21 Jun 2004
Definitive? 
The Observer Music Monthly's 100 Greatest British Albums (The Definitive Poll) contains four Factory albums.

No. 18 Joy Division 'Closer' ("Out of tragic isolation comes innovation")
No. 30 Joy Division 'Unknown Pleasures' ("Mancunian miserabilism par excellence")
No. 44 Happy Mondays 'Bummed' ("Magic plus drugs equals brilliance")
No. 65 New Order 'Power, Corruption and Lies' ("Out of darkness comes light")

The Top Ten was:

1. The Stone Roses 'The Stone Roses'
2. The Beatles 'Revolver'
3. The Clash 'London Calling'
4. Van Morrison 'Astral Weeks'
5. The Beatles 'Sgt Pepper's Lonely Hearts Club Band'
6. The Beatles 'The Beatles' (The White album)
7. The Rolling Stones 'Sticky Fingers'
8. The Rolling Stones 'Exile on Main Street'
9. Massive Attack 'Blue Lines'
10. P.I.L. 'Metal box'

The OMM asked each of 100 musicians, industry figures, broadcasters and journalists who made up their distinguished panel to supply a list of their 100 greatest British albums of all time. The panel included Bez and Peter Hook. Other notable panellists were Morrissey, Johnny Marr, Paul Morley, Simon Raymonde, Alan McGee, Terry Hall, Pete Tong and Jimi Goodwin. For the full list and more details check out the OMM website.

As with any poll, there are notable omissions: Pulp, Suede, Saint Etienne, Half Man Half Biscuit, The Cure, etc, etc...

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Peter Saville colour wheel
Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

Factory Records

The Durutti Column