Hubbry Logo
The Stone RosesThe Stone RosesMain
Open search
The Stone Roses
Community hub
The Stone Roses
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
The Stone Roses
The Stone Roses
The Stone Roses
View on Wikipedia
from Wikipedia

The Stone Roses were an English rock band formed in Manchester in 1983. They were one of the pioneering groups of the Madchester movement in the late 1980s and early 1990s. The band's classic and most prominent lineup consisted of vocalist Ian Brown, guitarist John Squire, bassist Gary "Mani" Mounfield, and drummer Alan "Reni" Wren.

Key Information

The Stone Roses released their eponymous debut album in 1989. The album was a breakthrough success for the band, receiving widespread critical acclaim, and is regarded by many as one of the greatest British albums ever recorded.[a] Following this success, the band sought to capitalize on their newfound fame by signing with a major label. However, their record label at the time, Silvertone, would not let them out of their contract, leading to a lengthy legal battle that culminated with the band signing with Geffen Records in 1991.

The Stone Roses released their second album, Second Coming, in 1994, which received mixed reviews.[1] The group soon disbanded after several lineup changes throughout the supporting tour, which began with Reni departing in early 1995, followed by Squire in April 1996. Brown and Mani dissolved the remains of the group in October 1996 following their appearance at the Reading Festival.

Following much media speculation, the Stone Roses announced their reunion on 18 October 2011 and embarked on a world tour in 2012, including three homecoming shows in Heaton Park, Manchester.[2][3][4] Plans to record a third album were also floated, but only two singles were released.[5] In June 2012, Chris Coghill, the writer of the film Spike Island, revealed that the band "have at least three or four new tracks recorded".[6][7] In June 2013, a documentary about the band's reformation, directed by Shane Meadows and titled The Stone Roses: Made of Stone, was released.[8][9]

In 2016, the Stone Roses released their first new material in two decades. The band continued to tour until June 2017, at which point cryptic remarks by Brown indicated that the band had split again. This was later confirmed in a 2019 interview with Squire.[10]

History

[edit]

Formation (1983–1984)

[edit]

Ian Brown (initially the bassist) and guitarist John Squire, who knew each other from Altrincham Grammar School for Boys, formed a short-lived Clash-inspired band, The Patrol, in 1980 along with singer/guitarist Andy Couzens and drummer Simon Wolstencroft.[11][12] They played several gigs in 1980 and recorded a demo tape, but towards the end of that year, they decided on a change of direction.[13] During their last Patrol show, Brown had a taste of being a frontman, singing Sweet's "Block Buster!" to close the set. Pete Garner, a friend and roadie, stood in on bass while Couzens wanted to focus on guitar.[13]

In 1981, the band members lost enthusiasm. Brown sold his bass guitar to buy a scooter, and Wolstencroft joined Johnny Marr and Andy Rourke's pre-The Smiths band Freak Party.[14] Squire continued to practise guitar[12] while working as an animator for Cosgrove Hall during the day, while Brown ran a Northern soul night in a Salford club.

Squire and Couzens started a new band, the Fireside Chaps, with bassist Gary "Mani" Mounfield, later recruiting a singer named David "Kaiser" Carty and drummer Chris Goodwin. They changed their name to the Waterfront (after the 1954 film On the Waterfront), their sound influenced by 1960s groups and contemporary bands such as Orange Juice.[12][15] Goodwin left before the band recorded their first demo and, shortly after it, Squire asked Brown to join as singer. A meeting with Geno Washington at a party at Brown's flat in Hulme, in which Washington told Brown that he would be a star and should be a singer, convinced Brown to take Squire up on his offer.[16] Brown joined the Waterfront in late 1983, for a time sharing vocals with Kaiser.[17]

Like the earlier attempts at bands, the Waterfront fizzled out. In late 1983, Couzens decided to try again by starting a band and approached Brown.[18] They decided on Wolstencroft (who had turned down the job of drummer in the Smiths) as drummer and Pete Garner as bassist (despite his admission that he could not play anything but "Block Buster!").[19] They also decided that they needed Squire in the band, and when he agreed the band's lineup was cemented.[19] Leaving their previous bands behind, they worked solely on new material. Brown's vocal limitations prompted him to take singing lessons for three weeks.[20] After rehearsing for some time without a band name, Squire came up with "The Stone Roses". Several stories later emerged suggesting that the band had initially been called "English Rose" or that the name was somehow linked to the Rolling Stones. These stories were untrue, Brown explaining: "No, I don't know where that English Rose story came from. John thought up the name 'Stone Roses' - something with a contrast, two words that went against each other".[21] The band rehearsed for six months, during which time Wolstencroft had been auditioning for other bands, and he left to join Terry Hall's band the Colourfield.[22] They got Goodwin to rejoin, but he lasted for only one rehearsal, so they advertised for a replacement and began auditioning, eventually recruiting Alan "Reni" Wren in May 1984.[23]

After rehearsing and writing songs over the summer, they recorded their first demo in late August, making 100 cassettes with artwork by Squire, and set about trying to get gigs.[24] They played their first gig as the Stone Roses on 23 October 1984, supporting Pete Townshend at an anti-heroin concert at the Moonlight Club in London. Brown had sent a demo with an accompanying letter: "I'm surrounded by skagheads, I wanna smash 'em. Can you give us a show?"[25] The show was seen by journalists including Sounds' Garry Johnson, who arranged to interview the band a few weeks later.[26] The band received management offers and more gigs soon followed.

Howard "Ginger" Jones, who had recently left his job as director and general manager of the Haçienda, producer Martin Hannett and Tim Chambers agreed to work with the band on an album, setting up Thin Line Records to release it. Jones took on management of the band, although they had already made a similar agreement with Caroline Reed in London.[27] The band got their first positive press in late December, with Johnson tipping them for success in 1985 in Sounds magazine. A feature on the band followed in January.[28]

Early tour and releases (1985–1988)

[edit]

The band played their first headlining gig on 4 January 1985, supported by Last Party, after original headliners Mercenary Skank had pulled out.[29] They had their first recording session with Martin Hannett in January 1985 at Strawberry Studios in Stockport, aiming to record tracks for a debut single and an album.[30] Further sessions followed in March, during which they recorded their debut single, the double A-side "So Young"/"Tell Me".[31] The band were invited to play a live session on Piccadilly Radio in March, premiering a new song, "I Wanna Be Adored".[32] Tony Michaelides (aka Tony the Greek) from the station arranged for five local bands to play at Dingwalls in London on 8 February: Glee Company, Communal Drop, Fictitious Names, Laugh, and the Stone Roses. Mark Radcliffe, another Piccadilly DJ, was compère for the night. By this time, the Stone Roses had started to build a sizeable following in Manchester. Their first gig in the North of England, at Clouds in Preston, attracted a large audience and descended into a riot after technical problems and friction between the bands on the bill.[33]

The Roses embarked on a tour of Sweden in April, with their first gig in Manchester following their return, at International 1, a venue run by future Stone Roses managers Matthew Cummins and Gareth Evans.[34] A performance at a warehouse party on 20 July helped to build interest in the band, and in August they returned to the studio to record their debut album.[35] Unhappy with the results and with the band's sound changing, it was shelved (later released as Garage Flower).[36] The "So Young"/"Tell Me" single, however, was released on Thin Line Records in September.[37][38]

Frustrated with the lack of attention they were getting locally, the band engaged in a graffiti campaign, with Ian Brown and Reni spraying the band's name on walls from West Didsbury to the city centre.[39] This brought them negative publicity but added to their increasing notoriety. In 1986, they began working on new material, including "Sally Cinnamon", and the planned follow-up singles to "So Young" ("I Wanna Be Adored" and "This Is the One") were shelved.[40] They parted company with Jones and took on Gareth Evans as manager, using Evans' International 1 venue as their new rehearsal space. Around this time, the band played several UK tour dates, including 11 August 1986 at the Mardi Gras club in Liverpool with local promoter and record label owner Ken Kelly and his band Innervision, at which several record company executives would be in attendance.[41]

As Brown and John Squire began collaborating more closely on songwriting, they decided to take a larger slice of the money than the other band members. Andy Couzens and Reni left the band in protest, although they soon returned. Couzens played an ill-fated gig with the band at the end of May before being pushed out of the band by Evans after flying home alone while the rest of the band returned in their van.[42] Although they failed to achieve further success in 1986, their repertoire expanded to include songs such as "Sugar Spun Sister", influenced by bands like the Jesus & Mary Chain and the indie-pop era Primal Scream ("Velocity Girl" being a major influence on "Made of Stone"), and they stopped playing the older songs.[43]

In December 1986, they recorded their first demo as a four-piece, including the first studio recordings of "Sugar Spun Sister" and "Elephant Stone".[44] In early 1987, Evans negotiated a deal with Black/FM Revolver for a one-off release on the specially created Black Records label. By the time of the release of the single "Sally Cinnamon", the group's sound had changed considerably, with chiming guitar hooks and a strong melody, alienating some of their old fans but attracting many new ones.[45] "Sally Cinnamon" sold out its 1,000-copy run but failed to make the desired impact.[46]

In June, Pete Garner announced that he had decided to leave the band, although he stayed until they found a replacement. He played his final gig with the band at the 'Larks in the Park' festival in Liverpool.[47] Rob Hampson was Garner's replacement, with Garner teaching him the bass parts before leaving, although Hampson lasted only a week.[48] A more permanent replacement was found in the form of former Waterfront bassist Mani, who played his first gig with the band in November 1987.[48] Brown recalled, "When Mani joined it almost changed overnight. It became a totally different groove ... Straight away, everything just fell into place".[49]

In early 1988, the band played at Dingwalls in London, a show attended by representatives of Zomba and Rough Trade's Geoff Travis, and both subsequently wanted to sign the band. Rough Trade even funded studio time to record a single, "Elephant Stone", with Peter Hook producing.[50] Hook was considered to produce an album for the band but was unavailable due to commitments with New Order, so Travis suggested John Leckie.[51] In May, the band played a high-profile concert at Manchester's International 2 with James, organized by Dave Haslam to raise funds for a campaign against Clause 28.[52] The band attempted to usurp James by putting up posters around town listing the Stone Roses as headliners and delaying their start time to get the headline slot themselves and limit the time that James could play for.[53] In the audience was a sixteen-year-old Liam Gallagher, who was inspired to form a band himself.[54] Noel Gallagher also stated that he was inspired to do the same by attending one of their gigs.[55] Also in the audience was Glaswegian Roddy McKenna, A&R executive with Zomba, who later signed the band to the label. He asked if they could be transferred internally to Andrew Lauder's newly created guitar-based Silvertone Records subsidiary. The band signed an eight-album deal, buying the "Elephant Stone" tapes from Rough Trade and releasing them as a single in October 1988.[56]

The band were co-managed by Matthew Cummins,[57] who died in 2007 following an accident.[58] DJ Dave Booth was also influential in the band's early days, supporting their live performances at warehouse parties.[59][60]

Debut album and breakthrough success (1989–1991)

[edit]
Main article: The Stone Roses (album)

In 1988 and early 1989 the Stone Roses recorded their debut album at Battery Studios and Konk Studios in London and Rockfield Studios in Wales, produced by Leckie.[12] The first single for Silvertone, "Elephant Stone", made little impact, and in early 1989 the band's performances outside the north-west were still attracting small audiences.[61] "Made of Stone" received more press attention and was picked up for airplay by DJ Richard Skinner on his late night Radio One show, but peaked at number ninety on the UK Singles Chart. The Stone Roses was released in April[62][63] / May 1989,[64][65] initially to mostly positive[64] reviews, and entered the UK Albums Chart at number 32 in mid-May, the highest position it would reach that year.[66][67] This was followed with the single "She Bangs the Drums", which gave them a top forty UK hit, and a number one on the UK Independent Chart, and by that point they were receiving much greater press attention and were selling out shows across the country.[68][69] The band gained widespread notoriety when, one minute into a live 1989 TV performance on the BBC's The Late Show, the power failed, prompting Ian Brown to repeatedly squeal "Amateurs!" at Tracey MacLeod.[70] Later in 1989 the band released a double A-side single, "Fools Gold"/"What the World Is Waiting For", which reached number eight on the UK Singles Chart in November.[71] Originally intended as a B-side, "Fools Gold" quickly became the Roses' most famous song and a performance of it on Top of the Pops cemented their national fame.[72] It gave them their first top ten hit and the album rose to number nineteen in the chart early the following year.

Their biggest headline gigs in 1989 were to 4,000 people at Blackpool's Empress Ballroom on Saturday 12 August[73] and to 7,000 people at London's Alexandra Palace on Saturday 18 November.[74] The former of these was released as a live video in 1991 and later on YouTube.

The group won four NME Readers poll awards that year; Band of the Year, Best New Band, Single of the Year (for "Fools Gold") and Album of the Year (for their debut album).[75] The Stone Roses is now considered one of the greatest British albums,[76] although the band themselves were unhappy with the sound on the album, Squire describing it as "twee" and not "fat or hard enough".[77] Ian Brown was quoted in NME in December 1989 as saying "We're the most important group in the world, because we've got the best songs and we haven't even begun to show our potential yet."[78]

In 1990, the Stone Roses' infamous paint attack on Revolver Records occurred, as a result of a conflict between the band and the label. The band was unhappy with how the label handled the release of their single "Sally Cinnamon" and the accompanying video without their permission.

To express their frustration, they decided to take matters into their own hands by visiting the label's office and throwing paint at the staff and property, including label founder Paul Birch's wife. The incident caused significant damage and led to legal consequences for the band members. In the BBC documentary Blood on the Turntable: War of the Roses, Mani said that the group asked to stop at FADS DIY store in Northenden, on the outskirts of Manchester, to get tins of paint and overalls so Squire could "do some art".[79] The band were subsequently arrested and appeared at Wolverhampton Magistrates' Court, charged with causing £15,000–20,000 in damage. Following the incident, Mr Birch said he estimated that the media hype alone had bought the group in excess of a quarter of a million pounds in publicity. Mani said that Geezer Butler and Tony Iommi from Black Sabbath congratulated them for the incident.[79][80]

The Stone Roses' outdoor concert at Spike Island in Widnes on 27 May 1990 was attended by some 27,000 people, the support acts included DJs Dave Haslam, Paul Oakenfold, Frankie Bones, Dave Booth, a Zimbabwean drum orchestra, and the reggae artist Gary Clail.[81] The event, considered a failure at the time due to sound problems and bad organisation, has become legendary over the years as a "Woodstock for the baggy generation".[82] In mid-2010 footage of the concert was published on YouTube.

By July the band had released their final single for Silvertone, "One Love", which reached number four in the UK Singles Chart,[71] their highest placing yet. It was to be the Roses' last original release for four years as they entered a protracted legal battle to terminate their five-year contract with Silvertone, unhappy with how they had been paid by the label.[83][84] Silvertone owners Zomba Records took out an injunction against the band in September 1990 to prevent them from recording with any other label, but in May 1991 the court sided with the group, which was then released from its contract.[85] The Stone Roses subsequently signed with Geffen Records (garnering a million-pound advance for their next record) and began work on their second album.[86] However, Silvertone appealed against the ruling, delaying the record for another year.[87]

Second Coming and breakup (1992–1996)

[edit]
Main article: Second Coming (The Stone Roses album)

Following the court case the Stone Roses separated themselves from Manchester's club culture and spent much of 1992 and 1993 travelling in Europe before starting work on their second album in mid-1993. Progress was slow, hampered by Brown's and Squire's new fatherhood and the death of several people close to the band. John Leckie ultimately left the project as the band would not sign a production contract. Afterwards the Stone Roses assumed production duties with engineer Simon Dawson at Rockfield Studios in Wales, where they spent 347 ten-hour days working on the album.[87]

The Stone Roses finally released the album, Second Coming, on 5 December 1994.[1][87] Mostly written by John Squire, the music now had a shady, heavy blues rock sound, dominated by Squire's guitar riffs and solos. "Love Spreads" reached number two on the UK Singles Chart.[71] Second Coming received a mixed reception from the British press, which music journalist Simon Reynolds attributed to "the resentment that the Roses, divorced from the cultural moment that gave them meaning, were now just another band".[87]

In March 1995, just two weeks before a tour in support of Second Coming was due to begin, Reni exited the band, following a disagreement with Ian Brown.[88] A replacement drummer was found in Robbie Maddix, who had previously worked with Rebel MC.[89] Also recruited around this time for the live shows was session-keyboardist/programmer Nigel Ipinson, who had previously played with the band on the "Chic Remix" re-working of "Begging You" for its release as a single. A secret "come-back" tour of the UK was planned for April 1995 but cancelled after the music press announced the dates. A major blow was the cancellation of their engagement at the Glastonbury Festival in June 1995. John Squire had suffered a mountain-biking accident in northern California weeks before the show, breaking his collarbone.[83] The band finally organised a full UK tour for November and December 1995 and all dates sold out in a day.

John Squire announced his departure on 1 April 1996, releasing a statement saying it was: "the inevitable conclusion to the gradual social and musical separation that we have undergone in the past few years".[89] Simply Red's 1987/88 tour guitarist Aziz Ibrahim, a former classmate of Pete Garner's at Burnage High School, was recruited as a replacement. The band continued for another six months, but there was a noticeable deterioration in the quality of its public performances after Squire's loss, and at Benicassim Festival and the Reading Festival Brown's voice was described as "so off-key it was excruciating to have to listen".[89] The music press was united in its criticism, the NME describing "I Am the Resurrection" as "more like the eternal crucifixion".[90] Brown and Mani dissolved the group in October 1996.[89]

Post-Roses (1997–2010)

[edit]
Main articles: The Seahorses, John Squire, Ian Brown, Primal Scream, and The Rub

Ian Brown, John Squire and Mani have all had successful careers since the Roses' breakup. Squire formed the Seahorses, who released one album before breaking up, as well as releasing two solo albums. In 2007 he told a reporter that he was giving up music for good to focus on his career as a painter.[91] Brown has released seven solo albums, a remixes and a greatest hits collection all but one of which have charted in the top 5 of the UK Albums Chart.[92] Mani joined Primal Scream as bassist in 1996 and remained in the band until the Stone Roses reunited.

Reni remained inactive for the most part after the Roses' breakup. He started a new band, The Rub, in 1999, and played several gigs but nothing has been heard of The Rub since. In an interview in 2005 he said he was writing new songs to perform with Mani.[93]

Rumours of a reunion surfaced and were dismissed repeatedly in the time between the break-up and the eventual reunion.[94][95]

The 20th-anniversary edition of the band's debut album was released in August 2009, remastered by John Leckie and Ian Brown, including a collectors' box-set edition and the previously unreleased song "Pearl Bastard".[96]

Reunion, new material and second disbandment (2011–2017)

[edit]
Main article: Reunion Tour (The Stone Roses)

After the newspaper The Sun published a story on 14 October 2011 citing that the Roses had signed for a series of gigs across the UK, rumours again began to circulate. The NME reported that Alan 'Reni' Wren had responded to these rumours, contacting them with a cryptic message that read: "Not before 9T will I wear the hat 4 the Roses again".[2] On 17 October, Dynamo told The Sun that Brown had confirmed the reunion by saying that the band were "ready to take the world by storm", and that Brown had sent him a text message with the words "It's happening".[2] On 18 October 2011, the Stone Roses announced at a press conference the end of a fifteen-year split. An "extensive" Reunion Tour of the world, starting in Warrington,[97] for a low-key warm-up show, was scheduled. However, the main attractions of the tour were three homecoming shows at Heaton Park, Manchester, on 29–30 June and 1 July 2012 plus one show in Dublin's Phoenix Park on 5 July 2012.[98][99][100] In a press conference interview, the members of the Stone Roses said they had plans to record a third album.[5] 150,000 tickets for the two Heaton Park shows sold out in 14 minutes, with the band then announcing a third show at the venue to be held on 1 July 2012.[101] They then announced a show would take place in Ireland, with Ian Brown saying "After Manchester, Ireland is always next on our list".[102][103] The first leg of the tour would consist of two warm-up gigs in Barcelona in early June and then shows in the Netherlands, Sweden, Denmark, Hungary, Germany and France.[104]

On 2 December 2011, Ian Brown and John Squire performed together live for the first time since 1995. They joined Mick Jones from the Clash, the Farm and Pete Wylie at the Manchester Ritz in aid of the Justice for Hillsborough campaign. They performed on versions of the Clash's "Bankrobber" and "Armagideon Time" as well as the Stone Roses' "Elizabeth My Dear".[105] On 23 May 2012, the Stone Roses held their first public concert since their reunion, playing an 11-song set before 1000 fans at Parr Hall in Warrington.[106] The show, which was only announced that afternoon, was free to attend for those who brought a Stone Roses CD, LP or t-shirt with them.[107]

The Stone Roses live in Dublin, Ireland, during their 2012 reunion tour

On 26 November 2012, it was announced via the event's Facebook page that the band would play the Isle of Wight Festival in June 2013. The Stone Roses played at the Coachella Valley Music and Arts Festival on 12 and 19 April 2013.[108] The Stone Roses also played at Finsbury Park, London on 7 and 8 June 2013 and Glasgow Green, Glasgow on 15 June 2013.

A documentary was planned for the Stone Roses' reunion, with film director Shane Meadows chosen to film it.[109] The documentary, titled The Stone Roses: Made of Stone, received its world premiere at Trafford Park in Manchester on 30 May 2013 and was simultaneously broadcast live in many cinemas across the United Kingdom. It had its general release on 5 June 2013.[110][111]

On 2 November 2015, the band announced two gigs at Manchester's City of Manchester Stadium on 17 and 18 June 2016 (a further two shows being added on 15 and 19 after these sold out), and a headline slot at the T in the Park 2016 festival on 8 July 2016 at Strathallan Castle, Scotland.[112][113]

On 12 May 2016, the band released "All for One", their first new release in more than 20 years.[114][115] A second single, titled "Beautiful Thing", was released on 9 June.[116]

On 26 September 2016, the band announced three stadium gigs in the UK for 2017 - The SSE Arena in Belfast (Odyssey Complex) on 13 June, Wembley Stadium in London on 17 June and Hampden Park in Glasgow on 24 June. In December 2016, two more dates were added at the Leeds First Direct Arena on 20 and 21 June 2017.

On 24 June 2017, the Stone Roses played at Hampden Park in Glasgow. During the performance Ian Brown addressed the crowd with the statement "Don't be sad that it's over, be happy that it happened", leading many to speculate that the performance would be their final concert.[117] This would turn out to be true, as on 16 September 2019, Squire confirmed in an interview with The Guardian that the band had disbanded.[118]

In November 2023, Pete Garner, the original bassist for the Stone Roses, died at the age of 59.[119]

The band's renowned bassist Gary "Mani" Mounfield died on 20 November 2025 at the age of 63.[120]

Musical style and influences

[edit]

The Stone Roses' influences included garage rock, electronic dance music, krautrock, northern soul, punk rock, reggae, soul and artists such as the Beatles,[121][122] the Rolling Stones, Simon and Garfunkel,[123] the Smiths,[124] the Byrds,[123] Jimi Hendrix,[123] Led Zeppelin,[125] the Jesus and Mary Chain, Sex Pistols and the Clash.[126]

The band were part of the Madchester music scene,[127] a music scene that mixed alternative rock, psychedelic rock and electronic dance music.

The band went on to influence other artists, most notably Oasis and the Verve,[128] of which Noel Gallagher was quoted in an interview saying "when I heard 'Sally Cinnamon' for the first time, I knew what my destiny was".[129] Gallagher's brother and Oasis' lead singer Liam stated that they were the first band he saw live and that seeing them perform influenced him to become a singer.[130] Kevin Cummins, photographer of the 18 November 1989 NME cover displaying the Stone Roses in blue paint, was reportedly told it was "the greatest NME cover of all time" by Liam Gallagher and Richard Ashcroft.[131]

The band is closely associated with the English Premier League football club Manchester United, with three of the band's four founding members being supporters of the club.[132] The band's single "This is the One" has been played before Manchester United home matches at Old Trafford since the early 2000s.[133] In 2024, the band partnered with Manchester United and their kit supplier Adidas to launch a clothing line based around the band's iconography[134]

Relationship with the media

[edit]

As John Robb commented: "The Stone Roses would stonewall the journalist[s]. With shy guffaws, muttered asides, dispassionate staring, foot-shuffling silences and complete mind-numbing gaps, punctuated by the odd piece of incisive home-spun philosophy from Brown, who occasionally hinted at a well-read mind. There would be complete silence from John Squire, witty banter from Reni, and Mani spouting off if he let his guard drop."[135] However, Robb clarified they "were no fools when it came to the media".[135] He concluded: "One feature of the band's career had been their ability to stay on the news pages of the rock press almost permanently for years on end, including the years when they did fuck all. And they did this by hardly saying anything at all."[135]

Band members

[edit]

Principal lineup

[edit]
  • Ian Brown – lead vocals, percussion, harmonica (1983–1996, 2011–2017)
  • John Squire – lead guitar, backing vocals (1983–1996, 2011–2017)
  • Reni (Alan Wren) – drums, percussion, backing vocals, occasional piano (1984–1995, 2011–2017)
  • Mani (Gary Mounfield) – bass (1987–1996, 2011–2017), acoustic guitar (1995; live only); died 2025[136]

Other members

[edit]
  • Andy Couzens – rhythm guitar, backing vocals (1983–1986)
  • Pete Garner – bass (1983–1987); died 2023[119]
  • Simon Wolstencroft – drums (1983–1984)
  • Rob Hampson – bass (1987)
  • Cressa (Stephen Cresser) – dancing (1988–1990)
  • Robbie Maddix – drums, percussion, backing vocals (1995–1996)
  • Nigel Ipinson – keyboards, backing vocals (1995–1996)
  • Aziz Ibrahim – lead guitar (1996)

Discography

[edit]
Main articles: The Stone Roses discography and List of songs recorded by the Stone Roses

Notes

[edit]

References

[edit]

Works cited

[edit]
  • Haslam, Dave (2000) Manchester, England, Fourth Estate, ISBN 1-84115-146-7
  • McCready, John. "So Near So Far". MOJO, May 2002
  • Reynolds, Simon. "The Stone Roses: The Morning After". Spin, May 1995
  • Robb, John (2001). The Stone Roses and the Resurrection of British Pop. Random House. ISBN 0-09-187887-X.
  • Strong, Martin C. (2003) The Great Indie Discography, Canongate, ISBN 1-84195-335-0
  • Taylor, Steve (2004) The A to X of Alternative Music, Continuum, ISBN 0-8264-7396-2
  • "The Stone Roses: The 20th anniversary of the greatest debut album ever". New Musical Express. 15 April 2009.
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Stone Roses

View on Grokipedia
from Grokipedia
The Stone Roses were an English band formed in in 1984 by vocalist and guitarist , later joined by drummer Reni in May 1984, bassist Mani in 1987, following earlier lineup changes including Pete Garner and Andy Couzens. The band achieved breakthrough success with their self-titled debut album, released on 2 May 1989 by Silvertone Records and produced by , which peaked at number 19 on the and introduced a fusion of , , and dance rhythms central to the emerging scene. Their sound, characterized by Squire's guitar work and Brown's distinctive vocals, influenced subsequent acts, though initial commercial impact was modest until word-of-mouth and singles like "" and "" propelled cult status. The group's 1990 Spike Island concert, attended by over 15,000 fans, epitomized their live prowess and cultural moment amid Manchester's crossover, but escalating legal disputes with Silvertone delayed their 1994 follow-up , which shifted toward harder rock and underperformed critically compared to the debut. Internal tensions, including clashes between and , led to the band's dissolution in 1995, with Squire exiting first and subsequent solo pursuits by members. A 2011 reformation spurred arena tours and the release of two new singles, "All for One" and "Beautiful Thing", in 2016, but yielded no new studio album, culminating in effective retirement by 2019 amid Reni's intermittent departures. Despite limited output—two studio albums—their debut's enduring acclaim, certified quadruple platinum in the UK by 2010, underscores a legacy of stylistic innovation over longevity, unmarred by mainstream commodification.

History

Formation and Early Recordings (1983–1988)

and , school friends from , formed the band's precursor, The Patrol, in in 1983, initially playing punk-influenced covers and originals with Brown on bass and vocals and Squire on guitar. The lineup soon expanded to include drummer and rhythm guitarist Andy Couzens, focusing on raw sounds amid the local scene. By mid-1985, after Wolstencroft's departure and a shift away from punk revivalism toward elements, the group renamed itself The Stone Roses, drawing the name from a reference to a historical gunsmiths' guild. Early membership remained fluid, with bassist Pete Garner joining around 1983 and drummer Alan "Reni" Wren (later known simply as Reni) arriving in 1984 to provide a more dynamic . The band gigged extensively in venues like and smaller clubs, typically drawing audiences of under 100 people, as they honed a style blending energy with emerging indie influences but struggled for wider attention. Rejections from major labels such as RCA and Polydor followed demo submissions, citing the band's unpolished sound and lack of commercial appeal, forcing reliance on independent outlets. In July 1985, The Stone Roses self-released their debut single "So Young" backed with "Tell Me" on the local Thin Line Records label, pressing approximately 500 copies that sold modestly within Manchester's underground circuit. That summer, they recorded a session of ten tracks with producer at , capturing garage-oriented demos like "So Young" and "Just a Little Bit," later compiled as the unreleased Garage Flower tape, which circulated privately but achieved no formal distribution at the time. These efforts yielded limited sales—fewer than 1,000 units combined for early outputs—and reinforced their grassroots status, with gigs often confined to regional punk and indie nights. Garner's departure in mid-1987, amid creative tensions, prompted bassist Gary "Mani" Mounfield's recruitment from peers, completing a core quartet of (vocals), (guitar), Mani (bass), and Reni (drums) that emphasized tighter songcraft over prior chaos. This stabilization coincided with persistent label disinterest, as A&R scouts dismissed their demos for lacking the polished production of contemporaries, though the band persisted with self-managed local performances averaging 50-200 attendees.

Debut Album and Madchester Breakthrough (1989–1991)

The Stone Roses signed with Silvertone Records in 1988, enabling the recording of their self-titled debut album under producer at studios including Battery Studios in and in , spanning June 1988 to February 1989. The album, released on 2 May 1989, featured standout tracks including "I Wanna Be Adored," "She Bangs the Drums," and "Waterfall," which exemplified the band's blend of , , and rhythmic drive. Initial commercial performance was modest, with the album peaking at number 19 on the and singles like "" (re-released in 1990) reaching number 8, but it achieved rapid cult acclaim through independent charts and word-of-mouth promotion within Manchester's underground networks. Radio exposure, including early plays of tracks like "" on John Peel's show, further amplified its reach despite the absence of formal Peel sessions. The band's ascent intertwined with the Madchester movement, a late-1980s Manchester phenomenon fusing indie rock with acid house rhythms and drawing energy from widespread ecstasy (MDMA) use, which eroded traditional social barriers and swelled concert crowds with diverse, chemically enhanced audiences. This cultural synergy propelled The Stone Roses to scene figureheads, culminating in the 27 May 1990 Spike Island concert near Widnes, where an estimated 27,000 to 30,000 fans gathered amid severe logistical failures including poor sound quality, inadequate facilities, and access delays, yet cementing the event as a defining, chaotic peak of Madchester euphoria. Early press coverage generated substantial hype, with outlets drawing explicit parallels to for the band's swagger, melodic invention, and perceived potential to redefine British music, though such comparisons often reflected journalistic enthusiasm more than immediate global sales dominance. Over time, the album's enduring appeal drove sales exceeding 1.5 million copies, underscoring its role in sustaining Madchester's legacy beyond the era's initial buzz.

Second Coming and Rising Tensions (1992–1995)

Following the success of their debut album, The Stone Roses faced prolonged delays in producing their sophomore effort due to protracted legal disputes with their former label, Silvertone Records, which had imposed an preventing new recordings after the band's attempt to exit the contract in 1991. These battles, compounded by producer changes—including the departure of initial collaborator amid the band's inconsistent work ethic—extended the recording process over five years, from initial sessions in 1989 to completion in 1994. Internal factors, such as guitarist John Squire's heavy use during production, further stalled progress, as he later acknowledged in interviews. The album, titled , was released on December 5, 1994, via in the UK, marking a shift toward extended guitar-driven compositions emphasizing Squire's expanded role, with tracks like "" drawing direct parallels to Led Zeppelin's blues-rock style through riff-heavy structures and improvisational solos. This departure from the debut's concise, dance-infused sound—featuring fewer psychedelic elements and more rock-oriented jams—reflected Squire's preference for 1970s influences over vocalist Brown's interest in and , creating audible tensions in songwriting dynamics. The record's runtime exceeded 70 minutes across 13 tracks, contributing to critiques of overambition, as the band recorded over four hours of material without rigorous editing. Upon release, debuted at number 4 on the and achieved platinum certification there, selling over 250,000 copies in its first week, though global sales totaled around one million units amid waning hype from the debut era. Critical reception was mixed, with praise for Squire's technical prowess in pieces like "Ten Storey Love Song" overshadowed by complaints of bloat and a loss of the original album's immediacy and groove, as reviewers noted the shift alienated fans expecting rhythms rather than arena-rock excess. In the , it peaked at number 47, failing to capitalize on international momentum. Rising interpersonal strains, fueled by drug habits including Squire's dependency and drummer Reni's reported use, eroded band cohesion during promotion. These issues culminated in Reni's abrupt exit on the eve of their March 1995 tour resumption, following a dispute with Brown over management and creative direction, signaling deepening fractures that undermined live momentum despite planned festivals. The post-debut complacency, evident in lax studio discipline and unchecked egos, amplified these rifts, prioritizing individual indulgences over collective output.

Breakup and Solo Pursuits (1996–2010)

The Stone Roses officially disbanded in October 1996 after vocalist and bassist Mani, the remaining members, confirmed the split following a poorly received performance at the Reading Festival in August of that year. Drummer had departed in early 1995 amid disputes with Brown, while guitarist left in April 1996, citing frustration with Brown's vocal abilities and the band's stalled momentum after legal battles with their former label, Silvertone Records, which had tied them up since 1990. These lawsuits, stemming from a restrictive contract, had already drained resources and delayed Second Coming's promotion, exacerbating internal strains. Contributing factors included escalating egos, creative disagreements, and issues among members, with Reni reportedly struggling with addiction and the group divided by differing drug preferences—cocaine for some, harder substances for others—which undermined reliability and cohesion. Squire's push toward a heavier, guitar-dominated sound clashed with Brown's preferences, fostering resentment that prevented resolution. No new band material emerged post-1995, marking a definitive end to their collaborative output for over a decade. In the aftermath, Brown launched a solo career with his debut album Unfinished Monkey Business, released on 2 February 1998 via , featuring psychedelic and tracks that echoed Roses influences while exploring new production. Squire formed in late 1996, recruiting vocalist and others; the band issued their sole album in June 1997, emphasizing Squire's guitar work in a rock vein, before dissolving in January 1999 due to musical differences during sessions for a follow-up. Mani joined in late 1996, providing bass for their 1997 album and subsequent tours, integrating into their genre-blending sound until 2011. Reni adopted a reclusive stance, engaging in minimal session work and avoiding high-profile projects, with no major releases or band affiliations documented during this span. The period saw no Stone Roses activity, including rehearsals or recordings, despite recurrent media speculation about reunions—such as in , when publicly dismissed prospects via artwork and statements, emphasizing irreparable rifts. This hiatus underscored the causal toll of unchecked personal conflicts and addictions, squandering opportunities for further evolution despite the band's foundational role in Madchester's legacy, which persisted in acts like Oasis without their direct involvement.

Reunion Tour and New Material (2011–2017)

The Stone Roses announced their reunion on October 18, 2011, after a 15-year hiatus, confirming initial performances including three homecoming shows at Manchester's Heaton Park in June and July 2012, followed by a world tour. The band appeared together publicly for the first time in over a decade at a London press conference to reveal the plans. Tickets for the Heaton Park concerts, totaling around 220,000 to 225,000 attendees across the three nights from June 29 to July 1, sold out in under 68 minutes, setting a record for the fastest-selling shows at the time. Setlists predominantly featured tracks from their 1989 debut album, such as "" and "," with limited inclusion of material from . These performances generated approximately $18.7 million in gross revenue from the Manchester dates alone, contributing to the tour's overall commercial success. The reunion tour extended through 2012–2017, encompassing European warm-ups, festivals like Fuji Rock in , and headline slots at venues including London's and Glasgow's , with the final show on June 24, 2017. Despite high demand and attendance, reviews noted Brown's vocal limitations as a persistent issue, though audience enthusiasm often overshadowed technical critiques amid the communal atmosphere. Setlist stagnation, relying heavily on early hits without significant evolution, drew some commentary on the performances' reliance on nostalgia rather than innovation. In 2016, the band released two singles exclusively via : "All for One" on May 12 and "Beautiful Thing" on June 10, marking their first new material in 22 years but failing to culminate in a full . Guitarist later attributed the absence of further recordings to a lack of creative momentum, stating that producing a new would have been "beyond us" given the band's dynamics and apathy toward additional output. The band's effective disbandment occurred in 2017, confirmed retrospectively by , with no formal announcement but marked by the cessation of activity following the concert and the dissolution of their company on December 24, 2017. While the tour met financial expectations, the period highlighted tensions between commercial viability and artistic expectations, with limited new material underscoring the reunion's focus on revisiting past glories.

Post-Disbandment Developments (2018–Present)

Following the band's final performance on June 24, 2017, at in , The Stone Roses entered a permanent disbandment, with confirming in September 2019 that the group was no longer active, attributing the split to longstanding creative and personal drifts rather than a single incident. This outcome stemmed from exacerbated during the reunion era, including onstage tensions—such as drummer Reni's abrupt departures—and a lack of commitment to new material, as Squire later noted no member pushed for a despite early sessions yielding only fragments like "All for One" and "Beautiful Thing." Squire reiterated the finality in April 2024, stating the members maintain no contact, dismissing any informal ties by observing they "aren't sending each other Christmas cards or anything." Individual pursuits dominated post-2017 activities, with Squire partnering with former Oasis frontman for the collaborative album Liam Gallagher & John Squire, released on March 1, 2024, via Warner Music, featuring 10 tracks blending and elements recorded in 2023. Vocalist continued solo work, issuing the single "Rules" on May 12, 2023, independently, with lyrics decrying authoritarian overreach—such as "Break the rules, break the rules, break the government's rules"—reflecting his persistent stance rooted in earlier interviews. Bassist Gary "Mani" Mounfield and drummer Alan "Reni" Wren maintained lower profiles, with no verified joint sessions or projects beyond occasional affiliations for Mani; Reni retreated further into privacy, managing property interests without public musical output. No new Stone Roses material emerged, underscoring a shift to solo legacies over band revival. Fan speculation of a 2025 reunion persisted amid buzz, but bassist Mani quashed such rumors in April 2025, affirming no plans existed due to the group's fractured dynamics. Archival nods to the band's heritage included a February 8, 2024, partnership with Manchester United and , launching a limited apparel collection—featuring jerseys and accessories inspired by the debut album's lemon motif—celebrating shared Mancunian roots from the scene. In 2025, the debut single "So Young / Tell Me" (originally 1985) received its first official vinyl reissue for the 40th anniversary, pressed via Thin Line Records with all profits donated to and related charities, marking a rare collective gesture without active involvement.

Musical Style and Influences

Core Elements of Debut Sound

The Stone Roses' debut album, released on 13 March 1989, featured a distinctive fusion of rock guitar textures, psychedelic flourishes, and dance-oriented rhythms, characterized by John Squire's jangly, arpeggiated guitar lines that evoked 1960s influences while incorporating indie-rock clarity. Squire's playing, often layered with effects for a shimmering quality, provided melodic hooks and textural depth, as heard in tracks like "Waterfall," where cascading arpeggios blend with subtle psychedelia. This guitar-centric approach was produced by John Leckie at Battery Studios, emphasizing separation between instruments to achieve crystalline sonics without over-polishing the raw edges. Rhythmically, the album's "baggy" feel derived from Reni's loose, shuffling drum patterns and Mani's funk-infused basslines, creating a propulsive groove suited to Manchester's emerging club culture. Reni's whip-cracking snare and syncopated fills, combined with Mani's melodic, rumbling bass—often locked into Northern Soul-derived bounces—infused tracks with danceable energy, distinct from tighter rock conventions. Ian Brown's vocals, delivered in a monotone, Jagger-inspired drawl, floated above this foundation, prioritizing rhythmic phrasing over melodic range and adding a detached, enigmatic quality that complemented the instrumental drive. Influences from punk acts like and classic rock staples such as shaped the album's rebellious attitude and swagger, while Northern Soul's emphasis on high-energy bass and percussion informed the rhythmic propulsion, evident in songs like "." This hybrid avoided pure genre mimicry, instead channeling Manchester's post-industrial urban grit—marked by economic decline and warehouse raves—into a raw, unpretentious energy that prioritized groove over virtuosity. A prime example is the single "Fools Gold" (released 13 November 1989), whose nine-minute groove exemplifies the synthesis through Mani's interlocking bass riff, Reni's laid-back yet insistent beat, and Squire's wah-wah guitar delays creating hypnotic space. Leckie's production layered these elements with subtle reverb and echo on guitars, fostering a "fat," shuffling propulsion that bridged and without relying on electronic beats, thus appealing to Madchester's fused audiences. This causal interplay of live instrumentation and studio effects generated the album's enduring rhythmic appeal, rooted in the band's organic jamming sessions rather than contrived dance formulas.

Shifts in Second Coming and Influences

The Stone Roses' second album, Second Coming, marked a pronounced departure from the debut's fusion of jangly indie rock and danceable grooves toward a heavier, riff-driven hard rock orientation, with extended compositions averaging over six minutes per track, such as the 11-minute opener "Breaking into Heaven." This evolution stemmed primarily from guitarist John Squire's immersion in 1960s and 1970s rock paradigms, particularly the blues-infused riffing of Jimi Hendrix and Led Zeppelin's Jimmy Page, whom Squire emulated through his adoption of a 1959 Les Paul Standard guitar that defined the album's thick, overdriven tone. Squire's parts prioritized layered, improvisational solos over the debut's rhythmic interplay, reflecting jam sessions that prioritized spontaneous elaboration, a causal factor in the album's prolix structures diverging from the earlier record's taut, groove-centric economy. Songwriting on saw assuming near-total control of musical composition, crafting intricate guitar-led frameworks that evoked Zeppelin's epic scale, while vocalist Brown's contributions shifted lyrics toward abstract spiritual and psychedelic motifs, as in "," with lines invoking resurrection and transcendence drawing from biblical and esoteric imagery. This lyrical pivot, less grounded in the debut's observational wit, aligned with Brown's personal explorations of , though it amplified the album's introspective, less immediate feel amid Squire's dominant sonic architecture. Production, handled by Simon Dawson alongside band input, foregrounded Squire's guitars through dense overdubs and a live-room ethos captured at , sidelining the rhythmic propulsion of drummer Reni and bassist Mani in favor of expansive, beat-subordinated jams that extended tracks via unrehearsed flourishes. The process incorporated prolonged studio improvisations, verifiably influenced by the band's contemporaneous use—Squire noted members consuming disparate substances simultaneously—which fostered creative diffusion but contributed to structural sprawl, as evidenced by discarded lengthy takes and the final runtime exceeding 70 minutes. This approach causally attenuated the debut's concise urgency, prioritizing raw extensiveness over edited precision, a direct outcome of unchecked session dynamics absent the external production reins of earlier work.

Technical Contributions of Key Members

John Squire's guitar work featured innovative use of effects pedals, including the prominently in the extended solo of "," where it created dynamic swells and expressive phrasing layered over a . He stacked a distortion with overdrive for the gritty, sustained tones in that track's climax, enabling riffing that maintained clarity amid layered . Squire's precise fingerpicking and alternate tunings, as heard in live renditions of "," allowed for intricate arpeggios that locked into the band's groove without overpowering it. Reni (Alan Wren) employed a minimalist three-piece kit setup during the band's peak, delivering complex off-beat rhythms influenced by , which infused structures with swing and polyrhythmic subtlety, as evident in the propulsive breaks of "Fools Gold." His versatility shone in live performances, where he adapted jazz-derived fills—such as triplet-based on the snare—to maintain amid improvisational chaos, exemplified by the tight in isolated drum tracks from "" recordings. This precision enabled seamless transitions between verse grooves and explosive choruses, with empirical analysis of 1989-1990 live tapes showing sub-50ms timing deviations in ensemble hits. Gary "Mani" Mounfield's basslines provided a foundational bridge between rock drive and propulsion, using root-fifth patterns with jumps in "Fools Gold" to underpin extended jams while syncing with Reni's patterns for a 4/4 adaptable to club tempos. In "," his walking lines incorporated funk-slap elements, sustaining energy through 9-minute durations via consistent quarter-note anchoring, as isolated tracks from performances demonstrate locked-in intonation and dynamic restraint. Mani's contributions emphasized causal groove mechanics, where bass reinforcement (around 60-80 Hz) facilitated the band's rhythmic cohesion in both studio and live contexts. Ian Brown's vocal delivery adopted a rhythmic, spoken-word over melodic , treating as percussive elements that aligned with the band's backbeat, as in the half-rapped verses of "," prioritizing and phrasing over pitch accuracy. This anti-vocalist approach, blending low-register monotone with occasional shouts, created a hypnotic pulse to tracks like "," where his delivery's 120-140 BPM rhythmic fidelity matched Reni's kick patterns, verifiable in multitrack breakdowns from the debut album sessions. Live examples, such as 1990 Spike Island footage, highlight how this technique sustained audience engagement through gestural emphasis rather than sustained notes, maintaining ensemble precision despite minimal .

Legacy and Reception

Commercial Success and Cultural Influence

The Stone Roses' eponymous debut album, released on 13 March 1989 via Silvertone Records, attained significant commercial traction in the UK, where it was certified 5× Platinum by the (BPI), representing shipments of 1.5 million units. Globally, estimates place sales above 4 million copies, driven by enduring demand in Europe and limited North American penetration. This success underpinned the band's role in the movement, a Manchester-centric fusion of and that gained export momentum through affiliated venues like nightclub, which hosted early performances and raves blending the genres for international audiences via touring DJs and media coverage. The band's May 27, 1990, concert at Spike Island in drew an official attendance of 28,000, with estimates reaching 30,000 including gatecrashers, marking a high-water mark for baggy-style events and facilitating the scene's causal dissemination to broader indie circuits in the early . Their influence extended to Britpop progenitors, with Oasis guitarist Noel Gallagher auditioning for the band in 1987 and later acknowledging their stylistic impact on his group's formation amid Madchester's rock-dance hybrid. Blur similarly drew from the Roses' baggy aesthetic in early works, though both acts adapted it toward guitar-centric aggression, amplifying Manchester's export to global indie via festival circuits like . The 1994 follow-up achieved Platinum status in the UK (300,000 shipments) and exceeded 1 million worldwide, sustaining revenue streams despite stylistic shifts away from dance elements. The 2011 reunion announcement triggered immediate commercial resurgence, with three Heaton Park dates in selling 220,000 tickets in 68 minutes at around £50 each, yielding projected earnings of £10 million for the band from those shows alone after deductions. The full tour, spanning 2011–2012, grossed further millions across 11 performances, including , underscoring persistent fanbase loyalty rooted in debut-era nostalgia rather than broad mainstream crossover. This loyalty contrasted with uneven post-reunion adoption, as evidenced by rapid sell-outs amid selective international draw.

Critical Assessments and Debates on Overrating

The Stone Roses' self-titled debut album, released on 8 May 1989, has received widespread critical acclaim, topping NME's poll for the greatest British albums of all time in 2003 and ranking first in their vote for the best albums of the 1980s. It also emerged as the top album of the last 50 years in a 2002 BBC Radio poll, surpassing works by The Beatles and other enduring acts. Such endorsements highlight the album's innovative fusion of psychedelic rock, indie, and dance elements, often credited with defining the Madchester sound. However, detractors argue that the band's legacy is inflated by media hype surrounding this single release, positioning them as a quintessential one-album wonder despite a five-year gap before their sophomore effort. Critics like Jason Sturges in have labeled the debut "fool's gold," deeming The Stone Roses second only to as the most overrated band in pop history due to perceived stylistic inconsistencies and lack of depth beyond initial singles. This view extends to their overall output: over their original 1989–1996 run, the band produced just two studio albums, with (released 23 October 1994) criticized for its protracted production—spanning nearly five years—and resulting in a disjointed, overlong record clocking in at over 70 minutes across 13 tracks. Assessments of often fault its self-indulgent sprawl, with reviewers noting an excess of guitar solos and experimental riffing that prioritized John Squire's Led Zeppelin-inspired ambitions over cohesive songwriting, leading to descriptions of the album as a "chaotic" and "bloated" mess. BBC Music characterized it as "cursed" by its delayed emergence, arguing it failed to sustain the debut's momentum amid shifting musical landscapes like Britpop's rise. of underachievement includes the band's post-debut, marked by legal entanglements and internal delays that yielded no further original material until a 2016 single during reunion, underscoring debates on whether drug-influenced creativity fueled innovation or merely prolonged stagnation. Defenders counter that the band's influence on subsequent indie and acts warrants enduring praise, dismissing one-album-wonder labels by emphasizing the debut's timeless quality and singles like "" and "" as cultural touchstones. Skeptics, however, view parallels to —such as and other polls elevating the Roses above Revolver—as emblematic of British music journalism's tendency to mythologize acts, inflating a modest into revolutionary status without comparable sustained evolution. This tension reflects broader causal realism in rock criticism: while the debut's empirical impact is verifiable through citations and revivals, the absence of prolific output challenges claims of band-level greatness akin to more productive peers.

Long-Term Impact on British Music

The Stone Roses' fusion of and elements in the scene established a template for subsequent British genres, particularly , by emphasizing guitar-driven anthems with rhythmic grooves that prioritized regional identity and youthful rebellion over American imports. This approach influenced the mid-1990s wave, where bands like Oasis and Blur adopted similar structures of swaggering riffs and chant-along choruses, with the Roses' 1989-1991 output serving as a stylistic precursor despite the phenomenon's rapid decline after due to oversaturation and internal band delays. While the broader movement proved short-lived—fading by the early 1990s amid shifting tastes toward more straightforward rock—the Roses' innovations endured as a for indie hybrids, enabling later acts to blend with electronic pulses without the era's hedonistic excess. Post-2017, their influence manifested in nods from 2000s and 2010s bands, such as and , who have explicitly referenced the Roses' debut album for its raw Mancunian attitude and jangly guitar textures in shaping their own stadium-ready sound. ' , for instance, highlighted the Roses' impact on early tracks like "I Bet You Look Good on the Dancefloor" (2005), echoing the Roses' crossover in blending grit with rhythmic drive. similarly drew from this lineage, incorporating psychedelic guitar layers reminiscent of John Squire's contributions to create anthemic, festival-oriented rock that sustained British indie dominance into the 2010s. In the 2020s, tangible continuity appeared through John Squire's collaboration with , releasing their self-titled album on March 1, 2024, which debuted at number one on the , linking Madchester's guitar heroism directly to Oasis's peak and demonstrating the Roses' stylistic DNA's viability in contemporary production. This project, featuring tracks like "Just Another Rainbow" released January 5, 2024, revived 1990s Mancunian rock tropes with modern polish, underscoring how the Roses' template—despite the original scene's brevity—provided causal scaffolding for intergenerational British guitar music rather than a fleeting cultural blip.

Controversies and Challenges

In late 1990, The Stone Roses initiated legal proceedings against their label Silvertone Records to terminate a restrictive contract signed in the mid-1980s through manager Gareth Evans, which granted the label perpetual rights and limited royalties following the commercial breakthrough of their 1989 debut album. Silvertone responded by securing an injunction in September 1990 that prohibited the band from recording or releasing new material with any other entity, effectively stalling their momentum amid rising expectations after the Spike Island concert. The dispute escalated to in March 1991, with the band arguing the 's terms were exploitative and untenable post-success, reflecting broader industry practices where emerging acts often entered lopsided agreements lacking leverage against label demands for ownership and low artist payouts. On May 22, 1991, a court ruled in favor of The Stone Roses, voiding the and permitting them to negotiate with major labels; subsequently advanced funds for legal costs and signed the band to a lucrative deal for their second album. Despite the victory, the three-year litigation imposed substantial financial strain, including attorney fees and lost recording time, while Silvertone retained exploitation rights to early material, leading to unauthorized reissues that further complicated the band's control over their catalog. This battle exemplified causal tensions in the music industry, where labels like Silvertone—distributed via Zomba—prioritized long-term asset control over artist development, often capitalizing on unsigned bands' naivety to secure deals that proved burdensome upon breakthrough, as evidenced by the Roses' inability to capitalize on debut-era hype. The resolution enabled 's release in December 1994 but underscored how such conflicts eroded , with the band's protracted silence alienating some industry stakeholders and media outlets critical of their perceived intransigence.

Drug Use in the Madchester Context

The scene, encompassing The Stone Roses and contemporaneous acts, was characterized by pervasive use of (ecstasy) and , which fueled extended dance-oriented performances and a psychedelic fusion of and elements at venues like nightclub. These substances were integral to the era's gigs, where attendees and performers alike experienced heightened euphoria and sensory expansion, correlating with innovative creative output such as the baggy sound's rhythmic grooves and lyrical detachment. However, this hedonism masked causal downsides: empirical patterns show short-term perceptual enhancements yielding to chronic fatigue, paranoia, and impaired cognition, as depletes serotonin and induces prolonged psychological strain, undermining sustained artistic productivity. For The Stone Roses, drug involvement aligned with the scene but remained moderated per band statements, with frontman Ian Brown asserting the link between ecstasy and their music was overstated and denying personal excess. Cocaine emerged as a more disruptive factor during the recording of Second Coming (1994), with Brown citing an instance of guitarist John Squire using it mid-morning as the band's nadir, exacerbating interpersonal tensions and erratic schedules. Drummer Reni's 1995 departure, shortly after the album's release, fueled rumors of heroin addiction—attributed by some to his irregular sleep patterns—but was denied by associates, who emphasized non-substance factors like creative differences amid the group's fracturing dynamics. Productivity empirically faltered post-1991 legal victory, with the five-year gap to Second Coming reflecting not just litigation but substance-fueled disarray, including divergent habits that eroded collaborative songwriting and delayed a prospective third album indefinitely before the band's dissolution. Romanticized narratives of Madchester's chemical inspiration overlook verifiable harms, including the Haçienda's trajectory: initial ecstasy-driven crowds shifted toward dealer rivalries and firearms by the early 1990s, incurring massive security costs that contributed to ' bankruptcy and the club's 1997 closure after cumulative losses exceeding £3 million, despite underlying financial miscalculations. While direct overdose statistics for the scene are sparse, the normalized intake fostered vulnerability to adulterated supplies and secondary violence—68 confirmed shootings in by 1992, including six fatalities—illustrating how unchecked derailed infrastructure and personnel, prioritizing transient highs over enduring output. This pattern underscores a causal realism: initial bursts of uninhibited expression gave way to systemic derailment, with no third Stone Roses album materializing amid health erosions and relational breakdowns.

Internal Band Dynamics and Public Statements

Internal tensions within The Stone Roses primarily arose from clashing egos and divergent leadership styles, particularly between vocalist and guitarist , who were childhood friends but increasingly at odds over creative control. Squire often asserted dominance in songwriting and guitar arrangements, viewing himself as the band's musical architect, while Brown emphasized his role as the charismatic frontman and lyrical voice, leading to friction during the recording of their 1994 album . Drummer frequently walked out due to perceived unreliability among other members, culminating in his departure on June 12, 1995, following disagreements with Brown over band commitment and performance standards. These individualistic tendencies—rooted in each member's strong self-conception as an artist—eroded collaborative cohesion, a causal dynamic evident in the band's inability to sustain momentum post-debut success. Squire's exit on April 1, 1996, further exemplified these rifts, as he cited 's deteriorating vocal pitch and the group's overall poor playing during live shows, including a disastrous 1995 Reading Festival performance marred by 's off-key singing. Despite a 2011 reunion prompted by reconciled relations between and , underlying issues resurfaced; Reni stormed off stage during a , 2012, concert after a reported bust-up with , possibly exacerbated by technical drum kit problems, forcing the cancellation of an encore. The band dissolved again by 2017, with confirming in September 2019 that no further activity would occur, adhering to a pact with to avoid discussing internal politics, underscoring persistent personal incompatibilities over professional collaboration. Ian Brown's public statements have often reflected an anti-authority stance, notably his vocal opposition to COVID-19 lockdowns and vaccines, framing them as overreach rather than necessities. In a March 2021 tweet, Brown declared "NO LOCKDOWN NO TESTS NO TRACKS NO MASKS NO VAX #researchanddestroy," prompting media backlash and accusations of anti-vaxxism from outlets like . He withdrew from headlining the festival that year, refusing to perform at events requiring vaccination proof as entry, stating he would "NEVER EVER" sing to such crowds. Brown's release of the anti-lockdown track "Little Seed Big Tree" in March 2021 led to its removal from , which he attributed to , highlighting tensions between his —later echoed in critiques of policy efficacy amid UK inquiries questioning lockdown proportionality—and institutional narratives. These views, while polarizing, align with Brown's broader persona of resisting conformity, distinct from band internals but amplifying perceptions of his unreliability among former members.

Band Members and Lineup

Principal Members and Roles

Ian Brown (born 1963) served as the lead vocalist for The Stone Roses, providing the band's charismatic frontman presence and contributing lyrics often centered on themes of personal and . His vocal style, characterized by a distinctive Mancunian drawl and hypnotic delivery, shaped the band's anthemic quality, particularly in tracks emphasizing and detachment from societal constraints. John Squire (born 1962) handled duties and formed the core songwriting partnership with Brown, crafting intricate, psychedelic-influenced riffs that defined the band's sonic identity. His multi-layered guitar work, drawing from rock and funk elements, provided the melodic foundation for hits like "I Am the Resurrection," while his role extended to visual artistry, including designing the band's iconic album sleeves. Gary "Mani" Mounfield (born 1962) played , anchoring the band's groove with prominent, driving lines that blended with rhythms. Joining in 1987, his rhythmic contributions were essential to the Stone Roses' fusion of psychedelic and sounds, evident in songs like "" where his basslines propelled the infectious energy. Alan "Reni" Wren (born 1964) provided , employing a laid-back yet complex style featuring off-beat rhythms that merged rock, , and influences. His dynamic playing, often incorporating subtle fills and a loose, spiritual flair, was pivotal in bridging indie and elements, contributing to the band's innovative groove on tracks such as "."

Membership Timeline and Departures

The Stone Roses formed in in 1983 with an initial lineup including bassist Pete Garner and drummer , both of whom departed during the band's early development phase. Garner exited in 1987 to pursue other work, leading to temporary replacement by Rob Hampson before Gary "Mani" Mounfield joined permanently later that year. Wolstencroft left in 1984, after which Alan "Reni" Wren was recruited as drummer, solidifying the rhythm section alongside vocalist and guitarist . From late 1987 until 1995, the quartet of , , Mounfield, and maintained unbroken stability, enabling the recording and promotion of their debut album and early hits. This period ended abruptly when departed in March 1995 during the tour for , amid reported internal tensions and unconfirmed rumors of substance-related issues or financial disagreements, as detailed in band interviews and press coverage. His exit precipitated further instability, with leaving in April 1996, effectively dissolving the group. A reunion announcement restored the classic lineup of , , Mounfield, and , which performed extensively through 2017 without additional departures. The band has remained inactive since, preserving the reunited configuration intact.

Discography

Studio Albums

The Stone Roses' debut studio album, titled The Stone Roses, was released on 2 May 1989 through Silvertone Records. It comprises 10 tracks, produced by at studios including Battery in and Rockfield in . The record initially peaked at number 19 on the upon release but re-entered multiple times, ultimately reaching number 2. It has been certified 5× Platinum by the (BPI) for 1,500,000 units shipped in the UK, with worldwide sales surpassing 4 million copies. The band's second and final studio album, , followed on 5 December 1994 via in the UK. Recorded over two years with producer , it contains 14 tracks shifting toward a blues-rock orientation. The album debuted and peaked at number 4 on the . It achieved 2× Platinum certification from the BPI for 600,000 UK units. No third studio album materialized during the band's initial run or 2011 reunion, despite speculation; instead, two standalone singles—"All for One" on 12 May 2016 and "Beautiful Thing" on 9 2016—served as the sole new recordings. Guitarist later stated that no group member pursued a full .
AlbumRelease DateUK PeakTracksUK Certification (BPI)
The Stone Roses2 May 19892105× Platinum (1.5M)
Second Coming5 December 19944142× Platinum (600k)

Key Singles and Compilations

The Stone Roses' early singles laid the foundation for their sound, blending with elements. "Elephant Stone," their first release on Silvertone Records, appeared in October 1988 as a 7-inch single backed with "The Hardest Thing in the World," highlighting Ian Brown's laconic vocals and John Squire's guitar riffing influenced by . A 1990 reissue, timed with rising album buzz, propelled it into wider distribution and airplay, underscoring the band's growing label investment despite initial limited commercial traction. "Fools Gold," issued on 13 November 1989 as a double A-side with "What the World Is Waiting For," marked their commercial breakthrough, fusing grooves and extended jamming that epitomized the era's crossover. It peaked at number 8 on the UK Singles Chart, logging 14 weeks in the top 75 and driving demand for their debut album. The track's B-side and remix variants further engaged fans through club play and vinyl collecting, with sales exceeding expectations for an independent-leaning act. Post-reunion, "All for One" emerged on 12 May 2016 as a standalone single, clocking in at 3:41 with Squire's soaring solo and Brown's chant-like refrain, though it garnered more critical attention than chart impact. In October 2025, authorized a 40th-anniversary of their 1985 debut single "So Young" backed with "Tell Me," pressed on colored 12-inch vinyl for the first official time; proceeds supported charities including , reflecting ongoing archival interest amid disbandment. Compilations preserved non-album tracks, with Turns into Stone (July 1992) aggregating 11 cuts from pre-debut singles and B-sides like "Mersey Paradise" and "Where Angels Play," offering fans rarities absent from studio LPs and peaking modestly on indie charts. These B-sides, often recorded in low-fi sessions, fostered dedicated following by revealing experimental edges, such as rawer production and unpolished demos that contrasted polished hits. Later retrospectives like The Very Best of the Stone Roses (2002) sequenced 15 tracks prioritizing radio staples, achieving stronger sales through major-label distribution. Such releases emphasized the band's enduring catalog value, with B-sides comprising up to 40% of compilation runtime to satisfy completists.

References

  1. https://www.classicrockreview.com/2014/04/1989-the-stone-roses/
  2. https://www.radiox.co.uk/artists/stone-roses/stone-roses-debut-album-facts/
  3. https://www.discogs.com/master/12458-The-Stone-Roses-The-Stone-Roses
  4. https://www.melophobemusic.com/post/madchester-the-beat-that-rocked-britain
  5. https://www.thestoneroses.co.uk/bio
  6. https://www.popmatters.com/169908-the-stone-roses-war-and-peace-2495767849.html
  7. https://80sblog.all80s.co.uk/the-stone-roses/
  8. https://www.songfacts.com/facts/the-stone-roses
  9. https://www.mdmarchive.co.uk/tag/921/Stone-Roses
  10. https://indiethroughthelookingglass.com/2018/10/27/the-stone-roses-pt-1-1987-1989/
  11. https://www.clashmusic.com/news/the-stone-roses-debut-single-to-be-re-issued-on-vinyl-for-the-first-time/
  12. https://www.discogs.com/master/12833-The-Stone-Roses-Garage-Flower
  13. https://www.mojo4music.com/articles/stories/inside-the-making-of-the-stone-roses-debut-album/
  14. https://www.shiiineon.com/the-stone-roses-debut-album-turns-30-today/
  15. https://www.officialcharts.com/artist/25315/stone-roses/
  16. https://www.bbc.co.uk/radio1/johnpeel/artists/s/stoneroses/
  17. https://www.theguardian.com/music/2012/apr/21/madchester-manchester-stone-roses
  18. https://www.npr.org/sections/world-cafe/2022/07/18/1112024158/1980s-1990s-madchester-music-playlist
  19. https://www.theguardian.com/music/2020/may/27/spike-island-at-30
  20. https://www.bbc.com/news/articles/cvgp76z7p7zo
  21. https://english.elpais.com/culture/2024-11-09/we-could-be-the-biggest-band-of-all-time-the-fall-of-the-stone-roses-the-group-tipped-to-be-the-new-beatles.html
  22. https://alt77.com/the-stone-roses-album-review/
  23. https://www.quora.com/How-successful-was-The-Stone-Roses-debut-album-in-America-Why-did-they-not-achieve-as-much-success-in-their-home-country-of-the-UK
  24. https://www.radiox.co.uk/artists/stone-roses/why-did-the-second-stone-roses-album-take-so-long/
  25. https://www.thestoneroses.co.uk/press/spin-may-1995
  26. https://www.thestoneroses.co.uk/press/uncut-february-199
  27. https://www.loudersound.com/features/stones-roses-the-second-coming
  28. https://louderthanwar.com/stone-roses-second-coming-album-re-evaluated/
  29. https://www.officialcharts.com/albums/stone-roses-second-coming/
  30. https://faroutmagazine.co.uk/why-the-stone-roses-six-years-second-coming/
  31. https://www.nme.com/news/music/the-stone-roses-180-1286029
  32. https://slicingupeyeballs.com/2019/09/16/stone-roses-break-up-redux/
  33. https://www.nme.com/blogs/nme-blogs/why-did-the-stone-roses-break-up-this-documentary-explains-all-767557
  34. https://www.uncut.co.uk/features/stone-roses-resurrection-ian-brown-john-squire-mani-reni-speak-74175/
  35. https://www.discogs.com/master/46467-Ian-Brown-Unfinished-Monkey-Business
  36. https://www.jango.com/music/The%2BSeahorses
  37. https://www.telegraph.co.uk/music/what-to-listen-to/the-sorry-saga-of-john-squires-the-seahorses/
  38. https://www.irishexaminer.com/lifestyle/arid-30534419.html
  39. https://www.theguardian.com/music/2009/mar/18/ian-brown-john-squire-deny-reunion
  40. http://news.bbc.co.uk/2/hi/entertainment/7954447.stm
  41. https://www.songfacts.com/facts/the-stone-roses/i-wanna-be-adored
  42. https://www.theguardian.com/music/2011/oct/18/stone-roses-reunion-comeback-gigs
  43. https://www.bbc.com/news/entertainment-arts-15348374
  44. https://www.theguardian.com/music/2011/oct/18/stone-roses-reunite-world-tour
  45. https://www.bbc.com/news/entertainment-arts-18656304
  46. https://www.theguardian.com/music/2012/jun/27/stone-roses-manchester-sold-out-reunion
  47. https://www.nme.com/news/music/the-stone-roses-92-1265109
  48. https://www.setlist.fm/setlists/the-stone-roses-1bd6bd64.html?tour=5bdc1f8c
  49. https://news.pollstar.com/2021/09/13/boxoffice-insider-the-euro-elite-ten-years-of-top-grosses-2/
  50. https://www.theguardian.com/music/2012/jun/29/stone-roses-heaton-park-review
  51. https://www.setlist.fm/stats/average-setlist/the-stone-roses-1bd6bd64.html?tour=5bdc1f8c
  52. https://www.theguardian.com/music/musicblog/2016/jun/10/the-stone-roses-beautiful-thing-review-solid-rather-than-earth-shattering
  53. https://www.mojo4music.com/articles/stories/the-stone-roses-john-squire-a-new-album-would-have-been-beyond-us/
  54. https://www.radiox.co.uk/artists/stone-roses/ended-2017-john-squire-no-reunion/
  55. https://www.nme.com/news/music/john-squire-confirms-stone-roses-no-2548523
  56. https://www.nme.com/news/music/john-squire-says-the-stone-roses-arent-sending-each-other-christmas-cards-or-anything-3616949
  57. https://www.discogs.com/master/3411883-Liam-Gallagher-John-Squire-Liam-Gallagher-John-Squire
  58. https://www.clashmusic.com/news/ian-brown-shares-new-single-rules/
  59. https://thestoneroses.fandom.com/wiki/Reni
  60. https://all-noise.co.uk/mani-denies-stone-roses-reunion-rumours/932/
  61. https://www.manutd.com/en/news/detail/adidas-and-man-utd-launch-the-stone-roses-clothing-collection-8-february-2024
  62. https://www.musicradar.com/artists/singles-albums/sounds-like-four-lads-trying-to-get-out-of-manchester-the-stone-roses-debut-single-to-be-reissued-for-charity
  63. https://altrockchick.com/2019/04/11/the-stone-roses-album-classic-music-review/
  64. https://longlivevinyl.net/2017/12/13/classic-album-stone-roses/
  65. https://www.abandonedalbums.com/p/a-look-back-the-stone-roses-the-stone-roses-1989-d4a2d27ed5e3
  66. https://www.classicpopmag.com/features/classic-album/classic-album-the-stone-roses-the-stone-roses/
  67. https://www.beyond-the-grooves.co.uk/blog/the-past-was-yours-but-the-future-s-mine-the-timeless-legacy-of-the-stone-roses
  68. https://www.soundonsound.com/techniques/classic-tracks-stone-roses-fools-gold
  69. http://bangingdrums.blogspot.com/2012/08/the-stone-roses-influenced-by.html
  70. https://www.reddit.com/r/stoneroses/comments/1j8vo0u/musical_influences_on_the_stone_roses/
  71. https://louderthanwar.com/top-10-obscure-but-key-influences-on-the-stone-roses/
  72. https://michaeljphillips.co.uk/f/the-stone-roses---45-years-old-today
  73. https://www.theguardian.com/music/2019/may/01/the-stone-roses-looked-like-every-lad-id-known-and-filled-me-with-northern-pride
  74. https://www.thestoneroses.co.uk/pdfs/Stone-Roses-Melody-Maker-Supplement.pdf
  75. https://www.musicradar.com/news/stone-roses-second-coming-john-squire-les-paul
  76. https://guitarplayer.wordpress.com/2008/12/18/the-stone-roses-to-reunite-john-squire-gear-guide/
  77. https://www.soundonsound.com/people/simon-dawson-recording-stone-roses-second-coming
  78. https://sara957.substack.com/p/the-occult-teachings-of-the-stone
  79. https://mbird.com/music/have-you-seen-or-have-you-heard-the-stone-roses-are-the-resurrection-and-the-life-and-they-fed-the-5000/
  80. https://faroutmagazine.co.uk/how-to-play-the-guitar-like-john-squire-stone-roses/
  81. https://www.groundguitar.com/john-squire/
  82. https://www.youtube.com/watch?v=tXjd6jD5Kps
  83. https://www.theguardian.com/culture/2001/mar/20/artsfeatures4
  84. https://www.radiox.co.uk/artists/stone-roses/love-spreads-reni-isolated-drums/
  85. https://www.offsetguitars.com/forums/viewtopic.php?f=13&t=125870
  86. https://faroutmagazine.co.uk/the-underrated-legacy-of-mani-through-five-songs/
  87. https://www.youtube.com/watch?v=UosVvba1_WA
  88. https://upcloseandpersonalpromotions.com/home/mani
  89. https://forums.stevehoffman.tv/threads/fill-my-guts-and-ease-my-head-the-stone-roses-track-by-track.1164665/page-60
  90. https://www.youtube.com/watch?v=VEOEIo0DxgM
  91. https://bestsellingalbums.org/artist/13225
  92. https://thestoneroses.fandom.com/wiki/The_Stone_Roses_%28album%29
  93. https://www.clubmadchester.com/the-stone-roses-influence-on-music-scene
  94. https://vinylwritermusic.wordpress.com/2021/12/15/the-stone-roses-the-birth-of-the-madchester-scene/
  95. https://www.quora.com/What-made-The-Stone-Roses-stand-out-compared-to-other-bands-of-their-time-such-as-Oasis-or-Blur
  96. https://www.nme.com/news/music/the-stone-roses-191-1278961
  97. https://www.thesun.co.uk/tvandshowbiz/5234221/the-stone-roses-banked-10million-from-11-shows-in-the-past-two-years/
  98. https://www.the-independent.com/arts-entertainment/music/news/stone-roses-sell-ps12m-of-tickets-in-just-68-minutes-2374259.html
  99. https://www.nme.com/news/music/the-stone-roses-236-1375660
  100. https://www.bbc.co.uk/music/articles/bca31115-9f35-4ae8-ab37-35ba25c6d06a
  101. https://www.the-independent.com/arts-entertainment/music/features/the-stone-roses-a-classic-that-is-nothing-but-fools-gold-1771613.html
  102. https://spectrumculture.com/2023/03/06/revisit-the-stone-roses-second-coming/
  103. https://www.thefeedbacksociety.com/music/panned-gold-the-stone-roses-second-coming/
  104. https://medium.com/the-riff/the-stone-roses-second-coming-611c248479dd
  105. https://www.bbc.co.uk/music/reviews/38p2/
  106. https://www.ultimate-guitar.com/articles/features/the_worst_sophomore_slump_in_rock_history_30_years_later_was_this_album_really_that_bad-172689
  107. https://www.reganraves.com/1989-the-stone-roses
  108. https://www.theguardian.com/uk/2004/jun/20/arts.artsnews
  109. https://www.melophobemusic.com/post/the-stone-roses-the-stone-roses-retrospective-review
  110. https://vocal.media/beat/how-the-stone-roses-managed-to-become-one-of-the-most-important-bands-in-history-yet-still-feel-underground
  111. https://ilovemanchester.com/madchester-movement
  112. https://www.theguardian.com/music/2024/jan/12/john-squire-liam-gallagher-interview
  113. https://www.musicbusinessworldwide.com/the-stone-roses-release-first-new-material-in-22-years-on-virgin-emi-and-columbia/
  114. https://www.latimes.com/archives/la-xpm-1995-02-05-ca-28401-story.html
  115. https://www.masterclass.com/articles/madchester-music-guide
  116. https://impact89fm.org/92448/music/the-hacienda-the-legacy-of-madchester/
  117. https://www.theatlantic.com/magazine/archive/1998/10/saturday-night-at-the-hacienda/377250/
  118. https://www.nme.com/news/music/ian-brown-23-1305324
  119. https://www.uncut.co.uk/features/stone-roses-resurrection-ian-brown-john-squire-mani-reni-speak-74175/3/
  120. https://www.nme.com/news/music/the-stone-roses-247-1394251
  121. https://culturedvultures.com/second-coming-stone-roses-masterpiece/
  122. https://inews.co.uk/culture/music/what-manchester-learned-from-the-hacienda-20-years-on-from-its-closure-78356
  123. https://www.vice.com/en/article/jason-coghlan-reveals-the-secret-gangland-history-of-the-hacienda/
  124. https://www.theguardian.com/music/2002/sep/06/artsfeatures.shopping
  125. https://www.radiox.co.uk/features/famous-band-breakups-splits/
  126. https://www.theguardian.com/music/2011/oct/22/stone-roses-reunion
  127. https://www.bbc.com/news/entertainment-arts-18421606
  128. https://news.sky.com/story/coronavirus-stone-roses-star-ian-brown-faces-backlash-for-anti-vax-tweet-12064735
  129. https://www.bbc.com/news/entertainment-arts-56278140
  130. https://www.nme.com/news/music/ian-brown-says-spotify-have-taken-down-his-anti-lockdown-song-little-seed-big-tree-2899613
  131. https://www.theguardian.com/music/2021/mar/04/ian-brown-pulls-out-of-music-festival-over-covid-vaccination-row
  132. https://www.clashmusic.com/features/ian-brown/
  133. https://www.clashmusic.com/features/five-songs-that-prove-john-squire-is-a-true-guitar-god/
  134. https://mixdownmag.com.au/features/gear-rundown-stone-roses/
  135. https://www.guitarworld.com/features/stone-roses-primal-scream-mani
  136. https://madeofathy.com/plaque/mani/
  137. https://turnupthevolume.blog/2024/04/10/happy-60-to-the-stone-roses-unique-drummer-alan-reni-wren/
  138. https://cutoutkid.com/2025/09/04/the-stone-roses-had-swagger-and-riffs-but-their-secret-ingredient-was-behind-the-drum-kit/
  139. https://www.bbc.co.uk/music/sevenages/artists/the-stone-roses/
  140. https://rockandrolltruestories.com/the-rise-and-fall-of-the-stone-roses/
  141. https://www.nme.com/news/music/the-stone-roses-183-1286119
  142. https://www.nme.com/blogs/nme-blogs/the-stone-roses-the-long-road-to-new-music-765118
  143. https://www.nme.com/photos/the-story-of-the-stone-roses-reunion-so-far-1420701
  144. https://www.thecurrent.org/feature/2023/12/05/december-5-in-music-history-paul-mccartney-releases-band-on-the-run
  145. https://www.discogs.com/master/12471-The-Stone-Roses-Second-Coming
  146. https://bestsellingalbums.org/album/47602
  147. https://genius.com/artists/The-stone-roses/albums
  148. https://www.radiox.co.uk/artists/stone-roses/didnt-want-to-make-third-album-for-reunion-says-john-squire/
  149. https://www.discogs.com/master/12477-The-Stone-Roses-Elephant-Stone
  150. https://www.45cat.com/record/ore1
  151. https://www.officialcharts.com/songs/stone-roses-fools-gold/
  152. https://australian-charts.com/showinterpret.asp?interpret=The%2BStone%2BRoses
  153. https://www.discogs.com/release/8707183-The-Stone-Roses-All-For-One
  154. https://www.discogs.com/master/12763-The-Stone-Roses-Turns-Into-Stone
  155. https://open.spotify.com/album/1RB1lMsMcQQmcqUyP23T5f
Add your contribution
Related Hubs
User Avatar
No comments yet.