The Stone Roses: The Definitive Look at the British Band’s 1989 Album

Intro to The Stone Roses

Few albums in British rock history are as beloved, influential, and era-defining as The Stone Roses, the self-titled debut album by the Manchester band released on 2 May 1989. More than just a collection of songs, it set the blueprint for the entire Britpop movement, acted as a bridge between indie rock and dance music, and has since become a cultural touchstone that continues to influence new generations.

The Stone Roses weren’t just another indie band from Manchester—they personified the optimism, arrogance, and revolutionary spirit of a time when British music was at a crossroads. The band took psychedelic 60s influences, punk attitude, and club culture energy, and fused them into a sound entirely their own.

With Ian Brown’s hypnotic vocals, John Squire’s intricate guitar work, Mani’s groove-heavy basslines, and Reni’s remarkable drumming, The Stone Roses was an instant classic, featuring some of the greatest indie rock songs ever written. From the brooding “I Wanna Be Adored” to the anthemic “She Bangs the Drums”, the euphoric “I Am the Resurrection”, and the dance-infused “Fools Gold”, the album defined a generation and its impact is still being felt today.

But how did this album come to be? Why did it resonate so deeply? And how has its legacy endured for over three decades?

This is the definitive story of The Stone Roses.

The Stone Roses: Background & Context

The British Music Landscape in the Late 1980s

By the late 1980s, British music was experiencing a period of dramatic transition. The decade had begun with the post-punk and new wave explosion, but by the end of the decade, those sounds were beginning to feel exhausted. The synth-heavy production that had defined early- and mid-80s pop was starting to lose its appeal, and a new generation of artists sought to bring something fresh to the table.

At the same time, electronic dance music was booming in the underground scene. In particular, the acid house movement was spreading across the UK, especially in Manchester, where The Haçienda nightclub (run by Factory Records and New Order) was the beating heart of the rave revolution. DJs like Mike Pickering and Graeme Park were championing house music from Chicago and Detroit, and this sound was blending into British rock and indie music in unexpected ways.

Meanwhile, guitar-based indie rock was also evolving. The Smiths had dominated indie music in the early to mid-80s, but they had disbanded in 1987, leaving a gap for new indie bands to define the sound of the late 80s and early 90s. Bands like Echo & The Bunnymen, The Jesus and Mary Chain, and The House of Love were all experimenting with different ways to redefine British rock, but few had successfully bridged the gap between rock, psychedelia, and dance culture.

This was the world The Stone Roses emerged into. They weren’t just another indie band—they were a product of this cultural melting pot, blending:

• The psychedelic melodies and chiming guitars of the 60s (The Byrds, The Beatles, The Doors).
• The energy and swagger of punk and post-punk (Sex Pistols, The Clash, Joy Division).
• The rhythms and groove of dance music (New Order, acid house).

This fusion wasn’t just unique—it was revolutionary, and it was about to change the face of British music.

The Rise of Madchester and Baggy Culture

While The Stone Roses weren’t initially part of the Madchester movement, they quickly became its defining band.

The "Madchester" scene wasn’t a style of music—it was a cultural movement based in Manchester that brought together indie rock, dance music, and rave culture. Key players in this movement included:

• The Happy Mondays – Blending funk, indie, and house music, their drug-fuelled hedonism was the ultimate expression of the scene.
• 808 State – One of the first bands to introduce electronic dance music to the indie crowd.
• Inspiral Carpets – Combining psychedelic organ sounds with a raw, garage-band energy.

This was the soundtrack to Britain’s ecstasy-fuelled rave culture, and The Stone Roses would soon become its most important band—even if they never fully embraced the "baggy" label.

The Formation of The Stone Roses

The Stone Roses didn’t form overnight—their roots go back to the early 1980s, when a group of young working-class kids from Manchester and Altrincham bonded over punk, rock, and hip-hop records.

Early Beginnings: The Patrol (1983–1984)

Before they were The Stone Roses, Ian Brown and John Squire were part of a short-lived band called The Patrol, which played basic punk-influenced songs.

• Ian Brown – Initially the bassist, he later switched to vocals.
• John Squire – Played guitar, already showing an obsession with technical playing and melody.

The Patrol didn’t last long, but it planted the seeds of what would become The Stone Roses.

The Birth of The Stone Roses (1984–1985)

By 1984, Brown and Squire had a clearer vision. Inspired by The Sex Pistols, The Beatles, and the emerging indie scene, they formed The Stone Roses, and began to develop their signature sound.

Early members included:

• Andy Couzens (guitar) – An important figure in the band’s early years, but later left.
• Pete Garner (bass) – Played on some of the band’s first recordings before being replaced.
• Alan "Reni" Wren (drums) – Joined in 1984, bringing a jazz-influenced, intricate drumming style that would define the band’s rhythm section.

By 1987, Gary "Mani" Mounfield replaced Pete Garner on bass, completing the definitive lineup. Mani was a game-changer, bringing a funky, groove-heavy style that instantly elevated the band’s sound.

This was the classic Stone Roses lineup:

• Ian Brown (vocals) – The charismatic frontman, delivering lyrics full of mysticism, arrogance, and rebellion.
• John Squire (guitar) – The band’s secret weapon, blending psychedelia, blues, and indie rock into his intricate, expressive playing.
• Mani (bass) – Gave the band their groove, blending funk, dub, and indie into a hypnotic rhythm section.
• Reni (drums) – A virtuoso drummer, combining jazz rhythms, funk beats, and harmonized backing vocals into a style entirely his own.

By 1988, The Stone Roses had solidified their sound, image, and ambition—and the world was about to hear it.

The Roses Finding Their Sound (1986–1988)

Between 1986 and 1988, The Stone Roses began refining their music, moving away from their early punk roots and embracing a more psychedelic, groove-driven sound.

Early singles included:

• “So Young” / “Tell Me” (1985) – Their first official release, raw, punky, and aggressive—a world away from their later sound.
• “Sally Cinnamon” (1987) – The first sign of the Roses’ melodic, jangly pop side, full of romance and optimism.

By the time they released "Elephant Stone" (1988)—their first single produced by New Order’s Peter Hook—they had finally found their signature sound.

With soaring guitars, funky bass, and hypnotic rhythms, they were ready to record one of the greatest albums of all time.

Why The Stone Roses Were Different

So many indie bands of the 80s remained cult favorites—beloved by critics but never breaking into the mainstream. The Stone Roses were different.

1. They Had a Frontman with Swagger

   • Ian Brown wasn’t the greatest singer, but he had undeniable presence—a frontman who oozed confidence and charisma.

2. They Had a World-Class Drummer

   • Reni wasn’t just a drummer—he was an innovator, fusing jazz, funk, and rock rhythms into a style nobody else had.

3. They Had Huge Ambitions

   • While many indie bands were happy being underground, The Stone Roses wanted to be the biggest band in the world—and their music sounded like it.

4. They Were Timeless

   • Unlike other Madchester bands, The Stone Roses weren’t overly tied to their era—their melodic, psychedelic sound has aged gracefully.

By early 1989, the band was fully formed, musically ready, and culturally in the right place at the right time.

All they needed was the perfect album to capture their potential—and that’s exactly what they made.

The Stone Roses Recording & Production

By the summer of 1988, The Stone Roses were on the verge of something special. They had secured a deal with Silvertone Records, a new label under Zomba Music Group, and were about to enter the studio to record their debut album. They had the songs, the ambition, and the raw talent—but they needed the right producer to capture it all.

What followed was a nine-month process of meticulous recording, experimentation, and tension that resulted in one of the greatest British albums of all time.

Selecting the Producer: Why John Leckie?

Before recording began, the band had already worked with several different producers, each bringing their own influence:

• Martin Hannett (1985) – Produced their first demos, but the results were too dark and experimental for the band’s liking.
• Peter Hook (1988) – The New Order bassist produced their single “Elephant Stone”, but the Roses felt his production leaned too much towards a post-punk, electronic sound.

For the album, they needed someone who understood both rock and atmosphere. Enter John Leckie, a seasoned producer and engineer with an incredible track record:

• Worked at Abbey Road Studios in the 1970s as a tape operator, assisting on albums by John Lennon, Paul McCartney, and Pink Floyd.
• Produced The Fall, XTC, and The Dukes of Stratosphear, balancing classic production values with experimental creativity.
• His experience with psychedelia and indie rock made him the perfect choice.

Leckie was enthusiastic but cautious—he saw the potential in the band, but he knew they needed discipline and structure in the studio.

The Recording Process: June 1988 – February 1989

Recording for The Stone Roses took place over a nine-month period, spread across multiple studios:

Primary Recording Locations

• Battery Studios, London – The main sessions took place here, where the bulk of the album was recorded.
• Konk Studios, London – Some overdubs and additional production.
• Rockfield Studios, Wales – A famous residential studio used for final tracking.
• Strawberry Studios, Stockport – Additional overdubs and refinements.

Key Elements of the Recording Process

1. The Drum Sound: Reni’s Unique Style

• Reni’s drumming was unlike anything else in indie rock at the time—loose, funky, intricate.
• Leckie wanted to emphasize Reni’s jazz-like fluidity, capturing a sound that was powerful but still had groove.
• The snare was tuned high to give it a crisp, punchy sound that cut through the mix.
• Reni also added harmonized backing vocals to many tracks, something very few drummers did.

2. The Guitar Sound: John Squire’s Perfectionism

• Squire used a Fender Stratocaster through a Fender Twin Reverb amp, creating a glassy, chiming tone reminiscent of The Byrds and Jimi Hendrix.
• He layered multiple takes of guitar parts, blending rhythm and lead parts together into intricate soundscapes.
• “Fools Gold” took over three weeks to record just the wah-wah guitar part!
• Leckie noted that Squire was obsessed with perfecting every note, sometimes spending days re-recording tiny details.

3. Ian Brown’s Vocals: The Biggest Challenge

• Brown was never the most technically gifted singer, and recording his vocals proved difficult.
• He often struggled with pitch, so Leckie would layer multiple takes to smooth out imperfections.
• The band wanted the vocals low in the mix, blending in rather than dominating the songs.
• Despite the technical limitations, Brown’s delivery was filled with attitude and emotion, making his vocals an essential part of the album’s personality.

4. Mani’s Bass: The Groovy Foundation

• Mani played a Rickenbacker 4005 bass, giving the band’s rhythm section a deep, resonant groove.
• His style was melodic yet powerful, adding a danceable funkiness to the album.
• On tracks like “She Bangs the Drums” and “I Am the Resurrection”, his playing is central to the song’s energy and movement.

Breakthrough Moments in the Studio

The Creation of “I Wanna Be Adored”

• The album’s opening track was built around a slow, hypnotic build-up.
• Leckie and the band experimented with atmosphere, adding subtle guitar effects and layered harmonies.
• The bass intro was recorded with heavy reverb, creating a distant, otherworldly feeling.
• Ian Brown’s cryptic opening lyrics (“I don’t have to sell my soul / He’s already in me”) set the tone for the album’s mystique.

The Reworking of “Don’t Stop”

• One of the strangest moments on the album—this song is literally “Waterfall” played in reverse, with new lyrics over the top.
• Leckie encouraged the band to experiment, and this was one of their most surreal moments.
• Brown recorded his vocals phonetically to match the reversed instrumental!

The Extended Ending of “I Am the Resurrection”

• Originally, this track ended after 4 minutes, but the band decided to extend it into a full instrumental jam.
• The extended outro was improvised, capturing the band’s live energy in a studio setting.
• Mani and Reni’s rhythm section shines here, with funky bass and tight drumming keeping the groove locked in.

Tensions in the Studio: John Leckie vs. The Band

While Leckie was an essential figure in shaping the album, the recording process wasn’t always smooth.

1. Brown and Squire were Perfectionists

   • Brown and Squire had strong opinions on how things should sound, sometimes disagreeing with Leckie’s direction.

2. The Band Wanted More Volume

   • When the final mixes were done, the band complained that the drums and bass weren’t loud enough.
   • They wanted a more aggressive mix, closer to the Public Enemy and hip-hop records they were listening to.

3. The Band Almost Scrapped the Album

   • At one point, Ian Brown and John Squire were unhappy with the final mixes, saying the album didn’t sound “big” enough.
   • Leckie refused to start over, and after much debate, the band agreed to keep it as it was.

Despite these tensions, the final product was an undeniable masterpiece.

Final Mixing & Mastering

• The album was mixed at Battery Studios with Leckie overseeing the final adjustments.
• A focus was placed on maintaining a warm, natural sound, avoiding the overly polished production style of the era.
• The mastering process was handled by Tim Young, ensuring the record had clarity and dynamic range.
• Interestingly, the US release featured a different tracklist, adding “Elephant Stone” and “Fools Gold”—the latter of which would become one of their most iconic tracks.

The Sound of the Album: Why It Stands the Test of Time

Even decades later, The Stone Roses still sounds fresh. Its mix of psychedelic guitars, danceable grooves, and confident swagger makes it a timeless classic.

• Unlike many 80s albums, it avoided overuse of synthesizers and drum machines, keeping the sound organic and raw.
• The production balances space and texture, with room for every instrument to breathe.
• The mix of catchy melodies, groove-driven bass, and layered guitar work creates a dreamlike, hypnotic atmosphere.

After months of recording, experimenting, and debating, The Stone Roses had crafted their masterpiece—but now, they needed to release it to the world.

The Stone Roses Release & Reception

After nearly nine months in the studio, The Stone Roses had crafted what they believed to be a defining album. But releasing it to the world was a different challenge altogether. Would it be embraced by critics? Would it sell? Would it change the music landscape as they hoped?

On May 2, 1989, The Stone Roses was officially released through Silvertone Records, a new indie label under Zomba Music Group. What followed was a slow-burning but unstoppable rise to success, a clash with the British music press, and a legacy that would only grow stronger over time.

Early Marketing & Promotion

Despite their growing underground reputation, The Stone Roses were still outsiders in the mainstream industry. Silvertone didn’t have the marketing resources of major labels like Virgin or EMI, meaning promotion relied heavily on:

• Word of mouth and grassroots hype.
• Positive coverage in indie music press.
• A relentless gigging schedule across the UK.
• Strategic TV appearances, including 'Top of the Pops'.

The band didn’t launch with a major advertising campaign, but their style, confidence, and explosive live performances quickly made them the band to watch.

Cover Art as a Marketing Tool

One of the biggest hooks was the album’s cover art, designed by John Squire.

• Inspired by Jackson Pollock, the chaotic splatter-paint design immediately stood out on record store shelves.
• The lemons on the cover referenced the May 1968 Paris student riots, where protestors used lemons to counteract the effects of tear gas.
• The title Bye Bye Badman (which also inspired a song on the album) referenced this anti-establishment message, something that connected with the band’s rebellious image.

Initial Chart Performance: A Slow Burn to Success

Despite the growing buzz, the album didn’t become an instant commercial smash.

UK Albums Chart Performance

• First chart appearance: No. 32 (13 May 1989).
• Peaked at No. 19 (3 February 1990, nearly a year after release).
• Re-entered the charts multiple times throughout the 1990s and 2000s.
• Highest-ever position: No. 5 (2009 remastered edition).

International Performance

• The album performed modestly in Europe, with strong followings in the Netherlands, Sweden, and Norway.
• In the US, it was released later through RCA Records and failed to gain traction immediately, peaking at No. 86 on the Billboard 200.

At first, sales were steady but unspectacular. The game-changer was their live performances and the release of key singles.

Key Singles: How They Built Momentum

Each single helped push the band’s popularity higher, with “She Bangs the Drums” and “Fools Gold” making the biggest impact.

Breakout Moment: “Fools Gold”

Although not on the original album, “Fools Gold” changed everything.

• The dance-driven groove helped them cross over from indie rock to club culture, appealing to the acid house movement.
• The Funky Drummer breakbeat sample made it accessible to DJs, leading to heavy airplay in UK clubs.
• It became their first UK Top 10 hit and solidified their reputation as a new force in British music.

From this point on, the band became a national obsession.

Critical Reception: Mixed but Growing Praise

At the time of release, The Stone Roses wasn’t immediately hailed as the greatest album ever. While some early reviews were glowing, others were lukewarm or dismissive.

Positive Reviews

• Melody Maker (April 1989) – “A defining statement of indie cool, packed with shimmering guitars and anthemic swagger.”
• NME (1989) – Ranked second-best album of the year, behind De La Soul’s '3 Feet High and Rising'.
• Spin (1989) – “A remarkable debut, but will it stand the test of time?”

Negative & Mixed Reviews

• Q Magazine (1989) – Criticized the production as “too thin” and called the album “overhyped.”
• Robert Christgau (The Village Voice, 1990) – “What do they do that The Byrds and Buffalo Springfield didn’t do better in 1967?”
• Some US critics dismissed the album as just another “indie guitar record.”

While not universally praised at first, the album’s reputation grew year after year as it influenced a new generation of bands.

Impact on Britpop & 90s Music

Within two years, The Stone Roses had gone from cult heroes to icons.

• Blur, Oasis, and The Verve all cited the album as a major influence.
• Liam Gallagher famously said that seeing The Stone Roses live inspired him to form Oasis.
• The combination of psychedelic guitar rock and dance beats became the blueprint for 90s Britpop.
• The album bridged the gap between indie rock and dance culture, influencing later bands like Kasabian, Arctic Monkeys, and The Music.

The Stone Roses' debut album didn’t just define a moment—it defined a movement.

Legacy: The Album’s Continued Success

Over time, the album became universally recognized as a masterpiece.

Major Accolades & Rankings

• 1997 – Named #2 Greatest Album of All Time (Music of the Millennium Poll, Channel 4).
• 2000 – Named Greatest British Album Ever by NME readers.
• 2006 – Voted 7th Best Album of All Time by 40,000 voters in a British poll.
• 2013 – NME’s “500 Greatest Albums of All Time” placed it at #7.
• 2020 – Included in Rolling Stone’s 500 Greatest Albums of All Time at #319.

It wasn’t just a successful album—it became legendary.

Final Thoughts on the Release

• Slow Start, Massive Impact: The album took time to build momentum but eventually became a defining moment in British music history.
• Changed the Music Landscape: It paved the way for Britpop, inspired a generation of bands, and helped blur the lines between indie rock and dance music.
• Still Holds Up: Over 30 years later, The Stone Roses is still regarded as one of the greatest debuts of all time.

With the album now a critical and commercial triumph, The Stone Roses were riding a wave of unstoppable success. But what came next was even bigger—their legendary live performances.

The Stone Roses Live: Defining a Generation

While The Stone Roses' debut album laid the groundwork for their legendary status, it was their live performances that truly cemented their reputation. The band was more than just a studio act—they were a live phenomenon, delivering electrifying shows that bridged indie rock, psychedelia, and dance music.

From their early club gigs to their era-defining Spike Island concert, The Stone Roses transcended traditional rock performances, creating a euphoric live experience that remains one of the most celebrated in British music history.

Early Live Shows (1985–1988): Finding Their Sound

Before they became the hottest live act in Britain, The Stone Roses spent years honing their craft in Manchester’s underground scene.

Notable Early Gigs:

• Manchester International, 1985 – One of their first major live shows under the name "The Stone Roses".
• Hacienda, Manchester (1985-1986) – Played several times but initially struggled to win over the Hacienda’s acid house crowd.
• Dingwalls, London, 1987 – Their first proper gig in London, marking their arrival on the UK indie scene.
• Blackburn warehouse parties, 1988 – The Roses played at illegal raves, bridging the gap between guitar rock and dance culture.

By 1988, their live show had evolved. They were no longer just another indie band; they were becoming a movement.

Breakthrough Live Performances (1989-1990): The Peak of Madchester

With their debut album released, The Stone Roses went from underground heroes to the biggest live act in Britain.

Legendary Gigs That Defined Their Career

These gigs were more than just concerts—they were cultural moments that helped define Madchester and the rise of Britpop.

Spike Island (27 May 1990): The Defining Moment

If there is one gig that defines The Stone Roses, it is Spike Island.

The Setting:

• A massive open-air show held in a reclaimed industrial site in Widnes.
• Billed as "the second Summer of Love", capturing the spirit of the UK’s rave and indie scenes merging into one movement.
• The venue was not an ideal setting for a concert—with reports of poor sound quality, traffic chaos, and a shortage of toilets.

The Performance:

• The Roses played a career-defining set, including “I Wanna Be Adored,” “Made of Stone,” “Fools Gold,” and “I Am the Resurrection.”
• Despite technical issues, the energy was undeniable—thousands of fans lost in the music, the band at their peak.
• It became a mythologized moment, later seen as a turning point in UK music history.

Bassist Mani later called it “our own Woodstock.”

The Legacy of Spike Island

• It inspired a generation of musicians, including Oasis, Kasabian, and The Verve.
• Blur and Oasis later tried to recreate the magic with their own large-scale outdoor gigs.
• The event was immortalized in the 2012 film Spike Island.

Though not perfect, Spike Island cemented The Stone Roses’ status as the biggest band in Britain.

Glasgow Green (24 June 1990): The True Peak?

Many hardcore fans argue that Glasgow Green was the band’s finest hour.

• Better sound quality than Spike Island.
• A smaller, more engaged audience.
• The band played tighter, with more confidence.
• It was the final gig before their long legal battle with Silvertone, marking the end of an era.

NME later said: "If Spike Island was the legend, Glasgow Green was the real deal."

What Made The Stone Roses Live Experience So Special?

The Stone Roses’ gigs were not just concerts—they were transformative events.

1. A Unique Sound & Energy

• Reni’s drumming was unlike anything in rock at the time. His loose, fluid, dance-inspired beats made the band impossible not to move to.
• Mani’s basslines added a funky, groove-driven foundation.
• Squire’s psychedelic guitar work elevated the songs into hypnotic anthems.
• Ian Brown’s loose, laid-back delivery added to the euphoric, almost spiritual atmosphere.

2. A Bridge Between Indie Rock & Rave Culture

• The Stone Roses were embraced by both indie kids and ravers.
• Their music blended the rhythms of house music with the spirit of 60s psychedelia.
• Their gigs felt as much like a rave as a rock show, with fans dancing for hours, completely lost in the music.

3. The Cult of The Stone Roses

• No band had this level of devotion at the time.
• Fans traveled across the country just to see them play.
• Their image—bucket hats, baggy jeans, oversized parkas—became iconic.
• Each gig felt like a moment in history.

Decline of the Live Era (1990-1996)

After Glasgow Green, things started to unravel.

• A legal battle with Silvertone Records kept them from touring or recording for years.
• Reni quit in 1995, leading to a less powerful live show.
• Their 1996 Reading Festival gig was an infamous disaster—Ian Brown’s off-key vocals were heavily criticized, marking the band’s lowest point.

By the mid-90s, Britpop had taken over, and the Roses had faded into the background.

The Reunion Era (2012-2017): The Resurrection

In 2012, after 16 years apart, The Stone Roses shocked the world by reforming.

Reunion Tour Highlights:

• Heaton Park, Manchester (2012): 75,000 fans per night, hailed as one of the greatest comebacks in music history.
• Coachella Festival, USA (2013): Introduced them to a new generation of American fans.
• UK & European Arena Tours (2016-2017): Their last major shows before quietly ending the reunion.

Though no new album materialized, the reunion allowed a new generation of fans to experience their legendary live energy.

The Roses: The Greatest British Live Band?

The Stone Roses were more than just a band—they were a movement.

• They brought together indie rock, psychedelia, and dance music like no one else.
• Their live shows were spiritual experiences, defining a generation of music lovers.
• Spike Island remains one of the most famous gigs in UK history.
• Even after years of inactivity, their music still inspires sold-out crowds and new fans.

For many, The Stone Roses weren’t just a band—they were a way of life.

The Stone Roses' Impact on Britpop & Beyond

The Stone Roses were not just a great band—they were a catalyst for an entire movement. Their self-titled debut album and electrifying live performances reshaped British music, directly influencing Britpop, 90s alternative rock, and even modern indie bands.

Their fusion of psychedelic rock, indie, and dance music set the stage for the biggest bands of the 1990s, including Oasis, Blur, and The Verve. Without The Stone Roses, Britpop as we know it may never have happened.

The Birth of Britpop: The Stone Roses' Role

Britpop exploded in the mid-90s, but its foundations were laid by The Stone Roses.

What is Britpop?

• A British music movement of the mid-1990s, defined by catchy guitar-based songs, a sense of national pride, and a rejection of grunge’s dark aesthetic.
• Characterised by bands like Oasis, Blur, Pulp, and Suede.
• Lyrically and musically inspired by classic British rock bands such as The Beatles, The Kinks, and The Smiths.

How did The Stone Roses influence Britpop?

• They revived guitar-based British rock in a scene that was dominated by synth-pop and American alternative bands.
• Their swagger, attitude, and anthemic songwriting inspired bands like Oasis.
• They proved that UK guitar bands could fill massive outdoor venues, paving the way for Britpop’s stadium-filling era.
• They made Britishness cool again, encouraging bands to sing in regional accents and embrace British culture.

How The Roses Inspired Oasis, Blur, and More

Many of the biggest Britpop bands have cited The Stone Roses as a direct influence.

1. Oasis: The Heirs to The Stone Roses’ Throne

If one band carried The Stone Roses' torch, it was Oasis.

• Liam Gallagher has said The Stone Roses were the reason he wanted to start a band.
• He attended their legendary Alexandra Palace gig in 1989, calling it "life-changing."
• Noel Gallagher later recruited The Roses’ bassist, Mani, when in Primal Scream - to play with him in his first post-Oasis gigs.
• Songs like "Columbia" and "Supersonic" have a similar groove-based rhythm to The Roses' sound.

Liam Gallagher once declared: "If it weren’t for The Stone Roses, there’d be no Oasis."

2. Blur: From Shoegaze to Britpop Kings

• Blur started as a shoegaze band but pivoted to a more British, mod-influenced sound after The Stone Roses' success.
• Their 1993 album Modern Life Is Rubbish was a reaction to American grunge, embracing a more distinctly British sound—just as The Stone Roses had done.

3. The Verve: Psychedelic Soulmates

• The Verve’s Richard Ashcroft has spoken about The Stone Roses’ influence on their early sound.
• Songs like "Gravity Grave" and "Slide Away" owe much to The Roses’ hypnotic, groove-driven style.
• Like The Roses, The Verve blended psychedelia with indie rock, creating a sound both nostalgic and forward-thinking.

4. Pulp & Suede: The Britpop Outsiders

While Pulp and Suede were more glam and theatrical, The Stone Roses proved that British bands could break through without needing American validation.

Jarvis Cocker (Pulp) once said: "They opened the doors for us. They made British music exciting again."

Madchester & The Scene They Built

Before Britpop, The Stone Roses were at the heart of Madchester, a movement that blended indie rock, acid house, and dance culture.

Bands They Helped Inspire

• Happy Mondays – Their baggy grooves and dance-influenced sound were developed alongside The Roses.
• The Charlatans – Their early work is clearly indebted to The Stone Roses’ organ-driven indie sound.
• Primal Scream – After The Roses, Primal Scream fully embraced the dance-rock crossover, leading to their classic album Screamadelica. Though, many have said the Scream's first single, Velocity Girl, was a big influence on the Roses as well. 

Though Madchester fizzled out by the early ‘90s, its influence on dance-friendly indie music remains strong.

The Stone Roses' Influence on Future Generations

The Stone Roses' impact didn’t stop in the ‘90s. Their sound has echoed through generations of British indie rock.

1. Kasabian

• Their groove-driven anthems owe a huge debt to The Stone Roses.
• "L.S.F." and "Club Foot" have the same hypnotic swagger as "Fools Gold."

2. Arctic Monkeys

• The Roses’ Manchester storytelling and laid-back vocal delivery inspired Alex Turner.
• Turner once called The Stone Roses “untouchable.”

3. The Libertines

• Their loose, spontaneous energy mirrors The Roses’ early gigs.
• Like Ian Brown and John Squire, Doherty and Barat had a love-hate creative partnership.

4. Tame Impala (Australian Influence)

• Kevin Parker has cited The Stone Roses’ psychedelic sound as a major influence on his approach to layering guitars and creating hypnotic grooves.

What If The Stone Roses Had Released More Albums?

Many believe The Stone Roses could have been bigger than Oasis if they had released more albums in their prime.

NME once wrote: "If The Stone Roses had kept going, they would have been the biggest band in the world."

Why They Didn’t Dominate the ‘90s:

• Legal battles with Silvertone Records stopped them from releasing new music for five years.
• Second Coming (1994) was met with mixed reviews and didn’t live up to expectations.
• Internal tensions and Reni’s departure hurt the band’s chemistry.
• By the time they split in 1996, Britpop had moved on.

Despite this, their influence is arguably stronger than any band that came after them.

The Roses: The Band That Changed Everything

• The Stone Roses inspired an entire movement, setting the stage for Britpop and beyond.
• Oasis, Blur, The Verve, and countless others owe them a huge debt.
• They proved that British guitar music could be modern, psychedelic, and groove-driven all at once.
• Even with just two albums, their legacy is untouchable.

"They might not have been the biggest, but they were the most important." – Noel Gallagher

The Art & Imagery of The Stone Roses

While The Stone Roses were primarily a musical phenomenon, their visual aesthetic played an equally important role in their identity. Their album covers, posters, stage designs, and even their personal style all contributed to their mystique. At the heart of this was John Squire, the band’s lead guitarist and artistic visionary. His Jackson Pollock-inspired artwork became as synonymous with The Stone Roses as their music, helping to define the Madchester scene and Britpop’s visual culture.

John Squire: The Band’s Artistic Visionary

John Squire was not just a gifted guitarist—he was a talented visual artist, whose work was central to the band’s aesthetic.

• Squire studied graphic design at South Trafford College and had a deep appreciation for abstract expressionist art.
• His biggest artistic influence was Jackson Pollock, known for his drip painting technique.
• Many of The Stone Roses’ most iconic covers feature vibrant splashes of paint, layered with deep symbolism.

Squire once said: "The connection between art and music always felt natural to me. Both can be chaotic and yet meticulously structured."

The Iconic Album Cover: The Stone Roses (1989)

The cover of The Stone Roses' debut album is one of the most recognisable in British rock history.

The Meaning Behind the Cover

• The artwork is titled “Bye Bye Badman” and references the 1968 Paris riots.
• The splattered paint symbolizes the chaos of the riots, mirroring the youthful rebellion of The Stone Roses’ music.
• The lemons on the cover are a nod to a technique used by French protesters—they sucked on lemons to counteract the effects of tear gas.
• The tricolor of the French flag can also be faintly seen in the background, further reinforcing the theme of revolution.

Ian Brown explained: "I met a French guy who’d been in the riots. He told me about using lemons to neutralize tear gas, and it stuck with me."

Cultural Impact

• Ranked among the greatest album covers of all time by Q Magazine and Rolling Stone.
• Has been imitated, referenced, and even parodied in pop culture.
• Inspired countless British indie bands to take their album art seriously.

Other Iconic Stone Roses Artwork

1. Fools Gold / What The World Is Waiting For (1989)

• Another Pollock-style splattered painting by Squire.
• Features golden hues, matching the groove-heavy sound of the single.
• Captured the Madchester dance-meets-indie aesthetic perfectly.

2. One Love (1990)

• This cover moved away from Pollock-style painting, featuring a blurred-out psychedelic image instead.
• A shift in aesthetic as the band was experimenting with more bluesy and heavier sounds.

3. Second Coming (1994)

• Unlike the debut album, this cover was a darker, more ominous piece.
• Featured a burning candle in a cave, representing the band's struggles and long absence.
• The title, Second Coming, carried messianic undertones, a theme present in Ian Brown’s lyrics.

4. The Reunion Tour Poster (2012)

• Marked the band’s return after 16 years.
• Once again designed by Squire, the poster used his signature splattered-paint style, maintaining the band's strong visual identity.

John Squire’s Post-Stone Roses Art Career

After The Stone Roses initially split in 1996, John Squire shifted his focus to art.

• He held multiple exhibitions of his paintings, many of which echoed his Stone Roses-era aesthetic.
• His works have been displayed in galleries in London and Manchester.
• Squire has said that he now considers himself an artist first, musician second.

John Squire: "My paintings are just as important to me as the music ever was."

The Stone Roses’ Fashion & Visual Identity

Beyond their album covers, The Stone Roses had a distinctive personal style, which heavily influenced early Britpop fashion.

1. The “Baggy” Look

• The Stone Roses popularized “baggy” clothing, a mix of 60s psychedelia and 80s streetwear.
• This included:
  • Loose-fitting flared jeans or bell-bottoms.
  • Oversized parkas and windbreakers.
  • Bucket hats, made famous by Reni.
  • Adidas Gazelle or Puma trainers, often worn with tracksuit tops.

Liam Gallagher on The Roses' fashion: "They had the look before anyone else. Baggy jeans, bucket hats, parkas. They were the coolest, end of story."

2. Stage Design & Imagery

• The band rarely used extravagant stage setups, preferring simple but effective visuals.
• Their logo, a sliced lemon, became a symbol of their music.
• Their 1989 Top of the Pops performance featured Squire’s paintings as a backdrop, reinforcing their connection between music and art.

Legacy: Aesthetic Pioneers

• The Stone Roses set a precedent for British indie bands to have a strong visual identity.
• Blur, Oasis, The Verve, and Kasabian all took inspiration from their visual approach.
• Their album covers are still referenced and celebrated today in fashion, design, and music culture.

Q Magazine wrote: "The Stone Roses didn’t just sound like a revolution, they looked like one too."

Final Thoughts

The Stone Roses were more than a band—they were an artistic movement.

• John Squire’s artwork gave the band a unique identity that extended beyond their music.
• Their fashion and stage imagery helped define an era.
• Even today, their aesthetic remains timeless.

John Squire on art & music: "If the music hadn’t worked out, I think I’d have been just as happy as a painter."

Track-by-Track Breakdown: The Stone Roses (1989)

The Stone Roses' self-titled debut album is regarded as one of the greatest British albums of all time. It masterfully blends psychedelic rock, jangle pop, dance grooves, and poetic, often cryptic lyricism. The album defined the Madchester movement and laid the groundwork for Britpop, influencing generations of bands. Below is an in-depth breakdown of each track, exploring musical composition, lyrical themes, production details, and cultural impact.

1. I Wanna Be Adored

Duration: 4:52
Musical Style: Slow-burning, atmospheric, hypnotic groove
Themes: Fame, ego, desire, religious imagery

Overview:
The album opens with one of the most atmospheric introductions in rock history. The song begins with nearly a full minute of ambient noise before Mani’s bassline fades in, setting a hypnotic tone. John Squire’s guitar slowly builds, layering shimmering textures, while Reni’s drums enter with an understated yet powerful presence. Ian Brown’s subdued vocal delivery, almost whisper-like, adds to the song’s mystique. The track exudes an air of self-assurance, almost arrogance, fitting with the band’s rising confidence at the time.

Lyrics & Meaning:
The lyrics are sparse and repetitive, emphasizing their message through mantra-like delivery. The phrase "I don't have to sell my soul / He's already in me" has been widely interpreted, with some believing it reflects a Faustian bargain for fame, while others see it as a statement of self-belief. Brown later stated the song critiques the desire for adoration rather than celebrating it.

Production & Impact:
John Leckie’s production is instrumental in making this track such an evocative piece, using reverb and echo to build its ethereal quality. The song has since been widely used in sports arenas, films, and TV shows, reinforcing its status as a defining anthem of its era.

2. She Bangs the Drums

Duration: 3:43
Musical Style: Jangle pop, upbeat indie-rock
Themes: Youth, love, optimism, euphoria

Overview:
A stark contrast to the brooding opener, "She Bangs the Drums" is an energetic, euphoric burst of indie-pop brilliance. The track features one of Mani’s most melodic and instantly recognizable basslines, interwoven with Squire’s bright, chiming guitar work. Reni’s drumming is particularly intricate, with bouncing, fluid rhythms that enhance the song’s forward momentum.

Lyrics & Meaning:
Often interpreted as a love song, it can also be seen as an ode to the excitement of youth, freedom, and the thrill of live music. Lines like "The past was yours, but the future’s mine" encapsulate the era’s sense of movement and change.

Production & Impact:
Released as a single, it became the band’s first UK Top 40 hit. It remains one of their most celebrated tracks, frequently appearing on "greatest indie songs" lists and serving as a touchstone for the Britpop movement.

3. Waterfall

Duration: 4:37
Musical Style: Psychedelic rock, jangly indie-pop
Themes: Freedom, escapism, female empowerment

Overview:
"Waterfall" begins with one of Squire’s most intricate guitar riffs, a cascading melody that evokes the movement of water. The song builds gradually, with Brown’s vocal delivery soft and dreamlike. The interplay between Mani’s rolling bassline and Reni’s effortless groove showcases the band's tight musical chemistry.

Lyrics & Meaning:
The song’s lyrics depict a woman escaping an oppressive environment, symbolized by the repeated imagery of flowing water. Some have interpreted it as a metaphor for the band's own growing ambitions, leaving behind the constraints of their early years.

Production & Impact:
The track’s transition into "Don’t Stop" is seamless, highlighting the band’s experimental side. "Waterfall" remains a fan favorite, often played in their live sets.

4. Don't Stop

Duration: 5:17
Musical Style: Experimental, reversed psychedelic rock
Themes: Surrealism, dream-like states

Overview:
One of the most experimental moments on the album, "Don't Stop" is essentially "Waterfall" played in reverse, with new vocals laid on top. The result is a swirling, disorienting piece of psychedelic rock that challenges conventional song structures.

Lyrics & Meaning:
The lyrics are abstract and surreal, reflecting the trippy, reversed instrumentation. Brown’s delivery sounds almost hypnotic, adding to the dreamlike quality of the track.

Production & Impact:
A bold inclusion, it demonstrates the band's willingness to push boundaries. The Beatles were a significant influence on the Roses, and this technique recalls similar studio experimentation found in late '60s psychedelic rock.

5. Bye Bye Badman

Duration: 4:04
Musical Style: Groove-based indie rock
Themes: May 1968 Paris riots, rebellion

Overview:
Inspired by a conversation Ian Brown had with a French protester, "Bye Bye Badman" references the Paris riots of 1968. The song’s mid-tempo groove and melodic instrumentation contrast with its politically charged subject matter.

Lyrics & Meaning:
The imagery of lemons in the song relates to how protestors used them to counteract the effects of tear gas. The song captures the spirit of defiance and resistance.

Production & Impact:
The album cover’s artwork, painted by Squire, was directly influenced by this song. It remains one of the most lyrically complex songs in their catalog.

6. Elizabeth My Dear

Duration: 0:53
Musical Style: Acoustic ballad
Themes: Anti-monarchy, protest

Overview:
A brief but pointed interlude, "Elizabeth My Dear" reworks the melody of "Scarborough Fair" into a politically charged statement against the British monarchy.

Lyrics & Meaning:
The lyrics are direct and uncompromising, making clear the band's anti-establishment stance.

Production & Impact:
While not a major track in terms of length, it adds a rebellious element to the album.

7. (Song for My) Sugar Spun Sister

Duration: 3:25
Musical Style: Dreamy jangle pop
Themes: Love, drugs, nostalgia

Overview:
A softer, more melancholic moment on the album, featuring a hazy, nostalgic feel.

Lyrics & Meaning:
The song’s meaning is often debated, with some interpreting it as a love song and others seeing references to drug use.

8. Made of Stone

Duration: 4:10
Musical Style: Anthemic indie rock
Themes: Escape, disaster, resilience

Overview:
One of the album’s standout tracks, "Made of Stone" features an anthemic chorus and a sense of foreboding.

Lyrics & Meaning:
Brown has described it as inspired by a dream of witnessing a car crash.

Production & Impact:
This was the band’s first appearance on Top of the Pops.

9. Shoot You Down

Duration: 4:10
Musical Style: Laid-back, jazzy indie
Themes: Revenge, arrogance

Overview:
A cool, laid-back track with jazzy influences.

Lyrics & Meaning:
Lyrically, it feels dismissive and slightly menacing.

10. This Is the One

Duration: 4:58
Musical Style: Uplifting indie anthem
Themes: Hope, anticipation

Overview:
An uplifting anthem, known for its use in Manchester United matches.

11. I Am the Resurrection

Duration: 8:12
Musical Style: Epic, psychedelic jam
Themes: Arrogance, self-belief, transcendence

Overview:
The album’s epic closer, transitioning from a traditional rock song into a full-on psychedelic jam session.

Lyrics & Meaning:
A statement of confidence, if not outright arrogance.

Production & Impact:
One of their most celebrated songs, featuring an extended instrumental coda that highlights their musicianship.

Further Listening & Reading

For those looking to explore more about The Stone Roses, their impact, and the broader musical landscape they influenced, here is a curated list of essential further listening and reading.

Further Listening

While The Stone Roses is the definitive starting point, the band’s extended catalog, as well as related artists, provide a broader context to their music.

The Stone Roses Discography

• Turns Into Stone (1992) – A compilation of early B-sides, including "Mersey Paradise" and "Where Angels Play," essential for understanding the depth of their material.
• Second Coming (1994) – Their long-awaited and more blues-rock-driven follow-up, featuring "Love Spreads" and "Ten Storey Love Song."
• The Complete Stone Roses (1995) – A collection of early singles and B-sides, including pre-Stone Roses tracks like "Sally Cinnamon."
• The Very Best of The Stone Roses (2002) – A career-spanning best-of album that serves as an excellent introduction.
• The Remixes (2000) – A collection of remixes by artists such as Utah Saints and Paul Oakenfold, highlighting their influence on dance culture.

Live Recordings

• Live at Blackpool Empress Ballroom (1991) – One of the most celebrated performances of their career, capturing them at their peak.
• Made of Stone Soundtrack (2013) – The soundtrack to Shane Meadows’ documentary, featuring recordings from their 2012 reunion.

Related Artists & Influences

To understand The Stone Roses’ musical lineage and their impact, the following albums and artists are recommended:

• The Beatles – Revolver (1966) – A clear influence on The Stone Roses’ songwriting and psychedelic sound.
• The Byrds – Younger Than Yesterday (1967) – A precursor to the jangle-pop sound that Squire and Brown embraced.
• Happy Mondays – Pills 'n' Thrills and Bellyaches (1990) – Their Madchester contemporaries, blending rave culture with indie rock.
• Primal Scream – Screamadelica (1991) – The definitive fusion of indie rock and dance music, carrying on the Madchester ethos.
• Oasis – Definitely Maybe (1994) – Heavily influenced by The Stone Roses, both musically and in attitude.
• Kasabian – Kasabian (2004) – A modern take on the band’s swaggering rock-meets-dance aesthetic.

Further Reading

For those wanting to dig deeper into the history, legacy, and inner workings of The Stone Roses, the following books, documentaries, and interviews provide valuable insight.

Books

• "The Stone Roses: War and Peace" – Simon Spence (2012)
  A meticulously researched biography detailing the band’s rise, fall, and reunion. Essential for any fan.
• "The Stone Roses and the Resurrection of British Pop" – John Robb (2012)
  A comprehensive account of the band's influence on British music, featuring interviews with key figures.
• "The Complete Stone Roses" – Mick Middles (1999)
  Chronicles the band’s tumultuous career and lasting legacy.
• "Ten Storey Love Song" – Richard Milward (2009)
  A novel inspired by The Stone Roses, capturing the hedonistic spirit of their fanbase.
• "The Last Party: Britpop, Blair and the Demise of English Rock" – John Harris (2003)
  While not exclusively about The Stone Roses, this book places them within the wider context of Britpop’s emergence.

Key Articles & Interviews

• "Inside The Making Of The Stone Roses’ Debut Album" – MOJO (2024)
  A detailed look at the recording process with producer John Leckie.
• "10 Things You Didn’t Know About The Stone Roses’ Classic Debut Album" – Radio X (2023)
  A fascinating collection of lesser-known facts about the album.
• "John Squire's Secret Inspiration for The Stone Roses' Debut Album Cover" – Radio X (2024)
  Examines the influences behind Squire’s iconic artwork.
• "The Stone Roses: The Album That Defined a Generation" – NME (2019)
  A retrospective analysis of the album’s cultural impact.
• "Ian Brown: The King Monkey Speaks" – The Guardian (2009)
  A candid interview with Brown reflecting on the band’s legacy.

Documentaries & Films

• "The Stone Roses: Made of Stone" (2013, dir. Shane Meadows)
  A documentary chronicling their 2012 reunion, featuring rare footage and in-depth interviews.
• "Blood on the Turntable: The Stone Roses" (2004, BBC Four)
  A raw look at the band’s internal conflicts and the legal battles that derailed their momentum.
• "Live Forever: The Rise and Fall of Britpop" (2003, dir. John Dower)
  Explores The Stone Roses’ impact on the Britpop movement.
• "Spike Island" (2012, dir. Mat Whitecross)
  A fictional coming-of-age story set around the band’s legendary Spike Island gig in 1990.