Earlier today, British music lost one of its most vibrant, dynamic, and unstoppable personalities. The passing of Mani, originally named Gary Mounfield, will be profoundly felt, as the exuberant and down-to-earth bassist maintained an exceptional bond with fans despite his legendary stature. At concerts or DJ sets over the years, Mani always seemed to have time for everyone, embodying the spirit of the people, and his diverse, funky tastes expanded the horizons of every project he undertook.
A legend with The Stone Roses, Mani also played a significant role with Primal Scream during a pivotal time in their evolution, assisting in the transformation of their sound.
An extraordinary, occasionally underrated musician, Mani was also the cohesive force that held those bands together. According to legend, it was during the wake for Mani’s mother that John Squire and Ian Brown reunited for the first time in a decade, a conversation that ignited the remarkable second chapter of The Stone Roses.
The news is still fresh, but Clash reflects on Mani’s life through six defining bass lines.
—
‘Elephant Stone’
The early works of The Stone Roses are marked by musicians discovering their unique identities, moving away from their gothic beginnings by embracing soul, funk, and the emerging house sounds. In this writer's view, ‘Elephant Stone’ marks the inception of their imperial period, showcasing formidable, zen-like cool.
Written seemingly on the day guitarist John Squire acquired his first wah-wah pedal, Mani’s looping bass line serves as the song’s foundation. While you can hear Reni’s fantastic drum fills and Ian Brown’s narrative of disenchantment, ‘Elephant Stone’ remains anchored by Mani’s raw funk.
—
‘Waterfall’
The Stone Roses’ debut album rightfully stands as one of the most impactful British guitar records of its time, offering an endlessly uplifting experience. Each track celebrates overcoming obstacles, with ‘Waterfall’ emerging as a standout single.
The Byrds-like chiming guitars evoke indie bliss, but Mani’s bass line slices through those 60s references. Rooted in rhythm, he also experiments with octave notes, providing a sweet melodic contrast to John Squire’s guitar work. This dynamic would be further explored during their live performances, allowing the song to expand into soulful euphoria.
—
‘Fools Gold’
Possibly the most iconic bass line of its time, ‘Fools Gold’ saw Mani famously borrowing from Young MC’s classic hip-hop track ‘Know How’ after a wild night out in Manchester. A landmark in indie music history, it brings together the band’s distinct interplay — Reni’s almost mechanical rhythm, John Squire’s unparalleled wah wah, and Ian Brown’s hushed delivery — all centered around Mani’s powerful bass line. This collaboration exemplifies the sense of ‘anything goes’ that characterized Manchester music on the brink of the 90s.
—
‘Something’s Burning’
It’s a common question in pubs: where might The Stone Roses have gone next? Caught up in legal issues with their then-label, the band had to step back from the spotlight, aside from the 1990 single ‘One Love’.
On the flip side, you may find the answer. Always attuned to street culture, ‘Something’s Burning’ leans into darker themes, possibly aware of the rising gang violence in Manchester. Essentially a seven-minute bass solo, Mani’s explorations oscillate between Bootsy Collins’ elastic funk and the innovative experimentation of Can.
—
‘Daybreak’
Much-anticipated and shrouded in myth, ‘The Second Coming’ may not have lived up to expectations, but it's a stronger album than many assume. Famously, John Squire’s dominating tendencies came to the surface, yet one of the album’s most straightforwardly enjoyable tracks is one of the few credited to the entire band.
With radiant songwriting filled with hope, ‘Daybreak’ presents a glimpse of what could’ve been for the often-misunderstood follow-up. As a bonus, Mani employed a Rickenbacker bass throughout, contributing to its distinct sound.
—
‘Exterminator’
Mani was nothing if not devoted to his craft. He remained with The Stone Roses until their final moments and played alongside Ian Brown – as well as some newer, arguably lesser, members – at their infamous last performance at Reading Festival.
Primal Scream had long admired The Roses and eagerly welcomed Mani into their eclectic fold. Remaining with the band until 2011, highlights include ‘XTRMNTR’ and its compelling, paranoid thrills.
As a kind-of title track, ‘Exterminator’ combines pulsating dub-inspired low-end with punk intensity; it’s an immensely powerful moment from an album that turns amphetamine-fueled aggression into artistry.
Additionally noteworthy is that during Primal Scream’s controversial Glastonbury set in 2005, it was Mani who stepped onto the stage with a bright smile, effortlessly playing the catchy bassline to the Jackson
Madilyn Mei welcomes us into their vibrant realm of whimsy, queerness, and emotional release with ‘A Thousand Songs About It All: Act 1,’ a personal indie folk creation where metaphors, musicals, and mental health intersect.
Absolutely stunning.
Well positioned to stay on track in becoming a genuine cult band.
The Aces brought the enchantment of their disco-infused fourth album to Irving Plaza in NYC, just a few days before launching their new single, "Square One."
Bread & Butter is partnering with Kaya Fyah to celebrate the one-year anniversary of her debut release with KAYA FYAH'S HOUSE PARTY. Kaya Fyah
Nathan Fake is set to launch his new album, 'Evaporator', on February 20th. The acclaimed producer has been focused on his unique career for 20 years now.
Earlier today, British music mourned the passing of one of its most vibrant, dynamic, and unstoppable personalities. The death of Mani – whose real name was simply Gary Mounfield – will be