25 Sept 2013
Facs In The Attic Part 1
Interest in antiques and collectables is currently experiencing something of a renaissance - blame the TV all you want but the Bargain Hunts, Flog Its and Antiques Roadshows of this world have all inspired many of us to reassess our prized possessions with a little more confidence, as opposed to slinging our 'tat' out with the week's rubbish.
Yet to appear on any of these shows are Factory Records collectables, although the nearest related item recently presented for valuation was on the ubiquitous Antiques Roadshow - a copy of Sex Pistols' God Save The Queen included in a 'guess the value' spot that garnered a nervous cough from Fiona Bruce when it was revealed that the rare 7" was worth over £10,000.
Sadly (or perhaps, happily), nothing on Factory commands such sums but there are a few treasures to be found. Here's our guide to the most valuable items to be found christened with a FAC or FACT number. We haven't included any posters, videos, egg-timers, bits of the Hacienda floor, Peter Hook's plectrums or anything else non-audio. Most of the items mentioned are worth more than £10 in mint or near-mint condition (that's minus fingerprints and without half the sleeve being used for illicit drug use), according to Record Collector and the Discogs* website.
Factory Benelux and Les Disques du Crepuscule rarities by Factory artists will be looked at a later date. So, without further ado and in no particular order...
Joy Division
Arguably the label's most revered band, JD may have sold thousands of records over the years but many are worth a decent amount. The big hitters include the first vinyl pressings of Unknown Pleasures (FACT 10) with its textured inner and outer sleeves (£50), the original hessian double-vinyl edition of Still (FACT 40) at £70 and all three of the band's albums in those lovely purple cassette boxes, valued at approximately £35 a pop. Not surprisingly, Love Will Tear Us Apart doesn't represent a rare item since it's sold shed-loads in numerous formats since its 1980 release. However, there's a respectable £8-£10 price tag on the original 12" (FAC23-12).
New Order
As with Joy Division, New Order's catalogue has been immensely popular over the years and isn't as rare as you may think. But dig deep and you'll unearth a few pricey gems. CD video collectors will be aware of the band's foray into this maligned format, namely Blue Monday '88 (FACDV 73R) and True Faith (FACDV 183), both of which command £50 or £30 respectively, the metallic CD edition of the Brotherhood album (FACD150SP) comes in at £25 and the rare 7" version of Thieves Like Us (in a turquoise generic bag - FAC 103) warrants a spend of £15. Vinyl editions of all of their Factory albums pitch in at around the £15 - £25 with Substance (FACT 200) worth around £30. The aforementioned boxed-cassette albums are also worth in excess of £15. Our image above depicts the hard-to-find Christmas flexi-disc (FAC51b) - provided you haven't sat on it or played it more than once, you'll be hard-pressed to find one for less than £20 these days. Blue Monday on vinyl is a priceless record that will fetch you a tenner if you've a copy in mint condition with the die-cut sleeve and silver inner, otherwise it's a fiver at most.
Durutti Column
Vini Reilly's elegiac history is also worth collecting, especially earlier vinyl releases. The infamous Return of the Durutti Column album (FACT 14) was initially housed in a collection-wrecking sandpaper sleeve and came with a flexi-disc featuring producer Martin Hannett instrumentals. Complete and original pressings can be worth anything from £200 a go, such is their rarity value. A proposed replica re-issue by Factory Benelux in the coming months will do little to bring this price down but it should make availability of an incredible piece of art all the more easier. DC's other money-spinners include all of the boxed-cassette albums at around £35 each and the super Vini Reilly album (FACT 244) with the bonus Steven and Vini 7" (or CD, depending on format), priced at a healthy £45 complete.
Section 25
Blackpool's finest are no strangers to expensive valuations either. Their debut-single Girls Don't Count (FAC 18), produced by Ian Curtis, is a great place to start - the easier-to-find 12" (with three different sleeves) can fetch £15 upwards while the tracing-paper housed 7" edition is worth around £25 in a downwind. But it's the band's albums that strike gold. Always Now (FACT 45, with the poster) and From The Hip (FACT 90, with orange inner sleeve) can raise over £25 each, while both boxed-cassette album versions are a heady £80 - £100! Section 25's last Factory album Love and Hate (FACT 160) is keenly priced from £18 by Record Collector, although the same magazine has omitted the band's landmark 12" Looking From a Hilltop (FAC 108) - I've seen copies on sale from £10 upwards.
A Certain Ratio
The first outfit to release a single on Factory, A Certain Ratio's rarities a little more modest in price than most but there are plenty of them. A sticker bearing the legend 'pressed on poor quality vinyl' is enough to have purchasers running for the hills but ACR's All Night Party 7" (FAC 5) bears the very same wording on its sleeve, making it something of a collectable at £25. The band's next release is also worth a few quid, namely The Graveyard and the Ballroom (FACT 16C). The original came packaged in a PVC style wallet with a card insert and fetches anything from £20 upwards. Rather rarer is the boxed-cassette version that appeared a few years later, along with reissues of The Old and the New (FAC 135c) and Force (FAC 166c), all of which can earn you £25 each. Finally, absent from Record Collector's latest guide, due to them being overseas pressings, are The Double Twelve Inch (FAC 42 - contains Flight and Do The Du 12" together in a gatefold sleeve) and the Australian 12" release of Bootsy (FAC 166-12). Both are currently on sale at around £12.
Happy Mondays
And finally in our first instalment of Facs In The Attic, Happy Mondays. As with New Order and Joy Division, the Mondays shipped a fair few units in their time but were initially an unknown force, hence the decent earners from the first half of their career. Debut single Delightful (FAC 129) is understandably collectable and fairly difficult to find in decent condition (or in any quantity outside of the North West). Expect to fork out £10 upwards for a decent copy (RC keenly aims for a £40 price-tag!). Their first album Squirrel and G-Man (FACT 170) is collectable on both vinyl and cassette formats - the former should come in a PVC outer-sleeve with the album's title printed on it and the Beatles-sampling (and withdrawn) track Desmond included (£25). The boxed-cassette version, with or without Desmond, can command over £30. If you own a UK copy of the Pills Thrills and Bellyaches album (FACT 320) with its withdrawn 'sweets' sleeve, you'll be justified in flogging it for £20.
Next time, in part 2 of Facs In The Attic, we study the acts with smaller catalogues, the one-offs and the unlikeliest of rarities.
(* Discogs is a catalogue listing site with an active marketplace for music formats - prices can be, er, ambitious. Cerysmatic holds no responsibility for anyone paying £500 for an Adventure Babies white label).
Yet to appear on any of these shows are Factory Records collectables, although the nearest related item recently presented for valuation was on the ubiquitous Antiques Roadshow - a copy of Sex Pistols' God Save The Queen included in a 'guess the value' spot that garnered a nervous cough from Fiona Bruce when it was revealed that the rare 7" was worth over £10,000.
Sadly (or perhaps, happily), nothing on Factory commands such sums but there are a few treasures to be found. Here's our guide to the most valuable items to be found christened with a FAC or FACT number. We haven't included any posters, videos, egg-timers, bits of the Hacienda floor, Peter Hook's plectrums or anything else non-audio. Most of the items mentioned are worth more than £10 in mint or near-mint condition (that's minus fingerprints and without half the sleeve being used for illicit drug use), according to Record Collector and the Discogs* website.
Factory Benelux and Les Disques du Crepuscule rarities by Factory artists will be looked at a later date. So, without further ado and in no particular order...
Joy Division
Arguably the label's most revered band, JD may have sold thousands of records over the years but many are worth a decent amount. The big hitters include the first vinyl pressings of Unknown Pleasures (FACT 10) with its textured inner and outer sleeves (£50), the original hessian double-vinyl edition of Still (FACT 40) at £70 and all three of the band's albums in those lovely purple cassette boxes, valued at approximately £35 a pop. Not surprisingly, Love Will Tear Us Apart doesn't represent a rare item since it's sold shed-loads in numerous formats since its 1980 release. However, there's a respectable £8-£10 price tag on the original 12" (FAC23-12).
New Order
As with Joy Division, New Order's catalogue has been immensely popular over the years and isn't as rare as you may think. But dig deep and you'll unearth a few pricey gems. CD video collectors will be aware of the band's foray into this maligned format, namely Blue Monday '88 (FACDV 73R) and True Faith (FACDV 183), both of which command £50 or £30 respectively, the metallic CD edition of the Brotherhood album (FACD150SP) comes in at £25 and the rare 7" version of Thieves Like Us (in a turquoise generic bag - FAC 103) warrants a spend of £15. Vinyl editions of all of their Factory albums pitch in at around the £15 - £25 with Substance (FACT 200) worth around £30. The aforementioned boxed-cassette albums are also worth in excess of £15. Our image above depicts the hard-to-find Christmas flexi-disc (FAC51b) - provided you haven't sat on it or played it more than once, you'll be hard-pressed to find one for less than £20 these days. Blue Monday on vinyl is a priceless record that will fetch you a tenner if you've a copy in mint condition with the die-cut sleeve and silver inner, otherwise it's a fiver at most.
Durutti Column
Vini Reilly's elegiac history is also worth collecting, especially earlier vinyl releases. The infamous Return of the Durutti Column album (FACT 14) was initially housed in a collection-wrecking sandpaper sleeve and came with a flexi-disc featuring producer Martin Hannett instrumentals. Complete and original pressings can be worth anything from £200 a go, such is their rarity value. A proposed replica re-issue by Factory Benelux in the coming months will do little to bring this price down but it should make availability of an incredible piece of art all the more easier. DC's other money-spinners include all of the boxed-cassette albums at around £35 each and the super Vini Reilly album (FACT 244) with the bonus Steven and Vini 7" (or CD, depending on format), priced at a healthy £45 complete.
Section 25
Blackpool's finest are no strangers to expensive valuations either. Their debut-single Girls Don't Count (FAC 18), produced by Ian Curtis, is a great place to start - the easier-to-find 12" (with three different sleeves) can fetch £15 upwards while the tracing-paper housed 7" edition is worth around £25 in a downwind. But it's the band's albums that strike gold. Always Now (FACT 45, with the poster) and From The Hip (FACT 90, with orange inner sleeve) can raise over £25 each, while both boxed-cassette album versions are a heady £80 - £100! Section 25's last Factory album Love and Hate (FACT 160) is keenly priced from £18 by Record Collector, although the same magazine has omitted the band's landmark 12" Looking From a Hilltop (FAC 108) - I've seen copies on sale from £10 upwards.
A Certain Ratio
The first outfit to release a single on Factory, A Certain Ratio's rarities a little more modest in price than most but there are plenty of them. A sticker bearing the legend 'pressed on poor quality vinyl' is enough to have purchasers running for the hills but ACR's All Night Party 7" (FAC 5) bears the very same wording on its sleeve, making it something of a collectable at £25. The band's next release is also worth a few quid, namely The Graveyard and the Ballroom (FACT 16C). The original came packaged in a PVC style wallet with a card insert and fetches anything from £20 upwards. Rather rarer is the boxed-cassette version that appeared a few years later, along with reissues of The Old and the New (FAC 135c) and Force (FAC 166c), all of which can earn you £25 each. Finally, absent from Record Collector's latest guide, due to them being overseas pressings, are The Double Twelve Inch (FAC 42 - contains Flight and Do The Du 12" together in a gatefold sleeve) and the Australian 12" release of Bootsy (FAC 166-12). Both are currently on sale at around £12.
Happy Mondays
And finally in our first instalment of Facs In The Attic, Happy Mondays. As with New Order and Joy Division, the Mondays shipped a fair few units in their time but were initially an unknown force, hence the decent earners from the first half of their career. Debut single Delightful (FAC 129) is understandably collectable and fairly difficult to find in decent condition (or in any quantity outside of the North West). Expect to fork out £10 upwards for a decent copy (RC keenly aims for a £40 price-tag!). Their first album Squirrel and G-Man (FACT 170) is collectable on both vinyl and cassette formats - the former should come in a PVC outer-sleeve with the album's title printed on it and the Beatles-sampling (and withdrawn) track Desmond included (£25). The boxed-cassette version, with or without Desmond, can command over £30. If you own a UK copy of the Pills Thrills and Bellyaches album (FACT 320) with its withdrawn 'sweets' sleeve, you'll be justified in flogging it for £20.
Next time, in part 2 of Facs In The Attic, we study the acts with smaller catalogues, the one-offs and the unlikeliest of rarities.
(* Discogs is a catalogue listing site with an active marketplace for music formats - prices can be, er, ambitious. Cerysmatic holds no responsibility for anyone paying £500 for an Adventure Babies white label).
Labels: A_Certain_Ratio, Blue_Monday, Closer, Facs_in_the_Attic, Factory_Benelux, Happy_Mondays, Joy_Division, Les_Disques_du_Crepuscule, Martin_Hannett, New_Order, Section_25, Substance, The_Durutti_Column, Unknown_Pleasures, Vini_Reilly
7 Mar 2011
Closer to Hooky - The Interview
Peter Hook talks to Cerysmatic Factory about the just-announced 1102/2011 E.P., Closer - Live, the black arts, post-nuclear attack and, er, chapeaux:
CF: The vibe of Closer is at times spooky. This would have been the case regardless of what came to pass. But what I want to know is, were any of Joy Division or the people present at the recording of the album involved in any... er, occult activities? There is a whiff of brimstone in there, whether or not it's intentional.
PH: An interesting question........... we have all dabbled with the black arts at one point or other but i can safely say that at this point only Martin Hannett was not of this planet. The whiff you smell is not brimstone but possibly worry and confusion.
Martin Hannett's production on Closer still sounds incredible. Was there some kind of breakthrough before or during the recording that made it sound that way, or did the sound naturally emerge?
As is the way of great men, you never know whether they know what they are doing or not? As my mother you to say: "If you can't fight, wear a big hat". He had a very big hat on. I think he knew what he wanted to try and after all the early Factory stuff and 'Unknown Pleasures', he must have been quite confident in his abilities. The interesting thing with 'Closer' was that some of the songs were sketchy so he had much more input into the music, the keyboards specifically. He taught Bernard how to layer and think outside the box in a way. He was also experimenting more with the early ARP sequencers for drums and early ARP Quadra synthesisers.
Did Hannett favour any band members over the others? [I know nothing about recording studio politics, so maybe it's a non-question. In an interview for Scream City 4, John Dowie said that Martin Hannett seemed as if he was 'behind a wall of very thick glass'. This may have been a joke, Dowie talking about the glass in the studio, or maybe he meant that Martin was somehow present and yet remote in his dealings with him.]
No, he treated us all with the same disdain. He was a very obtuse man. It was his way. He had a wicked sense of humour that only he seemed to understand. He was good with Ian though but on 'Closer' he hated me and Barney because we were working to get our ideas in. The portrayal in 'Control' was correct: Bernard and I would take it in turns to suggest things which he took as criticism. I know what Dowie means........
When New Order started producing their own stuff, it seemed like a new magic started to happen. Did you use techniques learnt from Hannett? If so, which ones?
Bernard and I learnt all we could from Martin. As his behaviour got worse we knew we couldn't carry on working with him so we soaked it up like a sponge and used his tricks and techniques as much as possible. What he did teach us was not to be afraid to experiment and believe in what you're doing. Bullshit baffles brains, etc, etc. Go for it. I think we took it further really. I would work on the production with Mike Johnson our engineer and Barney would come up with the mad ideas. We were a great team on the early LPs. I won't get too technical about it though.
Did Tony Wilson provide any guidance during the recording of Closer? And after the recording was finished, did he criticise any of it?
Him and Rob were always there, Rob in particular. Rob much preferred being with the musicians wherever they were rather than be in an office. I think they were both confident that between us we would do a good job. To my knowledge the only criticism was from me and Barney. I got a shock when I learnt of the letter from Ian saying he wasn't happy with it. I thought he was.
How aware were you at the time just how phenomenally far the band had developed in the few years between the time it started an the release of Closer? And after Closer, was there any fear of failure?
Yes, I think we knew we were writing better songs, we had seen that develop. To be honest the songwriting in Joy Division was always easy but we were not thinking about being successful. We were happy doing what we were doing but our main fear throughout 'Closer' was Ian's illness.
The new E.P. by The Light features the 'lost' track 'Pictures in my Mind'. How did that come about and how far developed was the track from all those years ago when you rediscovered it? What kind of state was the tape in and did any vocals by Ian exist?
Yes there were vocals on it. I plan put the original on the fac51thehacienda.com so people can compare it. To be honest it had all the elements needed to finish so it so I can't understand why we didn't.
The tape in question was lent to someone in trust by Rob Gretton. I don't know the details but the guy copied it and passed it round a rather elite bunch of Joy Division bootleg fans and then someone in the inner circle leaked it and a nice American kid called Seth passed it back to me. He also transcribed the lyrics for me. Thanks Seth. All I did was sing it and make it make sense bar and order wise. The lads in The Light helped me with it and Jack plays bass on it. I don't know where the tape is or even what format it was on: cassette, reel to reel or what?
How did you decide the other Joy Division tracks to include on the E.P.?
That was easy. Rowetta has been helping me out since the start. I think she does a beautiful job and I'm always trying to get her to sing more so I can play bass. A lot of people had been asking her to record them so the idea was there. The problem is it's hard to justify the expense of recording because you do not earn the money back. Nevertheless I'm glad to be doing it. The sleeve is great. It's done by a graphic artist called James Chadderton who specialises in post-nuclear attack drawings of Manchester and it was recorded on the 11 Feb 2011 hence 11022011 as somebody pointed out the date was a palindrome and it worked as a concept.
After the Unknown Pleasures gigs, Closer is the obvious progression but what new challenges does playing the whole of Closer present?
'Closer' is more delicate and uses the 6-string bass a lot so it's a different vibe. When I began with 'Unknown Pleasures' I never thought we would pull it off but Nat, Andy, Paul and Jack along with Phil worked really hard and we did. I know we will do the same with 'Closer'.
What kind of approach will you take to playing the whole of what is overall a very dark album? Will you be faithful to the original or take a new direction?
What I do is take our original and incorporate Martin Hannett's sound in the performance. It's our songs with a shared sound. I do use a lot of Martin's effects so it sounds like the record. I am very, very aware of the respect that people hold for these records and I would never insult their intelligence by doing it half arsed. 'Closer' is one of my favourite records ever made alongside Nico 'Chelsea Girls', Lou Reed 'Berlin', Ian Dury 'New Boots and Panties'. And John Cale 'Paris 1919'.
Are you going to add any other non-Closer tracks that weren't done on the Unknown Pleasures into the set on this tour?
Yes. Dead Souls, Exercise One, Incubation, From Safety to Where, Autosuggestion, Ice Age, Walked in Line.
Of all the people who've approached you to say that they're a Joy Division fan, who's been the most unlikely?
I am so happy whenever anyone says it to me i dont think that way. I now get young and old, male and female. I don't care... It's a great compliment to all four of us that people hold the group and the music in such high regard.
CF: Manchester: since the death of Tony Wilson it feels like a different place. No better, no worse. Just different. Statue? I say, no thanks. Tony, to me, was a kick the statues kind of a guy. What do you think?
I think he would be secretly pleased. Please do one of me though when I've gone and come and kick it!
We're already 14 months into a new, as yet unnamed/uncharacterised decade. Any plans?
I am happy at the moment. The past rears its ugly head but the people I work with make me strong. It's great to be playing the songs again. As for the world I'm sitting here in Doha Airport on my way back from Jakarta and watching the Middle East crumble is a frightening prospect that will mark the decade. Love Hooky '11.
--
Thanks to Hooky and James. Special thanks to Cerysmatic's Size 7¼ Closer Consultant Ian McCartney.
CF: The vibe of Closer is at times spooky. This would have been the case regardless of what came to pass. But what I want to know is, were any of Joy Division or the people present at the recording of the album involved in any... er, occult activities? There is a whiff of brimstone in there, whether or not it's intentional.
PH: An interesting question........... we have all dabbled with the black arts at one point or other but i can safely say that at this point only Martin Hannett was not of this planet. The whiff you smell is not brimstone but possibly worry and confusion.
Martin Hannett's production on Closer still sounds incredible. Was there some kind of breakthrough before or during the recording that made it sound that way, or did the sound naturally emerge?
As is the way of great men, you never know whether they know what they are doing or not? As my mother you to say: "If you can't fight, wear a big hat". He had a very big hat on. I think he knew what he wanted to try and after all the early Factory stuff and 'Unknown Pleasures', he must have been quite confident in his abilities. The interesting thing with 'Closer' was that some of the songs were sketchy so he had much more input into the music, the keyboards specifically. He taught Bernard how to layer and think outside the box in a way. He was also experimenting more with the early ARP sequencers for drums and early ARP Quadra synthesisers.
Did Hannett favour any band members over the others? [I know nothing about recording studio politics, so maybe it's a non-question. In an interview for Scream City 4, John Dowie said that Martin Hannett seemed as if he was 'behind a wall of very thick glass'. This may have been a joke, Dowie talking about the glass in the studio, or maybe he meant that Martin was somehow present and yet remote in his dealings with him.]
No, he treated us all with the same disdain. He was a very obtuse man. It was his way. He had a wicked sense of humour that only he seemed to understand. He was good with Ian though but on 'Closer' he hated me and Barney because we were working to get our ideas in. The portrayal in 'Control' was correct: Bernard and I would take it in turns to suggest things which he took as criticism. I know what Dowie means........
When New Order started producing their own stuff, it seemed like a new magic started to happen. Did you use techniques learnt from Hannett? If so, which ones?
Bernard and I learnt all we could from Martin. As his behaviour got worse we knew we couldn't carry on working with him so we soaked it up like a sponge and used his tricks and techniques as much as possible. What he did teach us was not to be afraid to experiment and believe in what you're doing. Bullshit baffles brains, etc, etc. Go for it. I think we took it further really. I would work on the production with Mike Johnson our engineer and Barney would come up with the mad ideas. We were a great team on the early LPs. I won't get too technical about it though.
Did Tony Wilson provide any guidance during the recording of Closer? And after the recording was finished, did he criticise any of it?
Him and Rob were always there, Rob in particular. Rob much preferred being with the musicians wherever they were rather than be in an office. I think they were both confident that between us we would do a good job. To my knowledge the only criticism was from me and Barney. I got a shock when I learnt of the letter from Ian saying he wasn't happy with it. I thought he was.
How aware were you at the time just how phenomenally far the band had developed in the few years between the time it started an the release of Closer? And after Closer, was there any fear of failure?
Yes, I think we knew we were writing better songs, we had seen that develop. To be honest the songwriting in Joy Division was always easy but we were not thinking about being successful. We were happy doing what we were doing but our main fear throughout 'Closer' was Ian's illness.
The new E.P. by The Light features the 'lost' track 'Pictures in my Mind'. How did that come about and how far developed was the track from all those years ago when you rediscovered it? What kind of state was the tape in and did any vocals by Ian exist?
Yes there were vocals on it. I plan put the original on the fac51thehacienda.com so people can compare it. To be honest it had all the elements needed to finish so it so I can't understand why we didn't.
The tape in question was lent to someone in trust by Rob Gretton. I don't know the details but the guy copied it and passed it round a rather elite bunch of Joy Division bootleg fans and then someone in the inner circle leaked it and a nice American kid called Seth passed it back to me. He also transcribed the lyrics for me. Thanks Seth. All I did was sing it and make it make sense bar and order wise. The lads in The Light helped me with it and Jack plays bass on it. I don't know where the tape is or even what format it was on: cassette, reel to reel or what?
How did you decide the other Joy Division tracks to include on the E.P.?
That was easy. Rowetta has been helping me out since the start. I think she does a beautiful job and I'm always trying to get her to sing more so I can play bass. A lot of people had been asking her to record them so the idea was there. The problem is it's hard to justify the expense of recording because you do not earn the money back. Nevertheless I'm glad to be doing it. The sleeve is great. It's done by a graphic artist called James Chadderton who specialises in post-nuclear attack drawings of Manchester and it was recorded on the 11 Feb 2011 hence 11022011 as somebody pointed out the date was a palindrome and it worked as a concept.
After the Unknown Pleasures gigs, Closer is the obvious progression but what new challenges does playing the whole of Closer present?
'Closer' is more delicate and uses the 6-string bass a lot so it's a different vibe. When I began with 'Unknown Pleasures' I never thought we would pull it off but Nat, Andy, Paul and Jack along with Phil worked really hard and we did. I know we will do the same with 'Closer'.
What kind of approach will you take to playing the whole of what is overall a very dark album? Will you be faithful to the original or take a new direction?
What I do is take our original and incorporate Martin Hannett's sound in the performance. It's our songs with a shared sound. I do use a lot of Martin's effects so it sounds like the record. I am very, very aware of the respect that people hold for these records and I would never insult their intelligence by doing it half arsed. 'Closer' is one of my favourite records ever made alongside Nico 'Chelsea Girls', Lou Reed 'Berlin', Ian Dury 'New Boots and Panties'. And John Cale 'Paris 1919'.
Are you going to add any other non-Closer tracks that weren't done on the Unknown Pleasures into the set on this tour?
Yes. Dead Souls, Exercise One, Incubation, From Safety to Where, Autosuggestion, Ice Age, Walked in Line.
Of all the people who've approached you to say that they're a Joy Division fan, who's been the most unlikely?
I am so happy whenever anyone says it to me i dont think that way. I now get young and old, male and female. I don't care... It's a great compliment to all four of us that people hold the group and the music in such high regard.
CF: Manchester: since the death of Tony Wilson it feels like a different place. No better, no worse. Just different. Statue? I say, no thanks. Tony, to me, was a kick the statues kind of a guy. What do you think?
I think he would be secretly pleased. Please do one of me though when I've gone and come and kick it!
We're already 14 months into a new, as yet unnamed/uncharacterised decade. Any plans?
I am happy at the moment. The past rears its ugly head but the people I work with make me strong. It's great to be playing the songs again. As for the world I'm sitting here in Doha Airport on my way back from Jakarta and watching the Middle East crumble is a frightening prospect that will mark the decade. Love Hooky '11.
--
Thanks to Hooky and James. Special thanks to Cerysmatic's Size 7¼ Closer Consultant Ian McCartney.
Labels: Closer, Ian_Curtis, interview, Joy_Division, Peter_Hook, The_Light, Unknown_Pleasures
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Popular posts
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Latest posts
Latest pages
- Electronic Sound magazine [Issue 54] Factory Records
- May 1980 release schedule
- hallowed articles
- FAC 148
- FAC 148 letter from Quarry Bank Mill to Tony Wilson
- FAC 81 stationery source materials
- FAC 81 stationery
- 86 Palatine Road Blue Plaque
- Joy Divison USA Tour Itinerary
- Tony Wilson letter to Ralph Steadman re John Dowie
- IKON stationery
- The Factory stationery
- In the City badge
- Peter Saville Associates stationery and bill
- Movement of the 24th January stationery
