M = Media
N = News
RS = Radio Session
TV = Television Appearance
John Squire = Release

1998 - Reni forms Hunkpapa with Peter Garner.
Notes: They rehearsed together in Reni's attic studio. They never play live.
From April 1995 - The Guitar Mag Feature: Reni said: "Possibly. Personally, I'm sick of underachieving. I've written my own stuff, my problem is finishing it. The last few years I've been learning the guitar; I'm a very basic strummer but I just can't help writing songs. In fact my drumming suffered 'cause I was always working on songs on my 4-track at home. I've got a keyboard and a guitar and you can play those at home whereas you can't play drums - at least not where I live 'cause it would annoy the neighbours. I've been working on some Gang Starr loops that I've put stuff over that sound great. I could develop those ideas. If it takes us this long to record another album I'll have my solo LP out first."
1998 - Hot Press, Interview by Stuart Bailie, in a bar in Chorlton: He brightens up when you mention his old mate Reni, and the singer recalls visiting him recently for a jamming session. Reni was behind his drum kit for seven hours, non-stop, utterly into it. The drummer is writing his own songs and playing guitar. He’s also teaching a young kid how to play the drums, consciously passing the mantle on. Ian approves of that kind of discipline.

The Rub - 13 July 1998 - Home Recording Sessions, Attic Studio, Reni's Home, Hulme
Hold It Together / Dawn / Savvy
Notes: The Rub, a name taken from Shakespeare’s Hamlet “To be or not to be” soliloquy. Reni played all the instruments on the above demos.
Formed from jamming session with Peter Garner, Reni recruited more members for the jam sessions.
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: You said that all the compositions were original Reni songs. How were these introduced to the rest of the band? Was there any element of jamming in rehearsals? I was given a few minidisks with Reni’s demos of the songs that were already written when I first joined. I loved those demo’s they weren’t great recordings but the vocal harmonies, the drums, bass and guitars were all there. They reminded me of an old favourite album of mine when I was younger. Klark Kent, which was Stewart Copelands first solo album. It just had a certain sound and energy that was hugely pleasing. Yeah jamming was always allowed and encouraged, even parts of the gigs were jams, but at the end of the day Reni knew what he wanted to hear, for me that was a metronomic backbeat with offbeat bass drum, flams and triplets. The demos of those songs that I’ve heard show a real depth of quality. It’s a real shame these songs have never seen finished studio results, would you agree? I would have loved to have had them properly recorded, a real shame indeed. For me, those demos that you’ve listened to are the basic early conceptions that Reni made himself, but there were better recordings later on made at rehearsal when the band were in full swing, but I’ve no idea if they still exist.
Bootleg: Early Demo (demos 13.7.98, Vocals and all instruments by Reni) - Hold It Together / Dawn / Savvy

The Rub - 1998 - The Rub are formed by Alan 'Reni' Wren
Notes: Ex-Happy Mondays Lee Mullen formed The Rub with Reni. Lee would later leave and be replaced by Mik Grant. Lee would later play and go on tour with George Michael. Former Roses bassist, Pete Garner, was in the band for a while too.

The Rub
Reni - Vocals & Guitar
Lee Mullen - Percussion

10 April 1999 - Reni's 35th birthday

The Rub - 1999 - Rehearsals, Attic Studio, Reni's Home, Hulme
Soul Fool / Shut Up and Play / Interloper / Wild Strawberry / Wild Strawberry (Instrumental) / Savvy (Instrumental)
Notes:
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Where were rehearsals held? We rehearsed in Reni’s attic, after a week or so I had a set of keys to his house. I’d arrive about 8am every day, have a coffee, some stretching exercises, I’d get on the kit and play the Immigrant Song at full pelt nonstop for 60 minutes, stop, stretch a little then do another 60 minutes playing Paranoid by Black Sabbath. Tom would then turn up and we’d go through the songs. Reni would the join in later on when he finished doing the normal family things, school runs etc and I’d leave about 8 or 9 in the evening. Go home, eat, sleep repeat. This went on for months until Reni and his family could take no more, so we moved into my old rehearsal room at Apocalypse in Radcliffe, then eventually a room in Salford above a gym. Did you know the historical significance of playing on Reni’s old drum kit? You played on the famous paint splattered floor tom. Was the rest of the kit the same one that he played on The Second Coming album? How could I not, as a drummer I’m aware of who played on what over the years, but for the general masses there are few kits that are as instantly recognisable. The rest of the kit was a mix of pearl and Yamaha drums. I don’t know if that’s what was used on The Second Coming though.
2000 - Manchester Uni Paper, Ian Brown Interview: What relationship do you have with the others now? "I'm still good friends with Reni. I don't see Mani and I don't see John. I've heard a few tracks of Reni's, what I've heard's fucking knockout yeah. He's playing guitar and singing, he's got a nice tight set up there"
Bootleg: Rehearsals and Demos - The Gulf (snippet 1) / The Gulf (snippet 2) / Soul Fool (snippet) / Shut Up & Play (Snippet) / Interloper / Wild Strawberry (Instrumental) / Savvy (Instrumental) / Soul Fool / Collider / Savvy / Median Modes / Interloper

21 October 1999 - NME.com Article regarding Aziz Ibrahim recording with Reni
Notes: Reni's back, at last! From nme.com: Reni recently recorded a drum loop for ex-Stone Roses guitarist Aziz Ibrahim, now in his own band with ex-Smiths Mike Joyce and Andy Rourke. The loop appears on a new Ibrahim track, 'Mummy's Boy', which is being tipped as a possible single release. Ibrahim, Joyce and Rourke - who now go under the name Aziz - are on the verge of clinching a major record deal with releases expected next year.

21 October 1999 - NME.com Article regarding Reni
Reni's back, at last! From nme.com: Ex-STONE ROSES drummer Alan 'Reni' Wren is back with an album's worth of material and is now looking for a record deal. Reni has been writing songs since he left the Roses in 1995 and his new material has drawn comparisons to The Police and Love. Now playing guitar and singing, Reni's hooked up with current Happy Mondays percussionist Lee Mullen and is looking for a bassist and second guitarist to complete the line-up.
His manager, John Nuttall, told NME: "The main problem is that he wants someone who plays with a plectrum. "We don't want any dopers either, which cuts out about 90 per cent of people. We want some clean-living chaps." Nuttall went on to reveal that, contrary to music industry rumours, Reni did not withdraw from the public eye because of drug problems. Rather, he wanted to concentrate on raising his family and make new music. The spokesman said: "He's the complete antithesis of Mani (ex-Stone Roses bassist) who's out every night. "He's not really been in the rock'n'roll scene, he's been working, playing music. "Some of the things that have been said about him are not nice and they're grotesquely untrue. There were some Internet sites that said he's withdrawn from it all because he's an addict. It's a bit ironic, considering what the other three were up to. He was the clean one." Reni now has 14 songs and most have been demoed at studios in Manchester. A tape is circulating around record companies and those who have heard it rate the new material highly. There are no plans for Reni to make a live appearance in the near future, but it's thought that once he's found a line-up, a low-key appearance could be on the cards.

The Rub - 1999 - Mik Grant replaces Lee Mullen on drums.
Notes: Reni's manager John Nuttal rang Mik asking him to play in the band. Mik auditioned in Reni's attic studio, the same day John had rang him.
Mik Grant designed art for his own snare drum when he joined the band. He had once drummed in scottish bands Fallen Hero & Medicine Hat, he then moved to Manchester and formed Rawhead then Aniseed. Mik also drummed on the Jayne County & The Electric Chairs Deviation album. Mik was in contact with Robbie Maddix, former Stone Roses drummer, and Aziz Ibrahim, Squire's replacement. Mik played some shows with Aziz too.

24 November 1999 - John Squire's 37th birthday

2000 - Tom Evans joins The Rub on Bass Guitar
Notes: Local sound engineer Tom joins the band.

27 January 2000 - John Squire begins recording new material.
Notes: Unconfirmed if this was 'The Shining'. An Article from I Am Without Shoes Fansite noted ''Featuring an unknown model singer and ex-Verve bassist Simon Jones, the new material has been compared to the Roses 'Second Coming' by industry insiders.''
There was an 'fake' announcement online which detailed a stint of shows under the title "Skunk Works". "Will play a host of low key gigs in the following venues over August: Aug 14 - Rico's Bar (Greenock) Aug 16 - King Tut's Wah Wah Hut (Glasgow) Aug 17 - Liquid Rooms - (Edinburgh)". The post was a hoax.

27 January 2000 - Simon Tong expressed an interest in joining The Rub & single rumours are denied by Reni's Manager.
Notes: An Article from I Am Without Shoes Fansite noted ''Reni is continuing to write and record new material at studios in Manchester. Three of the tracks are called 'Kaleida', 'Soul Full' and 'Savvy'.
The rumours that Reni was releasing a single in March called 'Selective Indignation' have been denied by his manager (as you would expect, since it was a windup on the Stone Roses mailing list!).
Reni has recruited local sound engineer Tom Evans to play bass but has yet to get a full line up. Ex-Verve keyboard player Simon Tong had expressed an interest in joining but is unlikely to become part of the line up.''

20 February 2000 - Ian Brown's 37th birthday
March 2000 - Jockey Slut Magazine includes a Ian Brown Q&A Session: Have you heard any of Reni's stuff yet? Emma Gardner via e-mail. "Yeah, he's got a great tune called 'Medalark Lemon Tea'. S' really good. It's really dead tight, rhythmical rock, dead melodic."

2000 - Mani records with Reni
Notes: From 08 March 2000 NME Article "...Mani has also been in contact with ex-Stone Roses drummer Alan 'Reni' Wren who is working on getting a record deal with his new band. Mani played bass on some of Reni's recent demos, but it's highly unlikely he'll join the band."

10 April 2000 - Reni's 36th birthday

John Squire - 15 April 2000 Saturday - John Squire is rehearsing with a new band.
Reluctance - Backridge Farm Sessions
Notes: Unconfirmed band title, possibly Reluctance. A fan met John at The Millenium Dome "He now has a big bushy beard and I had to look twice to see if it was really him. Naturally I asked him how the new band was going and he said pretty good. They are playing all round the country in 2 months time! but as yet they have no name so all talk of them being called Skunkworks or Reluctance is, it would seem, bollocks."
The band jammed out unreleased Seahorses tune I Want You, the track was recorded the Seahorses second LP which was never finished. John would later reshape the song into Strange Feeling which appeared on his debut solo LP Time Changes Everything.

The Rub - 2000 - Apocalypse Rehearsal Rooms, Radcliffe,
Notes:
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: ...Reni and his family could take no more, so we moved into my old rehearsal room at Apocalypse in Radcliffe, then eventually a room in Salford above a gym. What were rehearsals like? What kind of vibe was there in the rehearsals? Intense, the vibe, much like any band or creative group. Some days were absolutely rocking, full of energy, great humour, group love and creative jamming. Along with some days that were miserable and you all fuckin hate each other, but for me, every day was a hard working day good or bad, I was physically and mentally exhausted every time I went home, but that’s a good thing Who were the bands musical influences at the time? Short answer to that is Led Zeppelin. Long answer would be Led Zeppelin in more detail. Was it after the gigs that the band demoed material for potential release? We never got into a studio. The only thing we had was an 8 track which we recorded with in rehearsals. None of us were great at using it properly, they were never made for sending out....Did The Rub come close to securing a record deal? I’ve no idea to be honest, Reni kept all the cards pretty close to his chest. I only got little teases of info about it occasionally, which was pretty frustrating. Producer John Leckie came up to stay for a few days at rehearsals. I was a big fan and excited at the possibility of getting to work with him. When he left, Reni told me that he said I was a better drummer than he was when they first started working together. That compliment was a real boost but alas, working together never materialised.

The Rub - 2000 - 19 year old Casey Longdon joins on Rhythm Guitar & Backing Vocals
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Did the band all gel pretty well together as a live unit from the off? It did at the start, but Tom’s health was suffering and he’d been diagnosed with M.S. He was also increasingly more leaning towards the production and engineering side of music. We were looking for other members to join. Lyndsey Reed suggested we try out this young lad from Altrinham. Turned out to be Casey Longden, I think he was only 19 at the time,. He had a voice that blended really well with Reni, so he came in on vocals and rhythm guitar.

The Rub - 2000 - Tom Evans leaves the band due to health reasons.
Notes: Tom was diagnosed with M.S. and his condition deteriorated, he left the band but still wanted to be involved with any recording or production side of The Rub.

The Rub - 20 May 2000 - The Rub current line up, rehearsing in Manchester
Reni - Vocals & Guitar
Mick 'Mik' Grant - Drums
Casey Longdon - Rhythm Guitar & Backing Vocals

The Rub - 2000 - Neil Nisbet joins the band.
Notes: Casey Longdon's school friend joins the band.
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Did the band all gel pretty well together as a live unit from the off? Tom eventually bowed out and we spent a long, long time finding a bassist. For one reason or another we couldn’t find the one who would fit. Eventually an old school mate of Casey’s stepped in, Neil Nesbit, young green and inexperienced, but eager. His voice meant we had three part harmonies to add to the mix. Great, it was beginning to come together, not in any way a finished product but the basis was there. We just wanted to go and gig.

John Squire - 11 July 2000 - Rehearsal
Fire (Instrumental) (Jimi Hendrix cover)
Notes: John Squire and unknown band rehearse, the band is probably The Shining. Probably with ex-Verve bassist Simon Jones and Seahorses drummer Mark Heaney.
Fan Sean Jepson said: "I didn't see ANYONE but I saw all Squire's equipment - he had his name on his guitar cases - he also had "Seahorses" stencilled on them too. I nearly died when I saw them! But... I didn't want to walk in on them in case I looked a bit sad, you know what I mean? I could honestly not tell you any songs but it was obviously Squire by his playing (Second Coming not The Stone Roses). The cover of Fire was instrumental - I heard no singing at all but I've heard he's got a frontman. The "songs" were very Second Coming/Jimmy Page - we stopped rehearsing and listened as you can imagine!"
From 03 August 2000 - NME article: John Squire has parted company with ex-Verve bassist Simon Jones and Seahorses drummer Mark Heaney, putting his new project back until early next year. The ex-Stone Roses/Seahorses guitarist is understood to still be working with his singer, newcomer Duncan Baxter, and is scheduled to go into the studio this week to start recording new material. The plan is to release a new single in January - Squire's first material since the Seahorses split in February 1999. A spokesman for John Squire's management told NME 'We are reassessing the situation. He's got an open book and wants to make some music. We're negotiating with people'.

Mani / John Squire - 28 August 2000 Monday - Leeds Festival, Temple Newsham, Leeds * Acts: Oasis, Primal Scream, Foo Fighters, The Bluetones, Limp Bizkit, Asian Dub Foundation, Doves, Boos Hog, Ooberman etc.
Notes: The Carling Weekend Reading & Leeds Festival held over the bank holiday weekend. Mani and John Squire are spotted together at an Oasis party, not sure if this is at Leeds or the end of tour party (30/31 August 2000).

24 November 2000 - John Squire's 38th birthday

2001 - John Squire continues with artwork: ‘Leger City Butterfly' (oil
and acrylic on canvas, 90x120").

20 February 2001 - Ian Brown's 38th birthday

The Rub - 2001 - Rehearsal Room, (above a gym), Salford
Reni - Vocals & Guitar
Mik Grant - Drums
Casey Longdon - Rhythm Guitar & Backing Vocals
Neil Nisbet - Bass & Backing Vocals
-
Soul Fool / Collider / Savvy / Median Modes / Interloper / Wild Strawberry
Notes:
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: ...Reni and his family could take no more, so we moved into my old rehearsal room at Apocalypse in Radcliffe, then eventually a room in Salford above a gym.
Bootleg: Rehearsals and Demos - The Gulf (snippet 1) / The Gulf (snippet 2) / Soul Fool (snippet) / Shut Up & Play (Snippet) / Interloper / Wild Strawberry (Instrumental) / Savvy (Instrumental) / Soul Fool / Collider / Savvy / Median Modes / Interloper

The Rub
Reni - Vocals & Guitar
Mik Grant - Drums
Casey Longdon - Rhythm Guitar & Backing Vocals
Neil Nisbet - Bass & Backing Vocals

The Rub - 12 March 2001 Monday - "Production Rehearsal" Bar Cuba, 45 Pickford Street, Macclesfield, Cheshire, SK116HB
Notes: Invite only production set up and live rehearsal.

The Rub - 13 March 2001 Tuesday - Bar Cuba, 45 Pickford Street, Macclesfield, Cheshire, SK116HB * Doors Open: 19:30 * Ticket Price: £8
Notes: Date Taken From Black and White Advance Tour Poster. Warm up show for the tour. Bonehead from Oasis, Andy Rourke from The Smiths, Robbie Maddix & Aziz attended.
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: The first gig you played was Bar Cuba, Macclesfield. Do you have any lasting memories from this gig? How did Reni feel about facing an audience for the first time in over 10 years? Bar Cuba Macclesfield was supposed to be a quiet warm up gig before the tour. It was busy though, scattered with a few known faces including Bonehead from Oasis, Andy Rourke from The Smiths, Robbie Maddix, I think Aziz was there too. I’ve sat on the stool for three drummers who have moved to the front of the stage, only a couple of feet away from their comfort zone but can feel like a different planet. So obviously Reni was a bit nervous, as we all were. Who wouldn’t be after that length of time off stage. If you’re not gigging regularly, you can get thrown by the stage sound, you get used to the sound of your rehearsal room and it can shock you when you start playing. Did the band all travel together to and from gigs? I remember reading Reni turned up in a black limo at some of the gigs. Yeah, we were all in a splitter van, band and crew and backline. Reni did hire a limo at the Macclesfield gig for us. When we stepped out that was when he wrote the “ I ain’t no fuckin junkie “ on a fans ticket. A couple of gigs he didn’t want to do the hotels and got a lift back home, there was always someone heading back to Manchester...

The Rub - 18 March 2001 - The Rocket, Leeds * Ticket Price: £8.00 *
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...' An audience member shout "Get on the fucking drums,".
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Leeds was an odd one, the audience just didn’t get it. I don’t know what they were expecting to hear, something similar to The Stone Roses maybe, certainly not what we were playing. There was a lot of confused faces in the crowd. I was told the sound was terrible afterwards but the whole show was a strange atmosphere.
20 March 2001 - The Guardian Newspaper Live Review: The Rub - Leeds Cockpit - Rating: ** by Dave Simpson. Alan Wren hasn't set foot on stage since June 2 1990. Then, "Reni" was an outstanding drummer in the era's outstanding band, the Stone Roses. With Reni's propulsive, jazz-influenced rhythms forming the cornerstone of immortal songs such as I Am the Resurrection, he played himself into the nation's hearts and history books by his early 20s. However, it all went badly wrong. Reni's last public appearances were in the courtroom, during an attempt to unravel the shambles of the Roses' business deals. When the band came back, in 1995, Reni mysteriously abandoned the drum stool days before the tour. Rumours have had him variously bloating to 28 stone, and growing a floor-length beard after modelling himself on John the Baptist.
But on stage at the Cockpit, he looks almost exactly as he did before. A little darker around the eyes, maybe, but the scrawny hair and mischievous grin are unmistakable. He is greeted like a prophet. And the first words the prophet utters to his flock for more than a decade are: "You wot?" Grown men gasp as Reni tackles his instrument: a bass guitar. "Get on the fucking drums," someone shouts. The band then launch into a driven, gloriously funky instrumental, the staccato percussive rhythms unmistakably Reni-sounding, even if they are played by someone else. Reni puts down the bass and hearts flutter. Then he picks up a guitar instead and begins an hour-long process of making hearts sink. Although it's good to have Reni back and clearly enjoying himself, it's a great pity that this world-class percussionist is not behind a drum stool. By determinedly and competently (but nothing more) playing guitar, he is, perhaps, making some personal point - that a former Stone Rose can attract a sizeable audience fronting a pedestrian, jamming band whose members look like medical students. The few lyrics that one can make out seem to attack the nature of celebrity, and certainly the Rub's chugging, dated material seems highly unlikely to trouble Hear'Say. As the guitar solos seem to be getting longer, the Rub leave the stage to general confusion. A solitary soul cries: "Reni!" Some shake their heads, but an awful lot more line up with their Roses albums at the dressing room door.

The Rub - 19 March 2001 - King Tuts, Wah Wah Hut, Glasgow * Ticket Price: £8.00 *
TV Babies /
Savvy /
Collider /
Wild Strawberry /
Clay /
Interloper /
The Gulf - Shut Up And
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: The Glasgow show was your personal homecoming. Any stand out memories from this gig? It was really great for me to be back after 10 years away from Glasgow. We were still reeling a bit from the Leeds gig, but the packed Glasgow crowd were up for it from the start and stayed up for it all the way through and a good bit after. It didn’t seem to matter that we didn’t sound like the Roses, nor that they’d never heard the songs before, they were giving us as much energy back as we were giving them. That and the roar when Reni told them I was from Greenock are the two memories that stand out
Bootleg: Audience Recording
Video Bootleg: Incomplete Amateur Audience Recording

The Rub - 20 March 2001 Tuesday - Hop And Grape (Academy 3), Manchester Universtiy Students Union, Manchester * Doors Open: 19:30 * Ticket Price: £8.00 * Support Act(s): Bone Box *
Notes: Reni's first live show in Manchester for twelve years. Rowetta from The Happy Mondays, John Robb, Mani and Pete Garner were all present at the show. Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
Mani and Pete Garner introduced Reni and his new band. ''Reni wore a strange ear muffs cap and smoked cigarettes throughout the gig - i remember Bone Box were support - the place was packed as nothing had been heard or seen from Reni in a long while...i think they only did a few gigs and not sure if they ever recorded anything - Was upstairs in The Hop & Grape''
Ian Brown said: “He was singing and playing guitar, but everyone I know who went to see it was just frustrated that they weren’t watching him play the drums,” says Brown. “But I still believe he could make a drum album like Buddy Rich. That would be fucking amazing.”
From 2001 I Am Without Shoes Exclusive Mani Interview: > IAWS: So what’s he doing now, and why no drumming anymore? > Mani: He’s got a band going. I think with the drumming he felt like he’d always be compared to the Roses, so he’s doing something new, singing and playing guitar. He was an amazing drummer, but he’s also a great singer and fuckin’ demon guitar player. > IAWS: But do you think we the public are going to see something from him? It’s been a long time… > Mani: He’s trying to get a record deal at this moment, and as soon as he does I’m sure you’ll hear from him again. He’s tied up with his kids as well, he’s a great parent, loves his kids. I’ve babysat for him a few times!
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: I notice that Pete Garner got on stage with The Rub at a couple of their gigs. Would you consider doing that? AC: Yeah! Always a buzz playing with Reni, but doubt I'd be asked.
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Manchester was obviously a big deal. Well known Manc faces were in attendance including Rowetta, John Robb, plus Stone Roses Pete Garner and Mani, who introduced the band on stage. Any memories of this gig? I’ve never seen that venue with that amount of people squeezed in, another good crowd, and yeah it seemed like everybody was there. If I remember right, both Pete and Cressa joined us on stage doing a bit of percussion.
Bootleg: Audience Recording

*Cancelled* The Rub - 21 March 2001 - Academy, Birmingham * Ticket Price: £8.00 *
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
Kris Taylor said: ''I had a ticket for their Birmingham gig. They turned up, but the gig was cancelled without the band playing a note. Reni came outside afterwards and gave autographs.''

The Rub - 23 March 2001 - Underworld, Camden, London * Ticket Price: £9.00 *
Notes: John Leckie was in the audience. Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Do you have any memories of any other gigs from the tour? I remember London being our worst gig with a lot of arrangements getting misplaced...I remember coming off stage in London feeling really angry and disappointed, John being the first person I saw, I could only apologies for our poor show.
From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: I saw you at Reni's band The Rub's gig in Camden, would you be interested in producing the band? What did you think of them? JL: Not at the moment. There's a lot of work to do for them.

The Rub - 25 March 2001 - LOMAX, Liverpool * Ticket Price: £8.00 *
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Do you have any memories of any other gigs from the tour? Liverpool was a bit quieter, but it seemed to be received well mostly.

The Rub - 2001 - Nottingham -
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Do you have any memories of any other gigs from the tour? I remember at the Nottingham gig I had load of par can stage lights right behind me, and they were fuckin hot!!!! Half way through the set I could smell my stool melting and thinking my arse is going to burst into flames here! Half expecting a Spinal Tap moment and self-combusting if I let one go.

The Rub - 29 March 2001 - University, Newcastle * Ticket Price: £8.00 *
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'

The Rub - 30 March 2001 - University, Sheffield * Ticket Price: £8.00 *
Notes: Date Taken From Tour Poster which also read 'the Rub featuring Reni from The Stone Roses...'
Bootleg: Incomplete Audience Recording
Bootleg: Soundboard Recording (Mik Grant source) - Wild Strawberry
Video Bootleg: Incomplete Amateur Audience Recording

10 April 2001 - Reni's 37th birthday

The Rub - 2001 - Neil Nisbet leaves.
Notes:
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: With the tour finished what was the plans immediately following? Neil left the band pretty much immediately after the tour, so any plans were scuppered. We were supposed to follow up with a 30 date tour, but back to square one again. We did replace him with someone but he didn’t last long. We eventually ended up reworking it as a 3 piece with Casey on bass.

Reni - Vocals & Guitar
Mik Grant - Drums
Casey Longdon - Bass Guitar & Backing Vocals

The Rub - 2001 - John Nuttall Interview
Notes: Reni's manager John Nuttall was interviewed by the NME. Reni's Heroin stories were denied by his manager, John Nuttall, who insisted the drummer just wanted to concentrate on marriage and fatherhood. “It’s a bit ironic, considering what the other three were up to,”...“He was the clean one.”

29 August 2001 - John Squire solo news
Details could be found at www.hallornothing.com and clicking on artists - John Squire. "John Squire will be releasing an album in the new year featuring mainly new material. This will be preceded by a single (date tba). The album will feature an (as yet) unknown vocalist, however plans are to release the album as by John Squire. John is also currently endeavouring to create another (trademark) piece of art for the cover...John would like to express his thanks to all fans who have waited patiently for news, and is sure that they will not be disappointed."

24 November 2001 - John Squire's 39th birthday

2002 - John Squire continues with his artwork:
‘All I Really Want‘ (plaster of paris, acrylic, cellulose and gloss);
‘Animal Skull‘ (animal skull, household gloss, used on front cover of Time Changes Everything);
‘Animal Skull‘ (photograph of a 1999 work, used on front cover of Joe Louis CD1);
‘Animal Skull, Foliage‘ (photograph of a 1999 work, used on Joe Louis CD2/7inch)
‘Saturday Morning‘ (acrylic on canvas)
‘Small Animal Skull‘ (animal skull)
‘Eternal Recurrence‘ (animal skull, household gloss)
(Photographs feature in Time Changes Everything Booklet/Limited Edition hardbook style sleeve)
‘Did Your Lazy Good For Nothing Soldiers Cast Their Cynical Spell' (photograph)
‘I Heard Tell There Were Fifty Million Galaxies' (photograph)
‘l Miss You' (photograph)
‘Just A Stone's Throw From Sin’ (photograph)
‘Nothing Else Cuts Quite Like A Knife‘ (photograph)
‘So Tell Me What Are The Chances Of Us Meeting Like This Down In The Dirt’ (photograph)
‘The Artificial Needs Of A Slave Population‘ (photograph)
‘Theologically Speaking' (photograph collage)
‘To Find A Way To Your Heart‘ (photograph)
‘Try To See It From Every Point Of View‘ (photograph)
‘You Are My Darkness My Shelter My Knowledge My Cradle And My Sense‘ (photograph)

20 February 2002 - Ian Brown's 39th birthday

Mozer - 30 March 2002 Saturday - The Fleece, Bristol * Supporting: The Complete Stone Roses (The Stone Roses Tribute Act)
Notes: Ex-Seahorses drummer/backing vocalist Andy Watts' new band Mozer make an official live debut. Their demo appeared online and Time Out music editors reviewed their material. They were found, officially, online at http://www.mozer.co.uk.

The Rub - 2002 - Reni sells The Stone Roses floor tom
Notes: Painted by John Squire, Reni sells the famous floor tom to fund The Rub's rehearsal room fees.
Asked to describe John Squire in one word, Reni said, “rich”.

The Rub - 2002 - The Rub split.
From 23 October 2019 - Mik Grant Interview by Matt Mead, Louder Than War website: Did rehearsals and meeting up as a group just fizzle out or was there an official ending to the band? We were still full on for a year after the gigs, but funds were low and we were struggling just keeping the rehearsal room. Reni sold the famous floor tom to help pay for it. I was living on a diet of beans, toast, peanut butter and banana sandwiches for months. Nothing was progressing and eventually I made the hard decision to leave early 2002. Did you keep in contact with the rest of the band at the close of the band? Only with Casey. We spent a lot of time on our own in that band, we’re a lot similar in personalities and it’s an egoless relationship, so it’s always been easy and enjoyable being in his company at work and socially.

2002 - John Squire moves to a renovated Farmhouse near Macclesfield, Cheshire
Notes: During the years after The Seahorses he tried several projects but nothing worked. John had the money, As chief songwriter with the Roses the income he derived from publishing meant he would never have to work again but he wanted to create. John continued to paint and write music but could not find anyone to voice what he wanted to say. His next project started with rehearsals at his new families home.
John settled with a new partner, his future wife Sophia, and a new daughter: he now had three children to three different women. Two of the children, from two of the relationships currently lived with John & Sophia. He set up home in a large, beautiful secluded farmhouse close to Macclesfield in Cheshire. Sessions took place in John's converted Garage. The debut album included the ode to his future wife 'Sophia'.
From 06 September 2002 - The Guardian Newspaper interview: ...Their paths have diverged. Brown digs rap, Squire classic rock. Brown lives in London; Squire's remote farmhouse - where he writes in his garage - is adult life's equivalent of his childhood bubble. He has few mates, preferring the company of his current partner, Sophia, two children from different couplings, a hound and local goats. He insists he's mostly happy yet confesses to occasional bouts of terrible melancholy, which arrive unannounced. In the past, he's considered "taking himself out of the game". Now, he rejects therapy but is working on himself, going "back to blueprints".

09 April 2002 - Simon Jones Teletext interview regarding John Squire leaving The Shining.
Notes: Simon Jones (former Verve bass player) of The Shining, the band John Squire originally formed, says in a Teletext interview that John has left. Simon says the reason the band, with John in it, didn't work was due to them all living too far apart. He says that they initially split, but then the other four members reformed later without John. Simon informed Teletext that he is still in contact with John and hopes that John comes back soon.
From 19 September 2002 - The Telegraph Newspaper John Squire interview: He was just a couple of weeks away from playing some gigs with a line-up that included ex-Verve bassist and a singer called Duncan, when that too fell apart. "That was quite demoralising," he says. "It had been a painstaking process putting that band together. I didn't fancy going through all of that again...."The mistake I made with the Seahorses and the last band was to try to recreate that experience. I never realised that I was the vehicle I was looking for. I feel like I've found something. There's nothing to stop me now. I'm self-contained."

10 April 2002 - Reni's 38th birthday

May 2002 - John McCready Interview with Reni through letter writing.
Notes: From The Very Best Of 2002 sleeve notes, article by John McCready: ''In May 2002 I put together an article about The Stone Roses. I met John and Mani separately in Manchester and ended up with a few hours of tape. Ian was on tour at the time and generously gave me an hour of his time on the telephone. Reni decided he would like to respond to some questions on paper, which he did...''

May 2002 - John McCready Interview with John Squire in Manchester.
Notes: From The Very Best Of 2002 sleeve notes, article by John McCready: ''In May 2002 I put together an article about The Stone Roses. I met John and Mani separately in Manchester and ended up with a few hours of tape.'' John: It wasn't all sweetness and light...But yes I do miss it. It felt great. But it's an age thing. I don't think it would be possible to maintain it now. You get older - you get responsibilities.

2002 - Simon Moran of SJM manages John Squire
Notes: SJM Ticket Concert promotion company. Simon managed John during some of his solo career moves. Rumour has it Simon only managed John to push for a roses reunion. The Very Best Of The Stone Roses (04 November 2002) compilation credits SJM to the management of the band too.

John Squire - Guitar & Vocals
Andy Treacey - Drums
John Ellis - Keyboards
Jonathan White - Bass Guitar

2002 - Garage Sessions, John Squire's home, Farmhouse near Macclesfield, Cheshire
Notes: Andy Treacey, former Faithless drummer, played with John during the initial rehearsals and 2003 tour. Jonathan White played bass for Groove Armada. Ian Brown also picked up a former Groove Armada band member, Tim Hutton, to play with him.
From 06 September 2002 - The Guardian Newspaper interview: It's strange to hear Squire singing - in a distinctive voice not unlike Bob Dylan's. He says: "I just thought, 'Fuck it! I'm not going looking for another singer.' It just couldn't be the same as it was with Ian."
From September 2002 - City Life Citylife Magazine Interview: "The first two songs I recorded with an engineer I hated. But that was also really inspiring at the same time. The whole process of hearing myself sing on tape and not be satisfied I thought would draw proceedings to a close. But it did the opposite in fact; I was really inspired. That was the real litmus test."

2002 - Time Changes Everything Sessions, Studio
Notes: George Vjestica played additional guitar and backing vocals.
John couldn't get a record deal and released it on his own label.
From September 2002 - Mojo Magazine: How did your new-found role as a singer affect your songwriting? "I forgot about playing the guitar. It was Simon [Dawson, engineer] who reminded me that was what I did. It was acoustic strumming for six months because I was consumed with trying to improve my voice, making it more expressive. My focus was on getting the lyrics across. I learnt to be more flexible with the process, less analytical, more emotional. Less painting by numbers and more abstract expressionism. I'm very happy with it."
From 03 November 2002 - Sunday Express Newspaper: "I actually kept my singing a secret," he smirks. "I was round my mum and dad's listening to a mix of the record. Dad stared at me for a bit and then said in this shocked voice: 'Is that you singing?'"

2002 - John Squire's management is confirmed as Simon Moran & Steve 'Adge' Atherton (SJM Management).
Notes: Former Stone Roses/Seahorses tour manager Steve Adge Atherton resumes his role for John.

September 2002 - City Life Citylife Magazine Interview
Notes: See Ian Brown 2002 Media for the article. Interview in a pub in Deansgate, Manchester.

06 September 2002 - The Guardian Newspaper interview
Notes: See Ian Brown 2002 Media for the article. Interview by Dave Simpson in a pub in Deansgate, Manchester.

John Squire - 16 September 2002 - Time Changes Everything U.K. Release Date
Produced by Simon Dawson.
Artwork by John Squire, 2002: ‘All I Really Want‘ (plaster of paris, acrylic, cellulose and gloss) & ‘Animal Skull‘ (animal skull, household gloss, used on front cover of Time Changes Everything). ‘Saturday Morning‘ (acrylic on canvas), ‘Small Animal Skull‘ (animal skull), ‘Eternal Recurrence‘ (animal skull, household gloss).
‘Did Your Lazy Good For Nothing Soldiers Cast Their Cynical Spell' (photograph)
‘I Heard Tell There Were Fifty Million Galaxies' (photograph)
‘l Miss You' (photograph)
‘Just A Stone's Throw From Sin’ (photograph)
‘Nothing Else Cuts Quite Like A Knife‘ (photograph)
‘So Tell Me What Are The Chances Of Us Meeting Like This Down In The Dirt’ (photograph)
‘The Artificial Needs Of A Slave Population‘ (photograph)
‘Theologically Speaking' (photograph collage)
‘To Find A Way To Your Heart‘ (photograph)
‘Try To See It From Every Point Of View‘ (photograph)
‘You Are My Darkness My Shelter My Knowledge My Cradle And My Sense‘ (photograph)
Standard CD
Limited Edition Casebound CD
Gatefold Double Vinyl
Joe Louis
I Miss You
Shine a Little Light
Time Changes Everything
Welcome to the Valley
15 Days
Transatlantic Near Death Experience
All I Really Want
Strange Feeling
Sophia
Notes: Album peaked at number 17 in the album charts. Second Coming producer Simon Dawson returns to work with John.
I Miss You, From 06 September 2002 - The Guardian Newspaper interview: More eyebrows will be raised by a beautiful song called I Miss You ("... and I know that, deep down, you miss me too"). Squire explains that it's partly about his ex, partly about the happy times with the Roses, and partly about Brown. From 19 September 2002 - The Telegraph Newspaper John Squire interview: He also confirms that a line from another, which goes "acres of green grass, going up in flames", is a fond reference to Brown and his famous marijuana habit. Incredibly, he and Brown haven't spoken in the seven years since his departure from the Roses. The song is called I Miss You. "Well," he says, gazing out of the window for what feels like a minute, then fixing me with a firm, blue-eyed stare, "it's been a one-way dialogue, hasn't it? I don't feel any need to retaliate. I still feel it isn't my place to criticise any of the members of the Stone Roses. "I still love them all, so the last thing I'd want to do is hurt any of them. I've tried to write stories around those experiences, and maybe it's more valid that way." Is this his way of forgiving Brown, even for his offensive comments in print? "It isn't some sort of white flag," he replies evenly, "or acceptance of his criticisms of me. I'd hate it to be taken in that context. But yes, I do miss him." Squire confesses that it took the writing of those songs for him to be able to admit that he missed his old friends. "I wasn't aware that I was bottling those things up," he says, "but yeah, I must have been."...

15 Days, From 06 September 2002 - The Guardian Newspaper interview: On 15 Days, he regretfully but affectionately traces the career of the band who "aimed for the Pistols and the Byrds, and the clouds that flew above them", with a sly pop at Brown ("That crown of thorns suits ya, son"). "It was spewed out," he says. "After the first couple of lines it was like taking my finger out of a dam. I've maybe been writing it subliminally for the last seven years."... From 19 September 2002 - The Telegraph Newspaper John Squire interview: Indeed, a couple of songs on his album deal directly with that touchy subject. One, 15 Days, he refers to as "the ballad of the Stone Roses", a Bob Dylan-inspired narrative about the band's rise and fall....
From September 2002 - City Life Citylife Magazine Interview: Which brings us to the lingering ghosts of his first band and in particular, the already two much-discussed tracks from the album, '15 Days' and 'I Miss You'. On the former, Squire spins an enchanting waltz-time ballad that pinches its title and first line from the Roses' 'Fool's Gold' track. While the yearnful 'I Miss You' is rumoured to be about a certain ex-Stone Roses frontman. One would think you've had the Roses on your mind a lot lately John. (A pause follows the size of a small continent) "It's just a song title," he dismisses. "It's more about me thinking about the present and the way things have changed. The entire mood of the album is quite reflective… something of a nostalgia trip for me. I'm not denying the fact that that song is concerned with my relationship with Ian - but neither is it a deliberate statement. If I was that desperate to say something to Ian, I'd get on the phone to him."...

Strange Feeling dates back to the Seahorses second album recordings, circa 1999. It was initally titled 'I Want You'. It was re-worked with Reluctance, circa 2001, during the Backridge Farm Jam Sessions. John finally finished the song for this LP.
October 2002 - Planet Sound Mani Interview: What do you think of Ian & Johns' solo albums? I love Ian, he's brilliant. John? When I saw Reni's band The Rub, it was strange seeing him sing and it's the same with John's album. Something about it doesn't sit right. I've not yet got my head round the idea.

September 2002 - Mojo Magazine Review: LOUD AND PROUD Voice of a generation or bleedin' row? asks Phil Sutcliffe. John Squire. Time Changes Everything. North Country. Manchester's touchstone guitarist starts over. And sings. Stone Roses nostalgics beware, mind. TIME'S WINGED... wheelbarrow. That's been John Squire's temporal conveyance of choice since quitting the moribund Stone Roses in 1996. Now, with just one album released meanwhile (the ex-Seahorses' Do It Yourself), an age consigned to recruiting a band of unknowns, a new world to address, and hitting 40 in November, at last the hesitation has passed. The crux is a bold decision to sing solo for the first time in public. Previously a self-contained mutterer, he lets rip an idiosyncratic noise constantly alluding to sundry raw-throated talismans: ranting Dylan on Transatlantic Near Death Experience, declamatory Bono on Joe Louis, even unbridled Patti Smith on Welcome To The Valley. Now, it has to be admitted that, at a MOJO office preview, while your reviewer enthused the majority clutched their ears in alarm at this unexpected aural apparition. But... difference of opinion, horse racing, etc. Bar a few diction crises, the lyrics bite - satirising retail therapy in All I Really Want ("Got a new house, new face/New wheels, no taste"), dissecting blown relationships in Stange Feeling ("You were just something I had to do") - even though examination of every corner of the speakers reveals a guitar. This bloody enormous rock demeanour means Stone Roses fans may not be amused, but the feeling is abundant to flood level as he pounds, chimes, riffs grandly, lays out svelte phraseology, bends huge slide chords. On every track and often at the same time. (Variety is a demand he will not meet.) If Time Changes Everything shapes up as a love-it/hate-it case, when he comes at you out of the sun, Squire's the bloke surfing the tidal wave yelling "Come on in the water's fine!" If your spirit's on a large day, you might care to get naked and dive in. John Squire speaks to Lois Wilson: I Miss You and 15 Days look back on your time with the Roses. "I Miss You touches on it but it's more about friendships that I had at the time, not just with Ian but with others too. 15 Days is more specific, telling the story from my point of view. I suppose I've been in denial. It's something I couldn't expect anyone else to sing about - my feelings over that period - and it's only recently when I made the decision to sing that those things started to rise to the surface." How did your new-found role as a singer affect your songwriting? "I forgot about playing the guitar. It was Simon [Dawson, engineer] who reminded me that was what I did. It was acoustic strumming for six months because I was consumed with trying to improve my voice, making it more expressive. My focus was on getting the lyrics across. I learnt to be more flexible with the process, less analytical, more emotional. Less painting by numbers and more abstract expressionism. I'm very happy with it."
September 2002 - NME Magazine Review: RESURRECTION MAN. Former Stone Rose and Seahorse's Excellent Solo Debut. As a 90's Zeus of riffs, John Squire needed to come up with something bold and fiery after the slide from grace that was the late-phase Stone Roses and any-phase Seahorses. For two Years he has been cloistered in his Peak District House, working at first with Verve Bassist Simon Jones. Seasons turned, Jones left and nothing emerged. Doubts were (again) cast over the health of Squire's muse. Then, from out of the mist comes a voice. 'Time Changes Everything' opens with the dipping, golden chords and burnished strings of 'Joe Louis' and suddenly there's a brash, gutteral, distinctly northwestern vocal elbowing in, talking of climbing mountains and the inner psyche of boxers. Who is this pushy, sarky, past-caring singer, sounding like a literate glam rocker with a Lennon fixation? That's the thing with Squires new record. It's actually his debut. Without his frontmen, forced to come out from behind the old act of flash fretwork, Keef shapes and cryptic murmering, Squire has to declare himself on his first solo set. The good news is that the encounter with the inner John (up front inthe mix over contributions from new band Andy Treacey, Jonathan White and John Ellis is a joyous affair. Squire's chosen singing tone will be familiar to anyone with decent Lennon and Dylan collections but, hey, it works, and the song gleam with concision, melody and a lyrical acuity which make this clearly his best work since the Roses' debut. The hints of country seque into endearing rocked-up folk waltz 'Shine a Light', before the Dylan-ism creeps in again for the wordy ballad which provides the albums title. Croakily meditating on death in 'Welcome to the Valley' or the naive optimism of the Roses in '15 Days', Squire is oddly convincing. On 'Transatlantic Near Death Experience' he pulls off the poet/sage act with elan and on standout track 'All I Really Want' he attains the impossible, avoiding double pastiche while uniting a bedraggled Stonesy lurch with a humanistic Lennon-esque protest lyric. It's rumoured that Squire toyed with a lo-fi Beck approach for his return. Thank the Lord that instead he's made a heartwarming, classic 70's bardic rock album, spirited enough to compete with and instruct the Ashcrofts and Gallaghers. Introducing John Squire, folks: lokk for someone in cowboy boots and little round glasses. 8/10
13 September 2002 - The Guardian newspaper review: John Squire: Time Changes Everything. North Country Observing the shaky performances and cosmic gobbledegook that have marred the solo work of his former Stone Roses colleague Ian Brown, John Squire might well have thought he could do a better job. On the evidence of Time Changes Everything, the guitarist was mistaken. While Brown's safety net is an unfakeable charisma, novice vocalist Squire has the voice of a pub singer who has settled on a grim amalgam of David Bowie and Bob Dylan. The music is small improvement: at best amiable Tom Pettyish country-rock, at worst Brothers in Arms by Dire Straits. If it were any more middle-of-the-road it would be a traffic island. Two touching requiems for the Stone Roses, 15 Days and I Miss You ("Remember when we were heroes?"), are just enough to make Time Changes Everything a diverting curio for diehard completists but, alas, nothing more.
September 2002 - City Life Review: John Squire Time Changes Everything (North Country). You lose momentum, you’re off the team. As much as the artistic temperament claims the right to behave as it wishes, you wouldn’t stand for a lover returning after six years claiming things are going to be different. You’d laugh if a footballer tried it. So it’s a little galling that we’re expected to get excited about Time Changes Everything off reputation alone. Still, we’ve forgiven Johnny Marr for worse. In taking centre stage, Squire seems to have realised that Stone Rose-size lightning was never going to strike twice. He seems prepared to do the work. Lyrically it’s neither spiritual incantations or titty jokes, just a man trying to come to terms with himself when nothing else is left: “sitting on a broken train, just outside the station, trying to work out which life I should be chasing.” This sense of the open road permeates Time Changes Everything. Unsurprisingly, the fat Americana of Second Coming is everywhere. Just look at the track titles: ‘Joe Louis’, ‘Sophia’, ‘Shine A Little Light’. This record is not so much chasing the dream as renting out a deposit box in Missouri as a means of proxy citizenship. Vocally, he’s desperate to be Bowie, but swoops to Nigel Tufnell. Still, nobody complained about the singing not being up to scratch on his previous albums. Good points: There are gems here. ‘I Miss You’ is a ten story love song that moves the pedal foot, ‘Transatlantic Near Death Experience’ has a surreal air of ‘American Pie’ about it, while ‘All I Really Want’ does rhinestone power ballad with bells. The title track and biggest tune sounds exactly like (heavens!) ‘Very Best Friend’ by Proud Mary. But the moments of resonance are too few and far between within all the dirge and honky tonk bullshit. Time Changes Everything isn’t an important record, it’s not even trying to be. Instead, a shit-hot guitarist doing what he wants to do. Anyone prepared to have him back? 6/10
September 2002 - Sunday Mercury Review: STONE ROSE'S NEW LIFE AS COUNTRY SQUIRE. Okay, whoever told former Stone Rose that he could sing? John Squire's strangled vocal snarls and sneers its way through the come-back set which represents his first ever sortie. "Ain't ever had the balls to sing solo", he sings at one point in a Dylanish drawl. The good news, however, is that Squire picks up his guitar and plays just like his Seahorses yesterdays. And it's glorious. Don't expect, however, the upbeat pop-rock of Do It Yourself. This is a more introspective exercise influenced by the guitarist's evident love of Dylan, The Byrds and all things similarly styled. Opener Joe Louis is the closest Squire comes to his past, with its trademark guitar and almost singalong hook. Then he mellows for I Miss You and Shine A Little Light, both of which have roots in 60s country-rock. The jangly 15 Days recalls Roger Mcguinn, Transatlantic Near Death Experience and All I Really Want are Dylan pure and simple, while Strange Feeling opens with Bottleneck before straying into Lou Reed territory. Recorded in the garage of Squire's peak district home, this is his first effort since 1996 and proof that time does indeed change everything. If only he'd get a decent singer in.
September 2002 - Ceefax (TV Information Service) Review: JOHN SQUIRE - TIME CHANGES EVERYTHING. Life as a guitar legend is not all it's cracked up to be. Way back when, John Squire - architect of the Stone Roses' timeless debut album - had already cemented his place in rock n'roll's hall-of-fame. But the second-rate Second Coming coupled with The Seahorses' unmasking as a one-trick pony, have tarnished his reputation. Now He Wants it Back... The first thing that strikes you about Time Changes Everything is how far removed it is from what you expect. Gone is the fresh-faced innocence of youth - replaced by a grizzled, middle-aged man, reflecting on his lot as he swings his chair in the porch. And where Ian Brown's vocals were once dipped in honey, Squire's are coated in sawdust and tar. It sounds like a product of too many nights in smoky backroom bars. Opening track Joe Louis is the sound of a once-great boxer past his prime - sluggish and despairing, yet still strangely intruiging. The post-whine Bob Dylan influence is there for all to hear - and omnipresent throughout this impressive debut. Transatlantic Near Death Experience and the mesmerising Welcome To The Valley continue in this sombre theme. But there are a few chinks of light in this dark journey. The Lennon-influenced 15 Days fondly recalls the juvenile Stone Roses. That period of his life must seem a long time ago, and you suspect that Squire is more likely to cover himself with blankets than paint these days. It must be immensly satisfying to know you have played a major part in one of the 20th Century's great albums. But equally there's a lot of frustration of realising it will be unfairly used as the yardstick to measure future works. The album can be hailed as a success, from the Numan-esque Shine A Little Light to the rasping piano ballads of the title track and All I Really Want. Squire has put himself up to be shot at, and while there are enough fillers here to ensure he doesn't get away scot free - it's only a flesh wound at worst. True, he'll never recapture those glory years, but at present all in the garden is rosy.
September 2002 - Daily Telegraph Newspaper Review: John Squire - Time Changes Everything. When baggy champions the Stone Roses petered to a halt in the mid-1990's following his departure, John Squire employed another bunch of likely-looking scallies and called his new mouthpiece The Seahorses. Knowing he wouldn’t get away with that ploy a third time, Squire has finally elected to step out from behind the fringe. His singing voice, a Lennon-sharp sneer, is decent enough to make you wonder why he didn't put Ian Brown out of his misery, the songwriting derivative (for Sophia read Sara from Dylan's Desire) but enhanced beyond measure by melodic, defiantly old-fashioned rock guitar riffs that scream "quality". Die hard fans eager to dissect the lyrics for proof that he regrets falling out with his former band members will latch to the words of I Miss You, while those of the stand out All I Really Want confirm his apparent desire to be a first-generation hippy. On the evidence of this, that's no bad thing.

19 September 2002 - The Telegraph Newspaper interview
Notes: See Ian Brown 2002 Media for the article. Interview by Andrew Perry.

M - 2002 - John Squire appears on the cover of Guitarist Magazine, Issue 230, Winter. Priced at £4.99
Notes: Included a John Squire interview and review of his technique and guitar playing style.

10 October 2002 - XFM Session, Studios, London
Joe Louis / All I Really Want / (Interview) / Waterfall
Notes: John's debut live session. Apparently the session was broadcast 12 October 2002.
Broadcast: XFM Radio
Bootleg: A Bed Of Roses (IAWS I Am Without Shoes / stoneroses.net (Will Odell) 2 CD-R

John Squire - 21 October 2002 - Joe Louis U.K. Release Date
Artwork by John Squire: ‘Animal Skull‘ (photograph of a 1999 work, used on front cover of Joe Louis CD1) & ‘Animal Skull, Foliage‘ (photograph of a 1999 work, used on Joe Louis CD2/7inch)
17 September 2002 - Promo VHS Video - Tele-Cine Non-Aligned Prodcutions: Joe Louis (Normal Version) 4:04
CD1
CD2
7inch
Notes: The single reached number 43 in the charts.

22 October 2002 - Virgin Radio Session, London

03 November 2002 - Sunday Express Newspaper John Squire Interview
Notes: John is interviewed in a cafe in Soho, London. He took his wife out for a birthday meal after the interview finished.

11 November 2002 Monday - King Tut's Wah Wah Hut, 272A St Vincent Street, Glasgow, Scotland * Doors Open: 20:30, Show Starts: 21:00 * Support Act(s): * Ticket Price: £15.00
I Am The Resurrection
Bootleg: Audience Recording - CD-R

12 November 2002 Tuesday - Liverpool Academy 2, University, Liverpool * Doors Open: 19:30 * Ticket Price: £15
I Am The Resurrection
Bootleg: Audience Recording - CD-R

13 November 2002 - Academy 2, Birmingham
I Am The Resurrection
Notes: From 06 May 2011 - 060521 CLASH FEATURES (Clash Magazine/Website) - In Conversation: Stephen Fretwell. You played alongside Oasis, Keane and Elbow, and John Squire.
Stephen Fretwell said: "Yes, one of the first gigs I ever did was supporting John Squire, when he came back after The Stone Roses. If you can imagine the crowd, walking into a Stone Roses crowd with an acoustic guitar, everyone’s just throwing plastic cups, shouting about wanting The Roses. But I was always a music fan, when I wasn’t playing I was just wanting to talk to people about music, I think that’s what made people ask me to come on tour."

24 November 2002 - John Squire's 40th birthday

2003
2003 - John Squire creates the art:
15 Days (plaster of paris, acrylic and gloss)
Sophia (household gloss on glass)
Welcome To The Valley (household gloss on glass)
Strange Feeling (oak paint on wood, 14x6")
Shine A Little Light (oak blocks and acrylic in drawer, 16x20")
Swimming Through The Holes In Dead American Painters (2003, Oil on canvas, 30x72") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £150 each.
Marshall's House (oil on canvas, 60x60")
Marshall's House (Study) (oil on canvas, 44x82")

20 February 2003 - Ian Brown's 40th birthday

2003 - John Squire's daughter Martha is born.

Time Changes Everything Tour

24 January 2003 Friday - Limelight, Belfast * Ticket Price: £16.00 *
(Incomplete Set) Driving South / Made Of Stone / Joe Louis / All I Really Want / Welcome To The Valley / Fools’ Gold / She Bangs The Drums / Waterfall / Tightrope / Time Changes Everything
encore: I’m So Bored (With The USA) (The Clash cover)
Notes: From IAWS I Am Without Shoes / stoneroses.net (Will Odell): "Backstage, Squire’s in buoyant form, chuckling at the Ian Brown/Harry Potter rumours and still refusing to put the Roses reformation gossip to rest. “You never know......it MIGHT happen!” Not for a while on the strength of tonight though."

25 January 2003 Saturday - Ambassador Theatre, Dublin * Ticket Price: 27.20(euros) *
Bootleg: Audience Recording - CD-R

27 January 2003 Monday - Music Hall, Aberdeen * Ticket Price: £17.00 *
(Incomplete Set) Driving South / Made Of Stone / Joe Louis / All I Really Want / Welcome To The Valley / She Bangs The Drums / Time Changes Everything / Waterfall / How Do You Sleep / Fools’ Gold /
encore: 15 Days / Tightrope /
Notes: From IAWS I Am Without Shoes / stoneroses.net (Will Odell): Squire's t-shirt exclaiming 'Aint No Fucking Jukebox' is being ignored as everyone cries out their favourite Roses tune.
Steve Davidson (Fools Gold Tribute Guitarist/Ian Brown solo guitarist): The thing that stuck with me about this gig was that John Squire looked way too comfortable centre stage to ever contemplate going back to just playing guitar with the roses. Depressing realisation!
Of all the gigs I've attended over the years at the music hall. That was the best sound quality I've ever heard. The light show and images projected onto the big screen were a great side show also. Driving South was, as usual, guitartastic. And to be fair, all the roses covers were played well. There just seemed to be a lack of immediacy or something with the Times Changes Everything tunes. A sort of easy listening vs get a load of this. As JoJ said above, probably mixing them up with roses tunes was the best tactic for the gigs.
Not being much of a fan of the way songs like adored etc were rock'd up on the Second Coming tour, I thought the acoustically virginal tightrope would become a victim of rape by Marshall amplification. Not so!! It really took me aback. Brilliant. I think Squire actually said "I love this mic", as he seemed to give it a closer inspection at the end of one of the tunes. Possibly delighted with the response in the monitors. Every Roses tune for me missed Reni. I'm sorry, but that's honestly what entered my head every time. Waterfall missed the swing that Reni imparts, and the drum avalanche at the end. You wanted to be tripped up by those funky beats in Fools Gold that he would throw in just to put you in a spin. I must give credit though to Squire. As he seems to have kept things "as they were" as much as possible in terms of how the song should be played. Sometimes it's a disadvantage having seen the fab four play together. For me, this was one such occasion.
January 2003 - Aberdeen Journal Review: EX-ROSES' SQUIRE DISPELS DOUBTS IN SOLO GIG. A packed-out Music Hall was taken to Madchester-and-back last night, as ex-Stone Roses and Seahorses guitarist John Squire dusted down the wah-wah and proved he is still the master of the fretboard. Any doubts about his ability to cut it on his own were quickly dispelled as he ploughed through a series of classic Roses tunes, chucking in a few of his solo singles on the way. His "distinctive" voice may not have been totally comfortable with some of the earlier material but then Ian Brown was never the world's greatest vocalist either - and nobody seemed to mind. Made of Stone, Waterfall and She Bangs The Drums were all churned out, building up to a mind-blowing performance of Fools Gold. He did, however, save the best to last. The incredible encore performance of Tightrope was arguably better than the original. Squire's new material is not half bad either. Joe Louis and Time Changes Everything were the stand-out songs from a man still very much on top of his game. He may never again rise to the dizzy heights which the Roses enjoyed in the early 90s, but don't bet against hearing much more from John Squire, the solo artist.

26 January 2003 - Radio Clyde Session, Scotland
Broadcast: Radio Clyde
Bootleg: FM - CD-R
Bootleg: A Bed Of Roses (IAWS I Am Without Shoes / stoneroses.net (Will Odell) 2 CD-R

28 January 2003 Tuesday - Barrowlands, Glasgow * Ticket Price: £17.00 *
Bootleg: A Bed Of Roses (IAWS I Am Without Shoes / stoneroses.net (Will Odell) 2 CD-R

30 January 2003 Thursday - Northumbria University, Newcastle * Ticket Price: £15.00 *
Alan Jewels said: Newcastle, Northumbria Uni, 30th Jan 03....... Just got back from what goes down in history as the best night of my life. The gig was ace, excellent version of Tightrope...anyway, the gig finished and me and two friends hung around, I asked one of the security guys if there was a chance of meeting the man later on, he said no. We left and I decided we should go around the back because you never know what might happen. There was a curtain in a massive tall window, slightly open, I peeked in and it was him, I didnt know what the hell to do but i figured this is my chance. I wrote out a txt message on my phone which said "John, please shake my hand!", I knocked on the window and he looked, came over, read it, SMILED, as he opened the window I was getting ready to shake his hand. All of a sudden he said "Do you want to come in?". Holy shit, he invited us into the dressing room, it was a smallish room with a fridge, a table with snacks on it, another table in the middle and some couches, we went in and my god I cant stop thinking about it, ive already tried to phone everybody I know. I talked to him about The Clash and his solo stuff, by the way he has 4 or 5 more songs that he's gonna record sometime soon. He's a top bloke, I feel like I'm on first name terms with him (that was a joke by the way). I've got photos that I'll get developed this week. The golden question, you all know what it is...somebody asked (not me, I thought it would be a pain in the arse for him if someone asked)...."So John, if Ian Brown phoned you tomorrow and said "Come on John let's get back!", what would you say?" the answer was a simple "No...I dont think he's worth it". So there we are, me and two of my close friends, sitting with Squire and his band. I remember thinking, 'What am I doing here?'. His band are really cool, we spoke to his guitarist for a while about, well guitars and touring. I kept one of the cans of Stella John gave me. I'm making a trophy with it which will have a nice plaque. This has been some night, if anyone else from backstage reads this, give me a buzz on alanjewels@hotmail.com, I know there were a few Mancs there (the ones who broke down in their car) and the girl from Cardiff who arrived too late to see the gig. Thank you John. Alan Jewels

31 January 2003 Friday - University, Leeds * Ticket Price: £15.00 *
Bootleg: Audience Recording - CD-R

02 February 2003 Sunday - Ritz, Manchester * Ticket Price: £15.00 *
Bootleg: Audience Recording - CD-R

03 February 2003 Monday - Ritz, Manchester *CANCELLED*
Notes: Cancelled, probably due to low ticket sales.

04 February 2003 - Birmingham *CANCELLED*
Notes: Originally scheduled for 04 or 05 February. Cancelled, probably due to low expected attendance.

05 February 2003 Wednesday - Leadmill, Leadmill Road, Sheffield * Doors Open: 19:00 * Ticket Price: £15.00 *

06 February 2003 Thursday - Shepherds Bush Empire, Shephers Bush Green, London, W12 * Doors Open: 19:00 * Ticket Price: £16.50
Notes: Sold Out Show. Was this date moved to the 08 or an additional date added to the U.K. tour finale? Feb 6th date taken from original ticket stub and guest pass ticket too.

08 February 2003 Saturday - Shepherd's Bush Empire, London * Ticket Price: £16.50 *
Notes: Unconfirmed show, was this an additional date due to popular demand?

John Squire - 10 February 2003 - Time Changes Everything unreleased single
Promo CD - Time Changes Everything (Radio Edit) 3:41
Notes: The track recieved airtime on TV promoting the LP, Joe Louis and it mentioned the track too. The song was played on indie stations including XFM. The CD single was noted as 'unavailable' on HMV's website. There was no official statement as why the single was not released, I presume it was due to forecasted sale figures. Japan was treated to the Time Changes Everything E.P. though which included some unique to release live performances.
Promo CD-R with black text, black and white paper insert in plastic sleeve with hype sticker "John Squire releases the 2nd single from his critically acclaimed debut solo album "Time Changes Everything" on Feb 10th. John undertakes his first evevr solo nation-wide tour in Belfast on Jan 24th which climaxes with a sell-out date at London's Shepherds Bush Empire on Feb 6th. John will be playing songs from his new album as well as Stone Roses classics!".

19 February 2003 Wednesday - Club Quattro, Shinsaibashi, Osaka, Japan * Doors Open: 18:00 - Music Starts: 19:00 * Ticket Price: Y6,000

20 February 2003 - Ian Brown's 40th birthday

20 February 2003 Thursday - Liquid Rooms, Shinjuku, Tokyo, Japan * Doors Open: 18:00 - Music Starts: 19:00 * Ticket Price: Y6,000
Driving South / Made Of Stone / Joe Louis / Transatlantic Near Death Experience / She Bangs The Drums / All I Really Want / I Miss You / Time Changes Everything / Welcome To The Valley / Waterfall / How Do You Sleep / Fools Gold
encore: 15 Days / Tightrope / I'm So Bored With The USA (The Clash cover)
Notes: Did John play 20 February and 02 March 2003?
Bootleg: In Tokyo Japan 2003 (Made In Japan, Grün Zünd Music, Cat. No. GZM-042) Pro-CD-R - Audience Recording - Driving South / Made Of Stone / Joe Louis / Transatlantic Near Death Experience / She Bangs The Drums / All I Really Want / I Miss You / Time Changes Everything / Welcome To The Valley / Waterfall / How Do You Sleep / Fools Gold / encore: Band Introduction / 15 Days / Tightrope / I'm So Bored With The USA (The Clash cover)
Bootleg: Audience Recording - John Squire Tokyo Liquid Room 02/03/03 (2CD) - 2 CD-R
? Bootleg: TV Broadcast - Other Men’s Flowers - DVD-R ?

2003 Virgin Radio Session
2003 XFM Radio Session, London
Bootleg: A Bed Of Roses (IAWS I Am Without Shoes / stoneroses.net (Will Odell) 2 CD-R

10 April 2003 - Reni's 39th birthday

Summer 2003 Festivals
24 June 2003 - Isle Of Wight Festival, Newport, IOW

12 July 2003 - T In The Park Festival, Balado, Kinross, Scotland
Cape Cod Morning / Drving South / Fools Gold / How Do You Sleep / I Miss You / Made of Stone / Summertime / Tightrope / Time Changes Everything
Notes: Probably the debut performances of Cape Cod Morning and Summertime
Bootleg: Audience Recording - CD-R
Bootleg: TV Broadcast - Other Men’s Flowers - DVD-R

14 July 2003 - Move Festival, Old Trafford Cricket Ground, Stretford, Manchester * Supporting: R.E.M.
(Unconfirmed running order) Driving South / Fools Gold / How Do You Sleep / Summertime / Cape Cod Morning / I Miss You / Time Changes Everything / Waterfall
Notes: I was there. John was amazing, the sound was great and his playing was faultless. Headliners R.E.M. had a setlist submission for fans, where they could request songs for each show on the world tour. I requested Man On The Moon, Everybody Hurts, It's The End Of The World (As We Know It) and a Stone Roses cover (of their choice). When R.E.M. singer Michael Stipe came on stage he announced he was wearing his Stone Roses jeans, not quite a cover but a nice mention of the band.
Bootleg: Audience Recording -nHow Do You Sleep

26 July 2003 - Fujirock Festival, Naeba Ski Resort, Japan
Fools Gold
Notes: Fools Gold was broadcast on TV.
Broadcast:
Bootleg: Audience Recording - CD-R
Video Bootleg: TV Broadcast - John Squire - Fools Gold (Live Fuji 2003) / 3 Primal Scream Tunes (Live Fuji 2003) - DVD-R
Video Bootleg: TV Broadcast - Other Men’s Flowers - DVD-R

2004? - Luke Bullen replaces Andy Treacey on drums.

November 2003 - Marshall's House Recording Sessions

24 November 2003 - John Squire's 41st birthday

2004
2004 - John Squire creates the art:
DDD2a (2004) Oil on canvas (44"x82") (Double Dorsal Doppelganger Two) *Information taken from John Squire's official website.The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each.
SU4 (2004, Oil on canvas, 69x51") (Canvas has a grey female figure.) *Information taken from John Squire's official website: The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each.
SU5 (2004, Oil on canvas, 69x51") (Canvas has a white female figure on a yellow background with brown details.) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each.
SU6c (2004, Oil on canvas, 69x51") (Canvas has a blue female figure on a green background with coloured details.) *Information taken from John Squire's official website: The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each. Regarding SU4, SU5 & SU6 John said: “They were done in the same series,” John says. “I started these just before agreeing to the exhibition. One of the the things I took from the Pollock experience was the liberating feeling of detaching yourself; having the control and responsibility taken away. Without wanting to sound too pretentious, it was almost like something else was getting involved. I was looking for a way to harness that, but escape from Action Painting. I worked on the theory that a continuous line was the thing to try and strive for, and any mistakes and overlaps should be accommodated.”
The Bull (2004, oil on acrylic on canvas, 53x213")
Gtr (2004, oil on canvas, 72x90")
Ingredients 4 (2004, oil on canvas, 92x114")
Rotten 2C (acrylic on canvas, 119x92")
Run1 (2004, oil and acrylic on canvas, 53x213“)
Self portrait (digitally altered photograph)
Ten From Ten

Mani - M - January 2004 - Mani appears on the cover of Scootering Magazine, Edition 211, £3.10
Notes: "Exclusive Mani on... Roses, Scream & Scooters"

John Squire - January 2004 - Marhshall's House Promo Album CD-R is in circulation.

John Squire - 02 February 2004 - Room In Brooklyn U.K. Release Date
Marshal House (2004) / Marshal House Study (2004)
CD
7inch Picture Disc
Notes: Released on 7inch Picture Disc & CD Single. Backed with Nighthawkers.

2004 - Virgin Radio Session, Mohan
Notes: Unconfirmed

07 February 2004 - King Tut's Wah Wah Hut, 272A St Vincent Street, Glasgow, Scotland, Glasgow
Notes: Squire debuts his versions of Stone Roses Shoot You Down, Ten Storey Love Song & (Song For My) Sugar Spun Sister.
From 13 June 2007 - XFM Manchester Session Interview: I was wondering, when was the last time you made a point of sitting down and listening to a Stone Roses song? I played a few last time I toured [2004], so just prior to that; I was forced to, for work.
Bootleg: Audience Recording - CD-R

09 February 2004 - ICA, London, ENG
Notes: This was the showcase gig for the new album.

John Squire - 14-16 February 2004 - 1988-2004 Artworks Exhibition, Institute Of Contemporary Arts, ICA, Nash & Brandon Rooms (3rd floor), The Mall, London, SW1Y 5AH * Doors Open: 12:00-19.30 * Ticket Price: 14 February 2004 Saturday - Day Membership £2.50
Untitled (1988) Oil on calico & plywood (18"x18"). (Elephant Stone) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £200 each. *Limited Edition Print Size 70cm x 100cm, Image Area 56cm x 58cm.
Bye Bye Badman (1988) Oil on canvas (34"x34") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 500 and priced at £200 each. *Limited Edition Print Size 70cm x 100cm, Image Area 56cm x 67cm.
Waterfall (1988) Oil on canvas (26"x30") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 500 and priced at £200 each. *(Art Print No. 3) *Limited Edition Print Size 70cm x 100cm, Image Area 56cm x 70cm.
Untitled 2 (1988) Oil on canvas (26.5"x48") (Very Best Of) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £200 each. *(Art Print No. 4) Limited Edition Print Size 70cm x 100cm, Image Area 50cm x 88cm.
Double Dorsal Doppelganger One (1989) Cellulose, cardboard, canvas and glass (24"x28") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 500 and priced at £200 each. *(Art Print No. 4) Limited Edition Print Size 70cm x 100cm, Image Area 56cm x 64cm.
Love Is The Law (1996) Acrylic, resin, calico and clipboard (28"x28") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £200 each. *(Art Print No. 6) Limited Edition Print Size 100cm x 70cm, Image Area 58cm x 58cm.
Swimming through the holes in dead American painters (2003) Oil on canvas (30"x72") * Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £150 each. *(Art Print No. 7) Limited Edition Print Size 100cm x 70cm, Image Area 86cm x 41cm.
ddd2a (2004) Oil on canvas (44"x82") *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each. *(Art Print No. 8) Limited Edition Print Size 70cm x 100cm, Image Area 47cm x 86cm.
SU4 (2004) Oil on canvas (69"x51") (Canvas has a grey female figure.) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each. *Limited Edition Print Size 70cm x 100cm, Image Area 81cm x 58cm.
SU6c (2004) Oil on canvas (69"x51") (Canvas has a blue female figure on a green background with coloured details.) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each. *(Art Print No. 10) Limited Edition Print Size 100cm x 70cm, Image Area 79cm x 58cm.
SU5 (2004) Oil on canvas (69"x51") (Canvas has a white female figure on a yellow background with brown details.) *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 200 and priced at £150 each. *(Art Print No. 11) Yellow Limited Edition Print Size 100cm x 70cm, Image Area 79cm x 58cm.
Spike Island (1990) Acrylic on Calico (40” x 32”) The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 150. *(Art Print No. 12) First orders shipping - W/C 06 June 2005, Collect from office from 03 June 2005 onwards. Limited Edition Art Print Giclee print (Giclee prints are produced using the latest in archival printing technology. A digital file is made from the original transparency and this is sent from the computer to the printer which sprays a stream of very fine, virtually invisible ink droplets directly onto specially coated art paper. This edition is printed on Hahnemuhler photo rag board, one of the best stocks currently available using Epson printers and archival inks. Current data predicts that these prints have an archival life of 100 years or more in ideal conditions) onto 250gsm Hahnemuler Photo Rag digital board. Print Size 70cm x 100cm, Image Area 58cm x 75cm.
Notes: John Squire Artwork Exhibition curated by Vivienne Gaskin. The artwork would later be exhibited in Manchester. The Bull & Run 1 (2004) was created especially for the exhibition.
The 2004 limited edition prints (Litho print onto 400gsm machine rolled textured art board) were all strictly limited & numbered & signed by John.
From Steve Adj interview with Louder Than War (15 March 2017): I remember meeting you when you were project managing john’s art exhibitions. Do you have any comedy moments to share from that era? Yeah, chopping out the windows at the ICA, The Mall, London. To get Johns Bullfit 16foot canvas in the building. Then watching the mouths of the curators drop. Its one of my favourite stories in the book.''
Exhibition curator Vivienne Gaskin said: This exhibition is an overview of the artistic production of one of Manchester’s modern-day cultural icons. Spanning sixteen years, with a gap in the mid-late 90’s, this show is a rich and timely insight into the work of one of the great success stories on the art/pop divide. Contrary to the familiar pop declaration of ‘I am (also) an artist’ by the art school/pop star faction – Squire’s presentation of his work today reflects a focused, consistent and developed output, which demands critical attention in its own right. That said, there is a clear historic reverence in Squires’ work, which is consistent across the span of this show. Perhaps most famously, the early works pay homage to the pioneers of sixties abstract expressionism. In the early paintings and sculptures the stylistic devices of Jackson Pollock (‘Bye Bye Badman’ (1988) & ‘Untitled’ (1988)) and Jasper Johns (‘Waterfall’ (1988)’ after John’s ‘Flag’ (1967) and ‘Begging You’ (1995) after Johns’ ‘Numbers’ (1960) are employed, with a definite nod towards the godfather of art-popism Andy Warhol in ‘Ingredients’ (2004).
In his recent work, Squire inverts the conventional trajectory from realism to abstraction by exploring a simplified, form-based series of work more rootedin the recognisable form. Within the trilogies (‘Su4’/ ‘Su5’/ ‘Su6’c (2004) & ‘Swimming Through the Holes in Dead American Painters’ / ‘Marshal House’ / ‘Marshal House Study’ (2004) – named after Squires’ solo album of the same title) we can see a loose relationship with current day painters such as Gary Hume or Julian Opie, in the vast outlined, figurative canvases. Yet his work retains a looser, fluid, indeed more abstract style which distinguishes the work as his own. While it is an obvious temptation to interpret Squire’s work simply in terms of its art-historical references, this is to but skim the surface. By viewing the entirety of this show and the diversity of the work there is a mark of singular authorship. Whilst clearly citing his ‘heroes’, Squire merges these influences into a distinct aesthetic of his own. For these works are not simply a reverential reflection on the history of pop art, they are a collision of art and pop with equal influence and force derived from both worlds.
John Squire holds two equally prominent legacies: as a visual artist and as a musician. He was a self-taught artist who worked privately before his entry into music, yet it was through the presentation of his artwork on the sleeves of records - not the gallery walls - that his parallel creative worlds met, catapulting him and his art to fame. As the guitarist in the now legendary Stone Roses, Squires’ early images did much more than adorn the covers of their albums and singles during their short-lived career. These paintings have become iconic images which reflect not simply the music of the Stone Roses, but a zeitgeist, which was unique to the creative culture of late 80’s early 90’s Manchester. The Stone Roses were a clever band with sophisticated lyrics and the common touch. Employing Squires’ artwork as the visual representation of the music functioned as a mirror image to their own identity – this was art-making - unique in its identity, creativity and time. The images adopted the titles of the songs they represented and the songs went on to become musical legends. So where does that leave these images as artworks today? Indeed, why exhibit these works which were viewed on album covers in their millions making them among the most successful art multiples of all time? It was precisely due to this dichotomy that the original works have not been shown before today. Seeing this early work in the ‘flesh ‘certainly conjures up a warm sense of nostalgia for all that they represent both culturally and personally. However, on viewing the originals for the first time, we gain an insight into the rawness of these works, particularly when viewed against Squires’ more mature, recent art. These works were never framed or signed and were often only titled in retrospect. They are now displayed in cases but originally resided on Squire’s bedroom floor as the frayed edges of the canvases bare witness too. Furthermore, the fact that these canvases still live on the artist’s studio floor and have never been near a frame or a conservationist, gives us an insight into how the artist intends them to be viewed, as the product of a youthful mind - one finding its own voice and identity which the Stone Roses gave to it. The strength of this exhibition lies in its collective whole.
We can see that the artist acknowledges, even celebrates his own history within some of the more recent work ‘DDD2a’ (2004) re-works the original ‘Double Dorsal Doppelganger’ (1989), less as a mark of correction, but with the knowing wink of an artist who has come to find his own way of telling the story. Similarly, ‘Gtr’ (2004), created over the past few weeks seizes the aesthetic of Squires own original ‘Waterfall’ image and re-presents it on a greater more confident scale, employing a bolder use of colour, sharper division of the canvas, a personal non-derivative style. Indeed, it is through this image that we come to see the mature Squire style take shape, through an introspective enquiry a new creative voice has been found, one which holds its own on the gallery wall perhaps even more than on the record sleeve. Together with the new works The Bull & Run 1 created especially for this exhibition we should be left with little doubt that this show is less of a retrospective, and is perhaps the ‘second coming’ for John Squire’s artwork.
February 2004 - John Harris said: In 1997, John Squire was asked why the artworks that had adorned his records for just over a decade had never made their way into a gallery. “The stock answer,” he said, “is that they’re all on show in HMV.” Seven years on, however, his non-musical work has finally been collected into an exhibition. Given that his painting in particular has long since moved beyond the business of simply providing sleeve art, record shops are perhaps no longer enough. There is also the small matter of the context provided by his second solo album, Marshall’s House: a record that finally fuses his musical and artistic aspects by drawing on the work of the American painter Edward Hopper. One might also draw the conclusion that a John Squire Exhibition was probably always going to happen - and now seems as good a time as any. By way of reminding ourselves how some of this started, it might be an idea to backtrack to the mid-1980s, and the artist’s acquaintance with a book of photographs of The Clash, taken by the inestimable Pennie Smith. “I remember seeing a photo of Paul Simonon in a dressing room, and the caption said, ‘Paul surveys a Pollock-style action painting on the floor,’” says John. “I was intrigued. I’ve never been averse to popping down the library, or going through the shelves of bookshops to find information. And as soon as I saw a number of Pollock paintings, I was hooked. I thought there was great potential there for sleeve imagery. They already looked like record covers.” Such was the genesis of such works as Elephant Stone and Bye Bye Badman -and the start of an array of work that has moved into sculpture, collage, figurative painting and beyond, and long since melded with the part of John Squire’s mind that caters to his music. “I’ve found that making music and painting in tandem is the perfect state for me,” he says. The pieces collected here, in other words, are not an adjunct to John Squire’s records and performances; they’re of a piece with them.
From 02 July 2007 Monday - The Guardian article, John Squire said: Shortly after completing the record, I built myself a place to paint and decided to exhibit all the work that had appeared on record sleeves. This exhibition was a very personal turning point - marking the beginning and the end of an era. I can still remember a few chords and I am currently working on sound installations but I spend most of my time painting these days.
From 13 June 2007 - XFM Manchester Session Interview: So what made you decide to make that leap to call yourself a painter and put away the plectrum, what was it?
JS: I think, ironically, it was the music. Simon Moran – my manager – had the idea of putting on an art exhibition to promote the first solo album and he really had to twist my arm to get me to do that because I didn’t feel the work was good enough and I didn’t think there was enough of it to warrant a show, but seeing it all together and going through that process, I really enjoyed it. Then with the second album – which was wholly inspired by the work of Edward Hopper – I realised that instead of painting, I was trying to sing and play and write songs about painting, and I don’t know, maybe the kids weren’t ready for that.

John Squire - 16 February 2004 - Marshall's House U.K. Release Date
Artwork - 'Swimming through the holes in dead American painters' (2003) Oil on canvas (30"x72") from an original photograph by Michael Scott. Photographe by Matt Squire. *Information taken from John Squire's official website. The 2004 limited edition prints were all strictly limited & numbered & signed by John. They were limited to 300 and priced at £150 each. John said: “That was going to be the title of the album, but it was too much of a mouthful. It’s a lyric in one of the songs, and it almost describes what I was doing with the Edward Hopper angle. Do I mind people using the word erotic about this one? No - as long as it’s not accompanied by heavy breathing.”
All songs written by John Squire. Produced by John Squire and Simon Dawson. Engineered by Simon Dawson.
Recorded at Bryn Derwen Studios. Mixed at Rockfield Studios. Mastered by Chris Blair at Abbey Road.
Design by Pete Kelsey. Photography by Pennie Smith. Edward Hopper 1882-1967.
North Country - Jonathan Green, PO Box 319, Spring Gardens, Manchester, M602AR
Management - Simon Moran and Steve Adj.
John Squire - Guitars, Vocals
Jonathan White - Bass Guitar
John Ellis - Keyboards, Backing Vocals, Harmonica
Luke Bullen - Drums, Percussion
George Vjestica - Guitars, Backing Vocals
CD
Vinyl
Summertime / Hotel Room / Marshall's House / Lighthouse & Buildings, Portland Head Cape Elizabeth, Maine / Cape Cop Morning / People In The Sun / Tables For Ladies / Automat / Yawl Riding A Swell / Room In Brooklyn / Gas
Notes: Released on CD & Vinyl LP. John's second solo LP was a concept album based on the paintings of American realist Edward Hopper. Each song title took the name of a painting. The album did not even chart in the U.K
From 02 July 2007 Monday - The Guardian article, John Squire said: Then, with my 2004 solo album, Marshall's House, the emphasis started to shift. The album was entirely inspired by Edward Hopper's paintings. Each track took its title from one of his works and aimed to replicate its mood.

John Squire - 28 January 2004 - Marshall's House Japanese Release Date
Japan CD TFCK-87345
Summertime / Hotel Room / Marshall's House / Lighthouse & Buildings, Portland Head Cape Elizabeth, Maine / Cape Cop Morning / People In The Sun / Tables For Ladies / Automat / Yawl Riding A Swell / Room In Brooklyn / Gas
Nighthawks / People In The Sun (Demo)
Notes: Nighthawks and People In The Sun (Demo) are Japanese bonus tracks. Nighthawks featured on the B-Side to U.K. Single Room In Brooklyn. People In The Sun (Demo) is unique to this release.

20 February 2004 - Ian Brown's 41st birthday

Marshall's House Tour
21 March 2004 - Limelight, Belfast, Northern Ireland

25 March 2004 - Academy, Glasgow, Scotland
Bootleg: Audience Recording - CD-R

26 March 2004 Friday - Shepherds Bush Empire, London * Ticket Price: £17.50 *

27 March 2004 Saturday - Academy, Manchester * Doors Open: 19:30 * Ticket Price: £16.00 (Advance) *
Notes: I was there, three days after my birthday. Me and my dad stood with Matt Squire (John's brother) for the majority of the set. Matt was taking photos from the audience and both sides of the security barrier too. He mentioned about working in Liverpool for a production company too?. John Robb was in the audience. It was a great show. Loud and all the Roses hits went down a treat. 2004 would see Ian Brown return to the stage playing Roses material too. Shortly after Ian returned, playing Roses songs, John Squire reclined and sadly stopped touring. Squire's second LP was not a financial success.

10 April 2004 - Reni's 40th birthday

John Squire - 07 May 2004 Friday - 16 May 2004 Sunday- 1988-2004 Artworks Exhibition, First Floor, Great Northern Warehouse, Deansgate, Manchester, M3 4EN * Doors Open: 11:00-20:00 * Ticket Price: £3.00
Notes: John Squire Artwork Exibition curated by Vivienne Gaskin. The Great Northern Warehouse, a Grade 2 listed building now converted into a leisure and entertainment complex in the middle of Manchester. I was there. Upon entry a free programme was given away to every ticket holder. The programme included full a colour photograph & details on most of the artwork featured in the exibition. All the original artwork was hung and displayed in good lighting. Amazing to see the different scales of the splatter canvas's. Even Reni's painted bucket hat was on show too. The sleeves usually only used an extract from the ful sized art piece. I Wanna Be Adored's sleeve for example was just an abstract from a much larger piece which also incorparated She Bangs The Drums. Waterfall's artwork only uses a small section too, the full painting has the complete alternative flag. The Very Best Of's only used an abstract too, the full piece even included cigarette buds within the canvas. Posters from the previous London exibithion were given away free at the exit too. The beautiful blue promo posters had the dolphins and ICA text too.

01 November 2004 - John Squire supplies the artwork various artists compilation 'Ten From Ten'
Notes: John created using paint and bitumen. The ten track compilation features ten bands covering ten Manchester bands. Peter Hook even guests on Hanky Parks cover of Joy Division's Love Will Tear Us Apart. Sam Hammond sings Happy Mondays 'Country Song'. No covers of The Stone Roses feature on the album though. It was released on CD and a limited to 500 copies vinyl record too.
Official: Various Artists - Ten From Ten (CD) (Limited Edition Vinyl)

24 November 2004 - John Squire's 42nd birthday

December 2004 - John Squire features in Q Magazine
Notes: "Ian smoked too much dope. When he was stoned, he was at best a tuneless knob and at worst a paranoid mess,"

2005 - John Squire continues with his artwork:
Face (oil on canvas, 6x6‘)
Figure In Orange‘ (oil on canvas, 6x6)
Help: A Day In The Life (Donated to use for the 2005 varioust artists charity compilation)
Man With A Bloody Nose (oil on canvas, 8X6')
Mother (oil on canvas, 8x6‘)
Swastika (oil on canvas, 8x6‘)
Tattoo (oil on canvas, 8x6')
Torso (oil on canvas, 82x41“)
Woman With Magpie (oil on canvas, 8x6‘)

20 February 2005 - Ian Brown's 42nd birthday

2005 - John and Sophia bring twin girls into the world
Notes: John now has three girls with Sophia. The kid count rises to five. After the poor reception of John's last album he continued to demo and record but did not release any new material. He did not play any shows and he announced he would no longer pursue with music in 2007 and dedicated his time to his family and artwork.

John Squire, Mani & Reni attend an Love with Athur Lee feat. Johnny Eccles 31 March 2005 Thursday - Academy, Manchester
Notes: Unconfirmed if it was the Love with Athur Lee feat. Johnny Eccles 31 March 2005 Thursday - Academy, Manchester show.
From Uncut Magazine 13 May 2016, John Squire March 2006 Interview by Stephen Dalton:
“I bumped into Reni at an Arthur Lee gig in Manchester, and I still see him now and again. We’re friends. And Mani’s godfather to all three of my children. As for Ian… well, it’s all very well him saying in interviews that he’s still got the same number and that I should call him, but if the kid keeps slagging me off…”
From Uncut Magazine 13 May 2016, Mani interview: Reunion rumours went into overdrive after you, John and Reni were spotted out at an Arthur Lee and Love gig in Manchester last year… “Yeah. It’s weird what people assume. We only went out to watch Arthur Lee and have a few beers. But basically it was the first time Reni and John have met since Reni walked. And maybe this is a lesson for Squire and Brown, but as soon as they met it was just a big hug. Almost like there had never been animosity. It was joyous. All it needed was Mr Brown there and it would have been just the most special moment.”
From BBC Manchester 01 June 2005 'reni_mani_feature' by Conrad Murray 'What the world is waiting for?': Conrad: You’ve not been seen out for a while…
Reni: "We were here a couple of weeks ago!" Mani: "Arthur Lee and Love; me, Reni and Mr Squire went out, fuelling rumours that we were rehearsing…" Reni: "But we’re not getting back together."
Conrad: Never? Reni: "Never say never…" Mani: "The day after City win the European Cup…"

10 April 2005 - Reni's 41st birthday

24 November 2005 - John Squire's 43rd birthday