Pills 'n' Thrills and Bellyaches is the third studio album by English rock band Happy Mondays, released on 5 November 1990 by Factory Records. DJ Paul Oakenfold and collaborator Steve Osbourne were previously enlisted by the band to create remixes of some of their songs. The success of these led to the pair producing "Step On", a cover of the John Kongos song, for Happy Mondays. The band went on a tour of the United States, and by the end of which, had started recording their next album with Oakenfold and Osbourne at Capitol Studios in Los Angeles, California. They returned to the United Kingdom, where further recording took place at Eden Studios in London until September 1990. Described as a Madchester album, Pills 'n' Thrills and Bellyaches saw a lot of input from Oakenfold and Osbourne, with the former making loops, while the latter handled song arrangements. The release of Pills 'n' Thrills and Bellyaches was aided by a distribution and licensing deal between Factory Records and major label London Recordings. "Kinky Afro" was released as the second single from the album on 8 October 1990; the album was promoted with an arena tour in the UK, with support from Donovan, to close out the year. Preceded by festival appearances in the UK and Brazil, "Loose Fit" was released as the album's third single in February 1991. Treks of mainland Europe and the US followed over the course of the next three months. After this, touring continued into August 1991 across a variety of festival performances and headlining shows. Pills 'n' Thrills and Bellyaches received generally positive reviews from music critics, several of whom considered it the band's creative peak. It peaked at number four on the UK Albums Chart, as well as charting in Austria, New Zealand and Sweden. The album went on to sell 400,000 copies in the UK, where it was certified platinum. "Step On" reached the top five in the UK (where it would be certified gold), and appeared on several Billboard charts in the US. "Loose Fit" charted in the UK top 20; "Bob's Yer Uncle" peaked within the top 30 on two US charts. Pills 'n' Thrills and Bellyaches appeared on album of the year and best of decade lists by Melody Maker, NME and Select.Wikipedia
Son, I'm 30 I only went with your mother 'cause she's dirty
i don't know if its nature or nurture, is it good or is it because i'm a manc and its the law that you like the mondays? i'm going with it actually being good as i'm usually the type that if i'm told i have to like something i probably won't as it'll be bland and beige and i fucking love this album. stereotypes exist for a reason.
The sound of an indie band incorporating early rave and it actually works.
Upbeat, fun album.
Rock music criticism, for all its supposed involvement with such a debauched, rebellious industry, is overwhelmingly conservative and starchy, and brooks no deviation from the established diktats, demanding that tame, stuffy acts receive all the plaudits while the genuinely challenging and alive must get sidelined. Surely nobody seriously thinks that three Beatles albums belong in the top ten albums of all time? Or that U2 are somehow one of the mightiest living flag-bearers for rock 'n' roll (a mate of mine once sent me a series of links where contemporary reviewers had deemed each of U2's last 5 albums as "a return to form")? And then we have the infuriating case of the Happy Mondays, the greatest, most inventive, most iconic British group of the late 80s and early 90s, yet somehow certain critics blithely dismiss them as grubby also-rans to the Stone Roses, which leads to the patent absurdity of the Stone Roses receiving all the praise for fusing indie and dance with Fools Gold, despite the Mondays having done so earlier, more radically and better (Fools Gold doesn't really go anywhere, and its melody is oddly unmemorable for such a supposed anthem; at the same time, the Mondays were dazzling with the Madchester Rave On E.P.). One obvious reason why the critics did this: they felt they had to credit someone with such an innovation, but dance music was a wee bit tricky for them to comprehend, and anyway who wants to credit the Mondays, those slovenly thugs? No no, let's award the Roses, at least they didn't progress that far outside our ken. (For clarity's sake, I do like the Stone Roses, and will even assert that Second Coming is nowhere near as bad as its reputation suggests; well done critics, you managed to mess up there as well). So yes, it is clear to anyone with at least one partially functioning ear and an actual spine that the Mondays were not only the better band, but the ones who defined the epoch and the ones who belong more in the great rock pantheon. Kids, with that in mind, how good do you think Pills 'n' Thrills And Bellyaches is? With the fullness of time, everyone should be able to clock that PnTAB, along with much of the Mondays' back catalogue, set the agenda for much of the best British music of the 90s. Screamadelica's distillation of the E experience? The Mondays were first. Blur's sarky kitchen-sink vignettes? Grandbag's Funeral, take a bow. Jarvis Cocker's masturbation fantasies set to lyrics? Bob's Yer Uncle. Suede's flaneur sleaze? Who was ever sleazier than the Mondays? Oasis' magpie-like purloining of riffs of rock past? A technique itself purloined from the Mondays, the most brazen of thieves (literally: like their forefathers the Sex Pistols, they nicked all their instruments when starting out). The mainstreaming of dance music? Yes, other bands (significantly New Order) can claim more responsibility, but the superstar DJs of the 90s still owe quite a debt to the Mondays. It would make sense to call the Mondays the great codifiers of 90s British music, were they in any way interested in laws. Anyway, pointing out that PnTAB is influential is not the same as saying it's good, so I am fully tumescent with delight to preach to all you lost children that it's absurdly wonderful. Their previous album, the romantically titled Bummed, was also absurdly wonderful, but the two albums sound shockingly different from each other. Whereas Bummed is sordid and nebulous, PnTAB is sordid and sun-kissed, all acid house keyboards and crisp guitar melodies. PnTAB is also a textbook example of how to construct and order an album, without filler, with diversity of style yet unity of tone. How many other albums can make you dance like, well, Bez on one song, yet crack out the air guitar on the next, all the while making such a transition wholly organic? Along with this, the Mondays simply don't sound like any other band. The only bands to have come close are, as has been stated earlier, the bands who sought inspiration from these loony-tunes scallies. Your bog-standard insulated Radiohead fan will try to show disdain for the Mondays by saying they stole it all from Can and George Clinton, proving their foolishness by forgetting that the Mondays didn't care if they yoinked a melody or two, that the Mondays actually built skyscrapers on their thefts, and that the Mondays were so blisteringly original that even their pilfering couldn't detract from the fact that nothing on the planet resembled the Mondays at their peak, not even the multitude of bands that tried swiping a bit of the Mondays' shabby allure. Of course, I haven't mentioned the shiniest diamond on this jewel-bedecked album yet: Shaun Ryder's sheer magnficence as a lyricist. In my review of Meat is Murder, I spoke about the British songwriter's stance as the teller of uncomfortable truths. Shaun Ryder is an exemplar of that tradition, alongside Ray Davies, John Lydon and (quintessentially) Morrissey. Just take a look at the still-hilarious, still-biting opening couplet to album-opener Kinky Afro: Son, I'm 30 I only went with your mother 'cos she's dirty. The rest of the song, an inadequate father in utter self-pity pleading with his son to forgive him, but still too proud to apologise, with the son responding just as the father would have, understanding yet completely dismissive, remains one of the most astute character studies in all of rock (how many 90s indie songs repeat the trick of the singer explaining, "I get you, but fuck you anyway"?). Also note that, for all the hedonism the Mondays exhort, our Shaun's lyrics have not only thick strands of pessimism, but a worldly-wise stoicism. As the title says, pills 'n' thrills come with bellyaches. I have quoted one song. In fact, every song from the album can be quoted so, as demonstrations of Our Shaun's absolute lyrical expertise. Take Dennis and Lois: Honey, how's your breathing? If it stops for good, we'll be leaving. Or how about the chorus to God's Cop? God made it easy on me. That was intended to be a poke in the eye at the rabid, religiously zealous Chief Constable of Greater Manchester James Anderton, but it also serves as rather a nifty cocaine line (see what I did there?). Such pearlers cram, indeed constitute PnTAB. Shaun Ryder at his best is equal to Bob Dylan at his best, and Pills 'n' Thrills and Bellyaches is easily one of the five greatest British albums ever recorded. However, there remains the question: why did the Mondays blow it? As hagiographic as I have been, I must be honest and admit their flaws. The Mondays' embrace of pleasure led them to unremitting sexism (the year after PnTAB, they guest-edited an issue of Penthouse). After Shaun made an unwise comment made whilst high (he joked about "selling my arse for 50p", which some tabloids reported as a confession that he had been a rentboy), the Mondays made homophobic remarks when challenged by an admittedly hostile journalist. As a liberal type, these blemishes make me wince, but I hope I don't sound dismissive to say that their youthful prejudices do not diminish them in my eyes; they are my favourite band (duh), and they have meant so much to me that I will eulogise them, especially as their failings, their humanity, are part of the reason their artistry is so embraceable. My father was a homophobe, but that doesn't mean I stopped loving him. Love is not blind, but it is forgiving. To suggest some perspective, I believe it's easier to pardon the Mondays' regrettable epithets than, say, N.W.A.'s witless, self-parodic anthems to murdering prostitutes. Aside from that serious ugliness, I should talk about their record label: the barmy indie totem of Factory Records. Tony Wilson, the Yeats-and Debord-quoting newsreader who helmed Factory, declared that Factory's greatest achievement was shepherding two truly great bands, Joy Division/New Order and the Happy Mondays. He was right. He was also right about the (literal) price such shepherding cost. The collapse of Factory Records has become one of the monumental legends of music. Factory was losing money due to the crushing debts of their revolutionary white elephant club, the Haçienda, and the only option the label saw was to get the Mondays to record a fourth album. However, our Shaun had become addicted to heroin, and their manager got the bright idea to record the album in Barbados, an island free of heroin. There was no heroin on Barbados, but it was festooned with crack, the least creative drug of all. All the money Factory sent over, the Mondays spent on crack. They then sold the record equipment for crack, then they sold the studio furniture, then they sold their clothes. Eventually, when Factory got the master tapes from Barbados, they discovered Shaun hadn't recorded any vocals. They quickly bandied him to a studio in Surrey to finish the album, and the resultant album, Yes Please!, proved a substantially weakened follow-up and a commercially and (somewhat justified) critically catastrophic release. Factory went into administration and the Mondays split in internecine hatred, their legacy tarnished by their own druggy stupidity. Unfathomably, our Shaun and Bez managed a successful comeback with their next group Black Grape, producing one classic album in It's Great When You're Straight... Yeah!, and one duffer in Stupid Stupid Stupid. Black Grape broke up, and Shaun assembled a bastardised, pub-karaoke version of the Mondays in one of the tawdriest, most depressing reformations in music history, with our Shaun playing the pathetic jester for the sole intention of paying off tax bills based on name recognition alone (is every detail microscopically right? No matter, I'm printing the legend). Taking this all together, this is why critics have bestowed the baggy, pilled-up glories on the Stone Roses, glories that rightfully belong to the Happy Mondays. Just because you're the best doesn't mean you win. But why should I care? Why should the Mondays care? Despite everything, despite all the ignominy they proffered and invited, they already proved themselves one of the greatest bands of all time, with two of the greatest albums of all time, and some of the greatest songs of all time. Neither they nor I need to worry about some Pitchfork-scrutinising wanker declaring them too coarse and visceral for their milquetoast sensibilities. Nietzsche once wrote that the belly is the one reason man does not take himself for a god. The Happy Mondays assert that the belly is exactly why a man can be a god. Bez' father was a policeman.
I mean ... meh? There's legitimately nothing that stands out. As background music, it's utterly ignorable. Which means that there's also nothing BAD here. Nothing that snags the ear. It's just .. meh.
Didn’t particularly dig this. Nothing wrong with it but just meh. Very doesn’t belong on this list.
Really good groovy tunes
Really fun stuff I've never heard before
Quality album this, really like it from start to finish
With the recent creation of britpop in 1989, many new bands were emerging to pinpoint and define the sound of this very fresh new genre. Two of these bands were The Stone Roses and the Happy Mondays, however in my opinion the Happy Mondays 3rd album 'Pills n Thrills and Bellyaches' is much superior to any of the Stone Roses catalogue. This album perfectly balances between embracing the old, such as using classic guitar sounds and licks as well as bongos which are used to great effect, and pushing forward from the 80's into the 90's. The constant tempo and rhythmic change between songs gives you a constantly refreshing listen, and the beats are so damn addictive and you could listen to them for hours. This really is a benchmark album for music and usually flies under the radar for most people. GREAT!
I loved every minute of this album! Fun funky and fresh. A new favorite from a group I'd never even heard of!
For readers unaware of the Man known as Bez, Bex was a member of Happy Mondays. However, no discernible musical contribution, he. Bez’s sole function in the band was to stand on stage and shake his maracas. And that’s what this album is really - party music to shake your maracas, shake your hips, shake your ass. A fusion of dance music and indie which actually works and captures a time and a place. Try not to think to hard and just enjoy the ride.
I’m trying to distance myself from the kind of fellow Manc who’s still walking around with bowl cuts and bucket hats in 2021, but I cannot deny that I genuinely think this is a great album. No standout tracks for me, but the whole record hangs together as such a mood. It was such a great production decision to get Paul Oakenfold involved. It’s not technically as good as the likes of The Stone Roses, but it is a bit more fun.
Woof. Not good. And I love the idea of a happy monday
Sorpresa grata. La verdad me la pasé muy bien con este disco, tiene que su rock, que su eclecticismo, que sus beats, que sus texturas chidas, que sus vocales culeros que suenan edgy. Desde la flauitita de bobs yer uncle, la onda britpop de Gods Cop, hasta las vibras de The Doors en Grandsbag Funeral, un disco que no aburre. Mood: 0% skips.
This album was ever-present for me in college (roommate's favorite) but I did not own it myself. I wasn't really into it at the time (I was more into classic rock) but appreciated it way more now. Would listen again.
Great album. Really bridges the gap between new wave and Britpop. I will definitely be returning to this album
Incredible, vinyl quality
I've never heard of this band before, but I'm glad I now have because every song on this album is a total banger.
Very good, love the ambience of the first track, love the chaos of the second one, and the in-between chaos and calm of the last 2. Fantastic album.
Kinky Afro is pretty good
Such a massive vibe. Reminds me of Spiritualized but more party
Bloody love this album. Best opening line of any album
Know iit well
det här var gött. go bas som på nåt sätt genomsyrade alltihopa
Never heard of them before. Pretty good album.
This slaps. Didn’t get it before. Indie rave.
Again an unexpected gem
parece blur eu gostei
Pretty chill vibe. I like it. Would listen more. Adding to my collection.
I really liked this a lot. I wasn't sure what to expect - for some reason I had the Sundays in my head, so was thinking female singer, mellow, poppy sound. This was really catchy and rocked in places. Adding it to my liked albums.
Really like this. Doesn’t feel overly “groundbreaking” but it may have been for the time. Good stuff.
Ya no sé si se puede hablar de un género para todo el disco, o sea más bien hay una mezcla de varios y muchos géneros por separado, no sé, pero se antoja pasarla bien con esto de fondo, muy onda cine. Eso sí, como que ya suena a los noventa y hay de repente soniditos muy chidos, como la ¿flauta? o algo parecido en "Bob's Yer Uncle". Mis favoritas: "God's Cop", "Loose Fit" y "Step On". Siento que no sabía nada de Happy Mondays antes de esto. 8/10
I had a lot of fun listening to this one, never heard it before. Likely won’t again lol
Nie przypuszczalem, ze tak niszowy gatunek jak madchester bedzie sie az tyle razy przewijal na tej liscie, a jednak pojawia sie kolejny raz i nadal potrafi zaskoczyc swoja orginalnoscia i tripowoscia, bo jednak kultura drugowa glownie przemawia przez ten material, a themem mogloby byc ekstazowe popowanie, co wyroznia ta plyte jest zdecydowanie performens jaki na gitarce robi Mark Day, az dziwne ze nigdzie inadziej go nie mozna uslyszec po takiej plycie, ale jak na szalonego czestera nie samym skilowaniem na instrumentach tworzy on swoj klimat, album byl produkowany przez duet Osbourne Oakenfold, co dalo idealny bilans jakosci produkcji do didzejowego stylu samplowania, bo pojawia sie tutaj sample ktore wedlug mnie wychodza daleko poza co juz slyszalem czesterowego, jak na traku step on, ktory jest coverem Kongosowego singla o tytule he is gonna step on you again, wiec dosc egzotyczne kowery, wygiete do hedonistyczno narkotycznego stylu bycia czesterowego, przepalone wokale Rydera tez trzymia poziom, zarowno w bardziej konwencjonalnym spiewie jak i na przeciaglych transowych receytacajch, nawet jesli jest to gatunek tworozny z mysla o zabawie klubowej, to i tak dobrze sie tego slucha w celowym zaciszu, no jesli kontent liryczny nie za bardzo odbiega od swiatopogladu sluchacza, bo prawdopodobnie dla kogos bardziej prostego musi to brzmiec jak zawodzenie zula zbierajacego na nastepny pakiet dykty, na plejaka dodam wspomnianego step ona, otwierajacy kinky afro i holiday, chociaz ciezko bylo wybrac traki, bo cala plyta jest niesamowicie rowna i nie ma kawalkow zapychaczy, spotifajowa wersja po raz kolejny obrodzila w ekstra tejki, jak dotad najsolidniejszy madowyczester, klasa wyzej niz primal scream
Professional Mancs doing funky Manc business professionally. Very good.
MAD-chester. Has anyone used that before? Haven't listened to this for a long time. It was very enjoyable...especially juxtaposed with some of the shit we've had on here this week. Well done lads.
Love all the extra stuff going on in the background. A real nice mix of samples, drums and keyboards. Sean Rider's delivery is perfect too.
What a great, fun album. Really captures the birth of Britpop and the whole Manchester sound, as good as the Stone Roses did it. Fantastic!
At Hawkins elementary I ate lunch in the cafeteria. We all had assigned seats and once you sat down, you weren't allowed to move until the lunch bell rang 35 mins. later. Kids, myself included, would eat the Little Debbie's first and then make our way through the PB&J's only to leave the less desirable food untouched. Others bought lunch which was stuff like pizza or mac'n cheese with fries, and limp veggies. Like limp and discolored, rubbery carrots and lima beans-type veggies. What kid eats lima beans ... like ever? Eating took roughly 20 mins. to complete. The remaining time was often spent pulverizing the leftovers and adding some ketchup and milk to create some disgusting concoction and then daring each other to drink it until the bell rang. Michael Gunter was the only kid I remember who actually followed through on the dare. I'd never heard of The Happy Monday's until today and after hearing it, I would've thought this would've been placed a little further into the '90s based on their sound. There's a lot of layers within the music, people talking, bong-ripps, white people rap, makeshift instrumentation, sampled loops and other superfluous noise that, when combined makes me think of Michael Gunter and cafeteria-time at Hawkins elementary. The result of this mish-mash is a deep, full-bodied experience that's messy and convoluted but not as terrible as you'd think. It almost makes me wonder if Michael Gunter actually enjoyed drinking that sludge. After all, he was awarded with a legendary status for that. But then I remembered he earned that for spewing chewed-up ketchup, lima-bean disaster milk all over Paul Pyle who was lucky enough to be in direct line of fire from Michael's pie hole. Paul Pyle, for his part, had to stay seated until the bell rang, was forced wear his stinky sweater for the remainder of the day and earned the nickname 'puke pile' for the rest of fifth grade.
This is a really fun listen. There are some really good hooks on some of the songs (Kinky Afro, Loose Fit). There are many moments of "that sort of sounds like ________", and use of familiar samples from other artists' songs. This is an album that I would listen to 2-3 tracks at a time, but not listen to all the way through.
Made for a great drive home track. Good vibe energy
A creative blur between sensational dance music and indie, art rock guitar sounds. It may seem like an odd combination of genres, but to me it's almost the personification of the atmosphere of early 90's UK. I can visualize a shabby dance club with a small band in new wave outfits performing Step On, God's Cup and Loose Fit with a dance pit around them. And then the band switches it up, and gives you a punk rock show that isn't changing any of the tones they've been playing for the club. It may be super niche or an adjustment to really latch onto, but this was easy for me to enjoy and pick up. This record represents a distinctly different corner of what rock was doing during the 90's. Favorite Songs: Step On Least Favorite: Donovan
This was great! I've never heard of this band or Madchester style music. I'll definitely want to check out more in the future. I can definitely see some influences the style has on bands like the Chemical Brothers.
Madferrit. How a bunch of junkies can knock out a British classic should be seen as the quality of British drugs and our drug addicts. The music's as baggy as their jaws were gurning. Best Tracks: Kinky Afro; God's Cop; Step On
Fun album. Sounded a bit more modern than '90.
Such a strong sound it conjures up an era. A bit before my time, the rock/rave scene had vanished from Manchester by the time I got there. The songs have a tendency to blend together and drag on a bit during the weaker parts. But it has such a strong vibe that kinda distracts from how boring the album actually is. 4/5 - Would give it 3 but my inner Manc is pushing it up to 4.
I was thinking that this album was all around solid but lancking any stand-out tracks. Then Step On came on and I upgraded this to a 4 star.
I’m sure it was fun at the time but all seems a bit messy and shouty now. A bit more going on musically than I was expecting though.
It’s a nice album from the early 90’s. It really sums up that era from England
This one is always good company, listened on the way down to the coast. Nothing much to say, just good memories and dancing.
A classic indi record
Scuzzy, funky and vibrant. A genre-defining work that's also a delight to listen to. Fave Songs (All songs, from most to least favorite): Step On, Loose Fit, Dennis and Lois, God's Cop, Kinky Afro, Bob's Yer Uncle, Harmony, Holiday, Donovan, Grandbag's Funeral
Pretty eclectic, pretty weird, very interesting, very listenable. I enjoyed it a lot! I really liked that they didn't seem to worry about adding unconventional things into the productions, and it seemed to bounce around different emotions and vibes and feels without ever making me as the listener feel like something was off. It is all tastefully done. Will have to listen to this album more than once to pick up on more things though.
Live reactions from late Tuesday night after work: For an album with such an eclectic mix of influences, these first few tracks aren’t as fun as I would have thought. It’s almost there but not quite raising my pulse. Ok I just got to “Dennis and Lois,” which is really scratching the itch for me. It sounds like U2’s “Mysterious Ways” with a little extra disco influence. Really digging it. (Fwiw, U2 released that song a year later so maybe it’s fair to say they were influenced by this album?) Maybe it’s this double IPA I’m drinking but the second half of this album is hitting way better than the first. The flute on “Bob’s Yer Uncle” is so fun. And that female backing vocal having an orgasm on the track? Haha I love it. Yeah I’m officially into this. “Step On” is a banger. And the last two tracks are really fun too. I’ll need to go back and listen to the first half of this again because I’m thoroughly charmed right now. Listening again on Wednesday morning and I’m really enjoying it. Their style took me a minute to connect to. His hoarse, shouted vocals are cracking me up. It’s a fun choice for a dance-y record. This one’s gonna go into high rotation for me for the next few weeks.
Sounded to me like a mashup of a bunch of different artists and styles. All kinda fun at least
Never used to get the Happy Mondays hype. But, having actually listened to an actual album of theirs I realise that it was one of my many strongly held opinions based on nothing much! Great tunes for a day in the park drinking cider.
Breezy, loud and fun, just what a Madchester record is supposed to be. A sign of what was to come in the decade ahead.
Good flow, but songs are diverse enough it keeps you interested. Love the lyrics.
Loved this album!! Sounded very smooth to me.
Huh, I have a surprising (to me) amount of affection for this album - I guess it got a lot more play in my uni days than "Bummed". Fave track - "Kinky Afro" and "Step On" are both monster tunes. "Harmony" is a lovely outro, too!
Meh. Sounded like typical 80s pop stuff, not really my cup of tea. I think most of the songs sounded a bit stale.
TIL about Madchester, a genre that blends British alt-rock and dance music. It's about as gross as it sounds. I was pretty disappointed in this album until the last song, which I absolutely loved. Best track: Harmony
Reminds me of the clash but funkier.
Certainly not bad. Upon my first listen, none of the songs really jumped out at me, but rather, there was a consistent quality of fairly catchy, entertaining indie dance music. That said, this isn't something I'll listen to again.
I have decided this too, is not for me. Well, actually maybe.
Después de leer la historia de Happy Mondays y de este disco, me esperaba algo totalmente distinto y difícil de tragar, pero al ponerle play noté que incluso conocía un par de las rolas, probablemente como soundtrack de alguna película o algo así, y que no estaba nada mal. Me gustó la combinación de ritmos electrónicos básicos con guitarras y bajos y voz.
Un agrado conocer a quienes acuñaron el Madchester, también es bueno saber que existen mas bandas aparte de los stone roses, radio head, blur y mucho mejores que oasis que aunque no son del mismo genero perse pues son sus raíces aunque no quieran y sean bien mamones toda la ola del britpop.
Honestly, I didn't pay a ton of attention, but I suspect I would enjoy this more on a second listen, I do typically enjoy this type of music.
legalzinho mas não é meu estilo, acho que não escutaria de novo
This album cover feels very right
A few jams. Enjoyable
Totally fine and ordinary. I think i remember Step On from back in the day, but don't particularly like it. The rest of the tracks a de facto alternative pop. It could have been my jam back in the day, but doesn't hold up too well for the new listener. Fine.
Fun songs but started to feel repetitive in style
Love the album cover! I could listen to this every 3 months. Two fantastic songs.
Pretty boring and some of the songs were flat-out bad. But it's mostly just generic rock-y music. 5
yipiyipi ayayayayaaa. Pero el resto un poco rollo.
5. Some was kinda fun but nothing great
"Show you what the cats been doing, and how he gets around You can't wake him, he's not sleeping He never comes down "(Grandbag's funeral) "Honey how's your breathing If it stops for good we'll be leaving" (Dennis and Lois) O wikipedia o yo tenemos un concepto equivocado de lo que es "house". Empieza bastante arriba, pero se hace un poco repetitivo hacia la mitad.
Listenable and vibey
Okay beats. Not entirely memorable, though maybe that's because I was focusing more on driving through heavy rain lmao. 5
Not great but there were some cool songs on here. The whisper singing is really annoying. 6 from me or a 7 if I’m generous.
Step On, Kinky Afro, God's Cop, Donovan, Bob's Yer Uncle y ya.
Their “high” point
An enjoyable enough album by an overrated band.
An easy 3. Great fun if you're in the mood for it. Some bangers
More 1990s indie-dance stuff. This is much more consistent than the Primal Scream records I reviewed. The music is pretty impeccable, blending rock & pop seamlessly with house - not superficially, but as a full synthesis, that no longer sounds like any of the component styles. It sounds really good. Manages to evoke the 1990s amazingly, while still sounding fresh. Production job is definitely good quality here! However, I don't really get any enjoyment from Sean Ryder's drug-addled leering. I'd prefer the whole album if it were instrumental, or even better if it had some talented singers and songwriters involved... This is probably what ruined the album for me the first time, when I borrowed my dad's cassette copy back in the 2000s. Despite the Ryder depreciation, it's still a 3.5.
3/5 nothing remarkable.
Good album, has good vibes from the time. Very Manc
Got a few good songs and would be good fun to watch at a festival.
It's just average pop.
so far it's decent - very of that era.... i'll come back to it for a party or smth
Interesting album. I have not heard any of the songs before and I was not familiar with the band. It was alright.
Rock / dance hybrid, reminds me of Pop Will Eat Itself but softer. The 2009 remaster I listened to had some remixes which are better than the source material.
I don't have a problem with this music, but I don't find much new, amazing or inspiring about it. There's some good musicianship and some fun hooks. I'd be fine if one of the songs came on, but I probably wouldn't seek it out.
Meh... served ok as a palette cleanser from The Wall.
Very poppy a bit trippy it was fun
I had never heard of this group before, but this was a surprisingly fun listen.
Consistent with my reaction to the Madchester/baggy thing, I liked this OK but am not quite seeing the level of adulation.
Good album, fun and funky
Really interesting but not really my jam--and there are some uncomfortable songs on there to say the least... I'll give it a 3 for creativity.
Just OK. Maybe I was just born a few years too late but I feel like a lot of the Madchester stuff is massively overrated.
Some really great tracks, but some average ones too
Liked this one back in the day. Sounds a bit dated now. Still has some good grooves though.
Forgotten quite how much fun this was. It plays well from start to finish; I thought it was a hits album, but only 3 UK singles are here, the rest of the album is fun, musically and lyrically, and fizzes along at a fair pace. Top tracks: kinky afro, step on, Donovan
Pretty meh album. Nothing wrong with the album, but nothing that standouts either. It would be alright background music. "Step On" probably the best song in my opinion
3.5 I'd say, not bad. A bit noisy at times. Didn't inspire me too much (as you can probably tell).
Happy guitar based music
As alluded to earlier in this project, Primal Scream's music blew my mind when I first heard it, and I started with some of their worse output. The Mondays put me in a similar state of mind, but I haven't found their mind-blowing record yet. This one has just enough variety in it to pique my interest, especially with the strings on the second tracks. Strings are a soft soft spot after all. Other than that, beats are uniformly good if not uniformly distributed, and the song structures rote.
When it comes together it really is something great. Too bad it falls apart more often than succeeding, with the vocalist nosediving into a bad Joe Strummer impression and the songs meandering around going nowhere. But man, when it works, it slaps.
No mention of Lady Marmalade on the reviews? How so?
first listen bouncy but doesn't have a lot of spark
It is better than I remembered, some good songs but overall it is just "good"
Un d'aquells discos en què la producció és molt. Els temes deuen més al seu moment i lloc que a la seva perícia compositiva, però la mà d'Oakenfold als comandaments fa màgia. Un disc testimoni d'una època. Molt lluny del primer disc d'Stone Roses, els seus partenaires de Madchester, però una escolta recomenable i plena de moments disfrutables
I am partial to this genre of music. This wasn't stand out for me but I suspect that has more to do with not being familiar with it. However I can't see myself going back to it.
another one for the 'appreciation rather than enjoyment' column. they've always kinda bored me
Some bangerzzzz. Not as drug fuelled a mess as I was half expecting. Proper talent o can only dream of.
I used to love this album but it’s dated and equally tough to relate to an album which is mostly about getting stoned when you‘re in your 50s.
Ehh.. pretty middle of the road. Hard to really comment anything exceptional. Just pretty average music.
Rating: 6/10 Best songs: Kinky afro
It's cool, but it's extremely basic
Preffered the Charletans and Stone Roses over any other Madchester band from that time but this album is ok as well, the sound is a bit dated but it contains several well-known singles and some good album tracks, 3.5 stars
Late 80s sound in the early 90s
Musically, the Mondays layered indie-pop guitars with house, funk and Northern soul beats. Yeah okay (6/10). FT: Step On
um.. this isn't me at all but why was I vibing with it
Felt like I would have liked this more, but it just didn't grab me for most of the album.
God's Cop, Donovan, Loose Feet y Step On son suficientes para reconocer el valor de este disco (mucho mejor que el otro que incluyeron en esta lista de 1001 el Bummed).
I like the Happy Mondays- it’s been a minute since I’ve listened to Step On.
It was fine. A regular degular rock album. It sounded good tho, and combine that with it mixing in some lite dance elements, I could see how it might have been like “wooaahh” in 1990.
1990. Key Songs: Kinky Afro, Step On
Got the same thing out of this album that I got out of Primal Scream's record. Whatever these people were on in Madchester, must've been good. It's fine. Just too long and kind of hazy after a while. Favorite tracks: "God's Cop", "Donovan"
Välillä meinas lähteä lentoon mutta ei sittenkään. Ei jäänyt yhdellä kerralla mieleen
1.5 - madchester stuff. nice but not my thing
1.5 | Miraaaa son los hijos bastardos de los Stone Roses. Debo decir que yo no conocía ni tenía idea de la existencia de todo este movimiento en la música británica del "Madchester" y su supuesto "Segundo Verano del Amor," y la verdad, creo que podía haber seguido totalmente tranquilo sin haberlo conocido. Simplemente no me llama mucho ni le veo lo especial a un rock de postpsicodelia que nomás no termina de cuajar. Al menos en los Stone Roses se sentía un poco de más sinceridad y más fresca la música, este disco se siente estéril y pareciera que lo único que intentan es poner una imagen de lo que sienten está de moda. La única canción que se siente bien es la última "Harmony," se oye más original e intenta hacer algo distinto. Las canciones no es que sean malas, parecido a los Stone Roses se sienten modos y ritmos como tratando de hacer que cada canción suene a bandas famosas anteriores pero no hay mucho que sacar de aquí como para decir que es un disco que DEBES haber escuchado. Se lleva un fuerte "meh" de mi parte, no es ofensivo al oído pero habiendo tantas cosas por escuchar no le veo el punto a gastar tiempo en algo que no emociona en lo más mínimo. Buena canción final.
Pop de los 980 estandar. Parece que se van a comer el mundo, pero mes mas de los mismo
Me no likey
Prefiro outras musicas do Happy Mondays
Nicht schlecht aber auch weitgehend verzichtbar
Didn’t thrill me
I jus’t don’t love cocaine enough.
I'm just not digging this but I can't place why. 2.5 if I could, but I guess it gets a 2 because I can't really say I liked it for a 3.
Started off well enough but I lost interest after a couple of songs. It was ok enough to listen to but not as good as a lot of 3s. The remixes definitely did not help.
This album highlights the British influence behind the 1001 list. The album is OK, but does not deserve 1001 recognition. It was the domestic commercial success for Happy Mondays, explaining why it’s on the list. It was rated as the 31st and 51 greatest British album by Q Magazine and Channel 4 viewers. I cannot understand these rankings. Entertainment Weekly was more reserved in giving it a C+ rating. That’s more like it but still too generous based on how little I like the lead singers voice.
74. Estamos a falar de um ramo do direito que protege realidades imateriais, no fundo, como se eu tomar duas caixas de ibuprofeno toma o comprimido toma o comprimido e a minha barriga centrifugar até não ser mais bucho que descida vertiginosa na montanha russa do pós-vida e no fundo são isso os limites dos direitos. MotA: Step On "Son, I'm 30 / I only went with your mother 'cause she's dirty"
It was ok
Kind of ok. Not really my thing these days.
not vibing with this album art. the one on spotify is slightly better. beginning sounds just fine. don't love the vocals. kinda liked the second song. third song doesn't sound bad either but i'm not interested at all so far. voice is getting grating, please stop whining sir. 'loose fit' is a mood. on track 7 and i'm so bored. doesn't sound bad but ehh. idk.
didn't like them then, don't like them now. Dennis and Lois was a cool track. the rest can go jump in a lake.
Very basic lyrics, vocals and style. Didn’t do much for me. No real highlights.
This one isnt intended to be absorbed on airpods in your house. I think you had to be there in the clubs. Loose Fit is fun.
I really can't say I needed to hear this album before I die
ok. strange. Wont listen again probably. 3/10
Super generic. Didn’t do it for me as it was pretty basic background Brit pop. The remixes at the end of the deluxe album were excruciating. Fave track: Step On
I've never experienced an album so forgettable that I would forget what it sounded like while I was listening to it before.
The music took me on a fun little adventure, but the singing/lyrics made me want to turn around and go home.
I did not dig it very much
Sound got really old quick. Songs are ok if not all pretty much the same. Nothing I'd want to go back to though
Mostly forgettable 90s indie rock. Some cool sounds but that’s about it
Quite an empty sound. I do like the "beachiness" feel, but I think there are better versions of that sound.
Best Song: Step On. Their most listened to song, probably the best on the album, but the lyrical patterning in some sections seems pretty derivative of The Beatles' "Come Together", so it's not even that original. Worst Song: Bob's Yer Uncle. Why does the title invoke an uncle, but the song contains lyrics like "Can I take you from behind and make you live?" Was this song supposed to sound so predatory? Perhaps the least sexy attempt at being sexy I've ever heard in a song. The flute/sax combo was nice though. Overall: Bland and basic. Sounds something like an amalgam of U2 and a Bowie cover band. The backing instrumentals were nice and funky in sections, but not enough to make up for the rest of the album. Another album that was gratuitously added to reach a nice number like 1001.
Oddly exciting name for an album that's just tame britpop-type stuff. Nothing awful but absolutely nothing standout either. I'll have forgotten everything about this by mid morning. Early afternoon update: yep, long since all forgotten. 2/5.
Kinky Afto was pretty catchy. The rest of the album seems ok. I think this one will take longer for me to get to know. It is my kind of music - just never heard it before. For now, I'll give it 2.5/5...
Bit too eclectic for me.
Heard before: no I’d never heard the Happy Mondays before, but had heard of them. It wasn’t what I expected. It was fine… maybe taking substances would improve the experience?
Not a fan
Look I'm both too old and not on enough drugs.
Bad brit pop. Can hear a lot of Stones and Beatles influence in there.
Groovy & Pretentious
Didn't really enjoy it.
It all sounds the same.
Owned it, loved it back in the day, seen them live a few times - always a party, but the music itself...not so good really - not quite appealing to the lowest common denominator, but close
Enjoyable but nothing that stood out to me. Just solid jams n good production, but the sameness of a lot of the songs made it boring to listen to in one sitting. Great in parts but could of been way better.
Even their big hit, "Step On" was ranking a solid 2 for me, at most. It felt muddy, like the songs had no clear direction.
No es mi estilo