Happy Mondays "Uncle Dysfunktional" (2007)

Uncle Dysfunktional

release date: Jul. 2, 2007

format: digital (13 x File, MP3)

[album rate: 3 / 5] [2,88]

producer: Sunny Levine

label: Sequel Records - nationality: England, UK

Track highlights: 1. "Jellybean" - 2. "Angels and Whores" - 5. "Cuntry Disco" - 7. "Anti Warhole (On the Dancefloor)" - 8. "Rush Rush"

5th studio album by Happy Mondays following 15 years after ... Yes Please (1992) is the bands first album with a new line-up, and as of 2018 also the so far final album by The Mondays. After the disbandment in '93, Shaun Ryder and Bez went on to form Black Grape but after two albums and another disbandment, Ryder once again took the initiative to reform his old band with younger brother Paul, best mate Bez and drummer Gary Whelan from the initial line-up but now without keyboardist Paul Davis and guitarist Mark Day. This line-up was expanded with new guitarist "Wags" [Paul Wagstaff], former backing vocalist Rowetta, rapper "Nuts", keyboardist Ben Leach and percussionist Lea Mullen making the band a nonet [nine members]. With this line-up the band was active from 1999 to 2001, and during this short period, they succesfully toured the world and played concerts without releasing other than the Thin Lizzy cover of "The Boys Are Back in Town" (1999). It all came to an end in 2001 after Shaun in Melbourne, Australia, got together with Shane Norton, Pete Carroll and Stephen Mallinder and recorded a bunch of new songs - first to be released in 2003 as Amateur Night in the Big Top. - after which Paul left The Mondays and the band dissolved - again. In 2004, Shaun, Bez and Whelan revived the band by recruiting guitarist Kavin Sandhu, bassist Mike Shine, keyboardist Dave Parkinson as well as guitarist John Dunn making it a septet. After a while, Parkinson was replaced by Dan Broad, and shortly prior to the recordings, also Dunn left the band,. So here the Mondays are "the old core" of Shaun Ryder, Bez, and Gary Whelan, and a complete septet together with Kav Sandhu, Mike Shine, Dan Broad and Julie Gordon.

Musically, it's clear that the band aims to make another 'classic' Happy Mondays album by mixing neo-psychedelia, pop soul, funk and alt. dance, but it's also striking how old-school it all sounds. Not much has happened since the 90s it seems, and the album simply lacks good songs. The album was met by mixed reviews and it peaked at a low number #73 on the UK albums chart list, and the two singles, "Jellybean" and "Dysfunctional Uncle" (track #9) failed to chart.

Uncle Dysfunctional surely revives the style and sound of The Mondays, but it mainly serves to maintain the impression of an existing legendary band - and they are able to tour and make a living. The band has continued in various line-ups since. In 2012 Ryder announced that they would continue in the original line-up with a welcome back to his brother Paul on bass, Mike Day on guitar, Paul Davis on keyboards and Rowetta on vocals. They also proclaimed to be working on new material, although, that has yet to materialise. In 2015 Davis left the band and was subsequently replaced by Dan Broad.

Shaun Ryder apparently argued that he could've released the album under the Black Grape band name, but with respect to Bez and Whelan, he went with the Mondays [and yes, Bez was actually in both bands but ended up leaving Black Grape - so there U have that].

Not good, but still better than ... Yes Please, which unfortunately doesn't say much, tho'.

Not recommended.

[ 👍allmusic.com, The Guardian 3 / 5, NME 3,5 / 5 stars ]

Happy Mondays "...Yes Please!" (1992)

...Yes Please!

release date: Oct. 1992

format: cd

[album rate: 2,5 / 5] [2,64]

producer: Chris Frantz & Tina Weymouth

label: Factory Records - nationality: England, UK

Track highlights: 1. "Stinkin Thinkin' " - 3. "Sunshine and Love" - 6. "Cut 'Em Loose Bruce"

4th and originally final album by Happy Mondays and also the final album on Factory Records. The album follows two years after the acclaimed Pills 'n' Thrills & Bellyaches (Apr. 1990) and is produced by Chris Frantz and Tina Weymouth of Tom Tom Club and Talking Heads. Initially, the album was planned to have Oakenfold and Osborne as producers but as they were unable to find the time, new producers had to be considered. The album is notorious for several reasons. Before the recordings, both Shaun Ryder and Bez were deep into drug addiction, Whelan and Paul Ryder took to alcohol abuse and Paul Davis was both on drugs and alcohol. The manager and managers at Factory brought up the idea to have the band re-located to Barbados in an attempt to prevent substance abuse and secure ideal circumstances. However, in Barbados drugs and substance abuse was out of control, which of course afflicted the recording sessions. Furthermore, Factory were in financial difficulties and with new skyrocketing costs of the album Republic (1993) by New Order together with near-endless growing costs for this very album, the legendary record label declared bankruptcy Nov. 1992.

When reading about the recording sessions, it's probably not without sheer luck that they managed to come up with a new album. But two dynamic producers couldn't prevent the material from suffering. Drugs and alcohol in combination with strained internal relations hasn't exactly helped produce a bunch of great songs. The style has changed and perhaps even inadvertently to something more stringent. It's no longer the huge melting pot of styles but a style heavily built on funk and indie rock, and mostly without the strong traits from acid house and rave beats. Yes, it still maintains some alt. dance but in a subdued manner where guitars and drums dominate. Apparently, Shaun Ryder had been unable to produce the lyrics at the original sessions, which had to be added later back in England and that also reflects the end result. It's music without nerve, without strong hooks and ideas. Only positive thing here is the strong vocal performance by backing vocalist Rowetta, which says a great deal about the album. You can still tell it's Happy Mondays, but Shaun Ryder, who's lost all vitality only represents the rest of a band sounding as if they don't even bother trying. According to Shaun [see below link], the choice of producers was crucial to the failure of the album. He acknowledges Frantz and Weymouth as great artists but believes they directed the music into something more rock-oriented, which didn't fit with the new-found sound of the band, and that also prevented him from coming up with proper lyrics 'cause he needed to be inspired by their new music, which simply wasn't there. An argument, I completely buy because the alt. dance and pop-sound of the '90-album is seriously lacking on this.

The album was met by luke-warm to mostly negative reviews but still charted as high as number #14 on the UK charts. Tracks #1 and #3 were the only songs selected for single releases and didn't reach top-10 in the UK but went number #1 and #5 on the Hot Dance Club Songs list in the US. After the release, Happy Mondays toured with the album in the UK and Europe, and then finished off in Japan early '93. After the collapse of Factory Records the band and manager were in contact with various labels but after internal conflicts about the failure of the new album and the-who-did-what-thing, the band finally disbanded in early '93. Later that year, Shaun Ryder and Bez continued in the quintet Black Grape.

This album is not more than plain mediocre, and at times sounds (disastrously) more like Frantz and Weymouth have taken over (more than) the arrangements - it's clearly the least favourable album by Happy Mondays and not recommended.

[ allmusic.com 1,5 / 5, Select 2 / 5, Q Magazine 4 / 5 stars ]

[ Shaun's version of ...Yes Please! ]

Happy Mondays "Pills 'n' Thrills and Bellyaches" (1990)

Pills 'n' Thrills and Bellyaches

release date: Apr. 1990

format: cd (2007 remaster)

[album rate: 4 / 5] [3,82]

producer: Paul Oakenfold, Steve Osborne

label: Rhino Records - nationality: England, UK

Track highlights: 1. "Kinky Afro" (4,5 / 5) - 2. "God's Cop" - 3. "Donovan" - 4. "Grandbag's Funeral" - 5. "Loose Fit" - 6. "Dennis and Lois" - 7. "Bob's Yer Uncle" (4 / 5) - 8. "Step On"

3rd studio album by Happy Mondays following 1½ years after Bummed (Nov. 1988) originally released on Factory Records. After Happy Mondays' commercial breakthrough with a remix of the hit song "Hallelujah" taken from the ep Madchester Rave On (Nov. 1989) and a similar follow-up succes with the cover song "Step On", the band went to the studio with the two DJs and remix producers Paul Oakenfold and Steve Osborne to see if they could carry the succes of their Club Mixes into shaping a collection of new songs. After all, the band had always been a club house party band and just by its title, the album alludes to a certain unhealthy but nevertheless characteristic lifestyle of this particular band.

If the band blended styles and genres on Bummed, they simply take it to another level here by fusioning the whole mix of the predecessor with modern dance beats, electronic rave and basically embracing the style of acid house. It's a modern version of rock that mixes reminiscences of post-punk with indie pop, neo-psychedelia, funk, disco, soul, alt. dance, techno - and whatever made people dance.

The album was met by great enthusiasm and peaked at number #4 on the British albums chart list bringing new fame to the Factory label. Although, only released in a remix, the first single "Step On" went to #5 on the UK singles chart list, and "Kinky Afro" ecqualed that (and went #1 on the Modern Rock list in the US), which was followed by single releases of "Loose Fit" (#17 in the UK) and "Bob's Yer uncle" (US promo single only).

In retrospect, the album sits on top of the whole 'baggy / madchester' movement as an iconic cornerstone. With it's unique stylistic mix and Ryder's original singing style, it showcases a most specific time full of exstacy pills and abuse. Ryder mumbles along with funny semi-autobiografical lyrics about sex, drugs, and everyday life of the working-class in Manchester - events, episodes, and funny phrases all stashed together, just like the music. It's over-the-top and at times odd touching on the bizarre, but also damn charming and full of youthful energy. It's also obvious that with the right people to produce their music, the end result simply improves above what everyone can see is mere potential. John Cale and Martin Hannett simply didn't really know what they were dealing with - or, at least the latter knew something but wasn't quite able to follow suit. Oakenfield and Osbourne are both part of the contemporary dance-scene and in retrospect you may only ask yourself why on earth Factory weren't better in finding matching engineers and producers.

The album is enlisted in "1001 Albums You Must Hear Before You Die". Both the '88-album and the successor contains great tunes, but this is simply the band's best effort. Imho, I never was a huge fan of The Mondays. Generally, I have always found the huge blend of styles to be too much of mix, although, really enjoying a few of their songs, but with the rest being too far from that. Still, this one is more than just fine.

The 2007 Rhino remaster contains five bonus tracks: two 12'' versions of tracks #5 and #7; two remixes of tracks #1 and #8; and the previously unreleased song "Tokoloshie Man".

Recommended.

[ allmusic.com, Q Magazine, Select 5 / 5, NME 4,5 / 5, Sounds, Uncut 4 / 5 stars ]

Happy Mondays "Hallelujah" (1989) (ep)

Hallelujah, ep

release date: Dec. 1989

format: cd

[album rate: 3,5 / 5] [3,62]

producer: Martin Hannett

label: Factory Records - nationality: England, UK

Track highlights: 1. "Hallelujah (MacColl Mix)" - 2. "Clap Your Hands" - 4. "Rave On" - 5. "Hallelujah (Club Mix)" - 6. "Rave On (Club Mix)" - 7. "W.F.L. (Think About the Future Mix)"

Ep release of the non-album track "Hallelujah" by Happy Mondays. Originally it was released exclusively for the UK market in Nov. '89 in two versions: a 4-track 12'' ep titled Madchester Rave On, and as a 2-track 7'' single titled Hallelujah. In December it was re-released in this expanded 7-track edition consisting of other remixes spliced with the Madchester Rave On ep now targeted for the European continental and US markets. Martin Hannett is producer of the original recordings but four of the tracks are made as additional production remixes. Paul Oakenfold is credited as remix producer on tracks #5, #6, #7 - track #5 together with Andy Wetherall and track #6 with Terry Farley - Steve Lillywhite is remix producer of track #1.

This is a nice collection of extended mixes and various remixes, and it serves as a fine document of the general appeal of Happy Mondays on the club arena back in the day. It also features some of Paul Oakenfold's early remixes for the band, which paved way for his role on the 1990-album, which may be seen as the band's pinnacle.

Happy Mondays "Bummed" (1988)

Bummed

release date: Nov. 1988

format: cd (2000 reissue)

[album rate: 3,5 / 5] [3,66]

producer: Martin Hannett

label: Factory / London Records - nationality: England, UK

Track highlights: 1. "Country Song" - 2. "Moving in With" - 3. "Mad Cyril" - 5. "Performance" (studio session) - 6. "Brain Dead" - 7. "Wrote for Luck" - 9. "Do It Better"

2nd full-length studio album by Happy Mondays follows 1½ years after Squirrel and G-Man Twenty Four Hour Party People... (Apr. 1987) and is made with Factory-label's acclaimed producer, Martin Hannett. The band consists of the usual five: vocalist Shaun Ryder, his younger brother Paul on bass, Mark Day on guitar, Paul Davis on keyboards, (Gary) 'Gaz' Whelan on drums, and with Mark 'Bez' Berry on percussion. All ten songs are credited the band but it's commonly known that Shaun wrote the lyrics 'cause "the rest of 'em can't be arsed". Btw. the song "Lazyitis" (track #10) is basically "Ticket to Ride" by The Beatles with new lyrics and nearly unrecognisable arrangement.

Musically, it's a huge move from the debut and the band has progressed from being an indie rock band to one founded on a mix of styles, including alt. dance, indie pop, soul, funk, and neo-psychedelia making Happy Mondays one of the original bands behind the baggy / madchester style it should later be known as. The band also went by the alias The Mondays or 'The 24 Hour Party People' and they were one of many artists and bands playing at the famous The Haçienda music club founded by Factory and New Order in unison. Together with The Stone Roses and 808 State - all originating from Greater Manchester - they all produced dance-oriented music with various stylistic elements. The Stone Roses played alt. dance founded on jangle pop and indie rock, and 808 State built their sound on electronica, and then a number of other artists soon emerged on the scene. Producer Martin Hannett to some extent proves his worth here after having been recognised for his minimalist, dark and strict sound when engineering the soundscape for Joy Division less than a decade ago. Shaun Ryder recounts in his autobiography "Twisting My Melon" (2011) how he had been excited to have Hannett produce the album, as Ryder had been a big fan of the Joy Division productions and were thrilled to see what Hannett would come up with. Perhaps John Cale produced the debut album one year earlier with the intend to approach something with a more distinct art rock sound, and as a contrast to that, the sound here weaves in and out of focus making room for a multi-coloured palette, and on top of that, Shaun Ryder bounces freely in his original mumbling narrating style. Ryder describes it as the first really good album of theirs despite memories of recording sessions with drugs all over the place. And Hannett perhaps being the most experimental when Ryder and Bez introduced everyone to E.

The album doesn't contain noteworthy obvious hits, although "Wrote for Luck" had been chosen for single release in late October and is highly characteristic for the band, but it really launched its own life and positioned the band up the charts a bit later when it was released in a re-mixed version as "W.F.L." (official video) by Paul Oakenfold and Vince Clarke. Bummed was met by positive reviews, although, its status as a stylistic cornerstone has only added to its value. The album is included in "1001 Albums You Must hear Before You Die" and is quite an enjoyable ride. Nonetheless, it's mighty fine but given its position, I have never really fancied it all that much, and frankly, I find The Stone Roses debut a greater musical achievement. With Bummed, Happy Mondays may have landed their sound (not the same as found their feet!) but to me, their successor, Pills 'n' Thrills and Bellyaches (Apr. 1990) clearly betters this one.

The front cover is an edited photo of lead vocalist Shaun Ryder when "off his tits", as he probably would describe it.

Recommended.

[ allmusic.com, NME 4,5 / 5, Mojo, The Guardian 5 / 5 stars ]

Happy Mondays "Squirrel and G-Man Twenty Four Hour Party People..." (1987)

Squirrel and G-Man Twenty Four Hour Party People... [debut]

release date: Apr. 1987

format: digital (1990 reissue)

[album rate: 3 / 5] [3,22]

producer: John Cale

label: Factory Records - nationality: England, UK

Track highlights: 1. "Kuff Dam" - 2. "Tart Tart" - 4. "Russell" - 5. "Olive Oil" - 8. "Oasis" - 9. "24 Hr Party People"

Studio album debut by Happy Mondays with the full title: Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) is recorded by John Cale for Factory Records. The band is the same stable sextet who released the 1985 Forty Five EP. The track "Oasis" also appears on the ep but here it's in a re-arranged version with much more focus on bass, and apart from that it's an album with nine new compositions.

Where the band started out as a jangle pop-oriented and alt dance-band, they now mix more styles and the jangle pop element has been subdued. Instead, they now blend funk, surf rock ("Russell"), indie pop and neo-psychedelia, which ultimately makes it a rather complex mix of styles. It's not really an example of a coherent collection of songs, and it's somewhat difficult to find a common denominator but it's also clear that the songs appear quite originally crafted despite obvious loans from other artists. Several songs, however, contain elements from various styles that are sort of mashed together, which in many ways forecast what was to come. "Russell" may be surf rock-inspired but it also contains funk, skilfully crafted by Paul Ryder's repetitious bass-line, and then on top Shaun Ryder now contribute with his speak-singing style, and we have a true Happy Mondays tune. Ryder no longer sounds like a clone of Ian Curtis and Feargal Sharkey but quite clearly has found his own foundation. Both album title and the song titles already here reflect how Ryder comes up with his lyrics. The album title appears to be Ryder's invention from three different associations that he just put after another - 'Squirrel and G-man' being the nicknames for the parents to one of the members, 'Twenty Hour Party People' is someone's reference to Ryder and his mates, and 'Plastic Face Carnt Smile (White Out)' should be another one's exclamation upon finding Ryder, Bez et al completely tripping on acid. And then the songs: "Kuff Dam" is Ryder's rephrasing of a porn title misspelled backwards, "Tart Tart" refers to a particult girl, although, as in nearly all cases, the song itself isn't about anyone or anything in particular. This also goes for "Olive Oil", which was the nickname for someone's girlfriend, who had asked Ryder if he would write a song about her - to which he alledgedly answered that he didn't write like that but he could name a song after her.

I have absolutely no idea whatsoever about what Cale thought of it - the band and song potential - but luckily he didn't spoil too much, although, it probably could have been a much better end result with a producer in touch with the current dance scene - say New Order's Bernard Sumner, who was mentioned but weren't available - instead of someone with a reputation. You can only ask yourself if it would have been another "Blue Monday"-moment had Sumner been hired...

The album was met by positive reviews but generally lacked to attract music buyers as it sold quite poorly.

In a music historical perspective, it's quite fascinating as a new step towards their more defining sound but as a stand-alone experience, this album is simply just not strong enough.

[ Shaun Ryder interview about the origines of the band, The Haçienda, the production of the album etc.]

Happy Mondays "Forty Five EP" (1985) (ep)

Forty Five EP, ep

release date: Sep. 1985

format: digital

[album rate: 3 / 5] [3,17]

producer: Mike Pickering

label: Factory Records - nationality: England, UK

Tracklist: 1. "Delightful" (4 / 5) - 2. "This Feeling" (2,5 / 5) - 3. "Oasis" (3 / 5)

3-track ep debut by Happy Mondays is the band's first release after being put on contract by Factory Records. Producer Mike Pickering worked as a DJ at The Haçienda dance and nightclub in Manchester, and he saw the band's potential after having listened to a demo-tape by the band, who at this point toured with New Order. Already then, Happy Mondays is a stable sextet consisting of the Ryder brothers: singer and guitarist Shaun and bassist Paul together with lead guitarist Mark Day, keyboardist Paul Davis, drummer Gary Whelan, and with new member dancer Bez (aka Mark Berry).

Musically, it's not yet the baggy / madchester-style they should later be associated with. Instead, they play dance-friendly indie pop with bold stylistic elements from jangle pop. The ep has also been recognised as "The Delightful ep" with its title referring to the first and also easily best track of the release. Also, in retrospect, Shaun Ryder has described this as a first experience, which he thought was a bit off in respect to what they were aiming at as it resulted in a sound without the dance-vibe they had wanted, and partly because Pickering simply didn't know that, and also because the band were still trying to find their ground. At the same time, Ryder was still influenced by other vocalists, partly leaning towards Ian Curtis, Feargal Sharkey and other strong performers and not yet had found his personal style. You could add that the band simply lacked a musical direction - should we play more like Joy Division / New Order, Orange Juice, or some other new act? Questions that basically revealed that they were not mature enough to hit it off.