“It goes without saying that the only people who should be allowed to purchase Unkle Dysfunctional are those (like this writer) who own one copy of Pills n’ Thrills n’ Bellyaches for each room of their apartment.” – CokeMachineGlow.com
For the uninitiated, the Happy Mondays were one of the central bands of the late 80’s “Madchester” movement which also included Stone Roses, Inspiral Carpets, James and the Charlatans. The focal point of the ’scene’ was the legendary Haçienda club, the colored history of which is available in excruciating detail on any number of sites. To the initiated, if you were already aware that the first Happy Mondays album in 14 years was released earlier this summer, you may well be wondering how it is, how Sean sounds and what it’s all about? As a lifelong fan of the group, who even got to see them in 1990 as a 16-year-old in Boston, I’ve listened to the album a big bunch of times and am here to lay it on you. I have thought of this at long length and can sum up my review in one sentence:
It’s better than I expected, but tragic due to the large number of good ideas hastily thrown together and wasted.
I haven’t bothered to look up the producer, but with more time spent and a different set of fingers twiddling the knobs, the mostly mediocre material could have easily comprised a legendary comeback of biblical proportions. And Sean Ryder was set for it – his cameo on the Gorillaz “Dare” last year made for the best song on an album of very good songs. His cohort Bez recently came back into the limelight after winning Celebrity Big Brother 5 and 50 thousand pounds along with it. Before I talk about the album’s highlight, let me first expound upon the tragedies – I owe it to my 16-year-old self.
Songs with great musical production have god-awful, chanty lyrics. I am thinking particularly of “Deviant” and “Cuntry Disco”. The music in Deviant is funky and wonderful, and I rap along to the chorus with delight every single time I hear it. But the verses, Sean mindlessly rhyming one word throughout – “She grabs it and stabs it and flabs it and…” make me feel like I’m playing some kind of drinking game. And losing. Deviants could have been an amazing song if someone had put the brakes on and said “Right… we’re on the verge here, but the versus sound worse than a Yoko Ono solo album being played backwards through a bullhorn.” Why, oh why, didn’t somebody say that! Give me a day alone with the masters and an unlicensed copy of Pro Tools and I’ll save the world.
The best tune on the record is without a doubt “Jellybean”, and it’s beyond cruel that it’s also the first. I remember driving around Burlington, singing the uber-catchy chorus after I’d heard it just once and wondering if I wasn’t about to experience something amazing – a solid Mondays album nearly 15 years after their last one sank an entire record label. But it “were all downhill from ‘ere” as they’d say in Manchester.
There’s no video as far as I could locate, but I found a decent clip of them performing it in Middlesbrough, England on May 26th of this year. I suppose even just one above average song on an album as unlikely as Unkle Dysfunctional is a pretty good average – so I’m featuring it on Wadio today and that makes me happy. A year ago I’d have bet a lot of money against it. Ecstasy money.
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