11 Nov 2004
DAT's all folks! 
The first commercially available DAT releases were released by Factory Records - Fact 204d The Guitar And Other Machines by the The Durutti Column (also available on LP, cassette, CD, VHS video, CDV and 5-inch CD single) and Fact 200d Substance by New Order. Factory Records explains its fondness of shiny new DAT technology in this Q Magazine article (c. 1988)

"We find the British record industry's negative attitude to DAT release ludicrous and counter-productive," they say. "

1) The dangers of copying will only be fought off by a continuing attention to the fetishism of the artefact: the desire of the fan to possess not just a piece of music but a piece of the artist, by the purchase of the official item. Concentration on design, packaging, and the artist's role in this set of product imagery will inevitably render copying a minor irritation. Clearly, not to release on DAT will make DAT copying more - rather than less attractive, which is why we find the rest of the industry's Luddism so insupportable. The role of the artefact is clearly reflected in pre-orders for the new Durutti Column DAT of 1,000 together with CDV orders of 1,500, both figures way in excess of the number of machines that exist in the country.

2) Technology is a moveable feast. The unmatched sampling between CD and DAT, the imminent digitisation of Copycode and the development of one-copy systems will soothe all tears by the end of the year.

And 3) Quite simply, you deal with Digital Audio Tape by using Digital Audio Tape not by slicking your head in the bureaucratic sand of the BPI."

Read the full article here.

... those Factory DATs in full

Fact 200d Substance by New Order
Fact 204d The Guitar and Other Machines by The Durutti Column
Fact 220d Bummed by Happy Mondays
Fact 244d Vini Reilly by The Durutti Column
Fact 250d Substance by Joy Division
Fact 275d Technique by New Order

Factory Classical DATs were scheduled for release but there is no evidence that any were issued commercially.

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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