the vast bulk of new orders major works were released in 1980-1989.

for me, that is their most productive era.

i have been working on an overview of bands i like from the 80's, and also seeing where they fall into
perspective with their singles....

========================================
first of all, the transition from joy division to new order :




and from wikipedia:

---

new order
===================

History
Origins and formation: 1977–1980
Main article: Joy Division

Between 1977 and 1980, Ian Curtis, Peter Hook, Stephen Morris, and Bernard Sumner were members of the post-punk band Joy Division, often featuring heavy production input from producer Martin Hannett. Curtis committed suicide on 18 May 1980, the day before Joy Division were scheduled to depart for their first American tour, and prior to release of the band's second album, Closer. The rest of the band decided soon after Curtis's death that they would carry on.Prior to his death, the members of Joy Division had agreed not to continue under the Joy Division name should any one member leave. On 29 July 1980, the still unnamed trio debuted live at Manchester's Beach Club. Rob Gretton, the band's manager for over twenty years, is credited for having found the name "New Order" in an article in The Guardian entitled "The People's New Order of Kampuchea". The band adopted this name, despite its previous use for ex-Stooge Ron Asheton's band The New Order. The group states that the name New Order (as was also the case with "Joy Division") does not draw a direct line to Nazism or Fascism.

The band rehearsed with each member taking turns on vocals. Sumner ultimately took the role, as he could sing when he wasn't playing his guitar. Wanting to complete the line-up with someone they knew well and whose musical skill and style was compatible with their own, New Order invited Morris's girlfriend, Gillian Gilbert, to join the band in early October 1980, as keyboardist and guitarist. Gilbert's membership was suggested by Gretton. Gilbert's first live performance with New Order occurred at The Squat in Manchester on 25 October 1980.

1980 june/july "Haystack" (with Kevin Hewick)
1980 july "love will tear us apart" joy division
1980 sep-oct/uk aug/us "atmosphere" joy division

chart data from : http://www.musicvf.com/Joy+Division.art
https://en.wikipedia.org/wiki/Atmosphere_(Joy_Division_song)

---

larger : http://i.imgur.com/dG6HQMg.jpg


by group:

---

larger:
http://i.imgur.com/Vt39cfq.jpg

by month:

---

larger:
http://i.imgur.com/MZlxJjt.jpg



videos:
joy division

---

love will tear us apart

---

atmosphere

---

new order

---

haystack - audio only

---

next up 1981.


later
-1

1981 was a crucial year for new order..
this is what broke them through to the public.

[from wikipedia: https://en.wikipedia.org/wiki/Movement_(New_Order_album) ]

Movement is the debut studio album by the English rock band New Order, released in
November 1981 on Factory Records. At the time of its release, the album was not
particularly well received by critics or consumers, only peaking at number thirty on
the UK Albums Chart.

With the exception of two songs, "Ceremony" and "In a Lonely Place" (unreleased, but
demoed in the studio and, in "Ceremony"'s case, played live before Curtis's death), all
the material played would be new.

A couple of songs on Movement stem from the initial songwriting session the band
undertook in the summer of 1980. "Dreams Never End" and "Truth" were both played at the
initial New Order concerts (still played as trio) in the US that September. At this
point it was still undecided as to who should be vocalist. The interim solution was
that all three members took turns at singing before finally deciding that Bernard

Sumner should take the main vocalist's role with Peter Hook as back-up (though he sang
lead on "Dreams Never End" and "Doubts Even Here"). The introduction in October 1980 of
Gillian Gilbert, Stephen Morris's girlfriend, lightened the burden on Sumner who had to
play guitar and keyboards and sing (something he found impossible to do simultaneously)
and enabled the band to pursue a more electronic approach. Subsequently, the remainder
of the songs that appeared on Movement were written and then recorded over a seven-
month period "in two big bits, and a whole lot of little bits" (Sumner's words), as
well as "Mesh", "Cries and Whispers" (both early live staples and used as B-sides),
"Procession" and "Everything's Gone Green", the latter forming a non-album single
released as FAC53 in September 1981.

The producer of the album was once again Martin Hannett, who had worked with them as
Joy Division; however, the rapport between producer and band had in the ensuing time
eroded. Hannett was in a legal dispute with Factory Records and suffering from
substance and alcohol abuse, and the band members—themselves still coming to terms with
having to write and arrange songs without Curtis's ear and lyric-writing ability—found
him uncooperative. It would be the last time they worked together.


singles

---

ceremony

https://en.wikipedia.org/wiki/Ceremony_(song)

"Ceremony" is a song by Joy Division, released as New Order's debut single in 1981. The
song and its B-side, "In a Lonely Place", were written as Joy Division prior to the
death of Ian Curtis. Both were carried over to the band's re-incarnation as New Order.
New Order released the song as a single twice, firstly in March 1981 and secondly in

September 1981 featuring new member Gillian Gilbert.

March 1981 version

In March 1981, the first version of "Ceremony" was released on Factory Records (FAC
33). Martin Hannett (Joy Division's producer) produced the record and Peter Saville
designed the sleeve graphics.

The 7" record was issued in a stamped gold-bronze sleeve. The 12" sleeve was a
completely separate design: gold typography on a green background.

September 1981 version

In September 1981, "Ceremony" was re-released. Gillian Gilbert played guitar on this
new recording just after she joined the band. Martin Hannett again produced the record.

The single was re-issued as a 12" only, with the same catalogue number (FAC 33). The
original is approximately 4:34 minutes in length while the re-recording is 4:23. The
re-recorded version was used on all subsequent compilations until Singles in 2005, when
the original recording was released on CD for the first time.

There are differences in the recordings. The original has a more "Joy Division sound",
with throbbing bass, distorted guitar, spacey vocals, and solid drums also contributing
a wash of cymbals. In the re-recording the bass is diminished, cymbals restrained, and
the vocals are "drier". The guitar has a sound typical of that used on the album
Movement. Drum hits in the opening verse are dramatically panned in the mix. There is a
greater contrast between verse and chorus, with the latter sections reaching some of
the emotional pitch of the original. In addition to the new recording of the a-side
track, the b-side track "In a Lonely Place" was slightly remixed and added more
synthetic "thunder" noises throughout the song. This alternate mix also appears on the
second disc of Substance and subsequent compilations.

The sleeve was changed to a light cream with a vertical blue stripe, though
with the same motif and typography as the original 12" single. After supply of the re-
designed sleeve ran out, copies of the originally-designed sleeve were re-used.

Accordingly, the two versions of the song were packaged
indiscriminately in the original sleeve. However, the run-groove notation (phrases
pressed onto the vinyl) differ according to the version. The original says "Watching
love grow forever". The re-recording says "This is why events unnerve me". Both phrases
are excerpts from the lyrics in "Ceremony".

---

procession

https://en.wikipedia.org/wiki/Procession_(New_Order_song)

"Procession" is the second single by the British group New Order, released in September

1981 on 7" vinyl record. The single's Factory Records catalogue number is FAC 53.

The song does not appear on any of New Order's studio albums; it does, however, appear
on the EP 1981 – Factus 8 – 1982, 1987 singles compilation Substance, the 2005
compilation Singles, and the 2008 Collector's Edition of the band's debut album Movement.

Artwork

---

Similar to the album cover for Movement, the artwork is taken from a "Dinamo Futurista"
magazine cover done by Italian futurist designer Fortunato Depero. Notably, the UK
release's sleeve came in nine versions, all with different colours: black, blue, aqua,
yellow, red, brown, orange, green and purple. The B-side is an edited version of

"Everything's Gone Green", the full-length version of which was later released as a 12"
single on its own.

Some Spanish and Portuguese pressings have reversed labels.

---

everythings gone green

https://en.wikipedia.org...verything%27s_Gone_Green

"Everything's Gone Green" is the third single by the English alternative
rock/electronic band New Order. It was released in December 1981 and reached number
three on the UK Independent Singles chart, number twenty-nine on the New Zealand RIANZ

Singles chart and number thirty-four on the U.S. Billboard Hot Dance Club Play chart.

As usual per New Order and Joy Division's releases, the recording date and location of
the music is not disclosed on the original sleeve. The single was originally released
in Belgium on Factory Benelux and bears the catalogue number FBN-8. The single was
later released in New Zealand in 1982 and was made available in the UK through import
copies. The artwork was designed by Peter Saville with computer graphics on the cover
designed by Stephen Morris and Gillian Gilbert.

The song had already been released in an edited form, as a B-side on the single
"Procession" in September of the same year. All tracks were produced by Martin Hannett
and was the last work he did with New Order. Hannett previously produced Movement and
both of Joy Division's studio albums. Hannett and the group had worked together
fractiously, caused by the producer's unorthodox techniques and the band's (especially
Sumner's) desire to co-produce. Bernard Sumner remarked retrospectively that "Martin's
last track was "Everything's Gone Green" – fact he walked out halfway through the mix
because Hooky and me asked him to turn the drums up".

Two original songs, "Cries and Whispers" and "Mesh" are included as B-sides. Both have
been commonly mis-titled on releases by the group. The track names of the B-sides are
correctly identified on the label, but are in the wrong order on the sleeve. This led
to their being misidentified on subsequent releases; for example, the track identified
as "Mesh" on the CD version of the Substance compilation is actually "Cries and Whispers".



1981 by group:

---

1981 by month:

---

later
-1

I'm interested in 1981 and I'm interested in how you make those picture, Neg 1 ....

Is there an app/software?

new order

---

1982 05 may "Temptation"

Movement: 1981–1982

---

New Order visited New York City again in 1981, where the band were introduced to
post-disco, freestyle and electro. The band had taken to listening to Italian disco
to cheer themselves up, while Morris taught himself drum programming. The singles
that followed, "Everything's Gone Green" and "Temptation", saw a change in direction
toward dance music.

from: http://www.neworderweb.n...ines/new-order-timeline/
==============================================================
April/may – Temptation released on 7&12 Inch

May – Fac 51-The Hacienda opens its doors. A super club before the term was even coined. The inspiration
came from New York nightclubs that New Order visited several years before. The interior was designed by
Ben Kelly and went massively over budget. Wilson would later claim that The Hacienda was
“one long wonderful nightmare”.


1982
temptation

---

"Temptation" is a stand-alone single released by British band New Order on Factory
Records. The single reached #29 on the UK Singles Chart on its release in 1982.
The two tracks were recorded as 12" long versions and later edited to 7" by engineer
Peter Woolliscroft using one of the first Sony PCM 1610 Digital editing systems
available in UK. The single is unique since the 7" version of Temptation fades out
exactly when the 12" version begins due to both being recorded in one take.

The 7" version is a more structured version with a commercial synthpop feel; the 12"
is more chaotic with the emphasis on electronic rhythms rather than melody. The 7"
version plays at 33rpm to accommodate its length of around five and a half minutes.

Both versions bear the same catalogue number "FAC 63" despite these differences.
The 12" versions of both "Temptation" and its B-side, "Hurt", appear on New Order's
mopping-up EP 1981–1982, released a few months after the single itself.

Neither version mentioned the band's name on the sleeve; instead the song title and
catalogue number FAC 63 were embossed into the cover.
The vocal track on the original 12" version features an audible "startled yelp"
during the song's intro. Vocalist Bernard Sumner has since explained that the scream
was from him due to bandmates thrusting a snowball down his shirt during recording.

In 2006 the song was interpreted in a video, entitled The Temptation of Victoria, by
filmmaker Michael Shamberg, who had directed a number of notable music videos for the
band, here revisiting a classic New Order song with the help of singer Victoria
Bergsman of Swedish band The Concretes. The Temptation of Victoria was one of two
videos that New Order commissioned Shamberg to direct in 2005 and is dedicated to the
memory of film director Michael Powell.

videos:

official made in 2000's

live 84


1982 by group:



1982 by month:



later
-1

Edited by user 15 December 2015 20:06:17(UTC)  | Reason: Not specified

Ahh....SMASH HITS, love that mag and I have so much nice memories of reading articles & music reviews (esp. by a young Neil Tennant) plus looking forward to the centre pin-ups....not that much keen on the lyrics stuff though...i guess this was pre-karaoke craze, heehee.

I still have a pile of them, mostly 1983, sitting somewhere in a box in my study...notable covers from that year included Eurythmics, OMD, Japan...I dont recall New Order been on the cover before? At least not before 1985...I kinda stopped buying the mag when Australia started publishing their own version with local content added....but with poorer graphics, layout, etc...and generally came across as a bit more juvenile (perhaps it was the music at that time...) a stark contrast when Blondie, The Police or Gary Numan would grace the covers.

1983 was by the far, the biggest year, that new order would ever have.

Power corruption and lies, was huge, and of course 'blue monday'.

there would never be another year like this again for the group.

---

new order

---

album - power corruption and lies

---

https://en.wikipedia.org...wer,_Corruption_%26_Lies



car:

boxed cassette :


Power, Corruption & Lies is the second studio album by the English rock band New
Order, released in May 1983 on Factory Records. The album features more electronic-
based tracks than their previous album Movement, with heavier use of synthesizers. It
was included in the top 100 albums of the 1980s lists in both Rolling Stone and
Pitchfork Media.


Peter Saville's design for the album had a colour-based code to represent the band's
name and the title of the album, but they were not actually written on the original
UK sleeve itself (they were present on some non-UK versions), although the catalogue
number "FACT 75" does appear on the top-right corner. The decoder for the code was
featured prominently on the back cover of the album and can also be used for the

"Blue Monday" and "Confusion" singles and for Section 25's album From the Hip.
The cover is a reproduction of the painting "A Basket of Roses" by French artist
Henri Fantin-Latour, which is part of the National Gallery's permanent collection in
London. Saville had originally planned to use a Renaissance portrait of a dark prince
to tie in with the Machiavellian theme of the title, but couldn't find a suitable
portrait. At the gallery Saville picked up a postcard with Fantin-Latour's painting,
and his girlfriend mockingly asked him if he was going to use it for the cover.
Saville then realised it was a great idea. Saville suggested that the flowers
"suggested the means by which power, corruption and lies infiltrate our lives.

They're seductive." The cover was also intended to create a collision between the
overly romantic and classic image which made a stark contrast to the typography based
on the modular, colour-coded alphabet. Saville and Tony Wilson, the head of the
label, also said that the owner of the painting (The National Heritage Trust) first
refused Factory Records access to it. Wilson then called up the gallery director to
ask who actually owned the painting and was given the answer that the Trust belonged
to the people of Britain, at some point. Wilson then famously replied, "I believe the
people want it." The director then replied, "If you put it like that, Mr Wilson, I'm
sure we can make an exception in this case."

Power, Corruption & Lies was well-received on its release, and is still well-
regarded. In a contemporary review for Rolling Stone magazine, Steve Pond felt that
the band had finally separated themselves from their past Joy Division associations,
calling the album a "remarkable declaration of independence" and a "quantum leap"
over Movement. The album was placed number 23 on the The Village Voice 1983 Pazz &
Jop critics poll. In a retrospective review of the band's first five albums, Josh
Modell of The A.V. Club called Power, Corruption & Lies "the sound of a band coming
out of the shadows, retaining some of the pop elements of older days, but also
embracing happiness and a whole new world of sequencers," crediting the album's
humanity as a part of its charm. John Bush of AllMusic stated that that the album
"cemented New Order's place as the most exciting dance-rock hybrid in music.

singles

---

1983 03 mar "Blue Monday"

---

https://en.wikipedia.org/wiki/Blue_Monday_(New_Order_song)


info:
http://www.discogs.com/N...-Blue-Monday/master/3297




"Blue Monday" is a single released in 1983 by British band New Order, later remixed
in 1988 and 1995. The song has been widely remixed and covered since its original
release, and became a popular anthem in the dance club scene. It is the biggest-
selling 12" single of all time.
At nearly seven-and-a-half minutes, "Blue Monday" is one of the longest tracks ever
to chart on the UK Singles Chart. Despite selling well it was not eligible for an
official gold disc because Factory Records was not a member of the British
Phonographic Industry association. According to the Official Charts Company, its
total sales stands at 1.16 million in the United Kingdom alone, and "Blue Monday"
came 69th in the all-time UK best-selling singles chart published in November 2012

The artwork is designed to resemble a 5 1/4" floppy disk. The sleeve does not display
either the group name nor song title in plain English anywhere; the only text on the
sleeve is "FAC SEVENTY THREE" on the spine. Instead the legend "FAC 73 BLUE MONDAY
AND THE BEACH NEW ORDER" is represented in code by a series of coloured blocks. The
key enabling this to be deciphered was printed on the back sleeve of the album,

Power, Corruption & Lies. "Blue Monday" and Power, Corruption & Lies are two of
four Factory releases from this time period to employ the colour code, the others
being "Confusion" by New Order and From the Hip by Section 25.

The single's original sleeve, created by Factory designer Peter Saville and Brett
Wickens, was die-cut with a silver inner sleeve.It cost so much to produce that
Factory Records actually lost money on each copy sold. Matthew Robertson's Factory
Records: The Complete Graphic Album notes that "[d]ue to the use of die-cutting and
specified colours, the production cost of this sleeve was so high that the single
sold at a loss." Tony Wilson noted that it lost 5p per sleeve "due to our strange
accounting system"; Saville noted that nobody expected "Blue Monday" to be a
commercially successful record at all, so nobody expected the cost to be an issue."
In Shadowplayers: The Rise and Fall of Factory Records, Saville states "I am so bored
with this story. We didn't even know how many of these expensive covers were ever
made anyway."

Robertson also noted that "[l]ater reissues had subtle changes to limit the cost"
(the diecut areas being replaced with printed silver ink). Saville commented in 2013
that the printers "banged out a cheaper version. I don't know how many thousands were
sold [the original] way, or whether Factory were charged the full price for something
they didn't get, which would be very Factory."

The artwork was so late that Saville sent it straight to the printer, unreviewed by
either the band or the label.

A music video for a shortened version of the original song was created in 1983,
featuring military clips with false colour, simple computer-generated graphics such
as colour blocks and geometric lines, digitised video of band members at very low
resolution and framerate, and a short appearance of the game Zaxxon (reportedly the
Apple II port). The colour blocks were created using Peter Saville's colour-coded
alphabet.


"Blue Monday" has been a hit several times in the UK. In 1983, it charted twice,
initially reaching number 12, then re-entering the chart later in the year and
climbing to number 9, helped by the fact that neither side of the single (the B-side

"The Beach" was an instrumental re-working of "Blue Monday") was featured on the UK
version of the group's subsequent album, Power, Corruption & Lies.

New Order appeared on the BBC's Top of the Pops, on 31 March 1983, to promote the
song. New Order insisted on performing Blue Monday live. The performance was dogged
by technical problems, and was unrepresentative of the recording. In the words of
drummer Stephen Morris, "Blue Monday was never the easiest song to perform, anyway,
and everything went wrong. The synthesisers went awry. It sounded awful". In 1985,

"Blue Monday" and "Thieves Like Us" were officially released in Poland as a 7" single
in different sleeve by Tonpress under license from Factory Records and sold over
50,000 copies and reached number 5 on the end-of-year single chart.




09 sep "Confusion"

---

https://en.wikipedia.org/wiki/Confusion_(New_Order_song)

info:
http://www.discogs.com/N...er-Confusion/master/4330



"Confusion" is a single released by British group New Order in August 1983 with the
catalogue number FAC 93. It was the follow-up to their massive club hit "Blue Monday"
and is unique for having both Peter Hook and Bernard Sumner playing bass guitars on
it. The song is produced by influential New York DJ Arthur Baker. As a result it was
recorded in New York, a rarity for the band. Three remixes served as B-sides on the
initial 12" release: "Confused Beats", "Confusion Instrumental" and "Confusion Rough Mix".



videos
new order

---

from : shorts
http://www.niagara.edu/neworder/video/shorts.html


1983 03 mar "Blue Monday"
edit

09 sep "Confusion"

from a factory outing:
http://www.niagara.edu/neworder/video/afo.html

your silent face:

---

1983 by group:


1983 by month:


later
-1

Edited by user 18 December 2015 20:08:03(UTC)  | Reason: Not specified

Indeed, Evil Genius Of A King

1985

February

New Order signed to Qwest Records. Work on new album already in progress.

May

New LP, their first on Qwest, titled Low Life released.
The cassette included four individual pictures of the band which could be swapped round

depending on the owner’s mood or persuasion.

Band tours Far East.
First Low-Life single, "Perfect Kiss."

Video of song directed by Jonathan "Stop Making Sense" Demme.

June

Power, Corruption, And Lies and "Blue Monday" re-released on Qwest Records.

August
New Order tours U.S. "Perfect Kiss" reaches top five on American dance charts.

November – Subculture released on 7&12? Legend has it sleeve designer Peter Saville hated the

track that much that he refused to design a sleeve for the track. It was later claimed that

Saville was busy on another project and didn’t have time to design a sleeve. The track was

issued in a plain black die cut outer sleeve.

---

Low-Life

---

https://en.wikipedia.org/wiki/Low-Life



Low-Life is the third studio album by English rock band New Order. Released in May 1985 by

Factory Records, Low-Life is considered to be among New Order's strongest work, displaying the

moment in which the band completed its transformation from post-punk hold-overs to dance rock.

The album shows New Order's increased incorporation of synthesizers and samplers, while still

preserving the rock aspects of their earlier work. The original Factory release (Japan and UK)

CD versions of this album are mastered with pre-emphasis.

The songs on this album formed the basis of New Order's live concert video, Pumped Full of

Drugs, filmed in Tokyo shortly before the album's release. The track This Time of Night was

originally titled "Pumped Full of Drugs".

The music video for "The Perfect Kiss" was directed by Jonathan Demme. The song "Elegia" was

featured in the Academy Award-nominated short film More by Mark Osborne, and was also used in

the final trailer for the video game Metal Gear Solid V: The Phantom Pain.

On 2015, the album was rereleased and remastered for the US iTunes Store.

---

The Perfect Kiss
https://en.wikipedia.org/wiki/The_Perfect_Kiss




"The Perfect Kiss" is a song by the English rock band New Order. It is the first New Order song

to be included on a studio album at the same time as its release as a single. The vinyl version

has Factory catalogue number FAC 123 and the video has the opposite number, FAC 321.

The song has a complex arrangement which includes a number of instruments and methods not

normally used by New Order. For example, a bridge features frogs croaking melodically. The band

reportedly included them because Morris loved the effect and was looking for any excuse to use

it. At the end of the track, the faint bleating of a (synthesized) sheep can be heard. Sheep

samples would reappear in later New Order singles "Fine Time" and "Ruined in a Day". Despite

being a fan favourite, the song was not performed live between 1993 and 2006 due to the

complexity of converting the programs from the E-mu Emulator to the new Roland synthesizer.

However, it returned to the live set at a performance in Athens on 3 June 2006.

Widely regarded as a centrepiece of New Order's catalogue, "The Perfect Kiss" reached only #46

in the UK charts.

Lasting nearly 9 minutes, the full 12" single version of the song is longer than even "Blue

Monday", New Order's 1983 dance epic. This version also appears on the vinyl edition of

Substance, with the CD pressings deleting 44 seconds of the climactic finale, due to time

limitations of the CD format in 1987 (future remasterings of Substance did not restore the

missing 44 seconds, even though newer CDs would allow for it). The full version was eventually

released unedited on the 2-disc deluxe edition of Low-Life, marking its first appearance on CD.

The version on the original Low-Life and all post-Substance compilations is a 4:48 edit that

omits the third verse (the one that mentions the song's title) and fades out before the climax.

This version is present on the A-side of the 7" single from the Philippines; most 7" issues from

other countries have on the A-side a version that is further edited to 4:24 (in some or all

cases without the percussion introduction). The UK 7" promo release on Factory Records is a

rarely heard edit cut by Ivan Ivan which compresses most of the elements of the full, 8:46

version (including the ending but not the third verse) into 3:50.

There is also a live studio recording which corresponds to the music video; it is available on

the bonus disc included with some editions of Retro and on various promotional vinyl releases.

"The Kiss of Death" is a typical New Order dub version: it is a mostly instrumental remix of the

A-side with added effects; it notably features the opening of the album version. "Perfect Pit"

is a short recording of synthesized bass and drum parts that sounds like Gillian Gilbert and

Stephen Morris practicing.


Jonathan Demme directed "The Perfect Kiss" video, which is unlike any other New Order clip. Set

in the band's practice room, it simply depicts the band playing the song from beginning to end.

According to Factory Records owner Tony Wilson, Demme was looking forward to filming dynamic

shots of Stephen Morris behind the drum kit and was dismayed to find that the drums in the song

were all programmed.

The video prominently features a Joy Division poster for 'Unknown Pleasures'.

Video shown theatrically at September 1985 in UK. Then showing at TV. The video appeared on the

Substance 1989 VHS tape and the DVD A Collection. An edit of the video version appeared on a US

12" single in 1985. The full audio take, including Demme's remarks before and after the

performance, appeared on a bonus CD included with early copies of the box set Retro. Since it is

a unique live performance, the video version of the song sounds different from other released

versions. End credits finish with Fac 321.

---

Sub-culture

---

https://en.wikipedia.org/wiki/Sub-culture_(song)



"Sub-culture" released in November 1985, is the tenth single by New Order.

Release
It was the second and final single that also appeared on the group's album release of the same

year, Low-Life. The B-side is a remix of the A-side titled "Dub-vulture". A seven inch edit of

the Robie remix taken from the Benelux version of the "Sub-culture" single appears on the

group's 1987 compilation, Substance.

Making use of the word shaft with its possible sexual connotations, the song seems to be about

sexual rejection, loneliness and alienation in an urban environment.

John Robie's 12" and 7" single mixes provides a significant departure from the album version,

using prominent vocals which feature Gillian Gilbert, Peter Hook, Stephen Morris, Ish Ledesma of

Foxy and Oxo with female backing singers. The version of the song Bernard sings in the remix has

an altered line, changing the second verse's line "A view without a room" into "A room without a

view". The remix was not very well received and garnered more attention for Robie's extensive

rework, that managed to be less club-friendly than the original album version despite his

attempts to input greater melodic range. In spite of the poor reaction and sales, New Order and

Robie collaborated for the band's next two singles "Shellshock" and "State of the Nation" B-side

"Shame of the Nation".

Artwork
"Sub-culture" has only a regular black sleeve, as graphic designer Peter Saville reportedly

deemed the mix of the song unworthy of his talents. Saville's input was present only in a P/S/A

(Peter Saville Associates) credit for typography.


perfect kiss video

extended

full version

subculture


remix

record mirror

1985





later
-1

Edited by user 25 March 2016 10:34:00(UTC)  | Reason: Not specified

top songs 1987

---

in 1987 new order would take a long break, but still release a couple of songs.

'true faith' was released with their greatest hits called substance.
this song would lead to a top dance single in the US, and with a break through
video, would increase their popularity quite a bit.


'touched by the hand of God', was released with the soundtrack for the
movie salvation. they would also contribute other instrumental tracks to it also.

1987

August

Substance the essential New Order compilation released. The collection contains the group's best known material, while the compact disc edition features numerous 'B' sides and previously unavailable selections. Substance also includes the new New Order single, "True Faith," currently Top 20 in the U.K. New Order embarks on extensive American tour with Echo And The Bunnymen and Gene Loves Jezebel.

indie songs

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1987

1 August True Faith New Order 3 weeks


12 December Touched by the Hand of God New Order 6 weeks



top hits
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67 New Order True Faith


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new order

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08 aug 1987 "True Faith"

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https://en.wikipedia.org/wiki/True_Faith_(song)





"True Faith" is a song by New Order, produced by Stephen Hague. It was the first New Order single since their debut Ceremony to be issued in the UK as two separate 12" singles. The second 12" single features two remixes of "True Faith" by Shep Pettibone. Both versions of the 12" (and also the edited 7") include the song "1963". "True Faith" is one of New Order's most popular songs.

The single peaked at no. 4 in the United Kingdom on its original release in 1987. "True Faith" became New Order's first single to chart in the Hot 100 and would also go on to be a top 40 hit in the United States, peaking at no. 32.

A "True Faith" remix 12" single and CD single were released in 1994, and another "True Faith" remix 12" single and CD single were released in 2001. The 1994 remix charted in the UK at no. 9.

Original releases
New Order wrote and recorded "True Faith" and "1963" during a 10-day studio session with producer Stephen Hague. The two songs were written as new material for New Order's first singles compilation album, Substance 1987. After the two songs were recorded, the band's US management decided that "True Faith" was the stronger track and would be released as the new single, with "1963" as the B-side ("1963" was remixed and issued as a single in its own right in 1994).

"That wasn't really a happy period in New Order's life," recalled Peter Hook. "Let's just say it was a bit of a battle for me to get on there at all, apart from in the sense of helping write the song. Musically, we were moving more towards straight dance and I was keen on keeping the New Order I'd known and loved. I eventually managed to get my bass on the original version. But, of course, the first thing any remixers do is take off my bass and put their own on. I sometimes feel like attaching a note saying, How about keeping the bass?"

"True Faith" was never used as a track on a regular album, though it did appear on most of New Order's "best of" collections (Substance 1987, The Best of New Order, Retro, International, Singles and Total). The first public performance of the song took place at the 1987 Glastonbury Festival; this version appears on the group's BBC Radio 1 Live in Concert album.

The original 7" version of the song did not appear on any album until 2011's Total: From Joy Division to New Order.

Music video
The release of "True Faith" was accompanied by a surreal music video directed and choreographed by Philippe Decoufle and produced by Michael H. Shamberg. In it, bizarrely costumed dancers leap about, fight and slap each other in time to the music; while a man in dark green makeup emerges from an upside-down boxer's speed bag and signs the lyrics. The video has often been voted amongst the best music videos of its year. Sky Television's channel The Amp, for instance, has it rated as the best video of 1987, and it won the BPI award for Best Promotional Video in 1988. The video was inspired by Bauhaus artist Oskar Schlemmer's Triadisches Ballett.

The overall tonality, themes and various elements from the video re-occurred in Decouflé's scenography and choreography for the inauguration ceremonies of the 1992 Winter Olympics in Albertville.

Lyrics
As is the case for many New Order songs of this period, the words in the title do not appear anywhere in the lyrics.

The original lyrics included a verse that read "Now that we've grown up together/They're all taking drugs with me". Hague convinced Sumner to change the latter line to "They're afraid of what they see" because he was worried that otherwise it would not get played on the radio. When performing the song live, the band have usually used the original line.

During a live performance in 1993 in Reading, Sumner replaced the first lines of the second verse with the lyrics "When I was a very small boy, Michael Jackson played with me. Now that we've grown up together, he's playing with my woody." as a topical reference to the allegations of sexual abuse against the singer.

Technical details
"True Faith" was recorded at Advision Studio One, with production by New Order and Stephen Hague and was engineered by David Jacobs. According to Hague, the studio featured "...a first generation SSL board and big old Urei Time Align monitors. "True Faith" was created using a wide range of electronic musical equipment. According to an interview in 'Sound On Sound' by Richard Buskin, Hague notes that New Order provided a Yamaha QX 1, an Octave Voyetra 8 polyphonic synthesizer, a Yamaha DX 5 and an Akai S900 sampler, while he provided an E-mu Emulator II and an E-mu SP12.




12 dec "Touched by the Hand of God"

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https://en.wikipedia.org...uched_by_the_Hand_of_God



"Touched by the Hand of God" was a single released by New Order on 7 December 1987. The song was originally recorded for the soundtrack to the film Salvation! and the version released as a single was remixed by Arthur Baker. The B-side was a dub remix, titled "Touched by the Hand of Dub" and the release had the catalogue number FAC 193; production duties are credited to New Order.

Although not a track pulled for release from a studio album, "Touched by the Hand of God" appears on the 2008 Collector's Edition of New Order's album Brotherhood in its remix version, on the 1994 compilation The Best of New Order and in remixed form on 1995's The Rest of New Order. In the US, the song was released as the B-side to the group's following single "Blue Monday 1988", though it was billed as a double A-side on the Billboard Hot Dance Club Play and Maxi-Singles charts.


Video
The video that accompanied the song was directed by Kathryn Bigelow, and parodied glam metal groups of the same period, with the band miming to the music while costumed in long wigs and leather clothing. The video also contains a love scene that is intercut with the performance shots, and stars Rae Dawn Chong and a young Bill Paxton.[citation needed] The concept was proposed by manager Rob Gretton, and was inspired by the band having seen the clichés of then-popular videos on MTV while touring America.


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true faith:

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touched by the hand of God

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1987
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and this is the last for the decade, 1989:

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top songs 1989

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1989 would see 2 more singles released from 'technique'.
the tracks 'round and round', and 'run 2'.

1989

August

New Order releases new album, Technique, featuring the single "Fine Time." LP caps off a year of extensive activity for the group in which Substance becomes their first platinum album. Second Substance single, "Blue Monday '88" features remix by Quincy Jones. Group embarks on extensive U.S. tour and record in September in Peter Gabriel's studio in Bath, England. New Order completes sold out tour of Brazil in November.

indie songs

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1989

25 March Round And Round New Order 1 week
16 September Run 2 New Order 1 week

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new order

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03 mar 1989 "Round & Round"

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https://en.wikipedia.org/wiki/Round_%26_Round_(New_Order_song)




"Round & Round" is a song by New Order and the second single from their 1989 album Technique. It was re-recorded for single release with Stephen Hague, who had previously worked with the group on their hit "True Faith". It is one of the group's most dance-centred songs, with few guitar or bass lines. Like the majority of New Order songs, the song's title is not mentioned in its lyrics. The song was selected for single release by Factory Records' Tony Wilson over the wishes of the band, who wanted to issue "Vanishing Point" (also from Technique) instead.


Lyrics
The song is about New Order's then-souring relationship with Tony Wilson, the owner of Factory Records which was the group's label at the time. On the documentary "New Order Story", Bernard Sumner discusses that he didn't originally intend the song to be about Tony Wilson and the tension between Wilson and the group, but Sumner admits that growing tension between the two men ultimately was channelled into the song when it was being written.

Versions
The band recorded three versions:

The album version (4:29), which appears on Technique, emphasises drums and bass for a hard dance feel. It concludes with a cold ending in which the sequencers are run through phasers before then cutting out abruptly.
The 7" version (3:59) co-produced with Stephen Hague emphasizes the melody, synth pads, and vocals. It has a similar structure to the album track but replaces the instrumental break with a repeat of the intro, and fades out in conclusion. This is the version used in the video. Sumner remarked in a radio interview with Terry Christian on Key 103 that he was not fond of the plethora of "Round & Round" remixes and named the 'Stephen Hague Radio-Remix' as his favourite.
The 12" version (6:50) has a 2:45 intro sequence and stops cold before proceeding much as in the 7". It has a wash of synthesizers and a keyboard solo midway through the song. Also, the line "It makes me act like a child" repeats several times as the song ends. instead of fading out like the seven inch version, it ends in a manner closer to the original album version though less discordant.
These versions and other remixes were distributed on over twenty 7", 12", and CD single formats, many with exclusive artwork.[3] "Round & Round" has also appeared in various forms on New Order compilations. In 1994, "Round & Round" was remixed once again by Stephen Hague with Mike 'Spike' Drake for the compilation (the best of) New Order. This version revised Hague's 1989 seven inch remix removing many of the echoed refrains.[4]

B-sides
The single's main B-side was an instrumental, "Best & Marsh", which was written as the theme for a Granada TV series of the same name featuring footballers George Best and Rodney Marsh.[5] The CD single also included an instrumental remix of "Vanishing Point" produced for the BBC drama series Making Out.

Marketing
Video
The video for "Round & Round" features a series of eight successive black-and-white head-and-shoulder shots of young, female models, casually sitting in front of a camera as it records them, with the women occasionally talking (though what they say is not heard in the video). Randomly intercut into the footage of the women are various colorized short clips of flowers or marbles.

During the filming of the various models, it was decided to film additional footage of one model (Patty Sylvia) for an alternative cut of the video that features only Sylvia and the brief one-second color intercuts. Bernard's second wife, Sarah, is also rumoured to have appeared in the video; however, as she is rarely seen in public, it is difficult to confirm which one she is.

Veronica Webb is featured with a dreadlock hairstyle in the video. A very young Cynthia Bailey is also featured. Fabienne Terwinghe is the fourth model. Elaine Irwin Mellencamp is the last model shown.

Artwork
The artwork by Peter Saville Associates mirrors the Technique album cover, but uses a different statue with a red or blue (depending on which version is owned) background. With the single following the New Order tradition of not including the title within the lyrics, the line "The picture you see is no portrait of me" was stickered on varying sleeves.


09 sep "Run 2"

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https://en.wikipedia.org/wiki/Run_2



"Run 2" was New Order's third and final single from their 1989 album Technique. The album version was listed as simply "Run".


"Run 2" was remixed by Scott Litt from the version on Technique, hence the appendage of "2" to the title. The main difference is that the song has been made more radio-friendly by editing down most of the long instrumental run-out and appending it with a final repeat of the chorus. Litt's mix strips back much of the echo and layers of synthesizers, and in place centres the mix on Sumner's vocal and the bass guitar of Peter Hook. Despite the effort taken to produce a radio single, only 20,000 of the Factory 12" release were ever pressed. 500 7-inch records were also pressed, for promotional use. The single was only released in the UK.

John Denver's publishing company filed a lawsuit, alleging that the guitar break in "Run" too closely resembled Denver's "Leaving on a Jet Plane". The case was settled out of court. The song has since been credited to New Order and John Denver.

"Run 2" is backed with the B-side titled "MTO". This song recycles the line "You've got love technique" from the group's previous hit single "Fine Time" (this is the only lyric in the track). An extended mix of "Run 2" with additional beats by Afrika Islam and an alternate 'minus' mix of "MTO" by Mike "Hitman" Wilson appear as B-sides on the 12" version of the single.

Artwork
Peter Saville, the single's cover designer, claimed to have been inspired by the design of laundry powder packaging. The tiny print on the back of the sleeve says, "Cover by Peter Saville Associates after Bold."

videos:
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round and round:

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[youtube]https://www.youtube.com/watch?v=t1tjQqWqqAA[/youtube]

run 2

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[youtube]https://www.youtube.com/watch?v=nyaNMoam9KY[/youtube]

1989:

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