In the late 1980s and early 1990s, Shaun Ryder had the world at his feet. His band, The Happy Mondays, had been key players in the UK “Madchester scene” and had scored a platinum selling album with 1990’s Pills ‘n’ Thrills and Bellyaches. Bands everywhere had tried to imitate the new “baggy” sub-genre it had created.

Only a few years later, though, Ryder’s career looked like it was over. The fractious and drug-addled recording of 1992 album Yes Please had caused the Mondays to split up soon after its release, and its poor sales – described by critics as a “commercial car crash” – bankrupted their label, Factory.

Ryder’s addictions to heroin and crack cocaine were also now so bad that he’d quite literally resorted to selling the (Hugo Boss) shirt off his back to fuel his habit.

Never one to shy away from a fight, however, Ryder actually seemed motivated by people saying he was “finished as a creative force”, and now only under the influence of “Guinness, Es and Temazis”. He set about forming a brand new band in his living room – Black Grape.

The music video for Kelly’s Heroes.

Joining him and the ever-present Bez (official role: “vibes”) were guitarist Paul “Wags” Wagstaff and drummer Ged Lynch. Ryder’s “smack buddy” Kermit (real name Paul Leveridge) was on co-vocal and songwriting duties, having previously been one third of Hulme-based hip hop group The Ruthless Rap Assassins.

Work on their debut album It’s Great When You’re Straight…Yeah! began soon after. Ryder and Kermit collaborated face to face, bouncing ideas off each other on the soon-to-be hit singles Reverend Black Grape and Kelly’s Heroes. They sharing the microphone on both tracks to create the unforgettable and unique sound so many of us have returned to again and again during the past three decades.

A brand new sound

Some critics have since dismissed Black Grape as merely a continuation of The Happy Mondays’ “formula”. But, for me, this ignores how genuinely groundbreaking, fresh, and unique their sound was.

Under the production of Danny Saber, Stephen Lironi and Ryder himself, Black Grape somehow fused rock, hip-hop, acid house, melodic pop, dub, reggae into a dazzling psychedelic whole. The result was both immediately accessible and yet nothing like anyone had ever heard before. Ryder puts it best when he wrote in his autobiography that the album “sounds like the best house party”.

Indeed, at different house parties and indie club nights across the country, the opening bars of Kelly’s Heroes were enough to send people leaping to their feet in drunken excitement. But only three songs later, the moodily atmospheric and downbeat A Big Day in the North would cause those very same people to sit back down in brooding introspection.

Kelly’s Heroes by Black Grape.

Then there were the lyrics. During his time with The Happy Mondays, Ryder had largely satisfied himself with the humorous stream-of-unconsciousness flow of surrealist street talk. But with Black Grape, he seemed to push himself further.

His signature sprechgesang (a vocal technique that combines speaking and singing) remained intact. As did the abstract imagery and humour, with lines like “Touche, Toshack, pineapple with a smile, en coule, big apple” (A Big Day in the North) and “You used a Rolex to roll up your keks” (Shake Well Before Opening). But there was more serious work here, too, sometimes even in the same song.

Just after the “Toshack” line on A Big Day in the North, for example, Ryder tells us that “Sticks and stones may break your bones, but love will always hurt you”. In Yeah Yeah Brother, before the throwaway line “open the trunk for the pineapple chunk”, he rails against an unnamed adversary, spitting: “You sit at my table, eat and drink like you were my brother, I would never ever in this world believe you were a backstabber.”

It’s on Reverend Black Grape that Ryder really ups the ante, though, with one of the most scathing and inflammatory lyrics I’ve ever come across. Taking aim at the Catholic Church, he declares that the “Pope he got the Nazis to clean up their messes, in exchange for gold and paintings he gave them new addresses”. How this flew under the radar and didn’t lead to a lawsuit has always amazed me, but it’s perhaps indicative of how little anything Ryder said was taken seriously.

Reverend Black Grape by Black Grape.

One of music’s greatest comeback stories, It’s Great When You’re Straight… Yeah! was an immediate commercial success. It topped the UK charts and achieved platinum certification. But it was also a favourite for many critics. Reverend Black Grape was declared best track at the 1995 NME awards, and the album was shortlisted for 1996’s Mercury Prize.

Sadly, the band would go the way of The Mondays, splitting a few years later after the disappointing follow-up album Stupid Stupid Stupid (1997). This time, though, there’s a happy ending. After reuniting two decades later and releasing new albums Pop Voodoo (2017) and Orange Head (2023), Kermit and Ryder will be celebrating the 30th anniversary of their finest work with the It’s Great When You’re Straight, Yeah 30th anniversary UK tour later this year. I, for one, can’t wait.

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Glenn Fosbraey does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.