Podcast appearances and mentions of martin hannett

Everyone needs a Beach Boy break every now and then, and I'm happy as a clam to announce this sharp left turn with Mogwai's Stuart Braithwaite, as we take a mutual descent into the heart of darkness.  Our examination of every last triumphantly bleak release by post-punk progenitors Joy Division is a dependably in-depth celebration of this great band's “eerie spatially.”Here's just a few of the many things that Stuart discusses with Discograffiti in this podcast:An exploration of their early punk years as Warsaw;The band's feeling that producer Martin Hannett never properly captured their real sound in the studio;A side discussion about the successful bands of the 1960s who we feel are vastly overrated;The pricelessly uncouth way in which they kicked their original drummer out of the band;Whether or not this is Stuart's favorite debut album of all time;And an in-depth rundown of Unknown Pleasures and a bunch of early singles and EPs.Listen: linktr.ee/discograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Joy Division & Mogwai superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 15 additional minutes of essential material. Purchase it as a one-off, get the entire Season 1 & 2 Series as a bundle (listed under Collections), or better yet…Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher: Patreon.com/DiscograffitiCONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram:  https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.  If you're already a member, please comment below about your experience.  www.Patreon.com/discograffiti#joydivision #mogwai #stuartbraithwaite #iancurtis #unknownpleasures #thebigfire #postpunk #neworder #thecure #newwave #manchester #lovewilltearusapart #thesmiths #factoryrecords #bernardsumner #stephenmorris #depechemode #closer#discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue

In this all new expanded Boy episode released in tandem with our new U2 Origin Story episode, we pick up the story after U2 pulls off the big rouse at their now legendary gig at the National Stadium in Dublin that gets them signed to Island Records. We go over why they turn from Joy Division producer Martin Hannett and pivot to Steve Lillywhite to produce Boy. We cover Lillywhite's crucial contributions to the Boy sessions and go through all the tracks. We cover the controversy over the album artwork and themes of the record and the seminal moments of the band's first world tour. From the outside, everything appears copacetic, but inside, pressure from the Shalom Group starts to splinter the Lypton Village and the three Christians of U2 try and reconcile rock and roll and their faith.

This week, we talk to BRETT BOHAM (producer of Double Threat & The Best Show w/ Tom Scharpling + co-host of Movies Babyyyyy) about the UK film 24 HOUR PARTY PEOPLE. We discuss Steve Coogan's incredible performance as Tony Wilson (who put out records by Joy Division, New Order, Happy Mondays) and Paddy Considine as Rob Gretton, unearthing fake Stone Roses footage that was not used in the film, pivotal video store moments, working with Julie Klausner & Tom Scharpling, Brett being able to relate to Tony Wilson's handling of artists, discovering Joy Division, Shawn Rider, visiting the Hacienda, Goodfellas coke scenes, The Fall and the Manchester music scene, Tony Wilson being a prick in real life, Hollywood Vs. Blockbuster video stores, the B52s and the Athens music scene, Fassbinder films, getting your videos from your local bike shop, 1999 movies, the UK music press, Outkast, how the film uses actual news footage of Tony Wilson, backing up being a pretentious person, Todd Haynes, the Factory Records artwork, not having a contract with an artist, Martin Hannett, legendary under attended rock shows, early White Stripes and Dinosaur shows, how the Sex Pistols playing Manchester changed the course of music forever, Touch & Go records & Butthole Surfers, filmmaker Michael Winterbottom, Coffee & Cigarettes, Alan Partridge, A Certain Ratio, passing the car stereo test, skinheads infiltrating the UK music scene, Pulp and various Factory releases such as #61 Lawsuit featuring Martin Hannett & #501 Tony Wilson's Coffin. So, let's go ahead and sign a contract in blood as we delve into this week's Revolutions Per Movie.BRETT BOHAM:https://foreverdogpodcasts.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movies releases new episodes every Thursday. If you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly bonus episodes and exclusive goods just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Jordan and Alex don their most severe clothing and geometric haircuts to dive in the Big Bang of post-punk and goth: Joy Division's “Unknown Pleasures!” They'll trace the band's origins to a pre-fame Sex Pistols gig in Manchester attended by virtually every member of the city's musical luminaries to the maddening conditions of recording with insane genius producer Martin Hannett, who maybe tried to suffocate and/or poison their drummer? They'll also re-litigate 1980s Manchester's most famous rock feud…among people who aren't in the Smiths: Joy Division/ New Order's Peter Hook and Bernard Sumner! Also get ready to be so sad hearing about Ian Curtis' life! Too Much Information: Two men in their 30s struggling to delicately parse mental health issues via granular trivia!See omnystudio.com/listener for privacy information.

On this award-winning podcast, Happy Mondays drummer Gaz Whelan - one of Paul Ryder's closest friends - talks about Paul's battles with mental illness, drug addiction and the traumatic feuding with his brother Shaun Ryder as well as telling hilarious tales from the studio recording sessions of the Mondays' albums Squirrel and G Man, Bummed, Pills N Thrills N Bellyaches and Yes Please with John Cale, Martin Hannett, Paul Oakenfold and Steve Osbourne as well as Chris Franz and Tina Weymouth. He talks of his and Mani's cunning plan to outsmart BBC producers when Happy Mondays did Top of The Pops with The Stone Roses and him and Bez never made it to Paul's wedding, why Jazzy B banned them from a party, what the studio guys said about their time working with Whitney Houston, his bemusement at discovering a home made crack den at the studio in Barbados and the day that Bez got into a fight in Los Angeles. Hosted on Acast. See acast.com/privacy for more information.

In part 2 of our deep dive into his discography, we see just how far the sound of post-punk pioneer Martin Hannett could go. It goes without saying that we get a generous helping of some more iconic Factory Records releases, but we also venture into the worlds of performance poetry, novelty, dance punk, and even the emerging Baggy sound. In a career cut tragically short, it's thrilling to see Martin innovating to the very end. In this episode we discuss John Cooper Clarke, Magazine, Orchestral Maneuvers in the Dark, Happy Mondays and much more.

Trevor Horn is often called the man who invented the 80s, but the same could be said of Martin Hannett. Martin's bleak, austere and (somehow) maximalist vision of rock music resulted in a highly evocative sound that his immediately recognisable. His association with the iconic Factory records nurtured an enduring post-punk scene which remains influential to this day. In this episode we discuss Buzzcocks, Joy Division, New Order, and much much more.

In November of 1988 Happy Mondays released their second studio album. This is the sound of ecstasy colliding with a very depressed Martin Hannett. Lets talk Happy Mondays, Bummed!

Gaz Whelan of Happy Mondays shares memories of early records, recordings, Manchester, Factory Records, The Hacienda, Martin Hannett, John Cale, Paul McCartney, the upcoming Aus/NZ tour & lots more. Welcome Gaz to the show Touring after Paul Ryder passed away The Paul Ryder Tapes Podcast Picking up drums after watching the Beatles on TV Paul McCartney commenting on Happy Mondays Sex Pistols and 1st wave punk in Manchester Soul and Northern Soul records Talking to Noel Gallagher about the “Get Back” Television series Earlier Manchester bands – Joy Division, The Smiths, etc Forming Happy Mondays, early band names Getting the attention of Factory Records Memories of The Hacienda – FAC51 The story of the “Forty Five EP” Tony Wilson testing Happy Mondays before making an album "Freaky Dancing" single Working with John Cale on the 1st album Gaz has some original tapes from Tony Wilson Making up the album title for the 1st album The track “Desmond” was removed from the 1st album 24 Hour Party People single creating opportunity for 2nd album Bez joining the band Memories of Martin Hannett as producer Rumours of Happy Mondays selling pills The design of Happy Mondays products and the Factory Records aesthetic Northen Soul records turning up in UK Does Paul have many records? Did “Yes Please” bankrupt Factory Records? Post Happy Mondays activity, Black Grape, etc Will there ever be another Happy Mondays album? Many Happy Mondays tapes were likely destroyed with the Hacienda Interview wrap up Happy Mondays Aus/NZ 2023 tour tix & info Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

C'est le retour de l'aléatoire !TRACKLIST Jeremih featuring Natasha Mosley (Prod FKI) - Fuck u all the time (2012)James Blake - Big HammerVagabon - Made out with your best friendIchon - SouventLe disque de 19h22 (vous pouvez choisir le disque de 19h22, envoyez une note vocale à @davidblot sur Instagram!!!!) : Karin Jones (12" Tee Scott Vocal Remix) - Under the Influence of Love Tinashe - Talk to me nice Blasé - Number OneGuess What - Children's FavouriteClub Coco - Las Mijas - Ronca (Carta para una mija)Thinking of you - Sister SledgeRight - David BowieAlabama - John ColtraneLove Me or Leave Me - Benny Goodman and His OrchestraDernier domicile connu - François de RoubaixBass Kalimba Dance - Jimi TenorHuddersfield Wastes - Martin Hannett Alan Palomo x Mac de marco - Nudista Mundial ‘89Bites on My Neck - yeuleDisclosure - Higher than ever beforeThe Boss - The BraxtonsSlow Down - Brand NubianThank You - Charlotte Adigéry & Bolis PupulWhat I Mean - A.G.Cook Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On this hilarious, informative and poignant show where Paul Ryder tells his whole life story, recorded just days before he passed away, we hear about the days when he shared a flat with Shaun and Bez and they washed dishes in the bathtub every two months. We also hear about the recording of their second album, Bummed with Martin Hannett, as ecstasy began to flood club culture. Paul Oakenfold talks about the birth of the indie dance crossover genre and Linda tells of how Sandra threw an Alexa in the bin and why they blame Putin!Check out Angela's other podcast, Accidentally Milf - Online Dating Adventures After 50 - the podcast that inspired this one!Please support The Paul Ryder Tapes by becoming a patron at Patreon.com/thepaulrydertapesIf you'd like to rent Paul's Normandy chateau that's featured in the series, (where he recorded the Big Arm album), email chateaudelavallee@gmail.com for a big discount on the airbnb price! Check it out on airbnb at www.francechateauforrent.comVisit the main website at paulryder.tv for links to our socials and please give us a review if you've not already done so!Thanks so much for being a part of the series! Hosted on Acast. See acast.com/privacy for more information.

Gordon King  - World of Twist - in conversation with David Eastaugh New book - When Does The Mind-Bending Start? by Gordon King   A short lived 1986 version of World of Twist featured Gordon King (vocalist and co-songwriter), Tony Ogden (co-songwriter), Andy Hobson (Bass, Keyboards), Neil Drabble (visuals). The 1989 version of World Of Twist featured Ogden (now vocalist and co-songwriter), King (guitar and co-songwriter), and Hobson (synthesisers) joined by Alan Frost (visual effects, synthesisers), Julia aka M.C. Shells (swirls and sea noises) and Angela Reilly (visual effects). Nick Sanderson (drums) joined some time later. A demo tape (featuring "The Storm", "Blackpool Tower Suite", "The Spring", and "She's a Rainbow") released in early 1990 drew attention to the band, and a recording contract with Circa Records followed. The record label issued the singles "The Storm" (produced by Clif Brigden) that same year with "Sons of the Stage" also (produced by Clif Brigden) and "Sweets" following in 1991. A cover of The Rolling Stones' "She's a Rainbow", originally issued as the B-side of "The Storm", was reissued with new dance mixes by Fluke in 1992. The original B-side version had been one of the last tracks produced by Martin Hannett, who died in 1991.

In July of 1980 Joy Division released their final studio album. Once again produced by Martin Hannett but released two month after the tragic passing of lead singer, Ian Curtis, the album represents a high watermark of the post-punk genre. Lets talk Joy Division, Closer!

En un nuevo aniversario de su muerte, Alfredo Lewin recuerda al productor británico de la escena de Manchester, conocido como el quinto Joy Division.

In June of 1979, Joy Division released their debut album. It became the first LP put out by Factory records and the first of theirs to be recorded by Martin Hannett. The record's use of space, odd percussive effects (see compressed air) and all around dark mood puts it far and away one of the greatest debut albums of all time and became an harbinger of the shape of post punk to be. Let's talk Joy Division, Unknown Pleasures!

A movie about a scene, a club, a record label, and that incomparable mix of melancholy and dry English wit. It's the 24 HOUR PARTY PEOPLE (2002) starring Steve Coogan, and Directed by Michael Winterbottom. Call-in Guest played by Mike "Sally" Faerber @beardontapTheme Music "A Movie I'd Like to See" by Al Harley. Follow the Show @freshmoviepodSubscribe to our YouTube ChannelEmail us abreathoffreshmovie@gmail.com

This episode will be absolute music to the ears not just of Strawberry Studios enthusiasts, but all fans of the 80s and 90s Manchester ('Madchester'!) music scene.   Jonathan ‘Baz' Barrett, better known to this podcast as the Stage Manager for the wonderful Strawberry Studios Forever concert in Stockport in September, was a fully-fledged Strawberry recording engineer during its last six years, from 1987 to 1993. His fascinating stories paint a vivid picture of sessions and recordings involving some of Manchester's most iconic bands.  None more so than Joy Division, and we try to illustrate Baz's amazing account of Martin Hannett's pioneering production work on Love Will Tear Us Apart with some incredible isolated vocal and instrumental parts. We've even tried to re-imagine one of these, so apologies to Mr Hannett if we've got this completely wrong…   Other tales include Happy Mondays, Stone Roses, Cocteau Twins, the BBC and some other less well-known bands such as The High, Mighty Force, Ashley & Jackson and his own band Rig.    This a real love letter to Strawberry's final years, and it's only fitting that we ask Baz to name his ‘pet' Strawberry sound of all time.  You won't be disappointed!

This episode focuses on two albums by Blue in Heaven. The Dublin band released two albums on Island Records - All the God's Men (1985) and Explicit Material (1986). These are very different records and sound at times almost as if they were created by two different bands. Blue in Heaven frontman Shane O'Neill, joins me for a discussion that takes in landmark Irish record label Mulligan Records (run by Shane's father Seamus O'Neill and Donal Lunny); The Bothy Band's live album, After Hours; his first band Amuse (with future Into Paradise mainman Dave Long); early punk gigs in Pearse Street's Magnet bar; the original five-piece version of Micro Disney; the Edge producing Blue in Heaven's first demo, signing to Island Records; playing gigs with U2 and New Order; working with producer Hugh Jones, Stiff Records boss Dave Robinson and Island Records boss Chris Blackwell; recording in Blackwell's Compass Point Studios in the Bahamas. A lot of our conversation is taken up with a discussion of Blue in Heaven's time at Strawberry Studios when the band worked with the legendary Factory Records producer Martin Hannett. We come full circle and talk about the beautiful album Moll & Zeis that Shane released this year alongside his old friend Dave Long.

Radio Nova revisite ses propres classiques : les raretés de tout bord qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd’hui : « Dance » d’E.S.G.Notre Nova Classic nous arrive du sud du Bronx aujourd’hui. Elles sont trois, elle sont soeurs et ont pris le nom de pierres précieuses. C’est E.S.G., pour Emerald, Sapphire and Gold (Emeraude, Saphir et Or). Trois soeurs qui incarnent à la perfection le son de New York au début des années 80, marqué par des batteries funk faisant le pont entre la scène rock et hip-hop.Souvenez-vous du « Cavern » de Liquid Liquid, repris ensuite par Grandmaster Flash dans « White Lines ». Les membres d’E.S.G. arrive donc dans ce paysage musical aux frontières poreuses. Signées sur 99 records, label de Liquid Liquid justement et de Bush Tetras , les soeurs Scroggins partent à Manchester en Angleterre rencontrer Martin Hannett. Le producteur de Factory Records est alors reconnu pour avoir façonné le son reconnaissable entre mille de Joy Division. De cette collaboration, vous allez l’entendre, les E.S.G. ont capté cet art de jouer avec le silence. Le style E.S.G., c’est une rythmique implacable, peu de voix, et ce fameux silence. Ce qui leur vaudra d’être beaucoup samplées par la scène hip-hop, de Notorious B.I.G. à J Dilla. On bat la mesure, on entre dans le danse, voici E.S.G., notre Nova Classic.Visuel © E.S.G. See acast.com/privacy for privacy and opt-out information.

At 80 years young, Bruce Mitchell is the bearing upon which gigs have turned in Manchester for more than half a century.  In part 2, he talks about his friend & business partner Martin Hannett, why soundchecks are doomed to suck, and how the worst gigs are often the best gigs.

The Names with Michel Sordinia in conversation with David Eastaugh The early lineup of the band featured Sordinia, guitarist Marc Deprez and drummer/keyboard player Christophe Den Tandt; Robert Frankson and singer Isabelle Hanrez were briefly also members. After local gigs as The Passengers, they changed their name in time for their debut single, "Spectators of Life", released by WEA in 1979 to test the market for homegrown new wave music. The band were keen to sign to a British label, and connected with Factory Records at a Joy Division gig at the Plan K venue in Brussels.[2] The Names, augmented by new drummer Luc Capelle, recorded "Nightshift" in Manchester in August 1980 with producer Martin Hannett. The single was representative of their overall sound: dark, controlled modern rock in the mould of Magazine, Comsat Angels and Joy Division/early New Order. It peaked at No. 35 on the UK Indie Chart. In February 1982, the band recorded a session for John Peel's BBC Radio 1 show, later released in 2009 as the Radio Session 1982 digital EP.

Paul and Sean are delighted to welcome one of Strawberry's highly talented studio engineers to the podcast this week. Mark Cockburn, initially recruited by Consequences engineering legend Martin Lawrence, took part in numerous sessions between the late 70s and early 80s. Mark gives us near-total recall on his experiences as an assistant engineer at Stockport's state-of-the-art facility. We know you'll find the level of detail about sessions incredible and fascinating. His first foray into studio life was with Scott & Batiche (featuring Alistair Gordon - later of Banks Statement - and Richard Darbyshire of Living in a Box), but soon he was working directly with (Graham's half of) 10cc on what would morph into the Ten Out of Ten album.  His stories about some of the tracks on that record are so illuminating and entertaining! There are numerous other sessions to savour here, including Sad Café, The Ramones and projects with the sonic luminary Martin Hannett.  This is a studio buff's dream - and Sean's really enjoying himself! You'll also hear a wide selection of clips from extremely rare and never-heard 10cc outtakes, experiments, sessions and demos. We won't spoil your surprise by listing them here... Thanks as always to our fine friend David Jarvis for these. Look out for a surprise pod coming on December 17th...

Ya fue noticia del día en fechas precedentes pero ahora ya hay una ilustración sonora de lo que fue ese concierto en el Alexandra Palace que se hará disco. Y es que Arctic Monkeys se ponen el traje solidario para ayudar a los niños que protege "War Child" que si en circunstancias normales necesitan apoyo, ahora, con más motivo, según dicen los propios protagonistas. Si ése fue el inicio del programa el final vino con el himno de Joy Division que la banda estaba grabando a las órdenes de Martin Hannett y en el momento en que mandaba la grabación de la batería con Stephen Morris en acción. Y allí estuvieron de visitantes ilusionados unos jovencísimos y principiantes U2 que disfrutaron con el momento de estrechar la mano de aquella banda que con el paso del tiempo engrandecería mucho su legado. Noticia del día es que Chris Baio de Vampire Weekend suelta dos canciones nuevas y que preludian lo que será su tercer disco en solitario. Mientras la cantante y compositora de Memphis Julien Baker se fija en un clásico de hace setenta años que tuvo una de sus más importantes lecturas a cargo de Perry Como & The Fontaine Sisters. Novedades de aquí son la lectura (bendecida por el propio Jaime Urrutia) de un tema mítico de Gabinete Caligari, la versión de una pieza de Brian Jonestown Massacre a cargo de Hickeys, las nuevas canciones de Navarri y la recuperación de un anterior trabajo de Hernando. El toque francés con homenaje incorporado lo puso Gastmans en recuerdo de su amigo el recordado Alexandre Lacaze interpretando con sus mismos útiles de ejecución instrumental una de sus canciones. Además nos detuvimos de nuevo en lo más reciente de Dominique A. El retrovisor nos llevó a recordar la visita de Ana Laan en 2010 cuando cocinaba una sopa de almendras. Y no faltó el villancico o canción de navidad sui generis que firma Girl in Red Escuchar audio

Maxine Peake describes the birth of one of the most adored albums of all time, including its iconic artwork. But the process of creating a classic is far from smooth, with producer Martin Hannett’s eccentric methods generating tension.

A Certain Ratio special with Donald Johnson in conversation with David Eastaugh A Certain Ratio (abbreviated as ACR) are an English post-punk band formed in 1977 in Flixton, Greater Manchester by Peter Terrell (guitar, electronics) and Simon Topping (vocals, trumpet), with additional members Jez Kerr (bass, vocals), Martin Moscrop (trumpet, guitar), Donald Johnson (drums), and Martha Tilson (vocals) joining soon after. Drawing heavy influence from funk as well as disco and Latin percussion, the band were among to first to debut on Tony Wilson's Factory Records in 1979 with "All Night Party," produced by Martin Hannett. During ACR's early years with Factory, they scored seven Top Ten U.K. independent releases, highlighted by "Flight" and "Waterline," and released five albums beginning with The Graveyard and the Ballroom (1979). Following late-'80s and early-'90s phases with major-label A&M and Rob Gretton's independent Robs Records, ACR were intermittently active. They returned to the studio for the 2008 album Mind Made Up and since then have continued to perform, with their catalog recirculated through an arrangement with Mute Records. ACR continued to perform into the late 2010s, and during 2017-2019 expanded, reissued, and anthologized their catalog once more, this time through Mute Records.

Tosh and Kimley discuss "This Searing Light, the Sun and Everything Else: Joy Division: the Oral History" edited by Jon Savage. Joy Division seems to be the poster band for the doom and gloom of the industrial city of Manchester, England. This book is a lively telling of their relationship to the city and the development and twists and turns of a young band. Equally important are the key players who helped them along the way including the engaging entrepreneur Tony Wilson, the brilliant producer Martin Hannett and the iconic graphic designer Peter Saville. Theme music: "Behind Our Efforts, Let There Be Found Our Efforts" by LG17

John Cooper Clarke first achieved fame with his poetry during the punk rock era of the late 1970s. Born in Salford in 1949 to Hilda and George, he suffered from tuberculosis as a child and was sent to recuperate with a relative in Wales. He failed his 11 plus exam and was educated at a secondary modern school which he hated. However the one “rose in a garden of weeds” was his English teacher, Mr Malone, who instilled a love of poetry in John and his classmates. John had various odd jobs after leaving school at 15 and by his mid-20s, he was reciting his poetry in clubs around Manchester. His entry into the punk scene was helped, he says, by “already looking like a punk”, and despite some initially hostile receptions from audiences waiting for the Sex Pistols or the Buzzcocks, he acquired a cult status, going on to release five albums of his poetry set to music by former Joy Division producer Martin Hannett. By early 1980s, he was also in the grip of a heroin addiction which would see him write very little for over a decade. He cleaned up in the early 90s after marrying his second wife, Evie, and having a daughter, Stella. His star began to rise again in 2007 when one of his poems was used in an episode of The Sopranos and others were included on the GCSE syllabus, which led to collaborations with artists like Plan B and Alex Turner of the Arctic Monkeys. BOOK CHOICE: Against Nature by Joris-Karl Huysmans LUXURY ITEM: A boulder of opium twice the size of his head CASTAWAY'S FAVOURITE: How Great Thou Art by Elvis Presley Presenter: Lauren Laverne Producer: Cathy Drysdale

Vin Cassidy from Section 25 in conversation Section 25 formed in Poulton-le-Fylde near Blackpool, Lancashire, in November 1977. Initially the band was a duo, consisting of brothers Larry Cassidy (bass, vocals) and Vincent Cassidy (drums). In June 1978 they made their live debut with Phil Denton on guitar. Denton was replaced in November by Paul Wiggin. June 1979 saw the Cassidy brothers promote a charity gig in aid of International Year of the Child at Blackpool Imperial Hotel, featuring Section 25 and other local bands as well as Joy Division and Orchestral Manoeuvres in the Dark. As a result, Section 25 were invited to play at the Russell Club in Manchester, and joined Factory Records. Their debut 7", "Girls Don't Count", was released in July 1980 on Factory Records, produced by Ian Curtis and Rob Gretton of Joy Division. All Section 25 releases would be released through either Factory Records (until the demise of that label), or sister imprint Factory Benelux. Their debut LP, Always Now, appeared in 1981 and was produced by Martin Hannett at Britannia Row studio. The pochette sleeve was among the most expensive and elaborate in the label's history (designed by Peter Saville) utilising an exclusive 'marble' effect design printed on the inner jacket and a fold-out cover that resembled a match-book similar to the cover used by Cabaret Voltaire for their 2x45 album. The three-piece group played many gigs in Britain and Northern Europe between 1979 and 1981, both as a headline act and with other Factory Records artists, such as Joy Division, A Certain Ratio, Blurt, The Durutti Column, Crispy Ambulance and New Order. The group also released a self-produced second album, The Key of Dreams. However the original line-up split in September 1981 shortly after Paul Wiggin declined to fly to a concert in Helsinki supporting New Order, swallowing up most of their fee by travelling overland. With a North American tour already planned, his fear of flying made his departure inevitable. Factory label boss Tony Wilson then tried and failed to recruit then-unknown guitarist Johnny Marr as a replacement. Abandoning much of the existing live set, the Cassidy brothers prepared for an upcoming European tour with backing tapes and an extra percussionist John Grice. Following a warm-up date in London, the group visited Belgium, Holland and Germany in January 1982 in tandem with Factory labelmates Crispy Ambulance. The band then undertook their first North American tour, albeit restricted to the East Coast. 1983 – 2006 (From The Hip to Love & Hate) Joined by percussionist Lee Shallcross, Section 25 gradually evolved with a more electronic-dance direction, a process which culminated in the album From the Hip and remix single "Looking From A Hilltop", both released in 1984 and produced by Bernard Sumner of New Order. This second iteration of the band also featured the Cassidy brothers' sister Angela Flowers (vocals, keyboards) and Larry Cassidy's wife Jenny Ross (vocals, keyboards). The five-piece completed a lengthy second tour of North America in January 1985, where the single "Looking From A Hilltop" achieved a measure of club success. Later in 1985 the single "Crazy Wisdom" emerged on Factory Benelux as a 12", but the group again splintered, leaving husband-and-wife team Larry Cassidy and Jenny Ross to complete a fourth album, Love & Hate, finally released by Factory in 1988. Bad News Week was also released as a 12" single, remixed by Bernard Sumner. Section 25 then fell silent for more than a decade, although their entire back catalogue was reissued on CD on LTM as well as an archive DVD, So Far. There have also been several live and rarity CDs released by the same label. In 2001 the band regrouped and started composing new material. It was originally expected that this would form the basis for a new album, but these plans were derailed when Jenny Ross, after a long fight with cancer, died on 20 November 2004 at age 42. The LTM DVD So Far, an audio-visual history of the band released in January 2005, was dedicated to her memory. 2006 – 2009 (Part-Primitiv to Nature and Degree) Now with Ian Butterworth (formerly of fellow Factory act Tunnelvison) on guitar and Roger Wikeley on bass and keyboards, the Cassidy brothers performed their first live show in nearly two decades at their hometown Poulton-Le-Fylde in May 2006 followed by dates in Blackpool, Paris, Brussels, Leicester, London and Athens. A new studio album by the quartet, Part-Primitiv, was released by LTM in April 2007, together with Communicants, a DVD assembled from live performances in 2006. Larry and Vin Cassidy also featured in the 2006 Factory documentary film Shadowplayers, and a BBC television documentary on the label. The group performed at the Plan K venue in Brussels in December 2007 as part of the Factory Night (Once Again) event, being joined onstage by Peter Hook of New Order for a cover of "Temptation". It was then proposed that Hook and Section 25 play further shows together, performing a mixture of Section 25, Joy Division and New Order songs. Roger Wikeley left Section 25 in 2008 and was replaced by Stephen Stringer. In November this revised line-up played with Peter Hook in Paris, Brussels, Oss in the southern Netherlands and Krefeld in North Rhine-Westphalia, Germany.[citation needed] Ian Butterworth parted company with the Section 25 at the end of the year. Stephen Stringer moved on to guitar and Section 25's sound engineer and programmer Stuart Hill moved on to bass guitar. Both were no strangers to Larry and Vin, who had helped them record demos in 1983 and 1985. The band released a new album in 2009 called Nature + Degree through LTM Recordings. Several tracks featured vocals by Bethany Cassidy, daughter of Larry and Jenny, who joined the group as co-vocalist and keyboards player. Section 25 appeared at the "Factory Night (And Then Again)" event at Plan K on 12 December 2009, with Beth and Larry sharing vocals. The group also returned to the States for festival dates in Los Angeles and San Francisco. On 27 February 2010, it was announced that founding member, singer, and bass player for the group, Larry Cassidy, had died at the age of 56. 2010 – present (Retrofit to Elektra) Prior to Larry Cassidy's death, the band had completed work on a new album, Retrofit, which was released on 14 September 2010. The album features electro reworkings and updates of previously issued Section 25 tracks, as well as one new song "Über Hymn". The album closes with a new version of Looking From A Hilltop, produced and arranged by Stephen Morris of New Order. Limited copies came with an extra CD of a 16-minute recording of Larry Cassidy reading selected lyrics of Joy Division's Ian Curtis. This was recorded in January 2010 and would be Larry's last visit to a recording studio. The band opted to continue to perform with their current line up. Section 25 played the FAC251 club in Manchester on 20 November 2010, and in 2011 issued their first new release without Larry Cassidy, a download-only EP titled "Invicta" EP, via Hacienda Records. June 2012 saw a deluxe vinyl reissue of From the Hip (Fact 90), issued as a special edition on Factory Records with 'remixed' artwork by Peter Saville, as well as a split coloured-vinyl 12" with Stereograph featuring two dub versions of "Colour Movement Sex and Violence" and "Inner Drive". Saville also provided the cover image and title for their eighth studio album, Dark Light, issued on the Factory Benelux imprint in February 2013. "My Outrage" was also released as a 7" single. Also released during the same period were the 10" single "Invicta Max" (an expansion of the 2011 EP of the same name) and the official remix album "Eigengrau", featuring numerous remixes of earlier Section 25 recordings by Zoviet France, Absolute Body Control, Portion Control and Renaldo and the Loaf among others. In May 2014 the group issued an expanded 30th anniversary CD edition of From the Hip via Factory Benelux, with a bonus disc featuring original demos as well as a BBC radio session from 1984 plus a new recording of "Reflection". Both Bernard Sumner and Jon Savage contributed liner notes. The new version of Reflection (subtitled 'Younger Image') was also issued as a limited edition orange vinyl 7" single to mark Record Store Day in April 2014. On Record Store Day the band performed in Manchester with Factory peers Crispy Ambulance and Minny Pops. A review of the show in The Guardian newspaper described Section 25 as "a revelation" and "the best new/old band in Britain." In April 2015 Section 25 released "Mirror", another limited edition 7" single for Record Store Day, with guest vocals by Simon Topping, formerly of A Certain Ratio. The song dated from 1980 but had never before been recorded in the studio. Both the song and the packaging complemented a new CD edition of Always Now, re-mastered and featuring a bonus disc with their 1981 John Peel radio session as well as a complete live concert from 1980. The packaging replicated the original wraparound cover designed by Peter Saville. In 2016 the group released a new live album, "Alfresco", as a vinyl and CD package to mark Record Store Day in April. That same year the track "Hit" from their 1981 album Always Now was sampled by Kanye West on a new song, "FML", featured on his seventh studio album, The Life of Pablo.[6] In December 2017 the band announced on their Facebook page that they were working on a new album, to be released during the spring 2018. Vincent Cassidy also announced that their original guitarist, Paul Wiggin, will contribute on the new album. June 2018 saw the release of an eleven-track album Elektra, recorded at West Orange Studios during the early part of the same year. The album featured appearances by original guitarist Paul Wiggin and newest family member Michael Cassidy on bass. One of the tracks (FML) is an acoustic cover of the Kanye West track that sampled the band's Hit from their 1981 set Always Now.

1. Sea-Missile Motel - Moev 2. New Decisions - Manufacture 3. See How it Cuts (Extended Club Dub Dance Remix Version) - I Start Counting 4. Slave (Extended Mix) - Revenge 5. Das Omen (Razormaid! Mix) - Mysterious Art 6. Opportunities (Ron Dean Miller and the Latin Rascals Mix) - Pet Shop Boys 7. Who Needs Love Like That (The Love That Mix Version) - Erasure 8. Locomotion (Razormaid! Mix) - Orchestral Manoeuvres In The Dark 9. Our Lips are Sealed (12" Mix) - Fun Boy Three 10. Love Reaction (12" Mix) - Divine 11. Our Love / Lucky (Razormaid! Mix) - Donna Summer 12. Everything's Gone Green - New Order 13. When Smokey Sings (The Miami Mix) - ABC 14. Send Me an Angel '89 (Dance Mix) - Real Life 15. Pretty in Pink (Berlin Mix) - The Psychedelic Furs   Notes and other random things: A couple weeks back I left a note at the top of my podcast explaining my current bandwidth situation. In short, I pretty much use up my monthly allotment within the first couple days of each month anymore ... and I blame you all! No, really. I do. But, as I said then, it's a great problem to have and I'm so very thankful that you guys tune in like you do to hear these classic retro dance tunes on a frequent basis. The only drawback is that PodOMatic has become pretty strict about allowing DJs to post new episodes if they have gone beyond their bandwidth limitations. What does that mean exactly? Well, first it means I had to change the sub-title of my Podcast. Since its inception I have used the subhead: "An (almost) weekly retro dance experiment." With my current busy schedule, "almost weekly" was a stretch even using a qualifier such as "almost". Now, my window of opportunity is even smaller than before. As such, I altered the subhead to: "80s and 90s retro dance adventures of a boy and a cheap mixer." It's probably a better descriptor anyway as I'm a boy and I own a cheap mixer. Second, it means unless I can scrounge up the roughly $250 per year PodOMatic charges for the next tier of bandwidth, I'm going to be saddled with this problem for the foreseeable future.  Third, it means you'll probably be seeing a PayPal donation button appearing on my page very soon. I had the option to remove it in the beginning, which I did, but I'll probably put it back up there in case any of you would like to chip in towards an account upgrade. I don't make any money doing this, nor did I intend to, but I also didn't anticipate the amazing response I've received thus far either.  Fourth, I'm also looking into placing some Google AdSense ads onto my page. I know, I think it cheapens everything and makes me look desperate, but if I can convince you guys to click on them when you visit my page, it might go far in helping me upgrade my account, which means I can provide retro goodness to you on a more frequent basis. I should point out that neither begging for donations nor begging for clicks are desirable options, but doing only one new Podcast per month isn't really an attractive option either. All in all,  I haven't yet decided how I'm going to handle my current situation, but I'm sure it will become clear as we move closer to 2012. I just wanted you all to be aware of what's transpiring right now. I can say from reading the forum posts that many other podcasters share my predicament and are none too happy because ultimately it's the listeners, the lifeblood of our shows, who end up getting shortshrifted. So, my apologies to everyone on that front.   Okay, now that that's out of the way, I can catch you up on some of the artists in this episode. In the meantime, I hope to have another new episode up very soon. Hang tight!  Let's start with Harris Glenn Milstead, better known as Divine. This is Divine's first appearance on CRC. I've shied away from his work over the past year and a half so far because I just couldn't find a good segueway for it. Well, that and his stuff is pretty crappy. It's highly derivative schlock that anyone other than a flamboyant drag queen wouldn't be able to get away with. I mean, this is the same guy who somehow got industrial record label Wax Trax! to release his version of The Name Game song (you know: Tintin, Tintin, bo-bintin, Banana fana fo Fintin, Fe fi mo-minton, Tintin!) But this is Divine we're talking about and you'd expect nothing less from a member of John Waters' "Dreamlanders" troupe  ... and he delivered every time! I guess that sounds a little harsh if it weren't really the point. Heck, it was Waters, the guy who aspired to make the "trashiest motion pictures in cinema history", who gave Divine his name and enlisted him as the lead in several of his soon-to-be cult films. Those appearances piqued Divine's lust for more fame and fortune, which he would find at the start of the 80s when he delved into the club scene. His "act" consisted of yelling "f*ck you!" at the audience and getting into fisticuffs with a fellow drag queen. In a way, Jerry Springer owes his entire television career to Divine! Pairing up with composer and record producer Bobby Orlando, Divine's live spectacles began to include disco numbers including the song Love Reaction, which appears here. His growing popularity on the club circuit spawned world tours even though Divine admitted at the time not being able to sing a lick as you'll witness first-hand. Orlando had gone about producing an entire album and touring before Divine had even mastered the lyrics. But that didn't stop him as Divine thought that if porn stars could have successful stints in the studio (I'm guessing he meant The Andrea True Connection and that ilk) why couldn't he? Really, though, the music was secondary to the trash, which is perhaps why Divine has been a secondary thought so far on CRC compared to other artists whose focus was the music. Still Love Reaction was the third single to chart on the Dutch Singles Chart and peaked at #25. It also spent 7 weeks on the German Singles Chart peaking at #55. And if you can't quite get enough of New Order's Blue Monday, this is basically the version Divine would have recorded had he been the lead singer, so there's that.   Next up is Donna Summer. Though I don't like to discount the possibility of any artist showing up on CRC at any point, I can tell you now, with almost complete certitude, that this will probably be her only appearance. It has nothing to do with her persona or a patent dislike for her music, except for the fact the bulk of her career occurred in the 70s and her hardcore disco sound doesn't exactly fit with what I'm trying to do here. Technically though, Our Love was released in '79, but didn't find massive success until the 12" version was released in 1980. From there it sold over a million copies. The track appeared on Summer's seventh album called Bad Girls, which became her best-selling album of all time as it spawned six different singles including the title track and Hot Stuff. One of the key contributors to Our Love and the Bad Girls album as a whole? Giorgio Moroder (of course!)  Moving from Summer to Sumner, New Order's Everything's Gone Green would seem an odd choice to mix into Our Love until you hear the similar electronic undertones. At that point it becomes more of a logical (and rather nifty, if I may say so) choice. In fact (or factus for you New order junkies), New Order have cited Donna Summer as an inspiration for their own work. According to lead singer Bernard Sumner, Blue Monday was heavily influenced by four tracks in particular: Dirty Talk, by Klein + M.B.O.; You Make Me Feel (Mighty Real) by Sylvester; Our Love, by Donna Summer; and Uranium by Kraftwerk. As for Everything's Gone Green, it was released originally in 1981, peaking at #3 on the UK Independent Singles Chart and #34 on the U.S. Billboard Hot Dance Club Play Chart. It is supposedly the first New Order track to contain computer-generated sounds and the last of the band's tracks to be produced by Martin Hannett. The song is also responsible for a major labeling gaffe. That's because the b-sides, Cries and Whispers and Mesh, were listed correctly on the record, but in reverse order on the record sleeve. The mistake led to several misidentifications on subsequent New Order album releases. For instance, the song Mesh appears as the third track on disc 2 of the Substance compilation, but should be credited as Cries and Whispers. Strangely, the real Mesh does appear on the cassette version of the album. Pretty dorky, stuff, eh? But where else are you going to find this kind of juicy information ... except maybe on the internet. The lead track, Sea-Missile Motel, by Moev was the first track on their Dusk and Desire album, which was released in 1985. Originally formed in 1981 by keyboardist/percussionist Tom Ferris and keyboardist/vocalist Cal Stephenson, the band released their debut album, Zimmerkampf, in 1982, but was forced to find a new label after San Francisco-based Go! Records went under the following year. Interestingly, in 1984, band member Mark Jowett and manager Terry McBride formed Nettwerk Records in McBride's apartment as a way to release new Moev material. As many of you know, Nettwerk has attained worldwide success in the years since and is home to a musically diverse line-up of artists from Sarah McLachlan to Skinny Puppy. The band went through several personnel changes in the early going, but settled on Michela Arrichiello as lead vocalist during the years surrounding Dusk and Desire and she is the voice you'll hear on this track. Bassist/drummer Kelly Cook, vocalist Dean Russell and keyboardist/percussionist Anthony Valcic would eventually replace many of the early members and would form what is considered to be the classic Moev line-up. In 1988, their highly successful Yeah Whatever album spawned their best-known track, Crucify Me, which, unlike Donna Summer, I can assure you will appear in CRC at some point down the road.    Label mates Manufacture further exemplify the eccentricity that graced the Nettwerk Records musical stable. Formed in 1984 by Brian Bothwell and Perry Geyer, the group was originally created as a soundtrack company, making experimental music and video. After performing in front of live audiences, the duo eventually became a band. In 1987, they were signed to Nettwerk and were commissioned to make two full-length albums as well as a variety of 12" dance singles. The song here, New Decisions, comes from the second album, World Control. It was a bit more pop-friendly than their debut, Terrorvision, though Sarah McLachlan did perform vocal honors on the great track, As the End Draws Near. Believe it or not, that song eventually was awarded a platinum single in Canada when it appeared on her album, B Sides, Rarities, and other Stuff. For the record, Brian Bothwell continues to work in the film and video field and also works as a Photographer in New York City. Meanwhile, Perry Geyer continues to produce music and owns and operates CyberSound Studios in Boston and New York City. That's all for this episode. Thanks for listening! Cheers!   Note as of 12-18-11: Hello, once again! I'm sending out these notes as a way to fill in the long gap left by my lack of posting a recent episode and as a way to keep you up-to-date on my status. For all the gory details of my recent podcasting travails, read the previous two entries in red below. Despite all the seemingly unfortunate news, this note is to let everyone know I have recorded a new podcast and it's ready to post once my bandwidth resets again in just a few days! (For all the gory details about bandwidth, you can also read below.) Anyway, hang tough, gang - the light at the end of the tunnel is rapidly approaching and I think you're going to find the new podcast was worth the wait. In it there are a LOT of great tunes that you probably have not heard before, plus some very different versions of a couple of old classics. Again, thanks for your patience! DJ Tintin    Note as of 12-05-11: Hi, all. Well, what a long, strange hard drive breaking down, no computer for two weeks trip it has been. I am happy to report that I have my computer back and it appears to be functioning just fine. The good news is I can get back to podcasting. The bad news is I have gone over my bandwidth for December already! The good news is I have tracks all selected for my next episode and will record it this week. The bad news I probably won't be able to post it right away. The good news is I will begin work on subsequent podcasts so that when my bandwidth resets once again I can hopefully post several episodes at once. The bad news is I'm hungry so I need to go get something to eat. The good news is you won't have to read anymore of this drivel! You all are the best audience anywhere and I fully appreciate the support and your saint-like patience. Hell, if I were you I probably would have quit listening to me by now. But then I would have changed my mind and would have started listening to me more than ever! Gee, what a swell guy I'd be if I were you.  Cheers!     Note as of 11-28-11: I meant to post a new episode this past weekend. I really did. Unfortunately, the hard drive on my computer gave out and I'm currently in the process of getting it replaced. Installing a new hard drive is no big deal, but it's trying to save all the data on the old one that is taking some time. The good news is I hope to have my computer back today or maybe tomorrow. The bad news is that I'm already halfway to my bandwidth limit for the month and we're only 4 days in. I just have to hope I can find time to record before I reach my ceiling. Again, I apologize to everyone for the lack of a new episode over the past month. Thanksgiving holidays + no bandwidth + broken hard drive = not good. Hang with me just a little longer! Everything should be back to normal shortly. Cheers, DJ Tintin         

OK, I give up--I am playing some fairly well known bands this time--but you have to have the greats in a show about the Manchester scene ( though I am leaving out the Smiths, because they are just too big)--Manchester had my favorite label, Factory records, My favorite producer ( Martin Hannett) and my favorite band ( Joy Division)--plus, a TON of other great bands. I am trying to play a few of the lesser known greats as well , like John Cooper Clarke ( now performing again), more Pauline Murray, plus Ludus, Magazine, Barry Adamson,the Fall ( probably the best known other than Joy Division ), Joy Division ( 2 songs), and A certain Ratio. Too many bands have been left out, but gotta move on to other subjects--the may someday be a Manchester Part 2, who knows? Anyone want to win a T-Shirt? Next episode, there will be another quiz where you can--stay tuned, and like the Cramps used to say, Stay Sick!