I don't buy the anti-Curtis/pro-Albrecht revisionism that has crept its way into this forum, either. I agree completely with the remarks of Ghost Is Luminous, and may add a few further considerations. For one, Ian was already pointing the way toward electronic music during the days of Joy Division by bringing along his Kraftwerk LPs. Secondly, the most revealing insight to be gained from the 'Jack' magazine interview from late last year (part 1), as far as I was concerned, is that it was Ian who introduced the melodica to the band's music (and not, as I had always imagined, Bernard himself). Is it really coincidental that both elements were eagerly picked up by his closest friend in the band?
It's probably true that Bernard deserves more credit than may have come his way in the past as far as songwriting is concerned, and he may well be the crucial factor in NO's enduring success, but I am still convinced that Ian was THE driving creative force during the JD days. The fact that he emerges from Deborah's book as one big asshole should not cloud our judgement of his artistic merits.
As for Ian's singing: sure, he needed some tutoring (witness the atrocious hurls from early Warsaw recordings), and he never made the world's finest baritone, but there's nothing wrong with that. And as pointed out above, it took Bernard several years to find his true voice, too. I'm pretty sure that if he had still been around, Ian's singing would have improved considerably, too (compare Nick Cave from the days of the Birthday Party and from his latest albums).