23 Mar 2004
Nothingness 
Paul Morley's most recent book is 'Words and Music' but before that came 'Nothing'. This short passage features Joy Division:

"It was the Sex Pistols tonguing out of the mouths of Stooges that harassed the group that became Joy Division into galactic north-west technological rock and roll action, and they adapted to and pretty quickly transcended this frenzied coincidence of The Sex Pistols, Kraftwerk, The Doors, Brian Eno and Television (and you never know Peter Hammill and Black Sabbath, or J. G. Ballard and Albert Camus, or Franz Kafka and Chic, or Neu and Isaac Asimov, or Mott the Hoople and Dostoevsky ...).

And here... Factory Records: "What about their record company, Factory? Not so much a record company as a state of mind, an organisation in constant graceful disarray, and a company of free-thinking sub-maniacs who were responsible for pushing and pulling Joy Division through their short, frantic career".

Labels: , ,

0 Comments:

Post a Comment

<< Home



- - - -


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