10 Oct 2003
Haçienda that 
There is an insightful article from Q Magazine (reproduced here in full) around the time of Factory Records' demise which speculates as to what would happen to the extensive New Order (and indeed other Factory artists) back catalogue and whether Anthony Wilson had something up his sleeve. Rather cleverly (or is that sneakily) Q obtained a copy of New Order's legal agreement with label which stated that the band and not the label owned all the master tapes.

Of course when Factory folded some bands like Happy Mondays and A Certain Ratio had got wind of the imminent demise and they made sure they had either extricated themselves from their "deals" or (in the case of ACR) removed the master tapes from the Factory offices. 'Cos when the receivers moved in they took possession of everything...

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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)

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