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Debaser  
#926 Posted : 09 September 2024 10:13:58(UTC)
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WTF is this at 8:35? Jaguar Skills pretending to be NO - and also Yazoo (6:20)? Outrageous!

BBC 6MUSIC

Also on YouTube; same timings.



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ROCKET MICK on 13/10/2024(UTC)
50poundnote  
#927 Posted : 09 September 2024 12:41:31(UTC)
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Originally Posted by: Debaser Go to Quoted Post
WTF is this at 8:35? Jaguar Skills pretending to be NO - and also Yazoo (6:20)? Outrageous!


If you scroll down to the tracklist, he credits all the original artists.
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ROCKET MICK on 13/10/2024(UTC)
Debaser  
#928 Posted : 09 September 2024 14:12:11(UTC)
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Originally Posted by: 50poundnote Go to Quoted Post
Originally Posted by: Debaser Go to Quoted Post
WTF is this at 8:35? Jaguar Skills pretending to be NO - and also Yazoo (6:20)? Outrageous!


If you scroll down to the tracklist, he credits all the original artists.


Oh I'm aware. That's why I say he's pretending to be them. If he said it was a cover or an unoffical re-version by him, it would make more sense I think.
And as for "Extended 12" mix"... Hmmmm.
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Rorschach  
#929 Posted : 13 September 2024 12:32:03(UTC)
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Final episode of The Grand Tour 'One for the Road" out today, featuring LWTUA and May in a white UP tshirt.
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eliu01  
#930 Posted : 15 September 2024 22:11:15(UTC)
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Forgive the scope creep, but "Getting Away With It" plays at the end of this week's episode of Industry (Season 3 Episode 6), switching to PSB's "Always On My Mind" playing over the end credits.
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Andy on 15/09/2024(UTC), ROCKET MICK on 13/10/2024(UTC)
perspexorange  
#931 Posted : 16 September 2024 07:57:51(UTC)
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Originally Posted by: perspexorange Go to Quoted Post
I think it probably is.

It predates both 'Something Wild' and 'Empire State' by a few months. Don't think there were any before that.



Hmmm... just checked IMDB and this film from 1985 apparently includes 'Confusion':

https://www.imdb.com/tit..._in_0_q_Sudden%2520Death

I'll try and hunt it down and report back.
Might be a bit like 'Reality Bites' which has a 'blink and you'll miss it' appearance by 'Confusion'. Took me ages to find the exact moment when scanning throiugh it a few years ago. It probably would've been quicker for me to just watch the film.



Hmmm. Managed to find this film on YouTube and, yep, 'Confusion' features quite prominently:

https://www.youtube.com/watch?v=AqH37UYdN2g

The track starts at the 20 mins mark.

So, yeah, this predates 'Pretty In Pink' by about five months. Who knew, eh?

According to the credits, the soundtrack was available on Streetwise Records, which I think was Arthur Baker's company. He also produced the (incredibly 80s) main theme to the film. That's presumably how the band's music got included. Freeez's IOU is apparently featured too (another Baker collaboration), but I didn't spot that whilst scrubbing through the film.

Weirdly, I can't find the LP on Discogs.

Film looks awesome, by the way... ;-)

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perspexorange  
#932 Posted : 16 September 2024 08:21:29(UTC)
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Originally Posted by: Jcp7 Go to Quoted Post
Another one from 1986 including Confusion and Subculture :

Désordre


Just found this one too, and can confirm that it contains 'Sub-Culture' around the 1h17m10s mark.

I would link to it here, but I'm not sure the site I found it on is particularly reputable.

Haven't managed to find 'Confusion' yet, but it does list both tracks in the end credits, so it's probably in there somewhere.


Another early film. November 1986, which is about the same time as 'Something Wild'.


https://www.imdb.com/tit...in_0_q_D%25C3%25A9sordre

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perspexorange  
#933 Posted : 16 September 2024 08:38:08(UTC)
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Originally Posted by: perspexorange Go to Quoted Post

Haven't managed to find 'Confusion' yet, but it does list both tracks in the end credits, so it's probably in there somewhere.




Found it. It's about at the 24mins mark (if anyone can be bothered to hunt the film down).

To be fair, the film looks a lot better than 'Sudden Death'.
For a film that is almost 40 years old, it looks pretty good. Quality camerawork, acting and the story seems decent, from what I could see.


Interestingly, looking at the soundtrack that Jcp posted earlier, it looks like the Robie remix is on the soundtrack (by the run-time, it looks like it might be that Benelux exclusive edit of the Robie mix).
However, the film itself contains the LP version.

Edited by user 17 September 2024 11:13:15(UTC)  | Reason: Auto-Korrekkt issue

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Mr Discography  
#934 Posted : 17 September 2024 08:20:54(UTC)
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Originally Posted by: perspexorange Go to Quoted Post

Interestingly, looking at the soundtrack that Jcp posted earlier, it looks like the Robie remix is on the soundtrack (by the run-time, it looks like it might be that Benelux exclusive edit of the Robie mix).
However, the film itself contains the LP version.

Interesting find. The running time suggests the Benelux edit. Shame there's no CD version - that Benelux Robie edit has never been released digitally, and neither had the 'Confusion' 7" back then in 1986.

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ROCKET MICK on 13/10/2024(UTC)
eliu01  
#935 Posted : 20 September 2024 21:26:05(UTC)
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Andy  
#936 Posted : 20 September 2024 22:53:16(UTC)
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Originally Posted by: eliu01 Go to Quoted Post


I nice introduction to Stephen and his first two groups. But with all the effort this clearly knowledgeable fan put into this short film, why did he choose to represent "Blue Monday" with the cover art of "Blue Monday 1988"?
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perspexorange  
#937 Posted : 21 September 2024 02:20:16(UTC)
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For any Revenge fans out there (I know we are few and far between, but I don't care - I liked 'em!).
This was new to me and hadn't seen it before this morning:





Almost sounds like a mix between a live recording and a studio version.

If anyone recognises which TV programme it's likely taken from (based on the two presenters at the end of the clip), please let me know.



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eliu01  
#938 Posted : 25 September 2024 22:02:04(UTC)
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A couple more videos paying homage to Stephen Morris:
and
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Debaser  
#939 Posted : 10 October 2024 11:57:35(UTC)
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JD Spotting

John Peel's son, Tom Ravenscroft is a BBC 6 Music DJ/presenter as you may already know.
He does a series of one hour shows from his late dad's house, "Peel Acres" under the title: The Collection. There are some additional episodes listed under 6 Music Stories for some reason.

I've been working my way through a few of these shows/podcasts on the BBC Sounds app recently.
Each episode has a different guest vinyl digger, rummaging their way through John Peel's mammoth record collection. Damon from Blur, Nish Kumar, actor Johny Flynn and Fatboy Slim are just some of the guests. Fatboy is great and reminds us that he did a couple of Peel Sessions when he was in the Housemartins. He was clearly a big Peel fan and digs out a cartridge tape from under the foorboards with Peel's opening theme music on it!

Anyway German electronic DJ & producer Helena Hauff did one in September here.
At 42:11 she finds a stack of JD Flexi-discs which she calls floppy discs. "It looks like 20 of them".
From the description and the blurb that they read out, it's clearly Komakino (+ Incubation & As You Said). At first, they think it may be very rare.
Looking at the Discogs listing, the reviews/comments underneath are quite fun. Here's one: "I was told that Factory used to post these out stapled to letterheads. Right through the grooves, just for giggles."

Crazy to think they gave these away for free just because the tracks didn't make it on to Closer. Of course if you want one now, they're not free on Discogs!

At 53:38 Hauff and Ravenscroft come back to the JD Flexi. Ravenscroft says : "you can only play these a few times, then the sound disappears".
Is that true? I guess the grooves and material are pretty flimsy. Anyone know how many plays you can get from a Flexi?
Anyway, they eventually play Komakino on 54 mins, and I reckon it sounds alright!. They then realise: 75,000 copies were pressed, so it wasn't as rare as they first thought.

If you liked John Peel, then these shows are worth a listen.
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ROCKET MICK on 13/10/2024(UTC)
GotBlueEyes  
#940 Posted : 10 October 2024 12:48:50(UTC)
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Originally Posted by: Debaser Go to Quoted Post


At 53:38 Hauff and Ravenscroft come back to the JD Flexi. Ravenscroft says : "you can only play these a few times, then the sound disappears".
Is that true? I guess the grooves and material are pretty flimsy. Anyone know how many plays you can get from a Flexi?



depends on the quality of the flexi and the type of needle you have, but generally flexis last quite a while. The sound isn't great anyway, so usually you'd tire of listening to it long before it wears out

I suspect that Tom may be thinking of acetates, which I know Peel had quite a lot of from back in the day (bands used to send him pre-release material on them in the 60s) - you don't get many plays out of them at all before the grooves wear down. They are made of lacquered coating of vinyl on a metal disc usually


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ROCKET MICK on 13/10/2024(UTC)
Andy  
#941 Posted : 15 October 2024 08:20:23(UTC)
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Just last week, I signed up for Bob Stanley's Record Room on Patreon. I liked his group, Saint Etienne and have appreciated his books on pop music. Though I'd never signed up for anyone else's Patreon account, his discussions on Twitter had convinced me to give his subscription service a try ($4 per month). One of the features is that every Tuesday, you get a new article on pop music. For my first week, incredibly, the article is New Order in flux: 1981/82.

I unfortunately don't have time before work to digest the entire piece. But from a quick scan through it, what I can say is that New Order really need to be the subject of his next book. Excellent. I will report later on the highlights of the article.

Edited by user 15 October 2024 08:44:54(UTC)  | Reason: typo

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eliu01  
#942 Posted : 15 October 2024 22:13:56(UTC)
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Stephen Morris on the Rockonteurs podcast (YT version)
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Andy  
#943 Posted : 16 October 2024 07:45:28(UTC)
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Originally Posted by: eliu01 Go to Quoted Post
Stephen Morris on the Rockonteurs podcast (YT version)




You so 2000 and late
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ROCKET MICK on 16/10/2024(UTC)
Andy  
#944 Posted : 16 October 2024 20:42:23(UTC)
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Originally Posted by: Andy Go to Quoted Post
Just last week, I signed up for Bob Stanley's Record Room on Patreon. I liked his group, Saint Etienne and have appreciated his books on pop music. Though I'd never signed up for anyone else's Patreon account, his discussions on Twitter had convinced me to give his subscription service a try ($4 per month). One of the features is that every Tuesday, you get a new article on pop music. For my first week, incredibly, the article is New Order in flux: 1981/82.

I unfortunately don't have time before work to digest the entire piece. But from a quick scan through it, what I can say is that New Order really need to be the subject of his next book. Excellent. I will report later on the highlights of the article.


The article wasn't as long as I first assumed. It's essentially like an online article, with photos and links to songs and artists he mentions. I can copy and paste the text so you get the idea without all the bells and whistles that the subscription version features. Don't rat me out. I don't want to be banned from his group on my first week! (I feel a little guilty as this isn't from a big magazine publication, only his Patreon account)



New Order in flux: 1981/82



"World In Motion would have reached number one in the charts almost exactly ten years after New Order came into existence. The difference in the circumstances from June 1980 to June 1990 is unimaginably great. After Ian Curtis’s death, there was a very real chance the new group would falter and splutter. Even after debut single Ceremony in 1981, nothing was certain. Their first album had a beautiful sleeve, but was almost entirely let down by a paucity of good songs, clearly nervous musicians, and a producer, Martin Hannett, who had his own demons to contend with. Everything’s Gone Green, hesitantly placed on the b-side of Procession in late '81, was the first real suggestion of a future; Temptation, in 1982, allayed all fears.

The early, anxious days of New Order – with hindsight, stripped of then-recent tragedy - are fascinating. The avenues not taken. No one really had a clue where they were going musically, least of all, I suspect, the four members of New Order. Though none of these groups had suffered the death of its singer, pre-punk giants Pink Floyd, Fleetwood Mac and Genesis had all been left in similar positions. The departures of Syd Barrett and Peter Green through breakdowns left the first two struggling to find a way forward for years and years, with pretty intriguing results (it’s my favourite Pink Floyd period); Genesis simply promoted Phil Collins when Peter Gabriel left, and found he had a remarkably similar voice. New Order took the latter route. Bernard Sumner’s voice didn’t have the resonance of Ian Curtis’s, but his phrasing was definitely coming from the same place.

Tony Wilson and Rob Gretton thought New Order could build their mystique by not doing interviews. This was true. I can’t imagine anyone in 2024 thinks there’s a great deal of mystique around New Order, with their spats, with Peter Hook’s cheap appropriation of their legacy, and Barney’s peculiar interests - his defence of the Falklands War, his curiosity in (non-existent) street brawls between (also non-existent) ISIS branches in Bradford and Keighley. No, their hearts are on their sleeves these days, their guts are wide open. 1981 was not like this. Reporters were sent out to track them down, to try and glean anything. Record Mirror found Peter Hook in a pub once. He wouldn’t talk. They still ran the story. Labelmates on Factory were loyal and kept schtum. Eventually someone cracked, maybe the bassist from Tunnel Vision, I can’t be sure. Maybe the drummer from Crispy Ambulance. He said to one of the music papers that Peter Hook liked to go scrambling, on a scrambling bike. That was it. It seemed implausible to me. I could only imagine them rehearsing in a disused cotton mill, something like the setting for the Love Will Tear Us Apart video. Scrambling indeed.

Ceremony, released with no advance notice in February 1981, caught everyone by surprise and was an instant classic. You know Ceremony, I don’t need to talk about it here other than to recall a moment when I saw it played live, and not by New Order.

When I saw Galaxie 500 play Ceremony at a show in Brighton in 1989, people were visibly shocked; they were either upset, angry, or laughing at the group’s cheek – Dean Wareham later said he had no idea about the special place it held in people’s hearts, that it was almost sacrilege for another group to play it. (an aside - I’m not sure this was entirely down to it being Ian Curtis’s last song. Think of the oft-cited greatest single of all time, Strawberry Fields Forever c/w Penny Lane – how often is either side covered? Candy Flip’s 98bpm cover of the former was seen at the time as much as a throat-slitting severance with the past as 1990's embrace of 1967’s hedonism. It worked as both, and remains a valid bit of musical graffiti. Ceremony was such an unimpeachable record, real perfection, that to cover it seemed like madness. All power to Galaxie 500, then, that they intensified the emotion by stretching it out, not at all an easy feat – look at Vanilla freakin’ Fudge).

Their label also needed them to pull through, and maybe they felt the pressure. 1981’s A Factory Quartet – a double album with one side each from the Durutti Column (outtakes), Blurt (home recordings), Kevin Hewick (live, poorly recorded, apparently with no artist consent) and the Royal Family and the Poor - was a mess, Factory’s own Ummagumma. A Certain Ratio were by now moving into straighter jazz funk territory, without the windswept aspect that had made their early records so intriguing. Section 25 were just Section 25, no matter how good they were – and the same went for Crispy Ambulance, the Names, Minny Pops and all the other Factory acts that no one (certainly not in the press) other than die-hard Factory followers seemed interested in. A lot was resting on New Order’s success, artistic and commercial.

Their second single was Procession, released in September 1981. Procession sounds like a single and - despite the moody Yes-like synth chords that open and close it, and the lack of an obvious hook until the late-on “your heart beats you late at night” - it has more in common with the Haircut 100 of late 1981 (Favourite Shirts, even Love Plus One) than it does with Everything’s Gone Green on the other side. Here was the future they did take: the sequencer, the dancefloor pulse, even the “whoo!” barely audible but there sure enough on the fade. This was not what anyone expected. (note: There’s an especially fierce rehearsal of Procession included on the 2019 edition of Movement, no vocals, but – not a word I’d use often – cathartic).

New Order were in a state of flux in 1981, and two recordings from this period are intriguing clues as to where they could have gone if Arthur Baker hadn’t helped to turn them from an endless musical wake into stars of shimmering mid-eighties electro dance.

Both of the clues are to be found on John Peel sessions. Dreams Never End was recorded for a session in January 1981, before Ceremony was even in the shops. The vocal was by Peter Hook and it’s one of their greatest performances. The bell-clear guitar interplay, the sense of release in the break at the end of the chorus, it’s a long way from the literal dirges they were initially writing (These could be summed up as “a long farewell to your soul”, an ongoing, public grief process – who could blame them?). Hooky’s voice is light, almost angelic, not what you’d expect from that bearded postie face. It was closer to one of the more melodic Liverpool groups of the day – the Wild Swans, for instance - than their grey mac-wearing Manchester cousins. The Wild Swans were unrecorded at this time. Hook would also sing the song on Movement and the version is similar but way less joyous, the product of unhappy sessions. What’s more, his vocal has dropped an octave; whether this was to make Dreams Never End seem more in keeping with the rest of the album, or whether Hook (or Hannett) suffered a loss of nerve in the studio, I don’t know. Kevin Pearce would quote the song in his script for Paul Kelly's 2003 film Finisterre. It feels like hidden gem in New Order's catalogue. And it’s quite a peculiar thought that, had it got more attention in 1981, Peter Hook could have become the singer in New Order.

Their second session for Peel was broadcast on June 1st 1982. This included a version of dub artist Keith Hudson’s Turn The Heater On. Hudson’s Pick A Dub (which doesn't actually include Turn The Heater On) is now widely acknowledged as a classic in its field though, at the time, despite being an avid reader of the music press, I hadn’t come across his name before. Its minor chords, spooked ambience and mysterious lyric – “gonna beat them all, gonna beat them all, tonight” – suited the group’s sound, and Hudson's song pushed them somewhere unexpected. It also showed how dub’s echoes, drops and spaciousness could be captured by the group without having to rely on Martin Hannett. That must have been comforting for them. At this point both Sumner (Stockholm Monsters’ Happy Ever After) and Hook (the Royal Family and the Poor’s Dream) were trying their hand at outside productions, albeit for other Factory acts. But the sound of Turn The Heater On would not be one they’d follow up. Barney’s affection for the melodica, like a Mancunian Augustus Pablo, would be pretty much their only real ongoing connection to dub. (note: this session also included an early version of We All Stand, which would turn up on Power Corruption and Lies in 1983. The keyboard line on the album version is reminiscent of Timmy Thomas or Sly and the Family Stone, a dark early 70s lost soul, and there are still touches of dub in Stephen Morris’s drumming. The Peel version - rather remarkably - has a piano sound which suggests the keyboard line came from Bill Evans or at least some modern jazz pianist – one of you might know a specific source).

New Order In Dub, or Peter Hook dueting with John Barnes - neither of these things came to pass. In the end, the movement from Joy Division into New Order – two of the greatest and most influential groups of the 1980s – seemed pretty seamless. I’m not complaining with the path New Order took, not at all… though I do wish they’d stopped with Regret; that and Ceremony really would have made beautiful bookends."

Bob Stanley's Record Room
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eliu01  
#945 Posted : 16 October 2024 22:52:42(UTC)
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JD mentioned as a major inspiration behind James O'Barr's creation of The Crow.
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eliu01  
#946 Posted : 23 October 2024 12:58:23(UTC)
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perspexorange  
#947 Posted : 25 October 2024 02:28:04(UTC)
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New (long) Hooky interview:

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Debaser  
#948 Posted : 31 October 2024 15:06:28(UTC)
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New Order Tees at The Levis shop. Not cheap but I imagine the quality is decent.

The blue Substance flower image has had a stalk added. I'm not sure I've seen that before. Presumably this is all legit and above board...


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