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The Title Track
United Kingdom
เข้าร่วมเมื่อ 26 มี.ค. 2024
I dissect great records.
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Sponsorship and general enquiries to thetitletrack.music@gmail.com
Like and subscribe to get notified for future content.
Sponsorship and general enquiries to thetitletrack.music@gmail.com
The Stone Roses' Second Coming is way better than you remember (30 Year Anniversary Documentary)
00:00 - 00:48 Introduction: 30 Years since the release of Second Coming
00:49 - 03:27 'Madchester' and the making of The Stone Roses: debut album, Band of the Year, Spike Island
03:28 - 05:19 Writing Second Coming, and why recording a follow-up took so long
05:20 - 08:37 Leaning into blues rock - and how it reflected a different period in the Stone Roses' lives
08:38 - 11:21 A 'woke' Stone Roses?
11:22 - 14:00 Why Second Coming fell flat
**
In 1989, The Stone Roses released their self-titled debut album - one of the most celebrated records in British pop history. Full to the brim of undeniable tunes, it also spoke to a youth culture who were straddling the twin charms of 'baggy' indie and the burgeoning rave and acid house scene. Just like other bands like Joy Division and The Smiths, the four-piece were doing Manchester proud by proving the city as a stomping ground for pioneers of new, exciting music. Like clockwork, the group were voted as the NME readership's band of the year, and they headlined a massive gig at Spike Island in 1990 - an event later heralded as the 'Woodstock of the baggy generation'.
And yet, despite that initial frenzy, five years of silence followed. Many speculated that the band had fallen out due to creative differences, or were hooked on the same drugs that had been so integral to their trippy, funk-laden sound. The reality was a lot more pedestrian - the band were embroiled in a lengthy court battle with Silvertone, the label that had put out their first album. After that finally came to end at the end of a long year, the band took time out to de-stress, travel and actually spend their hard-earned money.
It meant that by the time the band actually regrouped in 1993 to record their long-awaited sophomore album for Geffen Records, they were different people with different ideas in which to take their sound. For John Squire, who wrote the majroity of the band's songs, blues rock baked in the cities of black America was vastly more exciting than the free-love, hazy sound that had made their first album such a success. For songs like Begging You and Driving South, Squire would turn his guitar up to 11, and drench the songs with smooth licks that wouldn't have sounded out of place on a Stevie Ray Vaughan record. Mani and Reni, the band's motorik rhythm section, responded by thrumming and pounding their instruments to create the intense cacophony of the club. Ian Brown, in turn, would sing enigmatic lyrics that seemed to hum with a sense of pleading and urgency.
The album wasn't all overdrive, however. On 'Daybreak', Brown would pay homage to the sounds of black America by, in a rare moment of the instruments fully breaking away, singing pointedly about the origins of human civilisation in Africa. Then on Love Spreads, one of the record's singles, Brown would sing about the messiah, as he had done on one of the band's beloved songs, 'I Am The Resurrection', but this time he would reframe the messiah as a black woman, rather than himself. It was all very right-on - especially for a band who were kings of a scene where youthful bravura and braggadocio were order of the day.
It meant that, by consequence, when the album was released at the end of 1994, no one really knew what to make of it. Yes, all the composite parts of The Stone Roses were there, but this second record seemed to lack the tunes and immediacy that their debut had. On the 30th anniversary of Second Coming's release, then, perhaps a re-evaluation is due of this record, which for many is a textbook example of the 'sophomore slump'.
30 years on, this is the story of Second Coming, the Stone Roses' often overshadowed and perhaps misunderstood final album.
Please drop a comment, and remember to like and subscribe for future videos like this from The Title Track channel.
**
Note: None of the footage in this video is mine, and I do not own the rights, nor to the songs. Any copyright infringement is not intended, and this video should be considered as falling under 'fair use' classification.
00:49 - 03:27 'Madchester' and the making of The Stone Roses: debut album, Band of the Year, Spike Island
03:28 - 05:19 Writing Second Coming, and why recording a follow-up took so long
05:20 - 08:37 Leaning into blues rock - and how it reflected a different period in the Stone Roses' lives
08:38 - 11:21 A 'woke' Stone Roses?
11:22 - 14:00 Why Second Coming fell flat
**
In 1989, The Stone Roses released their self-titled debut album - one of the most celebrated records in British pop history. Full to the brim of undeniable tunes, it also spoke to a youth culture who were straddling the twin charms of 'baggy' indie and the burgeoning rave and acid house scene. Just like other bands like Joy Division and The Smiths, the four-piece were doing Manchester proud by proving the city as a stomping ground for pioneers of new, exciting music. Like clockwork, the group were voted as the NME readership's band of the year, and they headlined a massive gig at Spike Island in 1990 - an event later heralded as the 'Woodstock of the baggy generation'.
And yet, despite that initial frenzy, five years of silence followed. Many speculated that the band had fallen out due to creative differences, or were hooked on the same drugs that had been so integral to their trippy, funk-laden sound. The reality was a lot more pedestrian - the band were embroiled in a lengthy court battle with Silvertone, the label that had put out their first album. After that finally came to end at the end of a long year, the band took time out to de-stress, travel and actually spend their hard-earned money.
It meant that by the time the band actually regrouped in 1993 to record their long-awaited sophomore album for Geffen Records, they were different people with different ideas in which to take their sound. For John Squire, who wrote the majroity of the band's songs, blues rock baked in the cities of black America was vastly more exciting than the free-love, hazy sound that had made their first album such a success. For songs like Begging You and Driving South, Squire would turn his guitar up to 11, and drench the songs with smooth licks that wouldn't have sounded out of place on a Stevie Ray Vaughan record. Mani and Reni, the band's motorik rhythm section, responded by thrumming and pounding their instruments to create the intense cacophony of the club. Ian Brown, in turn, would sing enigmatic lyrics that seemed to hum with a sense of pleading and urgency.
The album wasn't all overdrive, however. On 'Daybreak', Brown would pay homage to the sounds of black America by, in a rare moment of the instruments fully breaking away, singing pointedly about the origins of human civilisation in Africa. Then on Love Spreads, one of the record's singles, Brown would sing about the messiah, as he had done on one of the band's beloved songs, 'I Am The Resurrection', but this time he would reframe the messiah as a black woman, rather than himself. It was all very right-on - especially for a band who were kings of a scene where youthful bravura and braggadocio were order of the day.
It meant that, by consequence, when the album was released at the end of 1994, no one really knew what to make of it. Yes, all the composite parts of The Stone Roses were there, but this second record seemed to lack the tunes and immediacy that their debut had. On the 30th anniversary of Second Coming's release, then, perhaps a re-evaluation is due of this record, which for many is a textbook example of the 'sophomore slump'.
30 years on, this is the story of Second Coming, the Stone Roses' often overshadowed and perhaps misunderstood final album.
Please drop a comment, and remember to like and subscribe for future videos like this from The Title Track channel.
**
Note: None of the footage in this video is mine, and I do not own the rights, nor to the songs. Any copyright infringement is not intended, and this video should be considered as falling under 'fair use' classification.
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Heard the First La's single, the Waltz Time version of "Way Out" in 1987. Had the Original LP on Vinyl in 1990. I've since heard ALL the versions of the LP. Steve Lillywhite's version is the Best. Best production, Best Tempo's. Paul Weller said his Favorite British Pop song was "Waterloo Sunset" but he has now changed that to "There She Goes".
Great video. x
Damons face is so cute in the thumbnail i love his cheeky snaggle-toothed smile ❤
Fantastic insight , you covered all the bases and more , from nick drake , to pharaoh sanders , which I’m now off to check out , I’d love you to give , the the , your treatment , particularly “ soul mining “ album Great work
Thanks a lot for the view! Glad you dug the video
It’s one of the most underrated songs of the 1990s.
What are they playing from around 10:20 onwards? The jam-style piece? I can't put my finger on it. This is a brilliantly put together video, by the way, bravo. Much for a fan to feast on.
One thing for certain is that barbers during that time suffered tremendously….
Fishin brah….. let it go. And the star spangled banner is about blowing toot up your bum….
Some of the better tracks are like a london centric OK Computer. They both have the same claustrophobia and anxiety in the sound and lyrics. Musically different but can you imagine them covering each other? Coxon would have a field-day with Electroneering or Greenwood with He thought of cars. Speaking of other bands..Even though the Holy Bible by the Manics was about as different as an album could be; tracks like Faster dealt with pop culture speeding up and how celebritydom was slowly overwhelming..well, everything. Musically and production-wise I can hear Coxons and Albarns love for the Fun-boy three and the second specials album. Songs like fade-away are made for Terry Halls type of singing.
Thanks for the comment, James. I now NEED to hear Radiohead covering Blur, and vice versa. I'm not sure which would be the more compelling
I knew John in the days of Cousins (I was 21, he was 19). That cover of "Solid Air"? Anyone who has taken acid knows the strobing after-image of hand gestures in air...
Interesting though, being the number one name in London is Mohammad and people are being arrested for reading the Bible in Speakers Park… that rivers of blood guy.s prediction is coming to reality
Love that song.....and was my introduction to the rest of their catalogue.
I saw John Martyn when he opened for Traffic in 1973. He came out solo and was totally mesmerizing.
I know Lee hate that iconic album but it is a cult classic for a reason. The songs speak for themselves. And for me were far more than some one hit wonder that many class them as.
John squire. genius
I love that song
Really enjoyed this video, had forgotten how much I enjoyed the songs off that album, now I think I understand why
I worked in a particular shop in Mcr, 1993. John Squire came in and bought a Hendrix and a Led Zep VHS tape..
The fook 😅
It’s better than the reception it got, however it’s not great. Far better albums and bands about in the mid 90s
I prefer it to their first!
What movie or show is at 0:50?
the OC
20.23 (the last segment of the video) look at Damon's face in response to Vic showing off like a sarcastic kid.
Well, that was a story about Blur.
Great stuff again. You shone a really interesting light on the lyrics and gives the album more depth than I'd given it credit for. The musicianship on this album is spectacular and yet..... I feel like Squire, a childhood idol of mine and one of the reasons I first bought a guitar, abandoned that sparkling, arpeggio-laden magic of the first album which made him the indie heir to Johnny Marr's throne and 'just' became a very good blues player. The psychedelic soundscapes he created on the debut album gave way to more ego-centric Page-isms. I know Squire thought the debut was "The sound of a two guitar band", but in trying to compensate, he was pushed far too high in the mix (Page is actually pretty low in Led Zep recordings) and infamously loud on stage (just ask Brown!). He no longer seemed to play in service to the music, or the band. Squire wrote nearly everything on this album and, as we saw with his solo material and Seahorses project, he is a much better songwriter with Brown at his side. Brown himself said "The album sounded far too rocky" and "It’s a real shame we didn’t do the second album round the time of ‘Fool’s Gold’.", which I think most would agree with!'One Love' is worth a mention here, as it gives an insight as to what an intermediary album might have sounded like. A perfect balance of blues and Byrdsy jangle. I must've burned a hole through my 'Love Spreads' CD, I played it so much, and I really wanted to love the rest of The Second Coming. 'Ten Storey Love Song' and 'Breaking Into Heaven' (when it finally gets there) are soaring examples of melodious pop-rock but for me it will always remain a missed opportunity.
Thanks again Bryan for the thoughtful comment. Glad you enjoyed the video. A lot of commenters have mentioned Squire's overbearing influence on this record, particularly his guitar sound. I agree that it lacks the sparkle of the previous record, where some of the songs, though rock and funk oriented, have a relaxing and meditative quality. I don't think Second Coming has that. But still an interesting record in its own right. Loved the Waterfall cover on your channel btw!
Beautifully written and narrated. Thank you for teaching me a new word, "Triptych". I think The Great Escape is melodically drenched in pathos and yet Blur's wittiest record. 'Yuko and Hiro' is a hugely overlooked song and 'The Universal' stands as possibly Blur's finest moment. Where the album suffers is, ironically, much of what beset Oasis' 'Be Here Now'. Many of the songs are bloated and over produced. 'Sterotypes', while only just over three minutes, is the clearest example, with it's unnecessarily spun-out structure and blaring synths. Compare that with 'Parklife's much more sculpted 'London Loves'. 'Mr. Robinson's Quango' and 'Entertain Me', are two more that would've benefitted from a few days at the gym. All that being said, I love the album and I appreciate its flaws. It felt like a necessary tipping point for Blur to get to. Great Escape was their critical mass, the final page in that chapter of Blur's journey and a stimulus to their subsequent, more experimental output.
Thanks for the comment and compliment, Bryan. Glad you enjoyed the video. If I had more time in the video, I would have wanted to talk about Yuko and Hiro. It's one of my favourites of theirs and much overlooked as you say. The Great Escape was the necessary precursor for the band to tip over into more experimental work with 13.
It;s really just badly produced. Surely there's an alternative studio mix of it? I heard early funky demos of Love Spreads (sans blues riffs) and this was the early direction before getting taken over by the coke head Squire.
To me it is a blues-rock jamfest with few discernible melodies or original ideas. Whatever magic they had deserted them in the early nineties due to the court case , drugs , laziness , self-indulgence . It's the beginning of the end for Squire as a decent songwriting guitarist . Brown still had plenty left in the tank. Weak songs (Daybreak , Straight to the man , How do you sleep being the worst offenders ) , cliched lyrics , endless guitar workouts , strained 'bluesy' Brown vocals , it's painful to hear a band lose it this badly.
I love this song like I just love a good veg Thali !
Tears and tightrope are 2 of the best roses tunes about.
I love this album
How do you sleep remains my favourite Roses song. The backing vocals of Reni screamed out to me when I first heard it - I queued up at the shop to buy it and take the album home. Love the second coming. Love the Roses.
I got a CD version during the turn of the new millennium to be played on my desktop CDROM drive. First thing that caught my attention was the hologram angel with a wonderful interface. 'Second Coming' could be the best concept album produced entering the era of computing and information overload. It provides numerous solutions to handling systems technology issues. In fact, it could make a vital industry by its entirety. The Stone Roses and the units involved in the Geffen recording are one-of-a-kind.
Sophomore? This isn’t America
It's the internet - welcome, you must be new here
Does anyone know what these guys studied at the Polytechnic University in Preston back then?
Amazing short documentary. The roses put the bar so high for themselves which is perfect. Many bands can't make such memorable songs like these guys. I often find myself listening to the 2nd album more too.
Thanks for the comment and for tuning in - glad you liked the doc! Both records are great as you say - and the second in particular has a lot to say, which it often doesn't get enough credit for
I'm going to listen to the album... again..
I played this song in my car today
Music had change massively in the years between the two albums, i think people were expecting the Second Coming to be more of the same. I was only 11 when the first album came out but the landscape had changed by '94. It's a different but equally brilliant album
It’s great, it just wasn’t as good as their debut album or era. Oasis suffered the same criticism, after the initial impact they made.
who is the politician
Enoch Powell he made the speech “rivers of blood” in the 1960s
@@drq7943 ah ok i assumed so thanks
Masterpiece, just as good as parklife. I get the hate though, i hated country house too. But now i love it. I think their 3 brit pop albums are their best. Their material afterwards is still fantastic but the quality is less consistent imo and they lost that interesting storytelling element the brit pop albums have.
Love both albums long live the stone Roses
And the first one is worse than you think too. Some big tunes but the two albums add up to one good one.
Fantastic video and what an underrated, misunderstood album. For me tears is the best track on the album, that guitar solo sends shivers down my spine
You're not wrong 👍
Biggest overrated band ever
It was in a bargain bin back in the day. I’m not a a fan but I do think this album is great, it still gets a play every now and then, and as previously mentioned there are some cracking tunes on it. Definitely an underrated gem.