Comprising guitarist John Squire, Ian Brown on vocals, Alan “Reni” Wren on drums, and the late bassist Gary “Mani” Mounfield, the Stone Roses emerged from the vibrant Manchester music scene in the late 1980s with a brand-new sound that combined ’60s guitar pop with contemporary dance grooves.
Powered by one of the best rhythm sections of the decade, their self-titled debut album filled the dancefloors of student unions everywhere, and introduced a whole generation of rock fans to the joy of dance music and club culture.
Taken from their highly influential self-titled debut album, released in 1989, Waterfall is classic Roses stuff: a jangly guitar riff propelled along by a double time drum groove, searing vocal melodies, and an understated bassline played high up the neck, which complements the song’s ’60s vibe perfectly.
“Ian and John are both big Sly Stone and Northern Soul fans – I suppose you can't help but wear your influences on your sleeve. We were always – I wouldn't call it pinching – recycling our favorite grooves. We were very eco-friendly about it.”
Written in the key of F#, Waterfall uses primarily diatonic chords with the exception of the E major (VII) that kicks off the chorus and provides a contrast from the predominant tonic chord riff.
The main bass riff is constructed from the root (F#), fifth (C#) and octave, consciously avoiding the major third, which allows Squire's jangly guitar (that emphasises the 3rd and 4th of the chord) to ring clearly.
It’s played entirely in ninth position using only the first and third fingers of your fretting hand. Don't emphasise the hammer-on at the end of the bar – this should be subtle and not detract from the song's floating groove. For the rest of the song Mani doubles Squire's descending bass patterns an octave lower.
Delivered in the rolling, groovy style for which he was well known, Mani’s bassline came out without much forethought. “I think the more knowledge you have, the more constrained you are,” he told Bass Player in 2010. “That’s just my way of looking at it.”
“What I’ve done in my playing career is try not to learn anything – scales, and the circle of bloody fifths and thirds and what have you. I don’t want to know how it works, because then you’re missing out on all the other stuff by looking at the parameters that you’re supposed to abide by.
“I think the more knowledge you have, the more constrained you are. Ignorance is bliss. I’d take passion over technical knowledge any day. I just play what comes straight out of my heart.”
In the Roses, Mani famously played a paint-splattered Rickenbacker bass through a Mesa/Boogie rig.
“I think it's a 3000 or an El Dorado or something. It's as rare as rocking horse shit. It's getting a bit tatty now – there's nothing left on the truss rod – and l've just managed to find another one. I just really like the tone and the attack and everything you get on them. It's a fucking man’s bass!”
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