17 Jan 2011
Charnel Ground 
In the eternal battle between capitalism and popular culture, every little helps.

The list of sites of historical musical interest in Manchester that have been humiliated at the hands of developers determined to wipe out our musical heritage makes for sad reading:

The Squat (Warsaw, New Order): now a car park; The Russell Club (FAC1, FAC3, FAC4 etc): a housing development; The Rialto (Joy Division, ACR): a golden arched drive-thru; Manhattan Sound (The Smiths): an office block; International 2 (Stone Roses): a Turkish deli; The Hacienda (everybody else): a block of flats for twats.

Now, the final insult. The frontage of Fagins and Rafters - where Joy Division once Battled with the Bands - recently reopened as

T*sco.

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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