Talking About...The Stones Roses

For our last episode of the series we're looking in to one hell of a band, The Stone Roses.

They're one of the greatest bands to come out of the UK. Brash, confident and with the talent to back it up, Brown, Squire, Mani and Reni gave us music that changed lives and shaped the musical landscape of the time.

We’re diving in to their career which gave so much before discovering what caused it all to implode in the most spectacular way!

There’s chaos, drama, and lots of history, as we delve into the 80s and 90s music of Manchester, we talk C86, Gareth's love of The Smiths, Phil's weird obsession with sticker albums, why James supports Hibernian, Neighbours, local nightclubs, not just one but two quizzes and so much more.

And here's our final playlist of the series. 15 absolute bangers from The Stone Roses to get you in the groove.

Contact: kissthekerb@gmail.com

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Transcript

SPEAKER_02 0:00

If at any point you need to refer to laptops or notes and you're looking down, just try and go slightly offside to the mic so it's like reducing a few positives.

SPEAKER_00 0:09

I'll just knock mine out of the way, mate. That's how I run. If you don't like it, get someone else in, but I'll play by your rules.

SPEAKER_02 0:19

You make rules up as you go up.

SPEAKER_00 0:21

It's like a film, right? So that is it. What's that from? I don't play by your rules. White men can't jump? Probably. I don't play by your rules.

SPEAKER_02 0:39

Shall we do some formal introductions? Really? Formal?

SPEAKER_01 0:42

Yeah, why not? Okay.

SPEAKER_02 0:44

I've been listening to podcasts and apparently they introduced themselves.

SPEAKER_01 0:48

Okay.

SPEAKER_00 0:49

They sound hideous. Hi. I am Gareth. I am Phil.

SPEAKER_02 0:55

And I am James. And I'm Gareth.

SPEAKER_00 1:00

And we are pretty. Yeah, let's not do that again. Let's never do that again.

SPEAKER_02 1:23

Right, so we are doing the Stone Roses this evening.

SPEAKER_01 1:27

We are. That was your choice, James, wasn't it?

SPEAKER_02 1:29

That was my choice. Yes. Stone Roses. I'm gonna ask you, how do you both feel about the Stone Roses? Um, yeah, I like them.

SPEAKER_01 1:38

I feel they've got quite a big place in the the musical history of this country.

SPEAKER_02 1:45

And you feel? Um, yeah. So so did you get into them the first time around?

SPEAKER_00 1:50

Nah no. See, I as we know I never kind of that whole Brit Pop, I know they weren't really Brit Pop way before that, but but even then I wasn't I mean when Stone Moses the first album came out, I wasn't really into music then anyway. 89. Yeah, it was too I was too not really appreciating music then. But no, that whole Madchester scene which they kind of created apparently. I didn't really like that either. I didn't appreciate it then anyway. But I do appreciate their music. I I was just never a fan when they were relevant or even when I was a bit older.

SPEAKER_02 2:22

Yeah, I guess us being the age we are. Yeah, we kind of missed it all, didn't we? I suppose they weren't relevant when we were getting into that sort of music, right?

SPEAKER_00 2:29

Which kind yeah, which kind of I suppose, which we'll get into makes sense, doesn't it? They missed the boat really. I think they'd been and gone by the time I had.

SPEAKER_02 2:39

Yeah.

SPEAKER_01 2:39

And I can't even remember a time where I can say, yeah, I got into them.

SPEAKER_02 2:43

Yeah.

SPEAKER_01 2:44

I think just by osmosis.

SPEAKER_00 2:46

On the flip side of that though, does that work in their favour? Do they kind of come out as a bit legendary for that? I think they do. Definitely, similar to the Nirvana, only had three albums, short-lived, everyone loves them because of that, and we always what they'd done if they'd have carried on blah blah blah, they'd probably faded out and just become a band that did have a couple of good albums and not much. I I very much think that would definitely have been the case with the Stone Roses. Good jing. Yeah, I do. Because they've been around for quite a while.

SPEAKER_01 3:16

Before before the first album, yeah, 84, was it or something? Yeah. Yeah, because it was a long time, wasn't it? Before because they they did record an album that never got released. Garage Flower.

SPEAKER_02 3:29

Have you listened to it?

SPEAKER_01 3:30

Yeah.

SPEAKER_02 3:30

It's rough, isn't it?

SPEAKER_01 3:31

Yeah, compared to the debut, yeah. It's got some good songs on there. Production.

SPEAKER_02 3:39

No, but they were playing I Wanna Be Adored. Yes.

SPEAKER_01 3:42

I see.

SPEAKER_02 3:42

Back in 85, 80, yeah, really early.

SPEAKER_01 3:46

But it was kind of because it was produced by, wasn't it, mine? Hannett, Hanett? Joy Division. Oh right. So all part of the whole like factory scene that was going on. And you when you listen to it, you can hear his kind of production style that's very similar to kind of like the Joy Division song. Yeah. Well yeah, it never got released, they scrapped it, didn't they?

SPEAKER_02 4:04

Didn't come out until the 90s, mid-90s, right?

SPEAKER_01 4:07

Yeah, yeah.

SPEAKER_00 4:08

I do feel I do feel there's a bit of like a folklore legend about the Stone Roses. I think that's awesome. It's massive, it's it's it's like a greatest hits. I always see it as a great. I was never because I was never into Stone Roses, I never I never bought the album, so I don't know. So when I listen to it now, it's like I've just bought a Stone Roses Greatest Hits album.

SPEAKER_02 4:29

I mean, my first recollection really was the brush. Listening to I Am the Resurrection as the last song at the brush on a Saturday night.

SPEAKER_00 4:40

You weren't a big Stone Roses fan at first.

SPEAKER_02 4:43

It's not that I wasn't a fan, I was just unaware of them.

SPEAKER_00 4:45

Yeah. Obviously, up north in Manchester they were massive, I'm guessing. I suppose we didn't hear about that.

SPEAKER_02 4:51

I think they were massive everywhere after the first album. Although it didn't it took a while for people to warm to it. It didn't really do anything for the first five months. Okay. And then by the end of the year, it was kind of like everyone's favourite band were the Stone Roses. Yeah. They went through some shit to get to where they were they got to with that album. From what I hear, I don't think they were particularly liked in Manchester.

SPEAKER_01 5:14

No, yes, right. At the start.

SPEAKER_02 5:16

I think people like um Tony Wilson, Factory Records, and all that were like, get the fuck out. And then they got so fucked off with that that they actually decided to spray paint a lot of the like famous points in Manchester. And then from that, like Manchester hated them even more. Essentially, they were blacklisted.

SPEAKER_01 5:36

Yeah, they just spray painted stone roses over everything.

SPEAKER_02 5:39

Yeah. And I think one of their first gigs was it a HIV concert hosted by Pete Townsend at the Marquee Club in London.

SPEAKER_01 5:50

Oh, okay, yeah, yeah.

SPEAKER_02 5:51

So I think they basically sacked off Manchester and started playing in London.

SPEAKER_00 5:56

So I owe us Southerners a lot. And they had the cheats calling Madchester.

SPEAKER_02 6:01

Yeah, but Manchester, I mean, it doesn't just include them, and I don't think it started with them. I think some of the research I've been doing, it's sort of I mean it goes back to like Northern Soul. That's where it all starts, really. And then I think the modern, I mean, when I say modern, but like the 80s and 90s, Manchester scene kind of starts with the Sex Pistols.

SPEAKER_01 6:24

Oh yeah.

SPEAKER_02 6:25

Playing the Lesser Free Trade Hall in 1976 or something like that. And I think I've I've I've written this.

SPEAKER_01 6:35

I've been who is in attendance. There's someone there that you absolutely love. Is that yeah?

SPEAKER_02 6:42

Yeah, so Manchester Scene timeline. Uh so Sex Pistols played Lesser Free Trade Hall 1976, watched by Tony Wilson, Pete Hook and Bernard Sumner, Morrissey, Mark E.

SPEAKER_01 6:55

Smith, and come on, and shoved to the side. And come on, and red haired temptress.

SPEAKER_02 7:03

Mick Hucknell.

SPEAKER_01 7:04

Oh really? Yeah. He inspired Mick Hucknell.

SPEAKER_02 7:07

Yeah, he simply read a punk though, wasn't he? Early days, yeah. Yeah, I was quite surprised by that when I read that he'd um attended. But then obviously, all these guys, like you know, Marky Smith started to fall, Morrissey, along with Johnny Maher, started the Smiths, Peter Bernard Sumner then went on to form Joy Division. You've got Tony Wilson who then started up Hacienda and Factory Records. So from that one little gig, all these people started what became the Manchester scene, right?

SPEAKER_01 7:40

Yeah, I think Manchester always seems to have gone through these stages, isn't it? Yeah. You had like the Buzzcocks and then you had Joy Division, yeah, and she had like Stone Roses, and then you had Oasis. It just it kind of seems to go on and on. Yeah. Where are the charlatans from?

SPEAKER_02 7:56

They're all part of that same scene.

SPEAKER_00 7:57

I always find Charlatans and Stone and Stone Rose very similar.

SPEAKER_02 8:01

Yeah, so Manchester you'd think charlatans, Happy Mondays, Happy Mondays, Roses, Inspiral Carpets, Oasis or James, are they Manchester? Yeah, and uh AOA State apparently was part of that same scene. Oh right. But what I learned in this research is how early all these bands formed.

SPEAKER_01 8:23

Yeah.

SPEAKER_02 8:24

I think James formed in 82.

SPEAKER_01 8:26

James are early, yeah. Yeah.

SPEAKER_02 8:27

Like when you think of Stone Rose's first album, you think, oh, they've just come out. But actually they've had five or six years before that, right?

SPEAKER_01 8:34

Doing the clubs and that, yeah. Yeah.

SPEAKER_02 8:37

Smiths, yeah. It was really a melting pot of you know, you describe the Smiths as what, jangle pop, jangly pop? It was it's jangly, right?

SPEAKER_01 8:48

It's yeah, well, okay, yeah, fine.

SPEAKER_02 8:50

And that sort of stretches back to the Northern Soul kind of thing. You'd even put people have a wedding present in there, I think.

SPEAKER_00 8:56

I think the Stone Roses hours were quite jangly. Yeah. So you had Stone Roses, Smiths, obviously Stateside, you had a REM and then so I don't know if it was just a time.

SPEAKER_01 9:05

Yeah, I th I think it is definitely a time, but it's a you'd come out of punk and all kind of like the heavier sort of sound. Maybe it was kind of like a anti-punk movement.

SPEAKER_02 9:17

It was, but there's also like a post-punk as well, wasn't it? Television were a little bit not jangly as such, but like clean.

SPEAKER_01 9:24

Yeah, like Gang of Four or so, wasn't it?

SPEAKER_02 9:28

I think the certain ratio were Manchester as well.

SPEAKER_01 9:31

Yes, I think they yeah, they were Manchester, yeah.

SPEAKER_02 9:35

And I think that influenced other bands like Orange Juice and you know, stuff like that. So there was this theme running running through Man the Manchester scene of this kind of jangly pop indie kind of thing. But at the same time, you had obviously the club opening up Hacienda in 82, which was important, like American House, you know, the the likes of Frankie Knuckles and Marshall Jefferson. So there's a big melting pot of like indie dance all going on. The reason why I'm talking about this is because I think that the dance scene and the jangly pop scene sort of eventually collide to form this kind of indie dance Madchester kind of scene that's going on. I mean, if you look at a lot of Stone Roses records, they're constantly being remixed by AOA State and I think Paul Oakenfield was one of the DJs that was playing at the Spike Island gig.

SPEAKER_01 10:30

Oh really?

SPEAKER_02 10:31

Yeah, so there's a real crossover between dance and and indie at that time, you know. So much so you look at Happy Mondays, you know, Bez was that scene, right? His uh kind of energy then about a dancer as well, didn't they?

SPEAKER_01 10:46

Who was he? They had a dancer for a bit. They had Stone Roses, did they? Yeah, they did one of the TV shows. But yeah, they had a dancer for a bit. I didn't know that. There you go, Stephen Cresser. Steven Cresser. Yeah, what's he doing now? Confident Rhodie. I also worked as John Squire's guitar technician as well as been dancer on stage and hype man.

SPEAKER_02 11:07

Oh really, hype man.

SPEAKER_00 11:08

He just hyped, slaps around the face and then, come on.

SPEAKER_02 11:11

That's a fluffer, innit? Yeah. Now in my research, I realised Enemy doesn't have that sort of power anymore, but back in the 80s it did. Oh yeah, yeah. It released a mixtape called C86.

SPEAKER_01 11:25

Yes. There's a whole book about that.

SPEAKER_02 11:27

Yeah, like a free tape on the front cover of a magazine. And that was all indie music, which was the bands like Soup Dragons, Pastels, Wedding Present, you know.

SPEAKER_00 11:39

At the magazines when you got free tank or something.

SPEAKER_02 11:45

But apparently it was legendary. It's really shaped indie music for like 10 years, and most of those were the jangly pop indie bands that were around at the time. It's such an interesting period. Uh I think it was 86, wasn't it?

SPEAKER_00 12:02

Yeah. So around time Mexico 86 and sticker album, my first one.

SPEAKER_02 12:05

I had um Panini '86, like the football teams, and I always remember because I started supporting Everton in '86.

SPEAKER_00 12:14

Garolinica, yeah? I think it was, yeah. Yeah, one and only season.

SPEAKER_02 12:18

But then for some reason I needed to support a Scottish team as well. And I said to myself, the first Scottish team that I complete in Panini, I'll support.

SPEAKER_00 12:28

You were a weird child.

SPEAKER_02 12:30

I was.

SPEAKER_00 12:31

And who was it? Who was your first?

SPEAKER_02 12:32

Hibernian. Going back to the Stonebroasts who we're talking about, their first single absolutely crashed in '85.

SPEAKER_01 12:44

Yeah. So young tell me.

SPEAKER_02 12:45

I mean, it's it's noisy garage, yeah, early underdeveloped.

SPEAKER_01 12:50

Justified not making a hit. It's not terrible. I think you can see something in there. I don't know if it was like the early stuff was that well produced. No. I think it was kind of like trying to mimic a sound that was going on rather than trying to hone the sound that they wanted.

SPEAKER_02 13:07

Yeah.

SPEAKER_01 13:08

Because then they got Peter Hooking, didn't they, to produce one of the singles?

SPEAKER_02 13:11

Not Sally Cinnamon.

SPEAKER_01 13:13

Not Sally Cinnamon, no.

SPEAKER_02 13:14

I know he did Elephant Stone, didn't he? Elephant Stone, that's the one, yeah. Originally, nobody was willing to sign them. And then the manager of the time, Gareth Evans, pushed them towards a uh label called FM Revolver. Yeah, they're like a heavy metal label, which was a heavy metal label. And they're like, Yeah, yeah, we'll give them a go. And so they signed a deal and they released Sally Cinnamon on FM Revolver, right?

SPEAKER_01 13:39

Yeah.

SPEAKER_02 13:39

And watching watching this documentary on the whole legal battle with the contracts and stuff, uh Gareth Evans is interviewed quite a lot. I don't know, how would you describe him?

SPEAKER_01 13:51

He's a car salesman, isn't he?

SPEAKER_02 13:52

He feels like a car salesman, right?

SPEAKER_00 13:54

You know, like a deal boy, like he knows it all, um selling the dream kind of thing.

SPEAKER_02 13:59

Yeah, and apparently he would he start he started off his career as a hairdresser.

SPEAKER_01 14:06

That's it, yes. And Vidal Sassoon.

SPEAKER_02 14:08

And he ended up owning uh something like 11 hairdressing shops in the Manchester slash Bolton Burnley area. But then he decided he wanted to go into music management. And then he bought yeah, right, and he bought a club called the International.

SPEAKER_01 14:24

Yes, but I think he kind of thought it was gonna be like the Hacienda. He was like, I want to buy this. Yeah, do the Hacienda because of the kickback of Manchester with the Stone Roses, wasn't it? It was like, oh, I'm gonna buy this club and it'll be like the Hacienda.

SPEAKER_02 14:37

And apparently he realize he suddenly realised actually the money to be made was in band management, so he put an advert in a newspaper and nobody really picked up. And apparently, um the only ones to pick up were the Stone Roses.

SPEAKER_00 14:49

And uh was this the downfall from this the first mistake they made?

SPEAKER_01 14:54

Was it cousins? Was the other members like, no, don't sign it? Don't sign it. I was gonna say, because from from what I've read on it, the whole legal thing, it sounds like they made a lot of mistakes. Yeah, because he he the contract basically said he was gonna earn a third of all their earnings or something ridiculous.

SPEAKER_02 15:13

He was gonna earn a third of all pre-tax money.

SPEAKER_01 15:17

Yeah, because the cousins was like, no, don't sign it. He wasn't having any of it, and John Square and Ira were like no doing it, and then eventually they they instigated to get him kicked out, didn't they? Well, I think Evans instigated to get him kicked out, yeah.

SPEAKER_00 15:31

I don't know. From these stories and from interviews and I've seen, I think it's a bit of a mixture of both. I think I think they weren't very intelligent in who they were signing with. No, I know. And I think their attitude didn't help it either. No, it just made things worse. I think it's just it's all of that combined. I don't think they were ever going to be destined to be a band that went on for a long time.

SPEAKER_01 15:49

I feel like they just young kids got carried away and wanted to get somewhere and wanted to make it big, so just took whatever came along.

SPEAKER_00 15:55

And then you think about it, you said they started in what 84, 85, so this is a good four years before. So you think your time's gone probably. You think four years, it's not like they were just up, they'd started and straight away they've got things. Then maybe they might be, no hang on. This if we could have been caught on this early, maybe we've got other things to come. So if they've been around four years, maybe they're thinking we're never gonna get this opportunity. They've just taken the first thing they can. In hindsight, it's turned out to be wrong. But I I I don't know, I just get the impression no matter who they would have gone with, it it would have spiralled out of control regardless. I think they were just that kind of band.

SPEAKER_02 16:30

Yeah, maybe. What do you think of this type of music?

SPEAKER_00 16:33

I like it, but you know what? I just find it very samey. That's what I don't like about it. It's really weird because I like the songs and they're very they've got great harmonies, great guitar work, great the drums, and I like it all. Yeah, but it's just every song sounds very similar. Yeah, they could all be the same band in a way. It's weird, like it is weird, isn't it?

SPEAKER_01 16:54

I think bands by themselves can become a bit samey. I think across the whole scene there's quite a big difference, like with the Happy Mondays and a certain ratio and stuff like that.

SPEAKER_03 17:05

Yeah.

SPEAKER_01 17:05

So no, I mean I've never got that, I don't think. I think you know you're a Smiths fan, aren't you? Yeah. What is it about the Smiths that you enjoy? Uh misery. Is that it? Is that no? I just think they're they're such well crafted songs.

SPEAKER_02 17:22

Yeah.

SPEAKER_01 17:23

And I'm just a big fan of Johnny Maher and his guitar playing.

SPEAKER_02 17:27

Where do where does John Squire sit with you? Is he a bit one note?

SPEAKER_01 17:30

He's got his thing. Yeah, he's got his thing. He's good at it.

SPEAKER_02 17:34

He's good at it.

SPEAKER_01 17:35

Very good.

SPEAKER_00 17:35

Is he a bit showy offy though? Definitely on the second album. The guitar's pushed to the front, it's loud, and he's just doing his own thing. He's just going off there doing these little licks and riffs. And it's like, I don't know, it was a bit showy-offy, but yeah, he definitely liked to showcase his talent, right?

SPEAKER_02 17:56

Yeah. Especially on trucks like um Love Spreads.

SPEAKER_01 17:59

I think the only one on the first one was probably on the Resurrection when it goes into that bit and kind of you know showcases him a bit. Yeah, yeah.

SPEAKER_02 18:06

So yeah, in 1988, they signed a record contract with Jive Records.

SPEAKER_01 18:13

Right.

SPEAKER_02 18:13

Apparently, rough trade was sniffing around. Yeah. But Gareth Evans in his infinite wisdom thought that signing to Jive Records was the place to be. That was a place to be. Basically, Jive Records was the home to Billy Ocean, classic, Def Leopard, and some other drama.

SPEAKER_03 18:30

Yeah.

SPEAKER_02 18:31

But apparently, um they didn't have Stone Roses, so he thought that's where we need to be.

SPEAKER_01 18:36

Right, okay.

SPEAKER_02 18:37

And Jive Records were notorious for having really insane contracts. But Evans decided to get his property lawyer involved. That's right. Instead of instead of the music. And they changed barely nothing. And the deal basically tied the Stone Roses to Drive Records for life. For life? For life. And they signed it. And um they just started an an offshoot called Silver Tone. They put some of the Stone Roses music to Silver Tone where they said, Yeah, we'll take it on.

SPEAKER_00 19:18

Yeah. And do you know if they read any of the small print of anything like that?

SPEAKER_02 19:22

No. And so I think I think that that in part sort of plays a downfall for the band. Because I think with the release of that first album, I think they were at the top of their game. They were the best of the best in that genre.

SPEAKER_03 19:36

Yeah.

SPEAKER_02 19:36

And I think the world was their oyster. I think if they if there was any contractual differences, I think they would have gone on to be m absolutely massive.

SPEAKER_00 19:45

Maybe for a short period. Yeah. I I still think their characters in themselves would have spiralled regardless.

SPEAKER_02 19:52

Yeah, maybe.

SPEAKER_00 19:52

Regardless, if they could have had the best manager in the world, I still think they would have just imploded. Yeah, definitely.

SPEAKER_02 19:59

Yeah. But then if you're not allowed to make music, if you're not allowed to do your job for however many years, then that's quite destructive, right?

SPEAKER_01 20:09

Yeah, definitely, yeah.

SPEAKER_02 20:10

And that in itself is going to create disruption within the band itself, right? If you're not allowed to express yourself as you have been doing so well up until that point, then there is going to be friction between the band.

SPEAKER_01 20:22

It's going to be hard. Yeah. I mean, you say that it's the like they couldn't record music. There was nothing stopping them getting together and writing songs.

SPEAKER_02 20:30

That's true. But they got to the very true.

SPEAKER_01 20:32

They got to the point of doing the second album where they they literally wrote that in the studio.

SPEAKER_02 20:36

Yeah.

SPEAKER_01 20:37

So yeah, it probably caused tension the whole legal stuff. But if you're that tight a unit, you think you would have spent that time honing the stuff.

SPEAKER_00 20:46

You could have used that as a form of coping with it and getting over it. Yeah, let's or even like middle finger to them. Alright, let's go and just create some songs and it's like we could they can still get together and write songs.

SPEAKER_02 20:57

Yeah. We've got to discuss the Stone Roses, Stone Roses, right? Released in 8089 on the Silver Tone.

SPEAKER_00 21:12

On the Silver Tone.

SPEAKER_02 21:13

Um Arbor by Squire.

SPEAKER_00 21:14

Yeah, he had a thing for lemons as well, wasn't it? It was all to do with protests, wasn't it?

SPEAKER_02 21:19

French uh the Paris riots in 68. Apparently, um Ian Brown had met when he was touring or something like that. He'd met some French guy who was a part of riots, right? Who still carried around lemons because apparently lemons were good to tear gas on that? Relieve you from the tear gas. Yeah, yeah.

SPEAKER_00 21:39

Okay.

SPEAKER_02 21:40

And so if you look on the front cover of the album, it's got the French flag, red, white, and blue stripe. It's got lemons on it. It's also based on a piece by uh Jackson Pollock, which made reference to the 68 Riots. So it's kind of Pollock style, but with some garnishes. And bye-bye, Badman. Which is track five off the album is written about those riots. Right. So yeah, released 2nd of May 89.

SPEAKER_00 22:09

Oh, I was eight years old.

SPEAKER_02 22:10

Eight years old? We've been eleven.

SPEAKER_00 22:13

I was in probably Jason Donovan or something by that.

SPEAKER_02 22:16

Kylie. Too many bro. Craig McLaughlin.

SPEAKER_00 22:20

Hey morning. Now we're talking. I've changed my I've changed my artist next time it's Craig McCaughlin.

SPEAKER_02 22:28

Because it's only got one single.

SPEAKER_00 22:30

Yeah. Look at that.

SPEAKER_02 22:32

He was in Neighbours.

SPEAKER_00 22:33

We could go for his neighbour's career though. Yeah. I bet it's a good career we're talking there. I bet it's full of drugs, women, scandals. Scandals of the mangles. I had the neighbour's sticker book. What? Playing Jane's super brain. That was always a hard one to get hold of. You had a neighbour's sticker book. Are you kidding me? I went for a phase of liking sticker books clearly. And you called him a weird child. Yeah.

SPEAKER_02 22:57

When did you have a neighbour's sticker book?

SPEAKER_01 22:58

Did it been around the Mexico 86 times? So 86, 87. Phil, I can buy you a complete neighbour sticker on my eBay for 30 quid.

SPEAKER_00 23:06

I've seen it on P It's great, isn't it? I did add a fucking neighbour's sticker.

SPEAKER_02 23:09

Do you have a look at this on the website?

unknown 23:11

Yeah.

SPEAKER_02 23:14

Right. Can I ask a quick question about sticker books?

SPEAKER_00 23:17

Yeah.

SPEAKER_02 23:18

How many normal stickers was a silver worth?

SPEAKER_00 23:22

Two.

unknown 23:22

Yeah.

SPEAKER_00 23:23

Two. There's always two. So I want two.

SPEAKER_02 23:25

That's like a universal rule. Yeah.

SPEAKER_01 23:27

Two. Had to be. Two for shiny.

SPEAKER_02 23:29

No deviations. Not like a three.

SPEAKER_01 23:32

Don't ask me again. It's two for shiny, alright? Well, did you have different rules?

SPEAKER_02 23:36

No, no, I'm just wondering. Just wondering if anyone else had to be a big thing.

SPEAKER_00 23:40

Did you get mugged off by a bigger boy?

SPEAKER_02 23:42

No, I didn't.

SPEAKER_00 23:42

No. I used to love sticker books though. And that was a time, wasn't it? When you come in, when you come into school with a big fucking rubber band around it. Yeah. And you had about 300 spare. Got, got, got, got, got, got, got. Oh. Never did it with the neighbours one. I was too embarrassed for that one. Yeah, I can imagine. I don't know how I got my stickers from there. Maybe on the black box posted from Australia. Did you ever not have any like odds other sticker albums apart from Pellini?

SPEAKER_02 24:09

I had the Return of the Jedi.

SPEAKER_00 24:11

Yeah, that's not that. Yeah, I had a Star Wars one actually, yeah. Uh I remember probably was around that.

SPEAKER_02 24:16

I think I had a WWF one at some stage.

SPEAKER_00 24:18

Yeah, it was never interesting, but yeah.

SPEAKER_02 24:20

Were you never used to perfect plex people on the bed? No, I never.

SPEAKER_00 24:24

That's not like an emission of I never was into like WW.

SPEAKER_02 24:29

Were you not? No, I never was. It's weird to think that whilst Stone Roses are making like one of the greatest albums of all time, we're just all sitting there watching WWF and talking about neighbours.

SPEAKER_00 24:40

I'd take that I'd take my time over that anytime. They sound like I was going through hell. I was having a ball.

SPEAKER_02 24:45

I thought uh well, according to Manny, um when they were making this album, it was an absolute joy. They were recording it at Battery Studios in London, which is in Wilston, I think it is. And they got a really interesting producer in called John Lecky.

SPEAKER_01 24:59

Oh yeah.

SPEAKER_02 24:59

And Leckie is apparently a bit of a legend. Um he started off as a tape operator working with John Lennon Sib Barrett, worked with him, and then he was a balance engineer, I'm not sure what a balance engineer is, on Pink Floyd's Medal and Wish You Were Here. Nice. And then he produced stuff for The Adverts and Magazine.

SPEAKER_01 25:24

Yep.

SPEAKER_02 25:25

And then when he went freelance, he went on to work with people like Um Public Image, Limited, Simple Minds, Radiohead. He did Benz.

SPEAKER_01 25:32

He did do the Benz, that's right.

SPEAKER_02 25:34

He did the Muse first two albums, Showbiz and Origins of Symmetry. Showbiz was a good album. Manny brought him in, apparently, um because he'd done some work with another band that Manny quite liked. Uh and they did the mix, and I don't think they were particularly happy with the mix, but it stayed anyway.

SPEAKER_01 25:54

They originally talked about getting Peter Hook, didn't they, through the whole album? Yeah, but he was tea. He was too busy with New Order, right? Yeah, with New Order, yeah.

SPEAKER_02 26:01

And I think their biggest complaint was it sounded a bit tinny. It didn't have enough woomph. Oomph. Oomph for actually one of the things I love best about that album is the fact that it's so unified, it has such a unique sound. Yeah. And apparently one of his greatest achievements, Mr. Leckie, they wanted to finish I Am the Resurrection, the way they finished it live, which was in a cacophony of noise and distortion and stuff. And he said, No, that's gonna sound rubbish. He needs to do something more melodic. Right, and that's where it and then that's where the triple ending came. So if it wasn't for him, you wouldn't have that eight minutes of absolute fucking joy.

SPEAKER_00 26:46

Yeah, he's good in it.

SPEAKER_02 26:47

It is, and uh yeah, I think it's one of the best albums ever.

SPEAKER_01 26:51

No, it's great. It's yeah, so I think it's got a very high cultural point. And I think they're all just exceptional, aren't they? Musicians. I think it it really is the sum of its parts, you know.

SPEAKER_02 27:01

And talking about great musicians, now a lot has been made about Ian Brown's singing not being the best.

SPEAKER_01 27:06

No, I think when he hits it, he's very good at it. Yeah. But there has been times when he hasn't, and it sounds you know terrible. His solo queer was not very good because of his singing, though. But I like his I like his voice, but yeah, when you hear him when he's not on the form, it does sound really bad.

SPEAKER_02 27:25

Every time I listen to that album, it just feels so unique and different from anything else that was being done at the same at that time.

SPEAKER_01 27:34

Yeah, yeah, I don't think there's anything else that really sounds the same, does it? And I think that's why it kind of stands out. Yeah. I think it's that a strong back line, didn't they? With Manny and Rennie. I think you could just as long as those two are keeping the groove going, it's yeah, I must admit, like I think the drumming is exceptional, yeah.

SPEAKER_00 27:51

I really like the drumming on it.

SPEAKER_02 27:53

I don't think there's another album like it. It's so powerful.

SPEAKER_01 27:57

Even the slow ones, even like the waterfall. Yep. Watch uh what's your thoughts on the don't stop afterwards? Love it with the backwards, the backwards, backwards, yeah.

SPEAKER_02 28:08

What I'm amazed about is they actually learned to play it live.

SPEAKER_01 28:11

Oh, did they?

SPEAKER_02 28:12

Yeah. So apparently it is it's pretty much waterfall backwards, yeah, but the drumming didn't sound quite right, so they put some percussion to keep it going forward, and Ian Brown changed some of the words, but they learned to play it backwards.

SPEAKER_00 28:25

Well, what was that, the origin of that song? Do we know if it because obviously he changed his lyrics to don't stop and that one was it just like them mucking around and him adding lyrics to it? Yeah, maybe someone just put it on backwards for a laugh and like. Yeah, I don't know. To me, it sounded like that. It sounded like a just mucking around in a studio demo and him just saying, Oh, don't like just changing lyrics going, Don't stop. And I don't know, that's what the impression I got from it. I'm not sure if that was the case.

SPEAKER_02 28:51

It's quite beatlish in its like a technical approach, right?

SPEAKER_01 28:55

Yeah, yeah, there's stuff on like revolver, isn't there, which sounds like yeah, like let us play backwards. It's it's a very strong album, isn't it? When you like scroll through the track listing. Oh, it's a best off, isn't it?

SPEAKER_00 29:05

It's the best off. She bangs the drums, my favourite. Oh my god. That's my favourite. I think I love that song.

SPEAKER_02 29:12

That bass work at the start, right?

SPEAKER_00 29:13

Yeah, that's I think that's my favourite one.

SPEAKER_02 29:16

And I think on that album, no instrumentation takes precedent, right? The bass kicks in like uh on some of the tracks, like you've got that little before the bass kicks in, before the you know, everything kicks in. It's like it's all shared, it's nothing overtakes anything else, which is completely different from the second coming.

SPEAKER_01 29:36

Yeah, well I think that's just kind of like how it was. These songs were all written before they went into the studio, and they'd obviously spent time honing them.

SPEAKER_02 29:45

It's a confident brash album, isn't it? Yeah. Elizabeth My My Dear.

SPEAKER_01 29:50

That's great, I like that. Which is a ripoff of uh the Simon Gough Uncle song Scarborough Fair.

SPEAKER_02 29:56

Yes.

SPEAKER_01 29:57

Yes, that's the one.

SPEAKER_02 29:58

With a little weird record scratch or something halfway through. Sugar Spon Sister, I was wondering if that's like a a reference to drugs or whether it is as innocent as the lyrics suggest.

SPEAKER_01 30:11

It's all about like um Candy Floss and I always kind of put those and uh that and Sally Cinnamon together for some reason.

SPEAKER_02 30:19

Interesting story about Sally Cinnamon. Did you uh read about when that uh FM Revolver tried to release Sally Cinnamon after the release of this album? They did, didn't they?

SPEAKER_01 30:31

They did pre-released it and made a video.

SPEAKER_02 30:33

Which apparently was fine, but the band hated the video. Yeah. And so one day when the band were coming back from somewhere, they stopped off to get loads of paint and stuff, went to FM Revolver studio and said, This is for the video, and just fucking bombed everything. Bombed, smashed everything up. They ended up in court six thousand pound fine, but basically soaked the owner and his wife in paint.

SPEAKER_01 31:00

Did the cars their cars?

SPEAKER_02 31:01

Did the cars smash the cars up?

SPEAKER_00 31:03

And you don't think they would have imploded if they'd have carried on made of stone.

SPEAKER_02 31:09

How do we feel about made of stone? Uh which was another single.

SPEAKER_00 31:12

Yeah, good one. Yeah, yeah, it's one of my top ones. I love Made of Stone. It always reminds me of the brush as well, which is pretty much.

SPEAKER_02 31:17

It's dark as well, isn't it? There's sort of like darkness to that song.

SPEAKER_00 31:21

Is that is that about rioting as well? Do do do. I don't know. Oh, is I don't know, the lyrics and that's I've always thought that's about rioting or something like that. I don't know. Burned out cards and things like that. It says about Yeah.

SPEAKER_02 31:32

A bit western. Yeah, it's a Western river. Western.

SPEAKER_00 31:35

I've always liked that song. I've always liked it at the brush, so yeah, it's one of my faves, I think.

SPEAKER_02 31:40

Uh Shoot You Down's quite funky. That's definitely a baggy kind of Yeah, I really like Shoot You Down. Yeah, fat bass work on that, right?

SPEAKER_01 31:48

Yeah, he's great.

SPEAKER_02 31:48

I love his bass work so good. This is the one feels like an ending.

SPEAKER_01 31:53

An end what issue?

SPEAKER_02 31:55

Like it's an end track of the album. I did feel like that was like a natural ending to the album, and then you go into I Am the Resurrection, which, as I've probably mentioned already, is one of my favourite songs of all time.

SPEAKER_01 32:07

Of all time.

SPEAKER_02 32:08

It's the best song they've ever done. It's not a debate for me. This is just the best. Yeah.

SPEAKER_01 32:14

Yeah, I think I probably agree. It's the best song.

SPEAKER_02 32:17

And apparently it started off as a joke. Uh Manny, he was playing the bass line to a Beatles song backwards. Right. As a joke.

SPEAKER_03 32:28

Okay.

SPEAKER_02 32:29

And they were like, oh yeah, this really fun. They were fucking pissing around as well. And then they thought, oh, actually, this is quite good. Let's try and actually do a proper song out of it. And out of them pissing around came I Am the Resurrection. There you go. Tax Man, I think it was.

SPEAKER_01 32:45

Oh Tax Man. Might have been. Yeah, I don't know.

SPEAKER_02 32:47

Isn't that interesting?

SPEAKER_01 32:48

It evolved into a massive three-part anthem.

SPEAKER_02 32:50

Yeah. So between Manny and the producer Lucky, a joke song has turned into one of the best indie baggy Madchester tracks that was ever made.

SPEAKER_01 33:02

I did not know that. That's another fact, James. Yeah.

SPEAKER_02 33:06

Interesting.

SPEAKER_01 33:06

It is interesting. That's good.

SPEAKER_02 33:08

So anyway, so that was um the first album, which obviously launched them into you know stratosphere. On chartered territory.

SPEAKER_00 33:16

Now we're going all few good men, twelve angry men, what other court case dramas are there?

SPEAKER_02 33:21

Yeah.

SPEAKER_01 33:22

So they wanted to get out of their contract, didn't they, basically, and sign to a major label, right? That was the kind of the crux of it.

SPEAKER_00 33:29

Is that what started it?

SPEAKER_02 33:33

I think Gareth Evans thought it was the right time. Yeah.

SPEAKER_00 33:36

So who was sniffing around as in major labels?

SPEAKER_02 33:38

Was everyone sniffing around? No one was at the time sniffing around.

SPEAKER_01 33:42

I think he was approaching labels, wasn't he? And like uh schmoozing.

SPEAKER_02 33:47

Yeah, but I think what made them bigger was the fact that they were doing all these big gigs at the hacienda and stuff like that, which obviously culminated in Spike Island.

SPEAKER_00 33:57

So you had the famous Spike Island gigs.

SPEAKER_02 33:59

Spike Island, yeah, which was 27,000 people going to see them. What year was that? Was that 1990, wasn't it? Yeah, 90. And I have seen some footage of it, and it doesn't sound great. It's a bit ramshekled, and I think Noel Gallagher described the bill as shit. He said it's absolutely rubbish. It didn't go well, but I think it proved that actually they were absolutely massive because people from all over the world were going to this Spike Island gig. Um and I think Evans at this point were kind of like, we're gonna be massive, so we can't still stay with Silvertone anymore. I think he thought because the Silvertone Jive contract was so ridiculous that legally he thought he would be able to get out of it really easily. And I don't think it was that simple. And in 1990s, Silvertone put an injunction on the band, which meant they couldn't record for anybody else.

SPEAKER_01 35:03

Yeah, but hadn't didn't they end up signing to Geffen though, in the meantime?

SPEAKER_02 35:08

No, not until late 90, early 91.

SPEAKER_00 35:11

Right, okay. The court case went on for like two years, didn't it say?

SPEAKER_02 35:14

No, about eight weeks. So why did they take so long to then well we'll get to that, but then Gareth Evans decided to sue them as well. That's right. So Silverton put that injunction on them, but Silverton realized that like the Silverton boss was kind of like, actually, we need to work with this band because we've done quite good, they've done quite good, let's try and make it work. So they offered a Christmas bonus for the band of about £10,000 each, but Evans actually took the majority of that bonus from for the court case, which was about to come up. And in between that, Evans met Geffen in America, and Geffen gave Evans £300,000 to fight Silverton to get out of the contract. So in March 91, the court case started, and Silverton's method of attack was to attack Evans and his behaviour towards the band. So the first thing they brought up was the £40,000 Christmas bonus. And when that was read out, apparently all the Stone Roses in court were like, What bonus? We didn't know anything about that. And then eight weeks later, the judge actually struck down the contract, uh saying that the difference was that there was a requirement to make too many albums, and there was no pressure on the label to release any stuff at all. Right. So they struck it down. Uh they signed to Geffen, gave a two million pound advance and then Evans was sacked a few weeks later.

SPEAKER_01 36:52

That's what Nirvana and that were on, wasn't it? Giffen, yeah. Yeah, yeah. But it wasn't at that time that like Brown bought like mansions. Mansions, yeah, yeah. Posh area of Manchester.

SPEAKER_02 37:03

Which I think led to the fracture between the band because I think Manny in that documentary sort of says, you know, we were the last band who were still in the houses, you know, still living locally, and then John and Ian went and fucked off to Rich Place. So yeah. And then in 92 they went back into the studio, but by that time they'd lost a lot of momentum in the fact that they hadn't been able to record for what two and a half years, and in that time, obviously a lot changed.

SPEAKER_00 37:31

I think this is gonna be my question. Do you think that's probably the worst five years to lose that momentum that much more coming out? Because you think you went from you went from 80s to 90s for changing, and you went like Nirvana just knocked changed music completely, then you had Brit pop. So that it's probably it was probably the worst five years you could have imagined in any era of music for it to change so much, is what I'm saying. From the first album to the second album.

SPEAKER_02 37:58

I think that's what I'm trying to say to you is if they had been able to continue as they were without that five-year gap, they would have been able to adapt more steadily with the times instead of being out of touch before they did it. Like the Stone Reservoir.

SPEAKER_00 38:14

I know I don't know what you're saying, right? But I think if you're talking different people, maybe I just I just think I think I just think they wouldn't have been like that. But no, I get what you're saying. Yeah, they were they were playing catch-up. Yeah. They're that person who turns up to the party late, yeah, yeah, yeah. But knocking them back to try catch up and then just getting way too pissed and then just going home early. They were that that's what it was like.

SPEAKER_02 38:35

Yeah. I don't think it helped them that when they turned up at the studio, as we've talked about, they didn't have any songs and spent 347 ten-hour days recording the second album.

SPEAKER_01 38:48

Write the music, write the lyrics. Yeah. Crazy. That's what I don't understand. There's nothing stopping them from doing that.

SPEAKER_02 38:54

No. But I guess maybe with a disruption of the court cases and sucking Evans and Evans sued the Stone Roses, he won it. How did he win that? What did what what was he suing the Stone Roses for? For loss of earnings.

SPEAKER_00 39:06

That's not their fault, that was it.

SPEAKER_02 39:07

No, I know, but apparently he um How can he win that? He won it, apparently. Um, and he spent the money on a golf course.

SPEAKER_01 39:14

Yes, that's right. He owns the golf course.

SPEAKER_00 39:16

So then they've been stopped from making music, yeah. Releasing any, and he's suing them for all that, and it's their fault. How's that doesn't work?

SPEAKER_02 39:24

Because they sacked him. And in in '96, uh The Rose is split. But before that, obviously, obviously, they came out with their second album.

SPEAKER_01 39:35

Are we gonna mention the uh turns the stone?

SPEAKER_02 39:38

Turn to Stone, yeah. The stone turns to Stone was uh a release of their like um singles and B sides, right?

SPEAKER_01 39:45

Yeah, it's got some really strong songs on there.

SPEAKER_02 39:47

Fucking Elephant Stone, man, is one of them.

SPEAKER_01 39:50

But this was a bit similar to Oasis, it's like B-sides are strong, yeah, yeah, yeah. And then you've got like Turn to Stone, which could be an album in itself, and then like Oracle's got Master Plan, which could be an album in itself.

SPEAKER_02 40:06

So yeah, on on Turns Stone, which was released in '92.

SPEAKER_01 40:09

Yeah, on Silver Tone still, went.

SPEAKER_02 40:11

Silvertone. You've got Elephant Stone, which was originally released in '88.

SPEAKER_01 40:15

Yeah.

SPEAKER_02 40:15

The hardest thing, which was the B side to that. You've got Fool's Gold and What the World Was Waiting For, which is double A in 89.

SPEAKER_01 40:24

Yeah.

SPEAKER_02 40:25

One Love, which was released in '90, with something burning, which was a B side.

SPEAKER_01 40:31

That was on Garage Fire as well, though, wasn't it? Yeah. Yeah.

SPEAKER_02 40:34

Mersey Paradise, which I love, was a B side to She Bangs the Drums, along with Standing Here and Simone. Going Down was a B side of Made of Stone, and Where Angels Play was the B side of Wanna Beadored.

SPEAKER_01 40:49

Strong. Crazy, isn't it?

SPEAKER_02 40:50

Yeah.

SPEAKER_01 40:51

Should have saved them for our second album.

SPEAKER_02 40:53

Yeah, I mean they could have done, couldn't they, really?

SPEAKER_01 40:56

Crazy.

SPEAKER_02 40:57

But like the second album is a complete departure, isn't it? It's much richer. It's more of a rocky, blood.

SPEAKER_00 41:04

It feels more of a rocky album, I suppose. Yeah, it's electric. The guitar's right at the forefront, isn't it? Yeah. That's the main instrument you hear all the way through it. I mean, it was brave, it was brave naming the album Second Coming as well, I must admit. I think it was clever.

SPEAKER_01 41:19

I think after I am the Resurrection, then it's a good one.

SPEAKER_00 41:21

It's a good play on the words, I get it, but it's a brave choice. It is. The first song, what's the first song, Breaking Into Heaven?

SPEAKER_02 41:28

Uh Breaking Into Heaven, 11 Minutes. But it's still got great drums, hasn't it? Like the drumming. Drumming's really good.

SPEAKER_00 41:35

Drumming and guitar are really strong on it. The guitar is just doing his own thing though. He's that's what I mean. It's very much his album muffle. He was trying to do his stuff. Can I just say as well though, is it me or did every song try to be Love Spreads? Every song sounded like yeah, I'm not sure about that. Oh, I did. I was just like, where I haven't heard this album, I was playing it and I was thinking, oh this is Love Spreads. Oh no, it's not. And then there's the next one I was going, Oh, this is Love Spreads. There must have been four, five, six songs really sounded similar to Love Spreads. So that's my that's my take on the like a first listen all the way through the album. I thought every song was very like they were trying to go to Love Spreads or the stuff.

SPEAKER_02 42:14

I'll admit that I never really listened to the second coming when it came out. Right, no, I didn't know. Um it's actually a really rich album.

SPEAKER_01 42:22

I think it's good. I think it's one of those ones that when it came out, everyone was like because there was so much love for the the debut, yeah, and the debut was so strong, and that's their downfall as well, isn't it?

SPEAKER_00 42:34

Unfortunately, that's probably such a long goes against them, is they made such a strong first album. It's hard to do that, isn't it?

SPEAKER_02 42:41

But I think it's time as well. Yeah, and like that.

SPEAKER_01 42:44

Everything went against them, everything went against them, yeah. There's nothing in that photo, it's not like they could release a single or a couple of singles, just nothing. No, just turn to stone, which a lot of the diehard fans would have had on B sides anyway. But I think it's I think it's a good album. I mean, I don't listen to it and think, oh, this is awful.

SPEAKER_02 43:03

Driving South is one of my favourite tracks. I like Begging You. I don't like begging you.

SPEAKER_00 43:08

Yeah, I thought I liked that, I thought it was good.

SPEAKER_02 43:10

I think that's one of the weakest songs on the album, actually.

SPEAKER_00 43:13

I think I like the drums on that.

SPEAKER_02 43:14

Did they used to play out the brush? Yeah, they did.

SPEAKER_00 43:17

It sounded similar, it sounded familiar to me. I was just like, do I know this? But I liked that.

SPEAKER_02 43:22

Ten-story love song is just so anthemic.

SPEAKER_00 43:24

Yeah. It's a charlatan song.

SPEAKER_02 43:26

No, it's not a charlatan song. It's not. No, it's not. The chorus is a I don't think the Charlotte's ever did anything like that. The chorus, I love the Charlons, but they they didn't do a ten-story love song. No, no, I do like the ten story love song. Uh my general thin on this album is it is really funky. Maybe it's the last hurrah of baggy and Madchester. Maybe it's like it's got that sort of do you know what I mean?

SPEAKER_01 43:51

Like a swagger bit, I suppose.

SPEAKER_00 43:54

Yeah. It's probably it's very bluesy, yeah, yeah. I tell you what, it also reminded me of. A primal screen Manchester. Glove Scotland. It reminded me of um Give In but Don't Give Out. Yeah. Kind of reminded me because that's very bluesy jazzy, isn't it?

SPEAKER_01 44:12

Similar sort of vein, yeah.

SPEAKER_02 44:13

That's the other thing I learned doing this. How long Primal Scream?

SPEAKER_01 44:18

They've got five years. 82, right? Yeah. I've done it. Yeah, yeah.

SPEAKER_02 44:21

Fucking all these fans.

SPEAKER_01 44:22

I think they I think they had one or two albums before Screamer Delic, didn't they?

SPEAKER_02 44:26

Yeah. Insane.

SPEAKER_01 44:27

And who did Bobby Gillespie used to be in? Hot House Flower. No, it's in Jesus and Mary Shane as a drummer. Didn't know that. Yeah, he's on Psycho Candy, he's a drummer on that one. There you go. They're all connected.

SPEAKER_02 44:39

It's all connected. Um it's a trap. Can I just say about Daybreak, track four, which I thought was funky, lyrically really good because it's talking about Brazil Parks and loads of other world sort of issues. Sounds a bit spin doctors, though. Spin doctors.

SPEAKER_01 44:56

You love the spin doctors, though. I used to love the spin doctors, yeah. Looking at you now, you still love the spin doctors.

SPEAKER_02 45:02

What are you saying? Because I'm wearing my baggy hat.

SPEAKER_01 45:05

Good job of not filming this one.

SPEAKER_02 45:07

Yeah, I know. But about halfway through, it turns quite folky. So I like it. But it's sort of sort of sixties folk tracks in there.

SPEAKER_00 45:16

It goes, it strips it all down, and what's that one they sing? Tightrope. Tightrope, yeah, that's the one.

SPEAKER_02 45:22

Yeah. Jangly 60s harmonies with some harmonies in there.

SPEAKER_00 45:26

Yeah, it's a bit sea shanky, but it strips right down and sea shanty. Yeah, yeah, it's not sea shanky, sea shanty.

SPEAKER_02 45:32

Just a load of sea urchin stabbing you.

SPEAKER_00 45:34

Um I quite liked that. Yeah, that's a good one.

SPEAKER_02 45:38

Quite a few tracks on this reminding me a bit of Led Zeppelin. Oh, yeah, definitely. Yeah. Um Rolling Stones.

SPEAKER_01 45:44

Yeah, it's just like 60s, 70s blues, in it.

SPEAKER_02 45:48

R and R. Yeah. This album has some sad lyrics in it, or like um remorseful kind of like they knew it was the end, maybe.

SPEAKER_01 45:57

Maybe, yeah, maybe. It must have been difficult, I think, to go in and not have anything.

SPEAKER_02 46:02

Love spreads, though. Brilliant.

SPEAKER_01 46:04

Foz, oh.

SPEAKER_02 46:06

I I haven't finished with Love Spreads. You didn't start. But I mentioned I started it. Sharp.

SPEAKER_01 46:14

Right, you finished.

SPEAKER_02 46:15

This for me is again probably one of their greatest tracks.

SPEAKER_01 46:20

It's a good one.

SPEAKER_02 46:21

It's got everything you want from a band that is associated with the baggy scene, and you know, it's funky, it's like great drums, outrageous guitar.

SPEAKER_00 46:30

It's a bit of choiries, chorus to it, isn't it? See, Love Spreads always reminds me of Club Art.

SPEAKER_02 46:36

Does it?

SPEAKER_00 46:36

Yeah. On a Tuesday. Yeah, he used to play it. I never used to hear it at a brush, but I always used to hear it at Club Art.

SPEAKER_02 46:42

Because I always remember it being much more of a grunge club than uh Yeah, yeah.

SPEAKER_00 46:45

And I do remember Love Spreads always reminds me of that.

SPEAKER_02 46:48

Really? You you mentioned Vog. It's just the hidden track. What's the point of it? I fucking love it.

SPEAKER_00 46:54

Yeah.

SPEAKER_02 46:55

I think it's great. Proper jamming track, right? It's just like some people fucking around.

SPEAKER_00 47:00

Yeah, it's them all like demo, and then they're all like ch it's like an instrumental.

SPEAKER_02 47:06

It's fun. Yeah, it's fun. Yeah, it's great. Um, I really like this.

SPEAKER_00 47:10

Um, should we mention the reunion in 2012? I'm guessing the 2012 reunion was not a success. But at least a couple of singles. Wasn't there angles? I read something that there was a very infamous Reading show in '94 or something like that, where they were terrible. Oh, yeah, that's John Squire had left at that point.

SPEAKER_01 47:26

That was their first comeback, wasn't it? And they got in Abraham Izzy's. Was it Izzy's? Who was the guitarist for Simply Red? Simply Red, yeah. There was a lot of Simply Red and links today, isn't there? And yeah, it went terrible. So then that was it after that. They kind of just called it a day.

SPEAKER_02 47:42

But they all went on to do some good things, right?

SPEAKER_01 47:44

Yeah, Ian Brown says, I thought so. Tilly went a bit weird. Uh Seahorses. Yeah, but didn't he have something else as well? He did the uh album with Liam Gallagher a few years ago, didn't he? So I went to see him at the tropic.

SPEAKER_02 47:58

Oh fuck yeah. How was that?

SPEAKER_01 48:00

Yeah, it was a good gig, actually, it was good. Apparently they were in the middle of recording a new album as well. But yeah, the album's alright, you know.

SPEAKER_02 48:07

Rennie retired. Obviously, Manny went on to join Primal Screen, and then he died in November 25. We can talk about the uh the legacy after a quiz.

SPEAKER_00 48:20

Oh quiz. What quiz we're doing.

SPEAKER_02 48:22

The quiz that you've lined up for us.

SPEAKER_00 48:23

Oh I thought you would like had a quiz or something.

SPEAKER_02 48:26

No, no, actually, no, I do have a quiz.

SPEAKER_00 48:27

No, no, no, no, no, no, no. The way you worded it, it sounded different than we normally do. So I've got to go. Sorry.

SPEAKER_02 48:32

So I was just thinking I I I was thinking there's actually quite a lot of bands that have stone in the title of their name.

SPEAKER_00 48:44

Now see, you're you're ruining my part of the quiz, but go on.

SPEAKER_02 48:47

Okay. So I've written a list of ten bands. Oh, ten Christ. Um that have stone in their name. So between the two of you, uh, let's see how many we can get.

SPEAKER_00 49:01

Rolling Stones. Yep. Stone Temple Pilots. Yep. That's all I got. So I got it because that's my my lyrics thing is slightly different this week. Oh, okay. But I've I haven't got a stone stone Queens of the Stone Age. Uh yeah, Queens of the Stone Age, cool. Jost Stone. Oh. Yep, I got a Jost Stone. Oh, I thought you'd found one he hadn't then. Like the family stone.

SPEAKER_02 49:23

And that's five.

SPEAKER_00 49:24

Romance in the Stone.

SPEAKER_02 49:26

That's film, but I mean there is a band that's kind of similar. I mean, they're a bit more obscure. Yeah, right. Yeah. I'm not gonna know any of these ones, I don't think. There's one big one, which I don't think you'll get, but the others you probably won't get because they're quite obscure.

SPEAKER_01 49:42

Alright, go on then of what's going on.

SPEAKER_02 49:43

So I'll give you obscure I'll give you obscure ones. So you did five, that's really good. Uh Rosetta Stone. Oh yes, there is a band, Rosetta Stone, yes. Stone Ponies are a band. Uh Angus and Julia Stone. No. And another band called Stone Sour.

SPEAKER_01 49:58

Oh, Stone Sour, I know, yeah.

SPEAKER_02 49:59

Yeah, and there's one band which are massive, but I don't think you're gonna get them. Go on. No, go on. Ramstein.

SPEAKER_01 50:09

Oh that's a bit, in it.

SPEAKER_02 50:11

Which actually in German means Ramstone.

SPEAKER_01 50:13

He's a bit dodgy anyway. Got some Ramstein, yeah. Is he cancelled already? There's a whole thing about him, yeah.

SPEAKER_02 50:19

But anyway, that was my um.

SPEAKER_01 50:22

I'm happy with 50%.

SPEAKER_02 50:23

50% is good. How did you feel about that quiz? Was that a quiz that was, you know, was that worth it? Oh listeners that love it.

SPEAKER_00 50:31

Yeah, it'll be like playing along going, oh, I know this. Or not, but yeah. Yeah, easy busy, let's get quizzy.

unknown 50:38

Nice.

SPEAKER_00 50:46

Right, AI. AI, AI, AI. Okay, so yes. The AI game. What have you got for us tonight? Well, so slightly different. I thought I'd make this quiz harder tonight. You guys have had it way too easy with a choice of 50-50.

SPEAKER_02 51:05

Uh oh.

SPEAKER_00 51:06

Bollocks to that. Right. So tonight, you're gonna guess whether the lyrics are from the Stone Roses. Yep. The Rolling Stones.

SPEAKER_02 51:16

Oh god.

SPEAKER_00 51:17

Or the Stone Temple Pilots. Oh, the Stones. Okay, so you ready?

unknown 51:24

Yeah.

SPEAKER_00 51:25

Who's going first?

SPEAKER_01 51:26

Going I'll go first.

SPEAKER_00 51:28

Bonus point if you can guess the song as well. Okay. Okay. First lyric of today. Strolling on the boulevards of Paris, naked as the day that I will die. It's a Rolling Stones. Stone Roses? Rolling Stones. Rolling Stones or Stone Temple Pines? Rolling Stones. I don't know the song though. Rolling Stones. You're going Rolling Stones as well? Yeah. Got an idea of a song?

SPEAKER_02 51:53

Um no.

SPEAKER_00 51:55

I'm gonna go street fighting then. Yeah. Both right with Rolling Stones. It's honky tonk woman though. You got all you got. I can't compete with the riders in the other heats.

SPEAKER_02 52:09

Stone Temple Pilots.

SPEAKER_00 52:10

Yeah, Stone Temple Pilots. Got any songs? You know any songs of this? I don't know Stone Plot.

SPEAKER_02 52:14

No, Stone Temple Pilots.

SPEAKER_00 52:16

It was Rolling Stones, I'm afraid. Oh, what's it? Start Me Up. Start Me Up. Yeah. Right, next lyric. I don't feel too steady on my feet. I feel hollow. I feel weak. That's the um that's the Stone Roses.

SPEAKER_02 52:33

Is absolutely for Stone Roses.

SPEAKER_00 52:35

Any songs? Have we got any songs?

SPEAKER_01 52:38

Made of Stone.

SPEAKER_02 52:39

No.

SPEAKER_00 52:40

She bangs the drums.

SPEAKER_01 52:41

She bangs the drums, yeah.

SPEAKER_00 52:42

Somehow you got the fucking right song. She bangs the drums. A bonus point for Jimmy. Three-two. Your one next. You'll see the look and you'll see the liars. You'll eat the liars and you will. Stone Silver Pilots. Yeah. You don't know songs, I'm guessing.

unknown 53:01

No, no idea.

SPEAKER_00 53:02

Yeah, you're both right. Vaseline. Right, one more lyric. What's the s is it four three to Jimmy? Alright, last one then. I'm standing warm against the cold now that the flames have taken hold. Stone Roses? Rolling Stones? Or the Stone Temple Pilots. This is called the Three Stone Lyric song today, if you have only just tuned into us. We've slightly changed the format.

SPEAKER_02 53:25

Um KSWFD.

SPEAKER_00 53:28

Stone Cold 3 Austin. Uh once more, please. I'm standing warm against the cold now that the flames have taken hold.

SPEAKER_02 53:36

Uh Stone Temple Pilots.

SPEAKER_00 53:39

You don't know us, you don't know any of the songs we're going with that? I'll go Stone Roses, but I don't know what song it is. It is the Stone Roses. It was made of stone, that one. Thought he was going to win that one, Jimmy. Gareth salvaged it back right at the end.

SPEAKER_02 54:09

Alright, albums. Do we need two albums? I probably like we probably don't, do we?

SPEAKER_01 54:14

No.

SPEAKER_02 54:14

I mean, we're all gonna go Stone Roses and then the second coming, right? Yeah. Yeah, yeah. Uh any standouts for you guys in terms of songs?

SPEAKER_01 54:24

I'm the Resurrection. This is the one. This is the one, really? Yeah, Mercy Paradise.

SPEAKER_00 54:29

See, I would go for Love Spreads. My top five, no, my top four would probably Love Spreads, Made of Stone, I'm the Resurrection, and then She Bangs the Drums. I do love that one.

SPEAKER_02 54:40

It's the intro, right? It just throws you in it.

SPEAKER_00 54:43

See, objectively and musically, you'd probably say I'm the Resurrection, without a doubt. Yeah. She bangs the drums just gets me in a yeah. When I hear that, I'm just like, yeah, I'm ready to dance.

SPEAKER_01 54:53

Yeah. Like One Love as well. Big fan of One Love. Yeah, it's good. Single though, right? It's not on an any album. No, no, it's on the made of stone. But yeah, single.

SPEAKER_02 55:02

Yeah. Drive South is in my top five. Love spreads, she bangs the drums, Elephant Stone. Ten story love song. That sort of backwards drumming. I am Resurrection. I just I just I can't get away from the three tunes in one song that just make you want to dance.

SPEAKER_00 55:19

Done. Done. Just bad decisions, ultimately. Cost them.

SPEAKER_02 55:24

Yeah.

SPEAKER_00 55:25

Yeah. And timing. Everything. We've talked about it all day, just were unlucky with timing. Yeah. All this happened in a period where music just changed so much. Yeah. It's like turning up to a party late and just trying to play catch-up.

SPEAKER_02 55:38

Yeah.

SPEAKER_00 55:38

Interesting one.

SPEAKER_02 55:39

Anyway, lovely to see you, beautiful humans. Yeah. And I will see you for the next one. Alright, bye. Oh yeah. Bye. Adios. Adieu to you and ya. And yeah. This has been uh Kiss the Curve production. Produced by Barry at Backwater Channel Studios. Music by Ben Bailey. Talking about is presented by Gareth Norman, James Gentle, and Philip Reynolds.