6 replies · 8,912 views
well, i converted the book, dreams never end by claude flowers.
not sure in which countries.
still i like the pictures.
so we can check those out.
also will post some text transcripts of it, so you get an idea.
a really good book that you should get.
again, disregard any thumbnails that aren't showing up.
later -1
'dreams never end'
[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.
ibsn 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]
[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-----------
'is the kiss of death'
I loved that book. Mr Flowers' intelligent and objective insights are a welcome change from Paul Lester's wankin'-over-Hooky and Paul Morley's pschological neurological fuckallogical BS.
here are some more previews from the first set of pictures in the book..
later -1
'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]
'save it for another day'
[transcript] -> _dreams_never_end________[book]__[part 4/?]_
hi no'ers,
here's the fourth 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 15] many influential people attended the electric circus show. the closing of interested in the future of the manchester music scene was on hand to assess and promote the neighborhoods rising stars. warsaw were often
[chapter1:page 16] picked out as being one of manchesters brightest hopes. paul morley gave the quartet another favourable write-up in nme, and a journalist from new music news had decent things to say about them as well. another spectator was itv television celebrity tony wilson, guitarist in the 'negatives', a band scheduled for the october 1 show. 'i came along on the wrong night,' wilson said. 'i brought my guitar, but it was the wrong night. this was the first time that many of us felt within ourselves that warsaw was the major group. i'd seen them a couple of times before that, but that was the central night for me, and a lot of people.'
nevertheless, warsaw were having trouble getting booked for concerts because the demo tape they were sending to booking agents was three months out of date and no longer accurately represented the band. to many club owners, the warsaw they heard on tape sounded just like every other punk rock band in town, and were therefore not worth caring about. without the electric circus around, good concert venues were at a premium, and competition to play anywhere was probably intense. warsaw fell by the wayside. fall and winter passed quietly for the group, with just a handful of public performances. having nobody to play for but themselves, their friendship and their delight at simply creating music kept them together, whereas a band seeking fame and fortune might have cracked. warsaw learned to articulate their ideas, and evolved into a tight, self-styled unit. hooky liked to play bass like a guitar rather than as a rhythm instrument, and he and barney discovered mutual gifts for melody that they would bounce around, one instrument mimicking the other. stephen dreamed up eccentric time signatures to play on his drums. ian's lyrics became increasingly introspective and he abandoned his harsh screams for a deep, resonant baritone. even if the world seemed against them, the band thought. 'we'll show them,' and forged onwards. nothing could stop warsaw. nothing.
t.j. davidson, the owner of a local recording studio, admired the re-vamped warsaw. in december of '77, he offered to produce, engineer, manufacture and distribute an ep of the bands music. they accepted, and recorded four songs that would comprise 'an ideal for living'. the opening track, 'warsaw', began with a joltingly loud a cappella verse, but was otherwise unremarkable. 'no love lost' told the tale of a female prisoner of war held captive in a nazi brothel, and was inspired by a book ian had read entitled 'the house of dolls' (the title even cropped up in one of the lyrics). six seconds into the songs, ian can be heard breathing in the left-hand speaker. in order to get a crisp sound on t.j. davidsons four-track recorder, many of the instruments and vocal tracks were recorded in just one speaker or the other. this technique, known as 'hard panning', had been around since the late 1960's. unfortunately, it dated the songs making them sound very primitive. the recording did not do the songs justice.
the mid-tempo 'leaders of men' and hyperactive 'failures (of the modern man)', both scathing pieces of social criticism, dismissed theory as - to quote the sex pistols - a 'mad parade' of cruelties. the lyrics branded humanity as weak and evil. ian curtis adopted this cynical point of view for most of his songs to come. the tracks tested the limits of his vocal range, but his visions knew no bounds.
five thousand copies of 'an ideal for living' were pressed as 7" singles, and the quality of the vinyl that the factory used to make them turned out to be awful. warsaw were so embarassed by the sound of the records that the band refused to let them be released. davidson complied and put the discs in storage.
[by claude flowers, 1995]
-----------end document-----------
'i always try i always miss'
transcript] -> _dreams_never_end________[book]__[part 5/?]_
'dance dance to the radio'
[transcript] -> _dreams_never_end________[book]__[part 5/?]_
hi no'ers,
here's the fifth 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]
[chapter2:page 21] 'the house of dolls' continued to haunt ian curtis, especially the image of innocent human beings enslaved for the entertainment of others. in some respects, it seemed to be the perfect metaphor for the way warsaw had been manipulated by the music industry around them. they felt like prostitutes at times, forced to stay in a small wing of a very large prison (obscurity) until called upon by the wardens (music industry power brokers). the name for the prostitutes' prison wing in 'the house of dolls', and the name warsaw assumed at the start of 1978, was joy division.
the 'joy' of the title contrasted humorously with the band's pessimistic outlook. the new name also ended a problem clubs were having in mistaking warsaw for warsaw pakt, a punk group which had just released an album. joy division made their public debut on january 25, 1978.
the show took place at pip's in manchester, advertised as a warsaw concert to help the fans make the transition from one name to the other. despite some confusion that almost caused ian to miss the gig entirely (he'd had a few too many drinks before showtime), and a fight in the audience, which muscled dockworker peter hook broke up, the concert announced joy division as the quartet's official new name. they resolved to change it again if anyone left the group, or died.
stiff and chiswick records hosted a battle of the bands at rafters on april 14, 1978. joy division and sixteen other acts showed up for the competition, the winners getting a recording contract with the eclectic stiff label, and presumably, fame and fortune. the playing order was determined at random, because everyone wanted to perform first before the judges lost interest and went home. the last name drawn from the hat read, 'joy division'.
waiting for their turn, the group walked to the bar for a drink, and sat next to itv's tony wilson. one of the music industries power brokers who held the key to success. wilson had distinguished himself as the first english tv host to feature punk rock. no doubt on hand this evening to do some talent scouting himself, he arrived with warsaw's electric circus performance strong in his mind. certainly, one of the bandmembers should introduce themselves? ian introduced himself by grabbing wilson on the collar and saying, 'you b*****d! you put the buzzcocks and sex pistols and all those others on the telly, what about us?' barney and steve prised thier singer off and dragged him away. hooky, meanwhile, tried to con everyone he saw into taking the 'headlining' spot, but nobody fell for his scheme. joy division were stuck at last place.
they walked onstage at around ten minutes to two in the morning, and blazed through four songs that none of the judges and few of the audience stayed to hear. they felt miserable, believing they had missed an important opportunity. yet all was not lost: rob gretton had complimented them on a 'brilliant' set, as did a friend of theirs, a college student named gillian gilbert. even tony wilson enjoyed them. the contest had been a real 'stiff test', but joy division were winning over all the right people in spite of themselves.
a few days later, ian shared wonderful news with his bandmates. after visiting the offices of rca records, hoping to get some free iggy pop posters, he met derek branwood, the company's northwest promotions manager. ian gave branwood a copy of 'an ideal for living', and branwood liked it enough to pass it on to his assistant richard searling and grapevine records president john anderson, who were forming their own punk record label. searling and anderson wanted to release a full-length joy division lp, and the band thought this was a great ida. they even attempted to fulfill the duo's request for a cover version of the song 'keep on keeping on', but the best they could do was adapt some of the licks
[chapter2:page 22] into a new composition they entitled 'interzone', named after a william s. burroughs novel.
[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'.
-----------------------------cut here--------------------------- [transcript]
[chapter2:page 22] joy division had already perfected their material onstage, so recording the songs was a quick and easy process lasting only the first four days in may. they taped eleven songs, with arrow studios engineer robert auger operating the recording equipment. 'the drawback' began the album on a powerful note, full of galloping drum tracks, catchy melodies, and ian's vocals mixed loudly enough so that his lyrics could be understood. all four songs from 'an ideal for living' were re-recorded. the entire band sang the chorus of 'walked the line', a bold anti-nazi statement that could only discourage the festering suspicions about joy division's political sympathies. the wonderful 'novelty' was also taped, the slow and lumbering intro suddenly charging into the body of the song.
'transmission', written in protest at the decline of pirate radio stations featured an instantly memorable chorus - 'dance, dance, dance, dance, dance to the radio' - which would make it an audience favorite at joy division concerts. 'ice age' followed, a vivid fantasy about an earth of the future locked in an eternal winter, and 'shadowplay' ended the album on a malevolent note, the final thundering chord and cymbal crash drifting off into nothingness. here, at last, was a disc that gave indications of the scope of joy divisions potential.
the bandmembers signed contracts with searling and anderson on the night of may 4, right after they had finished recording, only to find out they'd agreed to a royalty deal far below the british average. anderson overdubbed sythesizers onto 'no love lost' and 'transmission' to give the lp a richer sound, and this distressed joy division even further. the band loved music first and foremost, and to have an outsider tamper with their songs worried them. they allowed searling to present anderson's final mix to rca, but made no promises about letting anybody release it.
as stephen, ian and hooky tried to forget their troubles by rehearsing at t.j. davidsons, rafters dj rob gretton appeared in the doorway. they knew he was a fan, but had no idea why he'd shown up. 'what's he doing here', they wondered. barney arrived shortly thereafter, and with a grin he explained, 'this is our new manager'.
terry mason was a very dear friend to everyone in joy division, but he wasn't a very good manager. gretton, on the other hand, was experienced and geniunely excited about the band. having left the panik because they wouldn't listen to him, gretton wanted to manage joy division, and all four bandmembers agreed he was the man to do it. 'i used to be sort of a roadie for joy division as well,' gretton later said. terry mason became the groups road manager, and gretton told everyone to sit tight and see how the 'rca album' resolved itself.
[legal note] this use is allowed under the context of the material being used for 'review' and 'articles'.
-----------------------------cut here--------------------------- [transcript]
[chapter2:page 22] virgin records released the compilation lp 'short circuit: live at the electric circus' in june. as the first publicly available release to feature joy division, it exposed many people to the group, although unfortunately virgin had chosen the mediocre 'at a later date' - with barney's quote about rudolph hess - to represent them. short circuit din't serve the band well.
about a week after the records release, joy division appeared at the factory, a weekly event held at manchesters west indian russel club. the factory was co-organised by tony wilson and an actor named alan erasmus in an attempt to revitalise the manchester scene, which still hadn't recoverd from the loss of the electric circuit. as wilson explained, the factory club, 'came about purely because alan erasmus and i started managing durutti column, which wasn't so much a band that existed, but one we created around two members of another group. we rehearsed them for three months, and by that time, you want to do your first gig.
[chapter2:page23] we decided we didn't like any of the places in manchester, rafters had become boring, there was no interesting place. so we decided that the best thing to do was to actually open a place, which is what we did. we went into stuyvesant town in new york. we went to this guy who was a white gangster, trying to borrow the russel club just so the durutti column could play there. we thought, 'if we're borrowing it for one-night, which the guy said he would do, why don't we borrow it for four consecutive friday nights, give the event a name, give it an identity, invite some of the other groups we know onto the bill.' and thats how it grew. by the time that may came there were four nights and a whole load of bands played. we approached joy division to play in june, and they said , 'yeah'.
the name factory came about not as a tribute to andy warhol's factory club in new york, as many have believed, but, 'by accident, really.' wilson said, 'i was walking down the street in manchester. alan erasmus saw a sign that read, 'factory warehouse sale', and said 'why don't we call (the new club) factory?' at the time i said, 'thats fine' but the warhol connection never occured to me.'
joy divisions factory night was advertised with a slick-looking poster designed by an art student named peter saville. wilson recalled meeting saville after a patti smith concert: 'i was walking out, and this kid came up and said, 'uh, hey, i know you do a lot of things, if you ever need a designer, i'm the man, i'm the greatest. i'm a young kid, but i'm a great designer.' i got his phone number, and two or three months later rang him up and said, 'do a poster (for factory).' that was the beginning of my relationship with peter saville.
[by claude flowers, 1995]
-----------end document-----------
'shes lost control'
