Amelia Coburn Interview (2020)

A couple of years ago I was going down a YouTube rabbit hole watching 'Wedding Present' live performances and stumbled across a performance of 'My Favourite Dress' by a young girl on a ukulele. 

That was my introduction to Amelia Coburn, Teesside born singer and songwriter, who at the time had been nominated in the 2017 BBC Radio 2 Young Folk Awards.

I was transfixed watching Amelia performing some well-known songs of my youth, including my favourite song by The Jam, 'Down In A Tube Station At Midnight'.

What grabbed me, as well as sounds that she could make come out of the instrument, and the way it was percussive as well, was the range and delivery in Amelia's voice, particularly liking the way she'd drop into her 'own accent' to accentuate certain words.

Further searching led me the 2016 debut album 'Nuke' which features interpretations of well-known tracks from everyone from Bowie to Blondie and The Specials to Stone Roses.

Following on from her debut release she followed this in 2017 with the album 'Amelia Coburn' the sound expanded beyond just the ukulele with percussion and even glockenspiel added. This album features a mix of interpretations (including The Clash and Dexys) alongside originals tracks, 'Song of The Sea Rover' and 'In The Arms Of Morpheus'. The standout for me though is the luscious Bond Themeseque sounding 'Dream Another Day' which sounds like there is an orchestra on there.

2018 saw the release of an EP '17th of July' featuring a mix of original tracks and versions of covers including a beautiful version of Radiohead's 'No Surprises' (a duet with David Benjamin)

Amelia's Bandcamp page is... HERE

Whilst no releases in 2019 Amelia was still busy preforming... but what else?

Hi Amelia, how are you?

Hi Iain! I’m good thanks, considering the situation. 

I’ve just finished my last ever piece of coursework at University, so now I can finally relax properly. 

It’s nice having the time during lockdown to practice music for fun, and spend the day reading and cooking.

What have you been up to since the release of the '17th of July' EP? I heard there are plans for a new album.

A couple of months after the release of that EP, I moved to Paris to embark on the first of three countries on my year abroad, which is a compulsory part of my modern language’s degree at University (French, Spanish and Russian). 

I later studied in Puebla (Mexico) and St Petersburg, and throughout this time, I slowly but surely wrote some new songs, mostly inspired by the array of cultures and people I came across, whilst simultaneously balancing my studies. 

I’m aiming to put together both new and slightly older original songs and, Covid-19 permitting, release a new album of self-penned material at some point this year.

On YouTube there is a clip of you doing an excellent version of 'Up The Junction' recorded at 'Costa Del Folk' in Ibiza in 2018. Are there any plans to record/release this?

Thank you! 

I actually did record a demo of this cover which is now lurking about somewhere in the archives. But going ahead, I want to move away from covers so that I can focus on my original material. 

I’ll still release the odd cover if I think I can bring something new and surprising to it, and I’ll definitely keep them in my live sets, but I think anything I record and release from now will be stuff I’ve written.

How did 'Costa Del Folk' come about?

I came onto the folk scene after being nominated for the BBC Young Folk Award in 2017, where my performance caught the eye of promoters from Cambridge Folk Festival, and I was invited to play Stage 2!  

I think from performing at prestigious events like these, your name easily gets passed around, which opens doors to even more opportunities, and that’s how I got to play at Costa del Folk.

(Cartoon Copyright - Lee Thacker 2019)

Also, in 2018 you played at Dave Gedge's 'At The Edge Of The Sea' festival in Brighton. 

How did it feel performing his most famous and popular song in front of him and a partisan crowd?

It was pretty daunting, I must admit! 

Playing covers of songs is always prone to getting some stick, especially because I play them in my own style, which people either love or hate (I’ve had plenty of Paul Weller devotees give me hate because of my quirky cover of ‘Down in the Tube Station at Midnight. Ha!) 

But performing a band’s song in front of the lead singer, especially a band that you’ve idolised from a young age, was really nerve-wracking. Luckily, the crowd at that festival was lovely and receptive, and David Gedge even mentioned later that day that my cover made him emotional. What a compliment!

You've probably covered this many times, so apologies. Your Dad must have a fantastic record collection?

He really does! I think it’s fantastic, because it’s so eclectic (and of course, full of great music.) 

Even from the cradle, my Dad would play me 90s alternative bands like Radiohead, and then when I was around 11 or 12 I got into some more ‘guilty’ pleasures of his, including ABBA, The Carpenters and even musical soundtracks. 

When I reached my later teenage years, I began discovering the new wave, punk and 70s pop sections of the collection, namely The Clash, The Police and David Bowie. I’m very thankful I was raised on such a healthy musical diet - it’s really shaped my set-lists and how I write music today.

The songs you've interpreted are some of the most loved from the 70's and 80's. Your version of 'Complete Control' got me reaching for my copy of The Clash's 'Sandinista' which features 'Career Opportunities' sang by the Micky Gallagher (of The Blockheads) kids... 

Are there any 'unexpected' songs you've considered covering/recording? Dead Kennedys? Rage Against The Machine etc?

I think singing slightly obscure songs by The Clash or Sex Pistols on a ukulele is already pretty unexpected, especially in folk music environments. I once played Anarchy in the UK to an audience of pensioners, which surprisingly went down a treat. 

I’ve never really listened to much ‘hard’ rock, but as for ‘unexpected’,  I once considered covering Rappers Delight by Sugarhill Gang because I know the rap lyrics off by heart (probably better to do the shorter, single version rather than the 12” 15 minute version - ha!) 

Is it fun choosing tracks for your Spotify Playlist? (Amelia's Month Of Music)?

Do you spend hours deliberating over the running order? 

It is, yes. The playlist is a good mixture of my all-time favourite songs, thrown in with a few new findings from the past month that I’ve had on repeat. 

I also like to include some of my musician friends and local artists that I am a fan of, for others to perhaps discover. 

I love curating it over the course of a few days and really trying to put something in there for everyone, and even spending a while making the running order fit well so it flows like an album would.

I missed the recent online gigs you'd done on Facebook, are you planning on doing any more?

Yep, for sure, especially if virtual gigs become the new normal. I really enjoyed the two I’ve already performed. 

The only thing is, Facebook and Instagram are both saturated with so many online concerts at the moment, and people are a little ‘Zoom’d’ out! I think it’s best to keep people wanting more and waiting a bit longer to do the next one, or maybe make it a ticketed event so it’s a little more exclusive.

What will be the first thing you do once Lockdown is over?

I’ll go give my grandparents a big hug, organise in-person concerts and ideally a tour, and then take myself and my ukulele backpacking round Latin America

Finally...

5 ‘Challenging’ Quick Fire Questions…

Favourite Gig as a performer?

Cambridge Folk Festival

Favourite Gig as a punter?

Any of the multiple Belle & Sebastian gigs I’ve been to.

Favourite album

Power, Corruption & Lies - New Order

Favourite single/song

Life on Mars - David Bowie

All-time favourite band/artist

The Smiths

Iain Key 2020

Crimson Bloom – Andy Johnson Interview (2020)

Andy Johnson is the charismatic front man of North East based ‘Crimson Bloom’ (@CrimsonBloomUK) who are  to release their 2^nd album ‘Finer Times’ at the beginning of August

Pre Order Link HERE

Their 1^st album, 2018’s self-titled debut album is an unashamed love letter to the late 80’s / early 90’s Indie Scene (Stone Roses, The La’s etc) with (as Andy says) ‘a knowing nod to the psychedelia of the 1960s and a few clubby, dubby flavours thrown in here and there’

I first come across Andy whilst he was performing as ‘Old Red Eyes’ (his solo Paul Heaton act) when supporting ‘The Smyths’ in 2019 and then found out about the exceptional ‘Southmartins’ (a Housemartins / Beautiful South act which he fronts)

 

After exchanging a few messages, I then found out Andy was also the lead singer of ‘Crimson Bloom’...

Before we talk about ‘Crimson Bloom’, how did you get to this point 

Were you in bands previously?

I’ve been writing songs since I first picked up a guitar and learned 3 chords. It’s just a machine to write on for me. I’ve been in a couple of bands here and there but never really gave anything a proper go. Making the music is the result for me and its always hard keeping people focussed, motivated and ‘happy’ in a group. Always egos including mine! 

I do, technically, still exist in a duo - Cherry Head, Cherry Heart - which is a spin-off with Naomi from The Southmartins. More pop-orientated really. 

I’ve also been writing some “dance” stuff with a new music friend. I have a variety of masks. I’m like a musical Worzel Gummidge.

Is this your day job?

Music is my day job yes. 

I make 95% of my income if not more from gigging and selling bits of original stuff too. 

I do a little bit of teaching with adults with learning difficulties which is rewarding and I manage a girl called Amelia Coburn. 

She was nominated for the BBC 2 Young Folk Awards a couple of years ago and is set to get cracking with music as a career too. I also do some painting and art etc when the feeling takes me.

How has Lockdown been for you and your family?

For me it hasn’t been a massive lurch as most of my week is spent at home sorting stuff or gigs and writing/recording etc. The vast majority of gigs are at the weekend. 

I guess the big change for me is getting used to having people around when I’m recording and writing. I have to sing quieter now! 

The big change for my family is having to listen to me singing the same thing over and over again or trying to play the guitar decently. I pity them.

You’ve been doing a lot of acoustic ‘online gigs’ for charity, as well as ‘Old Red Eyes’ you’ve been mixing it up a bit, you have a far-reaching repertoire. 

Do you find it easy to learn and adapt songs for your acoustic performances?

I’m trying to keep my hand in really as if I don’t gig for a long while I go stir crazy but also my voice goes out of shape and I need it to be decent, particularly for the Heaton stuff.

It’s been a great opportunity to expand my repertoire across the board really too.

I got a bit stuck in a groove of a song list set in stone for Old Red Eyes. It’s been developed and it’s like a proper show when you see it live with jokes and interaction and stuff but you can only get away with that once or twice with the same audience, so this has kicked me up 

the arse. It’s been great to play some of the lesser known stuff

He’s got an amazing catalogue of songs and  I’ve learnt a lot from knowing them a bit more from a writing point of view

Do you think ‘online gigs’ are going to be something that are now here to stay?

Well… I was doing them before the lockdown! Ha.

It does seem like everyone’s doing them now and that’s great really.

There’s a ton of talent out there and it’s good to see people you may never come across otherwise.

I think most people into playing and writing will keep doing them in one form or another. For me it’s been good to play to people across the world that aren’t likely to be able to see me in the flesh.

Looking at the ‘original’ songs you’ve produced with ‘Crimson Bloom’ did you know in advance that the songs / sound would be a ‘love letter’ to the late 80’s / early 90’s? 

I’m thinking particularly about tracks like ‘Fall For You’ with its ‘Elephant Stone’ drumming or ‘In All The World’ which is reminiscent of ‘Waterfall’?

Absolutely. No denying it. I set out to write another Stone Roses album. I had been leading up to it I guess with the previous solo albums I made - Underneath the Damson Tree and Imaginary Perfect - which both tapped into some of those sounds from my youth.

The Roses were clearly not going to make another album and certainly not sounding like people hoped deep down - that early sound around the debut and up to Fools Gold.

There’s a song I wrote called Sunshine Deluxe on Underneath the Damson Tree which was an early attempt to write something in a Roses style.

I never listen to them though when writing this kind of stuff and didn’t at all when writing and recording the first album. I like the idea of it being a fairly naive take on that sound and as such it has a bit more of me and other influences in there.

There’s definitely a bit of The Smiths in there too. I’ve heard the Stone Roses debut album so many times though I can replay it in my head at will anyway! My instinct when writing is usually to steer things away from being pure pastiche/homage but because that was the intention I actively made decisions to make stuff more like the influence.

That said there’s a few bits in there on the first album that are developments of where they were headed after the debut album rather than pure imitation. I did sit and write the songs as songs in their own right though and they are mostly about real situations so that had to work first and foremost.

How has your sound developed for the new album?

The sound has changed a fair bit.

There’s definitely a few songs that could have sat on the first album but the touchstones are less obvious. For the first album you could almost say “ah well this is Elephant Stone, and this is Waterfall”.

I’m not sure there’s anything on the new album that you could say that about although it still feels fairly familiar. I would say everything has gone to the extremes. The jangly stuff is more jangly, the groovy stuff more groovy. The number of clear influences has increased too. I would say The La’s, Charlatans, The Coral and Can are all in there to a lesser or greater degree.

It’s more psychedelic in places and more heartfelt. It deals with death, love, corruption and the seven deadly sins.

 

During 2020 so far you’ve been prolific with your recorded output, as part of ‘Crimson Bloom’ name you’ve released the ‘Cut Me Down EP’; ‘This Is The Future’ single and the new album due soon. You’ve and the ‘Strawberry Sunshine’ EP in your own name.

Was ‘Strawberry Sunshine’ something planned or spontaneous as it seemed to appear from nowhere

I’ve been writing and recording constantly in lockdown as well as now trying to get the album finished.

I did put an EP out a couple of weeks into lockdown but didn’t really promote it.

Strawberry Sunshine and the tracks that are on the EP (as well as a few others that may appear at some point) were mostly written as potential songs for the band, so they fit in, sonically, with what we’re doing really.

I don’t tend to plan to sit down and write though. It’s always when I get some inspiration. For instance, a song on the Strawberry Sunshine EP - Kissing The Morning - was inspired by Shiner Sam (@shiner_sam) from Twitter. She’s a big voice for unsigned and upcoming bands.

She posted a picture of a beautiful morning and she has a real get up and go attitude (particularly since she like to have a good party/drink too) so it was a bit of that and it just fell out of my head and I had it recorded before 10am on the same day.

There are also a few tracks left off the album that will probably become standalone singles. One has a definite Second Coming kind of feel but a bit sparser and we have a cover that 

we play live that we’ve recorded too.

You’re very active on Social Media, especially Twitter. Would you say for new / upcoming bands this has replaced things like the NME to reach a wider audience?

I think it’s possible to find an audience on Twitter.

I hadn’t really done much promo at all for the band/album for the first year or so. It was just water under the bridge really but then I saw another couple of bands bubbling up and getting a response that were, essentially, playing the same kind of stuff so I went looking for Roses fans and people into music along those lines and found a whole community of like-minded people on Twitter in particular.

I love it on there. I probably spend too much time on it to be honest! There is a genuine community feel though if you follow the right people. Really supportive of each other on a personal level and you get introduced to all kinds of new and old music too.

I think because what we do isn’t particularly in vogue at the moment, we struggle to get our foot in a lot of doors but we’re happy slowly building on what we have and finding genuine fans not just people following some hype.

We’ve only really done a handful of gigs and generally have to rely on putting them on ourselves (like most local music scenes the Teesside/North East one is pretty cliquey) and now the lockdown is looking like taking that promotional aspect away Social Media is where it’s at for now.

For new/upcoming bands (we’re one of them by the way!) I would just say don’t compromise what you’re doing musically, and you’ll find people that like it. There’s a load of independent blogs and radio stations that love this kind of music. It helps if you have someone to champion you somewhere but that can take time to find the right people.

Failing that just make up a load of shit about yourself and lie your way to the top which seems to work for some. Ha.

With Music Streaming being the main way many people consume music, how hard is it to build an audience? I imagine there are pro’s and con’s?

Streaming is pretty terrible for us to be honest. It has helped a bit having people putting us on playlists and getting found by the odd person but most days we might get 20 plays on Spotify (and still the biggest amount compared to other platforms) for instance and that doesn’t even begin to pay for the cost of recording, mixing and mastering songs.

It gets frustrating and it’s difficult not to be negative about it but it is what it is and to win their game you have to play their game. We’ve decided not to put the new album on streaming sites until we’ve either built an audience/demand for it on there or made the production costs back through physical releases. All things in life are better physically anyway.

Gigging aside, what will be the first thing you do once Lockdown is over?

Just get out and see some mates. I live two doors down from the pub so I imagine a pint or so in there will happen. Looking forward to working with others more closely on music too.

Finally, ….

5 ‘Challenging’ Quick Fire Questions…

Favourite gig as a performer?

First time we played Leeds O2 Academy was pretty special but also selling out Middlesbrough Town Hall with the Southmartins.

Favourite gig as a punter?

The Polyphonic Spree at Manchester Academy. Just a mad, happy, inclusive gig that was essentially a legal high.

Favourite album

The Stone Roses. It’s just got everything you need

Favourite single/song

At a push… There Is A Light That Never Goes Out. Or A Day In the Life. Prettiest Eyes… ask me tomorrow.

All-time favourite band/artist

The Beatles. Where it all started for me.

Iain Key 2020

Remembering The 22 (2020)

3rd Anniversary of the Manchester Arena Bombing

Section 25 - 'Duette' Review and Vin Cassidy Interview (2020)

Section 25 - Duette (2020)



It's arguable that Section 25 have never received the credit they truly deserve.

Hopefully, the 'new' live album 'Duette' performed by founder member Vin Cassidy alongside longtime collaborator Stephen Stringer, recorded live at 'Replugged in Vienna on 25th October 2019 will help correct this, building on the positive reviews for 2018's "Elektra" and last year’s lavish, 5 album, boxset / re-issue of debut album "Always Now" via LTM

Section 25, are one of the 'Factory' bands who aren't Joy Division/New Order or Happy Mondays... while these acts tend to be the ones first name checked, the aforementioned label wouldn't be as celebrated if it wasn't for the 'other' bands such as Stockholm Monsters, A Certain Ratio, Durutti Column, Northside, or, indeed Section 25

It's hard to give a 'brief introduction' as the story of the band has so many twists and turns, triumph and tragedy over a period of 40 plus years...

Brothers Vin and Larry Cassidy formed the band in Poulton Le Fylde, near Blackpool in 1977 along with Paul Wiggan. They were fans of 'Kraftwerk', 'Can' and 'Neu!' alongside disco; they began dabbling in electronic music at a similar time as pre Sully/Catherall Human League, Public Image Ltd and Joy Division (their debut single, 'Girls Don't Count' produced by Ian Curtis and Rob Gretton)

The 1st album, the previously mentioned 'Always Now' was recorded in early 1981 but delayed until the Autumn due to the most the ambitious and expensive sleeve/packaging Peter Saville ever designed for the label which made it difference to market abroad

The 3rd album, 'From The Hip' was released in 1984 and marked a change of direction after line-up changes see Vin and Larry's sister join the band as well as Larry's wife Jenny. The lead track from this album, with its ethereal female vocals 'Looking From A Hilltop' (produced by Bernard Sumner) became a club hit... for casual fans this is possibly the most familiar track in the catalogue as it's often been used to represent the band on compilations

Vin left during the recording of the 4th album (recorded in 1986 but not released until 1988)

Sadly Jenny passed away following a battle with cancer in 2004.

The band then reformed and have changed line several times since 2006, sadly losing founding brother, Larry following a blood clot in 2010, continuing to release new material.

In 2016 there was an unexpected boost in bands profile when rapper Kanye West sampled the song ‘Hit’ (a paean to the then recent murder of John Lennon) from ‘Always Now’ for the outro of his 2016 track ‘FML’ (a favour later returned as Section 25 covered this on 'Elektra')



2018’s 'Elektra' featured the line-up of Vin Cassidy, Bethany Cassidy (Larry's daughter), Jo Cassidy, Michael Cassidy and long-time collaborator Steven Stringer with guest guitar by the band's original guitarist Paul Wiggin. 

It’s possibly the most 'mainstream' (is that a dirty word?) that the band have ever got despite there being a mix of styles. The songs wouldn't sound out of place on movie soundtracks or daytime radio, from the opening 'Laid Back', the uplifting 'The Greatest Thing' and 'euro-rock' 'You Want Some'

Worth checking out, it's a seriously great album.

But that's not what we're here for...

For 'Duette' rather than 'Section 25' as a band, this is Vin and Steve as a live project running alongside the parent group (sometimes called ‘S25 Industrial Unit')



Although many of the tracks performed on this release date back to the early 1980's the arrangements of more than 50% of the album actually take their lead from revisiting/reimagining done on the 2010 release 'Retrofit' (sadly Larry Cassidy's last work).

'Wretch' for example sounds like a sibling of 'Working Men’s Club's' celebrated single 'Teeth' (which itself was compared to a mix of early New Order and Public Image)

The gig gets off to a storming start with 'Be Brave' with Vin's vocals, opposed to Larry's suiting the more aggressive and electronic sound before leading into 'Girls Don't Count'

Next up is 'Hit', never a mainstay of the bands set previously. I feel it does jar a bit following the opening tracks and slows things down abruptly but it does lead nicely into 'Melt Close'.

After this the performance picks up the uptempo electro-pop of 'Beating Heart'

'You Don't Have to Be Liked to be Loved' takes an interesting departure from the recorded version which was sung by Bethany on the previous album. Rather than a gentle sway it's now got a big danceable beat and groove that wouldn't have sounded out of place in the Hacienda in it's prime.

This leads nicely into the final 3 tracks which leave the performance / album on a high and the audience / listener wanting more.

The previously mentioned 'Wretch' leads into long time firm favourite, the unrelenting and driving 'Dirty Disco' before climaxing with an euphoric version of 'Looking From A Hilltop' 

The closing track could easily be doubled in length beyond the 6 minutes 17 seconds it is here, especially as it feels it's going to kick in again just as it ends.

With male vocals on the track it's transformed into something akin to 'Underworld'. That's not meant as criticism at all... in my mind when listening to it I'm imagining Vin and Steve performing on the Main Stage at Glastonbury, just as the sun is setting and lasers firing out over 50000 people dancing along

Which brings me back to my opening point...

Unlike many bands and artists of their generation, or since, Section 25 are still creating new and innovative material, developing and adapting as they go

I'd recommend 'Duette' as a great introduction to the band if you're unfamiliar, and an opportunity to reacquaint yourself if you already were

__________________________________


A Brief Interview with Vin Cassidy

Do you think that Section 25 have been more influential than they are given credit for?

Yes absolutely, we have never had the real credit but that is something I definitely do not worry about these days. 

Were you influenced at all by the likes of Chemical Brothers, Underworld etc to do  the ‘S25 Industrial Unit’ project

No not in the least , it was something that came from within in a quite basic way . I had not worked like this for some time and for me the time felt right.

Was there a deliberate attempt when making ‘Elektra’ to make it more accessible/mainstream?

It was not deliberate, more just a result of the type of mix of people working on the project.

Did Kanye sampling ‘Hit’ change things for you? Has it changed the way you make music?

No not really, but the money has been useful in re-mastering material and in terms of studio time etc.

What have you been listening to during lockdown?

There has been a real return to my early listening, a return to less complicated stuff of my youth I suppose, maybe because when you are young things appear black and white  .....maybe I crave that certainty in these fucked up times ....not sure what that is about or why but I have been listening to a lot of firsts like ''Piper At The Gates Of Dawn'' and ''Are You Experienced ?'' as well as Hawkwinds ''Doremi Fasol Latido'' , they were the first band I really saw live at age 13.

What’s next for Section 25?

Hopefully gigs later on in 2020 or more probably in 2021 . Also some new recordings for the new streamlined fighting unit that is Section 25 now.

Iain Key 2020

40 Years.... Remembering Ian Curtis (2020)

Last night I should have been at the Apollo Theatre, Manchester watching Peter Hook & The Light performing the songs of Joy Division in recognition / memory / celebration of Ian Curtis who committed suicide on the evening of Saturday 18th May 1980 aged just 23 years old 

The tickets had gone on sale over a year ago, it was sold out well in advance, but sadly in the current climate there was no way it could have gone ahead. The gig has been rescheduled for January 2021, which is fine, but I imagine it may not have quite the same emotional weight it would had it taken place as planned 

 That said, the surviving members of Joy Division have pulled out the stops to ensure that their singer and friend is remembered and the fans have an opportunity to mark this landmark anniversary this week.

Peter Hook is streaming a previously unseen gig filmed in front of an audience of 500 on the 35th Anniversary where he and his band played every Joy Division song 'officially' released 

That's on from Monday 18th 12:00 (UK Time) for 24 hours via YouTube https://www.youtube.com/channel/UCXmOfbv6KTva9ZDJCHgaBHA (apologies if you're reading this after midday on 19th May, although a DVD https://liveherenow.co.uk/products/peter-hook-the-light-so-this-is-permanent-dvd will be available in the next couple of months!) 

Bernard Sumner and Stephen Morris are in conversation, accompanied by Dave Haslam, 
and have a number of 'guests' between 20:00 and 22:00 on Monday evening via https://blog.size.co.uk/2020/05/15/united-we-stream-gm-headstock-presents-moving-through-the-silence/ 

Both events are raising money / taking donations for charity, Peter for epilepsy, Bernard and Stephen for Mental Health, two causes which are extremely worthy. 

 ______________________ 

(Permission pending from owner of photo)

Last weekend a series of photographs appeared on Social Media of Joy Division which had previously been unseen. These had been taken at the Hope and Anchor in London on 27th December 1978. 

Only 30 people had attended the bands first gig in the capital city, and the group were still 6 months away from releasing their seminal debut album, 'Unknown Pleasures' and had yet to release a single on Factory Records. 

It was that night though that (without sounding overly dramatic) everything changed, on the way home Ian had his first epileptic seizure... just as the bands profile, popularity and plaudits were beginning to rise, the health of the singer began to decline

The story of Joy Division has been told in two dramatised films, '24 Hour Party People' and 'Control' as well as Grant Gee's supurb documentary film, 'Joy Division'. 

Many books have also been written, the best probably being 'This Searing Light, the Sun and Everything Else: Joy Division: The Oral History' by Jon Savage, which takes you on a journey from the perspective of the band and those around them. Debbie Curtis's 'Touching From A Distance' is also a must).... 

All of these are worth searching out, although I suspect most people reading this blog will be familiar and have searched out and spent many hours watching and reading the above as well as the published essays from Paul Morley as well as the biography by Tony Wilson's first wife, Lindsay Reade, soaking up every detail revealed. 

When I first 'discovered' Joy Division in the mid 1980's, with the special edition cassette of 'Still' (to which I was disappointed to find there was no 'Love Will Tear Us Apart anywhere to be heard), other than the music the only things available were a single book, 'An Ideal For Living' which contained a handful of photos (mainly taken by Kevin Cummins, Anton Corbijn or Paul Slattery) and a 'low quality' video 'Here Are The Young Men'... 

Information was limited, the Internet didn't exist and 'New Order' weren't always forward about giving interviews or talking about their past.I spent hours talking to older colleagues who had seen the band or hanging around in Manchester's Underground Market or Corn Exchange searching out bootleg recordings of gigs, Peel Sessions, and demos to try and put pieces together of 'the jigsaw'. 

For those seeing those pictures for the first time last week, like me, there was a sense of wonder. Just when you think there is nothing more to see, something else revealed... on this occasion nearly 42 years later. 

 This is probably, partly, why my love of Joy Division has endured, unlike today where you can open an app on your phone and download every recording commercially available, I was made to work for it. 

Peter Saville's iconic sleeves offered no information other than title, catalogue number and the name of Factory Records. Often the official recordings would be in and out of print (the gorgeous 'Atmosphere' specifically). 

The various releases weren't even all on the same label!

Like many I'd sit and try and decipher the lyrics, playing tapes over and over to understand the subject matter. Even now, 'Closer,' with the benefit of hindsight and understanding of the situation is extremely powerful, with Ian Curtis bearing his soul for all to hear... and the lyrics for 'Love Will Tear Us Apart' seem beyond anything someone only 22/23 should have experienced never mind articulate. 

Over the years with compilations, box sets, biographies and the aforementioned films the story of Joy Division is no longer a secret, however for many of a certain age it was passed down almost as folk lore, a little being revealed at the time... but for those who are unaware, a whistle-stop tour... 

• Formed after seeing the Sex Pistols at the Free Trade Hall by Bernard and Peter 
• Joined by Ian and completed by Stephen on drums 
• Christened Stiff Kittens but changed name to Warsaw before their first gig 
• Originally quite generically 'punky' 
• First release on vinyl on Virgin Records 10" EP recorded on the last weekend of Manchesters 'Electric Circus' venue 
• Band record initial. self funded, 4 track EP in December 1977
• It's released in on a 7" single with poor sound quality in June 1978 
• Due to 'the name' and imagery accused of Nazi connotations/leanings 
• Taken under the wing of manager (and DJ at Rafters) Rob Gretton 
• Re-release debut EP on 12" 
• Record a debut album for RCA Records but buy tapes back as not happy with outcome 
• Appear on 'Granada Reports' performing 'Shadowplay' 
• Sign for Factory Records Team up with 'genius' producer Martin Hannett 
• Gig often while still holding down day jobs 
• Ian develops epilepsy Gigs continue 
• Record / release 'Unknown Pleasures' with iconic sleeve by Peter Saville 
• Adored by press and fans alike, Bernard and Hooky don't like it 
• Appear on BBC2's 'Something Else' performing 'She's Lost Control' and 'Transmission' 
• Gigs continue including a tour with Buzzcocks 
• Band take first trips to Europe Ian meets / starts platonic affair with Belgian Embassy worker and gig promoter Annik Honore 
• Band turn 'professional' and give up day jobs 
• Ian's illness worsens 
• Second album 'Closer’ recorded
• Band choose picture of a mausoleum for the cover 
• Ian struggling with mental health, married since 1975, a young daughter and a 'lover' 
• Ian doesn't like the album that's been recorded 
• Gigs continue 
• Suicide attempted 
• A riot ensues at 'Derby Hall', Bury when Ian is released from hospital but others are used to stand in Around 300 people attend the bands final gig on 2nd May 1980 
• Ian Curtis commits suicide the day before the band were due to fly to America 
• Single 'Love Will Tear Us Apart' released in June 1980 reaching No 13 in the Charts (probably would have been higher if it had not been for a strike in the Media meaning some music shows were cancelled) 
• Album 'Closer' released in July peaks at No 6 

All that in the space of 4 years, but worth bearing in mind the first London gig was December 1978, the debut album wasn't released until June 1979... within a year... well you know... you've read this far (hopefully). 

Even typing/reading that, it is an incredible story and honestly, given the speed of events, the tragedy unfolding at the time that the 'success' was starting to happen; one which you could potentially dismiss as 'far fetched' ... but here in the North West of England it happened... 

Despite what you may think now, with Peter Saville's imagery visible in the media, the bands name plastered on more T-Shirt's than you can count around all corners of the word they were never 'a big band'. Only around 300 attended their final gig, their biggest 'home town' gig in their own right saw them attract a crowd around 900 a couple of weeks before... 

Never achieving 'Chart Success' while a functioning band, 'Unknown Pleasures' only sold 15,000 copies in its first 6 months and didn't threaten the 'Top 75 albums' until after the posthumous 'Closer' had been a 'hit' the following year.

Despite this, maybe in some part because of the mythology surrounding the band the legacy has grown year on year with the influence in popular media, culture and music is there for all to see. (Further reading https://www.theguardian.com/music/2019/jun/18/the-eternal-influence-of-joy-division-moby-killers-jon-savage-zia-anger) 

It's often been said that U2 picked up the ball and became the band that Joy Division should have been. It's easy to speculate but I'm not sure that things would have gone that far, even if Ian had lived... 

The fact remains the story of Joy Division has a start, a middle and an abrupt end, and what a story it is. 

40 years after the abrupt, possibly cruel, possibly selfish 'full stop' those involved who are still with us are making sure that Ian's short life is celebrated 40 years after he left us and using the opportunity to benefit things which, if had been better developed and more understood at the time could have lead to a different outcome but now can make a difference to people. 


Iain Key 2020