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

Factory United - A Chat With Fiona Allen (2020)

Until a few days ago this ‘piece’ had been meant to go onto another blog/website however that is currently on hiatus...

To be honest the article was ‘in draft’ for some time and it had gone through various revisions but now having it finished and nowhere for it to go it felt wrong...

So in the spirit of of the individuals mentioned within I got off my arse and created this blog so there would be somewhere to ‘put it out’ (because that’s what they would have done!)

That was 48 hours ago...

Factory United – A Chat with Fiona Allen

In Manchester at least  the blue side have been much derided over this season with their use of the 'Hacienda Strips' as part of their away kit

Even as a lifelong United fan and attendee over 30 years I can respect what they've done as a homage and mark of respect to the likes of late Rob Gretton (died 15.05.99), manager of Joy Division and New Order, one of the founding members of Factory Records and the key driver behind the Hacienda…

Also, to Mike Pickering, legendary Hacienda DJ, leader of M People, respected A&R man (without whom the careers of Happy Mondays, James could have been very different)

The influence which Rob and Mike have had on the culture of Manchester is without question and is most likely to have touched, in some way, anyone reading this whether they realise it or not

So I guess fair play to Manchester City for their tribute/acknowledgment, Rob and Mike deserve it

For those of a certain age, the heady years of the late 80’s and early 90’s may be beginning to blur a little. It is easy to mix the heyday of 'Madchester' with the rampant success and dominance during Fergie’s time however this isn't strictly true.

The roots of Madchester can first be seen and heard around 1987 when Little Hulton's finest (and United fans) introduced 'E' to the city, helping turn football hooligans from gangs looking to fight to groups looking to party. The story of the drugs, guns and gangsters taking over and then falling apart have often been told so it's not worth repeating here.

One thing that is not often discussed, and some Manchester United fans may not be aware, is that it was the red side of Manchester who were the first to be linked to fashion long before there was a new 'leisure wear' line to accompany the replica shirts featuring the Adidas or Nike logo

On Thursday 17th May 1990, as the 'Madchester' scene was peaking (Happy Mondays 'biggest' hit 'Step On' was in the Top 20), United were seeing their first flourishes of success with an FA Cup replay victory against Crystal Palace which led to a period of domination unlikely to be ever repeated in English Football

Around this time, Factory Records employee, front of house at the Hacienda, future Corrie and EastEnders Actress and Award-Winning Comedienne, Fiona Allen had the idea to use her Factory credentials to bring the worlds of football, music, and fashion together

How did you get involved with United?

I was a United fan, and a Bolton Wanders fan (sorry!) Tony Wilson was obviously a massive Man United fan and we'd often get a load of tickets to all the games, generally, in the stands but sometimes we'd get a box. I used to look at their merchandise, but it wasn’t really to our taste, it wasn't very Factory, so we come up with the idea to make something of our own. Merchandise even then was tied up in knots, but I managed, with some perseverance, by talking and pushing the people at United, explaining that it was going to be uber cool, it wasn't going to cross markets or probably even make any money, it was just a creative thing using the emblem and a statement. No one was going to 'get it' unless they were a music fan and a United fan, so people buying the other merchandise wouldn't want to touch it anyway

They were brilliant t-shirts

How many shirts were there?

Three in the end. There was one with the United emblem and Factory logo, another which had 'Are You Man U' plastered on the front and another with 'the Saint' which was a stick man one

Did you design them?

Yes, our graphic designer listened to the brief, designs were created and once decided on the T-shirt’s were sent off for print. We bought good T-shirt’s. They were really thick cotton. Cost a bit more but they were well made.

Everyone really loved them. 

You wouldn't be able to do anything like that now with the branding rights and kit sponsors etc

No, at the time merchandise wasn't as considered, I went round the shop and everything was shiny nylon, I didn't like it at all. It was big, but nowhere near as big as now. I do remember going back to Tony after a visit and saying, 'there was a really lovely old guy there with a cap on'... and that was Sir Matt Busby! I'm so uncool!

The T-shirts were very tastefully done, great quality, they were a really nice product, very subtle, other than the 'Are You Man U' one... it was a typical Factory thing to do

It was an idea I had, I went to Wilson and said, 'I think we should have a shop' ... he asked why and I said, 'because we've got loads of stuff to sell’.

I suggested we had a clothing label... it was going to be so smart, but we just didn't have the money. We all sat around with the designers, it was a mix of 'Paul Smith' and 'Comme Des Garçons' it would have been a very blokey thing, but I loved them...

While sadly the fashion label didn't come to be (although you could argue that the Donnelly Brothers filled this gap via Gio Goi) 

Fiona did take up a vacant slot at Afflecks Palace to open the 'Factory Shop' as an outlet for various pieces of merchandise and releases generated by the label, as well as those Factory/United T-shirts.

John Cooper of Cerysmatic had previously interviewed Fiona about ‘The Area’... that interview can be found at... https://factoryrecords.org/cerysmatic/sc5-absence-of-the-object-becomes-presence-you-can-feel.php

The Biting Tongues 'Live It' Review (2019)

Review done for the Cerysmatic blog in December 2019..

https://cerysmatic.factoryrecords.org/2019/12/the-biting-tongues-live-it-review-by.html

Former Factory artist Biting Tongues have just had their 1981 limited cassette-only lost release 'Live It' reissued by Andy Votel's Finders Keepers Records.

Originally released on New Hormones, Biting Tongues' 2nd album was one of a series of three limited edition releases of just 500 cassettes (others by Ludus and CP Lee) that came with a booklet, badge, stickers and a sweatshirt offer. The 6-track release has now been expanded to 10 with the additional 4 tracks coming from rare cassette magazines released at the time.

The idea of releasing it on tape only appears to have been a financial one by the label despite them being in vogue (the Walkman being relatively new and cassette sales actually being equal to, if not greater than vinyl at the time). In his notes, Graham Massey explains, "New Hormones didn't have enough money to press it up on vinyl and so it became a cassette-only release, which felt like a bit of a disappointment. I always felt it buried some of our best work, compounded by the fact that we actually left off some of the best tracks from the session. These tracks lived on a cassette I've carried around for forty years, the tape slowly getting dull and wearing thin. In recent years I've been digitising Colin Seddon's cassette collection of Biting Tongues material and rediscovered a first-generation recording of the sessions on TDK SA tape."

Prior to listening to this reissue of 'Live It' I'd only previously only heard a handful tracks released on various Factory compilations and only had a very rough idea of the history of the band from their formation to provide a soundtrack to the saxophonist Howard Walmsley's film 'Biting Tongues' through to the initially unreleased 'Recharge' album so it was fascinating listening to this as a something new in 2019 and also trying to imagine how it would have fit in during those heady days of post-punk and New Romantics.

My thoughts on the first couple of listens were that it was very angular and abstract, not very easy listening, and improvised. Through Graham's notes which accompany this release it would appear my final thought especially was wide of the mark, with several mentions of demos being recorded and sent down to London for vocalist Ken Hollings to refine his lyrics before travelling up to Manchester to record them.

So improvised may be the wrong word; with repeated listens there is clearly a depth and structure to the tracks despite it occasionally sounding like band members are going off and playing at tangents with vocals being improvised. As Ken explained in an interview in 2008 there is a difference to how the band would record which gives it a unique sound and one was that odds with how many things would have been produced at the time, "We'd record a whole side of an album in one session with no breaks between the tracks and do a mix afterwards – nothing was ever re-recorded – we'd even leave in any slips of the tongue or mispronounced words I might have struggled with in the session, any stray pieces of sound that the microphone picked up, or we'd simply record straight onto two-channel tape, recording through the studio desk with the producer mixing and adding effects while we were performing in the studio – we wouldn't know what it sounded like until the playback – and because it was two-channel you couldn't correct it: you'd have to do the whole thing again, which we pretty much refused to do'.

I can hear some influences on this release from Talking Heads' 1980 release 'Remain In Light' but, for those listening in 1981, tracks such as 'Libreville' would have easily complemented releases such as 'To Each...' by A Certain Ratio where tracks such as 'Back To The Start' mix a variety of instruments, not always conventional over driving rhythms to create a danceable beat, but very different to the polished chart music at the time which was dominated by the likes of Adam and The Ants, Madness and Soft Cell.

In 2019 each listen brings something new, there is so much going on across the 10 tracks there's a sense of opening Pandora's Box that it begs for repeated listening, and although it maybe a little challenging at, first patience is paid off.

It's not often that something that's nearly 40 years old can sound as contemporary, interesting and challenging as this release does.

Praxis XL - A Factory Anniversary Exhibition Review (2019)

Exhibition Review done for Cerysmatic

https://cerysmatic.factoryrecords.org/2019/11/praxis-xl-factory-anniversary.html

Recently opened at The Modernist Society's premises on Port Street, Manchester, Praxis XL is an understated exhibition to celebrate the 40th anniversary of Factory's first release.

Whilst Jon Savage and Mat Bancroft's recent display at Chelsea Space (coming to Manchester in 2020) focused on the first 50 Fac numbers and the ephemera linked to the early days, Praxis XL showcases the whole legacy of Factory.



It's been curated and designed by Trevor Johnson (a stalwart of Factory's design team) and his brother Craig. On display are 40 of the label's most familiar and sometimes interesting items from the likes of Peter Saville, Central Station, 8vo, Ben Kelly as well as Trevor himself.

The Modernist Society is tucked away in the Northern Quarter, close to where the Buzzcocks' New Hormones office and the Roadhouse once stood, slightly off the beaten track, just a short trip up Newton Street from Piccadilly. The Society, until a few months ago had only held pop-up events and exhibitions before renting this unassuming building.



It's quite small and as you may imagine quite minimalist but perfectly formed, with the items on display allowed to breathe and not cramped.

My son and I went along on the morning of Saturday 9th November and we were surprised that we were the only 2 visitors upon arrival. However, this meant we had plenty of time to peruse and study the 40 items on display on the ground floor as well as read the accompanying notes.



For Factory fans and aficionados there are plenty of heart-warming familiar items on display, such as the original Factory Club poster, A Factory Sample, Unknown Pleasures, Blue Monday, etc.

Where this exhibition comes into its own, in my opinion at least, are the more unusual, and seldom seen items, the original rough layout for the Leigh Festival Poster, the 'Say No To London' T-Shirt design and of course Fac 191, the Haçienda Cat (a picture, not a real living cat).



Personally, the one item I would have liked to see included, but isn't is FAC 268, Northside's 'Shall We Take A Trip' - not only for people to realise that "the one with the apple on the cover" actually has a plum, but to remind people that Happy Mondays weren't the only successful band in the final years of the label.

After exhausting the items downstairs we moved upstairs to the smaller space on the first floor (greeted on the way up by a classic cheeky image of Rob Gretton with his tongue out) where there are selected photographic works of Kevin Cummins. Most will be familiar to fans but they really come to life when blown up from the A4 size people will most be familiar with. My personal favourite is the distance shot of the Factory Club alongside one of the infamous Hulme crescents.



Whilst we were watching part of the loop of Factory-related videos, the musical pioneer that is Graham Massey arrived with a small entourage who were out on a walking tour around key locations of the city, with Graham recollecting his personal experiences and involvement in Manchester's music heritage.



I can't guarantee that you will bump into a bona fide Manchester music legend if you visit Praxis XL but I can guarantee you'll be met with a warm welcome and an exhibition that will reinforce Factory's legacy of being a key cultural force which is recognised worldwide, and not just as a record label.

- Iain Key for Cerysmatic Factory

Happy Mondays - The Early EPs Review (2019)

Written for the Cerysmatic website in November 2019

https://cerysmatic.factoryrecords.org/2019/11/happy-mondays-early-eps-review.html

Maybe I'm flying in the face of conventional wisdom but the early years of Happy Mondays' lengthy career have always been my favourite. I'm not one of those who obsess about a band having a limited underground following and selling just a handful of records until they become mainstream and then accuse them of selling out.

I genuinely believe there is something really special about the run of releases by Little Hulton's finest from 1985 to 1989 (up to the 'Madchester Rave On' EP) where you hear a band and their lyricist experimenting (not just with pharmaceuticals) whilst growing in confidence which set them apart from other indie bands at the time and still keeps them sounding fresh today.

This remastered, limited, coloured vinyl box set release featuring the 12" releases in their colourful Central Station sleeves from 1985's debut 'Forty Five' EP through to 1987's call to arms '24 Hour Party People' highlights this best.

In Shaun Ryder's 'Wrote For Luck' book containing selected lyrics he practically dismisses the first two of these, saying "some of our early recordings shouldn't have made it on to vinyl really, 'Kuff Dam' and 'Tart Tart' were the first tracks we managed to record in the studio that I felt truly captured the sense and potential of the Mondays".

I can understand his view to a point but I would make the case for 'Forty Five' and 'Freaky Dancin'.

The Mike Pickering (post Quango Quango, pre M People) produced 'Forty Five EP', featuring 'Delightful', 'This Feeling' and 'Oasis' was released in late 1985.

When you look at some of the 'C86' bands and the scene created by the NME which they were actively promoting with their 22-track cassette 6 months later, any of the songs on this EP could quite easily have held its own against them and honestly would have probably fit better... it's perhaps fortunate however that this didn't happen though as it could have stalled the group's career before it really began.

What you do hear is a band, with emerging talented musicians, with elements of label mates James and Shaun borrowing lines for the first time with Oasis liberating lines from Les Reed and Gordon Mills, previously made famous by Tom Jones.

Personally I have a soft spot for the 2nd single 'Freaky Dancin' after hearing it at DeVille’s in Manchester. It would have been early in 1987 and one of the first nights out I'd had in the City Centre. I'd have only been 17 at the time and for some reason we though the infamous indie club with the bucking bronco in the connected 'Lazy Lil's' would be a good place to hang out...

At the time I'd been listening to John Peel sporadically really getting into a lot of the aforementioned C86 scene such as The Bodines, Mighty Lemon Drops, Wedding Present and only been to a couple of gigs; The Primitives and the Soup Dragons both at Manchester International on Anson Road, Longsight. I suspect anyone reading this will be familiar with the legacy of the club so I won't go into detail, although I will tell you I bought a copy of Dave Haslam's 'Debris' fanzine on my second visit which had a flexi-disc attached featuring Inspiral Carpets.

Anyway, the Bernard Sumner-produced track really impressed me as there was a shambolic confidence to it which I don't think ever copied. Whilst it had elements of the jangly guitar bands of that era, there is something fresh about it too. It isn't a full-on aural attack like some tunes of the era, it has space in it and it breathes.

What's more, it made people dance. (Well, shuffle a little quicker).

Worth noting, and mentioning it's great that the B-side 'The Egg (Mix)' which has a wonderful swagger about it is being reassessed due to this release and the accompanying promo video/clip to promote it

The 3rd single, 'Tart Tart' sees the band move up another notch with production by the legendary John Cale (I'm not sure why I'm saying that as I'm confident most people reading will know that already).

Whilst musically the style hadn't changed but the vocals appeared higher in the mix and clearer.

The first two verses are apparently about Martin Hannett, this then leads on to verses about Paul Ryder, before closing with the songs title character, an amphetamine dealer from Chorlton who had befriended Shaun and Bez but sadly passed away suddenly.

This was followed by the debut album, 'Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)' a month later.

By the time the 4th single, 'Twenty Hour Party People' came out in late 1987, indie dance had become a thing and was crossing over from the pages of the NME to Smash Hits, with MARRS' 'Pump Up The Volume' spending a couple of weeks at No 1 in the Official UK Top 40. The Mondays themselves though were still quite underground but it’s clear something was about to happen.

Despite being a live favourite, I don't think the song every really reached the public conscious and received the acclaim it deserved until the release of the film of the same name 15 years later.

It's interesting to note that despite the hedonistic lifestyle attributed to the band since the early days, the releases on this box were all before ecstasy had hit Manchester with the tracks fueled by heroin, weed and speed...

Not quite days of innocence, but a great snapshot of the birth of an era.

- review by Iain Key for Cerysmatic Factory


--

Happy Mondays - The Early EPs (London, 2019)

FAC 129 - Forty Five EP 12" - Green Vinyl
FAC 142 - Freak Dancin' 12" - Orange Vinyl
FAC 176 - Tart Tart 12" - Blue Vinyl
FAC 192 - Twenty Four Hour Party People 12" - Yellow Vinyl

CP1919 by The Brooklyn Foundation (2019)

2019 saw the 40th Anniversary of Joy Division's 'Unknown Pleasures', the cover of  which features a pulsar sound-wave, the diagram of which was entitled 'CP1919'

n Burke

The audio of this sound wave was made available by Jodrell Bank on the 40th Anniversary and I shared this with a friend, and musician, Alan Burke, who chose to create a unique piece of music linking the pulsar and the sound of Joy Division... 

This piece was written for the Cerysmatic website to celebrate this

https://cerysmatic.factoryrecords.org/2019/09/cp1919-by-brooklyn-foundation.html

To celebrate the 40th Anniversary of Joy Division's 'Unknown Pleasures', Jodrell Bank released the pulsar sound wave [->] which was famously used by Peter Saville on the cover.

As his own homage to the album, Alan Burke, aka The Brooklyn Foundation, used the sound wave as a starting point before layering this with his own dark electronic tones and ghostly vocal clips of the late Ian Curtis

The CP1919 sound wave was perfect as a percussion element. Detuned and processed, then turned into a rhythm part alongside a recreation of the famous Roland TR808 kick drum and a digital recreation of the Linn LM1 drum machine (see also: Prince, The Human League).

Alan Burke explained that he wanted huge spaces in the piece so big reverbs were obviously required and used in abundance. Alongside hardware synthesisers by Roland and Arturia, he used Logic Pro X for a bass part and building elements of the tune. The whole thing was recorded in 1 day!

Alan has been a musician for over 36 years with varying degrees of success. Having enjoyed some notoriety in the 90s, he's worked with many musicians and vocalists supplying "his own brand of musical and technical nonsense".

More recently, Alan was asked to record 3 tracks as a tribute to the artists on the Mute record label. He chose 3 tracks by the seminal English electro due, Yazoo. He says he enjoyed the challenge and the tunes were "very well received, very well thankfully".

All of The Brooklyn Foundation's music is written and recorded in Alan's home studio in Salford, Greater Manchester, which I'm sure has no bearing on his love of Joy Division or New Order!

That Factory Tune by Vincent Davies (2019)

Not one of my own pieces

I was proud thought to facilitate this getting published on the Cerysmatic website for my mate Vinny

The poem was written specifically for the 40th Anniversary Celebrations of Factory Records

https://cerysmatic.factoryrecords.org/2019/09/that-factory-tune-by-vincent-davies.html

'That Factory Tune' is a poem by Vinny Davies which was commissioned by Councillor Chris Paul from Manchester City Council in liaison on the Factory side by Esther Ford.

March from Middleton, descend from Hulme
Walk from Withington to the factory tune
Mooch from Moston, do the Ancoats sway
We're all gone move in a Curtis way
Leave time to get from Levenshulme
Or rush from home
Dawdle from Didsbury, to the sound that we own
Hurry up from Urmston, or thumb it from Hyde
Not far from Ardwick, just one bus ride
Bounce down from Beswick, see what people say
Push boundaries, and soundaries in a Wilson way
It's black and it's yellow, it's played on the moon
That Manchestic, Majestic Factory Tune

- 'That Factory Tune' by Vincent Davies

'New Dawn Fades' Play Review (2019)

A review of Brian Gorman's play about Joy Division which I went to see at 'The Dancehouse' in Manchester

Written for Cerysmatic

Was particularly chuffed when I found that Joe Walsh has actually used what I'd said about his portrayal of Ian Curtis on his 'Spotlight' page... 

https://cerysmatic.factoryrecords.org/2019/09/the-proper-good-new-dawn-fades-play.html

"A Play About Joy Division and Manchester"... I'd imagine that most if not all the audience in attendance tonight are well versed in the short history of the band and and are familiar with the music released between 1978 and 1980. It would be easy to suggest that the writer and producers are pushing against an open door... but in effect I think the opposite is actually true.

There is so much love for the legacy of the band and the characters portrayed in this performance celebrating 40 Years of Unknown Pleasures that the stakes are actually higher along with people's expectations.

This was the 2nd performance of the 3 night run in Manchester before moving to Sheffield and London, and for the 2nd night the performance finished with a standing ovation... and boy was it deserved.

Every actor involved nailed their part.

Alan Donohoe effortlessly portrays Tony Wilson, coming across as the "TV Tony Wilson" I grew up with on Granada TV rather than the slightly larger than life caricatures in the two films produced about Factory and Joy Division.

Joseph Walsh delivers a complex and tortured Ian Curtis which also highlights the artistic and fragility of the man. His chaos and confusion portrayed in the Derby Hall scene especially is heart-breaking.

Leah Gray is wonderful as Deborah Curtis, moving from doting girlfriend to angry jilted wife and mother. Although not on stage quite as much as the male characters, Leah delivers a couple of the of the most powerful scenes in the whole play, the first being just 2 words, one line, a question... "Who's Annik?" which cuts through the silence in the auditorium, people almost holding their breath. The second, comes just before the tragic conclusion as Debbie and Ian trade lines from 'Love Will Tear Us Apart' giving the audience a sense of the genuine pain and frustration being felt in Macclesfield in 1980 by the young couple

Harry McLafferty, Bill Bradshaw and Matthew Melbourne play Bernard, Hooky and Stephen to great effect, all having the character traits you'd expect if you've seen the numerous interviews and portrayals of the would be New Order. The trio are often found bouncing off each other and have some of the best lines and put downs but also get their own 'deep moments' especially when coming to terms with the issues which had been faced by their singer.

Directors Sean Mason and Giles D. Bastow also appear, the latter as Rob Gretton who channels the late manager of the band as well as Paddy Constantine in 'Control' and as recognisable as the man himself from the footage and interviews that can be found in the likes of 'New Order Story'. The former actually takes on 11 roles throughout the play, many as comic relief and the butt of jokes. However, he's a superb as producer Martin Hannett (clearly taking joy in the immortal line "play faster... but slower.")

Writer Brian Gorman appears in cameo roles via filmed inserts as Roman General Julius Agricola and also Dr John Dee helping Alan's Tony Wilson to provide the history of our wonderful Northern City.

But it's not just the acting… as you may expect, the sound and lighting play a massive part and are also spot on. With the stage set being quite sparse, other than the band's equipment and a few crates and chairs and the occasional microphone, The deft audio and visuals really put focus on the actors and allows them to really excel in their roles and take the audience on a journey through the highs and lows to the inevitable end.

Whilst not taking anything away from '24 Hour Party People' or 'Control', 'New Dawn Fades' feels like 'THE' authentic telling of the Joy Division story. This maybe because it's delivered "live and direct" rather than on a screen. There are scenes that uncomfortably come to life, such as those when Ian first has a fit, or as mentioned previously Debbie and Ian trade lyrics as their marriage crumbles really hit home.

I would highly recommend people catch this if they get a chance in this short run.

I attended with my 12-year-old who loves Joy Division's music and has seen the films (OK so there is a fair bit of swearing and death in the play but he already knows the story and hears worse at football) and a friend of my age.

My son wants to see it again at some point in the future and enjoyed it because it "felt real" and "like it was there".

My friend's review (which you'll be glad is significantly shorter than mine) was... "Proper good".

Go and see it if you can.

- review by Iain Key for Cerysmatic Factory

Tony Wilson Interview (1995)

Tony Wilson Interview

Originally for the 'Big Issue' - this is an interview I did with Anthony H Wilson back in 1995

It was republished on the Cerysmatic Factory website in November 2019 

https://cerysmatic.factoryrecords.org/2019/11/in-conversation-with-anthony-h-wilson.html?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed:+CerysmaticFactory+(Cerysmatic+Factory)&m=1

In conversation with Anthony H. Wilson by Iain Key

I think it's safe to say that everyone who ever came into contact with Tony has at least one
"Tony Wilson Story".

My Dad and I had season tickets in the South Stand at Old Trafford for many years about
6 rows behind where Tony and Oliver, or other friends would sit. Every game we'd watch
the players come out, the toss of the coin, the teams line up for kick-off. Then, normally,
within a couple of minutes of the match starting, Tony would arrive causing those on his
row to stand, and those around hm to strain to see past if anything of interest was happening.

Whilst making his entrance Tony would apologise, shake hands and wave, occasionally
I'd get a nod in my direction.

I think my Dad actually enjoyed having Tony sitting in our block as when he spoke about his
religion - Manchester United, he'd always mention the late arrival and wished that "the bugger
off Granada" would buy a watch and then with some irony comment "he's always on the TV,
never late for that...".

I'd then often then hear other people pick up the thread with the line, "that Tony Wilson...".

Ironically, my first meeting with Tony involved him being late as well. My friend, Ian, and
I were doing a project on Factory Records for college in early 1995 and we had invited to interview him.
We arrived at the time agreed, were shown into his office and then waiting for 2 hours.
He'd been at awards do in London the night before and had been delayed.

As with his late arrivals at Old Trafford though he was apologetic and very personable.

I transcribed the interview we did that day with the idea I could submit it to The Big Issue.
I ran it past Tony and he (politely) dismissed it as boring, pedestrian and nothing new, which
in fairness it was. It was the same story that anyone who knows the history of the label could relate.

Rather than tell me this over the phone or by letter though I was invited back into the Factory office and
Tony explained his feelings and suggested I try again. To assist me he lent me a couple of books, one
of interviews with politicians and one with musicians and artists and told me to read them and go back
to him on the afternoon of Monday 22nd May.

I remember being nervous when I arrived, I'd been given a second chance and I really didn't want to
blow it.

This interview was going to by an attempt to look beyond the caricature and break down some of the
perceptions people held, hence the limited questions about Factory or Factory Too (as it was then).

I still vividly remember sitting on the metal staircase just outside the office in Little Peter Street on a
warm spring afternoon with a dictaphone between us, being in the company of one of the most
charismatic individuals you could ever hope to meet.

I rushed home, on a high to listen to the recording, and was mortified to realise the batteries were dying
meaning that we sounded like chipmunks on helium. Not to be put off I soldiered on and transcribed
the piece, sending it back to Tony for approval.

It was nearly a month before I heard anything back due to Tony being away. What impressed me was
he'd not just read and approved what I'd sent, he'd been through it and made notes and changes
"to make sense of his rambling".

So that's my Tony Wilson story, rather than dismiss the first piece of work I'd offered, which would
have been the end of it, he gave me feedback, encouragement and and opportunity to produce the best
piece of work I could which was printed in the Big Issue in August 1995.

Nearly 25 years later I still feel blessed and proud to have had that opportunity.

- Iain Key, Stretford, November 2019



With a career in television, journalism and music spanning over 20 years Anthony H. Wilson, Granada
stalwart and co-founder of Factory Records, love him or hate him, is one of the most well known faces
in the North West.

He's a Manchester United and Eric Cantona fan and probably as close to a professional Mancunian
you'll find.

Monday 22nd May, the country is seeing its 2nd glimpse of summer and Manchester is not the dour,
gloomy city some would have you believe. Anthony Wilson is in a brilliant mood, despite the team
he's supported since a boy failing to hold onto either their League Championship or the F.A. Cup.

How disappointed were you?

I actually wasn't that disappointed the previous weekend because a) I think it's boring if we win
everything all the time and b) for me it was important for Eric’s myth. He won the League
Championship in 1991 in France, 1992 with those tosspots from Leeds and in '93 and '94 with
United. So you see it adds to the myth, the one year he wasn't playing he didn't win the League.

Poetic?

Yes, poetic, I didn't feel too bad but I did perceive they'd win at Wembley. I wasn't depressed by the
game, but I was depressed that Paul Ince who is fantastic had a shit game from beginning to end
and as far as I'm concerned we didn't actually get beat in either game .

We certainly didn't get beat by West Ham and it wasn't as if we actually got beat by Everton.
The result was down to Mr Southall and his do or die heroics, so yeah, I'm a bit pissed off.

So was the season a disaster?

No, having won the League twice, a wonderful achievement, and to have pushed Blackburn so far
without deserving to was great. My season was complete when Crystal Palace got relegated.

Why?

Everyone in the country seems to hate United but the level of hate and sheer nastiness from the
Crystal Palace supporters was sickening.

As you are such a well-known face in the North West and have such a strong personality, 
do you think it's fair to say people either love you or hate you?

I think it's something people don't talk about in the media, we're not national celebrities.
The easiest way to explain is if you ask people who Mike Neville is, 90% won't have heard of him.
Do you know who Mike Neville is?

No.

In one fairly significant area of Great Britain, the North East, he is bigger than the Pope. He's
been the local TV presenter for years and years, and he's bigger than the Pope, George Michael and
Elvis rolled into one.

That’s what happens with regional TV presenters to a greater or lesser degree. I've been at
Granada for 20 years and it’s a strange phenomenon that people are aware of me because of my
personality. In 1973 I did a feature for Granada with Emmylou Harris and I asked her to do a song
she'd recently recorded by Gram Parsons. Anyway she couldn't but that night at the Manchester
Free Trade Hall she said "I'm going to do a song now for a nice young man I met this afternoon called
Tony Wilson", almost immediately 2000 people stood up and shouted 'WANKER!'.

Par for the course really but I think it ruined her concentration. So yeah, it goes with the territory really.

Have you ever been misunderstood?

Liverpudlians have a problem with me. These people at the end of the M62 think I have a problem with
Liverpool, I love Liverpool. To be honest I don't think they've ever forgotten or forgiven me for the
Brugge rosette.

What was that?

Liverpool were playing Brugge in the Semi Final of the European Cup, this is years ago, and I
was told that under no circumstances was I to mention that night’s game. So I didn't, I just wore this
fucking great white Brugge rosette.

Do you ever get worried about over exposure?

No, I do 4, 13-week series a year for Granada and it's up to them when they show them. Do you think
I'm on TV too much?

Sometimes.

I don't think I'm on enough. I'm a red light junkie. I work my bollocks off and I think I should be on
more often.

With working at Granada and also running Factory Too, do you find it difficult to split your time 
between the two?

No, I don't really, at Granada I'm a hired hand, a journalist and I work for them. It can be difficult
because I do a lot of travelling, but at Factory though I'm only~~ ;!lking head\A and I've got a great
team of people working with me.

Do you get a greater satisfaction from one over the other?

No (pause). It's a strange thing but I still see journalism as a craft, like being a plumber or a carpenter.
I served my apprenticeship to do this job.

Moving on to Factory and music, in a recent article in VOX you drew parallels between 
'No One Here Gets Out Alive' and Deborah Curtis's book about Ian and Joy Division. 
Do you think there will be a Doors type 'Joy Division revival' ?

I think, yes, to a degree, what is happening in the media - there is a generation that has come of age
who understand the importance of and significance of Joy Division. I really thought that Paul (Morley)
would write the book. Yes, there will be a degree of a revival.

Do you think it's a good thing that the book has been written?

Oh yes, the more books the merrier, but I think the book is a little short really.

It seems to be more 'pre-fame' than when things were happening.

Well yes, Debbie is telling her story and understandably it’s from that period. When a band, any band,
gets going it always happens that the wife is an outsider, a rock ‘n' roll casualty. I was thinking about
this the other day, the scene of the band travelling up and down the M1 in a transit, which is something
that most Manchester bands go through. The wives or girlfriends do feel shut out because that's a lads
thing.

Have you read the book yet?

Bits - from what I have read it's like 'Tony Wilson treated me like shit. I don't intentionally treat anyone
like shit but I can imagine what Debbie or anyone would feel. Until you get to playing Wembley Stadium
with the baby changing and hospitality suite next door - that's what's going to happen.

Do you ever get pissed off talking about Joy Division?

No, never, not at all. I'm still very surprised that I was fortunate enough to work with Joy Division.
It's exactly the same as walking down the corridor at Granada and this guy goes 'Hello Tony', what gets
me is do I call him Ken or Bill because you don't expect these mythical creatures, like Ken Barlow, to
talk to you. I feel the same way about Joy Division, a bit other-worldly but I feel very strongly that
people should know about it, and listen to the wonderful music.

Pete Waterman recently paid tribute to you over the 'In The City' festival, and you are revered by 
the music press. Are you the most important person in the music industry outside London? 

No, people see me for things like Factory; the Hacienda; and 'In The City' but yous ~ the Hacienda is
really Rob Gretton, 'In The City' is run by my girlfriend and partner Yvette Livesey, and Factory over the
years in general has been run by all the people who are a lot cleverer than me. as with all these things
I'm the 'talking head', the middle class wanker who went to Oxbridge and so I end up being the face of
all these things and people get confused, they think / I'm the face and therefore I must be the thing itself,
which I’m not.

With Factory it was Rob (Gretton) who thought of the idea. I thought we were just going to get our
bands signed to other labels. I get the credit for these things which is hard on everybody else.
It's all down to my face and lazy journalists

.

You are presently arranging a Computer Festival for 1998 to celebrate the creation of the 1st 
modern computer being developed in Manchester. Why?

It's absolutely essential. I have friends regularly coming across from America and they get the Wilson
tour of Manchester. First I take them to the Hacienda, then at 2 o'clock in the morning they get driven
past Foo Foo's to see 500 drunken post-menopausal women falling out of the club which they think is
amazing.

The next stop is the Daily Express building and then I take them to this unlit park in the middle of the
University, where no-one ever goes, and to this little alley and this little building with a plaque on the
wall that says "the world’s 1st computer ran here in 1948"; and then I laughingly point out that
Rutherford split the atom 2 doors down.

If this had been anywhere else in the world they'd have built a fucking theme park and have brass bands
playing. I'm a Salford lad and I didn't know 'til I was 31 that Manchester won the race ahead of
Teddington and Philadelphia.

So I think it's very nice, and important, for the people of Manchester to know that a) our city was the
scene for both the 1st and 2nd industrial revolutions and b} for the rest of the world to know. So we
should celebrate this.

Do you think Manchester underrates itself?

Yes, it's almost like this wonderful thing of not selling ourselves to anyone because we can't be bothered.
It's typically Mancunian just not to tell anyone. In fact United’s success over the years has been so overt
with the likes of Edwards, Law, Best, Charlton, Robson and Giggs that when we do get overt everyone
gets upset.

Yes, we underrate ourselves, but the opportunity to celebrate the computer is too good to miss.

Is there anything you'd still like to achieve?

Yes, loads (laughs). It seems you have music, TV, computers, so If you really wanted to achieve anything
or be involved in anything you can. People find it strange but I feel excited about every record I'm putting
out as I did with 'Transmission' or whatever. I've lots of ambitions, loads. One thing is a movie that was
being done with 2 very talented Geordies that would have been, and still will be, one of the best British
movies ever made. Before I die I want to see it made.

Is there anything you're glad you've never been asked?

Very good question (long pause). Yes, there are probably one or two things in my life that I'm
embarrassed about, but I'm not going to tell you.

I think you make mistakes and that's part of the process. One thing I hate being asked is "What would
you have on your gravestone?".

What would you have on your gravestone?

"The perfect client" as Ben Kelly, the architect calls me. Generally speaking I'll answer anything -
it's my day job. That's probably why people say I'm a bullshitter, this bizarre reputation I have which
I find insane, I wish I was.

--

Next time Tony Wilson is on your TV, don't switch channels, he may not be the man you think he is.

--

IN CONVERSATION WITH ANTHONY H. WILSON

QUESTIONS, INTERVIEW AND TRANSCRIPTION - IAIN KEY

MAY/JUNE NINETEEN NINETY-FIVE

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Transcription and editing from original draft by John Cooper, 2019