{"id":40,"date":"2013-06-25T05:00:15","date_gmt":"2013-06-25T05:00:15","guid":{"rendered":"http:\/\/batterymedia.com\/blog\/?p=40"},"modified":"2014-12-19T22:59:43","modified_gmt":"2014-12-19T22:59:43","slug":"498-the-stone-roses","status":"publish","type":"post","link":"http:\/\/batterymedia.com\/blog\/?p=40","title":{"rendered":"#498: The Stone Roses"},"content":{"rendered":"

#498<\/h4>\n

The Stone Roses<\/h3>\n
Release Date:<\/strong> 1989<\/div>\n
\n

Previously Owned:<\/strong> Yes<\/p>\n

\n
\"The
Jackson Pollack, with lemons = The Stone Roses<\/figcaption><\/figure>\n<\/div>\n

Impressions:<\/strong>\u00a0 Before this came out in the late ’80s, there was music created by bands and music created by DJs. If you wanted to dance, you listened to music made by machines or samples, and when you didn’t want to dance, you listened to music made by people. Okay, I’m oversimplifying, but it sure seemed that way back then. Outside of New Order, rarely did both strands meet without sounding clunky (think “Rapture” by Blondie, or, say, the “Judgment Night” soundtrack.) For some reason, a modern band that could make tunes that could survive the dance floor seemed like the holy grail. Then, out of nowhere in 1989, I heard “Fools Gold” on the radio. High-school me thought was 10 minutes of one of the stone-coldest grooves I’ve ever heard, even up there with classic funk. So I bought this album, thinking I was getting an hour of this kind of dancey stuff and was slightly thrown how different the aptly-named “Fools Gold” sounded compared to the rest of the Brit-pop guitar gems I got. Sure, there was some dance influence in there, but it was naturally imbedded in the music–rather than standing out like a sore, heavily-sampled thumb. Flash-forward to now. “I Wanna Be Adored” just floats in perfectly with a mysterious, hypnotic bass line from Gary Mounfield, and guitars and drums\u00a0that builds perfectly. There’s something about this album, everything just seems like it’s in the right place. The drummer, Reni, plays whatever the song needs rather than selling it out for the dance, and he keeps songs from getting too mopey. “She Bangs The Drums” is an uptempo guitar number with a cool but not-too-wan vocal by Ian Brown. It seems like most of the so called Madchester dance bands that came in wake of this album, went heavy on the beats and gimmicks and skrimped on the songwriting (ie, would you want to hear someone play a Happy Monday’s song on acoustic guitar today? Non-ironically?) \u00a0And let’s not even mention Oasis.The two-fer combo of “Waterfall” and “Don’t Stop” showcase John Squire’s retro\/future Johnny Marr-eque guitar attack. Not a bad song in the bunch, \u00a0they rock (on the epic “I Am The Resurrection”,) make you dance, or even display a gentle touch “Bye Bye Bad Man.” I’m probably completely biased since the mix of introspective lyrics and catchy guitar pop sprinkled with dance music hit me at just the right time. Still, even today, there’s not a note out of place, the hooks are plentiful and the songs are evocative. It’s got a spell. No wonder they could never replicate this album and crashed shortly thereafter.
Should this album be on the list?<\/strong> Yes
Starred songs:<\/strong> I Want To Be Adored, Fools Gold, I Am The Resurrection<\/p>\n<\/div>\n

Sneaky Track:<\/strong> She Bangs The Drums
Will you listen to this again?<\/strong> Yes<\/div>\n
Rating:<\/strong> \u2605\u2605\u2605\u2605\u2605<\/div>\n