11 Jun 2011
Coffee, no table 
In the shadow of the great URBIS glass elephant - scene of several overpriced, over-designed, over-marketed, Factory-related exhibitions - a self-employed builder from Chadderton puts on a 1500 quid display of his personal record collection in a room above a pub and steals the show.

Colin Gibbins' 'Factory Records World First Exhibition in the Music Medium' which ran at the Ducie Bridge on 7-8 May reminded us that for all the high ideals, high art and high concept hi-fi, Factory Records relied on one very valuable, and oft-overlooked resource: the punter.

Arranged almost as a record (Peddlar) shop homage - with every vertical surface covered in hanging plastic vinyl wallets - each Factory release was on show, many complete with their duplicate formats and covers: snakeskin, cardboard, sandpaper.

No index cards, explanations nor intellectualisation, no counting nor box ticking: this was Factory with feet firmly on the ground rather than nose in the air.

A working class jewel in the belly of the increasingly middle-class beast.

[Better late than never!]

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5 Comments:

Anonymous Anonymous said...

it want complete,its was ok

12/06/2011, 00:58

 
Anonymous Urbis said...

£3 was over-priced for an exhibition?

Hooky shouldn't charge so much!

13/06/2011, 12:28

 
Anonymous Anonymous said...

went to Urbis exhibits, & enjoyed them, but the thought of one with collectors in mind with the intimacy of peddler REALLY appeals, so sorry I missed it

14/06/2011, 17:09

 
Anonymous Bill said...

With regard to the first comment,Capital I, I assume you meant wasn't, note the apostrophe, also there is a break between comma and next word and it's also has an apostrophe and the context you used here doesn't really make any sense. I know i'm being pedantic but did you actually take in the relevance of the history you were actually viewing ?

04/07/2011, 00:26

 
Anonymous Anonymous said...

It was missing fac 376 which he now has in both formats sent by the artist piers adams to colin

29/01/2012, 17:18

 

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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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