material for their next album. Following this, the band headlined Glastonbury Festival and played a one-off show in Ibiza in June 1990. They embarked on a tour of the US in July 1990. Recording As the US tour came to a close in Los Angeles, California, the band decided to record their next album in the city. Ryder considered it an important break away from being constantly recognised in the UK, which the rest of the band agreed with. Other recording locations had been floated and declined, such as in Amsterdam and Barbados. An extra US show was scheduled, but cancelled in order for the members to get into the right head space for recording. Due to the success of "Step On", Oakenfold and Osborne had been earmarked to produce Happy Mondays' next release sometime prior. Elektra and Factory Records, the band's UK label, booked the band to record at Capitol Studios. Upon entering it, the band had a week's time to record the seven new songs they had; they convinced both labels to extend recording by three weeks. Oakenfold and Osborne sorted through the various demos the band had given the pair, picking the ones that would work well and those that would not. As the band would hang out with Mancunian and Liverpudlian people from acid house club nights in the area, the strained relationships were sedated. They stayed at the Oakwood Apartments with their girlfriends and wives. Recording started on 23 July 1990; the sessions would begin at midday and concluded by midnight, lasting for six days per week, with engineer Ray Blair and studio assistant Cameron. Bassist Paul Ryder and drummer Gary Whelan would record their parts together, while the others would record theirs separately to avoid cabin fever. The first track they recorded was "Kinky Afro", the bass and drums in which Osborne laboured over to get a certain baggy sound. Whelan would often record drum loops and record new parts on top of them. A similar instance saw Whelan play over loops that Oakenfold made by scratching his records on "God's Cop". Due to Bez's lacklustre skills as a percussionist, session musician Tony Castro was brought in by Blair to contribute to "Loose Fit" and "Bob's Yer Uncle". Spurred on by the laidback nature of the sessions, the band attempted a cover of "Everybody's Talkin'" (1966) by Fred Neil. With the guidance of Oakenfold,