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

--

Transcription and editing from original draft by John Cooper, 2019

Labels: Factory_Too, Iain_Key, interview, Manchester_United, Tony_Wilson

Jon Savage and Mat Bancroft visit the archive of Tony Wilson at the Science and Industry Museum, Manchester and, in Episode 1 of the Artefacts & Discussion series, talk flyers (including Stepping Out), press releases, shareholders' analyses and sandpaper.

See also: Back in the Cellar

Labels: back_in_the_cellar, graphic_design, Jon_Savage, Mat_Bancroft, Tony_Wilson

Scream City 4 was almost totally themed around FAC-2 A Factory Sample and featured all four artists - Joy Division, The Durutti Column, Cabaret Voltaire, John Dowie - in the form of interviews with Peter Hook, Vini Reilly, Colin Sharp, Stephen Mallinder and, er, John by Scream City regulars Ian McCartney and Michael Eastwood with a special guest appearance by Phil Kooky Cleaver. Matthew Robertson discussed the design philosophy behind the record whilst Andrew James took on the wider concept of the record label sampler throughout the history of popular music.

A free limited edition CD featured the track 'Cup a Soup Romance' from the then forthcoming album by The Durutti Column, 'Sunlight to Blue... Blue to Blackness'.

The design theme was decidedly and deliberately old school, taking the fanzine concept back to its origins. Fixed-width fonts and black and white vibe. Cover star Vini Reilly was half-toned by Steven Hankinson from a portrait photo by Rachel McFarlane.

The back cover star was the silver mascot of Tony Wilson's old Jag - true story. The figurine was broken and the owner sold it to Scream City's Ian McCartney and donated the proceeds to The Christie, where AHW had been treated during his illness.

Labels: Andrew_James, Cabaret_Voltaire, David_Nolan, Ian_McCartney, John_Dowie, Joy_Division, Michael_Eastwood, Rachel_McFarlane, Scream_City, The_Durutti_Column, Tony_Wilson

"A Play About Joy Division and Manchester"... I'd imagine that most if not all the audience in attendance tonight are well versed in the short history of the band and and are familiar with the music released between 1978 and 1980. It would be easy to suggest that the writer and producers are pushing against an open door... but in effect I think the opposite is actually true.

There is so much love for the legacy of the band and the characters portrayed in this performance celebrating 40 Years of Unknown Pleasures that the stakes are actually higher along with people's expectations.

This was the 2nd performance of the 3 night run in Manchester before moving to Sheffield and London, and for the 2nd night the performance finished with a standing ovation... and boy was it deserved.

Every actor involved nailed their part.

Alan Donohoe effortlessly portrays Tony Wilson, coming across as the "TV Tony Wilson" I grew up with on Granada TV rather than the slightly larger than life caricatures in the two films produced about Factory and Joy Division.

Joseph Walsh delivers a complex and tortured Ian Curtis which also highlights the artistic and fragility of the man. His chaos and confusion portrayed in the Derby Hall scene especially is heart-breaking.

Leah Gray is wonderful as Deborah Curtis, moving from doting girlfriend to angry jilted wife and mother. Although not on stage quite as much as the male characters, Leah delivers a couple of the of the most powerful scenes in the whole play, the first being just 2 words, one line, a question... "Who's Annik?" which cuts through the silence in the auditorium, people almost holding their breath. The second, comes just before the tragic conclusion as Debbie and Ian trade lines from 'Love Will Tear Us Apart' giving the audience a sense of the genuine pain and frustration being felt in Macclesfield in 1980 by the young couple

Harry McLafferty, Bill Bradshaw and Matthew Melbourne play Bernard, Hooky and Stephen to great effect, all having the character traits you'd expect if you've seen the numerous interviews and portrayals of the would be New Order. The trio are often found bouncing off each other and have some of the best lines and put downs but also get their own 'deep moments' especially when coming to terms with the issues which had been faced by their singer.

Directors Sean Mason and Giles D. Bastow also appear, the latter as Rob Gretton who channels the late manager of the band as well as Paddy Constantine in 'Control' and as recognisable as the man himself from the footage and interviews that can be found in the likes of 'New Order Story'. The former actually takes on 11 roles throughout the play, many as comic relief and the butt of jokes. However, he's a superb as producer Martin Hannett (clearly taking joy in the immortal line "play faster... but slower.")

Writer Brian Gorman appears in cameo roles via filmed inserts as Roman General Julius Agricola and also Dr John Dee helping Alan's Tony Wilson to provide the history of our wonderful Northern City.

But it's not just the acting… as you may expect, the sound and lighting play a massive part and are also spot on. With the stage set being quite sparse, other than the band's equipment and a few crates and chairs and the occasional microphone, The deft audio and visuals really put focus on the actors and allows them to really excel in their roles and take the audience on a journey through the highs and lows to the inevitable end.

Whilst not taking anything away from '24 Hour Party People' or 'Control', 'New Dawn Fades' feels like 'THE' authentic telling of the Joy Division story. This maybe because it's delivered "live and direct" rather than on a screen. There are scenes that uncomfortably come to life, such as those when Ian first has a fit, or as mentioned previously Debbie and Ian trade lyrics as their marriage crumbles really hit home.

I would highly recommend people catch this if they get a chance in this short run.

I attended with my 12-year-old who loves Joy Division's music and has seen the films (OK so there is a fair bit of swearing and death in the play but he already knows the story and hears worse at football) and a friend of my age.

My son wants to see it again at some point in the future and enjoyed it because it "felt real" and "like it was there".

My friend's review (which you'll be glad is significantly shorter than mine) was... "Proper good".

Go and see it if you can.

- review by Iain Key for Cerysmatic Factory

New Dawn Fades is on at the Leadmill in Sheffield 16/17 September and then returns to Jacksons Lane, Highgate, London for a 3-night stint 19-21 September.

More info

Labels: Joy_Division, New_Dawn_Fades, play, review, Tony_Wilson

Many thanks to Ian White of The Wendys for this great Factory artefact which he originally circulated via Facebook. Ian explains: "We had just delivered the master tapes of our album Gobbledygook to Factory. Tony Wilson sent us this lovely and inspiring letter. It was fantastic to know Tony and Factory had faith in us."

Transcript

"F.G. album, as in 'fucking great'. It's a pleasure to know you were right in signing an act. It's a pleasure to contemplate the exciting years ahead with a fine group. But most of all it's a pleasure to listen to such fabulous bloody songs. Thanks for an ace Xmas present, boys.

Yours

Anthony H. Wilson"

--

It's Fac artefact double whammy because the letterhead used is a perfect example of Fac 311 stationery.

See also: Factory Records stationery

Labels: The_Wendys, Tony_Wilson

4th June 1976. Four young men took to the stage of the Lesser Free Trade Hall in Manchester. The noise they made changed everything...

Forty-three years ago the Sex Pistols performed on television for the very first time - on TV's So It Goes show. To mark the anniversary, author and TV producer David Nolan will be here to talk about his documentary and book 'I Swear I Was There'. It tells the tale of the Pistols' two legendary performances at Manchester's Lesser Free Trade in 1976, plus their notorious Granada appearance. GQ Magazine called David's subsequent book version of I Swear "one of the greatest rock stories ever told".

The 2001 Granada TV documentary will be shown in full at the Walthamstow Rock 'n' Roll Book Club in London on Thursday 19 September 2019. This will be its first airing in nearly 20 years. David will also be talking about the documentary and book (and he might also slip in a mention his recent Manc noir novel 'Black Moss').

Venue information: Bank Job, 151-155 Hoe St, Walthamstow, London E17 3AN

More info: Facebook Event

Labels: David_Nolan, documentary, Joy_Division, London, So_It_Goes, talk, Tony_Wilson

Please divert your attention to Instagram for ongoing photographic factual evidence from the AHW Collection at the Museum of Science and Industry in Manchester. See Back In The Cellar Part 1 for more background information.


#backinthecellarahw

Labels: back_in_the_cellar, Tony_Wilson

The Jazz Defektors Film was an eight minute video which in its original edit was intended to be released on with a "FACT 76" title card. That never happened but the film was released as part of the FACT 137 Shorts compilation video under the title 'Hanki Panki' (but without the FACT 76 title). A YouTube clip includes the FAC 76 catalogue number and uses the spelling "JAZZ DEFECTORS".

This handwritten outline comes from the AHW archive at MSI Manchester and represents a pretty faithful description of the eventual video. It can be briefly summarised as three groups assembling in different areas of Manchester before congregating at FAC 51 The Hacienda for a "dance-off" in a West Side Story homage.

Transcript

FAC 79 Black + White
VIDEO  JAZZ DEFECTORS
Shirley Scott
Live ACR Tape --> get to them (Simon)

STORY - West Side
Wanderers v Warriors

3 Groups
3 Areas
Their Territory

SALTS - Whalley Range
Wayne's Firm - Flyover
Neil's Team - HULME

SALTS / SWAPES into CAR - JAG
TURNS ON RADIO
WAYNE'S FIRM SHOPLIFTING
NEIL'S TEAM - steal burglar's money
SALTS TEAM molests 2 Girls

--

The "FAC 79" numbering on this note is incorrect or may have just been a typo. FAC 79 is allocated to Quando Quango's Love Tempo. FACX 79 is the 1979 Christmas present (a set of earplugs in a small red box). The Jag referred to here was Tony Wilson's Mark II Jaguar. Shirley Scott originally performed this piece as "Hanky Panky" in 1973.

Labels: back_in_the_cellar, FAC51_The_Hacienda, Jazz_Defektors, Tony_Wilson, video

Another day back in the cellar researching the AHW archives at the Museum of Science and Industry on Wednesday 15 November 2017 was very productive. Many thanks to Colin Torr for helping out. During this visit we targeted the legal documents from throughout the label's history plus a few other high value items.

On 19 July 1981, Tony Wilson wrote to Martin Hannett to explain how much money Factory owed the legendary producer who had fallen out with the label. Here is the full transcript of the letter:

----

Dear Martin,

I'm sorry it all had to end like this, but since this is the way you wish it then so be it . As of now Factory Communications Ltd ceases to exist. Efforts are being made even now to collect the totals of money remaining to you; obviously a little difficult with the FACT 40 outlay, but it seems that the approximate sum owed can be paid, probably within the week. It will clearly take some time for the accountants to come up with an exact figure, so to be going on with I have prepared a basic idea of the profits based on all records pressed by Factory between Jan 1st 1979 and July 17th 1981. You will remember that your share of the only record ever pressed before that date was in fact paid to you in the following year. Since many of the records which will fall into this pressing account have not yet been sold, the figure, though approximate, is also optimistic, but then why not be optimistic. Lets get down to figures.

For now we shall have to approximate running costs (bank charges, accountancy, legal fees, phone bills and all non record expenses) at a round figure of £10,000. This leaves from the period to FACT 25:

MATRIX	TOTAL PRESS	TOTAL AFTER BREAK EVEN	FAC PROFIT	TOTAL
FACT 10	77,523	72,000	55p	£39,600
FACT 25	145,091	135,000	55p	£74,250
FACT 14	14,000(?)	9,000	65p	£5,850
FAC 13(7)	38,245	24,000	10p	£2,400
FAC 13(12)	19,814	11,000	25p	£2,750
FAC 23	150,000(app)	142,000	10p	£14,200
FAC 23(12)	25,076	23,000	25p	£5,750
FAC 22	13,000(?)	10,000	27p	£2,700
FACUS 2 UK	70,000(?)	55,000(due to excess stock)	18p	£9,900

£160,600 of which your 20% is 32,120. I remind you that this is an approximate figure and may bear no relation to the final sum. In fact in my final calculations I don't think I have taken into account Factory's special J.D. deal, anyway it gives you a fair not to say generous idea. For the period after 25 there is only the ACR album which has sold around 15, 000 over the profit line making £9,750 and FAC 33 twelve inch. The stop (dead stop) in sales at 70,000 of the 7” after the chart rush made us press 150,000 has left no profit on the 7”, but then single profits are irrelevant anyway to the big album sales. For the 12” which has sold 25,000 we are looking at approx £5,000. 23.75% of £14,750 is £3,503.12. This would make your total earnings in your time as Factory director and partner as 35,623 which after subtracting the £6,000 already taken out leaves you with £29,623. This is significantly higher than I had got in my original workings, which is nice, cause I've earned the same amount as you so I feel pretty good, but I think it is a rather hesitant figure and I would not like you to feel it is sacrosanct. Until the accountant does the full monte on the accounts we would like to give you £25,000 with the remnant payable within four weeks if the accountant can manage it. I worked out what you would have made on a producers rate for the 261,000 albums 260,000 singles and 60,000 12”s and it comes to £23,970 which would leave you owed £18,000. In case you were interested.

As for any future sales of work done by you, either of back catalogue of of 40, 45, 50 in so much as certain parts were produced by you, in similar proportion you will be paid 2% of RRP less VAT as is usual, or if the mean average of your last three non-Factory contracts have a higher points base then we will honour that figure. As to your 23.75% of the company, the company of course ceases to exist and from tomorrow morning will become entirely worthless. According to the "Ian Adams" SPECIAL contract signed with Joy Division in 1980 and ACR AND DCOL later that same year, those three bands (the only ones whose tapes are worth anything,) have withdrawn all their work from Factory Records (AH Wilson trading as) and also FCL. Clearly as stated above you will be paid on a simple producers work rate for those records future sales. Seems pretty straightforward. Bye.

AHW

Labels: A_Certain_Ratio, back_in_the_cellar, Joy_Division, Martin_Hannett, New_Order, Tony_Wilson

HI FOLKS,

FACTORY ARE RELEASING IN NOVEMBER "PALATINE - THE FACTORY STORY - 1979 TO 1990", A FOUR ALBUM SET ...... IN A BOX ... OF COURSE. THIS
CELEBRATION OF AN ADDRESS CONTAINS LOADS OF TRACKS ... OBVIOUSLY ..... AND WE'RE LOOKING FOR SOME INTERESTING STUFF FOR THE LINER NOTES, A PARAGRAPH ON EACH TRACK, JUST, TWO OR THREE SENTENCES.

RATHER THAN US AT FACTORY WRITE IT ALL IN OUR BORING SELF SERVING WAY, WE THOUGHT WE'D CONTACT A WHOLE BUNCH OF OLD FRIENDS AND ENEMIES, (SINCE THE WORK OF THE SCRIBES, CRITICS, AND COMMENTATORS, IS AS MUCH A PART OF FACTORY'S HISTORY AS THE REST) AND ASK EM TO PEN A LITTLE BIT ABOUT A TRACK THAT MEANS SOMETHING TO THEM.

IN USUAL FASHION THIS IS EXTREMELY LAST MINUTE, IN FACT WE NEED STUFF BY THE END OF THE MONTH. QUEL SURPRISE.

ENCLOSED IS A SET LIST FOR THE FOUR ALBUMS. IF THERE'S ONE, TWO, THREE, FOUR OR EVEN FIVE OR SIX TRACKS YOU'D LIKE TO DO A LINE OR TWO ON...... COULD YOU CALL PHIL SAXE AT FACTORY, 061-953-0251 AND MARK OUT YOUR CHOSEN THING ••••••••• WE'LL SEND A TAPE OF THE FINISHED ALBUM/S AFTER IT'S CUT NEXT WEEK...... IN CASE YOU CAN'T REMEMBER WHAT THE PIECE IN QUESTION SOUNDS LIKE. SATIRE.

YOURS

WILSON

--

Transcript of a memo typed out in all capitals by Tony Wilson to request liner notes contributions for the Palatine compilation.

Labels: back_in_the_cellar, Palatine, Tony_Wilson

Photo of Bernard Sumner in USA by Anthony H Wilson - "What was I drinking last night?7/11/81"





Photo of Peter Hook in USA by Anthony H Wilson - "Peter in characteristic pose, Ozzie patiently awaits the next spliff, 7/11/81"





Photo of Ruth Polsky by Anthony H Wilson - "Half the Wilson dream fulfilled New Order on a palm-lined street in Pasadena - your agent is chuffed, 6/11/81"

--

Set of three annotated colour photos taken by AHW of New Order, Ozzie and their agent, the late Ruth Polsky in Pasadena, California, USA on 6-7 November 1981. From the AHW collection.

Labels: back_in_the_cellar, Bernard_Sumner, New_Order, Peter_Hook, photography, Ruth_Polsky, Tony_Wilson, USA

Paul Morley looks back on the life of Tony Wilson in a rerun series on BBC 6Music which is available now (with the second and final part upcoming) via BBC iPlayer (geographical exclusions may apply).

Labels: history, Paul_Morley, Tony_Wilson

Anthony H Wilson

Broadcaster
Cultural Catalyst

1950-2007

Mutability is the epitaph of worlds
Change alone is changeless
People drop out of the history of a life as of a land
though their work and their influence remains

The Manchester Man
G Linnaeus Banks 1876

Labels: history, Tony_Wilson

On the occasion of the tenth anniversary of the passing of Tony Wilson, Walthamstow Rock n Roll Book Club present 'Tony Wilson - What was and will be' at Mirth, Marvel and Maud in Walthamstow, London E17 on Thursday 10 August 2017.

"A decade after Tony Wilson's untimely passing we examine the man, the myth and his legacy.

"Paul Morley writes: "Without Wilson there may well have been in some form Joy Division, and Factory, and New Order, and the Hacienda, and Happy Mondays. There may well have been Peter Saville's dream designs, and Martin Hannett's timeless production, and a Manchester that managed to move on from its sad post-industrial decline. But none of it would have been so far-fetched, so dramatic and so fantastic."

"Ahead of the publication of Morley's long-awaited biography he will give a talk about the man and his book.

"Kevin Cummins who more than most helped turn Ian Curtis from man to Icon and made defining images of bands on Factory, Manchester and beyond will discuss Tony through the lens.

"From Boethius to Debord via Marx, Factory was the most consciously philosphical of record labels and Wilson never short of a well chosen aphorism. We have asked Dr Jennifer Otter-Bickerdike, culture critic, writer, broadcaster, author of three books on fan culture and Joy Division to explain.

"Our panel of friends and occasional foes will discuss the Tony they knew and imagine what he would be doing today. Chaired by John Robb, former Buzzcocks manager Richard Boon, Kevin Cummins, James Endeacott and Dr Jennifer will discuss the legacy."

Tickets priced 13.33 GBP and more details are available now via Eventbrite.

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Mirth, Marvel and Maud
186 Hoe Street
London
E17 4QH

Labels: FAC51_The_Hacienda, Kevin_Cummins, New_Order, Paul_Morley, Richard_Boon, talk, Tony_Wilson

Text of fax from Tony Wilson to Roger Ames (managing director of London Records) on 9 September 1992:

"Roger,

The deal progresses.

And so does the New Order album.

But we are reaching the next crisis in Real World / RAK payments.

Don't know how we should proceed, except we have to proceed.

Rob G. needs to know what to tell Real World urgently.

Can you talk to Chris Smith or get Paul L. to talk to him on this specific area; we're looking at a 24 hour decision.

But then again we are 24 Hour Party People.

Yours,

Anthony"

--

Chris Smith was Factory's accountant. Factory eventually ceased operations in November 1992. The New Order album is 'Republic' which was recorded at Real World and RAK studios and which eventually came out on London Records.

Labels: back_in_the_cellar, Factory_Records, history, Tony_Wilson

"Anthony

Ah well. The Smiths need a manager. Do you know any handsome bastard willing to tackle haughty and unmanagable swines such as we?

Guess the rest.

Thank you for g-mex; the sandwiches were great.

Too Sincerely

MORRISSEY"

--

Undated letter from Morrissey to Tony Wilson. Presumably, from the G-Mex reference, it was written shortly after FAC 151 The Festival of the Tenth Summer in 1986. Is Morrissey really asking AHW if he would like to be the manager of The Smiths?

Labels: back_in_the_cellar, Morrissey, Tony_Wilson

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

In a different, parallel universe, Joy Division would have toured North America in May/June 1980 and gone on to be super massive. Sadly in this world it never happened for tragic reasons but there are plenty of artefacts from the time which remind us of what could have been.

One of the many treasures in the AHW archive at the Museum of Science and Industry in Manchester is a typewritten itinerary for all the days in the trip which was planned 19 May to 10 June. Other variants exist including Detroit Bookies on 26 May (which Rob Gretton's notes in 1 Top Class Manager - which also contains further details on costings, etc - explain there was a "possibility of cancellation"). Days off were built into the schedule and the San Francisco date was to have been either the 6th or 7th of June.

You may wish to view the full typewritten itinerary (including some handwritten annotations).

Transcript


May

19th Fly in
20th Day Off
21st New York      Hurrahs
22nd New York      Hurrahs
23rd New York      Hurrahs
24th Day Off
25th Toronto       The Edge
26th Day Off
27th Chicago       Tuts
28th Madison       Merlins
29th Minneapolis   Duffies
30th Day Off
31st Day Off

June

1st  New York       Pop Front
2nd  Fly to San Francisco
3rd  Day Off
4th  Day Off
5th  Day Off
6th
     San Francisco  American Indian Hall
7th
8th  Los Angeles    Flippers?
9th  Day Off
10th Fly Home

Further suggested reading: Joy Division Central

Labels: back_in_the_cellar, gigs, history, Joy_Division, Tony_Wilson, USA

A letter from Tony Wilson to Ralph Steadman dated 1 September 1983:


Dear Mr Steadman

Forgive the intrusion and the videos herein. And most particularly forgive the paltry sum of money offered in the last paragraph. Let me explain; Factory Records is a small independent record company operating out of Manchester, England, with some success, mostly in keeping our back to the marketplace but still with our hands in the till. The company has a small video wing - so far we have put out three videos, largely mail order, at the extremely socialist price of £13.50, and they have sold 200, 800 and 1800 respectively. Recently an old friend of mine, a frequently down and out comedian called John Dowie (we put a record out for him in 1979) approached me and asked if we would put out a video cassette of a performance at last year's Edinburgh Festival. Since sales demand will be low and only in the region of 40 to 100, no real expense is involved. Our cottage industry simply transfer from a 3/4" master to a VHS one by one to keep up with demand. HOWEVER (better than but) it would nice to have a good sleeve. It would be nice to have a good sleeve. It would be nice to have a serious piece of art reflecting the manic nature of the piece and the classical nature of the record company involved - do I have to say any more? When things cost about £9 to produce and we sell them for £13.50, on sales of about 50 I could only reasonably offer you £100 (it could be a very quick drawing). We could agree that any sales above 50 you would get £1 a copy for. I enclose the Dowie video itself with its awful sleeve, and our own New Order video. Plus an example of the size of paper required. All it has to say on it is "Dowie" and the matrix number "FACT 89".

I could tell you how long I have been an ardent admirer, I could tell you how I purchased large quantities of those remaindered postcards, the Gridiron Exploder being my favourite, an I could tell you that I am a friend of Viv and Ian Starr as a form of civilised introduction. I could also offer you more money but what price art?

Yours sincerely

Anthony H Wilson

P.S. Ian just sold the Searle. I think he has some money for you - not much, but then who's Searle anyway?

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AHW's direct approach paid off and Mr Steadman duly provided the cover. It is not known whether it sold more than 50 copies.

View the full letter and accompanying notes/details (and the final cover).

Labels: back_in_the_cellar, graphic_design, Ikon, John_Dowie, Ralph_Steadman, Tony_Wilson

Happy Mondays famously went to Barbados to record their final Factory Records album, FACT 420 Yes Please! Stories abound of moped accidents and selling studio furniture to raise money to buy crack cocaine. And, of course, it is alleged that the costs of the trip were a major contributory factor in destabilising Factory financially to such an extent that it eventually folded. However, Factory's other commitments, especially in property following the development and opening of the New Factory HQ were also major reasons why it all came to an end.

In a 2000 interview with The Guardian, AHW said: "Although Factory was always a precarious pile of shite, everything had to go wrong. Happy Mondays had to discover crack cocaine in Barbados! New Order's album had to be two years late! Claire Leighton had to die, of a tablet bought in Stockport, but in the Hacienda! There had to be an international property collapse! Do you want me to go on?".

Shaun Ryder told The Independent in 1992 that Nathan McGough (ex-Mondays manager) called Yes Please! 'the most expensive indie album ever made' only that was in jest but it became a myth that the press perpetuated.

But how much money did Factory actually spend on the Barbados sessions? Book-keeping wasn't a Factory speciality but Tony Wilson had a definite penchant for making lists and below we have an advance cost forecast of the whole operation. It seems that six weeks in Barbados were originally planned to be followed up by a further six weeks in Miami. However, this second part, which was outlined at just of £74K never transpired but further recording time was required because no lyrics were recorded in Barbados. The album was eventually finished at a studio in Surrey.

The trip to Barbados itself was planned at just over £68K including flights. The handwritten note at the bottom estimates production costs (for the services of Chris Frantz and Tina Weymouth) at $5K per track (about $60K in total) and an undisclosed percentage on top. The Surrey costs are not known but are not thought to have been excessive as they mostly only involved recording vocals. Certainly, when put into to context of the reported £2.5m that Factory was in debt at the time of going into receivership, the contribution of Yes Please! to this amount is not as large as it is often reported to be.

Transcript

(in handwriting: "Mondays")

RECORDING BUDGET

Barbados (6 WEEKS)               £

Flight Man-Ldn-Jam-Miam-Ldn       7,236
Villas (8 people) $4,000 pw x 6  14,120
Studio $1,000 pd x42             24,705
Food                              3,175
PDs 6 x 8 £20 pd                  6,720
Freight                           8,810
Wages                               500
Ground transportation             2,823
Tape                                      -

MIAMI (6 WEEKS)

Apartments 4 x 2 @ $3,400 pm     18,000
PDs £25pd x 8 x 42                8,400
Ground transportation             2,941
Studio $1,800 pd                 44,470
Equipment (strings, repairs etc)    500

CONTINGENCY                       6,978

TOTAL                           149,378

NB Above does not include producers fees.

(in handwriting: "Estimated fee. $5000/track Don't know % yet")

Labels: back_in_the_cellar, Factory_Records, Happy_Mondays, history, Tony_Wilson

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