The closing track of the debut album is two songs in one: a jangly, funky pop verse and a sprawling instrumental jam that lets John Squire cut loose with wah and fuzz. It's the fullest showcase of his range on the record.
What makes the tone. The song section is bright, clean-to-lightly-driven jangle with a funky, percussive right hand. Then the outro shifts gears — Squire piles on wah and fuzz for a psychedelic, Hendrix-indebted freakout, the guitar getting thicker and more unhinged as the band locks into the groove. It travels from Byrds chime to acid-rock in one track.
The analogue recipe. For the verses, a bright guitar into a clean-ish amp with light compression and a funky, muted attack. For the jam, bring in a wah and a fuzz into a cranked amp — let the fuzz bloom and use the wah expressively. Rolling the guitar volume back tames the fuzz for the transitions.
On a Boss GT-100 / GT-1000 / GX-100. Two scenes: a clean, bright, compressed tone for the song, and a fuzz-plus-wah-into-cranked-amp patch for the outro. Assign the wah to the expression pedal. A little delay and reverb give the jam its psychedelic depth.
On a Kemper. A clean jangly profile for the verses, then a cranked profile with a fuzz stomp and wah for the jam. The contrast is the whole trick — keep the song part tight and funky so the outro's explosion of gain lands hard.
Skip the guesswork. The Soulster Tonebook for fans of The Stone Roses → covers Squire's full palette from jangle to fuzz — and our John Squire guitar tone guide → puts the jam in context.
Put it on the wall. The "I Am The Resurrection" Studio print → and Paperback t-shirt → honour one of the great album closers.
This Is The One Guitar Tone: Squire's Build