6 Nov 2013
A History of Facs in the Attic Parts 1-3 
A History of Facs in the Attic Parts 1-3

If you're wondering how much your Factory Records collection is worth or you're looking to fill in a few gaps you could should check out our ongoing Facs in the Attic series conceived and curated by Cerysmatic's guest star Paul Pledger.

Part 1 and Part 2 deal with Factory Records / Factory Communications Limited and then there's Part 3 which takes a trip to our friends in the Low Countries in the form of Factory Benelux and a bit of Les Disques du Crépuscule.

Watch out for further instalments...

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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