I couldn't get the right yellow

Some moments of magic from the Factory workers.

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The yellow-and-black constructivist masterpiece was unsheathed.

Tony Wilson - 'What's the point in bringing the poster now? This is the gig,' 

Peter Saville - 'I know. I couldn't get the right yellow. Look, it does look brilliant.'

Tony Wilson - 'It looks great - it's too late.'

Peter Saville - 'I know, I know it's late, but what d'you think?'

Tony Wilson - It's absolutely bloody fantastic, but it's also useless. Nothing useless is truly beautiful, as William Morris once said...how many did we do?'

Peter Saville - 'Three hundred.'

Tony Wilson - 'Put them up. They'll be a souvenir of this great night. No, they'll be a memorial to an historic gig.'

 

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SWR - 'We were in the studio for a total of three months. I was supposed to be writing, but instead I got into all the local niceties, like water-skiing and paragliding on crack. I had no idea what I was doing.'

First Mondays shoot; Manchester 1986 "Tony introduced me to Shaun by saying: 'Kevin's photographed the Sex Pistols and Ian Curtis'. Shaun goes; 'So what? They're fookin' dead!' I asked what they wanted, and they said: 'We want our picture taken with Rambo."

'Son I'm thirty. I only went with your mother 'cause she's dirty'

Tony Wilson - 'This is the greatest musing on parenthood since Yeats's 'Prayer for my daughter'.

'How big can you get?' 

SWR - 'You can get so big they nail you to a piece of wood,'

Martin Hannett 'Recording Silence' illustration by Daniel Davidson

Martin Hannett 'Recording Silence' illustration by Daniel Davidson

Martin starts to tell the guys in the front seats about the sounds he has been imagining recently.

Martin Hannett - 'I imagine what sound would be like if it had to travel through a completely different atmosphere, through strange weather and weird gravity. What would it be like? I thought it might be interesting. I want to hear the sound of the moon moving round the earth.'

“Martin didn’t give a fuck about making a pop record. All he wanted to do was experiment.   His attitude was that you get a load of drugs, lock the door of the studio and you stay in there all night and you see what you’ve got the next morning. And you keep doing that until it’s done.”

– Bernard Sumner, Joy Division/ New Order

Martin Hannett - "When you play it [Spiral Scratch] loud it sounds exactly as if you're right in front of the stage at one of their gigs. I was very disappointed when the Sex Pistols album came out with seventeen guitar overdubs."

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Walk in silence,
Don't walk away, in silence.
See the danger,
Always danger,
Endless talking,
Life rebuilding,
Don't walk away.

Walk in silence,
Don't turn away, in silence.
Your confusion,
My illusion,
Worn like a mask of self-hate,
Confronts and then dies.
Don't walk away.

People like you find it easy,
Naked to see,
Walking on air.
Hunting by the rivers,
Through the streets,
Every corner abandoned too soon,
Set down with due care.
Don't walk away in silence,
Don't walk away.

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'Tony, have you done the maths on this release? Did you stop for one minute to work it out? I reckon that with the three special cut-outs, the four special colours and the silver inner sleeve on top of the pressing costs, every copy we produce will cost us 79p. I've checked with Rough Trade and Pinnacle, our average return will be 81p per copy.'

'Yeah'

'Which leaves us 2p profit.'

'Yeah.'

'Which we split fifty-fifty with the group.'

'Yeah.'

'Which leaves us 1p profit.'

'Out of which, according to the deal you did with Rob, we pay the publishing.'

'Yeah.'

'Which is four and a half pence.'

'Yeah.'

'So we lose three and a half pence for every copy we sell.'

'Exactly, exactly, but, first, it's a thing of beauty and second, Alan, we're not going to sell any, so don't worry. New Order are still underground and this is a 12-inch, for fuck's sake, not a pop single. It's like a dub-reggae-remix format, rare stuff. How many are we going to sell? Fuck all. And what's three and a half times fuck all?

'Blue Monday' the biggest selling 12-inch in the history of the UK record industry. 

daniel davidson