7 Mar 2004
Peter Saville on Factory working methods in City Life 518: "New Order disagreed with each other out of principle. This was a committee that was trying to disagree. A perfect example was when I did a piece of artwork which was black and white, a label, and it could be any colour we wanted. They were there so I asked, 'what colour do you want it to be?', Bernard: 'Red', Hooky 'Blue', Steven (help me , I thought): 'I quite fancy green myself.' Fucking hell. 'Gillian, give me two votes on the colour, pleeeease,' 'I quite like yellow.' Rob Gretton: 'I don't see whats wrong with black?' End of meeting, off they go. Rob hangs back: 'Just do it, Peter.' It ended up black and white."

Read the full Peter Saville interview from the same issue of City Life. Thanks again to Conor for help.

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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