Former Factory artist Biting Tongues have just had their 1981 limited cassette-only lost release 'Live It' reissued by Andy Votel's Finders Keepers Records.

Originally released on New Hormones, Biting Tongues' 2nd album was one of a series of three limited edition releases of just 500 cassettes (others by Ludus and CP Lee) that came with a booklet, badge, stickers and a sweatshirt offer. The 6-track release has now been expanded to 10 with the additional 4 tracks coming from rare cassette magazines released at the time.

The idea of releasing it on tape only appears to have been a financial one by the label despite them being in vogue (the Walkman being relatively new and cassette sales actually being equal to, if not greater than vinyl at the time). In his notes, Graham Massey explains, "New Hormones didn't have enough money to press it up on vinyl and so it became a cassette-only release, which felt like a bit of a disappointment. I always felt it buried some of our best work, compounded by the fact that we actually left off some of the best tracks from the session. These tracks lived on a cassette I've carried around for forty years, the tape slowly getting dull and wearing thin. In recent years I've been digitising Colin Seddon's cassette collection of Biting Tongues material and rediscovered a first-generation recording of the sessions on TDK SA tape."

Prior to listening to this reissue of 'Live It' I'd only previously only heard a handful tracks released on various Factory compilations and only had a very rough idea of the history of the band from their formation to provide a soundtrack to the saxophonist Howard Walmsley's film 'Biting Tongues' through to the initially unreleased 'Recharge' album so it was fascinating listening to this as a something new in 2019 and also trying to imagine how it would have fit in during those heady days of post-punk and New Romantics.

My thoughts on the first couple of listens were that it was very angular and abstract, not very easy listening, and improvised. Through Graham's notes which accompany this release it would appear my final thought especially was wide of the mark, with several mentions of demos being recorded and sent down to London for vocalist Ken Hollings to refine his lyrics before travelling up to Manchester to record them.

So improvised may be the wrong word; with repeated listens there is clearly a depth and structure to the tracks despite it occasionally sounding like band members are going off and playing at tangents with vocals being improvised. As Ken explained in an interview in 2008 there is a difference to how the band would record which gives it a unique sound and one was that odds with how many things would have been produced at the time, "We'd record a whole side of an album in one session with no breaks between the tracks and do a mix afterwards – nothing was ever re-recorded – we'd even leave in any slips of the tongue or mispronounced words I might have struggled with in the session, any stray pieces of sound that the microphone picked up, or we'd simply record straight onto two-channel tape, recording through the studio desk with the producer mixing and adding effects while we were performing in the studio – we wouldn't know what it sounded like until the playback – and because it was two-channel you couldn't correct it: you'd have to do the whole thing again, which we pretty much refused to do'.

I can hear some influences on this release from Talking Heads' 1980 release 'Remain In Light' but, for those listening in 1981, tracks such as 'Libreville' would have easily complemented releases such as 'To Each...' by A Certain Ratio where tracks such as 'Back To The Start' mix a variety of instruments, not always conventional over driving rhythms to create a danceable beat, but very different to the polished chart music at the time which was dominated by the likes of Adam and The Ants, Madness and Soft Cell.

In 2019 each listen brings something new, there is so much going on across the 10 tracks there's a sense of opening Pandora's Box that it begs for repeated listening, and although it maybe a little challenging at, first patience is paid off.

It's not often that something that's nearly 40 years old can sound as contemporary, interesting and challenging as this release does.

Labels: album, Biting_Tongues, Iain_Key, review

Scream City 6 is the long-awaited film and video edition originally planned for 2012 but which never happened but is now slated for 2020.

The regular line-up of writers will return - Michael Eastwood, John Cooper, Andrew James, Ian McCartney, David Nolan plus debutants Iain Key, Brian Nicholson and Paul Pledger.

The publication schedule is somewhat tentative at this stage but, with a surprising amount of work already having been completed several years ago, it is not having to be started from scratch. More information when I have it but it should be published in the first half of 2020.

In a break from tradition, but rather aptly considering the subject material, this edition will be online-only.

See also: Scream City

Labels: Andrew_James, Brian_Nicholson, David_Nolan, Factory_Records, fanzines, Iain_Key, Ian_McCartney, Ikon, Michael_Eastwood, PKRP, Scream_City

I think it's safe to say that everyone who ever came into contact with Tony has at least one "Tony Wilson Story".

My Dad and I had season tickets in the South Stand at Old Trafford for many years about 6 rows behind where Tony and Oliver, or other friends would sit. Every game we'd watch the players come out, the toss of the coin, the teams line up for kick-off. Then, normally, within a couple of minutes of the match starting, Tony would arrive causing those on his row to stand, and those around hm to strain to see past if anything of interest was happening.

Whilst making his entrance Tony would apologise, shake hands and wave, occasionally I'd get a nod in my direction.

I think my Dad actually enjoyed having Tony sitting in our block as when he spoke about his religion - Manchester United, he'd always mention the late arrival and wished that "the bugger off Granada" would buy a watch and then with some irony comment "he's always on the TV, never late for that...".

I'd then often then hear other people pick up the thread with the line, "that Tony Wilson...".

Ironically, my first meeting with Tony involved him being late as well. My friend, Ian, and I were doing a project on Factory Records for college in early 1995 and we had invited to interview him. We arrived at the time agreed, were shown into his office and then waiting for 2 hours. He'd been at awards do in London the night before and had been delayed.

As with his late arrivals at Old Trafford though he was apologetic and very personable.

I transcribed the interview we did that day with the idea I could submit it to The Big Issue. I ran it past Tony and he (politely) dismissed it as boring, pedestrian and nothing new, which in fairness it was. It was the same story that anyone who knows the history of the label could relate.

Rather than tell me this over the phone or by letter though I was invited back into the Factory office and Tony explained his feelings and suggested I try again. To assist me he lent me a couple of books, one of interviews with politicians and one with musicians and artists and told me to read them and go back to him on the afternoon of Monday 22nd May.

I remember being nervous when I arrived, I'd been given a second chance and I really didn't want to blow it.

This interview was going to by an attempt to look beyond the caricature and break down some of the perceptions people held, hence the limited questions about Factory or Factory Too (as it was then).

I still vividly remember sitting on the metal staircase just outside the office in Little Peter Street on a warm spring afternoon with a dictaphone between us, being in the company of one of the most charismatic individuals you could ever hope to meet.

I rushed home, on a high to listen to the recording, and was mortified to realise the batteries were dying meaning that we sounded like chipmunks on helium. Not to be put off I soldiered on and transcribed the piece, sending it back to Tony for approval.

It was nearly a month before I heard anything back due to Tony being away. What impressed me was he'd not just read and approved what I'd sent, he'd been through it and made notes and changes "to make sense of his rambling".

So that's my Tony Wilson story, rather than dismiss the first piece of work I'd offered, which would have been the end of it, he gave me feedback, encouragement and and opportunity to produce the best piece of work I could which was printed in the Big Issue in August 1995.

Nearly 25 years later I still feel blessed and proud to have had that opportunity.

- Iain Key, Stretford, November 2019



With a career in television, journalism and music spanning over 20 years Anthony H. Wilson, Granada stalwart and co-founder of Factory Records, love him or hate him, is one of the most well known faces in the North West.

He's a Manchester United and Eric Cantona fan and probably as close to a professional Mancunian you'll find.

Monday 22nd May, the country is seeing its 2nd glimpse of summer and Manchester is not the dour, gloomy city some would have you believe. Anthony Wilson is in a brilliant mood, despite the team he's supported since a boy failing to hold onto either their League Championship or the F.A. Cup.

How disappointed were you?

I actually wasn't that disappointed the previous weekend because a) I think it's boring if we win everything all the time and b) for me it was important for Eric’s myth. He won the League Championship in 1991 in France, 1992 with those tosspots from Leeds and in '93 and '94 with United. So you see it adds to the myth, the one year he wasn't playing he didn't win the League.

Poetic?

Yes, poetic, I didn't feel too bad but I did perceive they'd win at Wembley. I wasn't depressed by the game, but I was depressed that Paul Ince who is fantastic had a shit game from beginning to end and as far as I'm concerned we didn't actually get beat in either game .

We certainly didn't get beat by West Ham and it wasn't as if we actually got beat by Everton. The result was down to Mr Southall and his do or die heroics, so yeah, I'm a bit pissed off.

So was the season a disaster?

No, having won the League twice, a wonderful achievement, and to have pushed Blackburn so far without deserving to was great. My season was complete when Crystal Palace got relegated.

Why?

Everyone in the country seems to hate United but the level of hate and sheer nastiness from the Crystal Palace supporters was sickening.

As you are such a well-known face in the North West and have such a strong personality, do you think it's fair to say people either love you or hate you?

I think it's something people don't talk about in the media, we're not national celebrities. The easiest way to explain is if you ask people who Mike Neville is, 90% won't have heard of him. Do you know who Mike Neville is?

No.

In one fairly significant area of Great Britain, the North East, he is bigger than the Pope. He's been the local TV presenter for years and years, and he's bigger than the Pope, George Michael and Elvis rolled into one.

That’s what happens with regional TV presenters to a greater or lesser degree. I've been at Granada for 20 years and it’s a strange phenomenon that people are aware of me because of my personality. In 1973 I did a feature for Granada with Emmylou Harris and I asked her to do a song she'd recently recorded by Gram Parsons. Anyway she couldn't but that night at the Manchester Free Trade Hall she said "I'm going to do a song now for a nice young man I met this afternoon called Tony Wilson", almost immediately 2000 people stood up and shouted 'WANKER!'. Par for the course really but I think it ruined her concentration. So yeah, it goes with the territory really.

Have you ever been misunderstood?

Liverpudlians have a problem with me. These people at the end of the M62 think I have a problem with Liverpool, I love Liverpool. To be honest I don't think they've ever forgotten or forgiven me for the Brugge rosette.

What was that?

Liverpool were playing Brugge in the Semi Final of the European Cup, this is years ago, and I was told that under no circumstances was I to mention that night’s game. So I didn't, I just wore this fucking great white Brugge rosette.

Do you ever get worried about over exposure?

No, I do 4, 13-week series a year for Granada and it's up to them when they show them. Do you think I'm on TV too much?

Sometimes.

I don't think I'm on enough. I'm a red light junkie. I work my bollocks off and I think I should be on more often.

With working at Granada and also running Factory Too, do you find it difficult to split your time between the two?

No, I don't really, at Granada I'm a hired hand, a journalist and I work for them. It can be difficult because I do a lot of travelling, but at Factory though I'm only~~ ;!lking head\A and I've got a great team of people working with me.

Do you get a greater satisfaction from one over the other?

No (pause). It's a strange thing but I still see journalism as a craft, like being a plumber or a carpenter. I served my apprenticeship to do this job.

Moving on to Factory and music, in a recent article in VOX you drew parallels between 'No One Here Gets Out Alive' and Deborah Curtis's book about Ian and Joy Division. Do you think there will be a Doors type 'Joy Division revival' ?

I think, yes, to a degree, what is happening in the media - there is a generation that has come of age who understand the importance of and significance of Joy Division. I really thought that Paul (Morley) would write the book. Yes, there will be a degree of a revival.

Do you think it's a good thing that the book has been written?

Oh yes, the more books the merrier, but I think the book is a little short really.

It seems to be more 'pre-fame' than when things were happening.

Well yes, Debbie is telling her story and understandably it’s from that period. When a band, any band, gets going it always happens that the wife is an outsider, a rock ‘n' roll casualty. I was thinking about this the other day, the scene of the band travelling up and down the M1 in a transit, which is something that most Manchester bands go through. The wives or girlfriends do feel shut out because that's a lads thing.

Have you read the book yet?

Bits - from what I have read it's like 'Tony Wilson treated me like shit. I don't intentionally treat anyone like shit but I can imagine what Debbie or anyone would feel. Until you get to playing Wembley Stadium with the baby changing and hospitality suite next door - that's what's going to happen.

Do you ever get pissed off talking about Joy Division?

No, never, not at all. I'm still very surprised that I was fortunate enough to work with Joy Division. It's exactly the same as walking down the corridor at Granada and this guy goes 'Hello Tony', what gets me is do I call him Ken or Bill because you don't expect these mythical creatures, like Ken Barlow, to talk to you. I feel the same way about Joy Division, a bit other-worldly but I feel very strongly that people should know about it, and listen to the wonderful music.

Pete Waterman recently paid tribute to you over the 'In The City' festival, and you are revered by the music press. Are you the most important person in the music industry outside London?

No, people see me for things like Factory; the Hacienda; and 'In The City' but yous ~ the Hacienda is really Rob Gretton, 'In The City' is run by my girlfriend and partner Yvette Livesey, and Factory over the years in general has been run by all the people who are a lot cleverer than me. as with all these things I'm the 'talking head', the middle class wanker who went to Oxbridge and so I end up being the face of all these things and people get confused, they think / I'm the face and therefore I must be the thing itself, which I’m not.

With Factory it was Rob (Gretton) who thought of the idea. I thought we were just going to get our bands signed to other labels. I get the credit for these things which is hard on everybody else. It's all down to my face and lazy journalists.



You are presently arranging a Computer Festival for 1998 to celebrate the creation of the 1st modern computer being developed in Manchester. Why?

It's absolutely essential. I have friends regularly coming across from America and they get the Wilson tour of Manchester. First I take them to the Hacienda, then at 2 o'clock in the morning they get driven past Foo Foo's to see 500 drunken post-menopausal women falling out of the club which they think is amazing.

The next stop is the Daily Express building and then I take them to this unlit park in the middle of the University, where no-one ever goes, and to this little alley and this little building with a plaque on the wall that says "the world’s 1st computer ran here in 1948"; and then I laughingly point out that Rutherford split the atom 2 doors down.

If this had been anywhere else in the world they'd have built a fucking theme park and have brass bands playing. I'm a Salford lad and I didn't know 'til I was 31 that Manchester won the race ahead of Teddington and Philadelphia.

So I think it's very nice, and important, for the people of Manchester to know that a) our city was the scene for both the 1st and 2nd industrial revolutions and b} for the rest of the world to know. So we should celebrate this.

Do you think Manchester underrates itself?

Yes, it's almost like this wonderful thing of not selling ourselves to anyone because we can't be bothered. It's typically Mancunian just not to tell anyone. In fact United’s success over the years has been so overt with the likes of Edwards, Law, Best, Charlton, Robson and Giggs that when we do get overt everyone gets upset.

Yes, we underrate ourselves, but the opportunity to celebrate the computer is too good to miss.

Is there anything you'd still like to achieve?

Yes, loads (laughs). It seems you have music, TV, computers, so If you really wanted to achieve anything or be involved in anything you can. People find it strange but I feel excited about every record I'm putting out as I did with 'Transmission' or whatever. I've lots of ambitions, loads. One thing is a movie that was being done with 2 very talented Geordies that would have been, and still will be, one of the best British movies ever made. Before I die I want to see it made.

Is there anything you're glad you've never been asked?

Very good question (long pause). Yes, there are probably one or two things in my life that I'm embarrassed about, but I'm not going to tell you.

I think you make mistakes and that's part of the process. One thing I hate being asked is "What would you have on your gravestone?".

What would you have on your gravestone?

"The perfect client" as Ben Kelly, the architect calls me. Generally speaking I'll answer anything - it's my day job. That's probably why people say I'm a bullshitter, this bizarre reputation I have which I find insane, I wish I was.

--

Next time Tony Wilson is on your TV, don't switch channels, he may not be the man you think he is.

--

IN CONVERSATION WITH ANTHONY H. WILSON

QUESTIONS, INTERVIEW AND TRANSCRIPTION - IAIN KEY

MAY/JUNE NINETEEN NINETY-FIVE

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Transcription and editing from original draft by John Cooper, 2019

Labels: Factory_Too, Iain_Key, interview, Manchester_United, Tony_Wilson

Recently opened at The Modernist Society's premises on Port Street, Manchester, Praxis XL is an understated exhibition to celebrate the 40th anniversary of Factory's first release.

Whilst Jon Savage and Mat Bancroft's recent display at Chelsea Space (coming to Manchester in 2020) focussed on the first 50 Fac numbers and the ephemera linked to the early days, Praxis XL showcases the whole legacy of Factory.



It's been curated and designed by Trevor Johnson (a stalwart of Factory's design team) and his brother Craig. On display are 40 of the label's most familiar and sometimes interesting items from the likes of Peter Saville, Central Station, 8vo, Ben Kelly as well as Trevor himself.

The Modernist Society is tucked away in the Northern Quarter, close to where the Buzzcocks' New Hormones office and the Roadhouse once stood, slightly off the beaten track, just a short trip up Newton Street from Piccadilly. The Society, until a few months ago had only held pop-up events and exhibitions before renting this unassuming building.



It's quite small and as you may imagine quite minimalist but perfectly formed, with the items on display allowed to breathe and not cramped.

My son and I went along on the morning of Saturday 9th November and we were surprised that we were the only 2 visitors upon arrival. However, this meant we had plenty of time to peruse and study the 40 items on display on the ground floor as well as read the accompanying notes.



For Factory fans and aficionados there are plenty of heart-warming familiar items on display, such as the original Factory Club poster, A Factory Sample, Unknown Pleasures, Blue Monday, etc.

Where this exhibition comes into its own, in my opinion at least, are the more unusual, and seldom seen items, the original rough layout for the Leigh Festival Poster, the 'Say No To London' T-Shirt design and of course Fac 191, the Haçienda Cat (a picture, not a real living cat).



Personally, the one item I would have liked to see included, but isn't is FAC 268, Northside's 'Shall We Take A Trip' - not only for people to realise that "the one with the apple on the cover" actually has a plum, but to remind people that Happy Mondays weren't the only successful band in the final years of the label.

After exhausting the items downstairs we moved upstairs to the smaller space on the first floor (greeted on the way up by a classic cheeky image of Rob Gretton with his tongue out) where there are selected photographic works of Kevin Cummins. Most will be familiar to fans but they really come to life when blown up from the A4 size people will most be familiar with. My personal favourite is the distance shot of the Factory Club alongside one of the infamous Hulme crescents.



Whilst we were watching part of the loop of Factory-related videos, the musical pioneer that is Graham Massey arrived with a small entourage who were out on a walking tour around key locations of the city, with Graham recollecting his personal experiences and involvement in Manchester's music heritage.



I can't guarantee that you will bump into a bona fide Manchester music legend if you visit Praxis XL but I can guarantee you'll be met with a warm welcome and an exhibition that will reinforce Factory's legacy of being a key cultural force which is recognised worldwide, and not just as a record label.

- Iain Key for Cerysmatic Factory

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Praxis XL runs from 11:00 Saturday 9 November 2019 11:00 to 17:00 Monday 23 December 23 2019.

The Modernist Society
58 Port Street
Manchester
M1 2EQ

More info: modernist-society.org

Labels: exhibition, Iain_Key, Manchester, praxis, review, The_Modernist

Maybe I'm flying in the face of conventional wisdom but the early years of Happy Mondays' lengthy career have always been my favourite. I'm not one of those who obsess about a band having a limited underground following and selling just a handful of records until they become mainstream and then accuse them of selling out.

I genuinely believe there is something really special about the run of releases by Little Hulton's finest from 1985 to 1989 (up to the 'Madchester Rave On' EP) where you hear a band and their lyricist experimenting (not just with pharmaceuticals) whilst growing in confidence which set them apart from other indie bands at the time and still keeps them sounding fresh today.

This remastered, limited, coloured vinyl box set release featuring the 12" releases in their colourful Central Station sleeves from 1985's debut 'Forty Five' EP through to 1987's call to arms '24 Hour Party People' highlights this best.

In Shaun Ryder's 'Wrote For Luck' book containing selected lyrics he practically dismisses the first two of these, saying "some of our early recordings shouldn't have made it on to vinyl really, 'Kuff Dam' and 'Tart Tart' were the first tracks we managed to record in the studio that I felt truly captured the sense and potential of the Mondays".

I can understand his view to a point but I would make the case for 'Forty Five' and 'Freaky Dancin'.

The Mike Pickering (post Quango Quango, pre M People) produced 'Forty Five EP', featuring 'Delightful', 'This Feeling' and 'Oasis' was released in late 1985.

When you look at some of the 'C86' bands and the scene created by the NME which they were actively promoting with their 22-track cassette 6 months later, any of the songs on this EP could quite easily have held its own against them and honestly would have probably fit better... it's perhaps fortunate however that this didn't happen though as it could have stalled the group's career before it really began.

What you do hear is a band, with emerging talented musicians, with elements of label mates James and Shaun borrowing lines for the first time with Oasis liberating lines from Les Reed and Gordon Mills, previously made famous by Tom Jones.

Personally I have a soft spot for the 2nd single 'Freaky Dancin' after hearing it at DeVille’s in Manchester. It would have been early in 1987 and one of the first nights out I'd had in the City Centre. I'd have only been 17 at the time and for some reason we though the infamous indie club with the bucking bronco in the connected 'Lazy Lil's' would be a good place to hang out...

At the time I'd been listening to John Peel sporadically really getting into a lot of the aforementioned C86 scene such as The Bodines, Mighty Lemon Drops, Wedding Present and only been to a couple of gigs; The Primitives and the Soup Dragons both at Manchester International on Anson Road, Longsight. I suspect anyone reading this will be familiar with the legacy of the club so I won't go into detail, although I will tell you I bought a copy of Dave Haslam's 'Debris' fanzine on my second visit which had a flexi-disc attached featuring Inspiral Carpets.

Anyway, the Bernard Sumner-produced track really impressed me as there was a shambolic confidence to it which I don't think ever copied. Whilst it had elements of the jangly guitar bands of that era, there is something fresh about it too. It isn't a full-on aural attack like some tunes of the era, it has space in it and it breathes.

What's more, it made people dance. (Well, shuffle a little quicker).

Worth noting, and mentioning it's great that the B-side 'The Egg (Mix)' which has a wonderful swagger about it is being reassessed due to this release and the accompanying promo video/clip to promote it

The 3rd single, 'Tart Tart' sees the band move up another notch with production by the legendary John Cale (I'm not sure why I'm saying that as I'm confident most people reading will know that already).

Whilst musically the style hadn't changed but the vocals appeared higher in the mix and clearer.

The first two verses are apparently about Martin Hannett, this then leads on to verses about Paul Ryder, before closing with the songs title character, an amphetamine dealer from Chorlton who had befriended Shaun and Bez but sadly passed away suddenly.

This was followed by the debut album, 'Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)' a month later.

By the time the 4th single, 'Twenty Hour Party People' came out in late 1987, indie dance had become a thing and was crossing over from the pages of the NME to Smash Hits, with MARRS' 'Pump Up The Volume' spending a couple of weeks at No 1 in the Official UK Top 40. The Mondays themselves though were still quite underground but it’s clear something was about to happen.

Despite being a live favourite, I don't think the song every really reached the public conscious and received the acclaim it deserved until the release of the film of the same name 15 years later.

It's interesting to note that despite the hedonistic lifestyle attributed to the band since the early days, the releases on this box were all before ecstasy had hit Manchester with the tracks fuelled by heroin, weed and speed...

Not quite days of innocence, but a great snapshot of the birth of an era.

- review by Iain Key for Cerysmatic Factory

See also: Central Station Design, Happy Mondays

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Happy Mondays - The Early EPs (London, 2019)

FAC 129 - Forty Five EP 12" - Green Vinyl
FAC 142 - Freak Dancin' 12" - Orange Vinyl
FAC 176 - Tart Tart 12" - Blue Vinyl
FAC 192 - Twenty Four Hour Party People 12" - Yellow Vinyl

Labels: Central_Station_Design, Happy_Mondays, Iain_Key, review

Where do you start?

It's big? 15" x 15" x 5" is a little oversized for the average shelf.

It's quite expensive? Yes, but with some justification.

It has limited appeal? Maybe, but those who are invested will love it.

It's breathtaking.

When this box was first announced in August, I had no hesitation in ordering it. Whilst costing more than I would normally spend (I thought the deluxe version of 'Movement' a little on the high side) the contents, the book, the music, the posters, the CD and DVD promised a treasure trove of riches most could only dream of owning, despite being copies.



It's worth noting on this point that where things are facsimiles, they are to the highest degree, for example, FAC-2 is in a proper heat sealed sleeve rather than a card or paper one. FAC 6 is in a replica black-on-black thermographic braille sleeve. Clearly no expense has been spared in the production of this box celebrating greatest of all record labels.

Opening the high quality box very carefully the first thing you see is the 12x12" 60-page paperback book. With new text by the curator, James Nice, and some rare full-size photographs mixed with quotes from various sources, this focuses on the content of the box and reprints an original 1979 article by the future filmmaker and screenwriter Mary Harron. My initial intention was to have a quick skim through the book before moving on to the contents of the box, but found myself being drawn in and studying it in detail for a long time.



Nestled between the book and the first couple of pieces of vinyl are the 3 posters and other paper-based artefacts (FAC 1, FAC 3, FAC 4, FAC 7 and FAC 8).

The posters I've not opened out yet and, to be honest, I'm a little scared of doing so as I don't want to damage them at all as I am contemplating having them framed. The stationery is interesting, especially the copy of the 'History of Factory' double-sided piece of A4 originally typed up by Tony Wilson. When it comes to Linder Sterling's Factory Egg Timer print it's something of a curio. Indeed it's probably something that will get passed over during the first examination by most people, but it's essential as not only is it one of the first 10 items with a Factory catalogue number, it's so off the wall you can't imagine any other record company encouraging the idea of such a thing… which in itself is what makes Factory so special.

Moving on to the vinyl, as mentioned these are facsimiles of the originals. A Factory Sample, All Night Party, Electricity, Unknown Pleasures and the previously unreleased 3-track 12" by Tiller Boys. Other than the Joy Division album (the 2015 master), all of the other tracks have freshly been remastered at Abbey Road this year from the original tapes.

I must confess, that when listening to 'A Factory Sample' I realised what a bad 'fan' I am. Other than the Joy Division and Cabaret Voltaire tracks I'd never actually heard the other tracks on the debut EP, never having owned it before. Whilst I was listening to the first disc I looked at what was in the charts on 24 December 1978 when it was released… Boney M were No 1 with 'Mary's Boy Child' in the singles and the 'Grease Soundtrack Album' was holding off all pretenders in the album chart. Those Martin Hannett-produced tracks sound light years away from what was in the mainstream at the time, as would the Cabs. Curiously the 3 tracks by John Dowie don't sound that dissimilar from something the likes of the Barron Knights may have performed, who had a single in the Top 5 at the time.



I'm not sure how the bonus Tiller Boys 12-inch would have been received if it had been released as originally planned. It's interesting to hear, but to my ears is basically a set of instrumental jams, and not something that would have necessarily been comparable to the opening salvo of ACR, OMD and Joy Division, although again, the fact that this was considered is typical of the label.

Hidden under the seven-inchers are the final treasures in the box, the first of which is the rarely seen and recently remastered 'No City Fun'. Accompanied by 3 Joy Division tracks, the film is almost exclusively filmed on the 42 bus route through Withington to Manchester City Centre. For me this was fascinating as it took me back to my youth, as it was about a journey I vaguely remember making as a 9-year-old complete with orange double-decker buses and Piccadilly Radio 261.

The final item contains 2 CDs worth of an interview / conversation with the aforementioned Mary Harron. This comprises ninety minutes of conversation between Mary, Tony, Rob Gretton and the members of Joy Division whilst eating out in Manchester. I had an idea this would be interesting, but I didn't realise HOW interesting. The conversation covers everything from the birth of punk and the Sex Pistols in Manchester to the formation of Joy Division and Factory. There’s all this and Tony Wilson really pushing a new Mexican restaurant (which probably would have been one of the first) in Manchester City Centre and explaining what a taco is to those listening.

Unlike myself and the Factory Sample, I imagine anyone reading this, or thinking of buying the box will have heard or own the contents of the box. They may also have seen much of the printed material in books or behind glass at exhibitions.

The box is a gorgeous artefact, lovingly curated and a truly a sum of its parts. For me personally, it's an audio/visual time capsule of a period which I missed out on by around 10 years and it offered me an opportunity to immerse myself in the late 1970s Manchester. Incidentally I am currently reading Gareth Ashton's brilliant 'Manchester: It Never Rains’ book which covers this period via eye witness accounts and adds additional context from outside of the Factory bubble.

Yes, this is expensive, but I'd say worth it as it's a quality item, which has been made to the highest possible specifications and overseen by those that have been keeping the Factory legacy alive.

Saying it's the perfect tribute for the 40th Anniversary of Factory, and to the memory of Messrs Curtis, Hannett, Gretton and Wilson, or a celebration of Saville and those who remain doesn't seem enough, but that's exactly what it is.

- Iain Key for Cerysmatic Factory

Labels: A_Certain_Ratio, Cabaret_Voltaire, Factory_Records, graphic_design, history, Iain_Key, James_Nice, John_Dowie, Joy_Division, Linder, OMD, Peter Saville, review, The_Durutti_Column, Use_Hearing_Protection

To celebrate the 40th Anniversary of Joy Division's 'Unknown Pleasures', Jodrell Bank released the pulsar sound wave [->] which was famously used by Peter Saville on the cover.

As his own homage to the album, Alan Burke, aka The Brooklyn Foundation, used the sound wave as a starting point before layering this with his own dark electronic tones and ghostly vocal clips of the late Ian Curtis

The CP1919 sound wave was perfect as a percussion element. Detuned and processed, then turned into a rhythm part alongside a recreation of the famous Roland TR808 kick drum and a digital recreation of the Linn LM1 drum machine (see also: Prince, The Human League).

Alan Burke explained that he wanted huge spaces in the piece so big reverbs were obviously required and used in abundance. Alongside hardware synthesisers by Roland and Arturia, he used Logic Pro X for a bass part and building elements of the tune. The whole thing was recorded in 1 day!

Alan has been a musician for over 36 years with varying degrees of success. Having enjoyed some notoriety in the 90s, he's worked with many musicians and vocalists supplying "his own brand of musical and technical nonsense".

More recently, Alan was asked to record 3 tracks as a tribute to the artists on the Mute record label. He chose 3 tracks by the seminal English electro due, Yazoo. He says he enjoyed the challenge and the tunes were "very well received, very well thankfully".

All of The Brooklyn Foundation's music is written and recorded in Alan's home studio in Salford, Greater Manchester, which I'm sure has no bearing on his love of Joy Division or New Order!

- Iain Key for Cerysmatic Factory. Many thanks Iain.

Labels: Iain_Key, Joy_Division, The_Brooklyn_Foundation, Unknown_Pleasures

It came as a shock to hear that Tim Walsh, lead guitarist of Manchester band Northside had passed away suddenly on the evening of 19 August 2019.

Most people will have heard of Tim due to his time during the early 90's as a member of Northside.

The band signed to Factory Records, released 3 successful singles and a Top 20 Album, 'Chicken Rhythms' and, for those of a certain age in the North West, provided the music for 'Granada Soccer Night'.

The band toured extensively across the UK, Europe, America and the Far East building a loyal fanbase who rapturously welcomed the band back to the live circuit in 2014.

I met Tim on a number of occasions and always found him to be friendly with a great sense of humour, very humble and almost unaware of the natural talent he had.

As well as being a accomplished guitarist he was also a highly skilled sound engineer, working for over 25 years for Mersey TV, initially on 'Brookside' before moving onto 'Hollyoaks'.

There have been many tributes over the last 24 hours on Social Media, from the band, musicians, and fans. This one from a member of the Hollyoaks cast says it all...

"So shocked and sad, we lost and amazing, gentle generous, cool great guy today. So many people will truly miss you."

RIP Tim, gone too soon.

- Iain Key, for Cerysmatic Factory

Labels: Iain_Key, Northside, obituary, Tim_Walsh

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