10 Oct 2003
Haçienda that 
There is an insightful article from Q Magazine (reproduced here in full) around the time of Factory Records' demise which speculates as to what would happen to the extensive New Order (and indeed other Factory artists) back catalogue and whether Anthony Wilson had something up his sleeve. Rather cleverly (or is that sneakily) Q obtained a copy of New Order's legal agreement with label which stated that the band and not the label owned all the master tapes.

Of course when Factory folded some bands like Happy Mondays and A Certain Ratio had got wind of the imminent demise and they made sure they had either extricated themselves from their "deals" or (in the case of ACR) removed the master tapes from the Factory offices. 'Cos when the receivers moved in they took possession of everything...

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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