19 Jan 2009
New Haçienda book project: help wanted 
Jimmy Batista, in association with French publisher Camion Blanc has a new book on FAC 51 The Haçienda slated for around the end of this year.

With the working title FAC OFF, it will focus on the heydays of the Haçienda and the Madchester scene.

They need your contributions in the form of:

- People who could provide original pictures (from anything Haçienda and Madchester-related including bands, DJs, fans, nightlife and the like)

- People who could provide scans or hi-res pictures of flyers, posters and any kind of Haçienda, Factory, Dry Bar and Madchester memorabilia

- People who worked or were serious regulars at the Haçienda, or just people who lived through the whole thing and have any interesting story to tell, for interviews.

If you would like to participate please contact fac.off@hotmail.fr.

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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