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

Scream City 2 was published in June 2006 a mere 4 months after the first issue. This production cycle proved to be unsustainable though as it was 2007 before the third one appeared.

There was a loose theme around Fac 151 The Festival of the Tenth Summer plus interviews with Andy McCluskey of OMD, Cath Carroll of Gay Animals and Miaow, Larry Cassidy of Section 25 and Tony & Chris from 4M (whose track 'The PSV' was a covermount CD which is now available to listen to via Soundcloud).

moist wrote an article about the long-lost original 'Haçienda Classics' compilation album that was scuppered due to Factory in-fighting and other shenanigans. Meanwhile the non-original 'Haçienda Classics' was hitting the shelves...

Andrew James contributed the seminal music vs style guide with his 'Giving Alvar Aalto to the Kids' and he charged a very reasonable fee.

The cover evolved from my fondness next of Observer books and the Photoshop/Illustrator mastery of Steven Hankinson. The design evolution will be covered in a future article.

With only a very small amount of editing to protect you from my editor error in the first place and malware on obsolete websites in the second, I present to you - Scream City 2.

Labels: 4M, Alvar_Aalto, Cath_Carroll, FAC51_The_Hacienda, Hacienda_Classics, OMD, Peter Saville, Scream_City, Section_25, Tenth_Summer

The Use Hearing Protection FAC 1-50/40 exhibition at Chelsea Space in London runs until 26 October 2019. As well as displaying, to all intents and purposes, the complete rundown of all the Fac numbers from 1 to 50, this exhibition presents the first opportunity to buy official Factory records merchandise (to any real degree) since the heyday of Factory Records itself. The Use Hearing Protection - Factory Records 1978-1979 box set itself is released on 11 October 2019 but the price tag on that rolls in at a hefty 180 GBP. Here we present a quick run-through of the slightly more affordable merchandising options, most of which are only available at the exhibition itself (as of the publication date of this article).

First up we have individual Factory Records postcards priced at £2.00 each. These come in Fac 47 anvil logo (black-on-white and white-on-black variants), Fact 45 'Always Now', Fact 10 'Unknown Pleasures' (white-on-black and black-on-white variants) and Fac 33 'Ceremony' (green sleeve).

Next (all at £5.00) we have the Factory badge set (5 button badges in various designs including worded 'Factory' and anvil), Factory pencil, Factory key ring and the Use Hearing Protection poster (which seems especially good value).

At £10.00 we have the Unknown Pleasures and Always Now tea towels. My mind starts slightly thinking of Joy Division Oven Gloves at this point but these do seem to be a constant in the photos of hauls made by people who I know who have visited the exhibition so someone in the marketing department deserves a big pat on the back for having the guts to see this one through to manufacturing and selling! Also at £10.00 there's Factory A6 paper pad and the Factory tape (eschewing the original silver-on-green of Fac 136 for on-message yellow-on-black). If A6 isn't big enough for you then there's an A5 paper pad at £15.00. Both pads seem a tad pricey but the grey design is attractive.

Finally there's a series of t-shirts in various designs starting at £15.00 for the kids' yellow Use Hearing Protection one (which looks great but, even though I've lost a lot of weight, won't fit me) and £25.00 for the adult t-shirts - Use Hearing Protection white, the amusing 'Printed on poor quality vinyl' stamp white t-shirt and the rather snazzy 'Unknown Pleasures' with text in the correct size in white-on-black.

Bonus items also on sale include Matt Robertson's Fac 461 'Factory Records - The Complete Graphic Album' book and the 40th anniversary vinyl edition of Fact 10 'Unknown Pleasures'.

Happy shopping!

Let's hope that after the exhibition finishes the range of items available to buy online is extended.





The full price list is as follows:

FACTORY RECORDS PRICES
Hearing Protection White T-shirt*	£25.00
Hearing Protection Yellow kids T-shirt*	£15.00
Unknown Pleasures Text Black T-shirt*	£25.00
Stamp White T-shirt*	£25.00
Factory Postcard	£2.00
Factory A5 Pad	£15.00
Factory A6 Pad	£10.00
UP Tea Towel	£10.00
Section 25 Tea Towel	£10.00
Badge Set	£5.00
Factory Tape	£10.00
Factory Pencil	£5.00
Factory Pin Badge	£5.00
Factory Key Ring	£5.00
Factory Records Book	£25.00
Unknown Pleasures Vinyl	£20.00
UHP Poster	£5.00

Labels: exhibition, graphic_design, Joy_Division, merchandise, Peter Saville, Section_25, Use_Hearing_Protection

To coincide with the Use Hearing Protection: FAC 1 – 50 / 40 exhibition on at Chelsea Space until 26 October 2019, co-founder and art director of Factory Records, Peter Saville, will be in conversation with exhibition co-curator Jon Savage at the Clore Gallery in Tate Britain on 22 October 2019 from 19:00 until 21:00.

Following the talk, there will be a very special screening of rare footage of Joy Division playing live at the Apollo Theatre, Manchester filmed by Richard Boon during the Buzzcocks' 1979 tour. Some of the footage can be seen on the Fact 27 'Here Are The Young Men' video which, of course, is on display in the exhibition.

The event is free but tickets must be booked - see the Tate website [->] for more info.

Labels: Factory_Records, Jon_Savage, Joy_Division, Peter Saville, Richard_Boon, screening, talk, Tate_Britain

My favourite item in the Use Hearing Protection FAC 1-50/40 exhibition is the Fac 27 'Sex Machine alternative sleeve' artwork. It has always intrigued me as to what this actually was (and, indeed, whether or not it actually existed as opposed to just being a concept). During the 'Back in the Cellar' archive project (2009-2019) I uncovered a sketched out drawing which to my mind could have been the "alternative sleeve" - see above.

However, it always seemed a bit too jovial or jocular for a Crawling Chaos sleeve. Now that the true source has been identified (Chapter 13, page 59 of 'La Baronne Steel' by Jim) it seems reasonable to assume that the sketch (probably by AHW) was done as a rather loose interpretation before the final, less-pornographic, sleeve for Fac 17 'Sex Machine' was decided upon (see last image).



Exhibition caption

La Baronne Steel
By Jim

The alternate cover concept for Crawling Chaos's Sex Machine was a Peter Saville design using an image from the book La Baronne Steel (The Baroness Steel) by illustrator Jim. First published by les humanoides asscolés in Belgium in 1976 the book features numerous illustrations by Jim throughout. The image Saville had marked as the potential cover image was on page 59 highlighting Chapter 13.

Note: there is no mention of Rob Gretton who is generally credited on this Fac number in this caption - more information needed.

Fac 17 'Sex Machine' final sleeve

Labels: Crawling_Chaos, exhibition, graphic_design, history, Peter Saville, Rob_Gretton, Use_Hearing_Protection

The Use Hearing Protection FAC 1-50/40 exhibition (aka "we are bored in the city") is on at Chelsea Space and the Chelsea College of Art and Design until 26 October 2019. Curators Mat Bancroft and Jon Savage have assembled historical artefacts in the form of records, posters, archive papers, documents and much more in the first exhibition of its kind that I can remember as part of celebrations of the 40th anniversary of Factory Records (41st shurely? Ed.).

The exhibition deals with the first fifty Fac numbers in approximately numerical order starting with Fac 1 at the end of the corridor as you enter the main space and after some scene-setting posters and publications such as the Joy Division 'Walthamstow' ("Shimmy") and Situationist texts like 'Leaving the 20th Century'. Explanatory texts and captions are kept to minimum but there is a foldout A4 black-and-white information sheet or, for a modest £5, the "we are bored in the city" A5 black-and-white information booklet (by Jon Savage) which contains small reproductions of some of the artefacts on display.

The FAC 1-50 collection is impressive when seen together as a body of work and is all the more so when you consider the very short span of time it took for it to be developed (1978-1981). Given the rarity and value of some of the individual items it's pleasing to see virtually everything that could be displayed is present and correct. The only exceptions are the mega-rare black-on-silver variant of the Fact 10+4 poster and the Fac 46 'Video Circus' poster. The latter number is represented only by the silver A Certain Ratio sticker for the NYC leg of the Video Circus. Interestingly the copy on display featured blue ink on a silver sticker whereas my personal copy (kindly given to me by Donald Johnson of ACR) has red ink. The former is very rare indeed and it was not possible to locate a copy (where are you Steven?).



The supporting material is mainly presented in flatbed display cases with clear vitrine protective lids. This comes from a variety of sources but most notably the AHW Collection at the Science and Industry Museum in Manchester. This aspect was especially pleasing for me on a personal level since I have been involved with the documenting and catalogue of that collection since 2009 when I was invited to help the Museum by Oli Wilson. All along it's been at the back of my mind that wouldn't it be great to see this material in an exhibition. That dream has finally come to life and there is the tantalising prospect of even more material being exhibited when the Use Hearing Protection exhibition transfers to the Science and Industry Museum next year. The theme will still be FAC 1-50, but, due to increased capacity when the new exhibition space at the Museum is completed, there will be scope to include more material. I understand that there are also proposals to include a video screening room and perhaps even hold more associated events.

In fact, if there was one criticism of the current exhibition it is just that the limited exhibition space just isn't big enough to allow justice to be done to everything. With the exceptions of Fact 10 which has a whole panel devoted to it, Fac 18 which has 7"/12" variants and Fac 41 Fairy Tales (green and purple colourways), pretty much only one side of one version of one format is viewable. It would be nice to see both sides of the sleeves of all releases in the way that materials were exhibited at The Peter Saville Show in 2003. There are numerous opportunities to include additional material, such as all the variants of the Fac 18 'Girls Don't Count' with all the three different girlfriends, the Fact 14 'The Return of the Durutti Column' variants with and without stencilling, Fac 19 'It's Hard To Be an Egg' with the feather, Fac 39 'Watching the Hydroplanes' on clear and transparent vinyl, different formats of various albums and the occasional promotional poster.

Here's looking forward to next year.

--

More info at usehearingprotection.com/exhibition [->]

Labels: exhibition, Factory_Records, history, Jon_Savage, Peter Saville, Use_Hearing_Protection

Originally released in May 1979 as Fac 6 on Factory Records, Electricity was OMD's debut single and featured production by Martin Hannett [->]. To celebrate the single's 40th anniversary, this new limited edition version will be pressed on ultra-clear vinyl and contains the original Hannett version of Electricity, as well as a brand new remix of Almost by Vince Clarke (Depeche Mode, Yazoo, Erasure). Both tracks have been remastered by Miles Showell at Abbey Road and the sleeve is an adaptation of the original black-on-black Peter Saville design. We hope that there were less problems at the printing works this time round.

The reissue is in addition to the other reproduction of Fac 6 contained in the Use Hearing Protection - Factory Records 1978-1979 box set.

Tracklisting

Electricity (Factory Records Version)
Almost (Vince Clarke Remix)

--

Buy it Now [->]

Labels: Martin_Hannett, OMD, Peter Saville, single, Vince_Clarke

Use Hearing Protection: Factory Records 1978-1979 contains facsimile editions of the first 10 numbered Factory items: 4 vinyl records, 3 posters, a short film, Factory stationery and an egg-timer design. The early history of the label is traced in a 60-page book with text by James Nice, photos by Kevin Cummins and archival interviews with Tony Wilson, Rob Gretton, Joy Division and more. Oli and Isobel Wilson (Tony's children) are executive producers.

Contents:

Fac 1 poster
Fac 2 A Factory Sample - 2 x 7" single
Fac 3 poster
Fac 4 poster
Fac 5 All Night Party - A Certain Ratio
Fac 6 Electricity - OMD
Fac 7 1st Generation Stationery
Fac 8 Factory Egg-Timer conceptual design by Linder
Fac 9 The Factory Flick including No City Fun
Fact 10 Unknown Pleasures - Joy Division

Bonus items:

A white label 12" single by The Tiller Boys (originally intended as Fac 3 but ultimately not released)
A lengthy audio interview with Joy Division, Tony Wilson and Rob Gretton, conducted in August 1979 by journalist Mary Harron, never before heard and now restored across two CDs
A newly restored, and seldom seen since 1979, evocative 8mm short No City Fun (Fac 9), featuring music by Joy Division.

The Use Hearing Protection box is strictly limited to 4000 units worldwide, is priced at 180.00 GBP and will be released on 11 October 2019.

See rhino.co.uk [->] for information on how to order.

Labels: A_Certain_Ratio, Cabaret_Voltaire, Factory40, John_Dowie, Joy_Division, Linder, Malcolm_Whitehead, OMD, Peter Saville, The_Durutti_Column

To commemorate the early works and ongoing influence of Factory Records there will be an exhibition: Use Hearing Protection FAC 1-50 / 40 [->], taking place at Chelsea Space in London, SW1.

The exhibition will tell the story of its formative years from 1978 to 1982 through the first 50 numbered Factory artefacts, including works by Peter Saville, Joy Division, John Dowie, Cabaret Voltaire, New Order, A Certain Ratio, OMD, Linder Sterling, The Distractions, The Durutti Column, Section 25, The Names, Minny Pops, Kevin Hewick and many more.

Of course, this is not the first time the First 50 concept has arisen in Factory folklore. FAC 301 was assigned to Tim Chambers's First 50 [->] project. A while ago, Tim told Cerysmatic that Tony Wilson wrote him a cheque for £75 to do a Filofax-type Fac historical document but it never happened and FAC 301 became the Think About The Future [->] international congress.

Use Hearing Protection FAC 1-50 / 40 is supported by rare and unseen materials from personal archives, as well as non-Factory period items of influence. These combine to describe a period from which Factory Records was proposed and realised, underpinning its revolutionary cultural impact on the music, art, design and ideas of our times.

Curated by Jon Savage and Mat Bancroft, the exhibition is featured in this year's London Design Festival (although it continues for longer than the Festival) and will be free entry, running from 13 September until Friday 25 October.

As if a whole exhibition devoted to the early history of Factory Records was not enough, an expanded exhibition, with the Use Hearing Protection, FAC 1-50 objects at its core is being developed by the Science and Industry Museum [->] in Manchester. This exhibition will build on the Chelsea Space display and is due to open July 2020, telling the story of Joy Division and the founding of Factory Records in the city. More on that as we have it...

p.s. if you own the Fact 10+4 posters [->] (mega-rare Saville-designed promo posters for Unknown Pleasures plus 4 other then upcoming Factory releases) and are willing to loan them for this exhibition please do get in touch.

Labels: A_Certain_Ratio, exhibition, Factory_Records, Factory40, graphic_design, Joy_Division, Linder, London, Minny_Pops, New_Order, OMD, Peter Saville, Section_25, The_Distractions, The_Durutti_Column, The_Names

HOW DO WE KILL SAVILLE?

MAKE HIM HEAD DOORMAN AT HACIENDA

A long and painful death

or

Blow up his BMW

N.B. ALBERT FISH HA HA HA

--

Mysterious and presumably jocular flipchart sheet from the AHW archives bearing the rather alarming results of an unknown Factoryesque focus group (did things really get THAT bad!?), the subject of which seems to have been Peter Saville.

Labels: back_in_the_cellar, FAC51_The_Hacienda, Peter Saville

COVER VERSIONS
APRIL 30 - MAY 21 1981
Tues-Fri 10.30-5.00 Saturday 10.30-4.00
BLUECOAT GALLERY
SCHOOL LANE, LIVERPOOL L1 3BX 051 709 5689

Transcript of exhibition introduction

COVER VERSIONS

an exhibition of recent record covers

The idea which emerged in the 1960's that a record, its packaging and artwork might have its own visual identity, was distorted or lost in the early 1970's, and, like much of the music of that decade, sleeve design tended towards the slick and empty. The obvious experimentation, seen for example in The Beatles' 'Sergeant Pepper' or the 'White Album', disappeared in a mire of air brush and weak surrealism.

However, the most original graphics that accompanied the profusion of new wave records released since 1977, were imaginative, colourful and energetic, reflecting to some extent the vitality of the new music. During this period, countless groups and individuals committed their songs to vinyl, some adopting a do-it-yourself approach by financing, recording, packaging and distributing their product themselves, while some secured deals with the major record companies, and others found a home amongst the emerging small independent record labels, such as Stiff, who worked creatively with their artists, emerging with a world of witty parody, slogans and good design.

The picture sleeve, customary packaging for e.p.'s by '60's pop groups, made a reappearance, and indeed became almost obligatory for any single release. The designer's job therefore became increasingly more significant, especially when there were additional requirements such as separate covers for 7" and 12" releases, artwork for advertisements, t-shirts, badges, stickers, posters, and assorted promotional ephemera. For this exhibition, we have made a selection from record covers produced over the past four years, concentrating on those designers whose work we consider to be consistently innovative, visually interesting and witty. Included are individual designers Malcolm Garrett (designs for, among others, the Buzzcocks and Magazine) and Peter Saville (Factory and Dindisc); record labels Stiff, Radar and F-Beat, and Bob Last's Edinburgh-based Fast Product/Pop-Aural; Al McDowell's Rocking Russian, with the extension of its activities into related areas such as t-shirts and magazines. This diversification into other areas is illustrated elsewhere in the exhibition, e.g. Fast's 'Quality of Life' packages, Stiff's promotional material.

Chris Kennedy, Bryan Biggs
exhibition organisers

We would like to thank the following for their help in arranging this exhibition: Malcolm Garrett, Chris Morton, Peter Saville, Al McDowell, Bob Last, Frances Lupton, Jez Miller, Peter Richmond, Jeremy Stickings, Penny Lane Records, A&M, Albion, Arista, Blueprint, Charisma, Decca, EMI, F-Beat, Groovy, MCA, New Hormones, Pre, Radar, RSO, Trojan, Virgin, WEA.

--

Exhibition booklet images follow. Many thanks to Brian Nicholson.

Note: this is the exhibition to which Tony Wilson is referring in his essay 'Saville - the partner's story' which we published in May 2017.

Labels: Bluecoat, exhibition, graphic_design, Malcolm_Garrett, Peter Saville

True Faith explores the ongoing significance and legacy of New Order and Joy Division through the wealth of visual art their music has inspired and runs at Manchester Art Gallery from Friday 30 June to Sunday 3 September 2017 in conjunction with the Manchester International Festival.

"Curated by Matthew Higgs, Director of White Columns, New York (see FAC 171) and author and film-maker Jon Savage with archivist Johan Kugelberg, True Faith is centred on four decades' worth of extraordinary contemporary works from artists including Julian Schnabel, Jeremy Deller, Liam Gillick, Mark Leckey, Glenn Brown and Slater Bradley, all directly inspired by the two groups.

"Also featuring Peter Saville's seminal cover designs, plus performance films, music videos, fashion and posters from John Baldessari, Barbara Kruger, Lawrence Weiner, Jonathan Demme, Robert Longo, Raf Simons and Kathryn Bigelow, True Faith provides a unique perspective on these two most iconic and influential Manchester bands. The exhibition will also present a selection of rarely seen personal materials, including original hand written lyrics."

Labels: Barbara_Kruger, exhibition, Jeremy_Deller, Jon_Savage, Joy_Division, Lawrence_Weiner, MIF2017, New_Order, Peter Saville, Robert_Longo

The Factory First International Congress was an event held in Manchester at The Connaught Building in George Street, Manchester, England on 10 September 1983. Whether it actually started at 6.15pm as per the official stationery bearing the official designation of Fac 81 is not known but some interesting information on the design of said stationery by Factory in-house designer Peter Saville has come to light courtesy of the AHW archives at MSI Manchester.

A found image of our favourite two Chinamen shaking hands is stapled to a sheet of paper bearing detailed notes of how the paper should be laid out including the precise wording and positioning of the various elements. Ardent followers of Cerysmatic Factory over the years will recall that a variant of this very image stood on our masthead for many a year.



The exact source of the image remains unknown too because it is a torn out corner. Perhaps it is from a Chinese magazine sourced in the very same Chinatown in which George Street sits. Would any Chinese-speaking FAC fans like to translate?

View the original source material.

See also: Stationery | Events

Labels: back_in_the_cellar, graphic_design, Peter Saville, Tony_Wilson

A special blue plaque to celebrate BBC Music Day was unveiled by original partner and in-house designer Peter Saville at 86 Palatine Road, the old Factory Records HQ on Thursday 15 June. Bearing the inscription "Factory Records Founded Here (1978-1992) it is affixed just below a first floor window.

There were plenty of Factory Records folk present to honour the occasion including Shaun Ryder, Bez, Mark Day and Rowetta from Happy Mondays, Bruce Mitchell (the Gonzo Drum Master himself from The Durutti Column), Jez Kerr out of ACR, Hacienda designer Ben Kelly, DJ Graeme Park and the Mayor of Manchester Andy Burnham was there too plus media coverage from BBC Manchester and North-West.

See the more pictures courtesy of Lawrence Cassidy at 86 Palatine Road Blue Plaque.

Listen to Alison Butterworth and Phil Trow talk about Factory Records and the blue plaque preparations on BBC iPlayer (geographical restrictions may apply).

Labels: Ben_Kelly, Bruce_Mitchell, Happy_Mondays, history, Jez_Kerr, Manchester, Peter Saville, Rowetta

On Thursday 15 June 2017, each BBC local radio station in England will erect a blue plaque on a building to commemorate a local music legend to mark BBC Music Day. In Manchester, the plaque will be on Alan Erasmus's property at 86 Palatine Road, the first home of Factory Records.


Peter Saville will perform the unveiling ceremony and plenty of Factory Records alumni are expected to attend.

Labels: Alan_Erasmus, Factory_Records, history, Peter Saville

Here we have a typewritten invoice (on beautiful letterhead) dated 14 July 1983 from Peter Saville Associates to Factory Records requesting payment for graphic design services rendered on several key items for New Order (including FAC 73 Blue Monday and FACT 75 Power, Corruption and Lies) and FAC 51 The Haçienda (including the original logotype and stationery) and which totals just over £8K. Adjusted for inflation that represents approximately £25K which is quite a tidy sum. There is no evidence (yet) of when the bill was paid.



The bill, in summary, is as follows:

---

Current Account with Factory Records, BeMusic, FCL and The Hacienda.

New Order 'Temptation' 7" & 12" FAC 63 £528.21
Hacienda Logotype Membership card/leaflet FAC 51 £535.38
New Order EP for Canada/USA FEP 313 £1304.54
New Order 'Blue Monday' 12" FAC 73 £538.20
New Order 'PCL' album FACT 75 £3557.62
New Order 'PCL' cassette liner for Italy FACT 75 £110.38
New Order 'Confusion' 7" & 12" FAC 93 £556.09
New Order Video Liner FACT 77 £478.47
Hacienda Anniversary Poster/ad for NME FAC 51 £57.50
Hacienda Stationery System FAC 51 £556.11

VAT payment £604.20

TOTAL £8826.70

Payment received Dec.1982 £750.00

Balance now due to Peter Saville Associates £8076.70

---

You may wish to view the full invoice is presented in monospaced type on Peter Saville Associates stationery.

Labels: back_in_the_cellar, graphic_design, history, New_Order, Peter Saville

Here we have a transcript of the story of Peter Saville (with asides on Martyn Atkins and Stephen Horsfall) as written by Tony Wilson around 1981. Constructivism - check; Praxis - check; hip bourgeois hedonism - check. We'll assume the reference to a FAC 48 coffee table was a gentle jape.

---

SAVILLE: The Partner's Story

The first time I met Saville was February or March '78 . It was the Apollo Theatre, Manchester, a Patti Smith gig - after she'd gone off - artistically. He said he was at the Poly and was interested in doing graphics work that tied in to music. I took his phone number. Nice suit, nice girlifriend. Bit smooth - sharp eyes tho! The Factory club started in May '78. we needed a poster. His track record at that point; one smart brochure for AMEK¹ the Salford PA people, and a nice piece of Neon for the Smirks. AMEK had just brought out a new desk. He had failed to complete the second brochure. Perhaps it was because he was doing our poster (FAC 1; yellow and black industrial constructivist/mid-fifties Jan Tschichold). Perhaps not, perhaps it was the difficult birth. That comes later.



After the club: (there were two more posters FAC 3 and 4 (white seriffed type on black - same tune as John Foxx). For some strange reason these posters were always late and usually went up after the gig. Lateness/brute inefficiency became our house style. It's a process called praxis; do something and then find out why you did it. The inefficiency/dedication dialectic was like that and Peter played his part.



We then needed to put a record out, Autumn '78. No-one else would. Praxis. It was FAC 2, a company concept (hand made imitation of Thailand double plastic backed tissue paper for double 7" EP. Saville used silver and black definitive Hi-tech. (c.f. Record Mirror quote on video Chapter 7). Why the lovely sleeves - then and now. Well if you're putting out the best music, it seemed sort of obvious to put out the best sleeves - not just in Indieland. Anywhere. As one of those praxis things it's not clear whether it was for our fun or THEIR (that presence in record shops) value for money. It can in fact be seen, Saville artwork in particular, as a kind of hip bourgeois hedonism. Often is in the comics. Tough. The coffee table is black and red (FAC 48) and will be on mail order (approx £75.00 by Autumn).



For Factory Mr Saville then did his black on black OMITD sleeve (FAC 6). He offered his thermographic conceit to A Certain Ratio first in the coffee bar of the Royal Exchange, March 1979 but the brats turned him down settling for their dead Lenny Bruce and my four Anthony Perkins in a Saville-Warhol piss-take.



A rags to riches story; or rather a mid-Cheshire Bowie to an echt Anthony Price. There followed the odd hand-made sleeve (FAC 18 - five months for the right tracing paper) X-O-Dus (FAC 11) took Denis Bovell seven months to mix, and Peter Saville nine months to design. You have to feel a slight twinge of pity for the poor musicians in all this but they are now warned at the outset.



The Joy Division stuff was usually pretty prompt. Mostly because the one of Saville's partners who managed Joy Division had a bigger stick than the others. Though Transmission 12" - FAC 13 - took 14 months. By this time our hero has gone to Din Disc; apparently it's nearer to the Zanzibar than Factory. Now Factory and Dindins and even, in the extremest of bad taste (not the sleeve, the music) Roxy Music, and lots more late artwork. House style. There was the OMITD first album in the perforated metal outer, the only one we didn't like to see going to a nasty Major - or Minor Major. Incidentally, the first mono set was Barney's idea.



A small mention for Factory's other designers. Mr Atkins whose upcoming Tunnelvision single sleeve (FAC 39) is very fine but who now seems to have deserted to the Liverpool camp which is if anything even more depressing than E.G. retreads. And back in Manchester Steven Horsfall newly elected to the RCA and bitter at the way Saville neutralised his label for the ESG single (FAC 34). He's done FACT 14/Durutti Column/FAC 17 embossed & FACT 24 the Factory Quartet². Sadly this sleeve was lambasted in January's Peter Saville backlash in the comics. Peter ducks as well as he weaves. The sleeve for ACR's "To Each" was designed by the group with the help of T.G. Sleazy³; it was an anti-arti-Peter effort. "Typically arty farty Factory/Saville sleeve" said the comics. And he thought it was revolting (FACT 35).



And to close I won't indulge in aesthetic adulation of a friend. Sickly. Just like to say, I do think he's the best typographer in town, any town, Factory's company address will not be changing on the new notepaper as Palatine looks too good in the new 30's Italian typeface to change it - apparently. The birth... well when this show⁴ opened in Liverpool a month ago, I happened to be in Liverpool working for the people I work for so I went along; thought I might be able to find out if he'd done the rough for the Section 25 album. Great opening; cheap wine, expensive accents, and our lad's display. A blank wall. Dada; no just late - not there. No sleeves - no Peter. When the exhibition closed, on a blank Factory wall, and still no Peter, I noticed that Peter's mum, standing in the doorway ready to leave was taking it very stoically. Though it seemed that she like me had been here before. Waiting for Peter. I asked her if his peculiar habit ever troubled her or drove her to physical violence. She smiled and said no, and said she was just glad he was alive. This seemed a bit over the top but she explained that he had been a Caesarian and had his blood changed twice. I'm a caesarian too, but I didn't get any of that. If I had I would have written this next week. "Likely to do well - but often late for school", it should also be pointed out that Peter is a catholic. There is a mafia but it's not the one you think it is.

But is it art?

---

Notes:

¹ - More on AMEK at langley-design.com

² - there is no other known evidence of Stephen Horsfall having worked on FAC 17 or FACT 24 but I would be interested to know if this did indeed happen.

³ - cover painting by Ann Quigley

⁴ - the Cover Versions exhibition at the Bluecoat, Liverpool in 1981, see thebluecoat.org.uk

Labels: A_Certain_Ratio, back_in_the_cellar, Factory_Records, graphic_design, history, Martyn_Atkins, OMD, Peter Saville, Section_25, Stephen_Horsfall, The_Durutti_Column, Tunnelvision, X-O-Dus

Factory was highly noted for the quality of its graphic design which featured on everything from badges to posters to the records themselves. Once you got past the outer sleeve of a record it didn't stop there though as these 12" and LP labels prove. Central Station's loud and brash design for Happy Mondays is in complete contrast with the Factory Classical branding developed by Peter Saville, Brett Wickens and others.



Central Station showed another side to their talents with the bright and bold FAC 228 for Karl Denver.



Meanwhile, the FAC 257 Getting Away With It label by Peter Saville Associates for Electronic retains only the typography from the sleeve artwork in a minimalist approach.

Labels: Central_Station_Design, Electronic, Factory_Classical, graphic_design, Happy_Mondays, Karl_Denver, Peter Saville, Rolf_Hind

A box set of 24 full colour A6 size postcard images of local artist Nick Hardy's stunning 1:50 scale reconstruction model of FAC 51 The Hacienda.

The set features quotes from the people who owned it, designed it, ran it, DJ'd in it, worked in it and went to it as customers over the 15 years the club was open.

It's available to buy now from musicglue.com priced 20.00 GBP.

Meanwhile, Nick's original model will be on display at Manchester Central Library until May 2015.

Labels: architecture, Ben_Kelly, design, FAC51_The_Hacienda, Peter Saville, postcards, Tim_Sinclair

With thanks to Andrew H for imagery.

Labels: New_Order, Peter Saville, T-Shirt

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