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Get It At Transforming from awkward underdogs to the biggest indie band in the country in the space of just two years, Happy Mondays’ third LP Pills ‘n’ Thrills and Bellyaches encapsulates the short-lived media obsession with ‘Madchester’ at the start of the ‘90s more than any other album. While it brought the shenanigans of their colourful lead singer Shaun Ryder and maracas player / backup dancer / lucky mascot Bez to the attention of tabloids, its unexpected commercial success cannot be explained without its producer Paul Oakenfold. While he became a global superstar DJ and remixer by the end of the ‘90s, at end of the previous decade Oakenfold was a rising star, making his name through regular sets at clubs up and down Britain as the rave scene was booming.

His production softened their jagged, sloppy funk rhythms and sharpened up the sound quality, making it sound much more expansive than anything they had done before. 1988’s Bummed, produced by Factory Records’ legendary in-house producer Martin Hannett, was well-received but sounds so much more claustrophobic and scratchy by comparison. However, while Hannett’s production had only hinted at the Mondays’ knack for spectacular rhythms, Oakenfold and his engineer Steve Osborne (who would go on to produce Doves, Elbow, Starsailor and many other indie acts at the start of the ‘00s) made it prominent, making it the primary building block of the music.

They married the group’s shabby industrial funk with subtle, up-to-the-minute dance beats, and both aspects complimented and reinforced each other. Oakenfold was one of two people that had been commissioned in 1989 to remix Bummed highlight ‘Wrote For Luck’: Erasure’s Vince Clarke had made one, which was good, but Oakenfold’s was spectacular.

Retitled ‘W.F.L. Scuba Dj Kicks Unmixed Rarity. (Think About The Future mix)’, it was interspersed with elements of N.W.A.’s cleaned-up ‘Express Yourself’ remix and took things to another level. Ryder himself was most impressed, saying that Oakenfold “brought that sort of trance to it all the right ingredients.” The iconic Madchester Rave On EP followed later in ‘89, and a creative partnership was forged for the Mondays’ upcoming third album. Kicking off with single ‘ Kinky Afro ’, one of the more rock-orientated moments on the album, the difference in atmosphere is palpable from its predecessor. A mellow, radio-friendly vibe, it showcases Ryder’s unusual lyrical style, a kind of deliberately absurd working-class poetry in the style of Mark E Smith – “Son, I’m thirty / I only went with your mother ‘cause she’s dirty” is an inspired opening line, mischievous and down-to-earth. It was also the first time that backup singer Rowetta had featured on a Mondays album, and her soulful vocals gave the package a wider appeal.