9 Oct 2004
The history lesson of the Factory Shareholders' Analysis continues where it left off with Fact 10: Joy Division; 'Unknown Pleasures'; 33 and a third LP... this was Joy Division's 4th outing on plastic; history includes, two tracks on FAC 2, two tracks on 'Last night at the Circus' on Virgin and their own 12" 45 (also in 7" in plastic sleeve) called 'Ideal for Living' which contained four tracks. FAC 10 finally stirred the critic's hearts; the reticent foursome were soon loved; release was June '79. "This band has tears in its eyes. Their day is closing in." (NME) Sounds backlash only took two weeks; is this a record. People ask about Joy Division, people like the people this is being churned out for. Ian Curtis is the singer and lyric writer; he's just starting to use a guitar onstage; his dancing style has been patented. Steve Morris plays drums (inc. Synar as on 'Insight and S.L.C.') and doesn't like doing interviews if it means he's going to miss his tea. Peter Hook (Hookey) plays bass, shimmys a bit with a bent back stance and is now driving a 'D' reg Jag mark 10 (£55). He wants to do a musical, like Oklahoma. Bernard Dickins plays guitar; he was a designer and is called Barney. Manager is Rob Gretton. cf FAC 13

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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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