In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Gary Mounfield, who performed as Mani, died on November 20 in his beloved home town of Manchester, four days after he turned 63.
Mani had two astonishing talents. The first, and most obvious, was as an outstanding bassist, who performed on some of the greatest albums of the late 20th and early 21st Century. On some levels, his philosophy, if not his playing, was simple: he believed that the role of the rhythm section of a pop or rock band was to make the audience dance. In that he was informed by the love that many working-class English people of his time have, or had, for American Soul music. There was something in the smooth sound but hardscrabble origins of Philadelphia R&B that appealed in Piccadilly, at least the Manchester version. The Northern Soul phenomenon, which continues to this day, values the four-to-the-floor drive of some forms of R&B. There are earnest debates about whether 120bpm or 121bpm is the ideal to get people on their feet, and keep them there, although methamphetamine was also a tool to the keep the dancing and dancers going.
Knowledge and love of Northern Soul was key to The Stone Roses. Frontman Ian Brown was a Northern Soul DJ. There is a story that the great soul stomper Geno Washington, who toured the UK regularly even when his star was low in the US, convinced Brown that he had the singing chops and charisma to be a frontman, bringing him out from behind his bass. Precursor outfits, comprising guitarist John Squire and Brown, to The Stone Roses had been circulating around Manchester for several years, making local ripples, but not many waves. Others joined and left the pair with regularity. However when Mani joined the band, Brown noted, “it almost changed overnight. It became a totally different groove … Straight away, everything just fell into place.” The Stone Roses as we know them, were born.
Even with their settled lineup and list of songs that had been honed over a number of years available, The Stone Roses did not wow the world initially. Their debut album, now regularly cited as one of the greatest (if not the greatest) British albums of all time, was warmly but not enthusiastically received. There were no stadium gigs. The release of a 9-minute single, “Fools Gold,” was not initially regarded as a knockout blow. However, it proved to be the catalyst for the appraisal and reappraisal of the band. This was a dance record that launched a whole movement of dance-related records centred around Manchester, dance often fueled by another floor-filling energy and mood boost, MDMA/Ecstasy/E (Molly). If you look at a video where the isolated work of Mani and Reni (the Roses’ drummer) you can see the variety, invention and joy that the two of them brought to the band and the music. They launched the Stone Roses, fully formed, to the world, allowing the work to be recognized and loved properly. Of course, in a four-piece band with a singer who does not play, there is never a place for a musician to hide, but the bass is so prominent in that album. It launches, alone, some of the best songs and, even when played backwards, keeps others going. John Squire’s work is the work of a guitar genius, but it is given a perfect platform to perform feats of fretwork on.
The Stone Roses, despite the vociferous protestations of Ian Brown at the time, never made another great album. After a very difficult gestation they birthed only one more album at all, and it was merely good. Squire and Brown imposed themselves to an even greater extent, in the apparent desire to be Led Zeppelin, on disc and beyond. When that album was less enthusiastically received than the band wanted, the band finally collapsed.
Mani went on to become a part of Primal Scream, and his time in that long-standing outfit contained many of the high points of the band. The albums of that period are some of their best and they became an even more potent live act, with some of their Glastonbury sets going down as the stuff of legend. Mani’s relationship with Bobby Gillespie was strong, and brought out the best in both of them. Mani brought his knowledge of Soul and dance to Gillespie’s psychedelia and rock.
All of this speaks to Mani’s other amazing talent. Many pop and rock stars are described as “mercurial.” This can be a broad euphemism, capturing everything from “talented but quite quiet” to “drug-addled megalomaniac.” Mani formed productive relationships with John Squire, Ian Brown and Bobby Gillespie. His time with each of them represented either the high point of their artistic exploits (The Stone Roses) or some of the highest (Gillespie). Wondrous talents all, of course, but very different, difficult characters. Some of the predecessors of The Stone Roses fell apart because Squire and Brown would not share equal billing, or share funds equitably, with the rhythm section. To this day, “Fools Gold” is credited to Squire and Brown only. The Stone Roses fell out with every record label they worked with, physically vandalizing one of them in a paint attack on their offices, and verbally vandalizing all of them. One of the last times Ian Brown impinged on the consciousness in the UK was after his decision to tour, charging full concert prices, whilst singing over a backing track. Whatever the artistic merits of that, it does not speak of someone who desires or appreciates the camaraderie or input of his fellow musicians. Bobby Gillespie is a witty, erudite, man, who has an amazing knowledge of music. He does not suffer fools gladly and, as anyone who has read the first volume of his autobiography knows, he is capable of carrying a grudge over decades. He has issued public apologies for some of his behavior. In addition to the amazing music they made together, Mani was a “frontman” or “hypeman” for interviews whilst Gillespie skulked on the sofa in dark glasses, and PR always helps a band. When Mani convinced The Stone Roses to get back together for a period of time, Gillespie acceded with good grace and humor. You can check the internet for how often these terms are used in conjunction with his persona.
As the Manchester music journalist John Robb pointed out in multiple print and TV interviews, everyone loved Mani, and they all said so long before his untimely death. Yes, when someone dies, you get tributes, but these were heartfelt. Younger musicians who felt appreciated and mentored by him, others in trouble that he supported. Many, many good causes in Manchester that appreciated his help. The ability to bring people together is a valuable talent to possess.
Mani had a long, successful marriage (which is not always the way with rock stars), which might have helped in all these endeavours, but the loss of his wife to cancer in 2023 was a tough blow for him to take.
The Stone Roses did not record covers, perhaps all the better for their writing royalties (or at least the two that got writing royalties), but others have covered their songs. Primal Scream, during the Mani years, paid tribute to some fascinating influences. We have captured some of those here.
King Woman – I Wanna Be Adored (The Stone Roses cover)
If you have one of the great bass intros of all time, you should emphasize it in a cover, even when putting your own stamp on the number. King Woman slow it down, emphasize it, allow it to wash over you like a dark wave, before launching into the song.
93MilesFromTheSun- Fool’s Gold (The Stone Roses cover)
Taken from the Madchester tribute album, this version captures the danceability (albeit at a later stage in the evening) of the original, whilst emphasizing the psychedelic roots of the piece.
Manchester String Quartet – Ten Storey Love Song (The Stone Roses cover)
Manchester does not just excel at pop music and dance movements. There is a thriving classical music tradition, including one of the best music schools in the country, a top-class musical conservatoire, a much-storied orchestra, and all the projects that go with having that tradition. There is crossover. Emily Roberts of The Last Dinner Party learnt some of her guitar chops at the music school. You can always find talented session musicians in the city if you need them. That is what sustains a musical tradition.
The Stone Roses did make another album, and it is merely good rather than great. This string quartet makes a great job of covering one of the tracks.
Primal Scream – Urban Guerrilla (Hawkwind cover)
Mani was regarded as one of the nicest musicians in the industry. A previous bassist with that reputation was Lemmy Kilminster, of Hawkwind and Motorhead. You will struggle to find anyone with a bad word for him, and if you did there would be many, many more good testimonials. So it is lovely to have that nexus on this excellent cover.
Primal Scream and Kate Moss – Some Velvet Morning (Lee Hazlewood and Nancy Sinatra cover)
Bobby Gillespie has eclectic musical tastes, and Mani may have opened his eyes to more. Psychedelia and dance yes, but they take good music where they find it. And if Kate Moss wants to join in, why not?
(For our non-Scottish readers: the official lyrics of this song suggest that the male protagonist wants to enter the female’s “gate.” That is not how it sounds to Gillespie’s fellow Scotspeople. We think he is suggesting a more intimate interaction.)
