20 Dec 2007
Global mega-brand 
The paper version of the Manchester Evening News last week reported on Peter Hook's plans to 'take the spirit of the Manc club worldwide'.

Says the MEN: 'A worldwide merchandising deal has been signed to produce official Haçienda products like tee-shirts, CDs and posters for the first time. It also means no other club promoters or merchandisers can legally use the name'.

Of 'brand Haçienda' Hooky says: "Rob [Gretton] said it would be hot again one day and, just like he was with Joy Division, he was right. The Haçienda is very important to the people of Manchester and those who went there. I've come to realise what a huge part it played in a generation's life and also in Manchester's development. Now we're going to take the brand anywhere we can."

Be warned. Don't even point!

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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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