31 May 2017
Factory Records and the Trade Mark Agent 
FAC 31 Minny Pops Dolphin's Spurt

In the matter of Factory Records / Minny Pops vs the Trade Mark Agent in 1981 let us present the first exhibit...

Please refer to: EKH/CN

17th August 1981

Mr. A. Wilson
Factory Records Ltd.,
Flat 4,
86, Palatine Road,
Manchester 20.


I refer to your telephone message and note the shield emblem was used in respect of a limited number of records and this has now been exhausted. Further you do not intend to utilise the trade mark again.

It would assist me if you will kindly drop me a line confirming the following:

1. the number of records sold bearing the trade mark
2. all the records has been disposed of
3. no reordering has been started
4. the Shield emblem trade mark will not be used again
5. you will not feature any Philips products on record sleeves in the future.

Your early reply will be greatly appreciated.

Yours sincerely,


A reply to the letter has not yet been found but it is thought that only the initial pressing (in an unknown quantity) was ever made and it is definitely known that the logo was not reused. It is our understanding the matter never went any further.

Philips was based in Eindhoven, Netherlands and therefore a connection was presumably made by designer Martyn Atkins given the Dutch heritage of Minny Pops.

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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

Factory Records

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