#Happy Mondays

[undergroundrockpress]

[dazaiconfused]

Johnny Marr and Andy Rourke with Shaun Ryder at The Haçienda on the night of the club's 8th birthday party, Manchester, 21st May 1990

[all-rock-and-roll-is-homosexual]

How to dance like your fave musicians - scanned from the November 1996 issue of Select Magazine

if you like my scans and want to repost them off of tumblr or crop/otherwise make edits to any of the photos contained within this article please credit my blog, and if you're feeling extra generous and want to help me out you can donate via my ko-fi donating will allow me to obtain more magazines to scan and upgrade my equipment.

[echoandthejohnnygirl]

My dad just pulled out this poster he had from a Melody Maker, about Manchester music to 1992.

[rastronomicals]

5:09 PM EDT October 5, 2024:

Happy Mondays - "Step On" From the album Pills 'n' Thrills and Bellyaches (April 1990)

Last song scrobbled from iTunes at Last.fm

File under: Madchester

[cherrylng]

UK ROCK BEST 100 ALBUMS - The 90's [CROSSBEAT (August 2006)]

90's The Britpop explosion that restored British pride

By the start of the 1990s, Madchester was already spreading across the country. The UK was in a frenzy, not only with bands from the local suburbs, but also with Primal Scream and many other non-Manchester bands mixing dance grooves and rock. At the same time, 'shoegaze' (My Bloody Valentine, Ride, etc.), with its roaring guitars and fantastically beautiful melodies, flourished. A wide variety of guitar music flourished and many bands made their major label debuts. In 1991-92, as these booms came to an end, British rock entered a period of stagnation, which was replaced by the grunge/US alternative craze, which was driven by the global success of Nirvana. The massive encroachment of US culture into the UK. In reaction to this, there was a gradual urge to sound rock that reflected the British temperament and traditions, and Brit-pop was born.

Digesting the British beat of the 60s, the British rock and glam of the 70s and the New Wave of the 80s, Britpop blossomed into a national movement, driven by the irony and flamboyance of Blur, with their cheeky sarcasm, and the straightforward, rugged Oasis. The public's attention turned to bands from their homeland, with albums by Pulp, Supergrass, Suede and Ocean Colour Scene all becoming big hits. The musicians became so popular that they became regulars on variety shows and in the popular press. Helping to put British pride and identity back into the hands of the people, Britpop became a social phenomenon involving all industries and political circles, and UK rock enjoyed its greatest glory yet.

However, this movement also waned after the following year of maturity, culminating in the singles showdown between in 1995. The young bands that had been bought out of the boom were weeded out one by one, and the public's interest turned again to pop and dance music, especially "dance music that rock fans can also enjoy" such as Prodigy and the Chemical Brothers.

In 1997, Radiohead and the Verve, both of whom had been out of step with the boom, completed their own epoch-defining albums to great acclaim. The mainstream scene was becoming more mellow, melancholic, brooding or gritty, with Manics, Oasis (who had become one of the UK's leading international bands) and Spiritualized® all having hits. It was also around this time that Welsh bands such as Stereophonics, Catatonia and Super Furry Animals, all from the same country as the Manics, came into the limelight.

However, as the end of the 1990s approached, rock music once again lost momentum as dance idol groups and R&B dominated the charts. Apart from a few 'lyricists' such as Travis, many guitar bands were forced to go underground, and the 'death of UK guitar rock' was whispered about for a few years. -Sumi Imai

Mind Bomb The The (1989) One of the bands that supported UK rock in the "rock barren" late 80s. Their progressive dance moves, reverence for ancient music and caustic attitude towards modern society require re-evaluation. -Sawada

Bizarro The Wedding Present (1989) The pinnacle of 80s UK indie guitar rock. The high-speed guitar cutting that symbolises the album is full of thrills. The sense of speed is irresistible. -Otani

Pills 'n' Thrills and Bellyaches Happy Mondays (1990) Rock fused with Chicago house enthralled the youth of Manchester, an industrial city with no hope for the future. This is the masterpiece of their charismatic existence. -Kuroda

The La's The La's (1990) The only work by The La's, by Liverpool's brilliant Lee Mavers, Noel Gallagher's spiritual mentor. Timeless melodies with a 60s flavour overflow. -Koguchi

Nowhere Ride (1990) Ride's quintessential mix of roaring guitars with powerful chord strokes and whispery, faint vocals. In 1990, the band symbolised a new beginning for the UK scene. -Koguchi

Blue Lines Massive Attack (1991) First wave of trip hop from Bristol. Shara Nelson's 'Unfinished Sympathy' became their signature tune. Horace Andy and Adrian "Tricky" Thaws joined [at this time]. -Yamashita

Loveless My Bloody Valentine (1991) Fans of their daydreamy guitar noise have been waiting 15 years for a new album, and their followers are still making imitations of it. Such a sinful album. -Kuroda

Screamadelica Primal Scream (1991) The euphoria of acid, the magical appeal of black music. The mixture of these elements produced a masterpiece that symbolised the era. At the time, there was still a glimmer of hope in the world. -Kuroda

Bandwagonesque Teenage Fanclub (1991) In the early days of their activities, the band often resonated with US alternative groups such as Nirvana and Dinosaur Jr. Their second album, also noisy guitar pop, is still highly regarded as a masterpiece. -Koguchi

Generation Terrorists Manic Street Preachers (1992) This was the first step for the Manics, who made headlines by declaring that they would break up as soon as they debuted at No.1. The fusion of literary, esoteric lyrics and popular, sweet melodies is still the same basic principle. -Sawada

Emergency on Planet Earth Jamiroquai (1993) The first album by Jamiroquai, the most successful acid jazz group. Jay Kay became a star with his uniquely white voice and big hat. His lyrics on environmental issues were also a hot topic. -Yamashita

Rid of Me PJ Harvey (1993) A strange and exquisite marriage of hard, noisy Albini-produced sound and boiling female emotions. Here is a true 'female rocker' song, not an imitation of a man. -Mima

Suede Suede (1993) The most flamboyant band of British newcomers ever, with controversial lewd sounds and immoral lyrics. The gender-bending view of eroticism is unique to UK rock, the fabric of glam. -Mima

Parklife Blur (1994) One of the milestones of Britpop with its catchy melodies and twisted pop sensibility. Damon's songwriting ability and well-honed sense of the times shines through. -Yamashita

Definitely Maybe Oasis (1994) A wealth of songs that extract the best parts of the past's musical legacy. Rugged guitar rock is full of life. The fruitful era of 90s British rock began here. -Hirose

Dummy Portishead (1994) The first album by the band featuring rare singer Beth Gibbons. The dark, cinematic sound, incorporating jazz and hip-hop, made them a worldwide hit beyond the boundaries of trip-hop. -Yamashita

Different Class Pulp (1995) A huge hit that became a social phenomenon after 16 years of incubation. Pop songs full of humour and pathos, rooted in people's 'everyday life', captured the hearts of the masses and made them a national band. -Mima

I Should Coco Supergrass (1995) A masterpiece that rode the Britpop wave to the top in the UK. A great line-up of great songs, including the eternal youth song "Alright". It has great energy and nostalgia at the same time. -Yamashita

K Kula Shaker (1996) Groovy sound with plenty of oriental mysticism and psychedelic sensibilities. The energy and intensity of the performance are 'scripture' level rock. -Mima

Moseley Shoals Ocean Colour Scene (1996) Second album from 1996. This is a great album that shows the band in their element, having made a name for themselves touring with Oasis and backing Paul Weller. Austere, sincere rock that digests elements of black music, with a gourmet taste. -Hirokawa

[jungleindierock]

Time Machine

Happy Mondays - Kinky Afro

On the 8th October 1990, Happy Mondays released, Kinky Afro, the second single to be taken from their forthcoming third album Pills 'n' Thrills and Bellyaches which they shared on the 5th November 1990. The lead single being Step On which came out in March 1990, they released a further two sinlges from the album in 1991, Loose Fit and Bob's Yer Uncle as a promo disc but only in American. The Happy Monday were part of the Madchester Baggy scene. At the time their line up was Shaun Ryder on vocals, brother Paul Ryder on the bass guitar, Mark Day on the guitar, Paul Davis on keyboards, Gary Whelan on the drums and the wonderful Bez on dancing!!

Kinky Afro was released as a 7" single (two tracks), 12" single (two tracks both extended versions) and as a three track CD single. It peaked on the UK charts at number 3, it was the band's biggest hit in the United States, reaching number one on the US Billboard Modern Rock Tracks chart.

This music video was produced and directed by Keith Jobling of the Bailey Brothers. The song was originally going to be called Groovy Afro, but was changed to Kinky Afro after Liverpool band The Farm released a similarly named song titled Groovy Train earlier in 1990.

Son, I'm 30 I only went with your mother 'cause she's dirty And I don't have a decent bone in me What you get is just what you see, yeah I see it so, I take it greedy

And all the bad piss ugly things I feed me I never help or give to the needy Come on and see me Yippee-ippee-ay-ay-ay-yey-yey

I had to crucify some brother today And I don't dig what you gotta say So come on and say it Come on and tell me twice I said, "Dad, you're a shabby

You run around and groove like a baggy You're only here just out of habit Oh, it's mine, you might as well have it You take ten feet back and then stab it Spray it on and tag it" So sack on me I can't stand the needy

Get around here when you're put off your feeding Yippee-ippee-ay-ay-ay-yey-yey I had to crucify somebody today And I don't dig what you gotta say So come on and say it Come on and tell me twice So sack all the needy I can't stand to leave it

You come around here, and you puff up your feeding Yippee-ippee-ay-ay-ay-yey-yey I had to crucify somebody today And I don't dig what you gotta say So go on and say it Yippee-ippee-ay-ay-ay-yey-yey I had to crucify some brother today And I don't hear what you gotta say So come on and say it And come on and tell me twice

[scavengedluxury]

[circleofshit]

[undergroundrockpress]

Happy Mondays, 1986. Photo by Kevin Cummins.

[calmmyfears]

I've got something positive to share! I started to make my own peanut butter (wow!!!) And today I brought my sister a small jar of it. The smile on her face is everything - that's what life truly is all about, giving your loved ones homemade peanut butter 💓

[soupcansally]

Step On (Stuff It In Mix)

[all-rock-and-roll-is-homosexual]

Select Magazine December 1992/Live Reviews

ft.:

Happy Mondays

The Orb

Stereolab

K-Creative

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[rastronomicals]

12:44 AM EDT September 22, 2024:

Happy Mondays - "God's Cop" From the album Pills 'n' Thrills and Bellyaches (April 1990)

Last song scrobbled from iTunes at Last.fm

File under: Madchester

[jacobwren]

Happy Mondays - Wrote For Luck (Alternative)

[ljaesch]

New additions to our music library.