29 Oct 2013
FAC Yeah! 
Yeah Yeah Yeah by Bob Stanley

Cerysmatic's bookfest continues with a recommendation for all you Facsters out there to grab a copy of Bob Stanley's excellent new tome 'Yeah Yeah Yeah'. Tracking the history of modern pop music in nearly 800 pages it touches on Factory Records at a few key moments in its own unique history: the birth of the label ("with Bauhaus-inspired designer Peter Saville and pharmacist-by-day producer Martin Hannett, Factory had an integrated and entirely distinctive look, feel and sound"), Joy Division (commenting that their album Unknown Pleasures' sound "revelled in space - in this instance the underpasses, the empty streets of post-industrial Victorian Manchester"), the Ha├žienda ("its denizens were inspired to go home and create more of the music they wanted to hear") and Happy Mondays ("They looked like drug dealers from a run-down Manchester estate because that's exactly what they were.").

Yeah Yeah Yeah is published by Faber and Faber (ISBN 978-0-571-28197-8) for 20.00 GBP (RRP). More info at bobstanley.co.uk

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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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