In a press conference on 18 October 2011, Wren, along with the other members of The Stone Roses, announced the band would be reforming for three "homecoming" gigs at Heaton Park, Manchester on 29 and 30 June and 1 July 2012. These dates were part of a Reunion Tour. Three singles (" Love Spreads", " Ten Storey Love Song", and " Begging You") from the album were released in the UK. It was early December 1994 and I was interviewing baggied up youth outside the now closed Virgin Record shop in Manchester city centre, waiting for the midnight opening of the doors so they could buy the Roses about to be released second album. A documentary was planned for the Stone Roses' reunion, with film director Shane Meadows chosen to film it. [98] The documentary, titled The Stone Roses: Made of Stone, received its world premiere at Trafford Park in Manchester on 30 May 2013 and was simultaneously broadcast live in many cinemas across the United Kingdom. It had its general release on 5 June 2013. [99] [100] The Stone Roses went from the biggest band on earth, to dinosaurs in a few scant years. With the release of their acclaimed debut and the singles ‘Fools Gold’ and ‘Elephant Stone’, the four piece had essentially conquered the indie scene. A vital band in the Madchester scene, they mixed jangle pop, funk, dance and post-punk to create an intoxicating blast of 60s psychedelia and modern acid house culture. Then... they just vanished. Tied down by an unfair recording contract and a difficult label, the band were prevented from touring or recording for 5 whole years. The music scene changed during that time. Madchester and Baggy died out and shoegaze then Britpop took over. When the band finally got around to recording their second record, relationships between members (particularly singer Ian Brown and guitarist John Squire) had soured. The hype was high and what was birthed from the drug fuelled angry sessions is oft considered one of the most disappointing second albums ever record. But is ‘Second Coming’ really that awful?

Hall, Matt (February 1995). "The Led and How to Swing It". Select. No.56. pp.80–81 . Retrieved 21 January 2017. During the band's time in the public eye, their relationship with the mass media was notably different from other bands before and after. The members would often display no interest in promoting themselves, which was typified through reticent and capricious behaviour. Even with the Stone Roses' reformation in 2011, the group continued to provide few interviews. This approach left many journalists confused and sometimes angered. Roberts, David, ed. (2006). British Hit Singles & Albums (19th ed.). HiT Entertainment. p. 81. ISBN 1-904994-10-5. Harris, John (12 October 1994). "The Stone Roses – Second Coming". NME. Archived from the original on 11 March 2000 . Retrieved 12 January 2017. The moment when the mates against the world, last gang in town vibe has gone it can never be recovered. It’s a natural part of the process- who wants to sit in a transit van or a studio for ever! You get older, you change and you move on. Take that into consideration and it’s amazing that the Roses actually produced a second album and one of such quality.Reni's got a Gretsch kit. I used an AKG D112 and a Neumann U47 FET on the bass drum, an SM57 for the snare, and an AKG 452 for the hi‑hat. The toms were all miked with Sennheiser 421s. The whole thing was a pretty standard setup really — I normally find you get pretty good results from it. We did try the odd experiment — we had an acoustic tunnel on the bass drum for some of the time, but we liked the live sound, so most of the time we didn't use it. I put a stereo mic, a Telefunken SM2 valve mic, in the corridor outside the studio to give the sound some ambience, too. The overhead mics on the kit were Neumann 56 valve mics — I think they're the best‑sounding ones for overheads, really good. I also had a pair of Neumann U87s in the room as well. We wanted the kit to sound like a real, live kit in a funky‑sounding room — just like it was, basically!" and all over it on its release, but the music contained in its grooves (and let's get that clear from the outset, too: this was a double album and exists, for this listener if not necessarily for anyone else, Almost everything that's excellent about Second Coming revolves around Reni and Mani, and the opening two songs are probably the most outstanding examples. When they weren't in court or flinging paint around in protests against business associates, the pair were clearly working

Into this vacuum would arrive an album that wasn’t playing easy to get- with a marked move away from the pretty pop and dark heart melodies of the debut. This time there was a collection of songs that were not instantly accessible melodically and were far heavier than the debut. in 68 minutes: Stone Roses "overjoyed" as three Heaton Park concerts are sold out". Manchester Evening News. M.E.N. Media. 21 October 2011 . Retrieved 21 October 2011. Trendell, Andrew (8 April 2014). "Britpop is 20: ten 1994 albums that started it all". Gigwise . Retrieved 21 January 2017.

For Sale on Discogs

Let’s get one thing straight – seldom can a band replicate its own masterpiece or seminal work. I’m struggling to recall too many bands to have achieved such a feat. Did The Beatles surpass Revolver with Sgt Pepper? – maybe, maybe not. Will Radiohead ever better OK Computer? – hmmmm, it’s doubtful. The band released their debut album, The Stone Roses, in 1989. The album was a breakthrough success for the band and received critical acclaim, and it is regarded by many as one of the greatest British albums ever recorded. [a] At this time the group decided to capitalise on their success by signing to a major label. Their record label at the time, Silvertone, would not let them out of their contract, which led to a long legal battle that culminated with the band signing with Geffen Records in 1991. a b c Roberts, David, ed. (2006). British Hit Singles & Albums (19th ed.). HiT Entertainment. p. 534. ISBN 1-904994-10-5. After rehearsing and writing songs over the summer, they recorded their first demo in late August, making 100 cassettes, with artwork by Squire, and set about trying to get gigs. [24] They played their first gig as the Stone Roses on 23 October 1984, supporting Pete Townshend at an anti- heroin concert at the Moonlight Club in London. Brown had sent a demo with an accompanying letter: "I'm surrounded by skagheads, I wanna smash 'em. Can you give us a show?". [25] The show was seen by journalists including Sounds ' Garry Johnson, who arranged to interview the band a few weeks later. [26] The band received management offers and more gigs soon followed. During the Stone Roses' live performances, Wren's energetic drumming ensured that his reputation grew rapidly and sparked regular praise from the music press, fans, and peers. The Charlatans supported the Stone Roses in the late 1980s and its drummer, Jon Brookes, had observed Wren's playing closely: "He never pounded the drums, he used to caress them and get them to sing, he was that kind of drummer. It was great to just watch him, very poetic, beautiful motion, very light touch, at the same time very musical. And he was singing as well, these beautiful melodies, it was unbelievable." [13]

In the studio, our main sampling workhorses were the two TC Electronic 2290s sampler/delays, which have got 32 seconds of sampling time each. You can stereo‑link them, and they're really good quality." Ian Brown, John Squire and Mani have all had successful careers since the Roses' breakup. Squire formed the Seahorses, who released one album before breaking up, as well as releasing two solo albums. In 2007 he told a reporter that he was giving up music for good to focus on his career as a painter. [80] Brown has released seven solo albums, a remixes and a greatest hits collection all but one of which have charted in the top 5 of the UK Albums Chart. [81] Mani joined Primal Scream as bassist in 1996 and remained in the band until the Stone Roses reunited. In his early years with the band, whose songs at the time were inspired by punk and post-punk, Wren's drumming style was characterised by the energy from influences such as Keith Moon - Andy Couzens mentioned he was "like ten Keith Moons in one." Due to his showmanship and natural flair, Manchester music scene regulars such as Martin Hannett noted many people were attending the band's early gigs just to see Wren play. Howard Jones, a director at Factory Records, said of a performance on 15 November 1984: "Reni was out of this world. The way he played, his facial expressions, his finishing, how he'd kill a cymbal once he'd hit it, he'd got total natural technique." [12]

a b c "Ian Brown on the Stone Roses reunion: 'It's happening' ". NME. 17 October 2011 . Retrieved 17 October 2011.