“Stinking Thinking” and “Judge Fudge” are pale imitations of earlier successes, and there are mercifully few songs from the abortive “Yes Please!” album, showcasing the sound of a band repeatedly jumping on the self-destruct button despite the best efforts of Talking Heads’ Chris Frantz and Tina Weymouth. Helped considerably by Vince Clarke’s remixing skills, “Wrote For Luck” remains the finest piece of work the Mondays ever recorded and it ushered in a period where the band produced some exceptional music – much of it co-written with Paul Oakenfold – including “Hallelujah”, “Loose Fit” and “Bob’s Yer Uncle”.
Not all the songs on “Greatest Hits” are rubbish, though. Ryder’s vocals have always had an uneasy relationship with the tune and on this track the relationship has broken down completely. Possibly the worst four minutes of music ever recorded, the chemistry of the original members is replaced by a “will this do?” rhythm track and increasingly desperate backing vocals which fail to disguise Shaun Ryder’s pitiful howling. Track 2, however, is an ill-advised cover of Thin Lizzy’s “The Boys Are Back In Town” played by the current (1999) line-up of the band. The opening “Step On” is thrilling, five minutes of shuffling beats and bass lines with Shaun Ryder’s patented nonsense over the top, and it demonstrates just how good a band the Mondays were in their original incarnation. The first two tracks of the album demonstrate what went wrong. Although first and foremost a compilation of some extraordinary music, even the arbitrary running order of “Greatest Hits” fails to disguise that the Mondays kept going much longer than they should have. An unholy mess of drug problems, inter-band bickering and increasingly self-destructive behaviour, the band collapsed acrimoniously during the recording of their final “Yes Please!” album with many of the members refusing to talk to each other even to this day. With hindsight, it’s amazing the Mondays lasted as long as they did. Although mixing dance and rock music is commonplace today, the Mondays were the first band with a foot in both camps and, at the time, their music was groundbreaking. Here was a band with personalities, tunes and the distinct possibility that they would fall apart at any minute. At a time when Indie music consisted largely of floppy fringes, effects pedals and a complete absence of charisma or tunes, the arrival of a band that understood the power of the “last gang in town” image was what many of us were waiting for. At the very beginning of the 1990s, the Happy Mondays were one of the most exciting new bands around.
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