Proteus Books
London New York
INTRODUCTION
This is an eclectic history of Joy Division, a band which have gone
through as many (or more) faces as they have names. Whether they
were called Warsaw, and played a distinctive industrial punk in cellar
clubs supporting groups now-forgotten, or New Order, with their
ethereal, soaring "music of the spheres", the band are Joy Division,
because that is the point from which they are invariably considered.
Like a significant part of Britain's independent music, even New Order
are a post-Joy Division group. They may call it irrelevant, they may rise
above it, but they cannot escape their past.
Obviously, numerous errors will creep into a project of this type and
for these I heartily apologise. Factory Records' release dates for Joy
Division and New Order vinyls are approximate at best, primarily due to
Factory's record-keeping system. I welcome all corrections, which
may be addressed to me in care of the publisher. Also, considerable
information (including set-lists) was deleted due to space
considerations, and I will happily answer any questions I can.
A short note about bootleg cassettes and albums: those events
where bootlegs are available are marked *. If you are searching for
them, just ask about when you go to your next New Order concert and
you will surely find other fans more than willing to accommodate.
An Ideal for Living is, I hope, food for thought. Reviews of the band's
vinyls have not been included because the recordings are all available
in one form or another, and each time we hear them new meanings
emerge. Concert reviews, on the other hand, help return a past
moment to life keeping in mind that they but reflect the mood of the
reviewer at the time. There is an 'outside' and an 'inside' to life as well
as this book, and my aim has been to leave all myths unexploded and
all reality undisturbed.
Mark Johnson
London
PRE-FACE
I left my memory to play its tricks, rather than fight it. It's only
recently that I've been reminded that Warsaw were waiting for me
in the Manchester city centre before they drove off to an
underground bunker in the mourning Pennine wilder/ness, to
record. To-days exaggeration considers that they waited four
hours for my baby blue presence, but they probably paused for
minutes before hissing open cans and hitting the silver road.
I think that they wanted me to produce - a loose term covering
four bald sins, I expect- their first recording, seriously called 'An
Ideal For Living.' Who knows how my life would have been
changed if I'd managed to squabble through a hangover out of my
bed and keep that Sunday appointment. (How drunk could I have
been when I made the promise, suggesting I could conjure up the
crystalline mystique of Spector, Brod, Eno and Czukay
combined?)
A change in my life? Probably none at all: things were blinking
in and blanking out lazily and fast in those 77-heaven days,
causing no effect that would stick fast. We were all pale hysterical
ghosts of anything we were to become. I would have produced
Warsaw, the record would have been no different because if the
time isn't right the trees don't joke, and it would have been as
important in my life as a stone in a date, and for Joy Division my
association would have settled into social blandness. You see, and
I knew this the time we all sprang up in our places at the Free
Trade Hall to see Buzzcocks and Sex Pistols, it was all
predestined what we were going to get up to. Even if I'd started
out as a Stiff Kitten I would still have threaded my way into the
position as top pop writer of the post-modernist times: and
nothing except a real fine joke would have stopped Joy Division
alighting on that empty space which stretches between person and
person, between ignorance and knowledge, between one hand
and another, and shocking those who were awake with what it was
they did.
What it was they did. . . all those creeping inside here hoping to
embrace the essence, the essential sinful pleasure, of what it was
they did - a minute or a century past 'An Ideal For Living' should fade away: Back Off Boogaloo! as Ringo said, aptly. No
such luck: not much luck is left. All the luck of the century is
greedily snatched at and soaked up by young people like Joy
Division, searching for nothing to do so that they might do
something. Joy Division were drunk on luck before anything else,
pernod or bitter. Joy Division were lucky, lucky that they turned
the damned whore rock language back into a virgin, lucky that out
of their common sense blossomed a peculiar beauty, lucky that
amidst it all they were quite stupid, lucky if you assume that what
they wanted to do was create something rich and better than some
fucking decorative abbreviation. And we should thank our lucky
stars that they were so lucky, if not think about what it was they did
every other minute of the day. To look straight at luck, head on
into the glare, is to have it disappear, twitch away, like a black spot
on the eyeball: it hovers, in vision but out of it, irritating and
enthralling, restless and nowhere, here and then. Luck; just like
Joy Division, in vision but out of it. A grasp that can be found even
GLASS : MESH
"The only alternative to the spectacle becomes the spectacle of
the alternative" -Factory Newsletter, Sep 79.
"Who is right, and who can tell, and who gives a damn right now. "
Until the spirit, new sensation takes hold, then you know."
-"Disorder".
"Don't wait for the Last Judgment. It takes place every day."
-Albert Camus, The Fall, 1957.
Broadcast. Here it is, and was as it were, no design -1 knew the
tone the image effect of the project-1 had that: the mood, the
colours and a fear of the REactions - There is and is no plot, only
the soundtrack to market machine, counterfeit ticket to the highpeep show.
That is, this thing has the morals that you invented for it after
the event, and the character is exactly what it is in the confines of
the film. The talk between the scenes .. .
The open reels seem twisted - inverted - but they were like that
when they found them at the outset - there is no meaning in the
story, and it seems that there was no story when they filmed it what you see in that direction is your own invented coating -1
have no control over it. Let's say this story was aborted by reason.
(Film) the bloody thing I did not make! It constituted itself. ..
while I watched -1 have enough difficulty determining the
contents, certain that isolated scenes will conflict with the
already-fuzzy subtitles.
This is the film I saw. . .
"A mass of harmless attitudes
Attack them or subside.
No matter what they say you do.
Your heart meets you, late at night." - "Procession".
STIFF KITTENS & WARSAW
The histories of many bands which began in 1976 and 1977 start with
The Sex Pistols, and this is no exception. The youth of Manchester
were strongly affected in June of 1976 when Howard Devoto twice
brought the Pistols to the North to play the Lesser Free Trade Hall with
his new group Buzzcocks. No matter what opinion one holds of The
Sex Pistols, they proved once and for all that anyone could start a band,
whether you could play or not. New bands sprang up almost overnight
all over England.
By the time the Anarchy Tour (The Sex Pistols, The Heartbreakers,
and The Clash) rolled into Manchester, school friends Bernard Dicken
of Salford and Peter Hook, and Terry Mason had formed their own
group. They were on hand when the Anarchy Tour played The Electric
Circus on Thursday, 9 December 1976, and received their first
mention in the press: "The sentiments were echoed by most every kid
I spoke to-they were certainly all in the process of forming bands, Stiff
Kittens (Hooky, Terry, Wroey and Bernard, who has the final word)
being the most grotesque offering" (Pete Silverton, Sounds, 19 Dec
76). Although Sounds listed Bernard's neighbour, Wroey, it was not
really anticipated that he would join the band when they began playing
ABOUT-FACE
Now we turn from transplantation to acclimatisation. A group oh, any group, hip or square, hard boiled or hysterical - became
The Noise.
Not any noise.
The Noise settles and unsettles around the fundamental
disorientation of being which Conrad speaks of as "the heart of
darkness" or Bettelheim as "the extreme situation". What Ringo,
talking to Russell Harty, called "madness".
The group-we call such things "groups" but four young boys
teaming up together, why, it's almost a little gang - were as
threatening as a spilt drink. It's no use crying. But The Noise is the
threat: a little hell after my own heart.
The group rocked, in the antique sense of the word. They were
snapped into place like a white lego brick. The Noise - antiPlatonic - sees art not as an imitation of "the real" BUT MORE
REAL. The Noise is homeless and proud of it: it's no accident.
The group's ambition was to use up as little space as possible,
and here make various experiments, folding their arms and
crossing their legs, huddling close together. (It is for them and
their kind, the unfinished and the bunglers, that there is hope.)
The Noise keeps its distance but moves inside, has an ambition
to, say, recreate the sensation of fright, extend mild flirtations, a
violent temper, a lonely craving, a dreadful shyness into a
restlessness the other side of time and outside history. I do not
claim that this ambition is a conscious one, but it is bound to be
present: it is The Noise's reason of state.
How do we explain the sense of this Noise, or the true (literal)
non-sense? Perhaps we imagine something, anything, connected
to the sentence: 'the outbreaks of rage are timed to the tickings of
the seconds to which the melancholy man is slave.' Perhaps we
pay tribute to the stupidity of the broad masses. Perhaps The
Noise is only fit to throw away. Is it enough to announce that The
Noise is infinitely new and uncanny? Does it enact the dialectical
reciprocity of cloture and radiance? The Noise - mood for
thought? It is not known if Ringo has any thoughts on this.
So - is The Noise, perhaps, Ideal?
Not particularly.
JOY DIVISION
A rather serious problem had developed late in November of 1977 with
the release of an album by the London-based group Warsaw Pakt.
Their claims to fame, as it turned out, were to play a lot of dates at one
venue, Hammersmith's Red Cow, and to put out Europe's first
"instant" album. Recorded directly onto a master disc in a single take
just after midnight one Saturday night, 5,000 copies of their Needle
Time were in the stores by the next Monday morning. Manchester's
Warsaw planned to expand its following by playing London, a major
step toward winning the elusive record contract. But, as they were told
by one of the major London booking agencies, a band called Warsaw
would have difficulty getting gigs in the capital because of their
similarity of name with Warsaw Pakt.
With their future at stake, the group chose to accept the risks
involved and change their name. After some discussion, they chose
Joy Division, the name coming from a lurid novel of sado-masochism
THE FACTORY
Friday October 20th
JOY DIVISION
CABARET VOLTAIRE
THE TILLER BOYS
RUSSEL CLUB
ROYCE ROAD
MOSS SIDE
24
popular (but ahead of its time) television show, "So It Goes", and his
confidence in the talent of the Northern groups, combined with a lack of
viable Manchester rock venues, led to a one-night-a-week showplace
held on Fridays at the Russel Club, usually a West Indian cultural
centre. The Factory now became the venue for all the Mancunian
bands struggling to make names for themselves.
Joy Division was selected to headline by Richard Boon, manager of
Buzzcocks, who envisioned the gig as a showcase for his new act, The
Tiller Boys (made up of Pete Shelley, Eric Random, and Francis
Cookson), which was playing its first performance that night. Also on
the bill for the series of four nights were The Durutti Column, Cabaret
Voltaire, Jilted John, Big In Japan, and Manicured Noise, a sufficient
diversity of musical talent to guarantee sold-out houses. The poster for
the evenings, designed by Peter Saville (later responsible for most Joy
Division and New Order product design) in the style of the
Constructivists in yellow and black, became Factory's first "event",
FAC I (Fig. 10).
"And after The Tiller Boys came Joy Division who were so much
different from how they were as Warsaw. And they were supremely
better. They stuck out as being so much better. No matter what the
band or Tony Wilson might say, Warsaw were nothing. No one was
really interested in Warsaw. Then all of a sudden it was Joy Division. I
would say this was really where Joy Division started. And what came
after all worked up from this point" (Nigel Bagley, Jun 82).
During June of 1978, Joy Division self-issued the 5000 copies of
their An Ideal For Living EP (Enigma PSS139) in the form of a 7" (Fig.
11) which came with "a special folding Sleeve which turns into a 14" x
14" full colour/black-white poster-a real treat for all 'Collectors item'
fans" (letter from Steve to London promoters and record distributors).
The 1" was to be distributed "on our label-Enigma-but. . . it was
discovered that another record company existed with the title Enigma,
so once again we are in a 'HAVING TO CHANGE THE NAME'
situation."
Unfortunately, the terrible quality of the stacks of 7" records had not
been improved by sitting on the shelf for six months, and Paul Morley
reviewed it by saying "the record is structurally good, though
soundwise poor, a reason it may not be widely released" (A/ME, 3 Jun
78). The poster-sleeve for the 7" was designed by Bernard and made
up of four 7" x 1" segments: upper left is a drummer-boy noticeably
resembling a member of the Hitler Youth but more exemplifying the
concept of "music by youth" and the EP's title. The upper right
segment contains two outdoor photographs, one of Bernard and Steve
and the other Ian and Peter.
The lower left quadrant of the sleeve is a photograph of the band
standing together against the wall of what looks like the inside of a cell.
The photograph on the lower right is a very famous one of a young
Jewish boy in the Warsaw ghetto during World War II with his hands in
the air being guarded by an armed Nazi storm-trooper, and the
opening four lines of the EP's song "Leaders of Men". The poster/
sleeve is most certainly "an enigma", and one which caused the group
further accusations of Nazi sympathies: "Another Fascism For Fun
And Profit mob, judging by the Hitler Youth imagery and Germanic
typography. But interesting, and definitely worth investigation if you're
gripped by the grindilgriff gloom and industrial bleakness of the Wire/
Subway Sect order."
Eric's, Liverpool (Saturday matinee, 15 Jul 78): Joy Division
supported The Rich Kids on one of the first stops of the latter's debut
British tour.
The Fan Club (Roots Club), Leeds (Thursday, 27 Jul 78): The Durutti
Column and Joy Division were co-billed.
Finally, in July or August 1978, the long-awaited offer came back
from RCA's Derek Everett. RCA would put out one album and see how
it sold before committing to a second, and there would be no advance.
Joy Division was shocked because they believed that they deserved
better - they had made considerable progress since the aborted LP,
and they knew they were more saleable than the offer implied. A
couple of weeks later, at 11.00 one Friday night, Rob Gretton phoned
John Anderson - neither man had met or spoken before - and laid out
the band's terms: a 10,000 advance and 15% royalties to the band or
no deal. A raging argument broke out between the two which ended
when Anderson, who had never made anything from his efforts and
expenses on Joy Division, told Gretton to "Fuck off!"
Anderson wanted nothing more to do with the band or Gretton, and
soon after received a letter from the solicitor retained by Joy Division.
The solicitor had gone over the American-style publishing contract,
support.
The Odeon, Canterbury (1979?): According to Steve Morris, this
concert supporting The Cure featured Joy Division's only public
performance of "Something Must Break".
*Bowdon Vale Youth Club, Altrincham (Wednesday, 14 Mar 79):
JOY
DIVISDN
During their first night at Bowdon Vale, Joy Division's support was Staff
9, a group headed by Craig Scanlon of Manchester's The Fall.
"And every week at this club the punks would come down from
Salford and Stretford, and they were always there heckling. So were
The Bidet Boys, sitting on the floor right in front with their huge tape
machine recording every gig" (Nick Wraith, Jun 82).
This night was no exception, and The Bidet Boys were their normal
boistrous selves, shouting out "Seig, Heil!", "Nazis", and an eloquent
(for them) "Yes, fascism is very clever, now fuck off!"
During an "interview" which took place on 23 Mar 79, Rob Gretton
took a casual look into Joy Division's future:
RG: "I should imagine in a year from now we'll have- I'll calculate
we'll be more, you know, better known - more widely-accepted
throughout the country. We'll have broken out of the north-west
provincial shell. Whether that's a good thing or not, I don't know."
Q: "What direction would you like most not to see them going in?"
RG: "South."
Youth Centre, Walthamstow (Friday, 30 Mar 79) (Fig. 17): Once Joy
Division had "broken" London, the demand for them increased. Their
next gig in London came about when Jasmine Hooper, who managed a
youth centre north of the city, and Dave Pils, later to be the group's
drum roadie, saw Joy Division at both Hope and Anchor concerts.
Jasmine talked to the band about doing a gig at Walthamstow and they
agreed. Dave's group at the time, SX, provided support. A very small
audience turned out that night because Joy Division had not quite
caught on in London. The band drove straight back to Manchester after
the gig because Martin Hannett had arranged a special rehearsal rate
for using off-peak hours at Strawberry Studios in Stockport-the
"first" album was being birthed.
The month of April was primarily spent in pre-recording rehearsals
which culminated in a four-and-a-half-day marathon session at
Strawberry, with Martin Hannett as producer. Working "say, from 2
o'clock in the afternoon to four in the morning getting it done" (Ian),
Joy Division laid down fifteen and a half tracks, the ten best being
selected for their debut album.
Eric's, Liverpool (Thursday, 3 May 79): With the album completed, Joy
Division headlined an Amnesty International benefit at Eric's with
fellow Mancunian bands The Passage and The Fireplace in support.
Ian Wood (NME, 26 May 79) gave an extended view of Joy Division's
'state of the art': "Feeble and pretentious in their past incarnation, Joy
Division now sketch withering grey abstractions of industrial malaise.
Unfortunately, as anyone who has. . . lived in the low-rent squalor of a
Northern Industrial city would know, their vision is deadly accurate.
Musically, Joy Division are much more punishing than any Heavy
Metal band. What makes them unique is singer Ian Curtis. A slight, thin
Fig. 19: Badge for The Acklam gig, London, 17 May 1979 (actual size)
32
36
of Joy Division before. They just blew them off because Buzzcocks
didn't give the impression that they cared what they were doing on
stage" (Bernard Connor, Jul 82).
Leeds University (Wednesday, 3 Oct 79): The Leeds gig was
completely mad, with 20-30 people fainting as they were crushed
against the stage to see Joy Division and Buzzcocks. Joy Division
played a very short set and Ian had to be helped off the stage at the
finish of "She's Lost Control."
"It is Ian Curtis who symbolises Joy Division, even though one can
hardly believe that he triesto.. . . The 'gothic dance music' he
orchestrates is well-understood by those who recognise their New
Wave frontiersmen.... A theatrical sense of timing, controlled
improvisation (allowing for apparently arbitrary intro-length), intelligent
decibel-variation and good ol' fashioned distortion (unintended or
otherwise) are the sum total of Joy Division's secret.... The
Buzzcocks had to be pretty hot to follow that, and a lot of people
thought they were" (Des Moines, NME).
*City Hall, Newcastle (Thursday, 4 Oct 79).
The Apollo, Glasgow, Scotland (Friday, 5 Oct 79): The hotel bar at
Glasgow was emptied during the night, and all eyes (including those of
the police) turned to the merry pranksters of the Buzzcocks tour. No
guilt was admitted nor charges levelled, and the hotel was reimbursed
for the missing alcohol.
Odeon, Edinburgh, Scotland (Saturday, 6 Oct 79).
Capitol, Aberdeen, Scotland (Sunday, 7 Oct 79).
Caird Hall, Dundee, Scotland (Monday, 8 Oct 79).
A couple of periods occurred on the tour when no gigs were
planned, and to fill in these gaps Rob Gretton arranged concerts away
from Buzzcocks. One of these concerts was planned to be Joy
Division playing atthe Reichstag in Berlin. Though the idea had begun
as a joke, the band started having serious thoughts about it and ended
up planning it as the live side of their second album. For some reason,
however, the gig never quite came together.
Plan K, Brussels, Belgium (Tuesday, 16 Oct 79) (Figs. 34-35): Joy
Division played at the opening of Brussels' new art centre, a recently
converted sugar refinery in, coincidentally, rue de Manchester (just off
rue de Birmingham). Accompanied by Cabaret Voltaire, Joy Division
did not headline the debut of Plan K - that honour being reserved for
American author William Burroughs. Burroughs, to give him the benefit
of the doubt, does not seem to have been enjoying himself much for,
when Ian who was a great fan of his went up to talk with him, the author
told him graphically to get lost. Ian got lost immediately, not a little hurt
by the rebuff.
The gig was reviewed by the noted iconoclast and publisher of the
fanzine NMX, Martin X. Ruffian, who began the evening in typical
fashion by giving Ian the latest number of his paper-forgetting "this
was the issue in which I called [him] a 'right prat' or words to that effect,
but he took it quite well considering". Ruffian's review displays a raw
naturalness often lacking in the more 'polished' music press: "I'm still
not convinced that [Joy Division are] brilliant enough to justify all the
good press they've had -1 can think of unknown groups I rate higher
but there's no denying they are very good. The music varies from
punky fast and simple to doomy slow and weird, always emotional and
compelling, though not half as depressing as has been made out. I was
compelled but entertained as well.. . . Experience this for yourselves.
44
50
56
DE-FACE
1. Ringo has always said the group would never get back together
again. They would just remain friends.
2. Ringo had toothache. Ahab lost his leg in the fight with the
white whale. Molloy gradually became paralysed from the foot up.
Physical misfortune only corrupts what is corruptible.
3. The condition of man, says Martin Heidegger, is to be there.
To not be there suggests that one is in no condition to sing for
one's supper.
4. We have curious ideas of ourselves. Think of the muddle we get
into when we consider the weather.
5. Right and wrong is an instinct: and, again, indistinctive.
6. We get ideas in our head of what we mean by life. For Ringo,
life was eating beans and seeking cash, and he had a point. And he
farted ferociously. For politicians and rock critics life is there to
be sliced and wrapped; it's as pointless as firing bombs into people
who are neither your enemies nor your friends but there it all
goes. For some, life is here one moment, gone the next, but the
word of The Lord shall last forever. Some don't mind being
drugged in their life, and dragged nowhere in particular. There
are those who believe that life ends at the finger-tips. D. H.
Lawrence decided that nothing was important but life.
7. No things come to nothing.
8. And then there are a lot of stupid people about who are 'dead'
but not dead, the dead man in life.
9. The Noise, supremely, can help you not be the dead man in life.
It shakes the ribbon from your hair. Refreshes you with a bracing
awareness of your own finitude.
10. The grounds of incompletion lies at the heart of The Noise's
undertaking.
11. Ringo, a meaningless mule, rolled over and died. He will be
remembered for a wide passiveness and a long tail. The cause of
death appeared to be a portion of gingerbread stuffed with
darkness.
12. The demiurge is an hermaphrodite.
62
67
"With death so near, mother must have felt like someone on the
brink of freedom, ready to start life again And I too felt ready
to start life again. It was as if this great rush of anger had washed
me clean, emptied me of hope, and, gazing up at the dark sky... I
laid my heart open to the benign indifference of the universe." Albert Camus, The Outsider, 1946.
"Someday we will die in your dreams.
How I wish we were here with you now." - "In A Lonely Place".
"What I wanted was to die among strangers, untroubled, beneath
a cloudless sky What I wanted was some natural spontaneous
suicide. I wanted a death like that of a fox, not yet well versed in
cunning, that walks carelessly along a mountain path and is shot
by a hunter because of its own stupidity." - YukioMishima,
Confessions of a Mask, 1949.
stage of Dl whilst ManLeader's main component tested limitefficiency in psychic attack. Before accuracy had been developed,
doubts were chanced. Probable fusion would have been made
with my region had the ideals been agreed upon at the time.
However, the two guiding forces were at different poles.
The RH projection curiously arrived in my region soon after,
supposedly to finalise the ideal-agreement. And yet RH had
grown to be a random and possibly independently-controlled
characteristic of ManLeader. ManWerk of the time might have
said, "Did he fly or was he pushed?" But despite what the films in
20:4&5 suggested, there was evidently a great amount of
confusion surrounding the flight.
My region still employed primitive methods of internment
then, and RH was not granted any immediate opportunity to
justify his dislocation before walled by the authorities. After
20:4&5 years, no concession was made towards appraisal of RH
motive. "Let complicity rot while the inquisitor of time allows
characteristics of film to be shifted." If RH's ManLeader was able
to bring death to life, let the films that the regions are preparing
without the group's involvement not bring life to death - it seems
the burden might burst. For the great paradox that has survived
the years of Broken Icon is that to guarantee FUTURE,
ManLeader must struggle as We.
Transfer attention back to the contents of the film I am
document! Was RH the bridge between psychic ManLeader
extremity and inevitable D-Solution; the vacuum inherited from
defeating the psychic attack, only then to live with it forever; or
had their early film been showing how the YoungMen were now
vulnerable to the final extreme, even though it is still kept to
factor-possible? The psychic attack they used to glorify at the TV
'movie' films just before the group had been given the time to
submit the counter-technique might have become real, since
YoungMen started to assume ManLeader prototype extremities.
The suddenly-illuminated truth was that unless the film itself
contained two levels within the same frame, the psychotic would
be unleashed to factor-end even more swiftly, and at the very
hands of the group's risk-prevention.
A vital component of any living stereo image death.
In March 1981, "Love Will Tear Us Apart" was voted the No. 1 single
for 1980 by the music staff of Rolling Stone magazine in the United
States. On 10 Mar, New Order went into Strawberry Studios for three
days of sessions, which culminated in mix-downs of "Procession" and
"Everything's Gone Green" taking place on Thursday, 12 Mar 81.
*The Boys Club, Bedford (Saturday, 21 Mar 81): I.C.1 opened,
followed by Section 25.
\Jenkinson's Bar, Brighton (Sunday, 22 Mar 81): An unknown
reviewer, attempting to come to grips with this concert supported by
Section 25, thought he saw the shape of things to come: "I've just
witnessed what I think is an eerie look at the future.... No one danced,
no feet tapped, no one shouted or screamed. The audience, reflected
dimly in ice blue spotlights, stood immobile in frozen, rapt attention.
The group are called New Order. Their music and the effect it has on
their audience seem like something out of a George Orwell novel...
Their sound is electronic, ethereal, and doomy. The sort of music the
lost young generation of the 'eighties really wants. Just watch - and
listen."
'Trinity Hall, Bristol (Friday, 27 Mar 81): This concert, supported by
Tunnelvision and unofficially released on an LP entitled The Dream,
proved that Bernard was quite capable of putting a heckler in his place.
When someone in the audience shouted out "dross", Bernard said,
"You've got blonde hair!", a comment the heckler was unlikely to see
the significance of.
'Rock City, Nottingham (Wednesday, 8 Apr 81): During this gig at
Rock City, supported by Minny Pops, Bernard forgot the lyrics of "In A
Lonely Place". He was singing along in the usual way, then he got to
one passage and all that came from his mouth was a rather daft noise
for the rest of the line. Finally, Peter came in and started singing to save
him.
'Cedar Club, Birmingham (Friday, 10 Apr 81) (Fig. 70): Supported by
Minny Pops.
New Order now embarked on a three-date, mini-tour of Scotland:
'St. Andrew's University, Stirling (Friday, 17 Apr 81): Supported by
Foreign Press.
'Victoria Hotel, Aberdeen (Saturday, 18 Apr 81): Supported by
Foreign Press.
'Valentino's, Edinburgh (Sunday, 19 Apr 81): Supported by The
Visitors.
'Atmosphere (Romeo & Juliet's), Sheffield (Wednesday, 22 Apr 81):
New Order, supported by Tunnelvision, was reviewed by City Fun (Vol.
2, No. 15): "Half the audience appeared to be in a trance which isn't
uncommon at New Order gigs. Did you see the shadow of a ghost at
the back of the stage? The opening number was moody and moving, "I
wish you could be here with us today". It was sad really, best to get it
out of the way. On into the set, the music was a progression of what's
been in the past. Lighter rather than darker. ... The vocals were too
quiet when Bernard Albrecht sang, the lyrics got lost. Peter Hook sang
on one song; his voice was like an Australian with a plum in the gob,
unusual and unintentionally comical, could be great if he works at it.
... Supported by hordes of technicians and surrounded by hordes of
myths, the occasion of New Order playing almost overshadows what
they play. ... They got and played no encore. A fitting end to the
evening."
8o
109
"3
'Town Hall, Bournemouth (Friday, 2 Dec 83): New Order left the
55,000-watt amp and massive audience at Brixton behind them and
played to 1000 in this sleepy coastal town, a gig much more their
preference.
An Ideal for Living (book; written 22 Apr 82-12 Jan 84; pub. 12 Mar 84):
An unauthorised excursion (Fig. 103).
115
fracture. The reason I find myself describing what can only have
been a few episodes is because the machines in this, and it seems
in unrelated films, might give us the opportunity to reconcile
towards animated peace. Need for inbetweeners -where few
ManWerk are necessary, and where We can learn to have times of
Leaderless independ.
The machines provide the group film with its additional
dimension, and the vocalist's suicide afforded the audience the
ability to visualise some kind of reality. Not pure, but then with
less artificial colour. In a world of dinosaur-stereo picture, the
117
An Ideal For Living (4-song EP; rec. Dec 77; 7", Enigma PSS139, rel.
Jun 78; 12", Anon 1, rel. Oct 78).
Earcom 2: Contradiction (2 songs; FAST 9B; rec. Apr 79; rel. 1979).
Licht und Blindheit (2-song 7"; Sordide Sentimental SS 33003; rec.
Oct-Nov79; rel. Mar 80).
"Prime 5.8.6." (rec. Feb-Mar82; debut 21 May 82; rel., in part, Dec 82
on Touch 1).
IV. BROADCASTS
"Granada Reports" (Granada TV; b'cast 20 Sep 78):
1. Shadowplay (live).
First John Peel Session (4 songs; rec. 31 Jan 79; 1st b'cast 14 Feb
79).
"What's On" (GranadaTV; b'cast 20 Jul 79):
1. She's Lost Control (live).
"Something Else" (BBC-2 TV; b'cast 15 Sep 79):
1. Transmission 2. She's Lost Control.
Second John Peel Session (4 songs; rec. 26 Nov 79; 1 st b'cast 10 Sep
79).
Third John Peel Session (4 songs; rec. 26 Jan 81; 1 st b'cast 16 Feb
81).
"Celebration" (Granada TV; rec. 23 Apr 81; b'cast 18 Jun 81):
Played two sets (per union rules)
1. Truth 7. Death Rattle 4. Procession
2. Procession (2 takes) 5. Senses
3. Ceremony 1. Little Dead 6. Little Dead
4. Tiny Tim 2. Dreams Never End 7. Ceremony
5.
Truth
(3
takes)
-.
Digital
6. I.C.B. 3. The Him
123
PHOTOGRAPHERS
Peter
To n y
Anderson-UK
Barratt-
Santo
UK
Bastone-
Figs.
Figs.
UK
67,
Figs.
46,48,
60
84,
86
85,
44,
81,91
Philippe Carly- Belgium Figs. 34, 35, 40, 41, 42, 76, 77
Anton
Corbijn-UK
Figs.
49,
50,
51
Ellis-UK
Figs.
Furmanovsky-UK
Hickey-
Eric
UK
Figs.
Figs.
70,
R.Jacobs-Holland
M.Johnson-UK
Bryn
47
29,
75,
Figs,
30
82,
93,
Fig.
Jones-UK
Michael
33,
Korbik-W.
83
94
98
Fig.
Germany
92
Fig.
43
de
la
Francisco
Mata-
UK
Figs.
Mellina-UK
Chris
Fig.
Mills-UK
To n y M o t t r a m - U K
27,
Fig.
28
64
39
Fig.
72
Rusher-UK
Fig.
97
Smith-UK
Marc
Tilli-Holland
Fig.
Figs.
22
61,62
E t i e n n e To r d o i r - B e l g i u m F i g s . 7 8 , 7 9 , 9 5 , 9 9 , 1 0 0
Alison
Jos
Turner-UK
van
Malcolm
Vliet-Holland
Whitehead-UK
Fig.
Fig.
Fig.
101
63
18
!25