In 1989, The Stone Roses didn’t just release an album—they unleashed one. Their self-titled debut landed like a psychedelic shockwave, all shimmering guitars, loose-limbed grooves, and the kind of self-belief usually found in people who’ve already changed the world. Meanwhile, Manchester was crackling with energy: the Hacienda was packed, acid house was bleeding into guitar music, and baggy trousers were becoming a cultural statement rather than a wardrobe malfunction.

Against this backdrop, songs like “I Wanna Be Adored” and “Made of Stone” felt perfectly timed—anthemic without trying, mysterious without posing. And while Spike Island and all the chaos that came with it were still on the horizon, 1989 was the year The Stone Roses stepped into the national spotlight and made it feel as though something big, strange, and thrilling was happening in British music.

1989 - The Stone Roses appear in Debris Magazine/Fanzine, Issue 16, 60p

1989 -The Stone Roses are Interviewed and feature in The Cut Magazine

05 January 1989 Thursday - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST 

Waterfall (LP Mix) 

An all new Waterfall recording started 05 January and finished towards the end of the month (Approx 20th). The recording would be the one to feature on the debut LP. Final overdubs started 23 January 1989.

1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Some of the songs were reminiscent of 60s pop… 

IB: "Waterfall" sounded like a Simon & Garfunkel song, "April She Will Come". We’ve never consciously stolen or copied anything. "I Am The Resurrection" had a Motown kind of beat. It reminded me of "You’re Ready Now" by Slaughter & The Dogs – (sings) "you’re ready now, you’re ready now"! Remember that?...

From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Anne Ward (accountant, Rockfield Studios): They came out here to Monmouth on 5th January 1989. We found them to be very down-to-earth bunch who made the place their second home. In fact when they came back to make their second album, they were booked from two weeks and stayed 18 months.

January 1989 - Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST

Waterfall (2nd Mix) / (Song For My) Sugar Spun Sister / Made Of Stone / Shoot You Down (Mix) / This Is The One

Waterfall had a similar arrangement to the demo version. It started with water and had crisp jangly guitars.
Shoot You Down is a different recording, again this sounded like the demo version, still using a drum machine for additional percussion.

Waterfall (2nd Mix) and Shoot You Down both appeared on several in-house Silvertone advance tapes. The initial recordings of Made Of Stone and (Song For My) Sugar Spun Sister would be used on for the LP.

From February 1998 - Uncut magazine Ian Brown interview: 

What do you remember about the LP sessions? 

“We started in Battery, then we went to Konk Studios, then finished it off in Rockfield in Wales.

From 28 November 2022 - Australian Guitar Magazine Vol. 151 

 “One of the things that happened right from the beginning was that - because the record company had an equipment hire company called Dreamhire in the same building [as Battery Studios, in Willesden Green]-we could hire anything,” reflected Leckie. “Any amps, any guitars they wanted… they could just go round to the warehouse and pick some out, so of course there was a bit of dithering with ‘Oh, what guitar should I use? What amp should I use?’ Can we try a different bass?’ but you’d end up using what they’d got originally because that’s the sound! “Mani’s painted Rickenbacker bass, always through an [Ampeg] SVT cabinet… and John had a Hofner, a bit like a Gibson 335, but it was a Hofner. He used that sometimes, but his main guitar was a pink Stratocaster from Dreamhire, which I think he ended up buying.

“Then he always hired a silver/black Fender Twin Reverb with JBL speakers. We always used that just because it sounded fantastic, and that’s probably what he used on most tracks [including I Am The Resurrection], I can’t really remember the acoustic guitars. He also had an Ibanez Overdrive - although a lot of the time he didn’t use it - and an Ibanez Chorus, and that was the classic sound!” Leckie remembered he used a Shure SM56 and a Neumann U67 on Squire’s amp, with “the two of them together mic’d pretty dose, almost touching the grill, just off the centre of the cone.” For acoustics, he used a U67, and for Mani’s bass a Neumann U47 or an AKG D12 on the SVT cab....

Between 05 and 22 January 1989 - Album & B-Sides Recording Sessions
Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST

I Wanna Be Adored

The initial recording took place during at Battery Studios but the overdubs were recorded here. The band were going to include the track as the third B-Side to the single, luckily, they kept it for the LP and Guernica was forged instead.

John Leckie said: "People have asked me about the sounds at the beginning on the fade up of Wanna Be Adored and I can’t remember. I remember we had some synthesizer in the studio that someone had left behind and I started fiddling with it and John would do like ten minutes of wailing guitar feedback really loud and screaming but we’d mix it very quietly in the background and with reverb it sounds like something very different”

''Were all the songs arranged prior to entering the studio? 

Not all of them. When we were at Rockfield finishing the record, we ended up rehearsing and arranging the end of ‘I Am The Resurrection’. We spent two or three days in the studio, not recording, just working out that arrangement, where all the parts go and things. And then we recorded it all in one go. When John first started recording, he didn’t like doing lots of takes, he somehow wanted to go in and nail it first time. He just wanted to play it and that was it. All the time John would have his little porta studio set up at the back, and he’d just work on his part. We’d be saying, ‘Come on John, we need to record the guitar’, and he’d say, ‘I’m not ready yet, we’ll have to do it tomorrow’. He would really work out every note he was going to play and practice, practice, and then when he said, ‘Okay, I’m ready’… So, the arrangements were tightly rehearsed, either before we went in the studio or in the studio. By the arrangements I mean what was put down – what the bassline was, how Reni was going to change the drums and this kind of thing - and also tempos. It was all about the vibe and the feel and whether we got off on it. If we didn’t get off on it and shuffle around, we’d abandon it and do it again.''

From Blood On The Turntable BBC TV Documentary, Mani said:
There was one point in time when we were on £60 a week wages right, lots of money yeah?, you'd have to chase the guy for about a week to get your sixty quid out of him.

Gareth: Maybe he was right? Maybe I was a bit tight but it wasn't there money, in the beginning it was our money we were using. We weren't going to give them a £100,000 to spend. It was for promotion, complimentary tickets, posters, clothes, everything like that. That was the deal I made with the Roses.

1989 - Jive Music Zomba Demo Tape
Made Of Stone / She Bangs The Drums / Adored / Waterfall / Going Down / Mersey Paradise - I believe this tape dates to late 1988 or early 1989. Made Of Stone & Going Down were recorded in 1988, a version of I Wanna Be Adored was recorded in 1988 too with the intention for an extra B-side to Made Of Stone. The band were convinced to keep the track for the record though, additional overdubs were recorded for the LP version.

The demo tape was sold at auction: 13 Feb 2017 14:00 GMT Lot 160 

Location: Cheshire - Omega Auctions, Omega's offices, unit 3.5 Meadow Mill, Stockport Taken from auction description ''STONE ROSES - a ridiculously rare Stone Roses Jive Music Zomba demo / pre-release cassette tape featuring the tracks Made of Stone / She Bangs The Drums / Adored / Waterfall / Going Down / Mersey Paradise''

January 1989 Sunday - The Stone Roses Album Cover Shoot

John Squire and Simon Taylor went to The Curry Mile for the Lemons and then went to set up the 'Bye Bye Badman' canvas for photographing. 

Simon Taylor - I shot the album with John Squire one Sunday in January 1989. I went to pick John up from his house at 37 Newport Road, Chorlton.

He greeted me and invited me into a mid-ground floor, rather spare room furnished with a chair, a Fender Twin amp and a guitar. I enquired as to what we might need...he had the album cover painting rolled up ready. 'This' he said, and went to the kitchen, grabbed a knife. 'And this.' 'Oh, ok' said I. 'Anything else?' 'Yeah' he said. 'We need some lemons...'...We ended up rooting about in Rusholme because the shops were always open down the 'Curry Mile' of a Sunday morning, and found ourselves a nice paper bug full of lemons...

After the lemons purchase, we drove over to a photographic studio in a now demolished mill, which is currently a Currys store on the junction of Fairfield Street and Pin Mill Brow in city centre Manchester by Ancoats - just past Piccadilly station. It was not far from where the Roses had done their famous Warehouse gigs a few years before. We did the shoot at a derelict-looking mill that surrounded a courtyard, where my friend had a studio set up.

Between 05 and 22 January 1989 - Album & B-Sides Recording Sessions. Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST

I Am The Resurrection / Where Angels Play

'Speaking to NME about the instrumental, Mani revealed: "The end section was recorded in one take by me, John and Reni."''

April 2009 for Clash Music, John Leckie said: ''Were all the songs arranged prior to entering the studio? 

Not all of them. When we were at Rockfield finishing the record, we ended up rehearsing and arranging the end of ‘I Am The Resurrection’. We spent two or three days in the studio, not recording, just working out that arrangement, where all the parts go and things. And then we recorded it all in one go.'

' John Leckie on the album: ''How long did the recording take? The whole thing - the album and mixing and everything - took fifty-five days, off and on between late summer ’88 through to January ’89.''

From 28 November 2022 - Australian Guitar Magazine Vol. 151 Producer John Leckie Looks Back On Recording The Stone Roses Classic I Am The Resurrection.

..Squire was usually meticulous about working out every part he played before he hit the studio, and that approach was evident in the ease with which I Am The Resurrection was recorded. It was one of the last tracks the Roses and Leckie worked on at Rockfield Studios, in Wales.

When engineer Paul Schroeder pressed record on the tape machine, the Roses managed to nail the majority of I Am The Resurrection’s backing track in just one take.

15 January 1989 Sunday - The Other Side Of Midnight TV Show, Granada TV Studios, Quay Street, Manchester
Soundcheck: Waterfall

Cressa worked on John’s effects pedals. This was a big break for the band performing for the TV show. Tony Wilson hosted the show. Tony H. Wilson, Factory Records label manager and Hacienda Club co-owner, had once slated the band during their early days but introduced the band saying “’89 begins, then, with a complete admission of error on my part - big apologies.”. Tony Wilson would host the band in The Hacienda, the following month. The show would be a sell-out. It was Paul Ryder, Happy Mondays bass player, who said the roses should be on his show.

There was a VHS tape circulating years ago of the OSM rehearsals featuring the band setting up, tuning up and talking to the TV crew and performing Waterfall two or three times. The session was recorded around noon.
Apprently the band were only asked last minute as another act had cancelled, this story contradicts that Linday Reade had booked the appearence for the band. Linday was Tony Wilson's ex-wife.

998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: The photos on the album were taken from your performance on Factory boss Tony Wilson’s Granada TV show, The Other Side Of Midnight. 

IB: Yeah, we did "Waterfall". Wilson did the Hacienda and our manager did the Internationals and they were rivals so Wilson never used to give us any space. The only reason we got on was because Paul Ryder told Tony Wilson we should be on his show.

23 January 1989 - Album & B-Sides Overdub Recording Sessions, Konk Studios, Muswell Hill, London.

Waterfall / I Am The Resurrection (Acoustic guitars) / Shoot You Down / Phantom Of The Opera / Bye Bye Badman (Guitar)

The final overdubs for the LP sessions started on the 23rd and were finishd in early February. In Studio footage can be seen in the She Bangs The Drums video. More footage would later be featured on The Complete Stone Roses VHS Video. The Stone Roses 10th Anniversary Edition includes footage from the same sessions, this would also be included on the 2004 Stone Roses DVD set and the 2009 Legacy Edition DVD too. Phantom Of The Opera is just John and the band messing around, playing an old organ left behind in the studio.

23 January 1989 - Konk Studios, 84-86 Tottenham Ln, Crouch End, London, N8 7EE

Made Of Stone

From April 2000 - Q Magazine, Eyewitness: The Making of The Stone Roses: Roddy Mckenna: The final sessions were at Konk Studios in London, starting on 23rd January 1989. I spent a day playing pool with them there. John was in a back room working out guitar parts. Ian and Mani were listening to obscure hip hop, house and reggae tracks which, at that time, was very unusual for a rock band. People sometimes characterise The Stone Roses as John Squire's band but he was a more conventional musician. Without the others, The Stone Roses wouldn't have been so original.

January 1989 - Made Of Stone Single Recording Sessions

Battery Studios, owned by Silvertone label managers Zomba, 1 Maybury Gardens, Willesden, London, NW10 2NB,

Konk Studios, The Kinks founded studios, 84-86 Tottenham Ln, Crouch End, London, N8 7EE & Rockfield Studios, Amberley Court, Rockfield Rd, Monmouth, NP25 5ST

The three tracks were finished mixed and mastered (apparently) at these locations (despite the single only crediting Battery Studios).

Paul Schroeder was put in charge of tracks that were intended as B-side material for single releases. This was to help cut costs. The Garage Flowers, of course, were The Roses themselves.

Reni borrowed £10 from John Leckei for his taxi. When Gareth found out Reni had borrowed money from the producer, he tried to punish Reni but it ended up in a fight in the studio in front of John Leckie.

John Leckie said “Ian's a good vibes person, so he’s great to have in the studio. He never showed boredom. He had a skipping rope so he'd sometimes start skipping in he corner. Skipping and smoking, that was his thing. Weed, bags of it, and nothing stronger. I never saw any powders the whole time. Ian was dead against it. He was just very dedicated. The music came first.”

“His tuning was never really a problem. It was all done on tape, no computers or correction, so what you hear is as Ian sang it. Most of them are from a few takes, splicing together the best bits from each one, but that's not unusual with singers. Sometimes, if he’d been up all night smoking he couldn’t really do it, but then he’d go to bed, get up early the next day, go for a run and he’d be ready. He was always prepared. All the words, all his phrasing, had been worked out in advance. Ian wouldn’t give up until he felt he’d given the best he could.”

“Ian does like praise. If you tell him somethings great he’ll believe you. But he also knows when you’re lying. You can’t fake it with him because he sees right through it. You wouldn’t want to cross him. That's why he went so far with the whole paint thing and the court case [the Roses’ notoriow paint attack on ex—lallel boss Paul Birch in 1990]. Anyone who crosses him or rips him off, he’ll have them."

1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Tell me about the sessions for the first albums. 

IB: They were great. We did them in London – we were living in Kensal Rise that summer. There were three sessions: June/July ’88, September ’88 and January 1989. We did the songs in blocks: "Adored", "Made Of Stone", "Waterfall", "She Bangs The Drums". Then we did "Badman", "Shoot You Down", "Resurrection", "This Is The One".

January 1989 - Advance In-House Cassette

Don’t Stop / Elephant Stone / I Wanna Be Adored / She Bangs The Drums (John Leckie Mix) / Waterfall (2nd Mix) / Mersey Paradise / (Song For My) Sugar Spun Sister / This Is The One / Shoot You Down / Made Of Stone / Bye Bye Badman / Going Down

The advance tape was made for Silvertone to hear the progress on the album recording. The Made Of Stone single tracks feature here complete and ready for release. Elephant Stone appears again.

She Bangs The Drums John Leckie Mix here is similar to the LP mix, it would appear on subsequent pressings of the LP but the original 1989 pressings include the LP version.

Mersey Paradise has slightly louder backing vocals in this mixdown but the same recording as the released version.

Don't Stop sounds like the eventual LP version.

January 1989 - Album Recording Session
Battery Studios, owned by Silvertone label managers Zomba, 1 Maybury Gardens, Willesden, London,

Elizabeth My Dear

Live in the studio footage would later be featured on The Complete Stone Roses VHS Video. The Stone Roses 10th Anniversary Edition includes footage from the same sessions, this would also be included on the 2004 Stone Roses DVD set and the 2009 Legacy Edition DVD too. Battery Studios was formerly known as Morgan Studios.

January 1989 - Abbey Road Studios, Studio Two, London
Shoot You Down

The LP was mastered at Abbey Road. The LP recording dates on the master note "July 88-89".

April 2009 for Clash Music, John Leckie said: ''We went to Abbey Road on the very last day, Abbey Road Studio Two, and we only had one day there, and we mixed ‘Shoot You Down’. And then we played it back at Abbey Road, which was great, and everyone was buzzing.'' ''Were they interested in the production process? They weren’t technically aware, no. They never touched the equipment, or sat at the desk and twiddled the knobs, or said, ‘Why don’t you try this?’ If they didn’t like something they’d say, definitely, and probably the most critical one would have been Reni. He’d be the first to tell you if he didn’t like the vocal, or if he didn’t like the drum sound, or if something was out of tune.''

February 1989 - The Stone Roses album is sent to Metropolis Studios for mastering

From 25 August 2009 - John 'Jeckie' Leckie interview from The Quietus website: Good things are made to last: - The Stone Roses was mastered at Metropolis but at Abbey Road you've got equipment that's thirty years old. You can't beat it. It's called 'Mil-Spec'. Military Specification; it can't go wrong. It'll survive a nuclear attack, like those Silver Microphones . . . they'll blow up and still work. ...When we did this, though, no-one had CDs; The Stone Roses never had a CD release, originally. The main thing was that when it was done for vinyl — and later it was always a copy of a copy — a lot of the bass was cut out, there wasn't much low end. To squeeze sound onto the groove of the vinyl very often you do things like turning the last track down due to distortion created by the increasing tangent of the arm of the record player against the record. You can maintain the overall volume and eliminate that distortion if you reduce your level on the higher frequency and turn the whole thing up.

From February 1998 - Uncut magazine Ian Brown interview: Did you know how good the album was? “When we’d finished recording, Leckie comes up to us and says ‘Listen, this is really good. You’re going to make it’. And I remember thinking ‘I know’. It could’ve been even better. Mani and Reni didn’t get their thing down as heavy as it was in rehearsals. I think Leckie had listened to Waterfall and thought it sounded like Simon and Garfunkel, so he’s turned the bass and drums down. He’s gone for that Byrds, Sixties thing. But Mani was the best white bass player that I’d heard, and I wish that was more audible on the record.”

17 February 1989 - Legends, Priory Street, Warrington * Support Band(s)

The Charlatans

The band's friend Cressa joins the band, he rehearsed with the band and apepared on the OSM with them, as on-stage guitar effects technician. He even adds some interesting loops and samples during the set. The Charlatans featured the original line up with Baz Kettley on vocals.

1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: Cressa was the Roses equivalent of the Happy Mondays’ Bez. How did you meet him? IB: I’ve known Cressa since I was fifteen/sixteen through scooters. He was just our mate, we were with him every day and it was, like, you might as well do something as hang about. Here you are, make yourself useful, change the guitar effects for John.

1989 - Unity Club, Hull
Apparently only 10 tickets were sold for the show.

From 14 July 1990 - Number One magazine article: 

At the beginning of the following year, they went on tour, playing to 12 people in Cardiff and a mere 10 in Hull.

From June 1990 - Melody Maker The Stone Roses Supplement: 

The first four months of 1989 saw them slogging round some fairly low-key venues – a gig in Cardiff pulled a mere 12 people. At Hull’s Unity Club they played to just 10....

20 February 1989 - Ian Brown's 26th birthday

20 February 1989 - Sheffield University, The Maze Bar, Sheffield * Support Act(s): Kennedy Pill

I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Bye Bye Badman / She Bangs The Drums / Shoot You Down / Sally Cinnamon / I Am The Resurrection

Ian Brown celebrates his 26th Birthday. Possibly the debut performance of Bye Bye Badman and the only known performance of the track live during this era too. Cressa joins the band as effects technician. Andy Couzens was in the audience.

23 February 1989 - Middlesex Polytechnic, Canteen, Middlesex, Tottenham, North London

I Wanna Be Adored / Standing Here / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

Debut performance of Standing Here. Cressa joins the band as effects technician. Bob Stanley of St. Etienne was at the show. He would become a long term fan and write a review for the bands debut LP, in Melody Maker, and later he would review this show.

27 February 1989 Monday - The Monday Club, FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester * Doors Open: 21:00 * Price: £4.00 (Advance) * Support: The King Of Slums

Don't Stop (Intro Tape) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

Cressa joins the band as on-stage guitar effects technician and even adds some interesting loops and samples during the set, check out the choir sample at the end of IATR.

Don't Stop is used as the intro tape to the show. I presume Waterfall, or at least a version had been recorded by this time as they used samples of the track backwards for the mix. The mix played on the introduction tape sounds like the same as the LP version.

Part of 'The Monday Club' series of shows at the venue.
BBC 2's Snub TV recorded the show and interviewed the band too. Only a short interview excerpt with Reni was aired and only I Wanna Be Adored and (Song For My) Sugar Spun Sister were broadcast. Reni said "we just ignore the rest of the world and concentrate on Manchester, because we want to be the biggest band in our street."

Andy Couzens was in the audience.

11 March 1989 - Sounds Magazine, Live Review by Sam King

11 March 1989 - NME Magazine, Live Review by Andrew Collins.

From 04 March 2011 - Clash Magazine/Website article "The Life And Times Of The Stone Roses Andrew Collins said: 

I was rather surprised and excited when I was asked to go up to Manchester to review The Stone Roses at the Hacienda. The date that I saw them was February 27th 1989. They were doing a few sort of smaller gigs, just getting a bit of interest going in the album before it was released. It was just absolutely astonishing. I said in my review that I would be telling my grandchildren I saw The Stone Roses at the Hacienda. I was really glad I was there.

From May 1995 - Spin Magazine article, Ian Brown said: "Before the Hacienda got gun-detectors on the door, you'd see 16 year old kids standing at the bar with a gun in a holster, right on view," grimaces Brown.

28 February 1989 Tuesday - Escape Club, Brighton
I Wanna Be Adored / Made Of Stone / Waterfall / Elephant Stone / I Am The Resurrection

Cressa joins the band as effects technician. The band perform a short set and leave early. Only thirty people turned and there was less in the audience when the band left the stage.

From John Robb's book 'The Stone Roses - Reunion Edition': Ian Brown said 'The gigs had not been packed outside Manchester till then. In March 1989 we played to 30 people in Liverpool, 50 in Leeds. It was on that tour that we played to 12 people in Cardiff and four of them were the Manic Street Preachers. We played in Brighton to about ten people. We didn't have a crowd outside Manchester till the album came out.'

01 March 1989 Wednesday - Club Rio, Woodhead Road, Bradford, BD7 1PD * Doors Open: 19:30-22:30 * Ticket Price: £4

02 March 1989 Thursday - Coal Exchange aka The Venue, Charles Street, Cardiff * Support Act(s): The Sand Kings

I Wanna Be Adored / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

Cressa joins the band as effects technician. Apparently less than 20 people attended the show.

From From 04 March 1995 - NME (New Musical Express) Magazine: "Yeah," says Mani, "we played to 12 people in Cardiff and six months later it was 6,000 at the Empress Ballroom and Ally Pally. We fully expect that to happen in America. It's just a matter of having confidence and self-belief...

From June 1998 - United We Stand Interview, Mani said: What were the highlights? "There were loads. We once played in front of 12 people in Cardiff and played a blinding gig....

From 13 October 2018 12:58 walesonline.co.uk By David Owens: The true story of the night when The Stone Roses played to just 12 people in Cardiff. (extracts) 

It's a gig that has passed into Welsh music folklore...Imagine being perched on the edge of something momentous, but having no idea of what glorious fate was about to befall you.

The evening of March 2, 1989, had started much like any other for student Nick Robertson. Little did he know that by the end of the night his life would have changed forever. The keen music fan had arrived in Wales six months earlier to study medicine at Cardiff University, and had quickly thrown himself into the city's live music scene. He'd read about a band in the NME who were playing his adopted city that evening. Sadly, there was little enthusiasm for the gig from his housemates in Llanbleddian Gardens, in the city's student hub of Cathays. Little matter, he decided to walk the half mile or so to the venue on Charles Street and set out alone.

The day before their Welsh debut on March 1, The Stone Roses had played Club Rio in Bradford. The day after their visit to Cardiff on March 3, they would play Legends in Warrington. Not only were all three of these shows poorly attended, but you have to question the geographic wisdom of whoever scheduled the dates.

Nick recalls an abiding memory of the gig was catching sight of the trademark Madchester dance for the first time. “I do remember there was this young kid who was younger than me and I was only 18/19 at the time, who was stood at the front of the stage doing this weird what looked like a 'winding the mangle' dance. I thought it was quite bizarre what he was doing. “The band were sat down on a bench by the side of the stage listening to the music and chatting before they ambled on. “Then when they came on this young kid just carried dancing the way he had been dancing. He was obviously a bit of a fan, and it turned out that what he was doing was the Ian Brown dance that would become ubiquitous on dancefloors in clubs and venues across the land at the time. “I also remember Ian Brown shaking hands with this young lad who was obviously a bit of a follower at one point during the gig.”

Nick remembers the sound was loud and the band were in sublime form. “It sounded really loud because there was nobody there to dampen it down,” he says. “They were blinding. They blew me away to be honest,

“They were really tight. They were on a small stage. They all looked like they were getting on and they had great belief despite the small turn out. It was incredible to see them at this point before the money, the drugs and the management fall outs got in the way. “The one song that did stand out that night was Where Angels Play, which I discovered after was a B side. That was incredible. “There was not a lot of conversation, but that wasn't unusual as we would discover,” he adds. “Shaking that lad's hand was about as much audience interaction as you had. They came on and just banged out one great song after another.”.

03 March 1989 Friday - Legends, Priory Street, Warrington * Doors Open: 21:30 * Ticket Price: £2.50 (Advance) £3.00 (On The Door) * Support Act(s): The Charlatans

Tim Burgess was in the audience. 

Tim would later join The Charlatans as lead singer.

06 March 1989 - Made of Stone U.K. Release Date

The single peaked at number 90, 18 March 1989, but was voted single of the week in the NME, see 11 March 1989. The single would be re-released in March 1990 with a blue catalog number, rather the original black, and the Made Of Stone font on the front of the sleeve would be considerably bigger on the 1990 sleeve.

Richard Skinner was one of the first Radio 1 BBC DJs to play the record.

March 1989 - Sounds Magazine Review "‘Made Of Stone’ (Silvertone) Touted as the stadium sensation of the ‘90s, but I’m still not convinced. ‘Made Of Stone’ has a certain hypnotic power, silvery melodies soaring high while hearts pump frantically below. It’s a bit like some long lost ‘60s classic, except for that relentless shimmery guitar that could only belong to the post-U2 present."

From Melody Maker Magazine, Bob Stafford Interview with Ian "...bits of 'Guernica' sound like planes, but it's just 'Made Of Stone' backwards with forward vocals. I'd love to have done it as an A-Side"

From 02 February 2000 - Adam Walton Interview for Adam Walton Show, BBC Wales Music, Wise Buddha, London:
AW: Do you still get as excited working on new records?
IB: I probably get more excited because with the Roses we used to work on them and rehearse them that much that we only ever got excited when we stuck the tapes on backwards at the end of the session. We used to look forward to finishing the recording of something so we could whack the tapes on backwards, it was the only time we used to really enjoy our own music!
AW: So Guernica and Simone, Stone Roses b-sides that were essentially Made Of Stone and Where Angels Play, but backwards, were just the product of boredom in the studio?
IB: Not really boredom, but looking for something different, and I think it worked as well.

04 March 1989 - JB's, Dudley * Support Act(s): The Charlatans Unconfirmed date, often noted as 03 March 1989. Cressa joins the band as effects technician.

From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then about two years later one of the girls who worked in the office in Wolverhampton said she had seen them at JDs in Dudley over the weekend. She came in on Monday and said I saw The Stone Roses last night and they were absolutely fucking amazing …they’ve got this weird dancing guy on stage and it was absolutely rammed and they were going down a storm...

11 March 1989 Saturday - The Buzz Club, West End Centre, Queens Road, Aldershot * Doors Open: 20:00 * Ticket Price: £2.99 * Support Act(s): Jive Turkey & The Colour Mary *

I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

A fan remembers "After they sound checked the band came into the bar for a minute. Ian Brown said to me ‘I like your hair, where d’ya get it cut?' I was a little lost for words as the answer was actually a shop run by a couple of our friends, Kenny and Steve, in Aldershot called ‘Blow Jobs’! . Danny and I chatted to the band’s tour manager, Steve. He was kind of managing them too I think. Danny remembers him describing the way that people would break open lamp posts to run the power for illegal raves in Manchester...' '.

Russell Heath, another Our Price friend was there too, smoking while watching the band. Ian took the cigarette from him, held it for a while, had a couple of puffs and handed it back, mid song. I’ve asked a few people who were there that night for any memories they might have. Dave Driscoll who is the man responsible for loads of Buzz Club live recordings (but sadly not that night!) said, ‘The two things I most remember about the gig… Firstly, Danny saying to Gary, sound check sounds really good “He’s playing through two amps…” To which Gary said.. “Well that’s just being plain greedy..” and being absolute mesmerised watching Reni when playing ’Shoot You Down” with a brush and a beater….’'

'Made Of Stone' gets Single Of The Week in the NME magazine 

THE STONE ROSES Made Of Stone (Silvertone) - While lacking the exuberance of passion of other '89 releases, Stone Roses snatch the first spot with this ridiculously flawless artefact. Addictive rather than explosive, 'Made Of Stone' sees the Mancunian monkeys become marabre Monkees, dreamers haunted by their own shadows. A succinct, sensitive marriage of vacant vocals and effortless jangles, extra attraction lies in a perky Pink Floyd axe solo; the mind-expanding kind which shimmies and shallies before diving through a distortion pedal. Are you all alone, are you made of stone? is the final, painful unanswered question. Irrevocable proof that everything's coming up Stone Roses. And about time, too."

15 March 1989 Wednesday - The Powerhouse, Powerhaus, 1 Liverpool Rd., Islington, London, N1 0RP (Nearest Tube: Angel) * Doors Open: 19:30-02:00 , First band on stage 21:00 * Ticket Price(s): £4.00 * Support Act(s): Hollow Men, Turn To Flowers

17 March 1989 Friday - Sunderland

I Wanna Be Adored / Made Of Stone / Waterfall / (Song For My) Sugar Spun Sister / Mersey Paradise / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

18 March 1989 - The Stone Roses interview features in Sounds Magazine

April 1989 - The Stone Roses appear in RM Record Mirror Magazine

05 April 1989 - City Life Magazine Interview is published.

02 May 1989 The Stone Roses U.K. Release Date

05 April 1989 - Polytechnic, Liverpool
Don't Stop (Intro Tape) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / Sally Cinnamon / Standing Here / I Am The Resurrection

Japanese reporter Osamu Masui flew in to see the band, he would later interview the band. Officially the band had four t-shirt designs on sale at the merchandise stall, that were available at £5.00 each.

A slightly different 'Lemon' logo appeared on the bands only official poster on this tour. All official posters were made by Manchester company 'SPLASH'. 

The company was based near Piccadilly Train Station and Vinyl Exchange Record Store. Lost Joy Division and New Order rehearsal tapes would later be found in the basement of a demolished building which was nearby to the SPLASH offices. Celebrity Chef Jamie Oliver apparently bought the building to demolish, to rebuild a restaurant and the tapes were found in the cellar, he sold the reels and tapes at auction.

10 April 1989 - Reni's 25th birthday

13 April 1989 - Birmingham

From February 1998 - Uncut magazine Ian Brown interview: The tour of April-May, ’89 has to go down as one of the greatest pop tours of all time. “A big thing was happening in England at that time with ecstasy, and we arrived at exactly that time. I felt great, righteous. I felt we were pure, that we weren’t conning anyone. We were real and beautiful.”

15 April 1989 - The Stone Roses Interview featured in the NME Magazine

24 April 1989 Monday - Brunel University, Uxbridge
I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / I Am The Resurrection

28 April 1989 Friday - Gaiety Lounge, Gaiety Showbar, South Parade Pier, Portsmouth, Southsea * Ticket Price: £3.50 (Advance) / £4.00 (On The Door) * Support Act(s): Mild Mannered Janitors

From flyer ''GAP Presents The Stone Roses (Manchester’s' brightest new band) + Mild Mannered Janitors. Gaiety Lounge, South Parade Pier, Portsmouth Friday April 28th £3.50 adv. / £4.00 door ... No Membership / No Dress Restrictions.''

From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Journalist Richard Machin was among those who paid the £3 entrance and has fond memories of the night. He said “In 1989 I was a student at Portsmouth Poly and was friendly with a lad whose brother played in bands in Manchester, and he first recommended the Roses on a visit to the south coast the previous year. “My then girlfriend was from Warrington, where the Roses had played some of their earliest gigs, so she’d also heard the ‘buzz’ about them from back home, so we were understandably interested when we heard they were playing at the nearby Gaiety Showbar on South Parade Pier in April. “We were among an audience of just a few hundred in Southsea that night, but the Stone Roses were superb and had us hooked. So it was that five of us resolved to drive the 500-mile round-trip from Portsmouth to Lancaster a few weeks later to see the Roses again, this time at the Sugarhouse, which was close to where my parents were living at the time and I persuaded my younger brother (who I think was 15 at the time) to come along as well to experience his first ‘proper’ gig.

May 1989 - The Stone Roses feature in Rockin' On Magazine, Japan

01 May 1989 Monday - Piccadilly Records signing session, Manchester. To promote the release of the debut album, The Stone Roses were due to do a signing session. The band didn't show up.

04 May 1989 Thursday - Polytechnic, Haigh Building, Maryland Street, Liverpool * Doors Open: 20:00-00:00, Stage Time: 22:30 * Ticket Price: £3.50 (advance), £4.00 (on the door) * Support Act(s): The Real People *

(Intro Tape: Don't Stop) / I Wanna Be Adored / Here It Comes / Made Of Stone / Waterfall / Elephant Stone / Where Angels Play / Shoot You Down / She Bangs The Drums / Sally Cinnamon / Standing Here / I Am The Resurrection

This is one of the last few shows Here It Comes would be included in the set. 

A lemon was thrown on stage during the set.

The Waterfall design T-shirt was made available for £5.

John Robb's bandmate Keith Curtis of Goldblade said: 

"You could tell that something was going on. The crowd was really into it. There was a definite atmosphere."

Tim ''I was a teenage'' Vigon (Stone Roses Fanzine writer) 28 May 2011 wrote: ''we got to Liverpool early, expecting the same sort of throng, but the gig was maybe half full, mainly with travelling Mancunians and a few curious locals. Scouse stalwarts The Real People supported, (wearing waistcoats by the way – they’d turn up a few months later in full baggy regalia with their mini-indie-dance classic “Window Pane”) and it felt like any other gig, but we were about to see the Roses…and once their road crew started to set up (even they looked as cool as the band) the mood in the room changed. Those present huddled forwards and you could definitely sense the expectation…Cressa wandered out, we all squeezed forward…the band shuffled on like they owned the place. And they did. The bassline to “I Wanna Be Adored” rumbled forth those who KNEW began to move, a strange mixture of jumping and dancing en-masse…and when the guitar kicked in, it was fucking bedlam. Tapes of the bands’ demos and works in progress on the album had floated around Manchester, so we knew the tunes, and had no real idea what it SOUNDED like in the room right there, but it didn’t matter, everyone was just right there. In it. ''

05 May 1989 Friday - Queen's Hall, Victoria Road, Widnes *Ticket Price: £4 (Advance) * Support Act(s): Dub Sex *

06 May 1989 Saturday - International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 * Ticket Price: £5 Support Act(s): Dub Sex *

(Intro Tape: Don't Stop) / Elephant Stone / Mersey Paradise / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / (Song For My) Sugar Spun Sister / Sally Cinnamon / I Am The Resurrection

Sold Out Show, no tickets were available on the door either.
The band came on to an ultraviolet bathed stage with Jackson Pollock backdrop, with Ian ringing a bell. Cressa joins the band as effects technician. The bar had to be temporarily closed as the bar staff went to get down the front of the stage for the set.
The Waterfall design T-Shirt was priced at £10, double the previous live shows prices.

Tim ''I was a teenage'' Vigon 28 May 2011 wrote: 

''2 days later in Manchester, Ian Brown walked onstage on a balmy night for a triumphant homecoming gig, ringing a bell – it was another of those moments, and there seemed to be so many with this band, and the room grooved as one with the band. Unbelievable stuff.'' Steven Lewis said: ''Although we had tickets, we were refused entry initially because the place was too full due to bouncers letting people in, in exchange for tenner’s. In the end people inside kicked open the fire exits to let some air in, and everyone outside just piled in. Several people were getting crushed, including Tony Wilson, who had a look of sheer panic on his face. In retrospect I've no idea what the sound quality was like, you could hardly hear the band over the sound of the crowd, but as for the atmosphere, it was unbelievable.''

John Robb said: "He didn't speak to the crowd, there were no encores, they sloped off and left the hall raptuous. They didn't communicate a single bloody thing, except for total cool."

07 May 1989 Sunday - University, Lower Refectory, Sheffield * Doors Open: 19:30 * Ticket Price: £3.50

Elephant Stone / Made Of Stone / Waterfall / Standing Here / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection

Over 300 attended the show. 

Standing Here is played slower than usual.

From thestar.co.uk By The Newsroom 15 May 2016, 11:55am: Sheffield University Lower Refectory, May 7, 1989. With a growing reputation around the time of the release of their famous first album, the group played what was at the time their biggest show on a big stage at what was the second largest stage at the University at the time, still smaller than the Octagon. Newer songs appearing included Where Angels Play and Standing Here.

08 May 1989 Monday - Warehouse, Leeds * Ticket Price: £3.50 * Support Act(s): The Hollowmen *

Elephant Stone / Waterfall / Made Of Stone / Where Angels Play - Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection

Football rivalry was prominent in the crowd, at the front ''Manchester la-la-la!' and Leeds weren't best pleased and chanted 'We Are Leeds'. Ian could hear the Manchester fans and informed them "No, this is Leeds!". Choque of The Hollowmen praised the band for their live performaces on the tour.

11 May 1989 - Trent Polytechnic, Nottingham * Support Act(s): The Charlatans

12 May 1989 - JBs, Dudley * Support Act(s): The Charlatans

13 May 1989 - Angel Centre, Tunbridge, Kent

(Setlist taken from handwritten set) Elephant Stone / Made Of Stone / Waterfall / Standing Here / Where Angels Play / Shoot You Down / She Bangs The Drums / I Wanna Be Adored / Sally Cinnamon / I Am The Resurrection

13 May 1989 - The Stone Roses feature in Melody Maker Magazine.

15 May 1989 Monday - ICA 'Institute of Contemporary Arts' Theatre, The Mall, London SW1 * Doors Open: 20:00 * Price: £4.60 * Support: Symbol Of Light

(Intro Tape: Don't Stop) / She Bangs The Drums / Standing Here / Waterfall / Elephant Stone / Sally Cinnamon / Made Of Stone / I Wanna Be Adored / Where Angels Play / Shoot You Down / I Am The Resurrection

Sold Out Show. There were crowds of people on the Mall, trying to buy tickets for the show. There was a London Transport strike causing several delays for audience members before and after.

Roadie Chris the Piss was selling T shirts. The Waterfall design and the Lemon design (not the same as She Bangs The Drums drawn image) were on sale as were others.

17 May 1989 Wednesday - Edwards No. 8, Birmingham * Doors Open: 20:00 * Ticket Price: £3.50 (Advance) * Support Act(s): Big Red Bus

19 May 1989 Friday - Aberystwyth University, The PP Club, Aberystwyth * Doors Open: 20:30-01:30 * Ticket Price: £2 (Advance), £2.50 (On The Door) *

20 May 1989 - NME Magazine, [Pop stars remember their football-related experiences] an Brown writes his brief George Best memories.

22 May 1989 Monday - Panic Station presents The Stone Roses, Dingwalls, Camden Lock, Chalk Farm Road, NW1, London * Doors Open: 20:00 * Ticket Price: £5.00 (General) £4.00 (Panic Station Club Night Members) * Support Act(s): The Prudes, The Century Boys

(Intro Tape: Don't Stop) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play - Shoot You Down / Standing Here / Going Down / Sally Cinnamon / I Am The Resurrection

Sold Out Show. Ian came onstage ringing a bell. During the 'Don't Stop' intro tape chants of 'Manchester, Manchester' can be heard, from fans who travelled down to see them perform. After the first song Ian says 'And we don't want to hear anymore Manchester Chants'. Ian was seen swinging on the pipes above the stage. The set timed in just less than hour. Before Sally Cinnamon, Reni sings a line from Waterfall accapella.

24 May 1989 Wednesday - Oxford Polytechnic, The Students Union Bar, Oxford * Doors Open: 20:00 * Ticket Price: £3 * Support Act(s): The Hollow Men

She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection

N.U.S. Cardholders & guests only, guests limited to 3 per person. Future Ride members Mark Gardener and Andy Bell were there, Andy Bell (Ride, Hurricane #1 and Oasis) said: "The gig was incredible, they were on top form. I remember it in freeze frames. Mani's face gurning as he swung round to catch Reni laughing his head off in the middle of a tune. Ian in his element, head nodding as he sings in front of a sea of bodies losing it. Seeing Loz's mad head as we flew around the moshpit singing along with I Am The Resurrection. I went home mindblown, clutching a T-shirt."

Steve Lamacq wrote a long-winded review and it was published in the NME Magazine, 27 May 1989.

25 May 1989 Thursday - Park Lane, Shrewsbury * Doors Open: 20:00 , Soundcheck: 22:00 , Stage Time: 23:15 * Ticket price: £3.00 (Advance)

Originally booked for The Fridge Club, the venue was changed due to popular demand.

Soundcheck: I Am The Resurrection (accapella) / Mani bass soundcheck "She Bangs The Drums" / John & Mani soundcheck "Waterfall" / Mani "unknown bassline funky" / John testing guitar pedals "Made Of Stone" - "Elephant Stone" - "I Am The Resurrection" / Waterfall - "Reni testing microphone"/ I Am The Resurrection

Notes: Ian starts with a mic test then launches into a solo accapella of I Am The Resurrection. John tests the guitar pedals and then the band perform Waterfall, without backing vocals. Reni tests his microphone levels and then they finish with a version of I Am The Resurrection, different to the usual arrangement.

Simone (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection

During the show Ian can he heard saying ''Sit down man - you're making a spectacle of yourself'' during the show. There are fans on stage surrounding the band and Ian is telling the club security to calm down as they were a bit heavy handed with the stage invaders. The bands after show party ended up at some fans house on the night leading to the early morning.

Tim ''I was a teenage'' Vigon 28 May 2011 wrote: 

''We headed to Shrewsbury, to see them in a club called Park Lane (every bit as neon and cheesy as it sounds). Now no-one came to Shrewsbury, least of all a band who was starting to cause a stir, and this band was special. The promoters, security and everyone didn’t know what had hit them. Even at this point, in a ritzy club in Shrewsbury, the crowd treated these 4 lads like returning rock stars. What a gig. As we wandered out, a bloke we recognised from always being side of stage with the band came up to us and said to us in full Mancunian glory “alright mate, do you fuckers want to meet the lads?”. We thought he was taking the piss, but full of adrenaline and youth we followed to see where we ended up, and unbelievably 2 minutes later were stood in the Roses dressing room. The band sat unmoved, smoking, chatting – things just happened around them. We couldn’t believe it – we got our set lists signed, uttered gestures of adoration at our heroes and generally didn’t know what the fuck was going on. The fella who took us in, was a gentleman called Steve Atherton, better known as Adge, and a bona fide Mancunian musical legend. He was the bands’ tour manager at the time and would go on to manage bands himself, to this day he looks after the likes of The Coral.''

Kevin Williams said: ''I booked the band for £120, and they were on the front page of the NME the week that they played. The gig was moved into the larger room at the venue as we had 500+ people in the queue to get into the venue. I dj'd at the gig and played the Left Banke and Wimple Witch along with Sly and The Family Stone. The band were on fire, and Ian Brown finished the evening at a local singer-songwriters house offering advice on penning a decent tune!'' ''The band were sound checking at 11.00pm with the crowd next door in a separate part of the club ! We were running well behind time. l was the DJ for the evening, and played tracks by the MC5 and The Mock Turtles amongst others. It was a legendary evening... Before the gig, the Roses’ manager was complaining about the lack of a 24- channel mixer, and wanted to pull the gig. We convinced him that it would not be a good idea with 500+ people next door, and more queuing to get in...''

Johnny Kertland said: ''I was the promoter of the gig and we had in fact, two recordings of it! The better recording was ‘cleaned’ up and sold under the counter in my shop, Gizmo, in Shrewsbury. The soundcheck was recorded in its entirety. I parted with a copy to Will Odell a while ago. He is the only person to have ever had a copy off the master tape!''

26 May 1989 Friday - Elektra, Milton Keynes *Cancelled*

From NME Magazine 27 May 1989 'The band, whose self-titled debut album crashed into the national charts at 32, have been forced to cancel forthcoming shows in Milton Keynes and St Helens because of recording commitments'.

27 May 1989 Saturday - Citadel, St. Helens *Cancelled*

27 May 1989 - The Stone Roses feature in NME Magazine declining support slots for The Pixies and New Order.

26-28 May 1989 Friday, Saturday, Sunday- RAK Studios, London. Where Angels Play / Standing Here

Recording sessions for 'Standing Here E.P.' which later became the She Bangs The Drums single.

April 2009 for Clash Music, John Leckie said: ''Was anything recorded that wasn’t used on the album? No, there isn’t. The only one was ‘Where Angels Play’, which was abandoned. And then the record company found it and released it. It’s just a guide vocal and a rough mix - it was never finished.''

30 May 1989 Tuesday - The Guildhall, Foyer, Preston, Lancashire * Doors Open: 19:30 * Ticket Price: * Support Act(s): Big Red Bus

Guernica (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Going Down / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / Sally Cinnamon / Standing Here / I Am The Resurrection

The 'Foyer’ is the bar area, beneath the main hall. ''This gig was recorded on a Sony Professional Walkman, directly in front of the mixing desk — the band were using New Order's P.A. system.'' 

From Cut Magazine (see July 1989): 

''At gigs they sometimes get 17-year-olds who want them to sign their Smiths t-shirts. “They come up and say: ‘will you write ‘The Smiths are dead’ on my t-shirt?'” “But you don’t look anything like Morrissey, I say.” “I know. We must be confusing them, says lan.''''

From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Guild Hall Foyer, Preston May 30, 1989 the date saw Preston band Big Red Bus play support in what was only their second gig, guitarist Dave Spence recalls, “We were given a tape and told we were supporting them the following week, and while we’d heard of them - because they’d been around a while - the first time we saw them was when we came off the stage at the Guild Hall and went back out front. “We were just blown away by what they were doing. I don’t know what it held then, but the foyer wasn’t even full. “But it was just - and remains so - the most electric atmosphere I’d ever encountered at a live event. And I still go to plenty. It was amazing, and they were riding the wave at the right time.”

The Evening Post reviewer reported, “Like all rock stars The Stone Roses refused to come on stage until it was barely visible through a thick mist of smoke and the audience had been subjected to a barrage of backing tapes. The four lads from Manchester, who have so impressed the music pundits with their own mix of psychedelia and guttural guitar, finally made it to the stage - but for a first impression it was hard to know what to think. “They sounded good, they may have looked good too but it was at least 30 minutes before the aftermath of the over-productive smoke machine allowed eager fans to get a glimpse of their heroes. The Roses have been hotly tipped by all and sundry as a band to watch out for, but on this performance, you have to wonder what all the fuss is about. “Sure, they have some good songs which fall nicely between pop and the usual indie sound but it takes more than that to be something special and win a place in the heart of music lovers the world over. The Roses evoke a 60s sound that plunders more from the era’s free-wheeling spirit than its distinctive laidback sound. “But at times, on Waterfall and I Wanna Be Adored, it sounds like they have transported their jangling guitar noise from the heart of that decade - and it travels well. As far as stage presence goes, singer Ian Brown was content to let his head sway from side to side and the rest of the band kept their movements to a minimum. It was clear from last night’s enthusiastic reception that The Stone Roses have a devoted cult following. Whether they will rise above this remains to be seen.”

03 June 1989 - The Stone Roses appear on the cover of Melody Maker Magazine.

03 June 1989 - Junction 10, Walsall, Birmingham * Ticket Price: £5.00 * Support Act(s):

I Wanna Be Adored / Sally Cinnamon / Elephant Stone / Waterfall / Going Down / Made Of Stone / Standing Here / Where Angels Play / Shoot You Down / She Bangs The Drums / I Am The Resurrection

Tim ''I was a teenage'' Vigon 28 May 2011 wrote: ''In Walsall, at the salubrious Junction 10 a few days later Adge recognised us and again let us come backstage, this time bearing that days Melody Maker, the bands’ first ever front cover, to be signed along with t-shirts, drumsticks and anything else we could get our hands on.''

From I Am Without Shoes Fan Website: Ference Feurtado remembers: The first thing that comes to mind is my mate and guitarist in our band coming into our local about 8 o'clock on a Saturday night saying, Let's get a taxi over to J10 as the Stone Roses were on and they were going to be shit-hot. The queue to get in the place was quite large, it was obvious that word and the quality of the album had got around, but it was still a pay-on-the-door event.

I can't remember a support band (if there even was one). Living just a mile or so away we used to go down there quite frequently as it was a place to have a drink a bit later after the pub had shut! Certainly the crowd in there that night was different to the Pop Will Eat Itself/Wonderstuff bratty mommies boys from the posh parts of Walsall (there are some), or the gormless rocker types who were the main kind of clientele at the time.

There were loads of geezers wearing flared jeans and baggy t-shirts and the standard bucket hats - these people were obviously from out of town, and accents at the bar confirmed this.
The songs that stand out for me were I Wanna Be Adored, the opener, with its slow bass intro, Waterfall, and Resurrection at the end. Being a bass player in a local band at the time I was really impressed with Mani's bass playing - I am sure he used a Squire-painted Rickenbacker, obviously the drums and guitar were bang on. It really was that long ago that I would be lying if I said I could remember much more, but I do know that was the best gig I have ever been to.

06 June 1989 Tuesday - Majestic, Reading * Doors Open: 19:30 - Sometimes Sartre: 20:00 * Ticke Price: £3 * Support Act(s): International Resque, The Jay Breaks, Sometimes Sartre.

07 June 1989 Wednesday - University, Leicester * Doors Open: 20:00 * Ticket Price: £4.00 (Advance) *

She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Going Down / Where Angels Play / Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection

08 June 1989 Thursday - The Sugarhouse, University, Lancaster * Ticket Price: £3.00 (On The Door) *

Simone (Intro Tape) / She Bangs The Drums / Waterfall / Elephant Stone / Made Of Stone / Where Angels Play - Shoot You Down / Standing Here / Going Down / Sally Cinnamon / I Am The Resurrection

The soundcheck includes the band setting up and testing their instruments. I Want You Back (The Jackson 5) & Fools Gold, are the basslines and riffs played by Mani, it would be six years later when we would hear him play, I Want You Back again (see 29 May 1995). Voodoo Ray, A Guy Called Gerald cover, is just Reni singing the harmony sample used in the dance classic. John tests his effects for Made Of Stone & Elephant Stone during the soundcheck too. Ian joins the band and tests the mic by singing I Am The Resurrection on his own. The band run through an alternate arrangement of Waterfall too.

After Shoot You Down Ian ask the crowd 'See how quiet you can go'. After Standing Here Ian announces 'Sugar Spun Sister, Mersey Paradise and Tell Me... that’s the only communication I'm getting you of innit...Who's from Lancaster? Tell me what it's like'.

From Lancashire Evening Post, 13 November 2015 - Friday 4:02 pm, by Mike Hill: Sugarhouse, Lancaster, June 8 1989 the tour to promote The Stone Roses debut album returned to Lancashire in the week the band found themselves on the front of Melody Maker for the first time. Journalist Richard Machin was among those who paid the £3 entrance and has fond memories of the night.

Journalist Richard Machin: So it was that five of us resolved to drive the 500-mile round-trip from Portsmouth to Lancaster a few weeks later to see the Roses again, this time at the Sugarhouse, which was close to where my parents were living at the time and I persuaded my younger brother (who I think was 15 at the time) to come along as well to experience his first ‘proper’ gig. I’m not even sure we’d bought tickets in advance but remember queuing up in Sugarhouse alley and being very conscious there was a real sense of anticipation, there were clearly dozens of people there from Manchester and Liverpool and a palpable excitement, very different to the relative apathy we’d experienced in Southsea just a few weeks earlier. “The Sugarhouse isn’t particularly well laid out (there are annoying pillars to obscure your view and the stage is pretty small), but I’ve always liked it, an old warehouse building with high vaulted ceilings and a world away from identikit college venues that are more like school halls. “On that night in June 1989 it was alive, a seething mass of humanity and when the Roses came on and opened with ‘She Bangs the Drums’ – not ‘Adored’ as was more typical, then and now – the whole place went nuts, and I remember my poor brother being carried off by the swell with a slightly worried look on his face… “I’ve heard bootlegs of the gig since and it still sounds as great as I remember. We all know Ian Brown has never been the greatest singer but that misses the point, the band were (are still) tight, stuffed full of great tunes and cockiness and this was them at the peak of their powers, just before the Empress Ballroom, playing in the north west to an audience of adoring disciples…and it can’t be overstated how different it felt and how the Roses and that Manchester scene energised music at that time. “I’ve seen the Roses many times since, including at the recent Heaton Park and Glasgow Green ‘comeback’ shows, but The Sugarhouse still ranks as one of the best, for me, because it was a perfect combination of time and place. A brilliant night and brilliant memories.”

12 June 1989 - Wigan Pier Club, Wigan (Cancelled)

20 June 1989 Tuesday - Riverside, Newcastle-upon-Tyne, Newcastle * Doors Open: 19:30, Show Starts: 20:00 * Ticket Price: £4.00 (Advance) * Support Act(s): Shy Reptiles

She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Where Angels Play - Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection

21 June 1989 Wednesday - The Venue, 15 Carlton Road, Edinburgh, Scotland * Doors Open: 21:00 Support Act(s): Shy Reptiles *

22 June 1989 Thursday - LP Signing Session, Ratt Records, Buchanan Street, Glasgow, Scotland * Cancelled * 

Marc, 2023, said: I was lucky enough to see The Roses in a tiny venue called Glasgow Rooftops. On the day of the show, they were supposed to turn up at a record shop called Ratt Records on Buchanan Street. (Now a Greggs) It was before they had broken through to the mainstream. There was only 6 or 7 of us there! The Record Shop owner had bought them food and drink. Anyway they didn't turn up, we were gutted...They still had a reputation even then in those early days but to my amazement, Ian Brown apologised as soon as they came on '"We're sorry about Ratt Records nobody told us". You can hear this in the bootleg....

22 June 1989 Thursday - Rooftop, Sauchiehall Street, Glasgow, Scotland * Ticket Price: £5

Simone (Intro Tape) / She Bangs The Drums / I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Where Angels Play - Shoot You Down / Standing Here / Sally Cinnamon / I Am The Resurrection

Sold Out Show, over 500 people attended the show. Tam Coyle helped promote the show, Tam had to leave the Roses in Glasgow at 4.30am as he was working the next day on a building site. 

Stevie Watt DJ'd before the band came on, he took the band to his parents house so they could conduct a phone interview with an American Magazine. Birdland were playing Glasgow the same night.

4 January 2018 - Craig McAllister said: My one brief foray into bootlegging began and ended with The Stone Roses. I taped their now legendary Glasgow Rooftops show, just as the band were on the cusp of going massive. Stuffed down the front of my jeans until the lights went out, my dad’s clunky old dictaphone was called into action. The wee blinking red light meant it was recording. Looking furtively to the side I noticed a guy about the same age as me looking at the machine in my hand. He nodded conspiratorially and gave me a wee thumbs up. At the end of the gig he found me and gave me his address, with a promise to send me some bootlegs in return. The Stone Roses were absolutely on fire that night, a terrific gig. I couldn’t wait to get home to play the tape.

23 June 1989 Friday - Town Hall, The Crypt, Middlesbrough * Doors Open: 19:30, Show Starts: 20:00 * Ticket Price: £4.00 (Advance), £4.50 (On The Door) * * Support Act(s): Shy Reptiles

After the show at a service station, Ian jumps in a steamroller, unauthorized, and the RAC call the cops. Ian is released and the band carry on driving to Nottingham.

4 June 1989 Saturday - The Roadmender Centre, Ladys Lane, Northampton *Midsummer Mayhem* Doors Open: 20:30 * Price: £3.50 (Advance) £4.00 (On The Door) * Support: All Grown Up

25 June 1989 Sunday - Norwich Arts Centre, St. Benedicts, Reeves Yard, St. Benedicts Street, Norwich * Doors Open: 20:00 * Ticket Price: £3.50 (Advance), £4 (On The Door)

26 June 1989 Monday - Bristol Bierkeller, All Saints Street, Bristol * Doors Open: 20:00 * Ticket Price: £4.00 (Advance) *

I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Made Of Stone / Waterfall / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection

Date often noted as '29 June 1989'. Over 400 tickets were sold for the show in advance. Ian gets the verses mixed up on Shoot You Down and Standing Here.

27 June 1989 Tuesday - Civic Hall, Stratford-Upon-Avon * Doors Open: * Ticket Price: £4, £5.50 with coach * Support Act: The Cantels, Jive Turkey

Backstage Ian was wearing a Co-Op T-Shirt.

Fan, Phil Baker said: 'I was at Stratford gig. It was half full as I think it was a filler gig – not promoted much between Bristol and Birmingham. You’re right the hall was half full. Ian Brown made a joke about people at the back ‘playing football’ if they were bored. Best gig I’ve ever seen. They came on fairly late and we had to endure jive turkey and some other poor support band where the female lead singer/guitarist walked into the sitting and bored crowd!'

28 June 1989 Wednesday - Irish Centre, Diamond Suite, Birmingham * Doors Open: 19:30 * Ticket Price: £3.50 (Advance) * Support Act(s): Big Red Bus

Simone (Intro Tape) / I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection

Adrian Goldbeg 'More Music' review: 

Nine HUNDRED swaying bodies shoe-horned into Birmingham's Diamond Suite last week bore sweaty testament to the ascendancy of neo-psychedelic pop charmer's The Stone Roses. Only months ago, the band comfortably accommodated in a local pub room barely one-fifth the size but, aided by the of their debut album, rapidly generated an aura as 1989's band most likely to... On the strength of this raggedly inspired performance, it’s a reputation they richly deserve. A quartet of Sixties obsessives (and one frantic, Shaven-headed male, go-go dancer), The Roses know that The Look is crucial. Hence the cultivation of a jeans and T-shirt 'slob next door' image, belied by guitarist John Squire's carefully overgrown mop and singer Ian Brown's coiffured mod-like barnet. It's a stylish scruffiness that accords well with their laidback rejuvenation of the soundtrack to swinging Britain. Essentially, they are a compendium and celebration of a decade's greatest musical moments, with a roughly equal respect for vocal harmonies and discordant guitar. The three-minute pop song is certainly there in all its frothy, jangled glory - witness 'Waterfall', a burst of semi-acoustic chimes and molten hook line. But the mind-tripping progressive workout is proffered too, as Squire leads an epic instrumental finale, all snarling guitar and dervish drums. Between these extremes lies a substantial middle ground, straddling formalist -beat and warped West Coast Americana. Distinguished by Brown's spaced-out vocals, and wrapped in double and triple layers of echo, the result is gloriously unresolved tension between melody and aggression. It might all be an exercise in arch revivalism, were it not for The Roses' sheer song writing ability and the purposeful intensity with which they mine the past. But resuscitating the full Sixties’ experience involves the of mind expansion, and The Roses undeniably court a druggish mystique. They hardly need it. Dealing out the dreamy romanticism of 'Sugar Spun Sister', they push nothing sinister than uplifting aural ecstasy.

30 June 1989 Friday - Leeds Polytechnic, Ents Hall, Leeds * Doors Open: 20:00 * Ticket Price: £5.00 (Advance) *

I Wanna Be Adored / Elephant Stone / Sally Cinnamon / Waterfall / Made Of Stone / (Song For My) Sugar Spun Sister / She Bangs The Drums / Where Angels Play / Shoot You Down / Standing Here / I Am The Resurrection

Ian wore a bright yellow polo shirt, John a grey shirt with a blue jean denim shirt/jacket over the top, Mani in a white t-shirt, Reni in his bucket hat and a striped long sleeve shirt. The pollock style bass and kit were used. Final date of the tour.  Apparently the doors were locked as people were trying to rush the exit doors to let people in.

July 1989 - Penne Smith Photo Shoot

Penne Smith took the iconic band photo of the band stood against a warehouse wall. Reni in bucket hat, Mani central with hair covering his eye, Ian at the back and John with his arm around Mani. The poster was published by Splash and was quickly distributed throughout record stores. Not sure if it was ever sold officially on tour though. The session also included a similar photo but with Mani looking to his left and Ian smiling.

July 1989 - Cut Magazine Interview with Ian Brown, John Squire & Mani. David Belcher interviewed the band in a cafe in Victoria Station, Manchester.

July 1989 - Transmission TV Show, ITV
A repeat of the interview from the 1988 broadcast. Ian & John are interviewed for the show. Elephant Stone promo video is also broadcast.

1989 - Paris Photo Shoot by Kevin Cummins

17 July 1989 - She Bangs The Drums U.K Release Date

July 1989 - Ian Tilton Photo Session, Studio, Chorlton

27 July 1989 - Riverside, Newcastle

27 July 1989 - She Bangs The Drums (Promo) was set to feature on Top Of The Pops

From 27 July 1989 - Daily Star Newspaper: BAN THESE POP IDIOTS URGES MP. Tory MP Geoffrey Dickens wants pop nutters the Stone Roses banned from tonight's Top Of The Pops after one of them said he'd like to see Prince Charles dead. The controversial comments came from lead singer Ian Brown, who also said: "I fantasise all the time about putting a blanket over the Queen Mother's head." Furious Mr Dickens says if they do appear tonight, viewers should turn off in protest. "If viewers switch off, the BBC won't put these idiots on again," he fumed.

12 August 1989 - The Stone Roses feature on the cover of Sounds Magazine interviewed by John Robb.

12 August 1989 - The Stone Roses LP is number one in the indie LP chart.

12 August 1989 - She Bangs The Drums is is number one in the indie 45 chart

12 August 1989 - NME Magazine spread rumours regarding a big G-Mex homecoming show.

12 August 1989 Saturday - Empress Ballroom, Blackpool, Lancashire * Doors Open: 19:30, Stage Time: 21:30 * Ticket Prices: £6.00 (Advance) * Support Act(s): DJ Dave Booth, DJ Dave Haslam *

Don't Stop (Intro Tape) / I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Going Down / Mersey Paradise / Sally Cinnamon / I Am The Resurrection

Tickets went on sale in June, A spokesman for the venue was quoted on the eve of the event as saying it was one of the fastest selling gigs in the ballroom’s history with all 4,000, of the £6, tickets being snapped up within three weeks.

Ian's mum and dad were at the show.

The band stayed at The Charlton Hotel, the NME conducted an interview at Room 111.

On Some Promo Adverts 'Standing Here - July' was written in bold lettering at the end of the advert. Maybe Standing Here was intended for the bands new single but Silvertone forced the band to release, the more popular, She Bangs The Drums. Standing Here had a short promo video produced and Silvertone compiled 'previously used' home footage for the She Bangs The Drums Promo Video.

Fans had travelled from all over to see the band perform, many Manchester fans who came down without a ticket rushed the emergency exit doors which were opened by fans from the inside. There was beachballs being thrown about the crowd, loads of Reni style sunhats worn inside the sweaty venue and beer was being thrown around it like it was mandatory.

£7.00 day return coach tickets were available from Piccadilly Records too, the coach departed at 12:00 opposite the Grand Hotel, Aytoun Street, Manchester to let fans enjoy a day out in sunny Blackpool.

Ian walked onstage with an electric yo-yo. Mani, Cressa and Reni threw ice pops into the crowd. Cressa joins the band as effects technician again, he can be seen clearly in the official video too.

In reference to the 1968 Paris riots Ian references the lemons he throws into the crowd "Suck 'em - you don't get your eyes watered with CS gas, it's true!".

August 1989 - Until The Sky Turns Green Fanzine is released after the Blackpool Show

23 August 1989 - 09 September 1989 Fools Gold & What The World Is Waiting For Recording Sessions, Sawmills, Golant, Fowey, Cornwall PL23 1LW

Reni's Gear
Custom kit: Floor toms (Pollock) were miked with [Neumann] U87s and 421s.
Gretsch bass drum miked with a Shure D12 and Sennheiser 421.
Ludwig snare.
Smaller Noble & Cooley snare, miked with a Shure SM57.
The hi-hat had an AKG 451, padded down.
Bongos / Congas.

John's Gear - Pink Fender Stratocaster (Rhythm) / Hofner 335 (Pollock) (Lead) (Lexicon PCM60 Reverb) / Fender Twin reverb Amp with JBL speakers (the old-style Twin with the silver front and black knobs), miked with Shure SM57 or SM58 together with a Neumann U67.
Aside from the wah pedal, the only other effects Squire used were Ibanez chorus and overdrive pedals.

Mani's Gear - Rickenbacker 4005 Bass (Pollock), DI'd and fed through an Ampeg SVT amp miked with an AKG D12 / Ashbory bass (short-scale silicone rubber strings) * Never made the final mixdown.

Ian Brown - Control Room Shure SM58 Microphone (Lexicon PCM60 Reverb)

John Leckie was producing and he engineered along with Paul Schroeder and John Cornfield.

A remote studio located within a creek on the banks of the River Fowey. The only means of access is by boat or, when the tide is out, by walking along a railway line. "The Sawmills' in-house engineer, John Cornfield, largely built the studio, and he was involved in the 'Fools Gold' sessions during the 18 days that we were there.

Video footage can be seen from the Sawmills Recording on USB featured in the 2009 Legacy Edition Boxset. The audio was only the official 4.15 version of Fools Gold.

Apparently John wrote it around a drum break he’d found on a “breaks and beats" album he’d picked up because he liked the photograph on the sleeve, of African-American athletes Tommie Smith and John Carlos giving the Black Power salute on the medal podium at the 1968 Olympic Games in Mexico City. 

John spent time trying to master sequencers and samplers, hooked on Public Enemy’s Fear Of A Black Planet “Too much like a science lesson,” he ultimately concluded and took the project to John Leckie.

The pink Fender Stratocaster would later become into Ian's possession and he would write his solo effort Can't Me See on it.

05 November 2010 Friday 01:00 ''Story Of The Song: Fool's Gold, The Stone Roses, 1989'' Robert Webb article: 

The original demo the band took to Sawmills comprised little more than a four-bar drum loop stolen from a James Brown song, a tambourine and some rudimentary vocals. "When the track ran out on that record, you could hear them lift the needle and put it on again," recalled Leckie....Brown almost whispers his cryptic blank verse which, he claimed, was inspired by the Humphrey Bogart movie 'The Treasure of the Sierra Madre'. "Three geezers who are skint and they put their money together to get equipment to go looking for gold," he said. "Then they all betray each other... That's what the song is about."

John Leckie - The drum loop came from a record,"  "and the funny thing about it was, when the track ran out on that record, you could hear them lift the needle and put it on again. They'd brought the record with them, so we copied the drum track and made the loop in an [Akai] S1000, sequenced on Cubase. We spent ages tuning that loop, trying to get the right tempo and generally fiddling about, and we quite enjoyed doing that. After that, the challenge was where to put the band on top, how to represent their individual characters. With any band, I like to give each of the musicians equal importance.

"The song didn't really have any structure at this point — it was kind of verse, chorus, jam — and so what we did was lay down about five minutes of the loop onto tape before adding the guitar and bass, trying to determine what to put on without destroying the vibe. Tuning the loop had set up the vibe, and whatever we put on it would kind of change it, so different ideas came up, like a second bass line that floats over the top of the main bass line. Then there was the idea of sticking on the one note, 'E', and then coming back to the loop again. This gave us loads of possibilities, which nowadays would be easy using Pro Tools, but back then we had to imagine something, cut the tape, and if we got it wrong, cut it back again."

From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: Do you have / was there any demo material for Fools Gold, What The World Is Waiting For and One Love/Something's Burning? What did it sound like? JL: Yes...there was a demo for Fools Gold (originally considered as a B side) that was a drum loop played from vinyl, with a guitar playing the riff, and vocal with the same lyrics.... It was done by John and Ian at home on cassette 4-track. Same for What World Is Waiting For. There was no demo for One Love/Something's Burning.

The playout on the nine-minute, 53-second version kept getting longer and longer," he says. "John would have different ideas for the various parts, saying 'Oh, I need to extend this by three bars,' and we were on the leader tape, picking up on code and everything. That meant we had to edit, copy and jam-sync the code, and then fly in everything that had gone before — like the drum loop and bass — sample it onto the Akai S1000, sync it up with Cubase and fly it back in. The object was to eventually get everything onto tape, so when it came to the mix anyone could replicate what we'd been doing.

"A lot of effort was put into getting the right sound. They wouldn't play anything unless it sounded good. It wasn't a case of 'OK, turn the mics on and keep going.' We'd spend three days working on the drum sound, and then Reni would be too tired to play so we'd say 'Well, let's do the bass.' Mani would spend two days working on the bass sound, and he'd go back and change it. And then John would take delivery of endless guitars and amps, plug them in and try different mics, but it was always the same parts being played and I would share in the learning process. It wasn't a case of wild experimentation, but just getting the best possible sound and something that we all got off on. In fact, whenever there was experimentation, we'd end up going back to the original sound.

"Over the 18 days it was a creative process. The second half of the song was all worked out in the studio, and then there were these crazy noises that I highlighted in the mix. We'd messed around with things like slowed-down cymbals, and at the time none of those experiments had worked, but then when I got to the mix I had all these weird tracks to play around with and you get glimpses of them in the second half of the song. Once I got on a roll, there was a temptation to somehow incorporate all of the experimental stuff, but in the end I just retained the most important elements.

23 September 1989 Saturday - Barraca Club, Valencia, Spain * Doors Open: 02:00am

I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / I Am The Resurrection

28 September 1989 - Rolling Stone Festival, City Square, Milan, Italy

I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / I Am The Resurrection

Before Elephant Stone starts Ian shouts 'Go home, go on, off you go, go home, you sit down, we don't wanna know ya', go home or throw some fish, come over don't be shy...'

01 October 1989 - Futurama, Dienze, Belgium

I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play / Shoot You Down / Sally Cinnamon / Fools Gold - I Am The Resurrection

Reni teases the audience with a brief Fools Gold drumbeat before launching into Resurrection.

The band are not happy at the show. Ian tells the audience "Go on, go home". Later in the evening, Ian singles out a crowd member and says "I thought I told you to go home". Mani joins in too. A female announcer even interrupts the set over the bands P.A. system.

03 October 1989 - Hamburg, Logo Club, Germany

I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / I Am The Resurrection

From 02 November 2011 - Stone Roses ‘Rose Tinted Memories’ how they changed a fan’s life - a diary from 1989 By Simon Kelly: ...Fly to Hamburg, and say ‘let’s go and check out the venue’. Open up the big, barn type door, and immediately spot John Squire can we come in? Yes, of course. Go and sit down at the sides with Stuart. He is amazed that he is here, in the same room as his new found heroes. Tunes come on over the PA. The first one sounded like The Roses guitar sounds but was new to us, and then the 2nd one went on forever, full of wah-wah and funky sounds. Mani bowls over and says what do you think of the new single!?. This was Fools Gold’ and What The World Is Waiting For’ 6 weeks before it was to be released in the UK. Wow! 3rd October 1989 The Hamburg Logo and hearing THAT intro with the ‘woooooh’ alarm sound over the breakbeat (never did find out what this was!?…). I was at the front, taking photos with Mitsui, another Roses Superfan at the time, and Stuart stood on a chair at the side of the stage shuffling from side to side along with the beat. Trying to find the energy to keep swaying to an elongated ‘Resurrection’ was never easy. We stayed on after the gig, where we met up with a crazy English girl who put us up for the night. She was very proud of the fact that she’d let Clint Boon sign her ‘tit’ when Inspirals were over. Me and Stu had a nervous sleep in her flat that night...

03 / 04 October 1989 - John Leckie Fools Gold / What The World Is Waiting For Mixing Sessions, RAK Studio Three, London

The tracks would be used on the double A-Side. 

Fools Gold was originally due for release in October but was delayed to coincide with the sold-out Alexandra Palace show.
Silvertone were given the finished single with What the World is Waiting For on the A-Side & Fools Gold on the other. The record company demanded the band release an edit of Fools Gold as the A-Side, the band managed to keep initial pressings with the sleeve noting 'What The World Is Waiting For' on the sleeve but Silvertone soon started including a 'Fools Gold' sticker on the sleeve. After the first run, the record company re-pressed as a double A-Side but replaced the record title as just Fools Gold on the sleeve.

John Leckie: on October 3 and 4, I went into RAK Studio Three on my own and mixed 'Fools Gold' along with the 'B' side, 'What The World Is Waiting For'. Again, I was working on an SSL, and I took a couple of days to mix both songs."

It's interesting to note that, up to this point, the band members actually intended 'What The World Is Waiting For' to be the 'A' side, with 'Fools Gold' in the secondary role. "I thought 'Fools Gold' was fantastic and so to me it was obvious it should be the 'A' side," Leckie says. "But all along the band had different ideas, and in fact early copies of the 12-inch record did have 'What The World Is Waiting For' as the 'A' side. That got changed around pretty quick, yet it meant that throughout production we gave a lot of attention to the 'other' track."

From October 1989 - NME Magazine, News Article: 

STONE ME The Stone Roses, one of the big discoveries of '89, have a new single ready for release in three weeks. The track is 'What The World Needs Now' and was produced by John Leckie, who handled the group's eponymous Top 60 debut LP. The song was recorded as a warm-up to the band's date at London's Alexandra Palace on November 18. Before that however the Roses go to Europe for their first shows abroad - taking with them a travelling band of fans from hometown Manchester. Five coach loads are expected to travel round the tour which starts later this week in Valencia and continues through Barcelona, Milan, Ghent, Hamburg and Paris.

From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS: So is 'What The World Is Waiting For' the same drum sample as 'Fools Gold'? And, to clear this up once and for all, what EXACTLY is Reni playing on Fools Gold, and which part is the sample, as there's been a lot of confusion about that one! 

JL: Yes, it's same drum loop on 'What World Is Waiting For' as 'Fools Gold'. That was the only one we had! Reni plays full drum kit, bongos, shakers, tambourine etc. all the way through. Its mixed so there is some mystery about it all... I "blurred the edges" so you can't tell which is which... it's all one. It was mixed at RAK Studios at 8:30 in the morning.

04 October 1989 - Luxor Club, Cologne, Germany

I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / I Am The Resurrection

Cressa's birthday, he celebrated by drinking a bottle of brandy.
The Luxor Club billiard table drew more attention for some fans than the band did. Ian questioned the crowd “You don’t move much, do you?”.

6 October 1989 - Melkweg, Amsterdam, Holland, Netherlands

I Wanna Be Adored / Elephant Stone / Waterfall / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection

As the band walk on stage Ian greets the crowd 'Hello, Hello...', shortly followed by '...You miserable bastards'. After Elephant Stone Ian continues 'Any of you have poles up your backs int' thee?' 'Where you from? See these here…Robots, who winds you up?...brain dead fuckers...We're having a bit of nap, we're tired now'. After Waterfall Ian remarked on the audiences’ lack of dancing and reaction 'No-ones gonna laugh at you' 'Two and half thousand people and not a word...shh shh someone's counting their money over here'. Sounded like the band were not having a good time at the venue.

May 2002 - From The Very Best Of 2002 sleeve notes, article by John McCready: Mani: Sometimes we'd be off-key, or a bit shaky but it was never truly about those things with us then. If people want perfection they can sit at home and listen to a CD. The Roses were always on the fucking edge then. And we could fall and fail or we could fucking fly - and we frequently did.

07 October 1989 - Rapido, TV

Rapido trained its cameras on The Stone Roses for what has since become one of the band’s most unintentionally iconic TV moments—part interview, part standoff, and entirely unforgettable. Filmed at Battery Studios in Willesden while the band were recording vocals, the segment should have been a lively chat about their rising success; instead, it delivered a beautifully awkward slice of Roses lore. When the presenter compared their sound to 1960s psychedelia, Ian Brown responded with trademark Mancunian deadpan—“It might remind people of the sound of the 60s, sound of the 70s, who cares?... Has it?”—a line that practically invented the term “toe-curling.” Fans still talk about the appearance because it captures the band at their most enigmatic: unimpressed, unpolished, and wholly uninterested in playing the media game, even as their debut album was sending critics into raptures. The clip went on to resurface in fan compilations and landed on the official The Stone Roses – The DVD in 2004, cementing its status as a wonderfully awkward time capsule and a reminder that the Roses’ cool often came from simply refusing to care.

09 October 1989 - Kevin Cummins Photo Shoot, Eiffel Tower, Paris

12 October 1989 - Les Inrockuptibles Festival, Le Festival FNAC, A La Cigale, Paris, France * Support Act(s): The La's & Felt * Ticket Price: 120 Francs (This was equivalent to approx. £12.50 in 1989) *

I Wanna Be Adored / Elephant Stone / Made Of Stone / Waterfall / Sally Cinnamon / She Bangs The Drums / Standing Here / Where Angels Play - Shoot You Down / I Am The Resurrection

Coach services from Manchester and surrounding areas ran the day before. The La's co-headlined the show although the roses came on stage last.

A CS gas canister was let off during Waterfall. The 'tear gas' canister was not uncommon during large events in Paris during the late eighties. Manchester fans can be heard singing “Manchester, la la la", Ian and Reni responded with "Paris, Paris.". The same canisters were used in the 1968 Paris riots, the same riots that the band based the 'Bye Bye Badman' song and the debut LP artwork on.

21 October 1989 - Sounds Magazine Live Review by Rockford.

21 October 1989 - NME Magazine, Live Review by Terry Staunton.

23 October 1989 Monday - Club Chitta, Kawasaki, Japan * Soundcheck * Doors Open: 19:00 * Ticket Price: Y4,500

01 October 2009 Thursday 12:14 - The Guardian Newspaper article, by Guardian Music - Hannah Pool Interview: 

What's your best Roses memory? 

Ian: Going to Japan for the first time. We'd done five years on the dole and then eight or nine months later we were in Tokyo having kids going crazy to the tunes we'd been working on. It was an unbelievable feeling.

24 October 1989 - Kenji Kubo Photo Shoot in Tokyo, Japan

24 October 1989 Tuesday - Kan-1 Hoken Hall, Nihon Seinenkan, Tokyo, Japan * Doors Open: 18:30 * Ticket Price: Y4,500 (Advance: Y3,900)

I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection

From 14 July 1990 - NME Magazine, James Brown article: “The first Tokyo gig was like being in Manchester. We’d been told they’d be quiet and polite and clap between the songs, but they all started dancing as soon as we walked on, for a second we were properly gobsmacked. You go to the other side of the world and 2,000 people are singing along and screaming. That was the most satisfying gig. People told us not to expect too much but we were sure they’d dance and they did and it showed that it doesn’t have to be any set way.”

I: “I got a letter from a 15-year-old girl in Japan who got beaten up by her dad every time she came home from school, about how she put the album on and it stopped her committing suicide. All the secret messages she was picking up from it. Double heavy letter. I don’t know what she was asking me to do for her, that was a bit odd, there’s loads of wacky bastards though.”

25 October 1989 Wednesday - Mainichi Hall, Osaka, Japan

27 October 1989 Friday - Kan-1 Hoken Hall, (Nippon Seinenkan) Nihon Seinenkan, Tokyo, Japan * Doors Open: 18:30 * Ticket Price: Y4,500 (Advance: Y3,900)

I Wanna Be Adored / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Standing Here / She Bangs The Drums / Where Angels Play - Shoot You Down / Sally Cinnamon / I Am The Resurrection

October 1989 - Fools Gold Promo Video

From Simon Spence's Book 'War & Peace': 

Geoff Wonfor was again hired for the promo video shoot. At the end of October, the band flew to Lanzarote, one of the volcanic Canary Islands famed for it’s red mountains and submerged ‘Tunnel of Atlantis’, to shoot it. While there, they would also shoot a video for I Wanna Be Adored, which Jive/Zomba in New York planned to release as an American single.

“Our gear was impounded at customs, all the cameras, tripods everything, lenses. The upshot was we had one day to do two videos. Then when I asked the band when they wanted to do it, this is where I got a little bit uptight, they said they wanted to do it at night. I said, which begs the fucking question why are we in fucking Lanzarote when I could have been in Twickenham studios with a bit of volcanic rock. Then they had the great idea of lighting the mountain behind, lighting the mountain behind, which is 10 miles away and I had a generator of about four-foot square. They wanted it to look like it was shot on the moon."
"“We eventually found this wonderful place to shoot it,” explained Wonfor, “and we’d just got into it when a cop came up on a motorbike and came across to us. I was really at the end of my absolute fucking tether. We didn’t have any time to do it and all of a sudden, this cop was asking us to leave. I said to the cop, why do we have to leave, I’ve got a note here from the head of your country, state or whatever it is, that we can film here. He said, c’mon I could have a note from your Queen who says I can film in England but it doesn’t mean I can film in Buckingham Palace does it? I said fucking Buckingham Palace? This place is fucking volcanic rock, that’s all it is, volcanic rock, it’s not Buckingham Palace. So, the cop started to finger his gun. I said don’t even bother, because the only thing you can do at this moment in time is fucking kill me and right now that seems like a good option. So, he says, anyway who is this band? I said The Stone Roses. He said, they mean nothing, if it was The Beatles… I said, what do you know about The Beatles? He said, I know everything about the Beatles. I said, if you know everything about The Beatles you sing me, I’m Down. He went, ‘Man buys ring, lady throws it away, same old thing happens every day, I’m down, I’m really down’. He was absolutely word perfect. So, I thought, oh we’re getting somewhere here. And he just said, no, get out. You can’t film. So that was that. So, I went to Ian and said things are a bit iffy and he said, yeah, I don’t know whether I’m going to be able to… I said no, no if we get our arses down, we’ll be able to do the videos – it just means we’ve got one day to do two videos. He said, no, no, not the filming, scuba-diving, when am I going to be able to go scuba-diving? So, I said fucking scuba-diving! Everybody was off their box really, probably me included."

Back in London, Wonfor edited the footage and showed it to the band. “They said, it’s not what we want,” said Wonfor. “I said what? What did you want? They said, we don’t know. I said oh fuck this, I’m out of here, so I left. I’d cut it all together the way I thought, left the suite. I’d booked the suite for another two hours out of my own money so if they wanted to change anything they could. I got back to Newcastle and the phone rings – where are you man, we love you. I said fucking love me? Are you joking? And they didn’t change a thing on it, not one shot on it. I still have flashbacks of the trauma… "

01 November 1989 - Paul Rider Photo Shoot, Nomad Studios, Manchester

Paul Rider photographed the band. An iconic photo of the band, from the session, was later issued in electric blue for tour merchandise posters. Music stores also stocked the posters too.

November 1989 - The Stone Roses Interview features in Smash Hits Magazine.

05 November 1989 - Kevin Cummins Photo Shoot, Studio, Manchester

Images from the shoot would appear on the cover of "Never Mind The Pollocks, Here's The Stone Roses" 18 November 1989 - NME Magazine. The studio is turned into a polythene cube, with the band ‘Pollocking’ themselves with paint. After two hours, the shoot is over and the band walk through Manchester City centre - dripping in multi coloured paint - to Ian Brown's flat to shower. The handprints, down the stairwell of the building, were still there for many years.

06 November 1989 - I Wanna Be Adored U.S.A Release Date

U.S. Only Single, The U.K. & Japan would only see a release in 1991, with an alternate track list. Charted at number 18 on the Modern Rock Chart Billboard 1990. The Silvertone press sheet sent to Barry Weiss (Zomba NY) 10 October 1989 indicated the U.S. release date and updated him on Fools Golds due date. The sheet also noted '...This is the track that people have been talking about and we are releasing it 4 weeks prior to the US tour.' Michael Tedesco (Silvertone LA) who wrote and sent the fax also stated '(I'm not comfortable with introducing 'Fools Gold' commercially in the US until we have penetrated the core alternative audience with sales of 80-120,000)...'

13 November 1989 - What The World Is Waiting For / Fools Gold U.K Release Date

The single reached number 8 in the U.K. Charts.

The first pressing of the 12inch had What The World Is Waiting For as the main title on the sleeve. Some of the initial pressings of the 12inch still had What The World Is Waiting For as the main title on the sleeve but included a white circular sticker on the front with a large 'red A'. Sticker: "Featuring Fools Gold". The intention was to put "What the World Is Waiting For" as the A side; however, when Roddy Mckenna, Silvertone's A&R man, heard "Fools Gold" he urged the band to use that as the A-side. The band were not completely convinced, and it was agreed, instead, to release the two tracks as a double A-side.

The story is the same for the 7inch releases, the band were against the idea of the 7inch edit but it became essential for the singles success in TV & Radio airplay.

The second pressings included a limited-edition colour print and the sticker read: "ORE T 13 Featuring Fools Gold 9.53 Includes special limited edition full colour print".

The third pressings came out with Fools Gold as the main title, some with a print but no sticker advertising the fact. All of these pressings had the matt textured finish to the sleeves.

09 December 1989 - Melody Maker Magazine, Ian Brown said: "The song 'Fools Gold' is about greed. 'Ave you seen 'Treasure Of The Sierra Madre' with Humphrey Bogart? Three geezers who are skint and they put their money together to get equipment to go looking for gold. Then all betray each other. They all end up dead, don't they? That's what the song is about. It's dead right man. But that song is history for us now."

In an Q Magazine interview Ian Brown said: In 1989, 

When (The Stone Roses) were headlining Blackpool, we were on £60 a week. It was only when Fools Gold came out (later that year) that we took £100 a week. We didn't want any more than that, because we wanted to stay hungry and real. With us, it was about music, not cash.

16 November 1989 - Mani's 27th birthday

18 November 1989 - The Stone Roses feature on the cover of NME Magazine

18 November 1989 Saturday - The Alexandra Palace, Wood Green, London, N22 4AY * The Stone Roses At The Palace * Doors Open: 19:00 * Price: £8.50 (Advance) * Support Act(s): DJ Dave Haslam, DJ Paul Oakenfold

She Bangs The Drums / Standing Here / Where Angels Play / Shoot You Down / Elephant Stone / Waterfall / (Song For My) Sugar Spun Sister / Made Of Stone / Going Down / Sally Cinnamon / I Wanna Be Adored / I Am The Resurrection / Fool's Gold

The band suffered several sound issues on stage. John's guitar does not come in until 2 minutes into She Bangs The Drums. 

Sold Out Show, 7000 capacity venue.

Debut performance of Fools Gold. 

In response to the crowd chanting 'Manchester, la la la', Ian can be heard saying 'It's not where you're from, it's where you're at'.

Ticket Touts outside demanded £25 a ticket at 20:30.

Paul Buck (The Mighty Lemon Drops agent), Clint Mansell (Pop Will Eat Itself vocalist) were both at the show and chatted with the band backstage. The after show party was at an old recording studio on Holloway Road, London. Cressa was Djing, Mani was there and over a 100 people attended the party.

Steve Lock from Granada TV Filmed the entire show but only used highlights for media reports.

From Simon Spence's Book 'War & Peace': 

Steve Lock, the Granada producer planned on filming the entire concert and on using the footage in a documentary he was making on the ‘Manchester scene’ for Granada TV [Celebration: Madchester – Sound of The North – released May 1990]. “We ended up negotiating with Gareth to film the band and he was demanding £70,000 as a fee,” said Lock. “In those days that was an enormous amount of money and actually most bands would have been happy to be filmed just for the exposure. The negotiations went on for months and months. Gareth had this funny little space in this serviced office complex in Knutsford, with a couple of secretaries and mailboxes; it wasn’t a proper office. I wasn’t even sure it was his office. Gareth continually wanted to up the money. But we came to some kind of agreement that we would film at the Alexandra Palace gig and we went down and filmed two or three tracks; that was the agreement. My over-riding memory of the gig was meeting Gareth afterwards where he had literally bin-liners full of cash that he was putting into the boot of his car from the merchandise he’d sold. Gareth just wanted cash. That’s what he was obsessed with; getting more money, more money.

“The Alexandra Palace footage should have been in the Madchester film but wasn’t,” added Lock. “We never ever reached full agreement with Gareth.”

December 1989 - NME Magazine, Issue: 

Turning to Ally Pally. Wasn't there a feeling that whatever happened it had to be an anti- climax?
John: Why? Was there that much press before the event? Was there much beyond thenormal news items?"

Reni: "Yeah, the funny thing was it was labelled as a hype after the event.

Mani: "It was crap. lt was a disaster. "

Ian: "It wasn't, It was under par. We were struggling all night against the sound as everyone knows. There where a lot of nothing moments but there were a lot of good moments to!"
Such as? 

John: "The opening Chord change in 'I Wanna Be Adored'. you see, at least we had a go. We could have played three nights there but we didn't. We did one night...''

Ian: "The promoter said, I've never met people like this, you could sell this place out three nights and make a load of money. But I just couldn't do that. I couldn't say to people come and see me tonight then come and see me tomorrow night and see what different clothes I've got on'." ...

1998 - Record Collector, December 1997 - Hotel, Park Lane, John Reed Interview/article: RC: After Blackpool, you sold out Alexandra Palace, which is a cavernous place at the best of times… 

IB: We made the mistake of using our mate as the sound engineer. He’d done the tour but the place was too big for him. We should have got a professional guy but we stuck with our mate. But the atmosphere was great.

From February 1998 - Uncut magazine Ian Brown interview: As the band became bigger, you forsook tours in favour of huge, one-off events like the “days out” of Blackpool and Alexandra Palace. Why? Ally Pally wasn’t what it should have been. We used a friend who was a sound engineer, but he’d never done anything anywhere near that massive. The sound was poor. After the show, me and John left in a car and didn’t say for two hours.''

Ian Brown Interview from Uncut Magazine, June 2006, Issue 109: You made no money from Spike Island or Alexandra Palace either? “When we did Alexandra Palace in ’89, they said we could have three nights. We said no, we just wanted to hit it and pull out. We could have made 150 grand a night, but that didn’t matter, because our faith at that time was, we were going to make 10 LPs and end up with more than we knew what to do with anyway. 

19 November 1989 Sunday - Interview

Semi-Official Release: What A Trip - The Interview

Ian Brown. Semi-official release which made it to the shelves of HMV and other record stores, despite the record not being authorised by Silvertone or the band.

1990 Semi-Official Release: What A Trip (Red Coloured Vinyl)
1990 Semi-Official Release: What A Trip (Orange Coloured)
1990 Semi-Official Release: What A Trip (Green Coloured Vinyl)

"It's a long interview with Ian, which talks about the general 1989 scene rather than specifically the Roses, recorded the day after Alexandra Palace.

21 November 1989 - The Late Show, BBC TV Studios, BBC2 TV, London

Made Of Stone (attempt)

Live on The Late Show Television programme. The 'limiter switch' on the desk peaked and shut down 45 seconds into the performance. Ian Brown can be heard taunting the engineers 'Amateurs...Amateurs' while the shows presenter, Tracey Mac Leod, attempted to carry on the show. The band did not get a second chance to perform. The sound was cut as the band had peaked the required volume for the BBC recording standards. The system shut down automatically due to health and safety reasons, the volume was too loud. The band turned down during the soundcheck but then turned up during the performance. “We're wasting our time here lads...can’t get things sorted out on this programme"

February 1995 - Select Magazine, The amateur Late Show presenter, Tracey MacLeod said: "I had the producer saying in my earpiece I had to go and introduce the next item and Ian was behind me shouting: 'Amateurs, amateurs!' The producer just said: 'Ignore him, ignore him', like Ian was some kid showing his bottom out of a passing bus. I knew you couldn't just ignore him so I ended, in some kind of stupid way, saying: 'It'll be alright, we'll sort it out in a minute.' It wasn't sorted out; the band didn't play again. Another moment of Stone Roses rock'n'roll history.

22 November 1989 - The band stay at the YMCA, London.

23 November 1989 - Top Of The Pops, BBC TV Studios, London - Fools Gold probably recorded on the 23rd November but broadcast on the 28th.

The Roses and the Mondays together on Top Of The Pops. The Roses with Fools Gold which was at number 13 in the charts and the Mondays with Hallelujah, the lead track from their new EP, Madchester (produced by Martin Hannett, who produced the roses debut single and unreleased Garage Flower album).

Backstage at The Stone Roses debut Top Of The Pops appearance in 1989, the band were (according to Mani) “beating on the Fine Young Cannibals’ door and trying to get them E’d up”.

Shaun and Ian Brown met outside the BBC building for a smoke, Shaun joked that the band should swap instruments for their performances but The Stone Roses laughed it off.

24 November 1989 - John Squire's 27th birthday.

December 1989 - Garage Flowers Japanese Fanzine Vol. 2

Written in Japanese and English, this issue included the iteninary for the Japan Tour '89, the promotion itinarnary, history and more. Spread out over approx 44 black and white pages.

02 December 1989 - The Stone Roses feature on the cover of NME Magazine

09 December 1989 - The Stone Roses (Ian Brown) feature on the cover of Melody Maker

09 December 1989 - Sally Cinnamon Re-release U.K. Date

Apparently the re-release was authorised by the band but the promo video was not. Some sources say neither video or re-issue were authorised.

From Simon Spence's Book 'War & Peace': 

A catastrophe. It was a put together by FM Revolver to promote the re-release of the 1987 single the Roses had recorded for the label. Slung together, without the band’s involvement, from a couple of days filming around ‘Madchester’ shrines such as Afflecks Palace, the band Roses reacted aggressively to its release.'

The original sleeve was slightly revised for the re-releases. The most obvious change was an additional barcode & instead of England the sleeve stated 'Made In W Germany'.

1989 - Zomba Records take FM Revolver Records to court over the 'Sally Cinnamon' promo video.
FM Revolver won the case. They had the rights to the song and the band did not want to appear in the video, so the promo was shot without them.

From February 1990 - NME Magazine: Paul Birch said

 “We had a meeting with their manager two weeks ago and gave them another advance on the money from the single,” “But they declined to be in the video. “It’s very difficult to make a good video without a theatrical performance from the group, but we made a good job of it at a reasonable cost.”

From Melody Maker Magazine, 10 February 1990: 

''Paul Birch is claiming, however, that manager Gareth Evans had already approved both single and video and had even taken on upfront royalty.''

From August 1990 - Select Magzine: 

"It had shots of a black woman with a black baby and the word 'world' going over it," explains Brown. "It had cuts of Manchester and it had cuts of the front cover of The Face and people reading it on Piccadilly Station. It was insulting. Not only to us, but to anyone watching it. "We went round to see him and told him we weren't happy with it and said, Scrap it, and he said, No....

From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver

The video ended up going on The Chart Show on Saturday morning, which was a big programme, and the single started selling again … scraped the Top 40. That was the bit the band took offence to, the fact that we were taking advantage of their success. Their take was probably we’d never put anything behind it before and suddenly we were trying to cash in and that’s when Silvertone used the copyright argument - trying to stop us using the video because contractually you can’t make a video without the permission of the publishers… and that was our first court case. We were trying to defend the fact we could make a video; we didn’t have access to the band and that’s why the band wasn’t in it. There was no reason why, as we had invested some money in it initially - into trying to release this thing and not made any money back - why we shouldn’t take this opportunity. We won the case … we did still have the right to the track and the video. Zomba were the ones taking us to court.

December 1989 - Ian and John visit the Shetland Isles

Unconfirmed recording sessions.

Taken from Rage magazine, issue 10 - 27 February 1991 Mike Noon wrote: 'But rumours have been rife around Manchester. One Journalist told me she'd heard the band had spent Christmas in a recording studio on the Shetland isles trying to get new material together, but had returned empty handed. A radio deejay maintained they were currently rehearsing in Wales with plans to record a second LP in the autumn.'

From February 1998 - Uncut magazine Ian Brown interview: We used to go off on writing trips to Scotland, but suddenly he’s going on his own. He cut himself off.

From 03 November 2002 - Sunday Express Newspaper John Squire Interview: Then the Brown-Squire writing partnership dried up, even before their friendship did. "We kept going away together to try and write, but very little would happen," Squire recalls. "In the Lake District we hired a motor launch and stole it for the week - we were there as a taxi into town. Then we went to a remote Scottish island with our air pistols and sat in armchairs blasting ornaments all day." Squire laughs with great affection, but he maintains that the friendship became untenable. "It was like he was on some kind of acid trip. It looked and sounded like him, but I didn't recognise the man I used to love. It was heart-breaking."

1989 - John & Ian go to the Lake District and Scotland to write new material together. The trip would inspire John to buy, and live in, property in the remote lakes.

December 1989 - Metropolis, John Squire's Porta-studio, London Something’s Burning / One Love (Anytime You Want Me)

Anytime You Want Me was the working title of One Love. It was mentioned back in August 1989. From August 1989 - 'Northern Soul' 12 August 1989 Interview, conducted at The Charlton Hotel, Room 111, Blackpool (an hour before the band are due on stage) : We'll have a new single out as soon as we can, September maybe, called 'Anytime You Want Me'." It's one of four tracks that he and John are working on at the moment, discarding their backing of 40 unrecorded tunes for new material.

"My incentive at the moment is the sleeve for the next single and the four songs for it," says John. "I usually tend to take one element of the lyric and magnify it for the painting. This time it's dolphins because Ian sings 'I'm no dog I'm a dolphin/I just don't live in the sea'.

"We went to see a dolphin in Brighton," says Ian taking up the story. "It was really sad because it was in a tiny little pool. None of us said anything for about half-an-hour. We just stared at it. It kept going past and turning its head and smiling. It didn't jump up at anyone else though, did it? There were loads of people around the pool and it kept circling only jumping up whenever it saw us."

Something’s Burning has also been credited, unconfirmed, to September 1989 - Sawmills Studios, Cornwall. Both tracks feature on the 2009 The Stone Roses Legacy edition bonus Demos disc.

21 December 1989 - An application is made to Halton Borough Council to hold the Spike Island event.
"Application For Entertainment Licence To Halton Borough Council. Spike Island, Widnes, Cheshire. Notice is hereby given that I, Gareth Ian Bromley Evans have applied on the 21st December 1989 to the Halton Borough Council for an Entertainment Licen in respect of the above named premises, under..."

22 December 1989 - John Fruin sends Gareth Evans £40,000

"Herewith fax copies or letters to The Stone Rosea — the hard copies together vith the £40, OOO cheque are in the mail to Starcreen.

May I confirm that we will make a contribution towards the promotional costs incurred by you with your activities with the group, and I'm going to put this together when I meet with Steve Jenkins and Andrew immediately we return to the office in the New Year.

Regardless Of the fact that I shall sleep easier once I have all the signed documentation we have been discussing; I look forward with considerable excitement to a sensational 1990 working with The Stone Roses team. It is going to be a tremendous year. With every best wish and the compliments of the season to you. "

From Blood On The Turntable BBC TV Documentary, Gareth Evans said: The Christmas bonus was totally my idea. I said the band worked hard, it's Christmas we all need money. They agreed to pay £10,000 each, 40,000. I admit I kept some money back from the Christmas advance but the Christmas advance was my idea. It would have never have been there, it wasn't on the contract. It wasn't for me, I didn't spend it, it was for the court case...

From Blood On The Turntable BBC TV Documentary, 

Mani said: What a f*cking c*nt. The guys got a neck like that then fair play to him, he's got to live with himself, come the judgement day man he's got a lot of fucking questions to ask himself.

30 December 1989 - Sounds Magazine Interview

The band were  interviewed and photographed only a few days before the publication (21 December).

The magazine included the NME Magazine John Squire Artwork Competition, Readers had a chance to win a 'specially commissioned' painting by John Squire. The NME followed up the competition with photos and interview with the winner in the 17 March 1990 - NME Magazine.

26 December 1989 - Smash Hits Magazine Interview

27 December 1989 - John Peel Session, BBC Radio 1, London

The Stone Roses appear on John Peel's Festive 50. An annual review of the year by John Peel choosing and playing his 50 favourite tracks on the run up to Christmas. Made Of Stone was played this time.

By the end of 1989, The Stone Roses had become one of the most talked-about bands in the UK, their year marked by a mix of triumphs and setbacks. Their UK tour included gigs that ranged from tiny to massive—one small club show drew only 12 people, while the Blackpool Empress Ballroom in August packed 4,000 fans, a night that became legendary for its electric atmosphere. In November, they stormed London’s Alexandra Palace, performing to 7,000 fans and further cementing their reputation for unforgettable live shows.

Amid all this, the band released “Fools Gold” / “What the World Is Waiting For”, a track originally intended as a B-side, whose hypnotic groove perfectly captured the energy of the Madchester scene. Offstage, they faced a legal setback when The Stone Roses took FM Revolver to court to try to stop the video for the re-released “Sally Cinnamon”—a case they ultimately lost. Despite the setback, their music and live performances kept them at the forefront, ending 1989 as a band whose influence and allure seemed unstoppable.