Ian Brown
Unfinished Monkey Business
Polydor

In August 1996, The Stone Roses played what was to become their last ever concert at England's Reading Festival. It has become part of rock history for all the wrong reasons. The press focused on one man - the singer, Ian Brown. A man who had enjoyed fawning praise at the turn of the decade had come full circle. For many at that gig, it wasn't the Roses on the stage, it was more of a tribute band featuring Brown and the bassist Mani. I was actually right down the front at that gig, and enjoyed every minute, singing along with the crowd. But I've heard the bootlegs and Brown's vocals were appalling. The press crucified him, and a few weeks later, Mani joined Primal Scream and Brown announced the end of The Stone Roses.

Almost everyone pinned their hopes on John Squire, the Roses guitarist who had left the band before Reading. He had written most of the music on their last album, and was perceived as the talent of the band. He was the only Roses member retained by Geffen Records and there were high hopes for his new band, The Seahorses. Until the records came out. There was almost universal disappointment when Squire's new music was heard. Formulaic, often dull and unambitious. An unqualified commercial success, but a critical non-starter. It has it's moments, but isn't an album I play regularly if at all.

All of which makes Ian Brown's return this year all the more triumphant. Against all the odds, Brown's debut album is superior to Squire in just about every possible way. Unfinished Monkey Business (what a great title) is one of those records which explains why I am so obsessed with music. A fantastic surprise.

It's not an album that is going to sell millions, mainly because it is so incredibly ambitious. Before last year, Brown couldn't play an instrument. On this album, he produced all of the tracks, and plays guitar, bass, keyboards and harmonica. At times, it shows and on the first few listens I couldn't help but wish the album had been recorded more professionally, but now I realise that's not the point. This is a massive statement from Ian Brown to those who have questioned his talent. There are many others on the record, including the session musicians who were with him at Reading, but they really are bit players. This is Brown's album, make no mistake. He's been telling the world to wake up since day one of the Stone Roses. This is his way, he's made an album by himself. Ironically, the Seahorses album is called Do It Yourself. He's done that.

It's easy to be critical. The title track is an awful instrumental that finishes the album. The "duet" with Denise Johnson, Lions is frankly irritating, and as I've hinted earlier, it occasionally sounds very amateur. But to be over-critical is to take away from the beauty, the art, and the astonishing ambition, that runs through the record. Listening to tracks like the single My Star (a song which gets better with each listen), Can't See Me, and forthcoming release Corpses In Their Mouths (a Situationist lyric, which is one of the album's themes), makes me deliriously happy that Ian Brown is still around. He makes a return to the live arena with festival appearances this summer. The gigs could be a triumph or disaster. It will be exciting to find out. Good luck Ian.

Copyright © 1998 Craig Scrogie