Actually, Jimster, when all that stuff was going on, I was listening to hip-hop, house and what they were calling "street soul" (Loose Ends, Rosaline Joyce, Projection, Deluxe, that kind of thing). I didn't give a fuck about guitar bands. I took a lot of convincing when it came to the Roses. When I was living in Manchester, they were just a two-bob circuit band known for kick-offs at their gigs (they had a big scooter boy following), and for tagging every listed building in the city centre. When the album came out, I remember a lot of people getting really excited about it; there'd been something of a buzz around the preceding singles, but all the time I was thinking, hang on, is this the same crappy Stone Roses from a few years ago? Why all the fuss? Did they suddenly get good or something? Evidently, a lot of people thought they had. One of them was a mate who's now quite a well-established TV director in the UK. I was doing some work with him while I was studying film at a local college not long after the album came out. He played it all the time in his car that summer, and eventually it wore me down. I did like Fool's Gold from the off, though - all the indie kids thought it was inspired by Can, but anyone who'd spent any time at the Hacienda could tell you they'd just hoisted the bassline from Young MC's Know How (something Mani finally admitted to on the radio a few years ago). To be perfectly honest I always prefered The Charlatans, although the fact they were mates probably had a little bit to do with that. Nonetheless, I never saw them do a bad gig, ever, and for all the stick Tim Burgess took BITD for supposedly being Ian Brown's Mini-Me, he was a far better singer. As for the Mondays, every time I saw them, they were a drug-fucked shambles. A big part of their appeal for some. I tended to stick with the records.