10 Sep 2003
The Peter Saville Talk 
Gay Dad were talented and had much money invested in them. Saville designed their covers (the one with the walking man pedestrian logo). They didn't enjoy the success they perhaps deserved and were quickly dropped. This illustrates what Saville calls 'Spice Girls Syndrome'. There is no room for failure in the modern music market. There was a time when a band like Gay Dad would have been given a second chance, but not any more. Talking about whether he would design covers for any more bands, Saville said that he could do Kraftwerk but not the White Stripes. Because "he knows" Kraftwerk. However, he admitted that no-one has phoned him up about new work since March.

Read the full report on the talk.


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Peter Saville colour wheel
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)

The Durutti Column