14 replies · 375 views
'how does it feel'
[preview]
hi no'ers,
ok, i've chosen the 'dreams never end' book next...
this book covers joy division and new order..if you don't have it yet, or can't find it...this is primarily for you to check out...
lots of interesting pictures
and of course long discussions and text...
if you can find it, buy it!!!
i hope you enjoy it..
later -1
'to treat me like you do'
'and now i know, the perfect kiss'
[transcript] -> _dreams_never_end________[book]__[part 1/?]_
hi no'ers,
i'm going to skip the authors introduction, and just jump into the manchester part..
hope you enjoy it..
later -1
[reference]
[page 3] copyright (c) 1995 omnibus press (a division of book sales limited)
editted by chris charlesworth cover and book design by micahel bell design picture research by nikki russell.
isbn 0.7119.4308.7 order no. OP 47742
all rights reserved.
exclusive distributors: book sales limited, 8/9 frith street, london w1v 5tz, uk music sales corporation, 257 park avenue south, new york, ny 10010 usa music sales pty limited, 120 rothschild avenue, rosebery, nsw 2018, australia
photo credits: [refer to later with scans]
every effort has been made to trace the copyright holders of the photographs in this book but one or two were unreachable. we would be grateful if the photographers concerned would contact us.
printed by scotprint ld. musselburgh, scotland
a catalogue record for this book is available from the british library.
[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'.
-----------------------------cut here--------------------------- [transcript]
[cover]
top - new order + joy division (blue text on green)
middle -four black and white pictures of faces of new order
bottom - dreams never end (orange text on blue), claude flowers (green text on blue)
[page 1]
top - new order + joy division (black text on white)
bottom - dreams never end (white text on black), claude flowers (white text on black)
[page 2] credits : see above
[page 3] new order + joy division
'the shadow of my sorrow. let's see, 'tis very true. my griefs lie all within and these external manners of laments are mere shadows to the unseen grief which swells with silence in the tortured soul. there lies the substance.' richard II, act IV, scene II
introduction 4 chapter one : manchester 10 chapter two : joy division 18 chapter three : new order 40 chapter four : the price of love 89 discography 126
[page 4-5]
picture of bernard sumner from the side introduction - (rotated 90 degrees to the right)
[page 6]
picture of the whole band
[page 7] introductory text
[page 8] picture of bernard wearing elvis outfit, sitting on car
[page 9] introductory text, picture of joy division july 1979
[page 10-11] picture of joy division manchester - (rotated 90 degrees to the right)
[page 12] picture of steve brotherdale, drummer for warsaw
[page 13]
the ravaging by hitlers bombers and post-war foreign competition sped manchesters deterioration. once the greatest city of the industrial revolution, by the 1950's many proud factories were simply shut down and abandoned. slums were cleared, then swept away.
bernard dicken and peter hook were raised in this city. childhood pranksters and close friends, they graduated together from school at age 16. barney, with two 'o' levels to his credit, found a job at a cartoon studio. hooky used his one 'o' level to get work at the manchester docks. four years passed, the two young men fell out of touch, and as their friends settled down, they had no reason to expect that their lives would be any different from their parents'.
all of that changed on july 20, 1976, when london's foremost punk rock band, the sex pistols played the manchester free trade hall. fresh from a residency at the capital's 100 club, and known to peter hook through reams of press clippings, the sex pistols played a manchester gig which lured hook from home, and inspired him to invite bernard dicken and mutual friend terry manson along for the night. they witnessed a performance of strong bravado and swagger, short on actual talent, and yet they were absolutely captivated by how much fun the sex pistols were having, despite their technical inadequacies. hook, mason, and dicken resolved to form a band of their own, simply to liven up their spare time. dicken laughed, 'if they can do it, we can!' the next morning, he bought himself a guitar.
dickens shiny new gibson sg guitar, little amplifier, and instruction book took his mind away from the drudgery of his day job. since dicken had beaten him to his first choice of a six-string, peter hook purchased an electric bass, and terry mason managed to finance a drumkit. they found rehearsal space above the local black swan pub, but still needed a name and a singer for the band. the name came fairly easily: they called themselves the stiff kittens, a title given to them either by local rock heroes the buzzcocks, or coined by a neighbor whose cat had a miscarriage.
finding a singer was a little harder. the stiff kittens taped a note at the local record store requesting a vocalist, and several mancucians responded, many of them excited about punk music after catching th sex pistols at the free trade hall, or on the tv programme 'so it goes', hosted by itv anchorman, tony wilson. everyone, it seemed suddenly wanted to be in band. half a dozen applicants were turned down, but a seventh, ian curtis of macclesfield, was accepted without an audition. the stiff kittens knew him as a friendly concertgoer, and they'd met him at several gigs. he was in.
[by claude flowers, 1995]
-----------end document-----------
'is the kiss of death'
Please, for fucks sake, don't start this shit here too...
As for this;
"[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'."
You're so wrong it's barely believable...
Originally posted by Jonathan S. Please, for fucks sake, don't start this shit here too...
Thanx mate! I totally agree! 
JS I think the book thing was meant as a kind and generous gesture. Wrongly or rightly I think the intention was valid. Of course it would be safe for -1 (?) to presume we have the intelligence to buy a book if we want to read one.
Look Mr "CAPS LOCK STUCK" - if you filtered out all the shit you posted then perhaps the 424 posts you've clocked up would be more like 24. Think about it.
Yes Huntsmen - perhaps it was a genuine gesture but if you remember the reception his analy detailed posts received on "Ceremony" then you would realise that quoting from an unavailable publication is one thing - reprinting every single detail (down to info on the actual printing house involved) is way over the top.
Originally posted by Jonathan S. Yes Huntsmen - perhaps it was a genuine gesture but if you remember the reception his analy detailed posts received on "Ceremony" then you would realise that quoting from an unavailable publication is one thing - reprinting every single detail (down to info on the actual printing house involved) is way over the top.
Did he quote the paper stock?
hi jonathon, nice seeing you here too..
later
| | || | || | || n eg at ive 1
'how does it feel'
[transcript] -> _dreams_never_end________[book]__[part 2/?]_
hi no'ers,
here's the second part of this story...
hope you enjoy it..
later -1
[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'.
-----------------------------cut here--------------------------- [transcript]
[chapter1 : page 13]
ian knew a lot more about rock and roll than his bandmates. his fiancee, debbie woodruffe, had turned him on to iggy pop's music in 1975, and he started bringing his favourite albums by iggy and the doors to band rehearsals. he worked days in a factory, but his heart was with poetry and literature, and he spent his spare time reading books by j.g. ballard, william s. burroughs, t.s. eliot, and german and russian philosophers. these writers had inspired him to try his hand at poems, and as lead singer of the 'stiff kittens', he'd rearrange stanzas to fit the band's music. early attempts produced cocky, blustery songs like 'gutz', 'tension', 'the kill', 'at a later date', and 'you're no good for me', as well as improvised cover versions of 'louie louie.' the tracks had little personality, they were unfocused and frantic, but they allowed the group to escape to a world of their own.
by the spring of 1977, the stiff kittens felt confident enough to play before an audience, and promoter richard boon booked them as support for the buzzcock's gig of may 29 at manchesters electric circus club.
[chapter1: page14]
the electric circus was the hippest venue in town, and the buzzcocks were revered by local fans, so this was quite a debut for the quartet. they all must have been incredibly nervous as the date of the show loomed closer.
on the day before the concert, terry mason apparently suffered a crisis of faith in his abilities as a drummer, and decided he wasn't good enough to play in public. he became the band's manager, and his first assignment was to find a replacement drumer before sunday's concert! he discovered a didsbury resident named tony tabac, and within a few hours, taught him the drum parts of the stiff kitten's repertoire. it was a crash course for tabac, but he was prepared by showtime to join dicken, curtis and hook onstage at the electric circus. the stiff kittens had arrived - sort of.
peter hook, bernard dicken, ian curtis and tony tabac did indeed perform as support for the buzzcocks, but not as the stiff kittens. either because they had grown to dislike the tag, or because they felt a new line-up called for a new moniker, the quartet entered the electric circus calling themselves warsaw. supposedly, the name originated from david bowies 'warszawa' but the album 'low' that featured the song hadn't even been released yet, so this story is probably untrue. more likely it was an expression of the groups love for european fashions and imagery., which was reflected in their clothing: button-up shirts, ties, slack, an armband for barney dicken (which immediately instigated rumours that he was a nazi) and a jaunty leather cap for hook. cosmopolitain as they looked, they were unable to hide their stage fright, ripping through their set as fast as possible and not speaking between songs. ian shouted in a heavy, working class accent, which made his lyrics incomprehensible. most of the crowd was unmoved by this performance, but music critic paul morley became their first fan, admiring their 'twinkling evil charm.' warsaw returned to their rehearsal room and began booking more gigs.
now that they had some idea of what to expect from playing in front of a crowd, the band grew in confidence. warsaw's second performance was rather theatrical, thanks to ian curtis and his love for the ever-volatile iggy pop. scheduled to open for punk rockers 'fast breeder' at the manchester bar rafters, warsaw were shocked when the headliners decided to go on first, and were furious when 'fast breeder' didn't finish their set until after midnight. warsaw took the stage before a near-empty club at 1:30 in the morning just as their equipment began to malfunction. this sent ian into a frenzy. he dived to the floor, shattered bottles, and threatened to slice up the remaining clientele. promoter and rafters disc jockey rob gretton knew every group in the region, but this one fascinated him. 'warsaw' was just different, he recalled. 'i thought they were the best band i'd ever seen.' he would not forget them.
all the band members continued performing at night for fun more than for profit. tony tabac left in june due to personality conflicts, replaced by an acquaintance named steve brotherdale. the arrival of some new blood fired the musicians' imaginations, and warsaw's debut rehearsal with brotherdale yielded the bands first masterpiece. unlike the macho fantasies that comprised warsaw's song catalogue to this point, the track 'novelty' was a mature observation about the advantages and disadvantages of playing music. the refrain 'what you gonna do when the novelty is gone' was directed by ian not only to his audience and his bandmates, but to himself as well. warsaw were challenging the beliefs of themselves and people around them. warsaw had found a cause.
[by claude flowers, 1995]
-----------end document-----------
'to treat me like you do'
'one of these days'
[transcript] -> _dreams_never_end________[book]__[part 3/?]_
hi no'ers,
here's the third part of this story...
hope you enjoy it..
later -1
[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'.
-----------------------------cut here--------------------------- [transcript]
[chapter1: page 14] the quartet met several times over the next month for a series of intensive rehearsals. these culminated in a july 18, 1977 trip to pennine sound studios where they recorded a demo tape which they hoped would
[chapter1: page 15] attract media attention, get them booked at bigger clubs, and be a document of what the group had accomplished at that period of their lives. unable to afford much studio time, they had to record all songs in one take. the sessions, which included 'inside the line', 'gutz','at a later date', 'the kill', and 'you're no good for me(but strangely not 'novelty') lasted from early afternoon until one in the morning. each band member proudly clutched his own copy of the tape when warsaw walked out into the night air. with luck, it would lead to better things.
newlywed steve brotherdale certainly had both eyes open for opportunities, and since he could not make a living off the meagre earnings he was getting from warsaw concerts, he found extra work as a session musician for rising stars 'the panik'. 'the panik' were recording a single entitled 'it won't sell', and although the title later proved sadly prophetic, they seemed to have a lot going for them at the time, especially in having rob gretton as their manager. brotherdale defected to 'the panik' because he thought they would become more successful than warsaw, and during a party that summer, he tried to get ian curtis to jump camps as well. ian attempted to sing along to a copy of 'it wont sell' but his voice was incompatible with the music. thanking steve for the offer, ian shrugged, 'well, i might as well go back to warsaw.'
warsaw again posted notices for a drummer, and 19-year old stephen morris of ian's home town macclesfield called to schedule an audition. morris had played clarinet at kings school, but like most people of his age, turned his attention to rock instruments with the advent of punk. he'd formed a group of his own, got a job at his fathers kitchen fitting business when that group broke up, and had hoped to play music again ever since. barney reportedly needled the younger man for enjoying ballroom dancing, but stephen responded with a dry sense of humour which warsaw liked. equally important, he was a great drummer. stephen morris was voted into the group.
manchesters' arts community suffered a major blow that autumn. in october of 1977, the electric circus, the club where warsaw and many other local groups had got their start, was forced to close its doors forever for breaking city fire regulations. the owners scheduled two nights of 'farewell' concerts to pay homage to the venue, with warsaw as part of th october 1 lineup, alongside 'the panik' and several others. the invitation to be part of the electric circus last weekend was terribly exciting to teh band, and the felt delighted to receive it.
imagine, then, their utter dissappointment when october 1 came and the promoters told warsaw that there was no room on the schedule for them to play. ian wept, but recovered after he was told warsaw could play the final night. october 2. barney confused much of the audience when took to the stage and just prior to playing 'at a later date,' shouted, 'you all forgot rudolph hess!' actually, the nazi war criminal was on many people's minds, just having suffered cardiac arrest in spandau prison. this bizarre lament for someone barney viewed as a sickly old man fuelled rumours that he was a nazi sympathiser. his inarticulate outburst would follow him and his bandmates around for years to come.
the crowd's surpise at barney dicken's comment matched warsaw's shock when a reprasentative from virgin records appeared at their dressing room door with a document for them to sign. unknown to warsaw, both shows were being taped for release as a live album, and warsaw needed to give their legal permission for virgin to include a song of theirs on the lp, warsaw signed, and the rep, scurried away.
[by claude flowers, 1995]
-----------end document-----------
'i always try i always miss'
