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2nd Favorite Album: The Stone Roses

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The Stone Roses. The Stone Roses.
1989, Silvertone. Producer: John Leckie, Peter Hook.
Purloined CD (U.S. Version), 1991.

IN A NUTSHELL: The Stone Roses, by The Stone Roses, is a record I’ve listened to more than any other over the last 30 years. It’s a rock record with excellent guitar, drums and bass, with funky beats and terrific harmonies. Ian Brown, John Squire, Mani and Reni have taken bits of song styles and sounds and synthesized something original and fun, from dance club grooves to subtle tunes to raucous rock. The record has never sounded old, and it never gets old, even after years and years of listening.

NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
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Last year, 2018, was the 200th anniversary of the publication of Mary Shelley’s classic novel, Frankenstein; Or, The Modern Prometheus. Most people are familiar with the story from its multitude of productions, revivals, re-workings, the brilliant Mel Brooks movie, the equally-brilliant Bugs Bunny episode, etc. The original novel, in which a fanatical genius tries to reanimate dead flesh, was written as part of a lighthearted challenge from the poet Lord Byron to the teen-aged Shelley and her husband, the poet Percy Bysshe Shelley, to write a scary story. Eighteen months later it was published anonymously, as the thought that a woman could conjure such a horrible idea was too shocking for the public.

It wasn’t until the mid 20th century that scholars finally accepted the fact that a talented young woman could, indeed, make up such a story on her own. But be that as it may, the idea of taking parts of formerly-living beings, sewing them together and reanimating them has fascinated humans ever since. She based her story on the real experiments of Luigi Galvani, an 18th century Italian scientist who, in attempting to expand on the observation that recently dead frog legs could be made to move when electricity was applied, zapped entire corpses with jolts of electricity. And upon its publication, the book inspired the work of real scientists in the 19th century.

Shelley’s novel remains popular after 200 years, sitting on lists of best novels and still regularly assigned in high school, in part because of the tempting notion that a possibility exists to keep life alive indefinitely. Something else that interests folks is the idea of taking parts from different Things and assembling them to create a New, Better Thing. For example, create the best NBA player. Create the best animal. Create the best rock group. It’s a fun exercise.

So let me assemble my Frankenstein Greatest Rock Album – not using individual musicians, but just by taking parts I generally really like in music. Let’s start with drums. I’d take, from my love of classic and prog rock, drums that are inventive and unusual. However, I also grew up on disco, and love a strong, danceable backbeat, so it can’t be too complex. But I do like the drummer to exhibit chops. That’s a lot of boxes for the drums to check, but just like Victor Frankenstein, my task is not easy, nor for the faint of heart!

via GIPHY

As for bass guitar, I like a grounded but cool bass line, one that gets people dancing, but that isn’t afraid to show off once in a while. It has to play off the guitar nicely, but not necessarily overshadow it.

As for vocals, it really doesn’t matter. A good voice is nice, but it’s not really necessary. Emotional singers are appreciated, but mostly I just like a good melody, and if there are some lyrical gems, they are appreciated, too. But word-salad, mumbled, esoteric meanings are fine with me.

Guitar is key. I’ve written this before. I like it crazy, I like it original, I like it subtle, or noisy, or soft, or cool, or jazzy, or effects-laden, or complex, or powerful, or simple. Whatever it is, it has to be interesting, and serve the song in a way that makes me want to listen repeatedly. Even if it’s just two notes that repeat, it has to hold my attention.

Other instruments are fine, but unnecessary. Then there are the intangibles. I like the sneer of punk rock, but the technical mastery of seasoned pros. Above all, there must be some sort of a Beatles vibe, and it would probably be best if this fictional band could come from Great Britain, and in particular, its working class.

But, you say, this task is impossible! How could there ever be a band or album like this, that could ever be stitched together from disparate pieces to create a living, breathing, Favorite Album?? Why, you say, this is madness!! I don’t think it’s Madness, as I’ve always found them a bit too ska-heavy to be perfect. But I know an album that, from the first time I heard it at a party in 1990, has been in heavy rotation due to its Frankenstein-ian perfection: The Stone Roses, by The Stone Roses.

Sometime in the winter of 1990, as 1991 approached, I was at a party with my friend Cary, whose band I would eventually join. I was quite inebriated, and all I really remember about the party is that it was at an apartment in downtown Lebanon, PA, and I really loved the CD that was playing, The Stone Roses, and the host of the party said I could borrow it. I still have it. It is most likely my most-played, non-Beatles CD over the past 29 years.

The Stone Roses are a band that is largely unknown in the United States, but that is widely loved in the UK, where it came out of the hyper-fertile Manchester music scene that also produced The Buzzcocks, Joy Division, New Order, The Smiths, Simply Red, The Happy Mondays and Oasis. In the late 80s The Stone Roses were at the vanguard of the “Madchester” scene, which was full of MDMA and raves. The US, on the whole, never fully drank from the Madchester vessel, but some of its wannabe backwash reached our shores in the form of 3rd- or 4th-generation one-hit wonders like “Unbelievable,” by EMF, and “Right Here, Right Now,” by Jesus Jones.

In the U.K., the band, which officially broke up in 1996 after an 11-year career in which they released only two albums of original music, plus several singles, has had numerous chart hits, including a Top 20 song as recently as 2016, when they briefly re-formed. They caused a stir among the U.K. music press when they announced reunion shows in 2012. They’re popular enough in the U.K. that bucket hats there are often called “Reni hats,” after the band’s drummer, Reni, who typically wore one in the band’s heyday. Singer Ian Brown cameoed in a Harry Potter movie. Among rock musicians, they have enough cache that guitar monster Slash considered joining them in the 90s. (Although, reportedly, he was rejected due to his leather pants.) Their 2012 reunion tour was the subject of a feature film. It’s amazing to me that they’re so overlooked in the U.S., where they played the Coachella festival a few years ago to tiny crowds, while in the U.K. major newspapers still run stories on the enormity of their legacy.

I became rather obsessed with the band after hearing them. My band had more than a few Stone Roses affectations, and we covered a couple of their songs. I bought a few 12″ singles, even though I had no record player. I bought their singles collection (and rule-breaking Favorite Album #63) Turns Into Stone. I anxiously awaited their follow-up record, 1994’s Second Coming, and bought it on the first day it was available. I listened to their debut over and over. I read books about them. I watched BBC TV shows about them, and clips of old TV appearances and concerts. They remain – despite only two albums’ and several singles’ worth of material – among my favorite bands.

In fact, I’m as surprised as anyone that The Stone Roses is NOT MY NUMBER ONE ALBUM! I was shocked when the rankings were released by the Pricewaterhouse Coopers accounting firm, and nearly fired them over it. So let’s see what all my fuss is about.

The album begins with “I Wanna Be Adored,” a song that rumbles to a start after nearly 50 seconds of noise, an opening worthy of prog titans Yes. Then bassist Mani begins a simple, but catchy, bass line. At 0:56 guitarist John Squire plays a lilting guitar figure, with a nifty curlicue end. By 1:14, Reni’s bass drum is thumping along and then at 1:30 the rest of his kit kicks in, and the song’s main theme begins. Ian Brown’s few lyrics are funny and dark, and offer a boast superior to bluesmen and rockers of yesteryear: “I don’t have to sell my soul/ he’s already in me.” The song continues to build, and at 2:22 Reni mixes the drums up and begins to add more cymbals, until 3:00, when the band hammers a bridge that releases all the pent up energy that’s been building. At 3:40 it begins building again to the end. As a song, there’s not much to it. It’s just energy and attitude with a groovy rhythm section and cool guitars swirling throughout. It’s an opening statement as much as a song.

Next up is a song that’s more traditional in its composition and sound, but that retains its Stone Rosiness, perhaps my favorite of the album, “She Bangs the Drums.” (Actually, it’s hard to say if this is my favorite, as nearly every song is my favorite.)

“She Bangs the Drums” opens with Reni’s high-hat and Mani’s Peter-Gunn-esque bassline, then Squire’s guitar washes over things and Brown’s whisper voice enters. This is the first song to really showcase drummer Reni’s remarkable harmony voice, which enters on the second verse, about 0:45. As a huge Beatle guy, I love harmony vocals, and the voices of Reni and Brown blend perfectly. Brown’s lyrics are often indecipherable, but this is a pretty straightforward love song, and it has a line about feelings of attraction that I love: “She’ll be the first/ She’ll be the last/ To describe the way I feel.” This song is a classic pop song with incredible guitar and a fabulously catchy chorus (1:10). This is the type of song that I think should’ve been a #1 hit, but which only made it to #34 on the UK charts.

I have the US version of the Silvertone release, and that means the next song is “Elephant Stone,” a song that had many versions released over the years.

This one is all about drummer Reni, his bass drum, his snare, his toms. Sure, John Squire has a nice opening, and does his usual subtle trickery, on both electric and acoustic guitar, underneath the proceedings. Mani chugs along, and Brown sings psychedelic-influenced lyrics, which Reni supports superbly on harmony. But it’s all about Reni’s drums this time. He’s both smooth and aggressive, both at the same time.

Reni’s drums are amazing throughout the album, and that’s certainly the case on a song that is one of the band’s most popular, “Waterfall.” The song is also a showcase of John Squire’s guitar talents, too.

It opens with Squire playing an arpeggiated riff against Mani’s ranging bassline. After a verse, at about 0:33, Reni’s drums and harmony vocals begin, and both are just brilliant. He hits the snare on the upbeat before the “two,” where a typical backbeat falls, all the while making the whole thing swing. At 1:00, the beat changes slightly and the band continues to groove ahead, with Ian Brown singing lyrics describing a woman with steely resolve as a waterfall. Each time he sings “she’ll carry on through it all,” Reni answers with a sweet drum fill. The song transforms (prog-rock-like) into a different piece of music at 2:50, with acoustic picking, which leads into John Squire’s remarkably cool guitar solo at 2:57. All the while Mani is pushing that hypnotic bass, and it all recapitulates at 4:00, with frantic Reni drums. I friggin’ love this song. Here the band plays it live on the BBC.

The next song is “Don’t Stop,” a sound collage with words that is kind of “Waterfall” played backwards. I don’t really like it – maybe this is why the album is only #2? – but I read a cool piece breaking down the making of the song. This is the link to it.

Up next is “Bye Bye Badman,” a song that eventually becomes a sort of danceable country tune. In a (very) good way.

It begins as a kind of lullaby, with wispy guitars and swooping bass. The lyrics are about the Paris riots of 1968, which the album cover art also alludes to, a display of the band’s socialist/punk credibility. At 1:05, Mani begins a rolling bassline and Reni adds a Western-swing style beat, which Squire supports with a country guitar. Reni’s fill at 1:33 is excellent. It’s a weird song. Squire plays a brief solo at 3:00 that repeats and stretches into the outro.

Up next is the brief, dark, barely veiled threat against the U.K. monarchy, “Elizabeth My Dear,” which is the English folk tune “Scarborough Fair” with scarier lyrics. The song seems kind of throwaway, which is what I think should be done with all monarchies.

(Song for My) Sugar Spun Sister” is a song that is sweet and mellow. It’s a good feature for Ian Brown, who really doesn’t have a strong voice, but somehow makes it work. The lyrics are a kind of hallucinogenic love song in which a boy eats too much cotton candy because he loves the girl selling it. It’s one of the most straightforward songs on the record, sort of a mid tempo, 60s-influenced pop number. And of course, Reni’s drums and harmonies are masterful.

The Stone Roses closes with a string of four songs that is among my favorite run of songs on any album. (It would be three songs, but I have the US version, which tagged an extra song on the end.) First on this list is the ominous, tough guitar/drum showcase “Made of Stone.”

The opening guitar and bass are terrific, then the band backs off to let Brown carry things for a verse. In the classic Stone Roses style, the song builds with each verse, adding layers of guitar, until the chorus hits at 0:48, where Squire’s acoustic picking supports Brown and Reni’s harmonies. The song has a mysterious mood, and it is reportedly about Jackson Pollock’s fatal car crash. But each time the chorus comes along, I can’t help singing along. And Squire’s guitar solo, about 2:37, is great. The ending of the song, from 3:52, is just fabulous, and ties everything together perfectly.

The next song, “Shoot You Down,” is a hushed tune with lilting solo guitar throughout about a man who wishes he hadn’t begun dating his girlfriend. Squire is brilliant here, tasty and cool all through the song, culminating with nifty turns around 3:00 and a great closing by the whole band.

“Turns Into Stone” has one of the great intros in rock, which they extend to a Yes-like two minutes while swinging back and forth between Mani’s solo bass, or Ian Brown’s thin, solo voice, to full-band fanfare.

The song really kicks in at about 1:50 when Reni and Squire show up to once again steal the show with drums and harmony, and big guitar sound and stylish runs. Brown’s lyrics work best when they’re cocky, as here, where he avers that This Is the One She’s Waited For. The song has a sound I get lost in, especially from 3:02 to the end, where layers upon layers of voices and guitars wash over frantic, tribal drumming. It’s a song that really sets the stage, as the next song, “I Am the Resurrection,” truly is the one I always wait for.

The song opens with a marching drumbeat reminiscent of an old Pretenders song. The vocals start soon, and then the song builds, slowly, with every verse. This song is a long one, with multiple parts, and the band lets the intensity build with each verse and chorus, leading to a tantalizing note (0:58) which returns to the beginning with no payoff through three verses. After the first verse, Squire begins adding his patented dipsy-do’s, letting his sounds build along with the song. The payoff finally comes at about 2:24, when Brown declares “I am the resurrection.” His lyrics are, again, arrogant, pushing away a person (an ex? a journalist?) by not only being downright mean, but by comparing himself to Christ. At 2:44, Squire plays a terrific solo that foreshadows the guitar extravaganza to come, beginning at 3:44. It’s a section, I’m sure, British music publication Q Magazine was thinking of when they named this song the 10th best guitar song ever in rock. I won’t say anything about it – just listen to Reni, Mani and Squire jam. Go ahead, I’ll wait.

Wasn’t that fucking awesome? The original, U.K. version of the album ended there. The U.S. version, which I have, includes the song “Fools Gold,” which was a top-ten single in the U.K. and had such a dance-club following that the label tacked it on here. It’s a groovy, fun dance song with cool guitar riff, great wah-wah guitar and some kind of Treasure of the Sierra Madre-referencing lyrics from Brown.

So there’s my Frankenstein band and album: The Stone Roses. If you’ve read the Frankenstein books, or seen the movies, you know that usually these experiments don’t work, and that things come to a horrible end. And perhaps the fact that the band recorded so few songs is evidence that it didn’t work. But briefly, for one album at least, the dark potential of Mary Shelley’s imagination, as filtered through my musical taste, was realized. I love this monster, which never incited any angry mobs. Only dancing mobs of late-80s, U.K. music fans and me.

TRACK LISTING (1989 U.S. Version):
“I Wanna Be Adored”
“She Bangs the Drums”
“Elephant Stone”
“Waterfall”
“Don’t Stop”
“Bye Bye Badman”
“Elizabeth My Dear”
“(Song For My) Sugar Spun Sister”
“Made of Stone”
“Shoot You Down”
“This Is the One”
“I Am the Resurrection”
“Fools Gold”

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63rd Favorite: Turns Into Stone, by The Stone Roses

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Turns Into Stone. The Stone Roses.
1992, Silvertone. Producers: John Leckie; Peter Hook.
Purchased 1992.

turns into cover

nutshell63IN A NUTSHELL: From sixties-sounding psychedelic pop to hypnotic dance grooves, Manchester’s The Stone Roses pump out gem after gem in this collection of singles and B-sides from the band’s early years. Guitarist John Squire is masterful, drummer Reni conjures sick beats and sweet harmonies, and the band is in top form throughout – except for a couple duds.
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“We’ve got to have rules and obey them. After all, we’re not savages.”
– Jack, Lord of the Flies

“Can’t crow before I’m outta the woods, but there’s exceptions to the rule.”
– “Diamond” David Lee Roth, “Little Guitars”
dlroth
On the whole, in my life, I’ve been a pretty fastidious rule-follower. My parents were rule-followers, and they taught their children to be rule-followers. This obeyhelped my sisters and me grow into conscientious and respectful adults, however, only after several years as boring teenagers. We’ve come to understand, I believe, that rules often have gray areas, subtleties and complexities that make following all of them all the time rather difficult. However, this hasn’t prevented our default rule-worship outlook to seep into conversations between us as adults from time to time, such as the following exchange from a few years back:

ME: This show I’m in is actually making a little money now! I’ve gotten a little bit of pay, a few bucks a night – not enough that I’d declare it on my taxes, but still something.
SISTER (who had just become a CPA): I need to stop you right there. Don’t tell me anything else about this. As a CPA, if I hear of any wrong-doing or attempts to evade taxes, I am obliged to report that information to the IRS.

I was the type of kid who found it frustrating and upsetting that kids around me either couldn’t or didn’t care to follow the rules.

unruly“Please take one handout, and pass it to your left,” a teacher might say, and I’d dutifully do so. Meanwhile, it seemed like everyone around me was asking, “What’s this for? How many do I take? I don’t want this big stack of papers!!” They’d talk while directions were given, goof off while they were supposed to do something, then interrupt the whole class because they hadn’t paid attention. I couldn’t wait to become an adult, when (I assumed) everyone would follow directions like they’re supposed to.

Then, at the first meeting I attended as a young professional, the entire handout scene above was repeated, but only with grown-ups this time.

My mom didn’t have a lot of rules, or methods for enforcing rules, but she had a lot of expectations. What I mean is, we didn’t have chore charts, or swear jars, or rewards for good grades. My sisters and I were simply expected to help out when asked, to not swear and to get good grades.

My mom kept my sisters and I under control by dressing us in hideous costumes as punishment. (Actually, this was fashionable 1976 Easter finery.)

Now that I’m a dad, I have no idea how she pulled this off! My kids have rebelled against every family directive, battled every parental edict, and presented complex foundational and procedural arguments challenging teenboth the internal family logic and the standing in the greater society of each and every rule my wife and I have crafted. It has been exhausting.

When I reflect on these parental challenges, I wonder if we made a mistake in not spanking our kids. (Continuously.) My sisters and I weren’t spanked often, but it happened enough times in our young childhood that it did what spanking proponents advise it does: it made us stay in line so that it didn’t happen again. It was the classic deterrent. In my family, it wasn’t called “spanking,” which sounded fancy to my ears, the kind of thing kids with butlers would get. It was called “paddling,” spooneven though it was always delivered with an open hand, never an implement. (My mom liked to threaten us with a wooden mixing spoon that was extra terrifying because it had been stained with red food coloring, earning it the nickname “The Bloody Wooden Spoon,” a nickname my mom detests to this day because threaten as she did, she never really walloped us with it – that I can remember.)

The discipline led to a pretty strong rule-abiding streak through high school. It’s what kept me from joining most other high schoolers at parties where alcohol flowed. Well, that and the fact that I had no friends. But mainly, it was the rules thing. A fondness for rules is also a big reason I consider myself a punk rock poser, despite my experiences with a rock band.

bonnieclydeMy rule-questioning really only began in earnest when I made the decision to move to San Francisco, which seemed pretty outside-the-rules to me when I did it. It was in San Francisco that I met a woman who at first seemed to be breaking every rule in her path – or at least significantly questioning them. She wasn’t dishonest, and she wasn’t an anarchist, but if there were rules that made no sense she had no qualms about ignoring them. Sure I’d driven over the speed limit and jay-walked a few times, but this woman was the first person who ever made me think about where rules come from, and who it is that is making them and what they mean to me. Her rule-questioning impressed me so much that I ended up marrying her!

Eventually we found ourselves raising two kids, a scenario that elicited the question: how do we go about instilling a healthy understanding of rules to them? finsterWell, I jokingly said above that we should’ve spanked our kids, but I don’t really believe that. We didn’t spank, and my reasoning was always, “I’d never hit anybody else, why would I hit these little beings that I love? (Even when they are huge pains in the ass. Which they can be, let’s not kid ourselves.)” And I think the evidence has backed us up on that decision.

We’ve bought into the late 20th/early 21st century parenting strategy of “consequences.” Of course, this strategy is much easier to implement when you have a two year old who you can outwit, and whose temper tantrum will last 15 minutes until she gets bored and starts drawing or playing with her dolls. It’s orders of magnitude more notobeychallenging when you have a 17 year old with car keys who typically goes to bed two hours later than you do.

We’ve tried to have rules that are consistent with who we are as people. For example, my wife and I have a tendency to swear – perhaps a lot, who am I to say?? But anyway, I don’t believe that words are “good” or “bad,” but rather “appropriate” or “inappropriate.” We’ve instilled in our kids that they can use any words they want, but they’d better be sure what’s acceptable when they use those words. I’ve always said, “I don’t care if you swear, but your teachers do. I’m not going to tell the teacher ‘My kid’s allowed to swear.’ I’m going to take the teacher’s side.”

So, anyway, my kids haven’t (yet) gotten into serious trouble. They’ve been able to follow rulebookenough of the rules around them that we get good reports about their behavior from the schools, their friends’ parents, coaches, etc. They have a lot of time ahead of them, so they might fuck up someday, but so far it’s been good. I think they have a healthier attitude about, and less stress related to, rules than I did as a teen ager.

I bring all this up because there was a time in my life when – in each and every situation involving them – I would have thought, “rules are rules, and darn it – I just have to follow them!” And at that point in my life, Turns Into Stone would not be found on this list of favorite 100 albums. You see, the rules I established years (!) ago plainly state “compilation albums are ineligible.”

Now, it is true that I’ve already had a compilation album on the list, Pizzicato Five’s Made in USA. HOWEVER – alexI didn’t know that it was a compilation album until I started writing about the record! At that point, my rules committee got together, and after several days of careful consideration they reached the conclusion that because of my lack of knowledge at the time of compiling the list, an exemption would be granted allowing the inclusion of the record. This is not unlike the time I was on the game show Jeopardy!, and in answering a question about a Gene Kelly movie, I said “American in Paris,” and Alex Trebek, douchebag that he is, went to the judges for clarification that indeed, this was an acceptable response for a movie titled An (emphasis mine) American in Paris.

In the case of Turns Into Stone, I am fully aware that it is a compilation album, and I DON’T CARE! TAKE THAT, Alex Trebek and your dumb judges!!!

See? I don’t care about the rules! But before you think I’m just an out-of-control Anarcho-Syndacalist with no regard for a decent societal structure, I’d like to offer a bit of reasoning. The Stone Roses, you see, signed two EXTREMELY BAD contracts as a young band in the late 80s. bandofyearOne was with their svengali-manager, Gareth Evans, a bombastic blowhard who’d fit perfectly as that idiotic, bigoted man-baby Donald Drumpf’s running mate. Evans, in turn, signed a contract with Silvertone Records that was so bad that a UK court eventually voided it. During the time that this court case was running its course, the band was precluded from recording any new material. The band’s first record had been a huge success in the UK (and a big hit on US college radio), so Silvertone Records wanted to capitalize on the success. They compiled several of the band’s singles – songs that never appeared on any other album – and released it as Turns Into Stone.

The fact that none of these songs appeared on any other album is what I roses_1like to call a “mitigating factor,” and so I have no qualms about including it. My rules committee, however, was furious about it, and even held an emergency meeting to consider its options. I testified at the meeting and stated plainly that even if they ruled against me, they’d still be left with the problem of STOPPING ME from including it! They did rule against me, and when I announced my decision to include the record despite their ruling, several members of the committee resigned in disgust. It was a tumultuous couple of weeks, but when the band phoned me with their support, I knew I had made the correct decision.

I bought this CD when I was living alone in a really cool part of Pennsylvania called Mt. Gretna. It’s an artsy gretnacommunity in the woods, full of summer cottages, some of which have been winterized, and a big lake for swimming and a big ice cream shop for gorging. I lived there during the summer of ’92, in a one-bedroom cottage, and it was great. I’d go play gigs with my band, go work at the aspirin factory, and come home and listen to records until I went to bed. I listened to Turns Into Stone so much that summer that when I listen to it today, I still smell the pine trees and honeysuckle, and feel the cool night air seeping through the day’s waning, humid sunlight. I can almost see the lightning bugs starting to flicker.

A song that elicits similar warm, carefree feelings is “Mersey Paradise.”

It opens with a nifty guitar figure from John Squire, the drums and bass crash in, and then Ian Brown’s distinctive, Mancunian voice enters. This song has a 60s British Invasion sound, but updated with prominent drums. “Mersey Paradise” exemplifies everything I love about this band, and this album particularly. Squire’s guitar is full (although quite trebley in this song) and fills all the spaces, and his riffs and lines are interesting and sound cool. Brown’s lyrics describe a rather renibrowndepressed young man along the banks of the Mersey River considering suicide in the river (his Mersey Paradise). Dark lyrics for such a sunny song! Drummer Reni, who helped popularize that “Madchester” beat that was so ubiquitous in music from the early 90s, is one of the most creative drummers of the era. And he also is responsible for the band’s “secret weapon”: the killer harmonies evident throughout the band’s body of work. I love Squire’s guitar solo, at 1:51, and how the band comes out of it with harmonies blazing, culminating with Brown’s breathy “Oh yeah …” at 2:20. It ends cleanly and perfectly, as a perfect pop song should.

Another 60s-style guitar pop song is the beautiful “Going Down.”

Singer/lyricist Brown this time spins a lovely description of that joyful lightness one experiences during the early phase of a romance, when everything seems perfect. His love, Penny, who lives just thirty minutes away at No. 9, listens to Jimi Hendrix on her record player, manitastes like sunscreen, and calls to mind great art. He sums up the feeling of new love in the final stanza: “To look down on the clouds/You don’t need to fly/I’ve never flown in a plane/I’ll live until I die.” Reni provides amazing harmonies throughout, sometimes in counter-melody. Squire’s guitar is cool, yet restrained, but the hero is bassist Gary “Mani” Mounfield, particularly at 1:43. It’s not intricate or challenging – it just sounds cool. And that’s what I like about all Stone Roses songs: they sound cool!

Guitarist Squire is not well-known in the US, but in the UK he is regarded as one of the greats. He plays a funky style, with great tone and creative licks. “Going Down,” above, mentions Jimi Hendrix, and in the song “Standing Here,” Squire shows his love for the man in his opening riff.

His guitar throughout the song is complex and requires repeated listens squireto catch all the neat little bits he throws into the mix. Drummer Reni provides a shuffling beat that keeps the song bouncing along while Brown sings of unrequited love. I particularly like how the band stops and starts around the lyrics “I don’t think you think like I do,” for example around the 1:28 mark. It’s a subtle thing, one of the many small aspects of the song that makes it so enjoyable to me. The song turns into a different song around the 3:09 mark, with an extended coda with nice bass work and the repeated refrain “I should be safe forever in your arms.”

These 60s style pop songs, featuring clever guitar and groovy bass and drums, make up one side to the band’s recorded material. brownAnother example of this style is the lush “Where Angels Play.” It’s one of Brown’s best vocal performances on the record, featuring a wide-ranging melody and a catchy “there’s something happening” bridge. Brown is notorious for being a disappointing singer in concert, but as a solo artist he’s had several top ten songs in the UK. He’s built a career on stage presence and confidence, and on the Stone Roses’ studio work, he sounds terrific.

Another style of song that The Stone Roses perfected is the catchy-guitar-rock-song-that-also-sounds-sort-of-danceable-but-sort-of-not-really-but-is-regardless-really-cool. Two examples are featured on Turns Into Stone, including “The Hardest Thing In The World.”

This song again has the ripping John Squire guitar, the bouncy Mani bass and classic Reni backing vocals. It’s a song I belt out whenever I listen to it, singing about life on the road, and I play air guitar and air bass and air drums and sing harmonies, as well.

Another in the same vein, and my favorite song on the album, is “What The World Is Waiting For.”

It’s a guitar and bass workout. Reni provides the funky shuffle, and Brown sings about the folly of financial pursuits. It’s getting repetitive, I suppose, but I love listening for all of Squire’s tricks he pulls. There’s so much happening on his guitar, supported by a brilliant rhythm section, that I always find something new each time I listen.

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The Stone Roses also were known for lengthy, groove-oriented jams, with repetitive drums and bass and plenty of space for Squire to create his unique soundscapes; these songs were perfect for the ecstasy-fueled raves common in “Madchester” and elsewhere at the turn of the 80s/90s decade. Turns Into Stone contains a number of these, and the most familiar is “Fools Gold.”

This is a hypnotic song that I find can transport me, and make me move. The melody is catchy, with lyrics again featuring an anti-materialism theme. roses_concertThe first 5:40 contains the melody, with vocals and cool guitar, and then the final four-plus minutes are a canvas for John Squire and his wah-wah pedal to go to work. Throughout, Reni and Mani work their magic. Two other songs in the hypnotic-groove category are the rangey, guitar-workout “One Love” and the smoldering “Something’s Burning.”

The other songs on the record include a Peter Hook remix of “Elephant Stone,” from their debut album, that I think sounds ridiculously lame; and a backward version of “Where Angels Play” (another type of song The Stone Roses recorded, thankfully in far fewer numbers than the other genres) titled “Simone.”
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So there you have it. My rule-breaking selection. I’m awaiting lawsuits and a barrage of negative press from this selection, but I will hold firm. Apparently those paddlings I had as a child didn’t keep me in line like my parents hoped they would! But this is how I roll. In the words of Ian Brown, from “What the World is Waiting For”:

Here comes the wise man
And there goes the fool
You see that burnt out world that he is living in
I don’t need to look for the rules

TRACK LISTING
“Elephant Stone” (12″ version)
“The Hardest Thing In The World”
“Going Down”
“Mersey Paradise”
“Standing Here”
“Where Angels Play”
“Simone”
“Fools Gold” (12″ version)
“What the World Is Waiting For”
“One Love” (12″ version)
“Something’s Burning” (12″ version)

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