Documentos de Académico
Documentos de Profesional
Documentos de Cultura
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8.
EQUIPMENT FILE
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9.
DISCOGRAPHY
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15.
THE STATISTICS
a) On Record
b) The John Peel 'Festive 50'
c) Music Paper Polls
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ORIGINS-1977
The aggressive 'Never Mind the Bollocks' rock of the
Sex Pistols now seems to have very little connection
with Joy Division music like 'Atmosphere' or 'New
Dawn Fades', but like so many bands, Joy Division
may well never have existed if the Sex Pistols had not
turned the British rock scene around from its collision
course with Middle of the Road respectability in the
summer of 1976, first with live performances of
almost total spontaneity and carefree enthusiasm, and
then with a series of singles which took rock out of
the concert halls and back onto the streets.
Ian Curtis, Bernard Dicken, Peter Hook and Steve
Morris were all twenty in 1976 and working in either
dull or dead-end jobs. Ian Curtis pushed trucks in a
cotton mill and Bernard Dicken pushed a pen in an
office. At twenty they were old enough, after four
years of work, to feel themselves to be in a rut but
still young enough not to have dreams and ambition
worn out of them by the daily grind. The Pistols
revolution, which was almost immediately taken up
by local Manchester bands like The Buzzcocks,
Slaughter & The Dogs and The Drones, inspired
Curtis, Dicken and Hook, along with so many others,
to buy instruments and form a band as a means of
expressing themselves. A year earlier such an idea
would have seemed absurd - only Real Musicians
who had 'paid their dues' in bands since childhood
had any right to get up on a rock stage - but the
Pistols had cut through the mystique of the '70s rock
musicians' art and served as a reminder that three
chords and a lot of cheek were basically all that any
one ever needed to rock and roll.
At first it was just three friends who met at gigs
(Bernard and Peter had been at school together in
Manchester) learning guitars and trying to play and
write punk music in the evenings and at weekends.
Even by the time the three began to take on roles Ian Curtis as the singer and-occasional guitarist,
Bernard Dicken as the guitarist and Peter Hook as the
bassist - and call themselves a band early in 1977
there was still little to distinguish them from any
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siderable demand.
The A side selected was 'Transmission'. The song
had been a highlight of Joy Division live since late
1978 and the January John Peel programme session
version had created a great deal more interest. The
exclusion of the song from 'Unknown Pleasures' had
been a disappointment to many but with deliberate
contrariness Joy Division did not begin to mix the
track for single release until July - when any other
band would have been busy promoting the song as a
hit single and 'Transmission' did not appear in the
shops until the following November.
The attitude of Britain's notoriously cynical rock
press to Joy Division had been favourable from the
very first and with the release of 'Unknown Pleasures'
began to verge on the dreaded 'future of rock 'n' roll'
overkill. This, combined with heavy play on the John
Peel programme, ensured that the album sold out its
tentative 10,000 copy first-pressing in less than two
months, more than justifying Tony Wilson's personal
investment of the unit trusts he had inherited the
year before.
Although 'Unknown Pleasures' never reached the
British album chart, even during the first two fastselling months, Joy Division's unique arrangement
with Factory actually meant that they earned more
real cash money from the album than most of the
groups signed to major labels with records high in the
Top 20. Factory made no advance payment of royal
ties but merely put up the funds to pay for recording
and manufacture and, once those costs were covered
by income from sales, paid over two thirds of all the
money plus the usual performer/writer royalty
percentages. That kind of deal on 10,000-plus albums
wholesaling at around 2.70 eventually brought Joy
Division a very healthy clear profit as the basis of a
living wage - a great deal more than the usual 4% of
selling price contract would have brought them.
Joy Division's glorious independence with Factory
proved itself capable of profitability to match its
artistic integrity but independence also brought
problems. Income from records is slow to reach
record companies and performers, and with limited
funds and no arrangement for record manufacture
and distribution, each batch of 10,000 copies of
'Unknown Pleasures' could only be financed when the
previous batch sold out, often leaving shops with
customer orders but no copies to sell. It is a well
known fact that customers who find that records are
not readily available will buy something else, so
'Unknown Pleasures' lost numerous sales by being
temporarily off the streets. The lack of mass promo-
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of unusual power.
The growth of such a death cult focusing on Joy
Division was doubly inappropriate, for beneath the
melancholy surface of their music lay an undeniable
affirmation of purpose and hope. The apparent
despair and sadness in much of Joy Division's greatest
music was, in context, merely an aspect of humanity
reflected and always accompanied by a sense of ultimate
victory over adversity. The 'message' of Joy
Division's music was not as so many like to believe
to lay down and die but to accept the human con
dition for what it was without self-pity and rise
through that acceptance to the affirmation of
individuality and purpose. The 'gloom' often provid
ed a smoke screen for the true uplifting nature of Joy
Division's music which, far from being the soundtrack
for suicide, was something that almost by its very
existence proved that determined individuals can
assert themselves against the odds, 'beat the system'
of the music business or anything else.
Ian Curtis' death of course halted the US tour and
put an end to Joy Division as a band. All the mem
bers of Joy Division had agreed that if any one
member ever left the remainder would immediately
abandon the identity of Joy Division along with all
the material associated with the band and begin again
under a new name with new music. Such devotion to
integrity and principles is extraordinary in a music
business in which bands often tour under once famous
names regardless of the fact that the original members
associated with near-forgotten hit songs may have
left the fold years since. The decision to bury Joy
Division with Ian Curtis was a brave one in view of
the fact that his death had created the myth that the
singer and co-songwriter was the be-all and end-all of
Joy Division's greatness, and far too many people
were prepared to regard the remaining members of
Joy Division as pathetic figures whose ride to fame
and fortune had been halted for good by the death of
their pilot. This was, as events were to prove beyond
all doubt, an extremely inaccurate assessment of Joy
Division's creative mechanism: Albrecht, Hook and
Morris were never merely three satellites of a creative
sun but three quarters of a unique partnership.
Publicly the remains of Joy Division - now name
less - kept a low profile, writing a new repertoire
while testing out the possibilities existing within the
quartet framework. The whole question of 'replacing'
Ian Curtis was avoided, but at the same time the
possibility of a new member or members if needed
was kept open. Any additions would be part of a
natural process arising from needs rather than the
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8. EQUIPMENT FILE
BERNARD ALBRECHT:
PETER HOOK:
STEVE MORRIS:
IAN CURTIS:
MARTIN HANNETT:
(Producer)
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10.
VINYL COLLECTORS CHECKLIST
(All are legal UK releases unless stated)
SINGLES/EPs
7 inch
I I Ideal for Living (Enigma Records)
'' With 'Hitler Youth' drummer sleeve and 'This is not a concept EP it is an Enigma'.
Sold out September 1978 -Deleted
I I Factory Sampler (Factory Fac 2)
Double EP shared with Cabaret Voltaire, Durutti Column and John Dowie.
I I Transmission/Novelty
Transmission/Novelt (Factory Fac 13)
Picture sleeve single.
I I Atmosphere/Dead Souls (Sordide Sentimentale SS33002)
French single with folder, essay and print. Limited edition of only 1578 copies
sold out and deleted.
I 1 Love Will Tear Us Apart/These Days (Factory Fac 23)
Picture sleeve single.
I I Komakino/Incubation/And
Komakino/Incubatic
Then Again (Factory Fac 28)
Sleeveless flexi-single provided free of charge.
I I Ceremony/In
a aLonely
Ceremony/In
LonelyPlace
Place(Factory
(FactoryFac
F 33)
First New Order single in picture sleeve.
12 inch
Ideal
for Living
(Anonymous
Records
Anon 1)
Re-issue
of first
(7 inch) EP with
re-designed
picture sleeve. Sold out deleted.
I I Earcom 2 (Fast Products 9b)
' ' EP package shared with Thursdays and Bascax.
She's
US Lost
singleControl/Atmosphere
with picture sleeve. (Factory US2)
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ALBUMS
12 inch
I I Unknown Pleasures (Factory Fac XX)
I I Closer (Factory XXV)
I I Still (Factory Fac 40) Double album.
10 inch
I I Short Circuit: The Last Night at the Electric Circus (Virgin VCL 5003)
' ' First 5,000 copies in blue vinyl.
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12.
JOY DMSION LEFTOVERS
I STUDIO RECORDINGS
In November/December 1977 Warsaw recorded early material for a proposed album
that was never released. Although quality is said to be poor these tapes may be of
some interest.
At least three finished Joy Division songs remain unreleased: The Drawback/
Exercise One/The Sound of Music. (The last two were replaced by the more satisfac
tory John Peel Radio 1 session versions on the Still album so would seem unlikely
ever to find their way onto a record).
H OFFICIAL LIVE RECORDINGS
The entire Joy Division performance (as Warsaw) at the Electric Circus, Manchester
in October 1977 was recorded by the Manor Mobile but only At A Later Date was
used for the Virgin Short Circuit live album. The band was of the opinion that their
choice of song for inclusion was not a good one so it is likely that something of
interest exists on these tapes in recordings of good technical quality.
Several 1979/1980 Joy Division gigs were professionally recorded for a proposed
German live album and such tapes certainly exist of the 3rd April 1980 Moonlight
gig from which the encore of Sister Ray was taken for inclusion on the Still album.
Many (if not most) Joy Division gigs were recorded in some form and 8mm and
16mm film of several gigs is also in existance much of this provides the basis of
the Factory Joy Division video (Here are the Young Men).
Ill 'THE JOHN PEEL SESSIONS'
Joy Division recorded two sessions for the John Peel BBC Radio 1 show during
1979 at the BBC's Maida Vale (London) 8 track studio with staff producer Tony
Wilson:
Recorded 31st January, 1979
Exercise One/Insight/Transmission/She's Lost Control
Recorded 26th November, 1979:
Sound of Music/Twenty-Four Hours/Colony/Love Will Tear Us Apart
Both sessions were broadcast at least three times each and despite the limitations of^
only eight tracks and limited time are of very great interest as all versions are consid
erably different to any officially recorded. In fact, Factory were keen to release an
album of these sessions but because of complex BBC contractual agreements this
was prohibitively costly and only Exercise One and Sound of Music could be included
on the Still album.
The first New Order recording session after the death of Ian Curtis was with the
Factory protege Kevin Hewitt (two tracks not used).
In February 1981 New Order made their broadcast debut with a session for the
John Peel programme and the early versions of songs much later to appear on the
Movement album (November 1981) are in some ways more interesting. Once again,
these are unlikely to be released officially.
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H
Heart and Soul (Studio version on Closer album
also featured live. Manchester band The
Passage have recorded a reply to this song
Devils and Angels).
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K
The Kill (Early Joy Division song eventually
released on Still album).
Komakino (Studio version featured on Free
Flexi).
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