The Stone Roses The Stone Roses (Silvertone) That the Stone Roses' debut album is one of the most influential records of all time is now a cornerstone truism of British rock history. But it was a hard-fought battle to set that legacy - and one that ultimately destroyed the band. Borrowing heavily from the psychedelia of the 1960s with more than a nod to Revolver-era Beatles, The Stone Roses is not the most musically original of recordings. Neither is it without flaws: one song eulogised the cover art - a painting by the guitarist - and one of the songs appeared twice, albeit played backwards the second time. Then there's the matter of the singer who couldn't actually sing. Still, The Stone Roses remains a fixture on most-influential lists, has been voted the most important debut of all time and is a must-have for any indie-club DJ, especially for its all-conquering closing track, I am the Resurrection. Even American online indie bible, Pitchfork, usually sneering of English bands, gave the album 10 out of 10 on the release of its remastered 20th-anniversary CD last year, declaring: 'What the Stone Roses did better was marry smart psychedelic pop to dance grooves in an incredibly accessible and powerful way that appealed both to rock and rave fans, lovers of hooks and beats, punks and people who actually welcomed 10-minute guitar solos.' On its release in 1989, the album divided opinions, partly for the very reasons Pitchfork liked it: the Stone Roses embraced the nascent house music scene by incorporating dance rhythms with rock stylings, something that only the shambling Happy Mondays had done before them. The hard beats of house that entered Britain in the late 1980s via clubs such as the Hacienda in the Roses' hometown of Manchester had a massive influence on emerging bands of the time. Combined with the liberating euphoria of the then newly fashionable club drug Ecstasy, it fostered a sense of mass in-the-party-together happiness at odds with the dance-in-the-corner aesthetic of the alternative scene. Indie traditionalists, immersed in a decade of introverted poetry/lyricism, were appalled at the swagger of the new dance-rock, with its slovenly artists in loud clothes worn loose to aid the Ecstasy-fuelled hours of freaky dancing that went with the music. When singer Ian Brown threw down the gauntlet with 'I am the resurrection and I am the light', it opened the floodgates to a new era in British music - pop that was rooted in the underground but yearned to be embraced by the mainstream. Five months after The Stone Roses was released, the band hammered the last nail into the coffin of indie as a cult movement when they played Blackpool's Empress Ballroom, small by most touring bands' standards today but huge for an underground band with just one album to its name. Success was all too short, however. Infighting, a five-year gap until the disappointing follow-up album and the predictable volatility that came from the heady mix of money, ego and drugs took its toll and the band fell apart in 1996. But by then, The Stone Roses had created a formidable legacy. It was the opening salvo in a musical revolution that would spawn hundreds of swaggering alternative rock bands, put alternative music on ever bigger stages and lay the foundations for what was to become Brit-pop.