31 May 2017
Factory Records and the Trade Mark Agent 
FAC 31 Minny Pops Dolphin's Spurt

In the matter of Factory Records / Minny Pops vs the Trade Mark Agent in 1981 let us present the first exhibit...

Please refer to: EKH/CN

17th August 1981

Mr. A. Wilson
Factory Records Ltd.,
Flat 4,
86, Palatine Road,
Manchester 20.


I refer to your telephone message and note the shield emblem was used in respect of a limited number of records and this has now been exhausted. Further you do not intend to utilise the trade mark again.

It would assist me if you will kindly drop me a line confirming the following:

1. the number of records sold bearing the trade mark
2. all the records has been disposed of
3. no reordering has been started
4. the Shield emblem trade mark will not be used again
5. you will not feature any Philips products on record sleeves in the future.

Your early reply will be greatly appreciated.

Yours sincerely,


A reply to the letter has not yet been found but it is thought that only the initial pressing (in an unknown quantity) was ever made and it is definitely known that the logo was not reused. It is our understanding the matter never went any further.

Philips was based in Eindhoven, Netherlands and therefore a connection was presumably made by designer Martyn Atkins given the Dutch heritage of Minny Pops.

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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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