The Happy Mondays at Victoria Warehouse
The Happy Mondays at Victoria Warehouse www.victoriawarehouse.com
Few debut records could lay claim to have had the impact (or length of title) of the Happy Mondays'' Squirrel And G-¬?Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out). The sextet''s raw brand of urban folk, with Shaun Ryder''s accented, drawled vocals, was almost universally acclaimed. John Cale, formerly of the Velvet Underground, produced and gave the record a fresh, live feel. The original line-¬?up remained unchanged (apart from the addition of backing singer Rowetta) from the band''s formation in Manchester, England, early in the 80s. Joining singer Ryder (b. 23 August 1962) was his brother, Paul Ryder (b. 24 April 1964; bass), Mark Day (b. 29 December 1961; guitar), Gary Whelan (b. 12 February 1966; drums), Paul Davis (b. 7 March 1966; keyboards) and Mark Berry aka Bez (percussion), the latter widely noted for his manic onstage antics. Martin Hannett, famous for his work with a number of Manchester bands including Joy Division, produced the follow-¬?up Bummed, which layered their music with diverse but strong dance rhythms. The following year''s Paul Oakenfold remix of "Wrote For Luck" (re-¬?titled "WFL'') crystallised the bands emergent sound. The subsequent Madchester Rave On EP, which featured the club favorite "Hallelujah", broke into the UK Top 20 and gave a name to the new Manchester scene led by the Happy Mondays and the Stone Roses. In 1990, the band covered John Kongos'' "He''s Gonna Step On You Again" (retitled "Step On") and reached the UK Top 10. Their manic third album Pills ''N'' Thrills And Bellyaches went to number 1 in the UK and established the band as a major pop force. The album also coincided with support and re-¬?promotion of 60s singer Donovan, who appeared alongside them on the front covers of the music press. They even recorded a tribute song, "Donovan'', which paraphrased the lyrics of the singers 60s hit, "Sunshine Superman". Strong support from Factory Records and an unusually consistent output meant Happy Mondays quickly rose to the status of favorite sons, of the readership of the New Musical Express and Melody Maker, and they were achieving sales to match.
The Warehouse Project