes: Gary is appointed President of Capitol records in America. Tom Zutaut takes responsibility for The Stone Roses, he currently manages Gun N' Roses too.

10 April 1993 - Reni's 29th birthday

April 1993 - The Rose Garden aka Square One Studios, Bury
Notes: A photo of Ian putting his hand to camera was featured on the cover of the NME Magazine.

May 1993 - Mani celebrates Manchester United's first League Championship victory in 26 years.
Notes: Drinking with friends at Legetts Wine Bar in Failsworth, north Manchester, the party is eventually broken up by Police.

1993 - Mani and his partner rent a flat in Monmouth, South Wales during the initial recording sessions.
Notes: Mani also played football for the B-team for Monmouth town.
Pretty sure Mani bought this flat, rather than renting?
Mani would later buy a house, formerly owned by a playwright, in 1995 with the Second Coming pay check.
His girlfriend's mum ran a burger bar in Monmouth. Mani often visited.
From May 1995 - The Spin magazine: Fourteen people he knew had died from heroin in one year: "Kids I'd known since I was seven. I've seen people I've never ever thought would take the drug, fucked. Me, I'll turn my back on them people, however much it hurts me. That's why I moved out of Manchester, I don't wanna be near it."

July 1993 - John Leckie Sessions, Square One Studios, Bury
Ten Storey Love Song
Notes: John Leckie joins the band for the sessions with hired equipment from Hilton Sound, South London. Apparently an unplugged version was recorded during the sessions. The acoustic sessions also led to Tightrope becoming unplugged and led to the writing of Your Star Will Shine too.
From Autumn 2001 Mojo Collections Number 04: The group rehearsed at Square One, on and off, for six months, and John Leckie joined them in July. “That period was a disaster,” he says. “Apart from the lack of air conditioning, by the time we got to the studio, it would be 10 or 11 o’clock at night. They were recording as a band by now, but it didn’t come to anything. There were always problems: power cuts, electrical things, people disappearing.
“Eventually I said, ‘For fuck’s sake, let’s get up at 11 o’clock in the morning, or lunchtime. Let’s try and get here by four’. They’d say, ‘Oh yeah, we’ll do that tomorrow, definitely—we’ll have an early night, get up at 12, have a good lunch.’ They had a chef at the house in Marple. And then it’d be three, four, five o’clock, and lan would come and say [blearily], ‘What’s happening?’ You can’t change people. That’s what Reni always used to say: ‘You’re never going to change us, no matter what you do.’
“So I said, ‘Fuck this, we’ll move everything to the house’. And still nothing really happened. There was six weeks of that. “I kept saying, ‘Something’s got to change’. John was going to write some songs and do a demo, and then send it to me.

1993 - John Leckie Sessions, Unknown Location
Ten Storey Love Song / How Do You Sleep?
Notes: From P.D. McCauley Interview ''Although the band had been working with John Leckie in different studios, only a few parts of what he had recorded were kept the preliminary drum tracks to 'Ten Storey Love Song' and 'How Do You Sleep'.'
From February 1998 - Uncut magazine Ian Brown interview: Mani? John wrote all his basslines. Mani was happy – at this time – to do what he was told. Mani’s going into the studio and putting down some unbelievable things down and Squire’s going “No. You’re doing this here.”
2000 - Manchester Uni Paper, Ian Brown Interview: "The Roses spent four years rehearsing before we put an LP out. That's why our LP sounded any good anyway, because we spent all that time rehearsing. We were tied up in 91-92 with court cases, and then we went into the studio in June 93. They say it was five years. But we only spent 15 months on it. I do sometimes look back and think 93 / 94 was a waste of my life, because I was giving my life to fucking motherfuckers who didn't give me theirs back. It's like, The Sex Pistols started punk but the Boomtown Rats made all the money."

1993 - The band move into 'Derek Bull's' large house in Marple (near Stockport), Cheshire
Notes: The band borrowed the house from a friend. They rented a van to move the gear and, some members, eventually moved in and shared the house together.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “He was called Derek Bull,” says Mani. “It had electronic gates, a snooker room, indoor pool, a sauna and Jacuzzi. It was a loafer’s paradise. But yet again, he was another fuckin’ royalist twat. He had a big library of books like Blenheim Palace and Diana: Her Dresses. We used to spit in every fuckin’ page. We proceeded to come on like the Banana Splits again: all in the pool, causing mayhem, breaking stuff. Basically doing nothing.”

July 1993 - John Leckie recording session, 'Derek Bull's' large house, Marple (near Stockport), Cheshire
Notes: In an attempt to record the band earlier in the day and focus on the new songs, John Leckie moves into the bands shared accomadation. Sadly the move did not work out and little progress was made.
From mixonline.com, John Leckie said: We recorded in a house near Manchester and recorded just three songs in that time.

1993 - The Rose Garden aka Square One Studios, Bury
July 1993 - John Leckie recording session, 'Derek Bull's' large house, Marple (near Stockport), Cheshire
The Foz
Notes: The Fozz is a hidden track on the Second Coming. Found between track 12 and 90 there is 78 silent tracks. The Fozz was apparently a play on the words Folk and Jazz, it was used as the outro tape for several of the Second Coming shows. Reni played piano on The Foz.
From May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: THE HIDDEN TRACK "This was nothing to do with me at all — it was something they did before they came to Rockfield. I know I'm credited with the keyboards, but I didn't play them on that! I think Reni played the piano, Ian played the violin, and John was playing the mandolin. It was something they did late one night when they were with John Leckie and he'd wandered in with his DAT player — it was just a bit of a joke, I think. "I don't think it was supposed to be found that easily — it was supposed to shock people who'd left their CD playing while they were studying or whatever. The working title was 'The Foz' — well, I say working title... that was what was written on the box, anyway..."

John Leckie Sessions, Unknown Location
Ian & Reni Recording water for Breaking Into Heaven 'Eden' intro.
Notes: The intro to the album version is often to referred to as 'Eden'. From P.D. McCauley Interview ''‘BREAKING INTO HEAVEN’ 11:08 Although the band had been working with John Leckie in different studios, only a few parts of what he had recorded were kept -- notably the long intro to the first track, 'Breaking Into Heaven'' From P.D. McCauley Interview with Simon Dawson 'I first asked Simon if he had encountered any problems blending the feel of this older material with the tracks he was laying down: "No, that wasn't a problem at all. In terms of feel, the way the guys had been recording was very live, and that's where I was coming from, so that wasn't difficult. Technically, yeah, it was a bit of a feat getting the crossover at the mixing stage between the intro of 'Breaking Into Heaven' and the actual song -- just getting it to sit." Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa?
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
From February 1998 - Uncut magazine Ian Brown interview: In 1993, John Leckie said that you “spent two years looking for a new sound and came back to where you started”. A typical day’s “recording” would consist of the engineer setting up a drum loop and then nothing would happen. True? “Yeah. We weren’t a band. It was the John Squire Experience. I let it happen because I thought we had three or four LPs to follow. But there were ego problems. I knew it got his goat when the press said ‘Ian Brown’s boys’ – and you’d go to the shows and everybody’s got Reni hats on. Y’ know, a girl’d send me a Jackson Pollock book and he’d go ‘That should be for me’. I thought, ‘Ok. He needs attention, I’ll let him get it out of his system’. We’ve got plenty of time ahead of us.”

1993 - The band's crew move on
Notes: The band's roadies and crew move on to other ventures as they see no hope of working for the band anytime soon. Steve Atherton is kept on the payroll as well as a few other close associates. Most of the band's road crew went on to work for Oasis.

Second Coming Recording Gear List (From April 1995 - The Guitar Mag Feature & May 1995 - SOS Sound On Sound website, Article By Matt Bell)
John
Gibson Les Paul 1959 Honeyburst Standard Guitar
Gibson Les Paul blood red sunburst Guitar (set up for Love Spreads slide (high strings and tension))
Pink Fender Stratocaster (same as 1989 tour guitar)
Pedals and effects - Fuzz Face, original Tube Screamer, Cry Baby wah, Echoplex delay, Electric Mistress, Akai S1000 (Sampler/Distortation) and a Zoom distortion.
Amps - Mesa/Boogies, (The Boogies were used for much of the first sessions with John Leckie), Fender Twin Amp (Hotwired Custom) (the Hotwired Twins were more favoured when work commenced with Simon Dawson), Fender Twin (Previously used circa 1989/1990) & a 1960s Orange Amp and Cab stack.
Recorded through Shure SM57 and Sennheiser 421 Microphones (one for each speaker), then into dbx160 compressor and finally into the desk (Neve etc.).
Akai S1000 (Sampler)

Mani
Rickenbacker El Dorado Bass (Modified/Custom) (Used for nearly all the Simon Dawson recordings)
Acoustic Bass (used on Tightrope)
Electric Gibson Bass guitar EB3 (Serial No: 950258)
Notes: From rareandsigned.com: Price: £8,500.00...Here is Mani's own, original Electric Gibson Bass guitar owned and used by Mani. The Stone Roses. It is a rare vintage GIBSON guitar EB3 ( serial No 950258) 4 String Bass. It was used by Mani on The Second Coming album. It is signed by Mani (Gary Mounfield). He has written on the rear of the guitar "as used on the second coming daybreak & tears enjoy and use it wisely love and respect the legendary stone roses bass master Mani ". Mani used this rare Gibson bass on tour and in the studio. He also recorded his bass sections on The Stone Roses, THE SECOND COMING album in 1994. This guitar is accompanied by A 6x4 full colour photograph of MANI holding the guitar...
Amps - Mesa/Boogie Amp and Cab Rig (used for nearly all Simon Dawson recordings)
Recorded through AKG D112 and KM84 Microphones, sometimes DI'ed or sent through Mani's SansAmp tube combo simulator and then finally into the desk (Neve etc.).

Reni
Gretsch Drum kit.
Recorded through a AKG D112 and a Neumann U47 FET on the bass drum, an SM57 for the snare, and an AKG 452 for the hi‑hat. The toms were all miked with Sennheiser 421s. A pair of Neumann U87s and a pair Neumann 56 valve mics were used for overheads. A Telefunken SM2 valve mic was used outside the studio too for added ambience.

Ian
Groove Tubes valve microphone.

Simon Dawson - Keyboards
Yamaha Acoustic Piano (Love Spreads / How Do You Sleep)
Wurlitzer Electric Piano (Straight To The Man / Tears)
Hammond Organ (Daybreak)
Jewish Harp (Straight To The Man)

July 1993 Wednesday - John Leckie Sessions, Coach House Studio, Rockfield Studios, Rockfield, Monmouthshire, Wales, NP25
Breaking Into Heaven / Daybreak / How Do You Sleep? / Good Times (First Coming)
Notes: The band begin their time at Rockfield Studios.
Simon Dawson, The Project Engineer (eventually Second Coming producer), was not involved with any of the initial pre-production work on the Stone Roses' second album, which began with John Leckie carrying out pre-production in various studios in and around Manchester. The bulk of the tracks were committed to tape at the Coach House Studio at Rockfield, famed for its 26x24' live area and custom Neve, 60-channel, flying-fader desk.
Simon Dawson is the son of the Rockfield Studio Owners. From May 1995 - SOS Sound On Sound website, Article By Matt Bell: "I first walked in when I was about 12 — my dad took me. There was a guy in there doing a DJ promo. They had all this valve gear in there, and they cranked it right up. It was the first time I felt my ribs shaking, and I just knew it was where I wanted to be!".
Seeking experience, Simon got a job with a local PA company when he left school, and, through this position, progressed to handling live PA sound for Birmingham‑based reggae bands on European tours. Outgrowing the local firm, he started work with a London‑based PA company in the early '80s. "I toured around Europe, America, Africa and Japan with that company, first doing festivals, and then some of their larger people — Ozzy Ozbourne and The Stranglers. I finished in '87 — the last band I did were T'Pau, in America." 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....
Al Shaw was involved in some of the sessions too.
At the first Second Coming session in March 1992 Reni apparently played the drums for 40 minutes. Paul Schroeder, said: “Reni loved it. It meant he could dance around it with his kit.“
From Autumn 2001 Mojo Collections Number 04: John Leckie said: And about a month later, Ian phoned me up and said, ‘We’ve booked Rockfield for six weeks to do these new songs.’ I never got the demos. Steve Adge kept saying, ‘Well I sent them to you.’ They were bluffing. They were booked into Rockfield on the Monday, and I said, ‘I’m not going to go until you’re there. There’s no point in me sitting around for days’. They arrived on the Wednesday — which was £2,000 spent already.”
From April 1995 - The Guitar Mag Feature: Recorded at various 16-track demo studios, The Stones mobile and at Rockfield in Monmouthshire, The Second Coming took a mammoth 347 days of studio time to record. The bulk of the tracks were committed to tape at the Coach House Studio at Rockfield, famed for its 26x24' live area and custom Neve, 60-channel, flying-fader desk. Originally booked in for two weeks, intending to knock out the album as a quickie, the Roses effectively became permanent residents for the next year and a half!
Rockfield is also famed for its cache of old valve gear that includes original Neumann U67 valve mikes, stereo valve mikes, Urei valve compressors, and some much sought-after Neve valve EQ modules, similar to those used at Abbey Road for The Beatles' sessions. These were used to warm up guitars and fatten the bass. During their stay at the studio the band apparently managed to try just about every combination of mike possible on Squire's Mesa/Boogie and Fender Twin amps, eventually settling on a combination of Shure SM57, Sennheiser 421 and Neumann U67 valve mikes, all pointed directly at the cones and blended on the desk along with a small amount of room. Apart from a touch of compression from a DBX 160, the sounds went to tape flat in most cases, the band preferring to get the sound right at source. This was a policy that John Leckie had encouraged during the making of their debut album. Creative use was also made of the live room, which had a variable ambience and a maximum reflective delay of a whacking 3.2 seconds! This, more than anything else, is what gave the album its impressive feeling of size and space despite the many-layered overdubs of Squire's guitar....

P.D. McCauley Interview with Simon Dawson 'The band came to Rockfield with all but two of the numbers that made it onto the final LP already written ('Straight To The Man' and 'Your Star Will Shine' were written while there), and spent hours jamming the material in the studio, usually without click tracks, so that they could change tempo and feel at will. Occasionally (for example, when recording 'Your Star Will Shine', and 'Driving South') they would jam to sampled percussion loops.".”
How Do You Sleep? features alternate lyrics including ‘is there life after death, is there anything left worth living for?’
Good Times features alternate lyrics including ‘let it roll down fast like thunder, our love should know no end & I can’t break this spell I am under, you’re my one and only friend. you got it all, but now i want it back again; we gotta try and make amends. Take me back to your bed and the good times, i know we can never end.’
Daybreak has some different bass riff and sections.
Breaking Into Heaven features Mani playing the 'Can't See Me' bassline. Can't See Me would later become an Ian Brown song on his debut album & would even be released as a single still featuring Mani on bass. Ian played guitar on the Can't See Me recording which included a similar riff to John Squire's Ride On *Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa?
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R

July 1993 - John Leckie Sessions, Rockfield Studios, Rockfield, Monmouthshire, Wales, NP25
Tightrope / Love Spreads / Begging You
Notes: Tightrope is electric and even has an electric bass & synth sounds. 33 year old in-house engineer Simon Dawson is booked as the Project Engineer for the album.
Rockfield is run by Kingsley Ward, former manager of T'Pau.
Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa? *Circa 1993 according to 'The Cherub Album' bootleg notes.
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Simon Wolstencroft said: “John invited me down but when I got there he wasn‘t anywhere to he seen," he says. “Nor was Ian. Mani ended up looking after me and taking me to the pub. Even before they’d finished the second album, I could see the end was coming.”
May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: 'TIGHTROPE' "This was done all around one mic. The band did try an electric version when they were still recording with John Leckie, which actually works pretty well too, but they wanted a more laid‑back kind of vibe to it. For me, the finished version conjures up a picture of a guy sitting in a flat or something with some coffee, picking at his guitar, and then somebody picking up some bongos and joining in. You can hear things dropping on the floor, and the singing's a bit out of tune, but it's a great song."
From 06 June 1998 - Melody Maker Magazine: "But the second LP was completely different. We worked from June 1993 to September 1994 [at Rockfield in Wales], near enough constant, and we weren't working much as a band, everything was kind of individual. We were jamming together, but it wasn't the same."
Frustration
Was it a frustrating time? "Yeah, I was getting pissed off waiting, 'cos y'see the drums and the bass were down by August or September, but I couldn't put any vocals down until after Easter. I had to wait for John to get all his guitar parts.
"So it was just me fucking about with the harmonica, Reni on his drums and the engineer on the piano, just playing blues songs all day and all night for, like, eight months, waiting for John to come out of his bedroom when he'd written his guitar parts.
"The thing is, we were tight, we'd rehearsed from June to July of 1993 and all the songs were in shape. I thought we could go in the studio and just bang it out in a month. But then we were having to listen to 20 guitar tracks.
"I was saying, 'Can you take ten off?' The frustrating thing was he put so many guitar tracks down and the three of us were saying, 'There's too many guitars' - and now he's saying there was too many guitars on the LP. That pisses me off because we said that at the time.
"I feel like Reni and Mani never really got a full shot on that LP. I still feel they're the best rhythm section that's come off this rock. I'd love to hear a remix of that LP where you can hear the rhythm section and just one or two tracks of guitars.
"I don't think there's many guitarists who've got the bottle to just do one track. I think that's what it comes down to - they've not got the confidence in their own abilities to do just one or two. They get in the studio and they've got the chance to do five or six tracks and so they do. But this kid [Squire] just went too far over the top. And with him being the songwriter, he had the backing of the record company."...
From Autumn 2001 Mojo Collections Number 04: “You could never get the four of them to play together though,” says Leckie. “It was all overdubs, which wasn’t the case for the first album. John would play by himself with a click or a drum machine — and we’d add drums and bass. Then it was endless overdubs: John would go back to his room, Reni might go home to his kid, Mani would get stoned and go to the pub, lan would hang about. Did that seem strange? Well, all bands make every excuse possible not to get together in a circle and play. It wasn’t awkward, put it that way.”

26 July 1993 - John Leckie hosts a band meeting
Notes: Whilst at Rockfield John discusess the progress with the band. The negoitations are short and John Leckie's mind is made up.
From mixonline.com, John Leckie said: I remember you telling me how you had to call on all your reserves of patience at this time!
You're not kidding! Anyway, at my suggestion, the band went off and rehearsed for three months. Then we came back and went in the studio for another six weeks. Then I left. I was in charge of the budget, according to the lawyers. I didn't think I was in control of the situation, so I resigned. They then spent another 14 months at Rockfield Studios completing the album, called Second Coming. Because I had resigned, they gave me little money and no credit, nothing.
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: Would it be fair to say that the LP sounds like a record made by dopeheads? Did you smoke a lot of dope whilst you were making it? "I did, yeah," nods Brown. "Loads. That's why I stopped. I'd smoked too much and it'd turned me head to mush. When you're in a studio and you just smoke it all day and all night, you get a false idea of what you're doing. You get hyper-critical and you never get to the end of it."

July 1993 - John Leckie quits as producer.
Notes: Reports suggest that he felt the budget was getting out of hand, and "I think he felt that they didn't have enough songs" completed for the money that had been spent. John starts work with Radiohead and The Verve.
From 25 August 2009 - John 'Jeckie' Leckie interview from The Quietus website: Chemistry is vital:- ... I worked on the second album (The Second Coming) for over a year and for various reasons I didn't finish it with them. I left of my own choosing so it's not a case of would I have liked to have finished it — no I wouldn't; they'd changed from being a unit. That bond didn't exist between them.
From April 1995 - The Guitar Mag Feature: After just one night at Rockfield, having been dragged there under duress, Leckie announced that he simply didn't have the heart to continue with a project that he felt was suffering from under-rehearsal, lack of spirit and focus. "When we first met John we were on the dole, and we'd go in and make a record in a day," says Brown. "Now it's different. I was like, "So time's money for you now, is it John?". Anyway, one morning me and Reni are up at 8.30am and he's packed his suitcase and he's scuttling away. "Not saying goodbye to the lads then John?" We went over and gave him a hug and told him there was no hard feelings but it hurt that he didn't even have time to knock on the door and tell us." All that remains from the Leckie-produced sessions is the complex, atmospheric intro to Breaking Into Heaven, parts of How Do You Sleep and some snatches of Begging You, the sample-heavy piledriver that hits halfway into the album. Rather than being angry or dismissive about Leckie, Squire seems simply bemused by what occurred.
"He was taking us aside one by one and waving bits of paper under our noses. He also started worrying more about the money it seemed to me. It was good in a way 'cause it made us angry and you can really use anger." Ultimately however it was Squire's dissatisfaction with Leckie's trademark 'fizzy' sound, the cold, trebly manner in which he records guitars, that caused them to part company. "I'm not sure I like that saccharine and chrome-plated Leckie sound anyway," says Squire. "It sounded too neutered for the kind of record we wanted." Leckie for his part maintains that it was the sheer lack of activity, the band's inability to commit anything substantial to tape that finally drove him away. "My role as producer is simply to capture that magic take," he argues. "I'd tried, I really had, and contrary to what Ian says I had no problems with the songs - they were great. John would come down from his bedroom, deliver them to the band and they'd be great, but I invested two years of my life in that record, on and off, and it seemed to be going nowhere. There was no discipline, no urgency and they just didn't have that magic take in them at that point. It was a different band from the one that made I Am The Resurrection....As to the allegation that he left without warning, Leckie finds Brown's memory of events to be selective. "We talked about me leaving the album for a while, in fact we had two or three big meetings about just that. I didn't want to go to Rockfield and I told them, but they managed to convince me it would work. I lasted one night."
From February 1998 - Uncut magazine Ian Brown interview: I’d considered leaving myself, in 1993.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... Leckie departed three and half years after the One Love sessions, advising the group to approach John Paul Jones — not on account of John Squire’s new fondness for Led Zep, but because of the string arrangements he had contributed to REM’s Automatic For The People. “They were talking about strings and horns — ‘When are we going to book that orchestra and go into Abbey Road? Next week?’ Then lan would phone up and say, ‘I think we should do the strings next time.’ I was like, Hang on… [laughs].”
From 2000 - VH1's The Wire -FOOL'S GOLD: IAN BROWN by Alison Tarnofsky: If you could change one thing from the past ten years- what would it be, or would you leave things the way they are?
I'd definitely have left the Roses in about '92 or '93. The guitarist (John Squire) wanted to write all the songs on his own you see, on the second LP. I sung his lyrics in the belief that we had another three LP's to make, but then he left. So I would have left before we did that [last LP]. I would have been on like, my 5th solo LP by now!

N - 17 July 1993 - New album rumours in the media.
Media predicted the new album would be released in October and a single in September, they are correct but just a whole year too early. I actually thought this was a practical joke sold to Melody Maker by one of the band especially the piece of information: ''recording in a disused swimming pool in Marpel''.
Notes: From Melody Maker 17 July 1993: THE STONE ROSES’ first allbum for Geffen has at lust been given a date tor release! Geffen have included the album on their October schedule, and insiders say the band will definitely meet the deadline. The Roses are currently recording in a disused swimming pool in Marpel, a suburb south of Manchester. Geffen plan to precede the album with a single in September, though no titles can be released at this stage.

August 1993 - Former Roses' Manager Gareth Evans recruited Bernard Sumner (New Order) to produce a single by Lee Sharpe (Manchester United Winger, Football Player)
Notes: Gareth formed his own label 'Volcanic'.
From May 1993 - NME Magazine - GOOD EAR FOR THE ROSES - Gareth Evans said: “What the Stone Roses need to do is release a few really strong singles. Forget releasing an album for another two years – there’s no point. A classic single now and then. That’s what people want.”

August 1993 - Paul Schroeder replaces John Leckie as producer.
Notes: Paul Schroeder, who had produced 'Fool's Gold', took the band in a good direction. He managed to pick up the pieces. They had 8 strong songs ready and some ideas, which had been jammed, too. Engineer Simon Dawson becomes Paul's assistant.
Some of the Leckie material was retained and augmented: Ten Storey Love Song, the effects-laden prologue to Breaking Into Heaven, How Do You Sleep and Begging You.
From: 31 July 2014 Thursday - Paul Schroeder Interview: 8, After the success of the debut, the band followed up with One Love/Something’s burning and Fools Gold/WTWIWF, all of which you worked on. During this time was the plan to continue in the same vein as these tracks towards the next album, and were there tracks put down that would have ultimately made up a second album had the Silvertone court case not happened, that ended up being ditched b the time they got round to doing Second Coming? I think Fools Gold upped the ante with what people could expect from the band. So there would have been future records of that ilk for sure. As for songs that were made after those, if they weren't made for Sivertone I did not work on them. I walked into Second Coming having not seen or heard from them for years and they had all the songs bar 2.

August 1993 - Novocaine move into the studio next door at Rockfield.
Notes: The band strike up a friendship, especially with singer Steve. Ian even provides a lyric for their song 'Brain'. Both bands are spotted at The Nag's Head and The Bull pub.

September - November 1993 - The Charlatans move into Rockfield Studios

02 November 1993 - The Stone Roses go back into Rockfield Studios
Notes: Lush are recording in the studios. Paul & Mani become friends with the indie pop shoegaze group. Mani and John attend the Rockfield bonfire on mountains bikes.

1993 - Paul Schroeder Sessions, Unconfirmed Location
Untitled / Love Is The Law
Notes: Various Locations but mainly Rockfield Studios. Various untitled jams were recorded throughout the sessions. Love Is The Law was mainly an instrumental jam but featured some parts which would remain in the final song. Elements from the song would appear in the 1995 live set during the Daybreak - Breaking Into Heaven jam.
From From 03 January 1998 - NME Magazine: Ian said: What do you think when you hear his band, The Seahorses? “They’re just poor. Anaemic. I was in a taxi in Liverpool when I heard the first single. I was having a mundane conversation with the driver and nothing made me wanna stop. I thought, ‘That kid’s got a sort of Manchester accent in a way, but I know he’s not Manchester’. And I knew the song ‘cos John had written that song in ’93. They just sound weak, boring. Dull. I mean, good luck to them kids. I feel a bit sorry for them, because of where he’s put them, y’know they’ve come from nowhere and they don’t know how to say not to him, and they don’t know how to say yes, either. The things that I’ve read, he just seems like a little Elvis and they’re on his payroll. It’s what he wanted. He’s got just what he wanted – he wanted to be the man, and now he’s the man.”
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).
From April 1995 - The Guitar Mag Feature: "The next album won't replicate anything we've done so far and I've got a list of songs drawn up already," he adds. "To be honest, all I desire is to make enough money to make another record. I'd like to make a live album though, something that stands up against The Who's Live At Leeds or The Song Remains The Same. I really think we capture something live that we don't have in the studio."
From June 1997 - The Guitar Magazine: ‘Some people think I was planning all this for a long time,’ Squire smiles. ‘That’s not true. There’s only one song on Do It Yourself, Standing On Your Head, that was completed before I left The Stone Roses – but I didn’t write it with the intention of it being the start of a secret store of songs that I could use for any, um, solo project. It was just something I held back from Second Coming because I felt we had enough to work on at that time. Things were going so slowly I just didn’t want to add another song to the pot. But looking back on it, it does seem strange that The Seahorses came together so quickly.’
From September - October 1999 - On Target Magazine, Mani Interview:
When the Roses split after Reading in the summer of '96, didn't you join the Scream halfway through the Vanishing Point sessions?
"Really, halfway through the last Scream tour of Britain it was like at Brighton Conference Centre and I'd had a whiff that John Squire was up to something. When we were recording The Second Coming LP we were in this residential gaff and I'd go across the corridor to his room you know 'cause I'd hear a tune coming out. I'd think 'Oh that's a new one. I've not heard it before' and as I'd knock on his door the fuckin' tape would go off. That was half of The Seahorses LP he's fuckin' preparing there so I knew he was planning sommut...

16 November 1993 - Gary Nigel "Mani" Mounfield's 31st birthday.
Notes: Mani celebrates his birthday at The Bull. John, Paul, Ronnie Rogers (ex-T'Pau guitarist), Lush and thier producer Mike Hedges and local kids all turn up and party. Near the end of the night, ordering a taxi, Lush's Emma Anderson is sick in front of Mani.

November 1993 - Paul Schroeder Sessions, Unconfirmed Location, could be Rockfield Studios, Rockfield, Monmouthshire, Wales, NP25
Breaking Into Heaven / Driving South / ''Let It Roll'' / Good Times / Begging You / ''Break The Spell''
Notes: Simon Dawson continues as the bands project engineer. Driving South on the Demo bootleg has no vocals. Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa? *Circa 1993 according to 'The Cherub Album' bootleg notes.
May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: "The band have got an Akai S1000 which they use mainly in the writing process, for recording loops, slowing them down, turning them round, to create a groove to write around [both 'Driving South' and 'Straight to the Man' were written in this way]. They haven't felt the need to upgrade to anything newer because it does the job for what they want. They just use it to create basic loops, and get them onto their Portastudio.
From 2001 I Am Without Shoes Exclusive Mani Interview: > IAWS: How long did Begging You take to record, and was it a bona fide writing collaboration? Mani: I’m not sure how long it took, it didn’t take too long. I really liked that song, it was more danceable than the rest of the album, which was what me, Ian and Reni were more into at the time. Really good, original tune. > IAWS: And, of course, ripped off by U2 in ‘Discotheque’ > Mani: Yeah, definitely, that and Sugar Spun Sister for Angel Of Harlem. I was speaking to Bono about that and he said (adopts Irish accent) ‘Well you’ve got to take from somewhere, haven’t you?’.
From: 31 July 2014 Thursday - Paul Schroeder Interview: 17, As everyone knows, there was a big time gap between the two albums, there are numerous stories of legal problems, drugs and arguments to have caused this, as well as the fact the band are known to be perfectionists. Once recording finally started, and considering a lot of the tracks were written there in the studio, do you think the roses are fast paced in the studio, or was is stop and start the whole time? We recorded most of the backing tracks quite quickly…within 2 weeks i believe. And then we had to wait for john to write the guitar parts which seemed to take an eternity. So, very much stop and start.
From February 1998 - Uncut magazine Ian Brown interview: When I spoke to him in November ’95, he said “The reason [the album] it took so long was because there were too many drugs in the studio.” Correct? “He was on cocaine all the time so he’s speaking for himself. A man’s got cocaine up his nose, he’s not saying anything to anybody. You’re giving nothing if you’re on coke, all you’re doing is taking. Of course, there were too many drugs in the studio. He’s got coke up his nose, that’s the end for me. If you’re on coke, you’re busted – there’s something the matter with you.”
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -

24 November 1993 - John Squire's 31st birthday

December 1993 - Philip Hall is announced as the bands manager
Notes: The band play Phil some rough mixes and ask him to manage them. Philip was the band's publicist, he stepped up as the band manager but sadly lost his life to cancer several weeks later. In the Second Coming sleeve notes the album is dedicated to him. All the band, except John, went to his funeral in London.
Philip's widow, Terri, took over the group's publicity. The band searched for another manager.
From February 1998 - Uncut magazine Ian Brown interview: Was there a low-point in your relationship with Squire? “The kid had cut himself off. When Philip Hall [fondly remembered Roses publicist who had just agreed to manage the band] died, John wouldn’t come to the funeral. I said ‘At least show his mother and father that he meant something.’ But no, he wouldn’t come to the funeral. The first rock of civilization is when they bury the dead. I knew there was something the matter with the kid then. Nobody enjoys funerals, but I thought differently about him that day. I thought ‘Little fucker.” Was that a turning point? “Definitely. I thought he was the most selfish, cowardly…” Do you think if Phillip Hall had lived and managed the band things would have been different? “Who knows? In this business, he was one diamond man. He’d have been good for us, no doubt. I don’t think we’d have got into the messes we got in. We didn’t have a manager and we were open for anyone to have a poke.”
From 06 March 2009 - Uncut Magazine Interview (Clash Music Website) with Ian Brown: A lost ‘Fool’s Gold’ album would make lots of people very happy eh? Do you kind of wish that you’d have been a bit more active with your time off? Or was it a pretty natural how it all turned out?
Yeah I do now, I feel like we wasted the three years definitely, yeah. At the time I didn’t think it mattered, but I think my response to that is why I’ve done six solo albums. You know, I’ve just got a work ethic now I think because of that. I haven’t had a year off since I went solo and I think it’s because of that. Yeah, we wasted three years probably. We didn’t have manager; we had no one to get us in line. It was just four chiefs and no indians. And because we were recording we just got away with away with it. I mean, the first two weeks we booked the studio it was just like an expensive record player. We just sat smoking weed and listening to tunes at a grand a day, then we went sledging on antique silver trays for the week. Did a bit of mountain biking. Suddenly we’ve done five weeks in the studio.

December 1993 - Simon Dawson crashes his into a ditch near the studio.
Notes: Apparently egged by the band to drive round the country roads with no lights on, Simon crashes but escapes unharmed.
December 1993 - Geffen issue a deadline for the new record.

December 1993 - Paul Schroeder Sessions, Rockfield Studios, Rockfield, Monmouthshire, Wales, NP25
Breaking Into Heaven / Driving South / Begging You / Daybreak / Good Times / Tears / Ten Storey Love Song / Love Spreads / Groove Harder / Daybreak (Dub Mix)
Notes: The band take a break and go home over the Christmas period. Most of the fruits of the recording sessions are noted above.
Tears was still not finished yet, the version Paul Schroeder was working on only lasted 4 minutes, the first half of the song was electric whilst the latter was acoustic. A role which would be reversed when Simon Dawson took on producing the record.
Daybreak (Dub Mix), unconfirmed if this turned into Breakout (Love Spreads B-Side) or if it was a completely different song and mix.
May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: We stuck Ian in a vocal booth at the back, which I called 'The Dogbox', and when the guys were jamming, he would be scatting and stuff. There's a bit of that on 'Breakout' [the 'Love Spreads' B‑side], which he made up on the spot and we kept."...
From P.D. McCauley Interview with Simon Dawson "In April 2003, Paul Schroeder sent me his own, never before heard, December 1993 mixes with the Roses" ''Clocking in at 51.13, the tracklisting of the December 1993 mixes recording is as follows Breaking Into Heaven / Driving South / Begging You / Daybreak / Good Times / Tears / Ten Storey Love Song / Love Spreads''
Simon Dawson on Love Spreads: ''We decided to redo it with Paul Schroeder, before he left, and spent quite a lot of time trying to get it right. John added some guitar, and I didn't think the riff was right for it. After Paul Schroeder had gone, we ended up scrapping it completely.''
Simon on Groove Harder 'The only time we really used the computer was for 'Groove Harder' on the twelve-inch of 'Love Spreads', and that was mainly Paul Schroeder's bag. He took a couple of samples from 'Good Times', messed with them a bit, and ended up triggering them from a keyboard.'
From May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: 'LOVE SPREADS' "They did this in pre‑production with John Leckie, and when it came to Rockfield it was completely different — quite thin‑sounding. We decided to redo it with Paul Schroeder, before he left, and spent quite a lot of time trying to get it right. John added some guitar, and I didn't think the riff was right for it. After Paul Schroeder had gone, we ended up scrapping it completely. We started from scratch again, and just had the band play in the studio until Reni came up with something that sounded quite groovy with Mani. John detuned his guitar and came up with the riff that goes through the verse, which I thought was great. We worked from there. "The end was quite a problem for a while — where it all breaks down and then builds back up again. I had the idea of building up a lot of backing vocals, lots of lines and harmonies, and it was difficult getting it all to sit. John had a guitar idea from one of the earlier versions which the band really liked, so he put that it in about three‑quarters of the way through the build‑up. But he wanted something similar to echo that at the start of the build‑up. So that's how you got the piano coming in at the start of that build‑up. For quite a while, the ending sounded quite messy, but it all came together in the end."...
From April 1995 - The Guitar Mag Feature: Reni: "John's very meticulous but at the same time he'll pile guitars onto a track like Groove Harder (the b-side of the Love Spreads 12") and it's a mess but it's one of the most exciting things we've ever done because it has atmosphere. All the best stuff we do comes when we capture the atmosphere and experiment, take risks...
John on Tears & album lyrics, From 01 March 1995 -'The Face Magazine' Issue 78, March 95: “Our love girl is going through changes, I don’t know if I’m alive,” begins “Tears”, the song he wrote last for the album. It continues: “Someone throw me a line, you know I need it, I need it bad” and tells of a man “lost in a maze of my own making” with “no way out”. John Squire, alone and under-the-weather in a hotel room in America: a man currently at his own personal crossroads? “I don’t really understand why I go into such personal detail in my songs,” he says. “There’s something embarrassing about the need to go through public analysis. To bare it all. Maybe it’s because when you get the initial ideas for a song you’ve no idea if it will just end up in the bin. It’s so far removed from finished product. In general I seem to return to these sentiments about the endless search for love. Have I found it? Well, I’m a bit fucked up in that area of my life.”
From: 31 July 2014 Thursday - Paul Schroeder Interview: 11, There is a place in Roses lore which is reserved for the ‘Second Coming Schroeder mixes’. Are these versions ever likely to see the light of day, on a Second Coming deluxe reissue or something of the like? Are there similar mixes from the earlier days that are lying in a cupboard somewhere waiting to be discovered? I don't think so. The quality would not be good enough. As for the second part of the question, Silvertone would have found the tapes by now and exploited them ruthlessly. 12, After John Leckie left the Second Coming recordings, did you go in a different direction with the songs? And after you left and eventually heard the finished record, was it a surprise to you how it sounded or was it how you expected?. What was your reason for deciding to leave when you did? I kept what I liked and changed what i did not like. We rerecorded songs and started new ones. I was not shocked at hearing the finished record. It was not what I would have done but there is no point bleating about it because the reality is I was not there to influence it. I left because I had other commitments that i could not get out of. 14, You are one of only a handful of people to see and hear Reni play live to the Second coming tracks that never got an airing during the recent tour. Can you describe it for us. He once said that he did the drums on daybreak live was this the same for Begging You? Reni is a joy to behold when he is playing because he really enjoys it. Just watch his face when he plays. Daybreak is a live take from everyone except Ian I believe. Begging you was looped up for artistic reasons.
From April 1995 - The Guitar Mag Feature: "We would slip onto something else all the time, then slip back and finish little bits off here and there. By Christmas 1993 I did a compilation tape of everything we had done and, in hindsight, I should have really thought about it hard, decided what was needed and knocked about four months off the recording time. I could have done a few less guitar takes - I am far too precious with my guitar parts for my own good. But you get into a frame of mind where you think, "It's been four years since the last album, why not make it five?"
May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: "I'm quite into PCs — I've got a laptop at home, and I'm hoping to get a big one any day now, so I can do some music on it... However, the only time we really used the computer was for 'Groove Harder' on the twelve‑inch of 'Love Spreads', and that was mainly Paul Schroeder's bag. He took a couple of samples from 'Good Times', messed with them a bit, and ended up triggering them from a keyboard...
Bootleg: Schroeder Mix

1994 - John Squire continues creating art:
'Love Spreads' - Featuring a gothic cherub atop a heraldic shield, a detail from the Newport-Monmouth road bridge.

1994 - Dodgy crown Ian Brown King Monkey
Notes: The Guardian run a story about Ian Brown referring to himself as King Monkey, as Dodgy are asked about any Stone Roses stories by the newspaper. The Guardian ran the story.
Apparently Ian would not talk to anyone unless address as King Monkey.
Dodgy were also recording at Rockfield, the same time as the Roses. They also told The Guardian Newspaper they were rehearsing a 20-minute version of That’s The Way (I Like It).
From February 1998 - UNCUT Magazine Interview by Dave Simpson: What’s the origin of the title, Unfinished Monkey Business? “When the Roses had disappeared, recording Second Coming, the press were desperate for any stories of what we were up to. The drummer from Dodgy told this Guardian journalist that I was making everyone call me ‘King Monkey’. I thought it was really funny...
From 2000 - VH1's The Wire -FOOL'S GOLD: IAN BROWN by Alison Tarnofsky: Why are you called the King Monkey? Your first album was called Unfinished Monkey Business, and there is a song on the new album called "Dolphin's Are Monkey's." Is this all just a coincidence?
It comes from when the Roses were in the studio for three years, and the press wanted some stories but they couldn't get any. There was a band next door called Dodgy, they phoned them up and Dodgy said as a joke, "Oh, Ian Brown, he won't speak to you unless you call him King Monkey!" as a joke. They believed it and it was pretty funny because it's quite seen as an intellectual paper, The Guardian. So for them to believe his story and then write it, and it just stuck, so they call me King Monkey. Unfinished Business, because the Roses finished.
From March 2000 - Jockey Slut Magazine includes a Ian Brown Q&A Session: Why the monkey business? Phil Pemberton, Sheffield "They used to call me simian and I didn't know what that meant. I looked in the dictionary and it said it meant "monkey-like", which I thought was pretty offensive at the time. When the Roses were in the studio in '92 the drummer from Dodgy who were in the studio next door to us, was interviewed by someone who asked him if he had any good Roses stories. He said: 'Ian Brown will only be addressed as King Monkey', and they believed him and wrote it. I just kept it up, the monkey business."

05 January 1994 - Ian meets Oasis
Liam and Noel Gallagher, who are recording their debut LP at nearby Mono Valley, bump into Ian Brown at WH Smith's. Ian tells them he heard them on the 04 January 1994 - Evening Session, BBC Radio 1 (Recorded December 1993) the night before. Ian praises the band, especially Cigarettes & Alcohol.
"Youse are them guys out of fucking Oasis, aren't you? I fucking heard you on the Evening Session Last night.. 'Cigarettes And Alcohol' ... fucking 'ell man, it's about time."

January 1994 - The band travel to New York to begin the first of several discussions with Peter Leake, hopeful manager for the band.
Notes: A contract is never produced and proposals are dropped in June. Peter Leake (manager of Natalie Merchant, The Cowboy Junkies & The Waterboys) never manages the band.

1994 - Second Coming Demo Tape
Breaking Into Heaven / Drivin South / Tightrope / Ten Storey Love Song / Day Break / Untitled / Untitled
Good Times (Let It Roll) / Untitled / Angel Of Bedlum / Untitled / Untitled Track / Begging You / Untitled / Love Spreads
Notes: Titles taken from a photograph of a C-90 cassette tape from the second album recording sessions. Featuring various rehearsals, demos and more.
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: John talks about the writing of the album: “Well, Ian and I had this spell of going away to write together and invariably we ended up avoiding work. But we realised we needed songs, the agenda had speeded up and it wasn’t just a question any more of doing it when we felt like it, Then I went off on my own to write, and really it all started to flow from there. These songs are certainly more introspective because I wrote alone a lot.” And finally, in a roundabout way, we manage to do something John says he feels intensely uncomfortable doing. We talk about John Squire. About his state of mind, his state of circumstance, his state of grace. In particular we discuss some of the “raw nerves” he hinted had been addressed on the album when he spoke to The Big Issue. While John is still cagey about putting too much on the record, the current personal dilemas he faces do seem to be documented fairly clearly on “The Second Coming”.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... “Daybreak was recorded totally live,” says Mani. “Me and John went in and did Straight To The Man [the one solo Brown composition] in about two takes for lan. And I remember recording Good Times: we went out and watched this meteor shower, and then went in and recorded it. We threw it down live; you can hear it speeding up as we get more excited. It was one of those.”...“We’d go off on a tangent,” says Simon Dawson, “down another route, and go, ‘OK. That’s cool. Now let’s get back to where we were’ [laughs]. Some of that stuff ended up as B-sides. And Reni, especially, would go right out there — kind of in a club direction, which wasn’t really right for that album. That stuff all got put on to DAT, and when we finished the album Ian took all those tapes away in this pillowcase.”
From 01 February 2009 Sunday - The Guardian, Ian Brown article by Luke Bainbridge: Mani [bass player, now with Primal Scream] is the most United crazy lad I've met. In 1994, when we were recording Second Coming, Mani was saying, "We're goin' to have a great year next year. We're going to win the league and we're going to go to America." That's how he graded his life [laughs]. “There’s been a lot reported in the press about John and his cocaine habit,” says Dawson .. “And you know, I never saw him take cocaine, ever. And I was with them for 14 months. He was taking cocaine — he’s said so himself— but I never saw anyone taking it. “There was a problem with Ian and the amount of smoke he was doing. That was difficult to cope with. It was difficult to under stand what he was saying. And when he was very stoned, it was very difficult to understand what he was saying. And sometimes … there was stuff happening that was a bit odd. Like when he shaved his head, and Reni did the same thing to try and hold it all together.”
Brown later admitted as much: “I smoked too much. It just turned my head to mush. If you smoke all day and night you just get hyper-critical and you never get to the end of anything.”

February 1994 - Doug Goldstein takes over management of The Stone Roses
Notes: Geffen appointed Doug Goldstein as the bands manager, he managed the band between 1994 and 1995.
Conflicting date noted as 18 January 1995 for the new management.
The band met, with Guns 'N' Roses manager, Doug in Manchester. Former Led Zeppelin manager, Peter Grant, was offered the publicity and affairs job too, he declined. John said: “If we want to make it in America we have to pay an American manager,”. The decision led to another bust between the band. Apparently Squire wanted to replace Mani during the sessions due to his lack of input, even though John was taking complete control of the record.

February 1994 - Mani steals a tractor and robs Oasis's stash.
Notes: At 3am the band had smoked all their weed.
Gary “Mani”
Mounfield stole a farm tractor and set off across the fields to Monnow Valley studio, a few miles away, where Oasis were working on their debut LP. Mani broke in and lifted their stash driving back on his “borrowed” John Deere. “And that story just sums him up," says Clint Boon, “Mani is the best example ever of the working class ruffian everyone adores. You’ll never meet anyone else quite like him. He is a truly great human being, and a fantastic musician.”

February 1994 - Driving South Sessions, Rockfield Studios, Wales
Notes: Overdub sessions for the LP.

February 1994 - Paul Schroeder quits as producer.
Notes: The band were taking so long he, reluctantly, left due to a prior commitment to producing his sister's band.
From NME Magazine 19 February 1994: ''THE STONE ROSES 'Long-awaited album ‘The Second Coming‘ looks likely to be delayed yet agaln. The LP, currently scheduled for a May 9 release with the single ‘Love Spread‘ due to precede it is not expected to be ready in tlme. The release date is now likely to be later in the summer.'' ''Sources close to the band suggest that only four songs are near completion, but that none of Ian Brown's vocals have been added to the backing tracks.''
From NME Magazine 02 April 1994 ''The Stone Roses second album looks likely to be delayed even further, following news that the band have parted company with their second producer, Paul Schroeder. Schroeder returned to London earlier this month to take ‘time out‘ from recording sessions with the band at Rockfield Studios in south Wales. According to sources close to the band, however, Ian Brown and co have promoted engineer Simon Dawson to the production chair, making him the third producer to take charge of the group's follow-up to their acclaimed 1989 debut. John Leckie, who produced the debut album, parted company with the band during the Rockfield sessions last year, after which Schroeder stepped in. A spokesperson for the band's record company Geffen declined to comment on Schroeder's departure, apart from confirming that the album is not actually scheduled for release on any specific date. Next month is the fifth anniversary of the release of ‘The Stone Roses‘.''
From April 1995 - The Guitar Mag Feature: Paul Schroeder came and rescued the sessions after Leckie's departure with a sterling stint at the controls, the results of which form the backbone of Second Coming: Breaking Into Heaven, Driving South and the careering bar-house guitar boogie of Good Times all have the Schroeder stamp. Due to a prior commitment to producing his sister's band, however, he reluctantly had to leave. "He'd have been an arsehole not to go," says Brown. "Family commitments are important."

20 February 1994 - Ian Brown's 31st birthday
Notes: Not sure if it was 1994 or 1995 but Reni bought Ian a guitar for his birthday.
From March 1998 - The Band (gigging, recording, making it) Magazine. Ian said: Reni gave me a guitar in 1995, he came shouting into my room one day going 'John don't wanna work with me, he don't wanna work with you so here's a guitar. One day you'll thank me for it'. A year later, I picked it up and started to learn....
From April 1995 - The Guitar Mag Feature: Reni bought Ian a guitar for his birthday and he is apparently a good strummer himself these days: "I've got about 20 songs finished, just observations and that. I try and write stuff that's not specific so that people can try and work out their own meanings."
From 06 June 1998 - Melody Maker Magazine: "Yeah, he bought me an acoustic guitar because he was pissed off that I was pissed off that John wanted to do everything on his own. He just walked in one day, handed me this guitar and goes, Fucking 'ave him - one day you'll thank me for it'.

23 February 1994 - The Stone Roses Japanese Re-release Date
Notes: CD BVCQ-629, Y2,500 Yen.

February 1994 - Ian Brown goes to TJ's, Newport to see Novocaine supporting Dub War.

March 1994 - Simon Dawson steps up as producer.
Breaking Into Heaven (Intro) / Ten Storey Love Song (Partial) / How Do You Sleep (Partial)
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: At this point, Simon took over as producer, a move he stresses caused few problems. Although the band had been working with John Leckie in different studios, only a few parts of what he had recorded were kept — notably the long intro to the first track, 'Breaking Into Heaven', and the preliminary drum tracks to 'Ten Storey Love Song' and 'How Do You Sleep'. I first asked Simon if he had encountered any problems blending the feel of this older material with the tracks he was laying down: "No, that wasn't a problem at all. In terms of feel, the way the guys had been recording was very live, and that's where I was coming from, so that wasn't difficult. Technically, yeah, it was a bit of a feat getting the crossover at the mixing stage between the intro of 'Breaking Into Heaven' and the actual song — just getting it to sit." As far as the material Paul Schroeder had recorded was concerned, the problems were less acute. Some of what had been recorded was scrapped and re‑recorded, and the material which was reused had been recorded originally at Rockfield anyway, so there were fewer technical differences to match up. And, as Simon explains: "Over the time I was engineering for Paul, I think the guys came to respect my opinions. So, when he left, it seemed like the natural thing to take over"..."On 'Breaking Into Heaven', the song was going to be faded out at the end, but during one of the takes, instead of finishing the song, the band suddenly dropped down into this brilliant groove right at the end. I think it's probably the best eight bars on the album. That just had to go on. It was such a great groove that I took that eight bars and edited it in at the front of the song as well. That's how the main part of the song starts now — the vocal used to come in straight away, but now you get that great eight bars first."...The Neve played a vital part in the sound, mixing and construction of the album, as Simon explained at length. "I'm definitely a Neve man, having done most of my work at Rockfield — they're really warm desks, and I know them really well." "The Recall facility on the Neve was really useful for storing settings. For example, the EQ on some of the rhythm loops we used was really important. Over a long period of time, you might forget what you were after when you first set the EQ — so being able to instantly recall the settings helped to establish continuity in the mix. The reason I used the computer the whole time — and in fact, the main reason we went 48‑track on a lot of the material — was to build up the album. I didn't like to lose anything, any of the vocals or guitar. A lot of people compile guitar tracks from lots of different takes, and wipe out what they don't use, but we archived more or less everything. I'd do mixes on the computer using mutes and faders, and then if at any later stage John [Squire] said "oh, I remember doing something great with feedback there", I had the freedom to come back to it. We could play about with takes and decide which ones to use later." I asked Simon whether the album had been recorded to analogue or digital: "I'm an analogue man, because that's my experience, and digital machines are still extremely expensive."

March 1994 - Simon Dawson steps up as producer, TV Lounge, Rockfield Studios, Rockfield, Monmouthshire, Wales, NP25
Tightrope
Notes: The current project's, in-house Rockfield engineer, 33 year old Simon Dawson, steps up to produce the record. The recordings continue at Rockfield.
From April 1995 - The Guitar Mag Feature: It doesn't end here. Given that the recording sources were so disparate (ranging from a 16-track Fostex machine to a full-blown 48-track setup), given that some tracks were recorded with the full benefit of state-of-the-art studio technology while others were little more than fleshed-out demos (Tightrope, recorded in the Rockfield TV lounge using just a stereo Neumann, being the obvious example) there is a surprising uniformity to the mix on Second Coming and the album has a distinct 'sonic character'. This, Squire claims, is down to Bill Price - most famously, the man who mixed the Sex Pistols' Never Mind The Bollocks. Price provided a completely fresh set of ears and was able to sort the many layers of guitars which Squire had recorded, erased and re-recorded into some sort of order.
"I loved Bill's work," says Squire. "With Begging You he was begging us - forgive me! - to let him re-do it another way. He really struggled with it for the album and still thinks he can get even more out of it. I'd like him to do a triple-length version and stick it out as a single actually."..."My favourite track on the album at the moment is 'Tightrope'," reveals Squire. "That was an acoustic jam made in the TV lounge of the place where we were staying. The vocals are Ian, Reni and me and it was like, 'Okay, have we got it all worked out? Yes? Okay, let's roll it right now!' It's first take with some bass and drum overdubs, I really enjoyed the simplicity of that track, maybe that's why I like it so much compared to the rest - it was the least painful to make."
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: One song, 'Tightrope', was jammed almost entirely around one mic, allowing for no mistakes to be made while recording....'TIGHTROPE' "This was done all around one mic. The band did try an electric version when they were still recording with John Leckie, which actually works pretty well too, but they wanted a more laid‑back kind of vibe to it. For me, the finished version conjures up a picture of a guy sitting in a flat or something with some coffee, picking at his guitar, and then somebody picking up some bongos and joining in. You can hear things dropping on the floor, and the singing's a bit out of tune, but it's a great song."
? - Producer Giving Instructions/John In Background
Notes: John Leckie, Paul Schroeder or Simon Dawson? Leaked Mid 2003 again from a Mani tape. Apparently Mani gave copies away to close friends and some fans too, but some fans have speculated the tape was being duplicated and sold by Cressa.
Bootleg: Second Coming Demos Part2 (IAWS)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -

M - March 1994 - The Stone Roses feature on the cover of VOX Magazine, March 1994

1994 - Unconfirmed Location, Studios, Ian Brown & John Squire Session
Your Star Will Shine
Notes: Ian & John run through You Star Will Shine a few times. On the complete tape you can hear Ian and John talking in-between attempts too. John even sings a few lines to show Ian the melody. John uses Nashville tuning for Your Star Will Shine. The song was written during the recording sessions.
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: "This was written at Rockfield, by John. He demo'ed it in his bathroom with his Portastudio, so the acoustic had this very bright sound to it which we really liked. We tried to recreate that in the live room at Rockfield, using Nashville tuning on his acoustic, which sounds very bright, and added some chorus from a TC Electronic effects unit. This was one of the ones we used a sample to keep in time on. The clap noise is a real clap — three guys clapping, heavily EQ'd. We sampled them into the TC and then triggered the best one so it's smack in time, just to create a bit of percussion. There's also a floor tom, which is supposed to sound like one of those Irish drums, a bodhran.
"At first, we were just going to use the version we recorded as a proper demo. Reni wanted to play percussion at the same time as John was playing guitar, so we put him in the corridor. They came in and listened to it, and really liked it. I thought, 'we can't go with that', as it speeds up a little at the end of the intro. But they decided to go with that version, and we finished it really quickly, in three or four days."...The band came to Rockfield with all but two of the numbers that made it onto the final LP already written ('Straight To The Man' and 'Your Star Will Shine' were written while there), and spent hours jamming the material in the studio, usually without click tracks, so that they could change tempo and feel at will. Occasionally (for example, when recording 'Your Star Will Shine', and 'Driving South') they would jam to sampled percussion loops...."Putting keyboards on the record wasn't my idea. It was always just 'can you try this, Simon, give this a go' — which was great. I never felt like I was under any pressure, and it was really enjoyable to do. We mainly used the piano in the studio, a Yamaha acoustic. That's what's on 'Love Spreads' and 'How Do You Sleep'. I used a Wurlitzer electric piano on Ian's song, 'Straight to the Man', and there's a bit of it played backwards at the start of 'Tears' — that was my idea, I think. John also had the idea of using a Hammond on the end of 'Daybreak', to try and create a sort of Doorsy kind of feel. It's all from the original keyboards — we didn't see a synth the whole time!"
*Circa 1994 according to 'The Cherub Album' bootleg notes. Leaked Mid 1999 From A Tape Given To A Fan from Mani, during a DJ set.
Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*IAWS discovery - recorded from master - guaranteed lowest generation you'll find...Taken directly from Ian Brown's personal DAT tapes.*" CD Originally Priced: £11.00, Running Time (Approx): 70mins) CD-R - Bootleg: Second Coming Demos Part1 (IAWS) - 1994 - Unconfirmed Location, Studios, Ian Brown & John Squire Session - Your Star Will Shine (setting up) / (take it away john) / (1st run through, Run through with Ian mis-timing) / (take your coat off, it's clicking) / (nah nah) / (losing the melody) / (going backwards) / (from the second verse - lead vocals from John on last few lines.) / (excuses excuses - Ian just can't remember that melody...) / (this is hard work - John begins to get annoyed...) / (yeah! last run through proves successful, nice singing with both of them at the end.) - Good Times (Setting up, then Ian, Mani and Reni start to play. Some great hi-hat work from Reni.) - (Mani and Reni discuss the song.) / (Ian, Mani and Reni go through it again.) / (John joins in…) / (John, Ian and Reni from the chorus, then Mani joins in.) / ("Anyone got any smash?" - Ian and John, then Reni joins, then Mani.) / Funky jam / ("She's My Heroin") / (Pulling it together…) / (Sounding Great) - Redemption Song - cover of Bob Marley (Vocals, Guitar: Ian Brown, Bass: Simon Dawson) (first run through) / (Ian's learning) / (all the way through) / (guitar goes wrong) / (all the way through again) / (bass joins in) / (final redemption)
Bootleg: Second Coming Rehearsal Sessions 93-94 (2000 - Wild Museum. WIN002. Disc Matrix: WIM-002. IFPI L491) (Copy of the above)
Bootleg: Something's Coming (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -

1994 - Love Spreads Recording Sessions
Bassline
Drums
Guitar
Vocals, Piano & Guitar
Notes: Love Spreads Recording Sessions. John and Mani dropped their bottom strings to D for Love Spreads (which, according to Simon Dawson, also featured Squire's backup Les Paul)
Squire said that Reni had “the worst attendance record" during Second Coming.
Reni came up with a nickname for Squire, Ice Cold Cube. The nickname stuck with Ian and he even wrote a song about it, played at Reading Festival 1996 and eventually recorded and released on Ian's first solo LP 1998. The nickname refers to John's attitude towards the recording of the LP and his dictator like state towards the members in the band. At one point Squire wanted to sack and replace Mani, even though he was still grieving for his father who had died. Ice Cold...
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: The guitar sound on Second Coming is much harder than on the first LP, on tracks like 'Love Spreads' and 'Driving South' particularly, and there is more use of distortion. Asked about the overall sound of the album, Simon is quite forthcoming. "Sonically, the album is much bigger than the first album. The guys are quite into distortion — different kinds of distortion. John, for example, likes digital distortion out of an Akai S1000. To most people, it sounds awful, but it's actually quite an interesting sound. Reni often likes the whole thing to sound distorted."...John Squire — Guitar "The basic guitar sound is dead easy really. All you need is a '59 Les Paul guitar, a nice old Fender Twin amp that's been hot‑wired, and a Shure SM57 and Sennheiser 421 to mic up each speaker. You send it through a dbx160 compressor, and then straight into the desk. Oh, and you need someone who can play, of course!..."We tried various setups, but that was the one that gave us the sound we were happiest with. I think if you've got a nice guitar, and you can play, it'll sound good! We didn't use any special tricks to get the sound like that, and we didn't really spend much time getting the sound right either. For most of the album, that's all it is. John's got some pedals as well — an old Echoplex, and an Electric Mistress. They were used quite a lot, but the basic sound was really simple. Nothing was added at the final mixdown — once it was recorded, that was it. We also used an Orange amp and Orange cab for some of the more distorted sounds, the Hendrix‑type bits, and John also used a Pink Strat, but those were his two main guitars. All that's his backline gear, what he normally takes with him."...
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: You’d go into the studio separately to record your parts. Mani: Bullshit. Every track on the LP is played live. Ian: The guitar, bass and drums are almost all live on every track. Everyone was there, man, and no one can get near the sound these three make now. I might never be able to sing like John Lennon, but these three play better than The Beatles now.
From April 1995 - The Guitar Mag Feature: Squire's main amps are Mesa/Boogies and Fender Twins. The Boogies were used for much of the first sessions with John Leckie; the Twins were more favoured when work commenced with Simon Dawson. Squire's favourite vintage Fender Twin is hotwired by a simple retro-fit kit the guitarist found in California. According to Dawson, "It only costs about $50 and, I dunno, it bypasses something or other, and it makes it sound great!" (TGM understands it bypasses the roll-off filter, and provides a more direct line from the preamp gain stage to the power amp - Anorak Ed) Married to the '59 LP, this amp provided the main 'beef' for Second Coming. A new, but similar Fender Twin was occasionally involved for overdubs, as was a '60s Orange stack....
From P.D. McCauley Interview with Simon Dawson "We wanted it to sound more live and real, and we tried throughout the making of the record to preserve as much of the band's live sound and feel as possible. You see, you very quickly realise with these guys that they love playing and jamming. I've never played keyboards professionally, but one of the first things that the band got me to do was jam along on the piano with them. It was really exciting for me". “We mainly used the piano in the studio, a Yamaha acoustic. That's what's on 'Love Spreads' and 'How Do You Sleep'.”
''We started from scratch again (Leckie & Schrodeder left), and just had the band play in the studio until Reni came up with something that sounded quite groovy with Mani. John detuned his guitar and came up with the riff that goes through the verse, which I thought was great. We worked from there.'' "The end was quite a problem for a while -- where it all breaks down and then builds back up again. I had the idea of building up a lot of backing vocals, lots of lines and harmonies, and it was difficult getting it all to sit. John had a guitar idea from one of the earlier versions which the band really liked, so he put that it in about three-quarters of the way through the build-up. But he wanted something similar to echo that at the start of the build-up. So that's how you got the piano coming in at the start of that build-up. For quite a while, the ending sounded quite messy, but it all came together in the end."”
Bootleg: Multitracks Ripped from the Video Game Rockband Guitar Hero.

1994 - Ian Brown's Home, Lymm/Warrington
Redemption Song (Bob Marley cover)
Notes: Ian & Simon run through Redemption Song, Bob Marley cover version, a few times. Ian Brown plays acoustic guitar and sings whilst Simon Dawson plays the bass & tambourine.
according to 'The Cherub Album' bootleg notes, this was recorded Spring 1994 but I believe it to be later in 1994.
The initial recording was leaked mid 1999 From A Tape Given To A Fan from Mani, during a DJ set.
08 October 2004 Friday 00:00 - The Independent, Andy Gill Interview: "Reni [the Roses' drummer] bought me an acoustic guitar in 1994, and I got the Marley songbook and a blues songbook and started teaching myself. I used to work out the vocal melodies on a little Bontempi organ - that's why they all sound sort of hymn-like, because everything sounded like 'Fight the Good Fight' on this little Bontempi organ!...
Second Coming Rehearsal Sessions aka "93-94 In The Studio" (IAWS I Am Without Shoes / stoneroses.net (Will Odell). "*IAWS discovery - recorded from master - guaranteed lowest generation you'll find...Taken directly from Ian Brown's personal DAT tapes.*" CD Originally Priced: £11.00, Running Time (Approx): 70mins) CD-R - Bootleg: Second Coming Demos Part1 (IAWS) - 1994 - Unconfirmed Location, Studios, Ian Brown & John Squire Session - Your Star Will Shine (setting up) / (take it away john) / (1st run through, Run through with Ian mis-timing) / (take your coat off, it's clicking) / (nah nah) / (losing the melody) / (going backwards) / (from the second verse - lead vocals from John on last few lines.) / (excuses excuses - Ian just can't remember that melody...) / (this is hard work - John begins to get annoyed...) / (yeah! last run through proves successful, nice singing with both of them at the end.) - Good Times (Setting up, then Ian, Mani and Reni start to play. Some great hi-hat work from Reni.) - (Mani and Reni discuss the song.) / (Ian, Mani and Reni go through it again.) / (John joins in…) / (John, Ian and Reni from the chorus, then Mani joins in.) / ("Anyone got any smash?" - Ian and John, then Reni joins, then Mani.) / Funky jam / ("She's My Heroin") / (Pulling it together…) / (Sounding Great) - Redemption Song - cover of Bob Marley (Vocals, Guitar: Ian Brown, Bass: Simon Dawson) (first run through) / (Ian's learning) / (all the way through) / (guitar goes wrong) / (all the way through again) / (bass joins in) / (final redemption)
Bootleg: Second Coming Rehearsal Sessions 93-94 (2000 - Wild Museum. WIN002. Disc Matrix: WIM-002. IFPI L491) (Copy of the above)
Bootleg: Something's Coming (Direct copies of Second Coming Demos Part1 (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -
Bootleg: In The Studio Vol.1 & 2 (Direct copies of Second Coming Demos Part1 (IAWS) & Second Coming Demos Part2 (IAWS)) - 2 CD-R -

April 1994 - Q Magazine announce the new LP title 'Second Coming'

10 April 1994 - Reni's 30th birthday

May 1994 - Gareth Evans issues a multi-million pound writ against the band.
Notes: See 15 March 1995 for the Gareth Evan's Court Case, the issue was eventually settled out of court. No sum was disclosed.
From NME Magazine 07 May 1994: ''THE STONE ROSES are faced with the prospect of another long stint in court next year following the issue of a multi-million pound writ by their former manager Gareth Evans. The band and Evans parted company after their historic legal victory over the Silvertone label. Evans claims he is owed a considerable sum (rumoured to be in the region of £2 million) from several deals, including the band's current contract with Geffen. A court date has been set for March 15, 1995. Both parties remain tight-lipped about the matter. The Roses are understood to be spending the fifth anniversary of the release of their first album putting the final touches to its eagerly awaited follow-up, ‘The Second Coming’. Meanwhile, Evans is currently contemplating a return to band management with new band The Ya Ya's.''

April 1994 - John goes on a cycling holiday to France

Unconfirmed Location, Simon Dawson Sessions, 1994
Untitled / 'Little Wren Overture'
Notes: According to 'The Cherub Album' bootleg notes. Little Wren Overture are several recordings of Reni playing solo in the studio.
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: Which songs had alternate takes, and in what form were these? JL: I can't remember....By 'alternate takes' I mean takes of backing tracks (drums + rhythm guitar) - nothing completed, and nothing meant to be heard. Bottom of the barrel stuff!

1994 - Second Coming Overdubs and Re-Recording Sessions
Daybreak / Tears / Good Times
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: Several of the final vocal and guitar parts used on the album are 'one‑take' run‑throughs — for example the vocal on 'Tears', the backing on 'Daybreak' ("that was done completely live, except the vocal, which we did afterwards") and the main guitar part on 'Good Times'. Indeed, Simon sees 'Good Times' as an excellent example of what they were trying to achieve: "'Good Times' is very live. As I've said, the band don't usually play to clicks or anything, and 'Good Times' is a classic example of a song which speeds up all the way through, without it jarring on you. You never think "Oh, they're speeding up" — the track just seems to grow naturally into that great guitar solo at the end". The 'keep it live' philosophy was even followed to the extent that technically problematic takes could be used in the final mix if the performance was deemed worth it: "Sometimes Ian'd pick up a tambourine when he was singing, and that could cause problems. You can hear it a bit on the beginning of 'Tears', because that was a one‑take vocal which had him with the tambourine and a harmonica all on one track. We happened to capture that one day and we thought it was quite good. There were places like that where we thought, 'oh, we should fix that bit' — but for the sake of the performance, we went with what we had."...

1994 - Second Coming Overdubs and Re-Recording Sessions
Begging You
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: "Other than that, there are a few different loops in there -- 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 P.D. McCauley Interview with Simon Dawson, Regarding the initial Leckie & Schroeder Recordings: '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.

14 May 1994 - Second Coming Overdubs and Re-Recording Sessions
Tightrope / Tears / Daybreak / traight To The Man / Breaking Into Heaven
From P.D. McCauley Interview with Simon Dawson
Regarding the initial Leckie & Schroeder Recordings 'I first asked Simon if he had encountered any problems blending the feel of this older material with the tracks he was laying down: "No, that wasn't a problem at all. In terms of feel, the way the guys had been recording was very live, and that's where I was coming from, so that wasn't difficult. Technically, yeah, it was a bit of a feat getting the crossover at the mixing stage between the intro of 'Breaking Into Heaven' and the actual song -- just getting it to sit." ''As far as the material Paul Schroeder had recorded was concerned, the problems were less acute. Some of what had been recorded was scrapped and re- recorded, and the material which was reused had been recorded originally at Rockfield anyway, so there were fewer technical differences to match up. ''
'Daybreak': “Much of the feel of the new LP derives from the 'live' philosophy. “I think. John also had the idea of using a Hammond on the end of 'Daybreak', to try and create a sort of Doorsy kind of feel. It's all from the original keyboards -- we didn't see a synth the whole time”
'Straight To The Man' “I used a Wurlitzer electric piano on Ian's song, 'Straight to the Man', and there's a bit of it played backwards at the start of 'Tears' -- that was my idea!" ”
'Tears': "Sometimes Ian'd pick up a tambourine when he was singing, and that could cause problems. You can hear it a bit on the beginning of 'Tears', because that was a one-take vocal which had him with the tambourine and a harmonica all on one track. We happened to capture that one day and we thought it was quite good. There were places like that where we thought, 'oh, we should fix that bit' -- but for the sake of the performance, we went with what we had.”
Regarding loops: "Other than that, there are a few different loops in there -- 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."
Regarding using one mic for recording: 'One song, 'Tightrope', was jammed almost entirely around one mic, allowing for no mistakes to be made while recording. Several of the final vocal and guitar parts used on the album are 'one-take' run-throughs -- for example the vocal on 'Tears', the backing on 'Daybreak' ("that was done completely live, except the vocal, which we did afterwards") and the main guitar part on 'Good Times'.”
From: 31 July 2014 Thursday - Paul Schroeder Interview: 18, Were the finished songs on Second Coming always as 'meaty' or did they morph into that over the period of time between albums, or was it ultimately down a result of post production?. How do you think the finished article should have sounded? Post production. My recollection of the way it sounded was a lot more bluesy yet stripped down and funky. The record sounds how they wanted it to sound.
From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris...Some of the strangeness affected the record: for Tears, the ornate rewrite of Stairway To Heaven that propels the album into the home straight, the group were forced to use a Brown guide vocal. “I think Ian said to John, ‘You’d have to wake me up, put a gun against my head and walk me down to the vocal booth for me to sing that,'” says Mani. “He didn’t like the song, and we didn’t have a gun.”
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: When Second Coming eventually, well, came, the $4million question (as far as Geffen were concerned, particularly) was, Is it any good? Well, so-called rock overlords, is it any good? "Yeah," laughs Brown quietly, "We think it's pretty good."
Describe it, as if to an alien. "It's diverse, isn't it? All the bass, drums and main guitar chops were done at the same time. Only the vocals and lead guitar we overdubbed."...
From May 1995 - SOS Sound On Sound website, Article By Matt Bell: Simon Dawson said: The band came to Rockfield with all but two of the numbers that made it onto the final LP already written ('Straight To The Man' and 'Your Star Will Shine' were written while there), and spent hours jamming the material in the studio, usually without click tracks, so that they could change tempo and feel at will. Occasionally (for example, when recording 'Your Star Will Shine', and 'Driving South') they would jam to sampled percussion loops. "Reni's great at drumming to loops — you never get any flamming or anything, because he sort of drums around them. He's got a nice, loose, groovy feel, and it always works really well". In such cases, the band all used headphones to monitor the loop so they could stay in time. "We did try using PA wedges to monitor sounds, but they didn't work — we couldn't get them loud enough for the band without generating feedback, so we stuck to headphones." The results of the lengthy jams were, of course, recorded, as Simon went on to explain: "The whole record started with them jamming live to DATs — in fact, Ian has got a pillowcase full of DATs from those sessions — because they like to capture anything they can get"...What, then, was the strange pinging noise on Ian Brown's song 'Straight To The Man', if not a synth? The answer, it appeared, was a Jew's Harp. "That was quite funny. It was just lying around in the control room the whole time, and I picked it up and started playing it in the control room. Ian went "oh, that sounds good — go in there and put it on. And that was that."

June 1994 - Peter Leake turns down managing the band

June 1994 - Tom Zutaut visits The Stone Roses at Rockfield Studios, Wales
Notes: Geffen label A&R man visits the band. Tom Zutaut, who had been instrumental in the career of Guns N’ Roses, encouraged Squire to continue overloading the album with guitars.
The Rockfield Studio bill was estimated to be over £2 million. The band did not sell enough records to cover the bill, hence the bands multi-million pound contract being worthless.
The band take delivery of a fleet of Ford Fiestas whic they race around the lanes, with the lights off. No accdidents happen this time. From May 1995 - The Spin Magazine "(The truth is that there was one Ford Fiesta, in which Squire had three minor accidents: colliding with a cow, running over a pheasant and crashing into a car driven by veteran hippy guitarist Steve Hillage)"
From 05 December 1994 - The Big Issue:...While the Roses were taking their time and getting it right, a frustrated music press was kept in the dark. Articles speculated about the band’s future. Journalists loitered outside recording studios in hope of some gossip. As Mani says: “The journalists couldn’t find out anything so they made things up.” Like how the band ordered an entire fleet of Ford Fiestas? “Absolute nonsense,” says Ian. “We only bought one.” What about how you raced cars around Welsh country lanes with the headlights turned off? “That’s absolute bollocks!” says Mani, shaking his head. “They also said that the first batch of songs that John wrote for the album were rejected by us because they weren’t quite up to scratch. That’s rubbish.”

26 June 1994 - Mani turns up backstage at Glastonbury Festival, Pilton, Somerset and watches Oasis

September 1994 - Tom Zutaut hears the finished recordings
Notes: The tracks are rough and are still in need of mixing. Tom Zutaut claimed the album’s “best work” came in its final months and said the band would break America, that the material had the “potential to put English rock’n‘roll back on the map.”

September 1994 - Beer Davies, the radio promoters, are invited to Rockfield to hear the new recordings.

September 1994 - Gareth Davies & James Chappell-Gill drive to Wales to hear the new music.
Notes: As well the Geffen staff, apparently, two builders, from Manchester, are invited to hear the new music. The out of work construction workers are camping nearby and visit Rockfield studios. They meet Ian and he invites them in for a preview. Reni & Ian play them four of the unmixed tracks.

September 1994 - Mani played Steve from 'Novocaine' a rough mix of the LP.

September / October 1994 - Second Coming Bill Price Mixing Sessions, Metropolis Studios, Chiswick, London
Notes: According to the band they mixed the record in New York with Bill?
Bill Price mixed the record. Bill was once associated with The Clash, a punk band who were a big influence for the Roses. Bill was known as the man who mixed Sex Pistols' Never Mind The Bollocks LP and The Jesus And Mary Chain.
More recently Bill had mixed, Tom Zutaut's, Guns N’ Roses’ LP's Use Your Illusion I and II.
According to the November 1994 - NME Magazine, Love Spreads and Your Star Will Shine were mixed at: – at New York’s Sterling Studios with engineer George Marino.
From April 1995 - The Guitar Mag Feature: It doesn't end here. Given that the recording sources were so disparate (ranging from a 16-track Fostex machine to a full-blown 48-track setup), given that some tracks were recorded with the full benefit of state-of-the-art studio technology while others were little more than fleshed-out demos (Tightrope, recorded in the Rockfield TV lounge using just a stereo Neumann, being the obvious example) there is a surprising uniformity to the mix on Second Coming and the album has a distinct 'sonic character'. This, Squire claims, is down to Bill Price - most famously, the man who mixed the Sex Pistols' Never Mind The Bollocks. Price provided a completely fresh set of ears and was able to sort the many layers of guitars which Squire had recorded, erased and re-recorded into some sort of order. "I loved Bill's work," says Squire. "With Begging You he was begging us - forgive me! - to let him re-do it another way. He really struggled with it for the album and still thinks he can get even more out of it. I'd like him to do a triple-length version and stick it out as a single actually."
May 1995 - SOS Sound On Sound website, Article By Matt Bell, Simon Dawson said: For the mixing of the album, Simon Dawson handed over the reins to studio veteran Bill Price, best known for his work with the Clash and the Jesus And Mary Chain. Why did he feel he didn't want to do it? "Well, some of the guys wanted me to do it, because that was the natural thing, but I wasn't keen, because I'd spent 14 months in the studio with them and felt really close to it all. I really wanted to stick around, but get someone in with a fresh pair of ears, and see what he came up with." To this end, Simon remained present while Bill worked, even at the final cut. "He was really good. He came in to do a couple to see how he got on, and did 'Ten Storey Love Song'. Everyone was really pleased, so we were happy to let him do it. That took the pressure off me, but in the end, it was still very much a team thing — Bill didn't come in and take over. As I've said, it was quite complicated by that stage, because we'd built everything up using the computer on the desk, and there were so many takes running in the computer that I needed to be around to tell him what was going on — there were mutes that he needed to keep, and EQ settings on some of the loops that were important."...
From 01 March 1995 -'The Face Magazine' Issue 78, March 95: You held the album back when you heard what Primal Scream had done on “Give Out But Don’t Give Up”. Ian: What a load of bollocks. We’re not in competition with them. There was that old one too about us following Primal Scream around the country once. Rubbish. I’ve only ever seen them twice. And then there was that rumour that we wouldn’t do Wogan because he wouldn’t interview us. It’s because we wouldn’t ever go on a shit program like Terry Wogan.
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: Could you have knocked it off in a week? "We probably could have knocked it off in a week," laughs Brown, "but it was a case of having the right heads in the room. We just kept doing it over and over until we captured the right one. See, you have to be able to play and these three can play. Any style." Didn't you ever get bored with the songs? "Never," says Mani, vigourously shaking his large fur Diddyman hat for extra added conviction. "You can never get bored with making music. You'd get bored if you was a fucking hod-carrier on a building site but not when you're doing something you love."...And what of the reviews when the LP was finally released? Often cruel and disappointed? "To be honest," confesses Brown, "I really thought people would be going, Fuck me, they've done it again. Another brilliant LP. When we mixed it in New York, I thought, they'll hear this and just go, Wow, 10 out of 10. And I was a little surprised when I read the reactions. I thought, maybe they're writing this because we're not talking to them."
1995 Simon Dawson said: I know that Bill [Price, who was called in to mix the album] used quite a lot of Lexicon 480 in the mixes — he had two of them, because we moved on to Metropolis Studios in London for the mixing, and we didn't have chambers there."...
From 1998 - Top Of The Pops Q&A: Robin Jerzy asks: "Do you regret the way "The Second Coming" turned out?" Ian Brown: "I'd like to hear a remixed version with a few less guitars. But I have no regrets."

October 1994 - Steve Atherton & the band fly to L.A. and play Geffen the master tapes.
Notes: Love Spreads, Ten Storey Love Song & Driving South are outlined for upcoming single releases.

October 1994 - They return and are penned in to discuss the new single 'Love Spreads' with Hall Or Nothing, British publicists and promoters. The band do not appear at the meeting.
Notes: Beer Davies are no longer promoting the bands releases, Geffen take control of PR.
From October 1994 - NME Magazine Article: ...the band are unhappy with the ‘Love Spreads’ campaign. Guitarist John Squire, responsible for all the Roses’ artwork, has decided to re-do the sleeve and ordered his record company to pull all advertising...

November 1994 - Steve Atherton goes to Rockfield, to collect the left over reels and tapes from the studio sessions.
Notes: Unconfirmed if this was authroised by the band. Ian apparently holds the tapes from that era now.
From Autumn 2001 Mojo Collections Number 04: “We’d go off on a tangent,” says Simon Dawson, “down another route, and go, ‘OK. That’s cool. Now let’s get back to where we were’ [laughs]. Some of that stuff ended up as B-sides. And Reni, especially, would go right out there — kind of in a club direction, which wasn’t really right for that album. That stuff all got put on to DAT, and when we finished the album Ian took all those tapes away in this pillowcase.”

November 1994 - MCA Geffen Photo Shoot
Notes: The photo shoot included the band wearing life jackets. The band looked very tired during the shoot.

07 November 1994 Monday- Love Spreads is debuted on BBC Radio 1's Evening Session

16 November 1994 - Mani's 32nd birthday

M - 19 November 1994 - Ian Brown (The Stone Roses) features on the cover of NME (New Musical Express) Magazine
Notes: Front page headline read 'Resurrection Kerfuffle! Where the hell have The Stone Roses been?'. The NME priced at 75p.

21 November 1994 - Love Spreads U.K. Release Date
Love Spreads - Written by John Squire. Tambourine by Nick.
Breakout - Keyboards - Simon Dawson.
Label: Geffen Records
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number: GFS 84
Format: Cassette. Catalog Number: GFSC 84
Love Spreads
Your Star Will Shine
Format: 12inch Vinyl. Catalog Number: GFST 84
Love Spreads
Your Star Will Shine
Breakout
Groove Harder
Format: CD. Catalog Number: GFSTD 84
Love Spreads
Your Star Will Shine
Breakout
Format: Promo CD. Catalog Number:
Love Spreads (Edit) 4:58
Notes: The bands first new material for four years.
John Squire designed the "Love Spreads" cover, using a photograph of one of the four stone cherubs on the Newport Bridge in Newport, South Wales. The cherubs on the bridge are modelled after Newport's coat of arms, which contains a cherub with winged sea lions. Peaked At Number 02 In The U.K. Charts. Bobby Gillespie of Primal Scream hailed the song "as the greatest comeback single ever."
Love Spreads Video
There was two videos produced. The first incorporates home movie footage shot between 1992 and 1994, as well as Mani in a devil outfit and Reni in a chicken suit. The video also includes hidden images.
The second video was produced for the U.S market. The video featured the band playing in front of an oilrig and digging for gold.
From Simon Spence's Book 'War & Peace': Brown and Reni didn’t want to do any photographs or videos for their comeback with the album Second Coming. Squire would use various clips from the footage he’d taken on his Super 8 camera over the years to make a video for lead single, Love Spreads. It featured Brown, Squire and Mani in death, chicken and devil costumes. It was easily the band’s best video to date – but another disaster as it was deemed so low-fi as unfit for purpose by their new label Geffen.'' The video was directed by Mike Clark and the band.
From December 1994 - Stone Roses Special, Melody Maker Magazine - John Robb experiences the full force of Roses mania first hand in Manchester:
It's 11:30 on Sunday night, Manchester's Market Square sees two long queues snaking in opposite directions from the city centre HMV and Virgin shops. About 300 pop kids are in each queue, some have been here since 6.00pm, they are waiting for just after midnight and the doors to open to be the first on the block to get The Stone Roses' long-awaited new album.
Virgin have got 100 exclusive T-shirts and signed posters, HMV report sales of 250 CDs and 35 people outside their door on the following morning at 7.00am waiting for the album.
On Monday morning, the exclusive T-shirt is all over town on the backs of skinny pop fans who have their ears glued to Walkmans. "Big Issue" sellers are selling heaps of the "world exclusive" interview and Manchester's cool indie shop Piccadilly has 20 John Squire signed copies of the album ready to raffle.
From April 1995 - The Guitar Mag Feature: Reni: "John's very meticulous but at the same time he'll pile guitars onto a track like Groove Harder (the b-side of the Love Spreads 12") and it's a mess but it's one of the most exciting things we've ever done because it has atmosphere. All the best stuff we do comes when we capture the atmosphere and experiment, take risks...

November 1994 - Love Spreads Europe Release Date
Notes: Peaked in the top twenty in the Swedish Charts.

24 November 1994 - John Squire's 32nd birthday

29 November 1994 - Good Times Chop Em Out CD-R Promo
Chop Em Out Trinity Mews, London, W10 6JA.
Good Times 5:40 (29-11-94)
Notes: Chop Em Out usually produced masters for singles, edits and albums too. There is also Ten Storey Love Song Chope Em Out CD-Rs in circulation too.

M - 05 December 1994 - The Big Issue Magazine The Stone Roses interview Issue
Notes: Reni missed the interview as he had family commitments. Gary Crossing conducted the interview and wrote the article. The Interview took place in West London (at the press agents office).
Pennie Smith photos were used for the article.
After the exclusive interview for Big Issue was published, the interview article was auctioned at their request to the press around the world. The contract money exchanged for its publishing rights, in line with the magazine's original purpose, was handed over to The Big Issue for the reintegration of homeless people. The Interview was later used by Melody Maker newspaper & in Japan, February 1995, Crossbeat Magazine magazine published the full interview.
There was three seperate style covers issued throughout the country. Including the 09-22 December 1994 Issue. Each version of the magazine featured a slightly different version of the article. Each version has been edited differently, even the Crossbeat Magazine was slightly different too.
See Media for the matrix of the different issues to make a 'near complete' edition.
From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: Why didn't you talk to the press? Were you attempting to create further mystique by only granting an audience with The Big Issue? "No," Brown says with a don't-be-daft gimace. "I was lying on me bed one night in the hotel in London reading The Big Issue and I thought, We should be in this. Then I went to the studio and Pennie Smith, the photographer, said, The Big Issue called and they want to do a feature with you. I was like, Oh, that's a coincidence. So we did it. I thought people would think, Right, sound, nice one. But they just got upset because we hadn't spoken to their paper. We never said, We're never going to talk. We weren't scamming it. It was just something more than getting your nipples out to make yourself bigger."...
From February 1998 - Uncut magazine Ian Brown interview: At this time, it seemed as though the knives were out for you in the music press; perhaps rooted in your decision to give the comeback interview to The Big Issue… “The press were upset. We got letters. But we wanted to use our position to make dough for the homeless.”
From 04 March 1995 - NME (New Musical Express) Magazine: Later we discuss their equally eccentric and, to be fair, rather altruistic decision to ignore the pleadings and pantings of the British media (yes, including NME) and give their first comeback interview to homeless charity mag The Big Issue. John shrugs: "We heard a rumour that we were supposed to be doing it and we thought, 'Yeah, that sounds like a good idea'. There was no big Help The Homeless pow-wow or anything."
There is the argument that you could have given a donation privately, like Wham! did around the time of Live Aid.
"We could have done," says Mani, "but I ain't a millionaire with a ten-bedroomed house... I'd rather big corporations would have dipped in and put five grand in to run the place. Be seen to be helping somebody out. All those people you see in shop doorways when you're on your way to work every day. Give them a break."...

05 December 1994 - Second Coming U.K. Release Date
All songs written by John Squire, except
Daybreak written by Ian Brown, John Squire, Gary Mounfield, Alan Wren,
Begging You written by John Squire & Ian Brown
Straight To The Man written by Ian Brown.
Breaking Into Heaven, Driving South, Straight To The Man, Good Times - Produced and engineered by Paul Schroeder and Simon Dawson. Simon Dawson plays harp on Straight To The Man.
Breaking Into Heaven intro recorded by John Leckie. Assistant Engineer: Nick Brine.
Ten Storey Love Song, Begging You, How Do You Sleep - Produced by Paul Schroeder and Simon Dawson. Partly recorded by John Leckie. Programming on Begging You by Brian Pugsley.
Daybreak - Produced by Simon Dawson. Initital recording by Mark Tolle and Al 'Bongo' Shaw. Keyboards by Simon Dawson.
Tightrope - Produced by Simon Dawson. Initital recording by Mark Tolle and Al 'Bongo' Shaw. Vocals by Ian, Reni, John. Keyboards, Castanets and Jaw's harp: Simon Dawson. Harmonica: Ian. Percussion: Reni.
Your Star Will Shine, Love Spreads - Produced and engineered by Simon Dawson.
Tears - Produced by Paul Schroeder and Simon Dawson. Initital recording by Mark Tolle and Al 'Bongo' Shaw.
Love Spreads - Nick plays Tambourine.
Mixed by Bill Price in (ou)R Sound. Mastered by George Marino at Sterling Sound, New York, NY. Dedicated to Phillip Hall
Label: Geffen Records
Artwork: 'Collage' John Squire. Art design and direction: Kevin Reegan. Artists and repertoire: Tom Zutaut with Susanne Filkins.
Format: Double Vinyl. Catalog Number: GEF-24503
Matrix Side A: GEF-24503-A -01-1- 1-
Matrix Side B: GEF-24503-A -01-1- 1-
Matrix Side C: GEF-24503-C -0XX 2-1-1 (The 'XX' covers up number '1')
Matrix Side D: GEF-24503-D -01-1- 1-
Format: Cassette. Catalog Number:
Format: CD. Catalog Number:
Breaking Into Heaven
Driving South
Ten Storey Love Song
Daybreak
Your Star Will Shine
Straight To The Man
Begging You
Tightrope
Good Times
Tears
How Do You Sleep
Love Spreads
90/Hidden Track - The Fozz
Notes: Reached number four in the U.K. charts.
Ian is only credited to co-writing Daybreak, Straight To The Man and Begging You in the sleeve notes.
Breaking Into Heaven's intro was used as the intro tape for most of the Second Coming shows. The Breaking Into Heaven intro is sometimes noted on bootlegs as 'Peace & Harmony'.
The sound in the outro of Driving South is a mobile phone dialling D850 556.
26 April 1997 Saturday - NME Magazine (New Musical Express): John said: “What? D’ you think that’s my new direction? No, see people never understood than even when I was writing stuff like ‘Driving South’, I was takin’ the piss. It was never meant to be a chest-thumping blues tune, it was a joke. Ring a toll-free number for the devil – it’s got to be a joke, hasn’t it?”
Ten Storey Love Song dates back to 1992.
Daybreak's lyrics are an homage to the Rosa Parks and black culture springing from the Civil Rights movement in the US in the 60's (Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama, to a white passenger, which in turn inspired Martin Luther King to initiate the bus boycott...thus , Ms. Parks was the "daybreak" of the Civil Rights Movement). Consider: "Sister Rosalee Parks / Love forever her name in your hearts" ; "So, why no stack for black on the radio station in this the city? Been going on so long - I'm level on the line, I'm a leaf on the vine of time."
Your Star Will Shine uses Nashville tuning.
Love Spreads drops the bass and guitar's bottom string to D.
The Fozz is a hidden track. Between track 12 and 90 there is 78 silent tracks. The Fozz was apparently a play on the words Folk and Jazz. The Fozz was used as the outro tape for several of the Second Coming shows. Reni played piano on The Foz.
Promo posters indicated the band's website 'http://www.musicbcase.co.uk/music/sroses/'
See the 1995 Media section for February 1995 - Select Magazine which includes reviews from A Guy Called Gerald, Liam Howlett from The Prodigy, Tricky, The Fall's Simon Wolstencroft and Craig Scanlon, Mark Radcliffe, Ant & Dec, Luke Haines of The Auteurs, Silvertone's Andrew Lauder and Anthony H Wilson.
From Autumn 2001 Mojo Collections Number 04: The album’s title, Second Coming, came from Squire; Simon Dawson says the title was in place by the time the Rockfield sessions took place.
From 06 March 2009 - Uncut Magazine Interview with Ian Brown: Did you ever feel that bringing out ‘Second Coming’ was going to be as challenging as it actually was, with Britpop and how the music landscape had changed a wee bit? No, at the time I thought it was great, and we were great and we were going to smash it. When I look back now I think we lost… I’ve got this thing. A lot of bands have got rock but they’ve got no roll. And I think what separated us from other bands in ‘89 is that roll. We had a groove. Other bands didn’t have that groove. I think a lot of other bands jumped on that and, as well as taking the gang mentality that we had, they tried to have a groove. But, when I look on ‘Second Coming’ now, there’s only a couple of tunes in the groove and it’s mostly just rock. Just boring, I understand now. We should have taken it all back to basics again, whereas we turned into dinosaurs. So… I understand now. The freshness wasn’t there, you know. It was dark. The first album’s great because it was all light. And we changed the second album because we’d made the light, to make one that sounded dark. But, I wish we’d had stayed in the light.
If you could go back and do anything differently would that be the main thing, or is there anything else you would add? If I went back, and did anything differently, I wouldn’t have sung Squire’s songs for him.''
You wouldn’t have what? I wouldn’t have sung the songs that John had written. He took my fun off me there. My fun was doing the lyrics and the melody. Then it’d come to this bad time. He’d come to the recording sessions - he’d come in and he was writing songs on his own. He didn’t want to work with no one; he didn’t want to work with me. He had to do it on his own and I figured at that time it’s just something… he’s just got a bee in his bonnet and he needs to get it out. And we’ve got a contract for another three albums, so just let him get on with it and, you know, I’ll back him up.
Did you discuss that openly with him or was it just a case of, like, let him knock on? Um, yeah he knew that I wasn’t happy that we weren’t writing songs together like we used to. And I think I’ve read interviews since where he says he now realises the strength of our partnership. But he didn’t realise it at that time.
From 01 March 1995 -'The Face Magazine' Issue 78, March 95:
Regarding the songwriting credits, Reni said: “Your name only goes into the brackets if you come up with the chord structure or the lyrics,” Reni will add later. “That might seem unfair to me, because I’m just the drummer and backing singer. But if the initial idea is good, then it deserves getting paid. It’s all about the guts to come up with a concept, put it down and then push it out there; say, ‘Here it is; what do you think of that?’ That takes real guts.”
So what would you like to redo on the album now?
Ian: I’d redo the vocals on “Driving South”. Do it stronger.
Mani: I’d change the bass line to “How Do You Sleep”.
Reni: I’d want to change half the drums!
John: What did the other three say? Oh, I didn’t know any of that. I think I’d darken the album sleeve.
So what’s John like then?
Mani: He’s a real lone wolf I don’t know where the kid gets his juice from but it’s a joy to be in the room with him when he gets in the swing.
Reni: It wouldn’t be right to just say he’s the craftsman. He’s really meticulous, but then he puts those messy guitars lines over everything.
Ian: He’s different. The kid’s a fucking artist, that’s all there is to it.
John: What did they all say? They probably said I’m miserable, capricious and inscrutable, didn’t they?
From May 1995 - Spin Magazine: Elsewhere on the album, “Daybreak” is an anti-Eurocentric homage to Africa as the cradle of human civilization. And Second Coming’s catchiest tune is “How Do You Sleep,” a jaunty vial of vitriol targeted, says Squire, at “the people who make decisions that are guaranteed to cost lives, like sending troops into battle.”... It’s Squire’s cynical streak that gives the Roses their edge. “On the first album, if ever a lyric was getting too slushy I’d give it a sick twist. I didn’t have to try for this one.” He cites the devotional ballad “Your Star Will Shine,” an idyllic reverie about watching his daughter sleep whose last lines catch you off-guard: “Your distant sun / Will shine like the gun / That’s trained right between your Daddy’s eyes.”

From 13 May 1995 - Melody Maker Magazine, Review and Interview by Dave Simpson: Is Second Coming in fact the diary of a crack-up?
MANI: "There is a lot of nihilism, yeah."
I'm thinking of songs such as Good Times, Tears, in particular: "Trapped in a maze of my own making/I'm going down…"
JOHN (quietly): "I had a bad day when I wrote Tears."
Would you like to tell us about it? IAN: "I think Tears is positive, me. Double positive."
ROBBIE: "When I heard it, I thought it was the best tune on the album. That's what captured me."
MANI (unprompted): "Good Times is just a focus on what's happenin'. Everyone's on smack. F***in' up."
Mani you said recently that 14 of your friends had died in the last year because of heroin. Is that true? MANI: "Not any more. It's 15 now. Another one went last week -methadone. It's a scourge, man. A f***in' waste."
Why do people get into it? MANI: "Cos they've got f*** all to do, man. They've got 24 hours a day to kill, man."
(I can't help wondering if these remarks are aimed at anyone in particular.)...
John, there were reports in a US tabloid that you'd had a serious problem with cocaine during the making of Second Coming. Correct? (Mani and Ian shuffle uneasily in their chairs.)
JOHN (staring at the table): "Yeah. I did too much."
How serious was the problem? (Cue distracting noises from Ian and Robbie.)
JOHN: "It made me anti-social."
I took Tears to be about that. ("Somebody throw me a line/I need it, need it bad…")
JOHN: "No, I never thought about it like that."
IAN: "I sung it. Never went through me head."
JOHN: "Tears is a love song."
ROBBIE: "Every song's got a million meanings, man. You make your own mind up."...
"How Do You Sleep" (on Second Coming) is arguably the finest song the Stone Roses have ever recorded. It's also the most vitriolic. Was it written about the Roses ex-manager Gareth Evans, who John described to me earlier today as "a two-bit hustler who got caught with his hand in the till"?
JOHN: "Could be."
IAN: "It could also be about Pol Pot or Papa Doc. I had a great uncle who was 24 when he was killed in the battle of the Somme. I went to see his grave and I just had the sickest, most shocking feelings about it. That's what the song means to me."
The song seems to be directed at somebody in particular. A general perhaps?
JOHN: "Maybe. It's not about Gareth Evans. I could tell you what it's about, but there's a theme developing during the interview whereby you ask us what a song is about and you get a lot of guarded answers. That's something we're gonna maintain until question 97."
From: 31 July 2014 Thursday - Paul Schroeder Interview: 13, What did you think when Second Coming wasn't received as well as people expected it to be, and in particular to the NME's reaction? It was always going to be slated. We all expected it. The fans bought it though. You have to remember that the first album has this glow about it that cannot be and should not be recreated. You cannot compete with it so we didn't. We made a record we wanted to make. And they will do the same with their next.
From February 1998 - Uncut magazine Ian Brown interview: Another decision that backfired was giving reviewers copies of Second Coming on the day of release. “Maybe we were naïve, but we just wanted kids to have the same chance as a journalist. We weren’t worried what the press would think. I seriously thought it was a great album, I didn’t expect a bad review. One journalist wrote that it was crap; six months later, he told me it was his LP of the year.”
May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Mani: A lot of people got the wrong end of the stick with The Second Coming. They wanted nice pop songs. We were more like, 'Hey let's show them what we can really do'. There's so much information there. Five years of inactivity just spewing on to the tapes. We were pre-pubescent on the first LP but we came back with hairs round our knackers, man. We'd learned how to play some.
Tony Wilson said: Musicians are wonderful people, but taking four-and-a half years must drive you crazy. Some groups take five years, some take five days. I can't keep the Durutti Column in the studio for more than three days. Vini Reilly works exactly the opposite way to the Roses. For the first Durutti Column album we booked Cargo for three days and on the second day Vini went home and that was it. But I thought the first Roses album was wonderful and if the follow-up takes as long that seems to me to be entirely logical. I think it's fabulous that they're taking this amount Of time. God bless them. If they'd been on Factory I would have done exactly the same. New Order took four-and-a half years between Technique and Republic. That's life, isn't it? Great bands are great bands. I don't think the Roses have lost it; that's their way.
Nathan McGough (ex-Happy Mondays manager), regarding the time it took the band to record the Second Coming, said: "They can afford it, 'cos they got a million pounds off Geffen!"
Moby said: But the Roses have lost the inertia. Four- and-a-half years does seem on excessively tong time to finish 12 songs. For their sake I hope it doesn't drive them crazy. Ifs really difficult to create something when there's so much expectation, but they run the risk of their public getting very pissed off."
From May 1995 - Spin Magazine: "Begging", says Brown, evokes "sitting in a club, everything's beautiful, you're E'd up, and then some baby-gangster comes up and starts talking in your ear about how they can get you a gun or an ounce of this-or-that."
May 1995 - The Spin Magazine: (on Love Spreads) According to Squire, the song's premise is "why should God be a white man with a beard?"...Reni probably speaks for the band when he says that his vision of utopia is "the weak people everywhere running government". And "Second Coming"'s catchiest tune is "How Do You Sleep?", a jaunty vial of vitriol targetted, says Squire, at "the people who make decisions that are guaranteed to cost lives, like sending troops into battle."...Squire describes the album as an exercise in "neo-classical homo-erotic eclecticism"..."I wanted the first album to be harder, we sound kind of neutered. But can't you hear the second album trying to get out of the first one? The second half of 'Resurrection', that's the aggression coming out."...One minute he's explaining how "Love Spreads" was inspired by Rosalind Miles' The Women's History of the World, an elegy for the lost utopia that existed before patriarchy; the next he'll talk about watching Apocalypse Now for the 15th time"..."On the first album, if ever a lyric was getting too slushy I'd give it a sick twist. I didn't have to try for this one."...He cites the devotional ballad "Your Star Will Shine", an idyllic reverie about watching his daughter sleep, whose last lines catch you off guard: "your distant sun/will shine like the gun/that's trained right between your Daddy's eyes." The jolting image comes from guilt-pangs inspired by the premonition that he wasn't going to be the perfect dad, that rock'n'roll was gonna drag him away from his family.
26 April 1997 Saturday - NME Magazine (New Musical Express): John said: Were you serious when you wrote things like “The messiah is my sister”, then?
“Yeah, that was serious. In the sense that why can’t Christ have been a black woman? I’ve always been against organised religion.”...
From April 1995 - The Guitar Mag Feature: John Squire said: "It's not an original album but I witnessed all the influences that went into its making so I would think that, wouldn't I? I'd been listening to a lot of old blues stuff and to honest I found it difficult to accommodate those blues motifs and structures into our songs. I went back to the Beach Boys pop thing of simple three chord structures and tried to update it. That's why (the Jesus and Mary Chain's) Psychocandy was so incredible when it came out, that it could be so modern and powerful yet doff its cap to Brian Wilson and Phil Spector. I went and mixed up those three chords with the blues and now I think I'm giving those three chords a run for their money."..."I was beginning to think I was sad, listening to back catalogue until Beck came along. There was a lot of Buddy Guy, Muddy Waters and Zeppelin played - which is what everyone's been saying the album sounds like, in fact - but I've also got round to listening to a lot of The Byrds, which is what everyone thought the first album sounded like! The bands that really turned me on when I started out were The Byrds, the Beach Boys, The Beatles, The Stones, Hendrix, all the usual stuff. But lately I've been listening to things like Beck's Mellow Gold. I love the sounds and the story telling."..."It got to the point where it wasn't really a question of doing it when we felt like it anymore," says Squire. "The agenda was speeded up, we HAD to write songs. Originally I thought of doing a whole side of the album with a theme to it, songs and all, I imagined something like the second side of Abbey Road. The way that Ten Storey Love Song flows into Daybreak is about as close to that as I got."
With the writing impasse solved by Squire alone taking over, the songs began (as did The Who under Pete Townshend's aegis) to adopt the guitarist's personal spin on life. "There's a lot of raw nerves on the album. I don't really understand why I do that. There's something embarrassing about the need to go through with public analysis. Some songs take on a life of their own, though, by which time it's too late to lose the original sentiment. It becomes part of it, so you go with it instead of rewriting the lyrics. Tears was like that."..."My favourite track on the album at the moment is 'Tightrope'," reveals Squire. "That was an acoustic jam made in the TV lounge of the place where we were staying. The vocals are Ian, Reni and me and it was like, 'Okay, have we got it all worked out? Yes? Okay, let's roll it right now!' It's first take with some bass and drum overdubs, I really enjoyed the simplicity of that track, maybe that's why I like it so much compared to the rest - it was the least painful to make."..."I love Daybreak because it's a jam," says Brown, "but also because they used a section of it on Ski Sunday - with all the compression they use on TV it sounded great! Mind you, it was pretty weird hearing this chillin' circuit jam set against pictures of these apres ski bimbos."..."Daybreak just happened, perfect from the beginning. We recorded it on a 16-track, Ian sang over it and it was pure, man. Ten minutes flat it was done."
12 / 13 February 1998 - Kirsten Borchardt Ian Brown Interview: Was it an awkward feeling to sing his lyrics after you didn't participate in the songwriting for 2nd Coming? "There's a line there where I sing 'I'll find a soul I can trust' where he wrote 'I can't find a soul I can trust', so I changed all his negatives to positives. I wrote the chorus to Good Times, changing his negatives to positives, but I never claimed a credit for that. We just put Squire in the brackets because I don't want Brown/Squire if I've only done one sentence or if I've only done the odd word. So any of his lyrics I couldn't sing - I just changed his negatives into positives."
And he didn't disagree? "Well, he couldn't force me. I mean, one time he's moaning about something, and I'd go, you go and sing it then. So there's no reply. I go on and sing it. - No, I liked the lyrics that he'd done. And those I didn't like I changed them but I never claimed credit for it."
John never sang on any record - except on Tightrope? "Very faded, far away in the background he's in there. Which at the time I thought was like - when I've seen him - this is why he's doing it, to put 'vocals: Ian, John and Reni on Tightrope', and you can't even hear him."..,.

From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? (March 1995) by Adrian Deevoy: John Squire wrote just about all the songs, tunes, words, everything. Couldn't anyone else be bothered? "It wasn't that," says Brown. "Last time me and John both did the lyrics and both did the melodies. But this time John had written a couple himself and when I listened to them they didn't need anything adding and he was on a roll, so he kept going."
Do you think his lyrics are up to much? "Yeah, I like them," Brown offers defensively, "I'm happy singing them."
Are the lyrics ("I'm on the sidewalk, baby", "Hell have no fury like a woman scorned" deliberately corny? "Never noticed that," sniffs Brown, clamming up for the first time as he used to in early interviews, preferring to let his beautiful eyes do the talking.
There's still a lot of biblical imagery in the lyrics. What's that all about then? "Well, I read The Bible, me," he squints inscrutably. "I read The Koran as well. I'm a believer. They're powerful. I've been to the Coliseum and I went to the place where the Roman emperors sat and you get a feeling off that. And the steps that the Catholics stole, The Holy Steps. They took them during The Crusades. I'm interested in all that and when you write lyrics it's going to permeate through."
And as regards the overall sound of Second Coming, can we use the words Led and Zeppelin? "We've had that in a lot of reviews," Mani says with a dismissive flick of ash. "Maybe it's because there's raucous guitars and then it's pretty funky on the undercarriage. People have always got to look for you sounding like someone else. I don't think we sound like Led Zeppelin. We sound like us."
"But we saw this black-and-white film of Led Zeppelin from 1969," interjects Brown, "and we'd always been dead against Led Zeppelin. Especially because of me uncle and that."
Eh? "He used to force them on us. I thought they were rock dinosaurs. Didn't want to know. Then we saw this clip of them off Danish telly and it was fucking so powerful. And we thought, Right, they've got something there."
But a lot of the actual riffs on Second Coming will sound very familiar to even the most casual student of Led Zep (to give them their full title). "We got a box of all the old Chress records during the recording too," Brown changes tack. "John Lee Hooker, and all them. I think maybe that came through more than Led Zeppelin, although John and Reni are right into Led Zeppelin now. John loves them."
Would it be fair to say that the LP sounds like a record made by dopeheads? Did you smoke a lot of dope whilst you were making it? "I did, yeah," nods Brown. "Loads. That's why I stopped. I'd smoked too much and it'd turned me head to mush. When you're in a studio and you just smoke it all day and all night, you get a false idea of what you're doing. You get hyper-critical and you never get to the end of it."
03 January 1998 - NME Magazine: Ian Brown: So if you thought the band should have split in ’93, how do you feel about ‘Second Coming’ now?
“Now when I hear it, I think it’s a good LP, a good ROCK LP, but it’s not the sort of thing I would play for my own pleasure. Though I’d like to hear it remixed with just bass and drums and one or two guitars on there, I think that would make it a much better record, much looser. What annoys me is the fact that it was reviewed and it’s all ‘noodles, noodles, noodles’ – this is what we were saying when we recorded it! And now a year later he’ll come and say there’s a bit too much on there, I put too much on. It’s like, I knew that at the time, we should have kept it simple. For him to turn round and say that now is just shit. I should have been firmer, I should have put my foot down. I was fighting on my own in the end, Mani’s met a girl in Monmouth and Reni’s washed his hands, he knows he’s not feeling welcome. It’s just me, fighting. I can see the way it’s going. John’s written the songs, he’s the company man, let’s make this an American rock thing… It was sad to see the Roses go along with the record company. We were never about that, we were always about being free to do our own thing. We never wanted the Roses to be a band where some fat guy’s giving you a schedule, but he became prepared to do that, and that was the end for me then.”

16 January 1995 - Second Coming U.S. Release Date
1994 - Second Coming Asian Release Date
CD GED-24503. 13 Track CD (does not include the silent tracks), Disc Matrix: NK942. Barcode: 7 20642 45032 1 . BMG. Looks like a Made In U.S. for Asian market, unconfirmed.

December 1994 - Photo Session
Notes: Reni did not attend. The 'Clown' mask replaces him.
Notes: From 01 March 1995 - Ian Brown appears on the cover of 'The Face Magazine' Issue 78, March 95: The Stone Roses’ alter ego – the homespun, let’s-make-do mob – has just kicked in. Pennie Smith, the band’s on-the-road, in-house lens-woman, is not remotely fazed by the scenario. “You just don’t often get all four of them together in one place at the moment,” she says. “You have to make do. There’s one press shot I did of the four of them before Christmas with Reni wearing a Mickey Mouse mask. Except it’s not Reni. We just dragged someone else into the shot. No one knew that time.”

16 December 1994 - Second Coming Japanese Release Date
CD MVCG-146 (GEFD-24503) notes '94.12.16' & '94.12.5' & '96.12.15' Priced at Y2,500. Made In Japan, Matrix: MVCG-146-1-2D 1 1 V IFPI L231
Notes:
CD MVCG-13012, Made In Japan, Priced at Y1,300 Yen.

M - 17 December 1994 - The Stone Roses appear on the cover of Melody Maker Magazine
Notes: "Welcome To The Resurrection". The Stone Roses are interviewed too.