1988

16 March 1988 - The Limelight, Belfast

17 March 1988 - McGonagle's, Dublin, Ireland * Support Act(s): The Shamen, Gorehounds
Notes: Happy Mondays headline the show. McGonagle's venue, known for its heavy rock audience, proved to be an interesting choice for the Irish gig.

12 May 1988 Thursday - Temperence Club, The Hacienda, Manchester * Doors Open: 19:30, On Stage: 21:30 * Ticket Price: £2.50
Notes: Temperence Club Night aka Student Night.

1988 - The Slaughterhouse, Great Driffield, East Yorkshire
E (Do It Better) / Fat Lady Wrestler / Bring A Friend / Wrote For Luck / Brain Dead / Performance / Some Cunt From Preston (Country Song) / Lazyitis / Movin In With
Notes: I'm tempted to say this was early 88'. Pre-Bummed Demos. The demos featured on the tape cassette 'The Blistred Rabbi - Do Not Tape Over'. The Blistred Rabbi tape contained several pre-hannett demos and ideas for their second album. A copy was given to Martin Hannett who would produce and radically change the sound for the bands second album.
There was an auction for a tape and cd transfer of 'Bummed FACT 220' and'Happy Mondays Demos'. The tape was a black maxwell high resonanceproof cassette mechanism, wide dynamic range, low distortion, position high, XLII90 tape. It came with a black and white print out, the session tracks and demo were on a white face cdr. Not sure where it was sold, I presume Omega Auctions based in Stockport, and the demos are not confirmed as Blistred Rabbi recordings but the tracklist seems similar. The A4 paper noted:
'Happy Mondays - Bummed. Recorded at Slaughterhouse Studios, Great Driffield, East Yorkshire & Starwberry Studios, Stockport. August - September 1988. Side 1 Bummed Album Session Finished Tracks.
Country Song
Moving In With
Mad Cyril
Fat Lady Wrestlers
Performance
Brain Dead
Wrote For Luck (12"Version)
Bring A Friend
Do It Better
Lazyitis
Boom (Non Album B-Side Of Wrote For Luck Single)
Side 2 Demos
Do It Better (Demo)
Fat Lady Wrestlers (Demo)
Bring A Friend (Demo)
Wrote For Luck (Demo)
Brain Dead (Demo)
Performance (Demo)
Lazyitis (Demo)'
The Slaughterhouse would burn down a year after their visit in allegedly suspicious circumstances. Some years later it would become a night club called Hooters. As the studio’s name suggests, the building was once used for killing animals and included six large meat fridges that had been turned into recording studios.
From 31 March 1990 - Melody Maker magazine: Why do you think so many people like Ecstasy? "Well, they did when it was good," says Shaun, 'but we all know it' s cack now, don't we?" Shaun this like a leading member of CAMRA might once have decried the major breweries. He kicked E when dealers started chopping it with smack and strychnine. "There's s no good gear about no more," says Bez, "and there's been none for a while. Drugs are cack anyway, man." Drugs are cack? "Yeah," Bez, "cos you're always having to get some more drugs, aren'tyou? It'fs shit. They can be useful, yeah. They keep my body going. "
From Louder Than War, 13 May 2012 Carl Stanley interview with life-long fan Phil Grunshaw: ''Bummed Demo’s: That man T again, providing some more rare demos;…1. Do It Better 2. Fat Lady Wrestlers 3. Bring A Friend 4. Wrote For Luck 5. Braindead 6. Performance 7. Country Song 8. Lazyitis 9. Moving In With''
From Happy Mondays Top 10 from Shiiine On Blog, Gaz Whelan said: 4. Do It Better - It was always known as ‘E’. Nothing to do with the narcotic, simply because it was in the musical key of ‘E’. Or so we thought (apparently it isn’t). When I saw the album I had no clue what ‘Do It Better’ was. I think the record company chose that title although I could be wrong… Also my favourite Mondays lyric & there are many many favourites – ‘Stuck a piece of crap in a butcher hat’….
7. WFL - Personally not my favourite. It has a Pavlov’s dog affect on me, it makes me feel hungover. This came out of a jam session. After Hacienda at about 6am Sunday morning in our rehearsal room. Our room was across from the Hac so instead of going home sometimes we would crash in the tiny room. Myself, Paul Ryder and Paul Davis were jamming 2 songs… ‘Two Tribes’ Frankie Goes To Hollywood (listen close very apparent) and Kate Bush’s ‘Running Up That Hill’. Most of the track came from Paul Davis’ keyboards as he was kind of leading the jam. He never gets any credit PD, he deserves much, much more.
5. Performance - I love this track – another song we started with a Drums/Bass jam. We were jamming on Bowie’s ‘Sound and Vision’ If you listen it’s in the same key and same groove. I remember doing this on ‘The other side of midnight’. It was the first time I watched us on television and thought “this is quite good!” Great lyrics again….we were obsessed, and I mean obsessed, with the movie ‘Performance’ hence the title and lyrics.
Bootleg: The Blistred Rabbi Bummed Demo Tape
Bootleg: Omega Auction White CD-R - E (Do It Better) / Fat Lady Wrestler / Bring A Friend / Wrote For Luck / Brain Dead / Performance / Lazyitis
Bootleg: T Archive Volume 1 (CD-R) - Fat Lady Wrestler (Blistred Rabbi Demo Tape 1988) / Do It Better E2 Mix (version 1) / WFL LSD Mix 2 / Holiday (Pills LP LA Sessions, Capitol records, 1990) / Mad Cyril Rehearsal (unknown session) / Unknown Instrumental (Pills LP LA Sessions, Capitol records, 1990) ...
Bootleg: T Archive Volume 2 (CD-R) -...Do It Better (Driffield Sessions 1988) / Wrote For Luck (Rehearsal) / ...
Bootleg: Giro Day () Performance / Fat Lady Wrestlers / Bring A Friend
Bootleg: Unknown - (MP3) - Wrote For Luck

1988 - Bummed Sessions, The Slaughterhouse, Great Driffield, East Yorkshire
Notes: John Spence engineered the start of the sessions. The session was initially engineered by Colin Richardson. Ian Hunter worked at the studio during the sessions too. Driffield is a small market town in the East Riding of Yorkshire. Woody Woodmansey (drummer in the Spiders From Mars for David Bowie) was from there.
01 February 2016 08:17 - Daniel Dylan Wray article Driff-Raff: Happy Mondays, Bummed & Driffield: Driffield is the town where I grew up. It’s a small market town in the East Riding of Yorkshire, somewhere you’ve perhaps driven through when you were venturing up the east coast towards Bridlington or Scarborough. It is an unspectacular town to say the least and generally void of any notable cultural occurrences or creations, Woody Woodmansey (drummer in the Spiders From Mars for David Bowie) being perhaps its biggest musical export. It is representative of many small towns in the UK and the compact pub and club circuit that existed in 1988 when the band were in town hadn’t changed all that much when I started to frequent them illegally in the early 2000s. 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.
“It was a strange session”, recalls engineer John Spence, who started work on the recording after a week. (The session was initially engineered by Colin Richardson, a powerhouse producer in the world of metal, having worked with Bolt Thrower, Napalm Death, Slipknot and Funeral For A Friend.)
The first question, perhaps, is why Driffield in the first place? “No idea why, probably because it was cheap", says Shaun Ryder.
Although manager Nathan McGough seems to think it may have been a tactic to avoid unnecessary distractions, “They chose to be away from the city [Manchester] to record somewhere where their mates wouldn’t show up. They wanted to get away from the party so they could focus on recording. If they’d made it in Manchester it would have got out of hand.”
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. Ian Hunter, who was a “general dog’s body” at the studio during this time, recalls it being an impressive set-up, “Slaughterhouse studio one was pretty epic for the times.” As the studio’s name suggests, the building was once used for killing animals and included six large meat fridges that had been turned into recording areas.
Ryder recalls landing in the town and it not really being all that odd or different from his usual surroundings, “The planet was pretty much like Driffield. Manchester was like Driffield - that’s just how it was back then.” The group were not anticipated in any way, neither Spence or Hunter recall the band being on their radar at the time, so no chaos was predicted nor was there a sense of trepidation. A harmonious relationship between studio and band was attained pretty much from the off, with Hunter attributing this to studio manager, Dave Sinton - “Think Billy Connolly with a Belfast accent” - as being a key reason.
“I appreciate it’s hard to always see the scenario when you don’t actually know the characters involved, but, Sinton was a very charismatic ex Hells Angel - a sergeant at arms - and he was one of the most immediately likeable people I think I’ve ever met. Every month or so, a pillow-sized parcel would arrive by courier from the Angels in Northern Ireland, entirely full of grass. 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.”
This said Hunter recalls the Ryder brothers almost getting off to a more troublesome start, “My first encounter with Shaun and Paul Ryder was hilarious. 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. Dave Sinton appeared and looked up at these kids, looking over the banisters on the top floor, and in his broad Northern Irish brogue, said ‘ Hey, cuntos, you nearly hit Shaun fucking Ryder, there.’"
There had been no plan as regards making the album, nothing beyond getting the group in the studio, as McGough tells me, “Not a lot of discussions were had about the music prior to the recording session. Factory wasn’t a label that practiced A&R in the true sense of discussing repertoire. If they liked you they signed you and let you get on with it. The band demo’d some of the tracks beforehand. ‘Do It Better’ was originally called ‘E’. The only thing discussed was who would produce the album. We brought Martin Hannett back into the Factory fold, he’d been on the outside for several years after falling out with Tony Wilson. We made the peace, Martin made the record.” Ryder didn’t know much about the producer other than what most people did at the time, “It was our first time working with Martin. The only thing I really knew about him was that he’d produced New Order and Joy Division and from a Factory Records documentary when he was playing with a gun and fucking about putting it to his head - that’s all I’d seen of him, really.”
Hannett was not in fantastic shape at the time, drinking heavily (“a bottle of brandy a day” recalls Hunter) but Spence does recall him having some vision for things behind the fog, “Martin had a shape for the album in mind” he says, “Although it was very hard to tell with him, he was very uncommunicative. He was often not very with it, to put it politely.” McGough remembers a couple of defining Hannett moments from the session, “I have two clear memories of Martin Hannett producing Bummed in Driffield, the first being he had a huge pharmacology manual that sat permanently on the studio console where he worked, and it listed every prescription drug in the world, specified the function of said drug and detailed their side effects. When I asked Martin why he had it he said, 'I used to be a chemist at ICI. I like to know how different drugs work together and what they will do to my body and my brain.'
"The second memory of Martin is connected to the first in that he seemed to spend a lot of time under the mixing desk flat on his back, occasionally shouting, 'Do it again' to the band. 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. He was obsessed with digital delays, he would patch three of these machines together to create ‘space’ in the recordings.”
Spence remembers Hannett attempting to capture such space, “Martin set up some microphones to record the ambiance of the room, he used a configuration called MS (mid-side) which wasn’t something I’d come across before but gives a particularly wide stereo image, that was interesting.”
Spence also recalls heavy periods of productivity by Hannett followed by absences, “He would disappear for days. I went in on my first day on the Monday morning at 10am and I didn’t see anybody until Thursday. I would stay there or hover around until 10pm at night in case anybody turned up and nobody did. On the Thursday Shaun came in and asked if Martin was around, which he wasn’t, and then on the Friday morning a tall chap with a suit and a briefcase walked in and it was Tony Wilson. 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. He took a bunch of things out of his briefcase and put them on the end of the table and said, 'Can you make sure Shaun gets these?' I assumed they were drugs of some description and the delivery became a weekly occurrence.” Wilson’s weekly trips to Driffield are well remembered by everyone, as Hunter recalls when asked what Wilson’s role during the recording sessions were. “Chief vendor of creative stimulants and enthusiasm”, he says. “Tony Wilson would appear once a week with a box of treats, give a team talk to whoever might be out of bed, and then go and settle that week’s studio bill with Webster. That album had some long breaks in recording, due to nothing more than people just disappearing, or being too fucked up to come into the studio.”
The general productivity of the band during these sessions tends to be disputed from source-to-source; Ryder and Bez are pretty much unreliable witnesses when it comes to answering work-related questions. As the frontman points out bluntly, “My recollection of that time really is just partying, I can’t even remember us doing any work. We must have done because we got the album done but I just can’t remember us doing anything except partying.” McGough recalls them having a bit more focus though, “Everyone was on a good vibe, making great music. You didn’t really get antics in the studio with Happy Mondays, they were focused on their music, they desired to make great records, and they were always professional in that sense. They were grafters, even when they were high.” Whilst Hunter suggests it was a bit more of an extended blag and lark for the group at the time, “It was never cohesive in any way. I think that it’s important to consider that the Happy Mondays saw their career as getting lucky that someone was daft enough to think they were great, and was bankrolling them getting wrecked if they laid down a few songs. At that time, I don’t think they ever considered they might have a real career or a legacy.”
Extracting information out of Ryder and Bez is hilariously impossible, their collective memories of a six-week residential recording session really don’t extend beyond a few shared anecdotes, “We had a bit of trouble with the army one night” Bez recalls, with Ryder adding, “There was an army base nearby and we had all our pals come up from Manchester, which comprised of lads from a firm and drug dealers and party kids. We’d go to this club [Odins] and there would be army lads there who had just done a tour of Northern Ireland. They’d look at us and get some bad vibes and then we’d look back at them and there was this staring competition going on. I remember having one conversation with this kid who was getting worked up about Bez’s eyes and I was like, 'That’s just how he is.' My mates weren’t going to take any shit and wanted to kill these soldiers; and they wanted to kill us. But then I threw an E down one of these kids’ necks who was talking about killing Catholics in Northern Ireland and within about half an hour or so he’d come up and was doing the E walk saying how wonderful and beautiful we were. He scrounged a load of E’s off us for his pals and then after that it was all nice and peaceful. The kids we were with wouldn’t have walked away so it would have fucking gone off in there.” Bez adds, “They went from wanting to kill us to being in the studio listening to music with us.”
So, given the propensity for scattered recordings, prolonged absences, constant drug-taking and poor memory from the people making the music, I try to establish from John Spence some sort of semblance of an average working day in the studio, “They worked at their own pace. They were never in the studio for more than a couple of hours. I don’t ever remember starting anything until about 2pm, Martin would be drinking throughout most of the day and there would be various little visits to the tape machine room and he would go in there seven or eight times in as many hours to take whatever he was taking. That was just what Martin did. The tape would run for 15minutes, the length of it, and we’d just press record and let the bass player and drummer just jam. Martin would get them to record quite a lot of stuff then get rid of them and sit there for a day or so filtering through what they’d played and getting rid of what he didn’t want.” Whilst Spence recalled the group having “blind faith” in Hannett and who they trusted “implicitly” to the point that nobody would do anything unless he was around, Hunter recalls a little more friction than that. “Imagine a beardy supply teacher being given a class of feral council estate kids for a maths lesson” he starts, “It was a bit like that. Don’t get me wrong, they liked Martin Hannett, but viewed him as sweaty odorous supply teacher that they had been lumbered with, and it was more fun to wind the fucker up, than to actually do any work.”
Whether out of contempt for the group, sheer boredom or plain exasperation, both Spence and Hunter recall Hannett starting a fire in the studio one day. “Martin was a functioning alcoholic when he arrived” Hunter says. “To be honest, despite his brooding demeanour, he was a gentle soul, but he drank dark spirits or red wine, and was prone to storming off and calling everyone a cunt. He was unstable, regardless of the grief he got from the band - he set fire to the mixing desk with brandy one day.” Hunter even recalls an incident with Hannett holding the band hostage at gun point in the studio, Wilson then arriving and Hannett firing off a round two feet from his head into the wall. (Although it should be said that nobody else is able to confirm any firearm related incidents in the studio, despite Hannett’s previous ownership of a gun.) The producer’s idiosyncrasies notwithstanding, Hunter still recalls being a teenager in the company of a true sonic innovator. “Was he a genius? Without a shadow of a doubt. He achieved what all producers would love to have: a sound of their own. I think it’s more definitive with Joy Division, simply as it’s impossible to name a band who sounded like that before them. Hannett was the fifth Beatle in their case. He was much funnier and dry witted than he is often portrayed. I remember him asking me to go to the shop and get him some Wispa Bars. I noted the use of the plural and asked how many? He pulled out £20 note and just said, 'However many that gets.'”
As for the lyrical approach on the record, it contains some of Ryder’s most stimulating, perplexing and lurid word play. Again his recollections are sparse bar the track ‘Performance’, an ode to Donald Cammell and Nicolas Roeg’s film of the same name, “Performance had a big effect on me. I watched that film fucking eight hours a day. At the time we were taking a lot of acid as well as E and that film would be on a constant loop from morning to night. I robbed a lot of stuff out of that.”
Hunter remembers Ryder’s lyrical approach in the studio, “I remember Shaun doing tequila and Asti Spumante slammers whilst writing lyrics on a piece of A4 on the floor." Spence remembers a similar scene, “Shaun would come in with papers that he’d written and you’d loop a three or four minute section of these grooves that had overdubs. Then he would sit, crossed-legged on the floor, with headphones on and listen to that for an hour before he’d do anything. And then sometimes he’d get up and start experimenting with some lines. All the time he was doing this, Bez would be in the room with him, dancing. All the time. I don’t remember Shaun ever doing anything without Bez being there. Over a period of hours Shaun would settle on a set of lyrics that worked for him and then Martin would be on the talk back and then something would get laid down.”
There’s a pronounced sense of brevity to Ryder’s lyrical output on the album, words that operate as snippets, singularities and pithy quips. Often these are repeated with the same degree of repetition as the itchy chug of the guitar or the synchronised force of the rhythm section. A less is more output – one that was intentional or because it was less work is anyone’s guess. However, people have spent decades tripping up over themselves attempting to describe the surging euphoric blast that is a powerful ecstasy experience but in the hands of Ryder he needed nothing more than the refrain on ‘Do it Better’:
“Good, good, good, good, good, good, good, good, good, good, good, good
Double double good Double double good”
While gloriously playful this is still simplistic to some and no doubt agonisingly stupid to others. These are words concocted by someone who has pushed himself far and high on ecstasy during the kind of rush that arrests both body and mind. It is the only sort of response you can have to someone asking, “Are you alright?” To be reduced to the primitive and the physical: raised eyebrows, deep and long exhalations and a mischievous, winking smile. The same sort of exhalations and hisses are scattered throughout the song but these alone cannot capture the simple bliss of being clattered beyond words so Ryder spits them out from the perspective of (or as) someone with a chemically limited vocabulary: “Good. Double good.” If you’re looking for a visual representation of this state then keep an eye on Ryder’s face during the video for ‘Wrote For Luck’ because that is the sight of a man having a very, very good time.
Musically, the primary basis for Bummed seems to have been simple and unplanned: have the rhythm section of Gaz Whelan and Paul Ryder find some sort of groove from an improvised jam, lock into it and simply build from there. This suited the group’s philosophy as a whole, not to mention the chemicals they were ingesting. They were creating a framework onto which further experimentations could be added. In many senses Bummed – particularly the Driffield sessions - was just the laying of a foundation. Entirely finished songs never left Slaughterhouse studios; they would be tidied up, overdubbed and mixed at Strawberry Studios in Stockport. What had been laid down in Driffield was just a beat for the band to dance to, a soundtrack to their own party, laying the groundwork for what they would later expand on stage.
Their drug-fuelled hodgepodge approach of taking material as it came may have resulted in a singer being unable to remember a single notable thing about the musical experience of creating the record, however it also meant that the material never had an unmovable underpinning to which the band were tied to. A simple look at a few different live versions of the album highlight ‘Wrote For Luck’ during this period once they got it on the road proves exhilarating testament to the lengths they were willing to push their material to and how much capturing an essence or ‘feel’ was enough during the initial recordings. These three live versions hurtle through genres like a ram-raider ploughing through the steel shutters into an off license: house, post punk, indie, shoegaze, disco and some sort of ecstatic hybrid of them all. It’s a remarkable and truly unique occurrence in which a group take so much ecstasy - hell-bent on capturing their internal, fun-driven, groove - that they forget how they got there in the first place. Despite the very literal chemical nature of such an environment, there’s a real purity to such an approach - let the gut, the hips and the pills lead the way - follow the rush. This is something Hunter echoes, “I personally feel that the majority of that album was built on a bunch of random ideas with no real solid arrangements, but simply some great groove they had logged. I think the Happy Monday’s album plan was to string it out and have a big bender at Factory’s expense for as long as they could take the piss for.”
I go back to Shaun Ryder for one last word, trying to squeeze one further snippet of information, of any kind, about his time in Driffield, to which he responds, “Banging a few of those girls that worked as waitresses [in the pub – The Norseman] and having parties every night, I can’t remember the recording process at all. I just can’t fucking remember us doing one thing in that place, really. Sorry.”

Rehearsal Session,
Mad Cyril / Wrote For Luck / Horse Bass Instrumental
Notes: Unconfirmed but could be from the Driffield Sessions.
From Bummed Collectors Edition Sleeve notes, Paul Ryder said: "Wendy, his wife (Martin Hannett), had said 'Try and keep him off the beer.' So we thought, 'Well, we don't drink when we take Ecstasy, 'cos there's no need to - maybe if we give Martin this, he won't drink''"
Bootleg: T Archive Volume 2 (CD-R) - 1981 Demo #1 (attic rehearsal) / 1981 Demo #2 (attic rehearsal) / Happy Side Of You (1983/84 demo recording) / Delightful (1983 Bungalow Tape) / Comfort & Joy (Spirit Studios Sessions 1985) / 24 Hour Party People (Vocal Demo) / Desmond / Yahoo (Bristol Bierkeller, Soundcheck 1987) / Do It Better (Driffield Sessions 1988) / Clap Your Hands (Hillsborough Benefit Gig 1989) / Rare Interview (includes conversation regarding the debut album and the bummed album, including talk of song titles and recording) / Wrote For Luck (Rehearsal) / Tart Tart - Step On (Amsterdam Paradiso 1990) / Monkey In The Family (Barbados Session 1992) / Opportunity Knows (Final ever session 1993)
Bootleg: T Archive Volume 1 (CD-R) - See The Sorrow (1983/84 demo recording) / Freaky Dancin' Jam (pre Squirrel album rehearsal/jam) - Guitar Solo Jam (pre Squirrel album rehearsal/jam) / Fat Lady Wrestler (Blistred Rabbi Demo Tape 1988) / Do It Better E2 Mix (version 1) / WFL LSD Mix 2 / Holiday (Pills LP LA Sessions, Capitol records, 1990) / Mad Cyril Rehearsal (unknown session) / Unknown Instrumental (Pills LP LA Sessions, Capitol records, 1990) / Step On (live at Pinkpop Festival 1991) / Stinkin Thinkin (alternate version, Barbados Sessions) / Total Ringo (alternate version, Barbados Sessions) / Bass & Drum Idea 2 (1993 final session)
2013, David Wood wrote an piece for North West Music Store's website 'Promenade Music'. The article included: He had put a lot of weight on since 85 but so had I and he said he was off heroin and had made up with the Factory crowd and had even started working with them again on a few projects including the Happy Mondays Bummed album.

23 & 24 July 1988 - Strawberry Studio, Stockport, Cheshire
E (aka Do It Better E2 Mix (Version 1) 4:21)
E (aka Do It Better E2 Mix (Version 2) - E2 Mix Acid) 5:46
Notes: This was the date I was given, which remains unconfirmed. The working title for Do It Better was 'E'. The track was originally intended to be the band's debut single. The song was mixed and finished for release, along with a couple of remixes for b-sides and even a Wrote For Luck Remix too. All the songs for the intended single were scrapped and never saw release. Although a Factory Records collector told me Mad Cyril (Hello Girls Mix) was going to included on the release.
Bootleg: T Archive Volume 1 (CD-R) - See The Sorrow (1983/84 demo recording) / Freaky Dancin' Jam (pre Squirrel album rehearsal/jam) - Guitar Solo Jam (pre Squirrel album rehearsal/jam) / Fat Lady Wrestler (Blistred Rabbi Demo Tape 1988) / Do It Better E2 Mix (version 1) / WFL LSD Mix 2 / Holiday (Pills LP LA Sessions, Capitol records, 1990) / Mad Cyril Rehearsal (unknown session) / Unknown Instrumental (Pills LP LA Sessions, Capitol records, 1990) / Step On (live at Pinkpop Festival 1991) / Stinkin Thinkin (alternate version, Barbados Sessions) / Total Ringo (alternate version, Barbados Sessions) / Bass & Drum Idea 2 (1993 final session)

25 & 28 July 1988 - Strawberry Studio, Stockport, Cheshire
Wrote For Luck (Remix) (25th & 28th)
Notes: This was the date I was given, which remains unconfirmed. Bummed Sessions. Wrote For Luck had several remixes produced. This actual mix noted here is unconfirmed. The list of remixes is long and most of the original Wrote For Luck remixes were quite similar.

July 1988 - Strawberry Studio, Stockport, Cheshire
Wrote For Luck (Wrote For Dub LSD Mix 2)
Notes: This was the date I was given, which remains unconfirmed. Bummed Sessions. Unreleased Remix which was intended for a remix 12inch release. Instead the 12inch and CD was packed with mixes. This was the initial mix which was later given greater treatment by Paul Oakenfold on the Lazyitis/W.F.L. Single.
Bootleg: T Archive Volume 1 (CD-R) - See The Sorrow (1983/84 demo recording) / Freaky Dancin' Jam (pre Squirrel album rehearsal/jam) - Guitar Solo Jam (pre Squirrel album rehearsal/jam) / Fat Lady Wrestler (Blistred Rabbi Demo Tape 1988) / Do It Better E2 Mix (version 1) / WFL LSD Mix 2 / Holiday (Pills LP LA Sessions, Capitol records, 1990) / Mad Cyril Rehearsal (unknown session) / Unknown Instrumental (Pills LP LA Sessions, Capitol records, 1990) / Step On (live at Pinkpop Festival 1991) / Stinkin Thinkin (alternate version, Barbados Sessions) / Total Ringo (alternate version, Barbados Sessions) / Bass & Drum Idea 2 (1993 final session)

August 1988 - Bummed Sessions, The Slaughterhouse, Great Driffield, East Yorkshire
Some Cunt From Preston (Country Song) / Moving In With
Notes: Martin Hannett recording sessions. Dave Hassell joined the band in the studio to add percussion. Steve Hopkins played additional piano & Horseman (Derek Ryder) even played banjo during the sessions.
An excerpt from Moving In With was included in the TV show 'Bummed Into', part of the Information Technology I.T. series (an educational programme often shown in Schools)
From The Quietus, Recording Engineer John Spence said: According to Spence, Hannett’s obsession with digital delays caused him “to patch three of these machines together to create a ‘space’ in the recordings […] he set up some microphones to record the ambience of the room, he used a configuration called M-S (mid-side) which wasn’t something I came across before, but gives a particularly wide stereo image.”
A demo tape would later be sold at auction featuring the LP master and a selection of demos from the Slaughterhouse Sessions. '11 September 2019 Happy Mondays Bummed Demos are auctioned at Omega Auctions, Lot 111 of 1232: HAPPY MONDAYS BUMMED DEMOS, Description: A Maxell cassette with handwritten notes to sleeve in A side column reading 'Happy Mondays "Bummed" FACT 220 and to B side 'Happy Mondays Demos'. Typed note accompanying CD version of the cassette details tracklisting with the A side of cassette to play the finished tracks from the Bummed album sessions between August - Sept 1988 and side two to include seven demo versions of tracks.'
Bootleg: 1989 - Information Technology I.T. Schools Programme 'Making ''Bummed'' - Moving In With

August 1988 - Bummed Sessions, The Slaughterhouse, Great Driffield, East Yorkshire
Holiday (Instrumental #1) / Holiday (Instrumental #2)
Mad Cyril (Instrumental #1 / Mad Cyril (Hello Girls) (Instrumental) / Mad Cyril (Instrumental #2) / Mad Cyril (Instrumental #3)
Unknown (Instrumental) / Unknown (Instrumental version 2) / Unknown (Instrumental version 3) / Unknown (Instrumental version 4)
Notes: The Bummed Sessions continue. Holiday would be re-recorded for the Pills, Thrills And Bellyaches album. Mady Cyril (Hello Girls) version would later appear on Lazyitis/W.F.L. Single as a B-side.
From Bummed Collectors Edition Sleeve notes, Tony Wilson said: "You'd go into the studio, and there'd be Hannett sitting in the desk with one of the band" "If you went into the band room, the lights were all out, pulsing house music, and as you walked in, you werre tripping over people and vinyl. They were all gone on it: this non-stop dance beat."

September 1988 - The first Factory contracts are drawn up.
Notes: Happy Mondays are the second artist to sign. Factory bought their new premises on Princes Street, Manchester. They decorated it on the outside with Happy Mondays posters before they even moved in.

September 1988 - Bummed Mixdown, Strawberry Studios, Stockport, Cheshire
Notes: The album is mixed down. Engineered by Laurence Diana.
From U.S. Elektra Promo Press Sheet:..."We're fuller this time, " says singer Shaun Ryder. "We're more in command of what we 're doing. The first album was just playing about, learning things." "We never write songs as such. Lyrics just come out of me 'ead. Most of 'em are just words strung together. I don't really want to make sense 'cos I don't make sense myself. I couldn't write a song that was about something. I'm not clever enough...I'm quite happy singing something meaningless as long as it's witty. You put your own pictures to it."

1988 September - Nathan 'Muzzer' McGough becomes the bands official manager
Notes: Nathan is the step-son of Roger McGough. CBE Roger was a member of the band The Scaffold and was an esteemed 'Liverpool Poet'. Manager status sourced from James October Tour Itinerary 1988.

1988 - Derek 'Horseman' Ryder becomes the band's official roadie.
Notes: Derek was known as Horseman, so Paul and Shaun didn't have to call him dad in public. Factory put him, finally, on the payroll after years of helping out the band on the road.

Happy Mondays - October 1988 - Wrote For Luck U.K. Release Date
FAC 212 Artwork by Central Station Design
Produced by Martin Hannett.
Engineered by Laurence Diana, John Spence, Hugo Nicholson, Calum Sharpe & Colin Richardson.
7inch FAC212/7
Wrote For Luck (Radio Mix) aka (7' Version) 3:43
Boom
12inch FAC212 / CD FACD212
Wrote For Luck (Radio Mix)
Wrote For Luck (Dance Mix)
Wrote For Luck (Club Mix)
Boom
VHS 1track Promo Only - Factory FAC 212
Wrote For Luck (Pop Mix) 3:35 *aka Video Mix 1 *wav. DATA DISC 203
Promo 12" DJFAC212
Wrote for Luck (Machine Mix)
Wrote for Luck (Alternative Mix)
Notes: Machine Mix is the same as Dance Mix 5:45. Unconfirmed if Alternative Mix is the same as Club Mix 5:50.
U.S.A 12inch
Wrote For Luck (Radio Mix)
Wrote For Luck (Dance Mix)
Wrote For Luck (Club Mix)
Boom

October / November 1988 - Shaun And Bez fly to U.S.A. to promote Bummed in America with the Elektra Distribution Team
From North Fork Sound, Howard Thompson, New Suffolk, NY 23rd St, NYC, USA:
'Bummed' was going to be released in the US in a few weeks, so it was time to fly Shaun and Bez in to do some press. Flights and hotels were arranged and just as their plane was halfway across the Atlantic, I got a call from Nathan, who said that they’d need “an ounce of draw, 8 hits of ‘E’ and a couple of grams at the hotel” or he couldn’t guarantee their complete co-operation. Considering they were only going to be at the Berkshire Place Hotel for 2 nights, I thought this was somewhat excessive but Nathan insisted it was “necessary” and he “wasn’t joking”. Ok, so it was just a stroll down the corridor to the ‘artist relations’ department where the drugs cupboard was….kidding. This was far too tall an order to find in-house, so the rest of the day was spent hustling a number of dodgy contacts around town so our guests could feel at home. I managed to come up with half an ounce of weed, 6 tabs of ‘e’ and a couple of grams of coke, which I paid for myself, and had it biked over to the hotel. The plan was to hook up after work and when I met them in their room around 7pm, I was astonished to discover they’d polished off most of the grass and all the ‘e’ and coke. They'd only been there about 3 hours. I suggested we start the evening at Downtown Beirut, a dive in the East Village, and play the rest of the night by ear. That seemed agreeable and soon we were drinking screwdrivers and playing the jukebox. Unfortunately, due to the pair’s thick-as-syrup Mancunian accents and the fact that they seemed to talk in some weird, home-made slang I’d never heard before, much of my evening was spent trying to figure out what, exactly, it was they were talking about. We talked about music, Manchester, their home-lives, petty crime, Italian clothes designers and god knows what else for about 3 hours, at which point I suggested we change venues for a nightcap and some sightseeing. We piled into a taxi and ended up around the corner from my apartment at (the late, lamented) Billy’s Topless on 6th Ave at 24th St, another dive with cheap drinks, free ‘catering’ (remnants of a 6 foot sandwich, or pasta from lunchtime) and the least energetic dancers in the city. Dancers might be the wrong term. Most lay on their backs with their legs in the air trying to suck dollars from the punters sat at the edge of the stage. We'd switched to Jack Daniels and even more slurred, unintelligible conversation ensued at the bar until about 1am, when I thought it best to call it a night. Shaun and Bez wanted to stay, so I wrote the address of their hotel on a napkin and suggested they took a cab back soon, as their first interview was scheduled for 10.30am. They 'borrowed' cab fare ("no dollars, H"), and I taxi’d the 2 blocks home.
The following day at around noon, I got a frantic call from (head of publicity) Sherry Ring’s office asking if I knew where the Mondays were because they hadn’t shown up yet and no one was answering the phone in their hotel room. I said I'd not seen them. At 2.30pm, Shaun and Bez eventually ambled into my office and told me they’d met a recently discharged Marine at Billy’s and, with his money, had bought 6 grams of coke, rented a couple of hookers and taken him back to the hotel for a party. Of course, they hadn’t been to sleep yet and were now beginning to feel “a bit jet-lagged”! Of course, most of the journalists scheduled to interview them had left, and those that hadn’t couldn’t get much in the way of anything comprehensible from our dynamic duo. Even the press department asked if I could 'translate', because they couldn’t understand a word they were saying, either.
In the end, I think a journalist from CMJ managed to cobble a short column together and that was about it...

11 October 1988 Tuesday - The Ritz, Manchester * Soundcheck: 18:30 * Ticket Price: £4.50 * Doors Open: 20:00 - Happy Mondays: 21:15 - James: 22:15 * Supporting: James *
Kuff Dam / Lazyitis
Notes: Happy Mondays go on tour with James. The P.A. was supplied by Eastwood Audio. The tours total mileage would clock in at 2294 miles, info sourced from James October Tour Itinerary 1988.
Review by Jon Ronson for Melody Maker, October 1988: Sipping cans and lighting fags, Happy Mondays are professional slobs. As Talking Heads used to practise odd movements in the mirror before gigs, Happy Mondays no doubt go through their synchronised fating exercises. But the art of being a local lad can only go far, and tonight it was short and painless. Five songs, and they were gone. Not even the dancer, Bez, looking like a leprous Blue Aeroplane, could cut the ice.
Review by Mike West for NME Magazine, October 1988: There's been a fight. One arrest. Rumour has it that a scally with hollow cheeks, hollow eyes and a maraca was bundled into a police van one hour ago. But as six ordinary criminals, including the dancing corpse of Mark Berry, take the stage, the audience breathes a sigh. The rumour is unfounded. Happy Mondays are all here, free men. Hanging from a microphone by his monkey arms and his cigarette, Shaun Ryder isn't with us at all. His voice, a holler, is a ventriloquist's trick. Still sat at home eating freezer food and watching TV, the hunch-back lets the dirge run on auto. The whole band are absent, lazy and danceable as ever. They play 20 minutes, 'Kuff Dam' and 'Ticket To Ride', a second attempt to incite John Lennon's ghost or solicitor to sue. Somehow, Berry stays out of prison, out of his head, and on his feet, clinging to the maraca, his claim to an album credit, 'percussionist'.

12 October 1988 Wednesday - The Riverside, Newcastle * Soundcheck: 18:30 * Doors Open: 19:30 - Happy Mondays: 21:00 - James: 22:00 * Supporting: James *
Notes: Info sourced from James October Tour Itinerary 1988. Apparently the band turned at the wrong venue and tried to kick Simply Red off the stage. The band finally arrived at The Riverside late.

14 October 1988 Friday - The Venue, Aberdeen * Soundcheck: 18:30 * Doors Open: 21:00 - Happy Mondays: 22:30 - James: 23:45 * Supporting: James *
Notes: The P.A. was supplied by Storm Sound Systems. Info sourced from James October Tour Itinerary 1988. An audience recording exsists for James' set.

15 October 1988 Saturday - QMU (Queen Margaret Union), Glasgow * Soundcheck: 18:30 * Doors Open: 20:00 - Happy Mondays: 21:00 - James: 23:00 * Supporting: James *
Notes: The P.A. was supplied by Harbour Sound. Info sourced from James October Tour Itinerary 1988.

16 October 1988 Sunday - University, Stirling, Scotland * Soundcheck: 18:30 * Doors Open: 21:00 - Happy Mondays: 21:30 - James: 22:30 * Supporting: James *
Notes: The P.A. was supplied by Storm Sound Systems. Info sourced from James October Tour Itinerary 1988.

18 October 1988 Tuesday - University, Leicester * Soundcheck: 19:00 * Doors Open: 21:15 - Happy Mondays: 21:30 - James: 22:30 * Supporting: James *
Notes: The P.A. was supplied by Midland Sound & Light. Info sourced from James October Tour Itinerary 1988.

20 October 1988 Thursday - Polytechnic, Haigh Hall Building, Liverpool * Soundcheck: 18:30 * Ticket Price: £3.50 *Doors Open: 20:00 - Happy Mondays: 21:30 - James: 22:30 * Supporting: James *
Notes: The P.A. was supplied by Eastwood Audio. Info sourced from James October Tour Itinerary 1988.
Bootleg: Audience Recording (Tape / CD-R)

21 October 1988 Friday - University, Lower Refectory, Sheffield * Soundcheck: 18:30 * Ticket Price: £3.50 (Advance) £4.00 (On The Door) * Doors Open: 19:30 - Happy Mondays: 20:30 - James: 21:30 * Supporting: James *
Notes: Info sourced from James October Tour Itinerary 1988. Over 700 tickets were sold.

22 October 1988 Saturday - Trent Polytechnic, Nottingham * Soundcheck: 18:30 * Ticket Price: £3.50 * Doors Open: 20:00 - Happy Mondays: 20:00 - James: 22:00 * Supporting: James *
Notes: Info sourced from James October Tour Itinerary 1988.

25 October 1988 Tuesday - Irish Centre, Derritts End, Digbeth, Birmingham * Soundcheck: 18:00 * Ticket Price: £5.00 * Doors Open: 19:00 - Happy Mondays: 20:15 - James: 21:45 - Curfew: 23:00 * Supporting: James *
Notes: The P.A. was supplied by SAS. Info sourced from James October Tour Itinerary 1988. Over 500 tickets were sold.

Happy Mondays - 26 October 1988 - Bummed U.K. Release Date
FAC 220
Artwork by Central Station Design.
Produced by Martin Hannett. A Jay Hatt Production.
Recorded August 1988 - The Slaughterhouse, Great Driffield, East Yorkshire. Thanks to Dave Hassell Percussion, Steve Hopkins Piano, Horseman Banjo. Engineered by Colin Richardson & John Spence.
Mixdown September 1988 - Strawberry Studio, Stockport, Cheshire. Engineered by Laurence Diana.
CD FACD 220
Vinyl FACT 220
Cassette FACT 220c
DAT FACT 220d
Country Song
Moving In With
Mad Cyril
Fat Lady Wrestlers
Performance
Brain Dead
Wrote For Luck
Bring A Friend
Do It Better
Lazyitis
Notes: Release often noted as 'November 1988'. Posters covered The Hacienda and under the bridge near The Ritz, off Whitworth Street. The Central Station Design posters were also dotted around Manchester too.
See December 2007 for the Bummed Collectors Deluxe Edition. Lazyitis writing co-credited to The Beatles - Ticket To Ride, Lennon & McCartney, Sly & The Family Stone - It's A Family Affair & David Essex - Gonna Make You A Star.
Performance was apparently written about the Mick Jagger film 'Performance', Shaun would apparently watch the film on a loop.

Happy Mondays - October 1988 - Bummed U.S. Release Date
CD / LP / Cassette
Country Song
Moving In With
Mad Cyril
Fat Lady Wrestlers
Performance
Boom
Brain Dead
Wrote For Luck
Bring A Friend
Do It Better
Lazyitis
W.F.L. (The Vince Clarke Remix)

26 October 1988 Wednesday - The Bierkeller, All Saints St., Bristol * Soundcheck: 18:00 * Ticket Price: £5.00 * Doors Open: 19:30 - Happy Mondays: 20:45 - James: 21:30 - Curfew: 23:00 * Supporting: James *
Notes: The P.A. was supplied by Deltahire. Info sourced from James October Tour Itinerary 1988.

27 October 1988 Thursday - Astoria, 157 Charing Cross Rd., WC2, London * Soundcheck: 17:00 * Ticket Price: £6.00 * Doors Open: 19:00 - The Train Set: 20:00 - Happy Mondays: 20:45 - James: 21:30 - Curfew: 23:00 * Supporting: James, The Train Set
Do It Better / Bring A Friend / Moving In With / Mad Cyril / Fat Lady Wrestlers / Performance / Wrote For Luck
Notes: Happy Mondays were second to headliners James. Info sourced from James October Tour Itinerary 1988. An audience recording also exsists for James' set too.
From Melody Maker Magazine, Bob Stafford Interview with Ian Brown (The Stone Roses) "The only group that matters are Happy Mondays. We went to see them at the Astoria and this mad fucker from Glasgow comes up to us and says 'Are you The Stone Roses? Got any E? And a bit later three lads from Leeds come over, same thing..."
Bootleg: Audience Recording () Untitled - CD-R - 03 May 1987 - The Black Horse - Tart Tart / Kuff Dam / Love Child (Russell) / Desmond / Olive Oil / Enery' / Little Matchstick Owen / 24 Hour Party People - 27 October 1988 Thursday - Astoria - Do It Better / Bring A Friend / Moving In With / Mad Cyril / Fat Lady Wrestlers / Performance / Wrote For Luck

November 1988 - Happy Mondays appear in NME Magazine
Notes: ''Some Cult from Manchester''

13 November 1988 ?
1989 - The Other Side Of Midnight, Granada TV Studios, Manchester
'Interview' / Performance
Notes: Tony Wilson, the OSM TV Show host & Factory Records label co-owner, introduced and interviewed the band. He secured the band a slot on the show and gave the band there first UK TV appearence.
From Happy Mondays Top 10 from Shiiine On Blog, Gaz Whelan said: 5. Performance - I love this track – another song we started with a Drums/Bass jam. We were jamming on Bowie’s ‘Sound and Vision’ If you listen it’s in the same key and same groove. I remember doing this on ‘The other side of midnight’. It was the first time I watched us on television and thought “this is quite good!” Great lyrics again….we were obsessed, and I mean obsessed, with the movie ‘Performance’ hence the title and lyrics.
Performance footage is available on the official 13 November 1989 - Madchester Rave On VHS, FACT 262, sometimes the date was noted as 20 November 1989, a week later than the scedhuled one, maybe there was a delay?.
Official: Madchester Rave On - VHS

28 November 1988 - The Road To Heaven Club - Bummed Launch Party, Dingwalls, London
Do It Better
Notes: Do It Better was included in the TV show 'Bummed Into', part of Information Technology I.T. (an educational programme often shown in Schools)
Bootleg: 1989 - Information Technology I.T. Schools Programme 'Making ''Bummed'' - Do It Better

1988 - Information Technology I.T. Schools Programme 'Making ''Bummed''.
Do It Better (Live Bummed Preview Night)
Notes: 'Bummed Into' Episode. TV Show documentary about the Happy Mondays second album Bummed. It goes into the recording process, artwork and promotion of the album too. Mainly talking but does include excerpts from Moving In recording & Do it Better Live at The Bummed Launch Night.
06 August 2019 - Happy Mondays - Interview with Shaun Ryder by Richard Lewis from pennyblackmusic.co.uk published: 6 / 8 / 2019: A highly valuable if unconventional promotion opportunity arose around the release of ‘Bummed’ in 1988. Aided by Factory Records co-founder Tony Wilson’s day job as a news reader on Granada TV, the band found themselves subject of ITV Schools programme, ‘Information Technology’. Helmed at The Slaughterhouse, Driffield in Yorkshire, the show features ultra-rare footage of fabled Joy Division, New Order, Magazine producer Martin Hannett behind the recording console. With full access to the recordings and affable motormouth/passionate Mondays’ Wilson as guide, the documentary doubles up as making of documentary. “That was funny as hell that, making a fucking kid’s programme, that was Tony’s idea” Shaun states.
Bootleg: Video (VHS)
Bootleg: DVD-R

04 December 1988 - Zap Club, Brighton
Bootleg: Audience Recording (Tape / CD-R)

06 December 1988 - "Rock In Chester - Wired And Wonderful", Olivers, Forest Street, Chester * Doors Open: 21:00 * Ticket Price: £3.50 * Support Act(s): Tora

18 December 1988 Saturday - G-Mex Centre, Manchester * Doors Open: 19:30 * Ticket Price: £8.50 (Block L, Row E, Seat No. 21) * Supporting: New Order, A Certain Ratio
Notes: Happy Mondays were the first band on stage.

20 December 1988 - John Peel Session, BBC Studios, London
Notes: Happy Mondays Wrote For Luck is included the 1988 Festive Fifty.
Broadcast: 20 December 1988 - BBC Radio1 FM - The John Peel Show
The House Of Love - Nothing To Me (Session) / Fflaps - Llosg Llech(Session) / Stella Chiweshe - Kana Ndikafa (Session) / Extreme Noise Terror - Take The Strain (Session) / Plant Bach Ofnus - Awst (Session) / A Witness - I Love You Mr Disposable Razors (Session) / Datblygu - Cristion Yn Y Kibbutz (Session) /
The House Of Love - Plastic (Session) / Fflaps - Y Dyn Bun (Session) / Extreme Noise Terror - No Threat (Session) / Plant Bach Ofnus - Pydredd (Session) / A Witness - Helicopter Tealeaf (Session) / Extreme Noise Terror - Propaganda (Session) / Datblygu Gwlad Arfy Nghefn (Session) / Stella Chiweshe - Vana Vako Vopera (Session) / / The House Of Love - Blind (Session) / Extreme Noise Terror - Only In It For The Music Part 3 (Session) / Public Enemy - Night Of The Living Baseheads (Def Jam) / The Wedding Present - Don't Laugh (Reception) / Happy Mondays - Wrote For Luck (Factory) /
The Darling Buds - Shame On You (Native) / The Primitives - Crash (RCA) / Pixies - Where Is My Mind (4AD) / Pixies - Bone Machine (4AD) / New Order - Fine Time (Factory) / Mega City Four - Miles Apart (Primitive) / The Flatmates - Shimmer (Subway Organization)

1989
1989-01-xx Radio Sussex Interview

09 January 1989 - Dingwalls, London * Support Acts: Jesus Jones *
Notes: Jesus Jones debut London show.

14 January 1989 Saturday - University, Manchester * Doors Open: 20:00 * Ticket Price: £4.00 (Advance) £4.50 (On The Door)
24 Hour Party People / Yahoo / Tart Tart / Russell / Moving In / Fat Lady Wrestlers / Do It Better/ Performance / Wrote For Luck
Notes: Date often noted as 19th January 1989. Show was hand filmed by Tony H. Wilson. The VHS included backstage footage and the complete show too. You can actually hear him confirm the date of recording before the band start playing. Footage would later be shown to the A&R men of Elektra records as Factory ask them to distribute the LP in America. After 24 Hour Party People the electric guitar amp blows up. The band improvise though and jam through a rough (almost unreconisable) sounding version of Yahoo, until the amp is replaced.
From North Fork Sound, Howard Thompson, New Suffolk, NY 23rd St, NYC, USA:
Tony Wilson was sitting in my office, trying to explain this new 'casual' culture that was all the rage in the UK. According to him, working-class, predominately male yoof would kit up in expensive designer garb, trip out on ecstasy and wave 3 ft. inflatable bananas at the opposition while watching the football at Maine Road. (I didn't get the last bit either...why anyone would want to watch Manchester City was beyond me). Naturally, he had the 'soundtrack' to these activities and he tossed me a DAT of the latest album by his "favourite band".
I looked at the label and groaned, "but Tony, we went through this last year with 'Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)". Well, now he had the second Happy Mondays album and a video to show me. We adjourned to the conference room, as my office was practically - and proudly - the only office at Elektra without a tv in it (I hated videos) and I shoved the video-cassette into the player. The music starts and Tony’s already dancing in his chair. His enthusiasm is front and center. On the screen was some single-camera footage of some anonymous people dancing at Manchester’s International nightclub, high as kites, one of whom was (sort of) mouthing the words to a song called 'Wrote For Luck', an infectious dollop of funky rock featuring a gloriously lout-of-tune singer. Tony was eager to explain said chap in the hoodie (known as “X” or Shaun Ryder to the authorities) was "on a trip" and furthermore, with a little help from his friends, was able to finance the band by supplying the North of England and Scotland with ecstasy, bought in Ibiza from funds gained by fencing stolen stereos in Amsterdam! Great.
By the end of the song, I’m hooked, but it’s clear it was gonna be tough trying to convince the Kras they would make a good signing. Tony says "play it again", so I rewind and, as it gets to the bit where Shaun’s eyes seem to roll back into his head, the door opens and Elektra boss Bob Krasow walks in, says “hi Tony”, looks at the screen for about 20 seconds - then at me - and says, “talk to Gary, make it happen”, meaning Gary Casson, head of Business Affairs. Bob and Tony talk awhile, and then Bob asks Tony the name of the band and takes his leave. Tony and I look at each other and burst out laughing. So simple!....
Bootleg: Amateur Audience Recording (Tony Wilson source, filmed from the side of the stage. Includes footage of the band pre-show backstage too. Fat Lady Wrestlers is incomplete, probably where Wilson changed the tape or made an edit.) - VHS - Manchester University
Bootleg: Audience Recording (CD-R Audio lifted from DVD-R)
Video Bootleg: Amateur Backstage Footage - Live At Manchester University 14.1.89 / 14 January 1989 Saturday - University, Manchester - 24 Hour Party People / (not listed Yahoo) / Tart Tart / Russell / Moving In / Fat Lady Wrestlers / Do It Better/ Performance / Wrote For Luck - Live At Murrayfield Stadium 2000 (DVD-R) - / 29 July 2000 - BT Murrayfield Stadium - Loose Fit / Dennis And Lois / Kinky Afro / Rave On / Bobs Yer Uncle / Hallalujah / Step On / Wrote For Luck / Reverend Black Grape - Sympathy For The Devil (The Rolling Stones)

09 February 1989 - National Exhibition Centre, Birmingham * Support Act(s): New Order *

10 February 1989 Friday - ULU, University Of London, Malet Street, London, WC1 * Doors Open: 19:30 * Ticket Price: £4.50 * Support Act(s): King Of The Slums, KIT *
24 Hour Party People / Tart Tart / Russell / Moving In / Fat Lady Wrestlers / Do It Better/ Bring A Friend / Wrote For Luck / Mad Cyril / Lazyitis
Notes: Warm Up Show for the Bummed tour. Nearest Tubes: Goodge Street, Tottenham Court Road, Russell Square and Euston Square.

From North Fork Sound, Howard Thompson, New Suffolk, NY 23rd St, NYC, USA:
The Mondays were beginning to make some noise in the UK, so Peter Lubin (a colleague in the A&R Dept.) and I flew to London for their show at at U.L.U. (cap: 800). 'Bummed' had just been released (1989) and reviews had been good. The show was sold out and there was a palpable vibe that the band was on the verge of taking off. Prior to show-time, we hooked up with Tony backstage and he introduced us to the band's manager, Nathan McGough. (Nathan's step-dad used to be in The Scaffold and is esteemed 'Liverpool Poet', Roger McGough, CBE). As we finished shaking his hand, he said, “Here, have some of this…mandatory!” thrusting paper wrap of damp, chunky, pinkish powder in our direction. Pete and I looked at each other and collectively thought "uh-oh, here we go." Both of us were Ecstasy virgins but supposed if we had to do some, the Mondays might as well supply the soundtrack. Four snorts later, we made our way up to the balcony where we could get a good look at the show and watch the audience reaction. Needless to say, about halfway through, everything seemed quite nice and even the crowd, which consisted mainly of scruffy, wispy-bearded students wearing brown corduroy flares and navy duffle-coats - and those were the girls har har - didn’t seem quite so naff as it had earlier. By the end, the place was grooving mightily, and so were we. The show was a big success and afterwards, we went back to pay our respects and finally meet the band. There, we ran into a sweaty, bug-eyed Bez (who was only interested in keeping the party going) and a beaming Wilson who told us meeting Shaun wouldn’t be possible right now as he was "tripping with Pink Floyd on the headphones and can't be disturbed. Shall we go dancing?" Uh...okaaay...so Pete & I (along with Tony, his lovely new g/f and former Miss UK, Yvette Livesey and Bez piled into Tony’s BMW cranked the music and ended up at 'Sin', in the Astoria on Charing Cross Rd. Tony rolled joints on the bar, Bez did his loping, goggle-eyed Bez-dance for the next two hours and Pete and I floated about the place, drinking JD and trying to get to grips with House Music which - at the time - did not seem remotely repetitive or boring....
From 23 November 2015 - Record Collector Article 'Penicillin For The Soul' by Jim Keogha: “I interviewed them a lot and spent time with them in Manchester, London and Brazil,” says former NME writer James Brown. “One morning after a gig at ULU, I got a call froma band associate saying, ‘That speed we bought from XX (one of the band) isn’t speed, it’s smack,’ which was a near miss for me as I nearly got arrested after the gig over a fight with the manager of a bar in Moorgate. They weren’t like any other band I’d met. Drugs, money and music – in that order.”
Bootleg: Call The Cops (TDK Cassette, Orange inlay with typed tracklist and Happy Mondays logo) BBC Concert Sheffield Octagon 2.12.89 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck - "The Pickled Herring" Intro: Moving In With.... - Wrote For Luck (CLUBX 20.9.89) - The French Riot Gig-Rennes - Peel Session - Kuff Dam / Freaky Dancin / Olive Oil / Cob 20 - Peel Session 27.2.89 - Do It Better / Tart Tart / Mad Cyril - 24 Hour Party People (ULU '89) - Wrote For Luck (NYC 1989) - Interview (Carl & Shaun)
Bootleg: Audience Recording (Tape / CD-R)
Bootleg: Video (VHS / DVD-R)

Happy Mondays - 21 February 1989 - Bummed Japanese Release Date
CD 2BCT Y2,500 Yen.
Notes: Other Japanese pressings include 28CY-3182 Made In Japan CD & COCY-7476 Made In Japan CD

21 February 1989 - John Peel Session, BBC Radio 1, BBC Studios, London * Transmitted: 28 February 1989 * Repeated: 27 December 1989
Tart Tart / Mad Cyril / Do It Better
Notes: Transmitted 28 February 1989, sometimes the date is noted as 27 February 1989.
See May 1990 - The Peel Sessions E.P. for Official release. Tart Tart would also feature on a limited edition 7inch vinyl release in memory of Paul Ryder, see 18 November 2022.
Broadcast: BBC Radio1FM - The John Peel Show - Festive 50 Numbers 20-11 alongside sessions from Inspiral Carpets, Filthkick and Happy Mondays.
Inspiral Carpets - This Is How It Feels (Session)
808 State - Donkey Doctor (ZTT)
Happy Mondays - Do It Better (Session)
Filthkick - Lynching Party/Bar Room Brawl/AA (Session) / Bhundu Boys - Chimbira (WEA) / Inspiral Carpets - She Comes In The Fall (Session)
Happy Mondays - Tart Tart (Session)
Crystal Vortex - Money You Are My Slave (B Ware) / Filthkick - Between The Lines/Meat Rack (Session) / Zaiko Langa Langa - ? / Inspiral Carpets - Sun Don't Shine (Session) / Home T, Cocoa T, Shabba Ranks - Pirates Anthem (Greensleeves)
Happy Mondays - Mad Cyril (Session)
Filthkick - The Harder You Fall/Drowning In Affluence (Session) / Public Enemy - Welcome To The Terrordrome (Def Jam) / Morrissey - Ouija Board, Ouija Board (HMV) / The Wedding Present - Brassneck (RCA) / Morrissey - Last Of The Famous International Playboys (HMV) / The Stone Roses - Made Of Stone (Silvertone) / Mudhoney - You Got It [Keep It Outta My Face] (Sub Pop) / Cud - Only A Prawn In Whitby (Imaginary) / The Wedding Present - Take Me (RCA) / The Jesus And Mary Chain - Blues From A Gun (Blanco Y Negro) / Dinosaur Jr - Just Like Heaven (Blast First) / Pale Saints - Sight Of You (4AD)
Official: The Peel Sessions E.P. CD / Cassette / 12inch Vinyl
Bootleg: Audience Recording - MCR INT 2 (Tape) Do It Better / Bring A Friend / Tart Tart / Russell / Performance / Moving In With / Mad Cyril / 24 Hour Party People / Wrote For Luck / Tart Tart (27 February 1989 John Peel Session) / Mad Cyril (27 February 1989 John Peel Session) / Do It Better (27 February 1989 John Peel Session)

27 February 1989 - Irish Centre, Birmingham
Bootleg: Audience Recording (Tape / CD-R)

28 February 1989 - The Warehouse, Leeds
Soundcheck:
Set: Lazyitis / 24 Hour Party People / Tart Tart / Russell / Moving In / Do It Better/ Bring A Friend / Performance / Wrote For Luck
Notes: Approx fifteen minutes of audio from the soundcheck exsists.
Bootleg: (CD-R) includes the Soundcheck too.

02 March 1989 - Lower Refectory, University, Western Bank, Sheffield * Doors Open: 19:30 * Ticket Price: £3.50
Notes: Date sometimes noted as 09 March 1990 Friday.
Bootleg: Audience Recording (Tape / CD-R)

03 March 1989 - University, Liverpool
Bootleg: Audience Recording (Tape / CD-R)

07 March 1989 - Lazyitis Factory Record DAT(2)DAT In-House Promo
Lazyitis 3:52
Mad Cyril (7inch Mix) 3:50
Notes: In-house Fcatory cassette. Sony HF30 Cassette for Happy Mondays Sample. Dolby B.

11 March 1989 Saturday - International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 * Ticket Price: £5 * Support Act(s): M.C. Buzz B.
Do It Better / Bring A Friend / Tart Tart / Russell / Performance / Moving In With / Mad Cyril / 24 Hour Party People / Wrote For Luck
Notes:
Bootleg: Audience Recording - MCR INT 2 (Tape) Do It Better / Bring A Friend / Tart Tart / Russell / Performance / Moving In With / Mad Cyril / 24 Hour Party People / Wrote For Luck / Tart Tart (27 February 1989 John Peel Session) / Mad Cyril (27 February 1989 John Peel Session) / Do It Better (27 February 1989 John Peel Session)
Bootleg: Audience Recording (CD-R sourced from same source as above, without the bonus Peel Session)

12 March 1989 - Mad Cyril (Hello Girls) Remix, Amazon Studios.
Notes: The master tape of the Mad Cyril (Hello Girls) Remix was noted as recorded at Amazon Studios on 12/3/1989. Not sure if they remixed the track here or just mastered the recording for the upcoming single.

14 March 1989 - Astoria, London
Bootleg: Audience Recording (Tape / CD-R)

21 March 1989 - SNUB TV, TV Show, Studios, London
Do It Better
Notes: Show included the studio version with live footage. Do It Better was included on 1990 - SNUB TV Vol.1, Picture Music International ‎MVP 9912133. The official release remains exclusive to VHS and has never been re-released on DVD. From VHS Blurb 'Screened by Britain's BBC2 early 1989, SNUB TV was the first pop music television show to survey the underground. Originating much of their own footage & eschewing the tired studio format of most TV, SNUB went to rehearsal & recording studios & filmed live to Capture the real excitement of the music. Subsequently recommissioned by the BBC, this is the best of the first series.'
Official: 1990 - SNUB TV Vol.1 (VHS) Do It Better

23 March 1989 - Salle UBU, 1 rue St. Helier, 35000 Rennes, France * Doors Open: 20:45* Ticket Price: 35F * Supporting: My Bloody Valentine
Notes: Apparently the band stopped the show after three or four songs due to onstage sound problems and difficulties with the venue technicians.
Bootleg: Call The Cops (TDK Cassette, Orange inlay with typed tracklist and Happy Mondays logo) BBC Concert Sheffield Octagon 2.12.89 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck - "The Pickled Herring" Intro: Moving In With.... - Wrote For Luck (CLUBX 20.9.89) - The French Riot Gig-Rennes - Peel Session - Kuff Dam / Freaky Dancin / Olive Oil / Cob 20 - Peel Session 27.2.89 - Do It Better / Tart Tart / Mad Cyril - 24 Hour Party People (ULU '89) - Wrote For Luck (NYC 1989) - Interview (CArl & Shaun)

26 March 1989 - Resorts World Arena (NEC), Birmingham * Supporting: New Order *
Bring A Friend / Do It Better / Tart Tart / Russell / Performance / Mad Cyril / Wrote For Luck
Bootleg: Audience Recording (Tape / CD-R)

28 March 1989 Tuesday - Elektra Records: Pop Weirdness Party Delta 88, 332 8th Avenue, Between 26th & 27th Streets * Doors Open: 18:30-21:00
Notes: Elektra Records celebrating the arrival of The Pixies Doolittle & Happy Mondays Bummed albums. Preview listening party. Promo poster read: "Do you those end of the winter blues? Don't be bummed come and doolittle with Happy Mondays and the Pixies..."

30 March 1989 - Shaun Ryder appears on This Morning, Dockside, Liverpool
Notes: Richard Madeley and Judy Finnigan were presenting, and Shaun was driven by car from Stockport to Albert Dock just after dawn for the show.

May 1989 - Lazyitis Video Shoot
Notes from Pills 'N' Thrills And Bellyaches Collector's Edition 2007 Booklet "Lazyitis Video Produced and Directed by The Bailey Brothers, May 1989"
Official: Pills 'N' Thrills And Bellyaches Collector's Edition 2007 CD & DVD
Official: 13 November 1989 - Madchester Rave On - VHS

01 May 1989 - FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester
Notes: Kevin Cummins took several photographs for the media.

03 May 1989 Wednesday - Panic Station - The Second Birthday Party, Kilburn National Ballroom, 234 Kilburn High Road, NW6, London * Doors Open: 17:00 * Ticket Price: £7.00 * Support Act(s): The Shamen, The Band Of Joy, The Jazz Butchers, The Seers, Stitched Back Foot Airman, Mega City Four, King Of Slums
Mad Cyril / Clap Your Hands / Bring a Friend / Do It Better / Moving in With / Mad Cyril / Performance / Tart Tart / Wrote For Luck / Lazyitis
Notes: Happy Mondays headline the festival. The light show was via Zeem An Zaps, tagged as 'Whirly Gig'. Compere Brian with DJ's Jonathon + EKO.
Mad Cyril footage is available on the official 13 November 1989 - Madchester Rave On VHS, FACT 262, sometimes the date was noted as 20 November 1989, a week later than the scedhuled one, maybe there was a delay?.
Official: Madchester Rave On - VHS
Bootleg: Audience Recording (Tape / CD-R)

Happy Mondays - 08 May 1989 - Happy Mondays & Karl Denver Lazyitis U.K Release Date
FAC 222
Artwork by Central Station Design.
Produced by Martin Hannett. London Music.
Engineered by Laurence Diana.
7inch / FAC222C Cassette
Lazyitis (One Armed Boxer) (Happy Mondays and Karl Denver)
Mad Cyril (Hello Girls) (Edit)
12inch
Lazyitis (One Armed Boxer) (Happy Mondays and Karl Denver)
Mad Cyril (Hello Girls)
Promo VHS (Signal Vision, Knutsford Cheshire)
Notes: Charted at number 85. Lazyitis was co-credited to Lennon & McCartney (The Beatles - Ticket To Ride, London Music/Nothern Songs/SBK Music), Sly & The Family Stone (It's A Family Affair, Warner Chappell Music) & David Essex (Gonna Make You A Star, Rock Music Music). The single was intended as a double A-Side although Lazyitis was chosen as the main focus track.
The 12inch Vinyl is still the only source for the complete remix of Mad Cyril (Hello Girls), all CD versions favour the edited version.
13 May 1989 Poster mentions: ''New recordings of your favourite songs from the album 'bummed'. Happy Mondays - Mad Cyril - hello girls. Happy Mondays and Karl Denver Lazyitis - one armed boxer FAC 222 7"/12" no C.D.''
Press Release read: ATTENTION RADIO ONE PRODUCERS. HAPPY MONDAYS & KARL 'WIMOWEH' DENVER TEAM UP AND MAKE ECCENTRIC BUT INFECTIOUS RECORD : "LAZYITIS" Happy Mondays, Factory Records' second group have been busy of late. They have polished their live work and now sell out venues like the Town and Country, and Kilburn's National Ballroom. Their latest singIe "Lazyitis" features the unigue vocals of Karl Denver who in the early 1960's achieved great chart success with 11 UK Chart placings, one of which was his nost famous hlt 'Wimoweh' which is still eagerly awaited at every live performance.
Future Happy Mondays projects feature a single written and produced by themselves & Erasure's Vince Clarke. Also coming this summer will be a release from Karl Denver, Factory Records' latest signing. There is even talk of a new updated version of the great "Wimoweh", incorporating the new technology of the late B0's. "LAZYITIS" is released May 8th on Factory Records. The song 'Lazyitis' is in the style of a tradtional round.
From 1987 NME Magazine "Everything else is foreign, innit?" article: Shaun "I love boxing" "It's barbaric" Mark counters. "No it's not. How can you say that? You've got gloves, rules, regulations, times. It's fixed, maybe" "But there was that 15-year-old who got battered to death." "Fighting is a natural thing to man"

08 May 1989 Monday - Hillsborough Disaster Appeal, FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester * Ticket Price: £5.00 *
If I Needed Someone (The Beatles cover)
Notes: All proceeds to the Hillsborough Disaster Appeal. The band only played If I Needed Someon on the first night of the benefit show, and as far I know they never performed it again.
Bootleg: Audience Recording (Tape)

09 May 1989 - Terry Christian Show, Key 103 Radio, Manchester
Notes: Terry Christian interviews Shaun & Bez.

09 May 1989 Tuesday - Hillsborough Disaster Appeal, FAC 51 The Hacienda, 11-13 Whitworth Street West, Manchester
Do It Better / 24 Hour Party People / Tart Tart / Bring A Friend / Clap Your Hands / Wrote For Luck / Mad Cyril / Lazyitis
Notes: Second of the two dates for the Hillsborough victims benefit show.
Bootleg: Audience Recording (Tape / CD-R)
Bootleg: T Archive Volume 2 (CD-R) - 1981 Demo #1 (attic rehearsal) / 1981 Demo #2 (attic rehearsal) / Happy Side Of You (1983/84 demo recording) / Delightful (1983 Bungalow Tape) / Comfort & Joy (Spirit Studios Sessions 1985) / 24 Hour Party People (Vocal Demo) / Desmond / Yahoo (Bristol Bierkeller, Soundcheck 1987) / Do It Better (Driffield Sessions 1988) / Clap Your Hands (Hillsborough Benefit Gig 1989) / Rare Interview (includes conversation regarding the debut album and the bummed album, including talk of song titles and recording) / Wrote For Luck (Rehearsal) / Tart Tart - Step On (Amsterdam Paradiso 1990) / Monkey In The Family (Barbados Session 1992) / Opportunity Knows (Final ever session 1993)

May 1989 - Shaun is arrested at Jersey Airport.
Notes: Shaun flew out to meet Karl Denver as a promo appearence for the Lazyitis single. At the airport Shaun was arrested for importation and possession of a controlled substance. He was carrying cocaine. The charges would be dropped in January 1990.

June 1989 - La Conjura De Las Danzas, Barraca, Valencia, Spain * Support Act(s): The La's, The Popguns, Inspiral Carpets *
Do It Better / Moving In With / Wrote For Luck
Notes: Happy Mondays headlined the show. The band only come onstage at 07:00am.

Jukebox Jury, TV Show, Studios, London
Notes: Shaun Ryder offers his opinions on some of the current chart music. Appearence was arranged by their label manager Tony H. Wilson. Tony even appeared on the show too.

TV - July 1989 - The Other Side Of Midnight Finale Party, Stage One, Granada Studios Warehouse, Quay Street, Manchester * Doors Open: 15:15 (Filming commences 15:30) Support Act(s): DJ Mike Pickering, T-Coy, A Guy Called Gerald *
Do It Better / Moving In With / Mad Cyril / Clap Your Hands / Wrote For Luck
encore: 24 Hour Party People
Notes: Tony Wilson, the OSM TV Show host & Factory Records label co-owner, introduced the band. Tony announces Bez will not be present as he was in Marseilles. This was deemed as the final OSM show in the series and was based on an invite only entry. Tickets were available to win as competition prizes for Piccadilly Radio listeners. Tickets could also be picked up, Thursday before the gig for £5, from Eastern Bloc records too. Approx 2500 people attended the event.
The broadcast included DJ footage, A Guy Called Gerald and two Happy Mondays tracks. A Guy Called Gerald only played two tracks due to equipment failure.£10 OSM tickets were on sale and non-alcoholic drinks too. Granada gave out free rave whistles to 'create atmosphere'.
Shaun changes the Mad Cyril lyrics to 'It was Mad Tony, It was Mad T...'
Peter J Walsh took several photographs for Manchester’s City Life Magazine.
Broadcast: July 1989 - The Other Side Of Midnight TV Show (Mad Cyril / Wrote For Luck) Show Running Time (Approx): 0:24:30
Bootleg: Various Cassette - Mad Cyril (1989 - Warehouse, Manchester)

22 July 1989 - The Moore Theatre, Seattle, WA, U.S.A. * Supporting: Screaming Trees, Pixies*

24 July 1989 - The Fillmore, SF Bay Area, San Francisco, California, U.S.A. * Supporting: Pixies*
From North Fork Sound, Howard Thompson, New Suffolk, NY 23rd St, NYC, USA: When the band came over to tour with The Pixies in ‘89, at Long Island's Malibu Club, I gave Shaun a metal sign I’d found in a warehouse in Louisville, Kentucky while visiting The Shaking Family, a band from there. On a yellow background in black lettering, the message read: “You are positively forbidden to work with acid without goggles”.

04 August 1989 - New York Ritz, New York, NYC, U.S.A. * Supporting: *
Do It Better / 24 Hour Party People / Tart Tart / Bring A Friend / Clap Your Hands / Mad Cyril / Wrote For Luck
Notes: Wrote For Luck footage is available on the official 13 November 1989 - Madchester Rave On VHS, FACT 262, sometimes the date was noted as 20 November 1989, a week later than the scedhuled one, maybe there was a delay?.
Official: 13 November 1989 - Madchester Rave On - VHS
Bootleg: Amateur Audience Video Recording (VHS / DVD-r)
Bootleg: Call The Cops (TDK Cassette, Orange inlay with typed tracklist and Happy Mondays logo) BBC Concert Sheffield Octagon 2.12.89 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck - "The Pickled Herring" Intro: Moving In With.... - Wrote For Luck (CLUBX 20.9.89) - The French Riot Gig-Rennes - Peel Session - Kuff Dam / Freaky Dancin / Olive Oil / Cob 20 - Peel Session 27.2.89 - Do It Better / Tart Tart / Mad Cyril - 24 Hour Party People (ULU '89) - Wrote For Luck (NYC 1989) - Interview (CArl & Shaun)

06 August 1989 - Strawberry Studios, Stockport
Clap Your Hands / Hallelujah / Arsehole / Holy Ghost (Mad Guitar) / Kilamenjaro (Rave On)
Notes: The song arsehole remains unreleased. The track changed names during several sessions, including the Yes Please recordings where it was noted as 'Anus'. Holy Ghost was also known as Mad Guitar. Rave On originally known as Kilamenjaro, presumebly due to the sheer length of the song. ‘Rave On’ refers to ‘Needing a Mesa Boogie’, referring to Paul’s bass amp.

08 August 1989 Tuesday - Peabodys Downunder, 1059 Old River Road * Ticket Price: $10.00 * Stage Time: 21:00 * Supporting: The Pixies

10 August 1989 - Cabaret Metro, Illinois, Chicago, U.S.A.
Bootleg: Audience Recording (Tape / CD-R)

September 1989 - Nathan McGough sends DJ Paul Oakenfold WFL to remix.
Notes: Oakenfold’s DJ sets had been a key factor in acid house’s riseto fashionability in a mainstream audience in London.

September 1989 - Rave On Sessions, The Manor, Oxford
Clap Your Hands / Hallelujah / Holy Ghost (Mad Guitar) / Kilamenjaro (Rave On) / Instrumental /
Notes:
From January 1990 - The Face Magazine, Issue 16: Interview was conducted backstage 23 November 1989 - Top Of The Pops. Shaun said:
Shaun Ryder counters: "He's a fuckin' mate to the Mondays, Martin. He's great when he's with us, man. Mind, he likes workin' with us 'cos we give 'im a lot of E during sessions right! E sorts 'im right out! During the 'Hallelujah' sessions, we were givin' him two a day and this were when they were 25 quid a go, right. But it were worth it 'cos he kept saying, 'I can't feel anything but I'm in a great fookin' state of mind'. Plus it stopped him getting bladdered."
Bootleg: Hallelujah (Manor Monitor Mix/Recording) 3:19

September 1989 - Wrote For Luck 1989 Video Shoot
Notes from Pills 'N' Thrills And Bellyaches Collector's Edition 2007 Booklet "Wrote For Luck 1989 Video Produced and Directed by The Bailey Brothers, September 1989"
Official: Pills 'N' Thrills And Bellyaches Collector's Edition 2007 CD & DVD
Official: 13 November 1989 - Madchester Rave On - VHS

1989 - Hallelujah & Clap Your Hands 1989 Video Shoot
Notes from Pills 'N' Thrills And Bellyaches Collector's Edition 2007 Booklet "Video Produced and Directed by The Bailey Brothers, December 1989" The date contradicts the official release of the promo videos. I believe the vides were shot in the studio whilst recording the Rave On E.P. so the videos would be more likely to have been filmed during September.
Official: Pills 'N' Thrills And Bellyaches Collector's Edition 2007 CD & DVD
Official: 13 November 1989 - Madchester Rave On - VHS

Happy Mondays - September 1989 - W.F.L. The Vince Clarke Mix Release Date
W.F.L. (The Vince Clarke Mix) - Additional production and remix by Vince Clarke, programmed and engineered by Flood.
W.F.L. (Think About The Future mix) aka The Paul Oakenfold Mix - Additional production and remix by Paul Oakenfold, assisted by Terry Farley for Spectrum Sounds. Programmed and engineered by Steve Osbourne. Produced by Martin Hannett. Recorded by Laurence Diana.
FAC 232
Australasia 7inch / UK Promo
W.F.L. (Vince Clarke Edit) 3:15 *aka Video Mix 2
W.F.L. (The Vince Clarke Mix)
7inch
12inch
Cassette
CD FACD 232
W.F.L. (The Vince Clarke Mix)
W.F.L. ('Think About The Future') aka (The Paul Oakenfold Mix)
Lazyitis (One Armed Boxer) (Happy Mondays and Karl Denver)
Notes: The Vince Clarke (ex-Depeche Mode, Yazz) remix included a N.W.A. drum sample and a spoken word element taken from Batman and an additional seven-note keyboard riff.
Promo poster read: W.F.L. (The Vince Clarke Mix) / W.F.L. (The Paul Oakenfold Mix) CD includes: Lazyitis (One Armed Boxer) Happy Mondays and Karl Denver. The lyrics 'What child grows up to be, somebody who just loves to burn...' are taken from the song Family Affair by Sly & The Family Stone, see 08 May 1989.
Press Release: Happy Mondays WFL - remix by Vince Clarke Wrote For Luck was originally released as a single in November 1988 and spent about 6 weeks in the lower regions of the Top 100. It sold about 40 thousand copies and became a cult hit loved by both the kids in the clubs and an awful lot of industry types including people like Mick Jones from BAD, Pete Wylie, Pete Waterman of PWL, and last and probably most interestingly, Vince Clarke. Happy Mondays have always liked Vince's work with pop duo Erasure, and thought they'd send him a copy of WFL. Everyone knows that that Vince doesn't do remixes, and Happy Mondays and their manager were quite shocked when he agreed to do it. WFL is literally the first remix Clarke has done, for those of you who remember the original, you will notice that the new WFL is much more accessible, yet retains the undescribable charm of its predecessor. W.F.L. is a remix of Wrote For Luck. The song 'Lazyitis' is in the style of a tradtional round.
“Oakenfold’s remix of WFL blew us away. It was exactly the sound we’d been searching for,” remembers Shaun Ryder.
From Bummed Collectors Edition Sleeve notes, Paul Ryder said: "We put it on (W.F.L. Remix) and within the first 30 seconds, it was like, That's it - that's where our writing's got to go. He's got right on what we're trying to get"
06 August 2019 - Happy Mondays - Interview with Shaun Ryder by Richard Lewis from pennyblackmusic.co.uk published: 6 / 8 / 2019: On the subject of sampling being a something that was widely adopted in 1987-88, the Mondays were one of the first groups to have their songs remixed by third party producers. Following in the wake ‘Wrote For Luck’ in 1988, by Erasure’s Vince Clark and the then little-known DJ Paul Oakenfold, it became near-ubiquitous for indie bands to have redux versions of their by DJs. “Originally I wanted Oakenfold to be the name on the tune, his version of 'Wrote For Luck,'” Shaun explains. “Vince is brilliant but at the time he had fucking ten records in the Top 10. It was all vintage production/ I mean he’s brilliant. Because he wasn’t a name Oakenfold, he was a DJ only a few people in London knew who he was. I’m trying to convince Tony Wilson to produce an album (1990 magnum opus ‘Pills N’ Thrills and Bellyaches’) and he just wasn’t having it. He started off on the B-side then the DJs started turning it over and playing the Oakenfold record, so by the time the album was due to come out he’d got the job.”
From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops: Shaun said: "I don't want to get serious with music. Our music is about not even thinking about havin' a future. It's all going now. Right now, we're it. When it stops, it stops. We're just doin' what we're doin'."

Happy Mondays - 1989 - W.F.L. (Wrote For Luck) U.S. Release Date
Test Pressing U.S. Elektra (1400 E. Lackawanna Ave., Olyphant, PA, 18447) / U.S.A 12inch
W.F.L. (The Vince Clarke Remix)
Lazyitis (The One Armed Boxer Mix) (Happy Mondays and Karl Denver)
Mad Cyril (Hello Girls Mix)
24 Hour Party People

1989 - U.S.A. Visit
Notes: From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops: The Monday's recent trip to the States was highlighted a) by the lads introducing themselves generously to PCP ("Top fookin' gear, man! If it's good enough for James Brown, it's good enough for us"), and by yet another drug bust, this time on their second day in New York where several of them were busted smoking "something inflammable" with "a bunch of black geezers in some park, like." The reviews they received were mixed and troubled. Americans evidently found it hard dealing with the concept of real Northern hooligans on Ecstasy, but that didn't stop Tony Wilson from egging on Factory's press officer to wangle Happy Monday's every drug transgression into the tabloid press. All of which begs one inevitable question. "Do I have any problem with any of Happy Mondays dying on me?" he looks at me while both the Mondays and Stone Roses contingent look on a little aghast. "I have absolutely no problem with any of these guys dying on me! Listen, Ian Curtis dying on me was the greatest thing that's happened to my life. Death sells!"...

1989 - Hacienda Seventh Birthday Party (Epsom Salts Hit Holland), Roxy, Amsterdam * Supporting: New Order, DJ Greaeme Parks, DJ John De Silver
Notes: Jack Barron, edited by Helen Mead, wrote a review for the entire show.

20 September 1989 - CLUB X
Wrote For Luck
Bootleg: Call The Cops (TDK Cassette, Orange inlay with typed tracklist and Happy Mondays logo) BBC Concert Sheffield Octagon 2.12.89 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck - "The Pickled Herring" Intro: Moving In With.... - Wrote For Luck (CLUBX 20.9.89) - The French Riot Gig-Rennes - Peel Session - Kuff Dam / Freaky Dancin / Olive Oil / Cob 20 - Peel Session 27.2.89 - Do It Better / Tart Tart / Mad Cyril - 24 Hour Party People (ULU '89) - Wrote For Luck (NYC 1989) - Interview (CArl & Shaun)

1989 - Halcyon Daze Fanzine FAC 239 is issued
Notes: The Happy Mondays fanzine is awarded its own Factory Number and is branded official by it's publishers.
Halcyon Daze Happy Mondaze FAC239 IshTwo (Issue Two) priced at 50p Mental, Mental, Transcendental!. The issue celebrated the achievement by including four extra pages, a free cigarette rizzla paper and part two of their Happy Mondays cut out and keep puppet series.

1989 - CIS Building
Ian Davies said: They rehearsed for the tour at the old CIS insurance building and seemed to spend most of their time playing football in the large hall.

Happy Mondays - November 1989 - Madchester Rave On U.K. Release Date
All songs written by Happy Mondays.
Hallelujah (MacColl Mix) - Remixed by Steve Lillywhite. Produced by Martin Hannett for Jay Hatt. Engineered by Laurence Diana.
Hallelujah (Club Mix) - Remixed by Paul Oakenfold & Andrew Weatherall. Remix engineered by Steve Osborne. Produced by Martin Hannett. Recorded/Engineered by Laurence Diana.
Clap Your Hands - Produced by Martin Hannett for Jay Hatt. Engineered by Laurence Diana.
Holy Ghost - Produced by Martin Hannett for Jay Hatt. Engineered by Laurence Diana.
Rave On - Produced by Martin Hannett for Jay Hatt. Engineered by Laurence Diana.
FAC 242
7inch FAC 242/7
12inch FAC 242
CD FACD 242
Cassette FAC 242C
Hallelujah 6:24
Holy Ghost
Clap Your Hands
Rave On
7inch White Label Promo FACR 242
Hallelujah (The Oakenfold Remix) (Edit)
CD Promo FACD 242+
CD Promo FAC 242 Radio
Hallelujah (MacColl Mix)
Clap Your Hands
Notes: Kirsty MacColl sings backing on Hallelujah. The E.P saw the band appear on Top Of The Pops for the first time, Hallelujah reached number 16 in the UK charts.
The Hallelujah E.P. credits 'Mastered by Barry Woodward.', unconfirmed if these releases are the same masters. As far as I'm aware this was Andrew Weatherall's first studio mixing session, his second would be for Primal Scream's I'm Losing More Than I'll Ever Have which became Loaded.
On the 2007 Bummed (Collectors Edition), Rave On is listed as 'Kilamenjaro' on the tracklist.

Happy Mondays - 13 November 1989 - Madchester Rave On VHS U.K. Release Date
Virgin Music Video ‎VVD 638, Factory Records - FACT 262.
Compiled by Richard Heslop and Robin Parsons at Spitfire. Produced by Screen Intelligence. Approx 50 minute running time. A joint Virgin/Factory release. Factory allocated the number FACT 262 to this release, although only the VVD number is seen on the release. Price advised from 25 November 1989 Advert 'Virgin Vision £9.99'
''Introduction''
Kuff Dam (July 1986 - Festival Of The 10th Summer, Fagins, Manchester) (Excerpt Only)
'John Peel Intermission' / Tart Tart (Promo Video, October 1986)
Wrote For Luck (Promo Video Version 1) (Pop Mix)
'Live Intermission'
Mad Cyril (May 1989 - Kilburn, London)
24 Hour Party People (Promo Video) (7inch Mix)
'Interview' - Performance (O.S.M. Other Side Of Midnight Granada)
W.F.L. (Promo Video Version 2)
'Interview Intermission' ()
Lazyitis (One Armed Boxer) (Promo Video)
Hallelujah (Promo Video)
Clap Your Hands (Promo Video)
Wrote For Luck (August 1989 - The Ritz, New York)
'Outro'
Notes: The official date is sometimes noted as 20 November 1989, a week later than the scedhuled one, maybe there was a delay?.
Official: 13 November 1989 - Madchester Rave On - VHS
Bootleg: (DVD-r) VHS Rip

Happy Mondays - 20 November 1989 - Happy Mondays Madchester Rave On Laser Disc Japanese Release Date
Notes: Japanese laserdisc in a vinyl style sleeve, 12inch sized sleeve with obi strip. PVLM-6 Priced at Y4,800 / Y4,660 NTSC Stereo

Rave On Tour - 15 November 1989 - Queen's Hall, Bradford
Rave On / Do It Better / Tart Tart / Performance / Bring A Friend / Hallelujah / Kuff Dam / Clap Your Hands / Mad Cyril / 24 Hour Party People / W.F.L. / Lazyitis
Notes: New merchandise went on sale including the official 'Madchester' shirts. All official Happy Mondays posters were made by Manchester company 'SPLASH'.
Bootleg: Audience Recording - Smile! It's Monday (Vinyl 1990, This album is dedicated to Ron Miller...A good worker. "I wish everyday wasn't like Monday" Ron Miller. Artwork By [Sleeve Design] by Lurch) - Rave On (noted as P.S.) / Do It Better / Tart Tart (noted as Performance) / Performance (noted as Bring A Friend) / Bring A Friend / Hallelujah / Kuff Dam (noted as 'Kaffdan') / Clap Your Hands / Mad Cyril / 24 Hour Party People / W.F.L. (noted as 'W.S.L.') / Lazyitis

Rave On Tour - 16 November 1989 - Polytechnic, Newcastle * Support Act(s): MC Buzz B
Rave On / Do It Better / Tart Tart / Performance / Bring A Friend / Hallelujah / Clap Your Hands / Mad Cyril / Lazyitis / 24 Hour Party People / Wrote For Luck
Notes: Sometimes noted as 12 November 1989. Shaun sat down for most of the gig in front of the drumkit.
Bootleg: Audience Recording (Tape / CD-R)

Rave On Tour - 17 November 1989 Friday - Queens Hall, Victoria Road, Widnes * Ticket Price: £5.00 (Advance) *
Notes: Rowetta was in the audience and joined the band soon after.
Ian Davies said: I was fortunate to work with the Happy Mondays during the 'Rave On' 1989 tour that pretty much brought them the international recognition they deserved, after the many years they had been building their sound and local following. The lead singer Shaun Ryder and his younger brother, Paul, had been old school friends of mine from early primary and right through secondary school’s and from one chance meeting, a few years after finishing school, with Paul in local Manchester club, the Boardwalk, I was suddenly getting the opportunity to document what turned out to be one of the biggest bands to come out of Manchester on their breakthrough tour. They rehearsed for the tour at the old CIS insurance building and seemed to spend most of their time playing football in the large hall. The thing I remember most about this time is when you were on the stage and the thumping bass of ‘Hallelujah’ ‘Wrote For Luck’ and my favourite ‘Step On’ were all being performed, hearing the original early sound was just the most unbelievable experience...

M - 18 November 1989 - Kevin Cummins Photo Shoot with Tony Wilson & Shaun Ryder
Notes: The iconic session featured on the NME magazine. Shaun & Tony were stood outside Factory Records, 01 Charles Street, Manchester with the Madchester posters behind them. See 02 December 1989 for NME issue.
From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops:
"Tony's just a businessman, really," Shaun Ryder opines shortly after Wilson's outburst. "Someone like him… I mean, he likes us… at least, I think he does… but he's got to use the drugs angle to sell us, y'knowwharramsayin'? I mean, what the fook could Gaz, Bez or me be like without someone like Tony exploiting us? We wouldn't 'ave jobs 'cos we can't do fookin' jobs. That's just a fookin' fact, right."
"I mean, he's exploiting us, right, but we're exploiting the situation he's given us 'cos like two years ago we had to have drugs on our person 'cos we were sellin' 'em, right. So if you got caught, then it were a bigger problem. 'Cos it were bigger amounts we were carryin'. But like, now we always carry the name of a good solicitor around with us. I've got this card, right, and I just show it to the filth, when they come pryin'. Whereas before when they'd search me they'd always find, like, 47 plastic bags and no solicitor's card… fookin' hassles, y'knowwharramean!"...

Rave On Tour - 18 November 1989 Saturday - Free Trade Hall, Manchester * Doors Open: 20:00 * Ticket Price: £7 * Support Act(s): Northside
Intro Tape (Hallelujah) / Rave On / Do It Better / Tart Tart / Performance / Bring A Friend / Hallelujah / Clap Your Hands / Kuff Dam / Lazyitis / Mad Cyril / 24 Hour Party People / W.F.L.
Notes: Sold Out Show, at least 1800 people attended. Released in January 1991, 'One Louder' VHS Video.
The band self-released the Live Free Trade Hall, Manchester AD 1989 video cassette. Factory then issued the One Louder VHS release to combat the bootleg. A similar issue with the Elland Road Show and the Live album would come later.
Peter J Walsh took several photographs for Manchester’s City Life Magazine. Tom Hingley from Inspiral Carpets was at the show and was later quoted by NME 02 December 1989 as the show being the greatest Manchester show he had ever seen.
Semi-Official Release: Live Free Trade Hall, Manchester AD 1989 (Blue plastic case, mainly a black sleeve with yellow logo and white writing. Cassette has a black and white sticker on. Semi-official release by the band, predates One Louder.) - Rave On / Do It Better / Tart Tart / Performance / Hallelujah / Clap Your Hands / Kuff Dam / Lazyitis / Mad Cyril / 24 Hour Party People / W.F.L.
Official Release: One Louder - Live at Manchester Free Trade Hall (VHS Video)

Rave On Tour - 21 November 1989 Tuesday - Polytechnic, Leeds * Doors Open: 19:30 * Ticket Price: £5 * Support Act(s): MC Buzz B

Rave On Tour - 22 November 1989 Wednesday - The Hummingbird, Birmingham * Doors Open: 20:00 * Ticket Price: £5.00
Notes: The band had a strong crowd of over 900 people.
Bootleg: Audience Recording (Tape / CD-R)

23 November 1989 - Top Of The Pops, BBC TV Studios, London
Hallelujah
Notes: Kirsty MacColl features for the mimed performance. The Stone Roses also appeared on the same show with Fool's Gold. Shaun and Ian Brown met outside the BBC building for a smoke, Shaun joked that the band should swap instruments for their performances but The Stone Roses laughed it off.
The producer tried instructing Shaun on what to do in regards to on stage performing, Shaun told the producer where to go. BBC's Top Of The Pops producer told Shaun he would never do the show again.
For a backstage interview, in the dressing room, see 1990 - The Face, Issue 16.
From 1987 NME Magazine "Everything else is foreign, innit?" article: "I've never bought a music paper," Paul claims, "I don't watch TOTP, don't listen to the radio, hate comedians and bad food. We're not some middle-class graduate band who into engineering and all that"...
From January 1990 - The Face Magazine, Interview was conducted backstage 23 November 1989 - Top Of The Pops: "We've chosen to live like this and that's it. We're just playing a game, the same game we've been playing for a long time. That's the one trouble with being on Top Of The Pops, though. Someone in the force might get clever. The police are thick. They're dirt thick. We all know that. Bez's dad's a nasty fuckin' high-rankin' CID officer. A real nasty bastard. One of those fookin' working class coonts 'as likes to dish it out. Now this bastard hasn't seen Bez for five or six years. He doesn't know anything about him or Happy Mondays. Until he sees us on Top Of The Pops…"

Rave On Tour - 24 November 1989 - University, Bristol
Rave On Tour - 25 November 1989 Saturday - Town & Country Club, London * Doors Open: 21:00-02:00 * Ticket Price: £7.00 * Support Act(s): Northside, First Offence and MC Buzz B *
Notes: Sold Out Show.

Madchester Rave On Tour
27 November 1989 Monday - Top Rank, Top Rank Suite, West Street, Brighton * Doors Open: 20:00 - Happy Mondays on stage: 21:00 * Ticket Price: £6 (Advance) / £6.50 (On The Door) * Support Act(s): M.C. Buzz B
Rave On / Do It Better / Tart Tart / Performance / Hallelujah / Clap Your Hands / Kuff Dam / Lazyitis / Mad Cyril / Wrote for Luck
Notes: The show was recorded officially. Rave On was released on 03 March 1990 - Record Mirror Magazine on the free various artsists 7inch vinyl E.P. 'The Fame and Fortune'.
Rave On was also broadcast on a John Peel Show too, his voice can be heard over the intro regarding the stage time.
The Top Rank would later become the 'Oceana'.
The Aftershow Happy Mondays Party featured DJ Andrew Weatherall, DJ Terry Farley, DJ Carl Cox at The Zap Club, Brighton * Doors Open: 11-2 *
Official Release: 03 March 1990 - Record Mirror Magazine (7inch Vinyl) - The Fame And Fortune E.P. - Rave On (Live 27 November 1989 Monday - Top Rank, Top Rank Suite, Brighton)

Rave On Tour - 30 November 1989 - Sugarhouse, Lancaster
Rave On Tour - 01 December 1989 - Polytechnic, Leicester

M - 02 December 1989 - Happy Mondays appear on the iconic cover of NME Magazine 55p
Notes: 'Manchester. So much to answer for...'. Iconic cover with Shaun & Tony H. Wilson on the cover. Included interviews with various Manchester bands and media.
All from 02 December 1989 - NME Magazine:
'ANTHONY H WILSON
FAVOURITE MANC RECORD: 'Atmosphere'
BEST CONCERT SEEN IN MANCHESTER: Lou Reed at the Free Trade Hall and the riots afterwards. Joy Division at Bury Derby Hall and the violence that followed.
FAVE MANCUNIAN: David Alliance (Manchester textile mogul and all-round rich bastard — Ed)
FAVE PLACE IN MANCHESTER: The Sunset Marquee Hotel, Los Angeles.
WHAT'S SO SPECIAL ABOUT THE PLACE: Its hospitality to immigrants.

'MARK E SMITH BAND/SONG: I don't differentiate between Manchester bands and bands from anywhere else. But I have liked singles by New Order, Simply Red and The Sandmen.
CONCERT: I haven't seen a good concert in Manchester since The Cramps at the Apollo circa 1985.
MANCUNIAN: Most Mancunians are OK but my favourite is my guru Fred who grossly insults his customers down at the local pub.
WHAT'S SPECIAL: It's electric and anxious at any time of the day or night without being unbearable.
PLACE: Chinatown - the buildings go from greatness to utter seediness.

ANDY STEARPOINT (New Fast Automatic Daffodils)
BAND/SONG: 'Voodoo Ray' by A Guy Called Gerald but someone told me that Frankie Vaughn had to make a record about Stockport because he lost a bet, something like 'Stockport, My Kind Of Town'. That would be my favourite if I heard it.
CONCERT: I haven 't seen it yet.
MANCUNIAN: A man called Anthony who lives in Hulme; he always carries a mirror because he thinks he's on the television. He always seems very happy though.
WHAT'S SPECIAL: It never needs ironing.
PLACE: China Town on a Sunday. It smells nice.

DAVID GEDGE (Manchester-born singer) (The Wedding Present)
BAND/SONG: 'Winter' by The Fall from 'Hex-Induction Hour'. It's about a mad kid that I think Mark E Smith knew. It reminds me of someone I knew.
CONCERT: Dog Faced Hermans, My Bloody Valentine and The Membranes at the International last year. The noisiest concert I've ever been to.
MANCUNIAN: Bernard Manning.
WHAT'S SPECIAL: A romantic name, it never fails to rain. Mancunian egos. You've got to have an ego to dress like that. James Anderton thought he had a hotline to God. And Rusholme where there's fifty million curry houses.

JOHNNY MARR (The Smiths, Electronic...)
BAND: New Order, 'In A Lonely Place' (Er, isn't that Joy Division? -Ed)
CONCERT: The Patti Smith Group at the Apollo
MANCUNIAN: Richard Beckinsale
WHAT'S SPECIAL: Everything!

From What Planet Am I On? by Shaun Ryder Book:
...Seriously. That’s about as investigative as most of these journalists get. They’ve got a student mentality, most of them. That’s what I have to put up with. They probably want a rock ’n’ roll story that they can tell their mates down the pub involving Shaun Ryder. Get a life, mate...

M - 02 December 1989 - Happy Mondays appear on the cover of Melody Maker magazine
Notes:

M - 02 December 1989 - Record Mirror Magazine, Volume 36 - Number 48, 75p
Notes: 808 State on the cover, photo by Coneyl Jay. Happy Mondays feature inside.

Rave On Tour - 02 December 1989 Saturday - Student Union Lower Refectory (The Octagon Theatre) Sheffield University, Sheffield * Doors Open: 20:00 * Ticket Price: £5 (Advance)
Rave On / Tart Tart / "Do It Better" / Performance / Hallelujah / Clap Your Hands / Kuff Dam / W.F.L.
Notes: BBC In Concert FM Broadcast. At least 300 people attended the show.
Broadcast: In Concert, BBC Radio 1 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck
Official: 18 November 2022 - Tart Tart Limited Edition 7inch - Tart Tart (Live 02 December 1989 Saturday - Sheffield University, Sheffield)
Bootleg: FM Recording - Mad…Shaun! () Cassette / CD-R - Rave On / Tart Tart / Performance / Hallelujah / Clap Your Hands / Kuff Dam / W.F.L.
Bootleg: Call The Cops (TDK Cassette, Orange inlay with typed tracklist and Happy Mondays logo) BBC Concert Sheffield Octagon 2.12.89 - Do It Better / Performance / Hallelujah / Clap Your Hands / Wrote For Luck - "The Pickled Herring" Intro: Moving In With.... - Wrote For Luck (CLUBX 20.9.89) - The French Riot Gig-Rennes - Peel Session - Kuff Dam / Freaky Dancin / Olive Oil / Cob 20 - Peel Session 27.2.89 - Do It Better / Tart Tart / Mad Cyril - 24 Hour Party People (ULU '89) - Wrote For Luck (NYC 1989) - Interview (CArl & Shaun)

Rave On Tour - 03 December 1989 Sunday - Corn Exchange, Cambridge * Doors Open: 19:15 * Ticket Price: £6.00 (Advance) £7.00 (On The Door) * Support Act(s): MC Buzz B

Rave On Tour - 06 December 1989 Wednesday - Victoria Halls, Hanley, Stoke-On-Trent * Doors Open: 19:30 * Ticket Price: £5.50 * Support Act(s): MC Buzz B
Notes: Additional date to the Rave On Tour.

Rave On Tour - 07 December Thursday - University, Liverpool
Bootleg: Audience Recording (Tape / CD-R)

Rave On Tour - 08 December 1989 Friday - The Pulse, Trent University Student Union, Nottingham
Notes: Unconfirmed Date.

Rave On Tour - 10 December 1989 Sunday - Barrowlands, Glasgow, Scotland
Rave On / Do It Better / Tart Tart / Hallelujah / Kuff Dam / Lazyitis / Mad Cyril / Wrote For Luck
Notes: Additional date to the Rave On Tour. Initially scheduled for The Union, 90 John Street, Glasgow but the poster read 'Due to overwhelming demand, Happy Mondays, now at Barrowland on Sunday December 10. Tickets For Original Date Valid. A Strathclyde University Students Association Presentation.'
There was a note online 'Supporting: Marillion'?
Bootleg: Audience Recording (Tape / CD-R)

M - 11 December 1989 Monday - Shaun Ryder & Bez feature on the cover of Sounds magazine, 'Madcap Manic Mondays The 90s Now! Part Two Happy Mondays' priced at 60p.

12 December 1989 - 'Happy Mondays Rave On' End Of Tour Party, Hamiltons, Turncroft Lane, Stockport * Doors Open: 19:30 * Ticket Price: £10 (On The Door)
Notes: DJ Sasha and DJ Jon Da Silva both played through the night into the early hours of Sunday morning. The fyer noted DJ Steve Williams, Sasha, John 'D' Silva, DJ Andy Carroll. 'Quadraphonic Sound System, Lazers, Special effets and Suprises', 'Captured on video and definitely the best yet'. Unconfirmed if footage has ever circulated. Shaun attended the party, unconfirmed if any other members of the band did.

M - December 1989 - Happy Mondays appear in Melody Maker magazine

Happy Mondays - 27 December 1989 - Madchester Rave On U.K. Release Date
Hallelujah (MacColl Mix) - Remixed by Steve Lillywhite. Produced by Martin Hannett for Jay Hatt. Engineered by Laurence Diana.
Hallelujah (Club Mix) - Remixed by Paul Oakenfold & Andrew Weatherall. Remix engineered by Steve Osborne. Produced by Martin Hannett. Recorded/Engineered by Laurence Diana.
Rave On (Club Mix) - Remixed by Paul Oakenfold & Terry Farley. Remix engineered by Steve Osborne. Produced by Martin Hannett. Recorded/Engineered by Laurence Diana.
FAC 242r
7inch Remix FAC 242R/7
Hallelujah (The MacColl Mix)
Hallelujah (In Out Mix)
Cassette Remix FAC 242RC
Hallelujah (MacColl Mix)
Rave On (Club Mix)
Hallelujah (In Out Mix)
12inch Remix FAC 242R
CD Remix FACD 242R
Hallelujah (Club Mix)
Rave On (Club Mix)
Hallelujah (In Out Mix)
Notes: Promo advert notes 'The Oakenfold Remixes with Farley/Weatherall'