1992 | The Stone Roses Archive

More lawyers than lyrics. Manager Evans gets the boot, takes them to court, wins, and promptly swans off to buy a golf course because nothing says “rock ’n’ roll” like eighteen holes in Cheshire. John Squire retreats into his own world, increasingly isolated from the rest of the band, and the grand musical output of the year amounts to a handful of demos knocking about like empty cans after a house party. Meanwhile, the rest of us are still waiting, thinking: any time this decade would be nice, lads.

1992 - Ian Brown buys a property in North Wales
A Farm house near the mountains, short drive from the beach and has a coal fire.

1992 - John Squire's daughter is born.
John and partner Helen Plaumer have their first child.

From 06 September 2002 - The Guardian Newspaper interview: As Squire tells it, the relationship fell apart during the second album. "When my daughter Janie came along, we had to go away to write, because we couldn't get enough time together on our own," he says. "We went to the Lakes, Scotland. But very little came from those trips. The partnership was drying up. "We were still great friends. Probably too friendly. Maybe if we'd have had a go at each other then it would have been sorted out." Instead, minor musical differences erupted into chasms. Brown wanted the band to go in a more groove-oriented direction in the vein of Fool's Gold.

1992 - Clapton’s Rehearsal Room, Tintwhistle, near Glossop
Daybreak (Demo)

From June 1997 - The Guitar Magazine: ‘Some things were very live though. Daybreak was a demo, recorded in this little rehearsal room at a nightclub called Clapton’s in Tintwhistle near Glossop. It started off as an instrumental jam, and Ian put lyrics to back at Rockfield. That’s me improvising. You’d like more of that? Well, that was the sort of thing that me, Reni and Mani would play all the time.

From October 1997 - Melody Maker Magazine: Ian Brown: “We used to play a lot together, from 10 in the morning till seven at night, for three or four years. Then, for some reason, John didn’t want to play with Reni. “We started the album in ’92 playing to loops. Reni would be, ‘What am I here for?’, and that was the start of it. In one year, out of 300 days in the studio, we had a meal together four times.”

03 January 1998 - NME Magazine: Ian Brown: “Around ’93 I wanted to finish it. It was about ‘91/’92 that John didn’t want to work with Reni no more. We’d done ‘Fools Gold’ and we’d done it to a loop and Reni had played over the top, same with ‘One Love’. So John had no belief in Reni’s ability, at the same time as everyone’s saying and knowing that this kid’s the best drummer in the world. But my man, he didn’t want to work with him now. So I’m saying we always wanted to be the JB Allstars, we always wanted to be the best players – how are we gonna be the best players if we’re not playing together? But how are we ever gonna do this if you don’t wanna work with this kid? So we’re starting the album sessions and Reni’s like ‘Why am I here? You don’t need a drummer…’ As we walk into the session for the ‘Second Coming’, John turns to me as Mani’s putting his key in the door and says, ‘I’m not working with him again’, meaning Mani. Now I understand he had me in the same boat, but at the time I didn’t."

1992 - John Leckie Sessions, Unconfirmed Location
Love Spreads

From P.D. McCauley Interview with Simon Dawson on Love Spreads: “They did this in pre-production with John Leckie, and when it came to Rockfield it was completely different -- quite thin-sounding. '' *according to 'The Cherub Album' bootleg notes. Leaked Mid 2003 again from a Mani tape but some fans have mentioned the tape was sourced from Cressa?

From February 1998 - Uncut magazine Ian Brown interview: By this time, John was writing heavily Led Zeppelin-influenced material, and yet both you and Mani were quoted recently as saying you “never liked Led Zeppelin”. How did they become the primary influence?

“We’re in the studio, and for me those three [Squire, Mounfield and Wren] are the best players to come out of England. But they’re sat around watching Led Zeppelin videos and going, ‘Wow, look at that’. And I’m watching them watching Led Zeppelin and thinking ‘You’re all over these guys. They’ve not got that funk, they’ve not got what we’ve got. I thought, ‘Don’t they realise where we are in history, who loves us? We were better and bigger than Led Zeppelin. We weren’t trying to be them old blues guys.” Was it a case of loss of self-confidence, caused by being cocooned in the studio, each day getting further away from the Roses “phenomenon” and your adoring public? “Yeah. It’s simple for me. John Squire did not know who he was. He did not know who the Roses were. Looking back, he never realised the love people had for us.”

February 1992 - The John Leckie Second Coming Sessions, The Rolling Stones' mobile studio, Old Brewery, Ewloe (near Buckley), North Wales

Breaking Into Heaven / Love Spreads / Driving South / Ten Storey Love Song (Attempt)

John Leckie checks in with the band during rehearsals for the second coming tracks. The mobile studio unit is hired for six weeks. Some progress has been made since the inital sessions for Geffen records, but not enough for a summer release as originally scheduled.

The Old Brewery Recording Studios includes a rehearsal studio with 12 bedrooms. Apparently Mani scratched an unprintable graffito concerning Bill Wyman on the unit.

Sessions tend to start at 16:00 or 17:00 and sometimes even later. The band apparently brought six songs to the sessions (including Driving South, Breaking Into Heaven, Tightrope, How Do You Sleep?, Love Spreads) but only three or four were tight enough to be recorded.

Ian keeps himself teetotal during the sessions and continues his keep fit life style, including boxing. John restricts himself to only a few glasses of wine too during the sessions.

From 2001 I Am Without Shoes Exclusive Mani Interview: IAWS: Did Ian have tunes written for Second Coming and did John request priority for his work, or was Squire simply the only writer producing new material at that time?

Mani: Well, John was being the prolific one, coming out with some great songs, so we let him get on with it. I think that is when it started coming unravelled though, Ian resented it when John cut him out of songwriting and worked on his own, and their relationship deteriorated from there. It’s sad in a way, but you move on, you have to, and everyone’s friends change over time. You just move on and better yourself again!

From Autumn 2001 - Mojo Collections Magazine Number 4 'David Bowie' - War Of The Roses article by John Harris... Finally, in March, John Leckie found himself in close proximity to The Stone Roses and a recording desk. The group had wanted to step outside the usual studio circuit and in keeping with their wishes, he hired The Rolling Stones’ mobile studio (in which Mani quickly scratched an unprintable graffito concerning Bill Wyman) and moved it into the Old Brewery, a 12-bedroom house near Buckley, north Wales. Horseplay quickly entered the frame. “It was an egg frenzy,” smirks Mani. “We’d wait for John Leckie to lock the mobile studio up and walk across this courtyard, then we used to just egg him to fuck. I remember the ” food was shit, as well. Anything you didn’t eat the night before came back at you the next day with a layer of mash and melted cheese on it. We were fucking emaciated. Whose idea was it to go? Not mine. I fuckin’ hate Wales.”

From November 2001 - I Am Without Shoes (thestoneroses.net) John Leckie Interview: IAWS:

When were you first introduced to Ten Storey Love Song?

JL: John did a demo (which he sang) and brought it to the first session at Ewloe. All the lyrics and guitar parts were there.

IAWS: Were there any unreleased songs, alternate takes, studio demos that have yet to see the light of day? I find it very difficult to believe that each track was completed to your satisfaction first time.

JL: There were no unreleased songs. There were a few unfinished alternate takes and breakdowns...... and also a few demos.

20 February 1992 - Ian Brown's 29th birthday

30 March 1992 - I Am The Resurrection U.K. Release Date

Format: 7inch Vinyl. Catalog Number: ORE 40
Format: Cassette. Catalog Number: ORE 40C
I Am The Resurrection (Pan and Scan Radio Version)
I Am The Resurrection (Highly Resurrected Dub)

Format: 12inch Vinyl. White label promo.
Format: 12inch Vinyl. Catalog Number: ORE T 40
Matrix A-Side: DAMONT. ORE T 40 A1
Matrix B-Side: DAMONT. ORE T 40 B1
I Am The Resurrection (Extended 16:9 Ratio Club Mix) *
I Am The Resurrection
Fools Gold (Bottom Won Mix!) (aka A Guy Called Gerald Remix)

Format: CD. ORECD40 ' 1:2 MASTERED BY NIMBUS IFPI 2308 (*IFPI number is so small it is barely visible, underneath the Mastered By Nimbus) Catalog Number: ORE CD 40. Barcode: 5013705903525. Manufactured In Europe (On disc and in sleeve)
I Am The Resurrection (Pan and Scan Radio Version) *
I Am The Resurrection (5:3 Stoned Out Club Mix) *
I Am The Resurrection
Fools Gold (Bottom Won Mix!) (aka A Guy Called Gerald Remix)

I Am The Resurrection (Highly Resurrected Dub) & I Am The Resurrection (Extended 16:9 Ratio Club Mix) have never been released on CD format.

Apparently there was promo video produced using the Pan and Scan Radio Version and editing more previously used footage from the Lanzarote shoot (see the videos for Fools Gold and I Wanna Be Adored).

Simon Harris Said "I knew I was out of my depth with a brilliant track so I decided just to bring the drums out a bit and make them a bit drier . . . . . I really didn't want to mess with it too much"

From Promo Advert ''All Formats Released March 30th - Deleted April 13th. Featuring Brand New Remixes By Simon Harris. 12" & CD Contain Previously Unavailable Remix Of Fools Gold By A Guy Called Gerald. 12" Includes Free Full Colour Print. ''

Peaked At Number 33 In The U.K. Charts. I Am The Resurrection (Highly Resurrected Dub) is still unique to the Cassette & 7inch releases only.

April 1992 - The John Leckie Second Coming Sessions,

The Rolling Stones' mobile studio, Old Brewery, Ewloe (near Buckley), North Wales - Ten Storey Love Song

April 1995 - The Guitar Mag Magazine.
The band have at least ten songs (including Driving South, Breaking Into Heaven, Tightrope, How Do You Sleep?, Love Spreads, Tears, Good Times and Daybreak) but only four or five were reay for recording. The band had only worked on Ten Storey Love Song since the last mobile unit session.

John Leckie tells the band to go and do some demos on their own, as studio fees are getting exorbitant. The band ignore his advice and make a booking at Square One Studios in Bury.

From April 1995 - The Guitar Mag Feature: John Leckie said: "We'd had two sessions with the Stones' mobile and in the first four weeks we did three tracks and in the second six week session we did just one, Ten Storey Love Song. They just didn't have any life in them. I told them there's no point in hiring an expensive studio and coming out with demos so I said "Go away, sort yourselves out and we'll try again." They were spending a grand a day and producing nothing! I was under contract to keep the album within budget although I was never told what that budget was. If it had gone over budget I was liable personally for the costs. In the end it just got too much. There comes a point where you have to devote some time to your own life, other albums and projects."

From March 1995 - Q Magazine, Who the hell do The Stone Roses think they are? by Adrian Deevoy: Ian Brown said:

"In April '92 we spent a month with John Leckie producing and then we never returned again until July '93. We started again then and finished in September '94 and had a few months off in-between. We never even thought about doing the LP during 1990, 1991. Or 1992."

From February 1998 - Uncut magazine Ian Brown interview: Was John changing as a person? “Definitely. He became more insular. There was only me could get in his front door. Simple. Reni’s knocking on his door and John’s hiding behind a chair. Then once he’s cut me off – around 1992 – that’s it. We used to go off on writing trips to Scotland, but suddenly he’s going on his own. He cut himself off. I carried on writing my own things but he refused to work on anyone else’s stuff. I went along with it ‘cos I thought it was temporary.

Enter John Leckie, The Roses spent ten more weeks recording, this time using the Rolling Stones mobile, which they parked outside Ian Brown's place in the Welsh hills. The results of these sessions were early versions of Daybreak, Tightrope, Tears and Ten Storey Love Song. The Roses themselves, according to Ian Brown, were thrilled with the results. As their tenure at Rockfield commenced, they told Leckie that this was the kind of sound they were after for the rest of the album. "He didn't even comment," reflects Ian Brown in hindsight. "But when it came time for the proper recording Leckie said he didn't think we had the songs. We'd given him three of the best tracks on the album! I thought Daybreak was fantastic as it was."...

From Autumn 2001 Mojo Collections Number 04:

The first stint at the Old Brewery lasted six weeks; on reflection, Leckie was happy with the progress they’d made. “And then,” he says, “the same thing would happen: lan would phone me up and say, ‘We’ve booked the studio for two weeks’, and then phone up on the Friday and say, ‘We can’t do it’. We eventually went back to the Old Brewery for a month, and not much happened.

Everybody was having other attempts at things. It was a bit half-hearted at that stage. lan was getting fit, skipping non-stop. A lot of dope got smoked. “After those four weeks it was OK, but they knew they were beginning to drift, stagnate. I said, ‘Why don’t you do what most bands do and play a gig? Rehearse up a set and go and play a 30-minute show somewhere’. Mani was up for it, Reni was up for it, I think you could have talked John into it, but lan didn’t want to do it. They could easily have done it. Even if we’d done it in the studio and got some mates in, at least it would have been something to work towards.”

10 April 1992 - Reni's 28th birthday

May 1992 - Silvertone drop their appeal against The Stone Roses.

From NME Magazine 16 May 1992: ''THE STONE ROSES. currently working on tracks for their long awaited second LP. have won their two-year legal battle with Silvertone. The label has dropped its High Court appeal against last years ruling which freed the Roses from their ‘oppressive’ record contract, consequently allowing them to sign to Geffen for £4 million. John Kennedy who represented the band in court last year, told NME: ‘Were delighted that it's over at long last.‘ Silvertone. meanwhile, are set to release an album of B-sides and out-takes this summer after digging deep into the vaults for tracks record during their 1989 LP sessions...''

18 May 1992 - Fools Gold U.K. Re-Release Date

Re-release charted at number 73. From Original Promo Advert ''Available Again May 18th MC - 12" - CD1 - CD2 Fools Gold - What The World Is Waiting For CD 2 contains previously unreleased mixes of Fools Gold in original packaging'', despite Fools Gold 'The Bottom Won Mix!' A Guy Called Gerald mix appearing on the 30 March 1991 I Am The Resurrection release.

All the sleeves had Fools Gold as the main title on the front cover.

Regarding The Top Won Mix! and The Bottom Won Mix!, a version found on a 12" bootleg (A Guy Called Gerald Remix can be found on the Stoned In Walsall CD) is different from either of the two mixes here and remains officially unreleased (allegedly neither Ian Brown nor John Squire liked this mix to be released).

Gerald undertook a number of different remixes of 'Fools Gold' (about 6), from which The Stone Roses then (allegedly) chose the ones they liked. However, whether they liked either of these two mixes remains a mystery, as this release was a low-key affair and the Roses had, long since, left Silvertone, so they would not have had any input into the release.

In 2000, the release of 'The Remixes' album finally saw the reissue of the 'The Top Won Mix!' in edited form.

1992 - Labatt's 500 - The Taste Of The Nation is Released

"Labatt's 500 - The Taste Of The Nation" was a promotional campaign by Labatt's brewery in the early 1990s, associated with a book and compilation CDs featuring popular music tracks, often rock and pop from the era, celebrating British music favorites based on public surveys and local radio polls, with CDs featuring artists like The Stone Roses and Wet Wet Wet. It wasn't just one product, but a multi-media event tying the popular beer brand to national music tastes.

This includes a unique mix of Fools Gold. It sounds like an early monitor mix. This has less overdubs, no drum click intro and is missing a verse too. The CD credits the song as normal 'Fools Gold (12" Version) 1989 Silvertone Records Ltd. (Squire/Brown) Zomba Music Publishers Ltd. Producer and Mixed By – John Leckie'. ''Labatt's, Canada's favourite lager is in a unique position to be able to bring you this superb Cd featuring great tracks from the last three decades.''

21 May 1992 - Singles Collection Japanese Release Date
Label: Silvertone
Artwork: '' John Squire
Limited Edition 7 CD Boxset (Limited to 8000)

So Young
Elephant Stone
Made Of Stone
She Bangs The Drums
Fools Gold
Waterfall
I Am The Resurrection

7 CD set. ALCB-539-545, Y7,800 Yen. Packaged in irregular jewel cases with just the front sleeve for each single.

June 1992 - Singles Collection
Label: Silvertone
Artwork: '' ? John Squire
Limited Edition Vinyl Boxset (Limited to 5000, 8 x 12inch Singles with 2 x LP Gatefold LP. SRBX2)

Elephant Stone
Made Of Stone
She Bangs The Drums
Fools Gold
One Love
I Wanna Be Adored
Waterfall
I Am The Resurrection
The Stone Roses - Gatefold Double LP

The vinyl boxset includes I Am The Resurrection as ORE T 40 with a colour print.

June 1992 - Compact Disc Singles Collection
Label: Silvertone
Artwork: '' ? John Squire.
CD Boxset, SRBX1 Maunfactured In Europe, Barcode: 5013705903427.

So Young - Format: CD. ORE CD 37 1:1 Mastered By Nimbus. Catalog Number: ORE CD 37 Barcode: 5013705903427
So Young
Tell Me

Elephant Stone - see 19 February 1990 (CD. ORECD-1 21 A2 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 1. Barcode: 5013705900129. Maunfactured In Austria (In sleeve and on disc face))

Made Of Stone - see 05 March 1990 (CD. ORECD-2 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 2. Barcode: 5013705900228. Maunfactured In Austria (On disc face))

She Bangs The Drums - see 17 July 1989 (CD. ORECD-6 11 A3 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 6. Barcode: 5013705116025. Maunfactured In Europe (On disc face))

Fools Gold - see 13 November 1989 (CD. ORECD-13 23 A2 DADC AUSTRIA Catalog Number: ORE CD 13. Barcode: 5013705123320. Made In Austria (On disc face))

One Love - see 02 July 1990 (CD. ORECD-17 13 A6 MASTERED BY DADC AUSTRIA Catalog Number: ORE CD 17. Barcode: 5013705900723. Made In Austria by DADC-Austria (On disc face) Maunfactured In Europe (In sleeve).)

I Wanna Be Adored - see 02 September 1991 (CD. ORECD 31 ' 1:3 MASTERED BY NIMBUS Catalog Number: ORE CD 31. Barcode: 5013705902826. Maunfactured In EEC (On disc face and in sleeve))

Waterfall - see 1992 (CD. ORECD 34 ' 2:1 MASTERED BY NIMBUS Catalog Number: ORE CD 35. Barcode: 5013705903328. Maunfactured In Europe (In sleeve))

8 CD Boxset. So Young was only available with the exclusive Compact Disc Singles Collection, with a new, uncredited, sleeve design.

The Stone Roses - June 1992 - Turns Into Stone U.K. Release Date

All songs written by John Squire & Ian Brown.
Label: Silvertone
Artwork: Photography by Ian T. Tilton, F. Lewis & J. Pender.
Format: Vinyl. Catalog Number:
Matrix A-Side: DFI 926 ORE LP 521 A1 ORE LP 521 A1
Matrix B-Side: DFI 926 ORE LP 521 B1 ORE LP 521 B1
Format: Cassette. Catalog Number: ORE
Format: CD. Catalog Number: ORE
Formay: CD. 1992 - BVCQ-104 Made In Japan. The Japanese lyric booklet indicates Something's Burning as an 'Instrumental'.

Elephant Stone (12inch Version)
The Hardest Thing In The World
Going Down
Mersey Paradise
Standing Here
Where Angels Play
Simone
Fool's Gold 9:53
What The World Is Waiting For
One Love (12inch Version)
Something's Burning (12inch Version)

11 track Silvertone compilation of B-Sides & Non LP Singles. The original vinyl pressings play up until the 'run off groove'. Both Simone & Something's Burning end abruptly due to the pressing's run out groove.

From 02 July 2007 Monday - The Guardian article, John Squire said: We didn't want to be defined by the Manchester music scene of the time as just another indie band, and I saw the energy within abstract expressionism reflected in the music, and vice-versa. It was a form of synaesthesia, of converging senses and creative languages. What I didn't expect at the time was just how important the artwork would become to the band and those who followed the music. But throughout the Stone Roses era and the years that followed, my art was forced to take a back seat.

The Stone Roses - June 1992 - Standing Here U.S.A. Promo

Standing Here
Elephant Stone (12inch Version)

Promo CD released to promote Turns Into Stone in America. Includes unique custom artwork.

13 June 1992 - Gareth Evans starts court proceedings...

For compensation for his dismissal earlier this year.
Gareth Evans started 'Breach of management contract' proceedings with lawyer Geoff Howard in May 1992.
The Silvertone case had changed their relationship with management. The Stone Roses legal team (John Kennedy) backed down, Gareth had substantial evidence including the 1986 agreement and the thank you letters from Geffen. The band lost the case in court. Gareth was offered an out of court settlement and a week later he was sent a letter from the band confirming officially he was no longer the bands manager.

Gareth bought a 27 hole golf course.

From Blood On The Turntable BBC TV Documentary, Gareth Evans said: In retrospect I should have been more open with the band on the legal side.

From Blood On The Turntable BBC TV Documentary, Andy Couzens said: The Stone Roses would have happened without Gareth, they happened despite Gareth, they would probably still be together in one form or another and been a lot more successful...if Gareth hadn't got involved. He was chaos.

NME Magazine, 13 June 1992: War of the Roses Part 792 THE STONE ROSES’ former manager, Gareth Evans, is sueing the band for over a million pounds in compensation for his dismissal earlier this year. Cheshire-based Evans, who with partner Matthew Cummins launched the Roses from Manchester's two International clubs they owned in the late '80s, started proceedings a against his former charges in the High Court in London last month. “I am seeking at least a million pounds." says Evans, who negotiated the band their multi-million deal with US major Geffen Records. "The Stone Roses have a five album deal with Geffen and if they are successful it could net them anything up to £50 million. I simply want monies which are owed for the part I played in thrashing out the deal. Right from the start i was hustling and bustling every day for them. All the record companies turned them down until i got hold of them." John Kennedy, legal representative for the Roses. told NME: “Yes. Gareth Evans is suing the band, but as for the figure of £1 million, make of it what you will."

From 20 February 1993 - NME Magazine: '...the band, who sacked Gareth Evans at the end of 1990. Evans is sueing his former clients and expects his case to go to the high court in the next month.'

From Simon Spence War & Peace Unedited Interview with Dave Roberts - A&R at FM Revolver / Heavy Metal Records: Then, after Geffen signed, I had a call from Gareth at one point saying, I know there’s a lot of water under the bridge, but would you testify in court... it was something to do with the band breaking contracts and would I say they’d broken our original contract and they had this history of breaking contracts. It was when they dumped Gareth and he was trying to then say this band serially break contracts.

They did it with FM Revolver, with Silvertone, with me… I said I’m not sure how much of a leg we had to stand on with that original contract and I just don’t want to get involved. I think I’d managed through the whole process to not be painted as one of the bad guys and I didn’t want to be involved in a situation where I had to take sides and I didn’t think Gareth was the best bedfellow.

From Blood On The Turntable BBC TV Documentary, Shaun Ryder said: What they had at the time, fucking hell my left leg could have fucking managed them and made them big.

1992 - Sally Cinnamon U.K. Re-Release U.K. Date

The third re-release. Featured the same versions as the 1989 re-release.

November 1992 - Turns Into Stone Japanese Release Date

16 November 1992 - Mani's 30th birthday

24 November 1992 - John Squire's 30th birthday

December 1992 - Ian Brown and the band are spotted on several occasions in Chorlton. Ian is spotted in his BMW parking outside a chip shop on Beech Road, Chorlton. The band are spotted drinking in The Beech and The Horse & Jockey pubs in Chorlton. Mani continues with his season ticket for Manchester United at Old Trafford, he also flies to away games. John, Ian and Mani celebrate the United's victory against City at Manto's, a bar on Whitworth Street in Manchester. Reni is a Manchester City supporter, he did not celebrate.