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Happy Mondays discography

The album's standout track and more or less title cut "24 Hour Party People" -- ironically only included after the fact when the song "Desmond" had to be pulled for its blatant Beatles borrowing -- is a blast, a partying call to arms that is all about fun and chaos at once. If the remainder of the album can mostly be called a fusion of disco-tinged funk and Ryder 's vocal insanity, though, it's still a great fusion, not quite the heights of the near future, but by no means a washout.

The combination of slick and rough on songs like the well-groovy "Tart Tart" is offset by the quiet prettiness of the band at points. AllMusic relies heavily on JavaScript.

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Sexy Trippy All Moods. Drinking Hanging Out In Love. Slaughterhouse, the studio that the Mondays recorded in, would burn down a year after their visit in allegedly suspicious circumstances. Some years later it would become a night club called Hooters, a rancid place I would visit as an underage teenager, armed with a fill it-in-yourself fake ID I had purchased out of the back of Loaded magazine.

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The mentions of Driffield and these recording sessions estimated to have taken around six weeks amount to even less than I would have guessed - a handful of pages from thousands. Speaking with band members, their manager as well as people working on the session and in the studio, I tried to find out what really happened when the Happy Mondays hit the sleepy market town I grew up in. The first question, perhaps, is why Driffield in the first place? They wanted to get away from the party so they could focus on recording. Despite the seemingly incongruous location, studio-wise Slaughterhouse was considered by many to be a decent facility back then and had been a go-to place for many of the goth bands of the 80s, with Sisters Of Mercy and The Mission both recording there, alongside other such groups as Loop, In The Nursery and the aforementioned Napalm Death and Bolt Thrower whom Richardson brought there.

Every month or so, a pillow-sized parcel would arrive by courier from the Angels in Northern Ireland, entirely full of grass.

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Everyone on the staff was always walking round with an envelope stuffed with weed, like a couple of ounces of rolling tobacco. However, having said that, you also immediately knew that if you fucked with him, life would not be worth living. I think that the Mondays immediately saw that too. They immediately saw Dave Sinton was a bit of a rebel and on their side, so there was a good karma from the start. The painter and decorators were up on the top floor, pulling down a false ceiling when a massive piece of it fell off and came crashing down the main staircase, just as the Ryder brothers were coming down it.

I remember hearing the crash and coming out of the studio office to see what had happened, to find both of them looking like flour graders; covered in grey dust and standing next to the big chunk of ceiling that had missed them by a whisker. If they liked you they signed you and let you get on with it. The only thing discussed was who would produce the album.


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    • We made the peace, Martin made the record. He was often not very with it, to put it politely.


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    I like to know how different drugs work together and what they will do to my body and my brain. He would make them do numerous takes of the same song until they got the feel right. Everyone had huge respect for Martin, you had to because his production work for Joy Division was genius. No one had ever made records that sounded like Unknown Pleasures and Closer until he did. I would stay there or hover around until 10pm at night in case anybody turned up and nobody did. He introduced himself and asked how it was going and I was desperately trying to cover the fact that nothing had been done since I arrived.