12 Jun 2006
'Ob-La-Di, Ob-La-Da' and Happy Mondays' 'Desmond' 
MOJO #152 features a piece on the top 101 Beatles tracks of all time. Leading it all off at #101 (p62), Shaun Ryder explains the enduring fascination and inspiration behind 'Ob-La-Di, Ob-La-Da':

"I was born in 1962, and when you're a six, seven year old and you've got a Lieutenant Pigeon piano and you're running about with your spliff and your massive mushrooms it sounded brilliant. It sounded like Pendlebury Market in Salford - the vibe, everything. And Molly Jones is outside the pub door at 10 past 10 waiting for them to open at half past, just watching the men. I thought the lyric was 'Desmond takes a trolley to the Durex store' till I was about 12. It's so descriptive. You can have the imagination of a brick and still see pictures in your head. You can smell the streets!

People go on about Sgt. Pepper, and it's brilliant and everything, but it's all on the same train on the same track on the same railway line. The White Album us off on tramlines, fuckin' buses and bicycles, and planes and saddling up sheepdogs and pigs, it's incredible. I mean, they probably had to put a big chain round the studio so they couldn't get out!

Did I rip this off for Desmond [track on Happy Mondays' debut album, withdrawn after complaints from Apple]? Well, we gave the game away calling it Desmond. On Lazyitis [Bummed album track strongly reminiscent of Ticket To Ride] we eventually had to give the credits to David Essex, Sly Stone, Lennon & McCartney, and the fuckin' Wombles, I think!"




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A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

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