8 Sep 2007
Tony Wilson obituaries in the music magazines 
The new (October) editions of Mojo, Q and Uncut have just been published and all contain obituaries of Tony Wilson. Here are a few extracts:

Steve Lamacq in Mojo

"Everything that Manchester's got today as a top rock 'n' roll metropolis is down to Tony Wilson," says punk poet John Cooper Clarke, who knew Wilson for 30 years. "He was a guy who had a lot of time for everybody. There was a guy who was in it for the music. The guy was a saint. He should have been minted."

Stephen Morris of New Order in Q Magazine

"When the news of his death broke, Manchester Town Hall flew its glag at half-mast. He'd have loved that. There ought to be a monument to him. Perhaps a statue with a Factory FAC catalogue number. Would New Order reform for a memorial tribute gig? That's not for me to say, but Tony's death certainly puts things in perspective. Life is too short."

Stephen Dalton in Uncut

He was a great catalyst, a champion bullshitter and a pretty terrible businessman. He was also a dream interview. "Don't print this," he once told me, "but all musicians are cunts."

"He saw himself as a patron of the arts rather than a record company boss," New Order's Bernard Sumner told me recently.

Tony Wilson was a smart self-publicist, sometimes a bolshie gobshite, often wildly and brilliantly wrong. But ultimately, he spent his career promoting the city of his birth and the talent of its citizens. A noble man and a true original.

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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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