Welcome to the Long Wait
Released in December 1994, Second Coming arrived after five years of silence, lawsuits, and mounting expectations. By then, Britpop was already in full swing, Oasis were swiping their swagger, and the Roses were supposed to reclaim their throne. Instead, they delivered Second Coming a bluesy, riff-heavy sprawl that divided critics and fans alike. Some hailed it as bold; others as bloated. Either way, it was loud.
I remember hearing “Love Spreads” on the radio for the first time. That opening riff? It slithered like a serpent, then exploded into a swaggering monster. For a second, I thought the Roses were back to reclaim the universe. Then came the rest of the album… and the debates haven’t stopped since.
Table of Contents
Who’s Still in the Garden?
- Ian Brown – vocals, cheekbones, shamanic mumbling
- John Squire – guitars, riffs big enough to fight God
- Mani (Gary Mounfield) – bass, groove and glue
- Reni (Alan Wren) – drums, backing vocals, departed mid-tour
The chemistry was strained, the egos inflated, and the scene had shifted. Yet, somehow, this lineup managed to summon a storm.
Themes: Swagger, Myth, and Overindulgence
Second Coming is about ambition-sometimes triumphant, sometimes disastrous. It’s the sound of a band trying to outgrow their own legend and getting tangled in the process. Swaggering riffs, mystical mumbling, and endless jams-it’s both a bold statement and a cautionary tale.
Track by Track: Apocalypse Now
1. Breaking into Heaven
An audacious opener: nearly two minutes of ambient jungle sounds before the music crashes in. When it does, it’s a brooding, bluesy dirge, more jam than song. Brown mutters like a street prophet while Squire wields riffs like thunderbolts. It’s sprawling, messy, and utterly unapologetic.
2. Driving South
Here the Roses go full Zeppelin. The riffs crunch, the drums pound, and Brown… well, he sort of keeps up. It’s more about Squire flexing his guitar muscles than anything else, but the sheer bombast carries it. The swagger is undeniable, even if subtlety has been shoved out the door.
3. Ten Storey Love Song
The closest thing to the debut’s jangle-pop magic on Second Coming. Sweet, melodic, and ridiculously catchy, it’s a reminder that the Roses could still write songs, not just jams. Brown’s vocal actually shines here, and the chorus is pure earworm. One of the few moments where everyone’s on the same page.
4. Daybreak
Seven minutes of funk-rock jamming. Mani and Reni lock into a groove while Squire doodles all over the top. It’s hypnotic in places, tedious in others-depending on your tolerance for extended noodling. Personally, I think it’s the sound of a band enjoying themselves a bit too much in the studio.
5. Your Star Will Shine
A short, acoustic breather that feels almost tossed off. Pleasant enough, but it’s lightweight compared to the surrounding tracks. Brown delivers a tender vocal, but at under three minutes it barely registers. More interlude than statement.
6. Straight to the Man
Funky, loose, and slightly shambolic. Brown mutters over a groove that feels half-finished. It’s not terrible, but it’s filler. The kind of track you forget exists until it pops up and you think, “Oh, right, this one.”
7. Begging You
Now this is more like it-an electronic-tinged, dance-rock monster. Mani’s bass is monstrous, Reni’s drums are relentless, and Squire’s guitar spirals like a rave on fire. It’s chaotic but exhilarating, a reminder that the Roses could still innovate when they weren’t drowning in their own excess.
8. Tightrope
Acoustic-led and surprisingly tender, with shades of the Byrds in its harmonies. It’s a breather after the chaos of “Begging You,” but a charming one. Brown’s vocal is fragile yet effective, proving he didn’t always need to mumble like a prophet in a wind tunnel.
9. Good Times
Another bluesy rocker, this one more upbeat and driving. It’s fun, but it doesn’t quite transcend its influences. Feels more like a decent jam session than an essential song. Still, Reni’s drumming elevates it beyond pub-rock territory.
10. Tears
Epic, sprawling, and drenched in emotion. At over six minutes, it’s indulgent, but Squire’s guitar lines are genuinely gorgeous. Brown delivers one of his more affecting vocals, and the whole track feels like the band reaching for something transcendent. A highlight.
11. How Do You Sleep
A mid-tempo rocker that doesn’t quite land. It’s fine-competent even-but compared to the highs of the album, it feels pedestrian. The kind of track you nod along to, then forget as soon as it ends.
12. Love Spreads
The lead single and still a monster. That riff is undeniable, a swampy blues juggernaut that stomps everything in its path. Brown’s cryptic, quasi-religious lyrics are secondary, it’s all about the groove. A defiant closer that proved the Roses could still deliver when they wanted to.
Artwork: Biblical Swagger
The cover, another John Squire creation, is dense with imagery: layered collage, muted tones, and a religious undercurrent fitting the album’s title. It feels heavier, more cluttered, like the music itself. Gone are the bright splashes of colour, this is art as scripture, demanding you dig deeper (or just squint harder).
Production: From Jangle to Juggernaut
Recorded at Rockfield Studios in Wales and produced largely by John Leckie (before Squire took heavier control), Second Coming trades the chiming psychedelia of the debut for Zeppelin-inspired riffage. The guitars roar, the drums thunder, and Mani’s bass thumps with newfound heaviness. It’s ambitious but chaotic, sometimes brilliant, sometimes baffling.
If the debut was a sparkling summer haze, Second Coming is a storm rolling in—dark, unpredictable, and unignorable.
Trivia: Roses in Thorns
- The five-year gap between albums was due to legal battles with their former label Silvertone.
- “Love Spreads” reached #2 on the UK Singles Chart, their highest-charting single.
- Reni left the band during the troubled tour, leading to their eventual collapse.
- John Squire’s dominance over the music created tensions with Ian Brown that never healed.
- The album was recorded at the same Rockfield Studios used by Queen and Oasis.
Legacy: Flawed but Fascinating
Second Coming split critics down the middle, and it still does. Some see it as an underrated gem; others as proof the Roses lost the plot. What’s undeniable is its impact – without it, we wouldn’t have Oasis doubling down on swagger or a generation of Britpop bands leaning into riffs and attitude.
It may not be adored like the debut, but it refuses to be ignored.
My Final Thoughts: Resurrection or Regression?
I think Second Coming is messy, bloated, and brilliant in flashes. It’s not the masterpiece fans waited five years for, but it’s far from a disaster. The highs—“Love Spreads,” “Ten Storey Love Song,” “Begging You,” “Tears”—are undeniable. The lows are… well, really low. But even at its weakest, the album has ambition.
Would I recommend it? Yes, but with caveats. Don’t expect another debut. Expect a band in transition, wrestling with their own myth, and occasionally striking gold.
If You Liked Second Coming, I Recommend These:
- Led Zeppelin – Physical Graffiti (1975): Where the Roses stole half their riffs.
- Oasis – (What’s the Story) Morning Glory? (1995): The swagger baton passed.
- The Verve – A Storm in Heaven (1993): Dreamy, ambitious, and chaotic in its own way.
