24 May 2004
An article by Ian Herbert for The Independent newspaper details plans for a new museum to celebrate Manchester's fine music heritage.

He writes: "The museum will mark the city's place as a classical music mecca in the 1860s, show off relics from its 250 1960s beat clubs (more than any other city in the world, including Liverpool), its thriving 1940s jazz scene and - perhaps the finest of all - the Madchester days of the Happy Mondays, New Order and Factory Records.

A site for the museum has not yet been chosen but the company established to create it, 100% Cotton, is aiming for one of Manchester or Salford's iconic red-brick hotel buildings. The Heritage Lottery Fund is understood to be positive about contributing towards the venue's creation."

Read the full article here.

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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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