14 Feb 2010
Factory also have to pay the producer 
Given that Factory's venue (mis)management skills were detailed in a book entitled How not to run a club, approaching them for advice on running a record label does not, with the benefit of hindsight, seem like a good idea.

Similarly, using Happy Mondays as an example of good music business would seem almost negligent.

Back in the latter half of 1988, though, the outlook was different.

Factory had reached the ten year mark, business at the Hacienda was picking up (even if the reason for it was played down), New Order and Happy Mondays were busy 'recording albums', Dry was around the corner and Factory were still playing with the imagery of multinational corporations rather than believing - disastrously - they actually were one.

In this context, Factory's contribution to the Granada TV youth educational program - I.T. - recently posted in two parts on a famous video website, makes perfect sense.

Aired in early 1989 and narrated by Bob Greaves, with a youthful cast (in order of appearence) that included: John Pennington, Martin Hannett, Happy Mondays, Tony Wilson, Nathan McGough, Tina Simmonds, Chris Smith, Tony the Greek, Matt and Pat, Keith Jobling, Richard Heslop, Jeff Barrett and Kevin Cummins, and taking in locations such as Strawberry Studios, 86 Palatine Road, 48 Princess Street, CSD in Stevenson Square and Heaven in London, the program follows the recording, production, launch and promotion of the album Bummed.

Do any of the participants look like they know what is about to hit them?

Would Granada TV have produced such a programme - aimed at children of an impressionable age - if they knew?

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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