New Order play Porterhouse, Retford.
3 January 1981
New Order play the Tatton Community Centre, Chorley. Organised by Rex Sargeant, his group PR5 supported.
‘A fan from early Joy Division days (there is even a letter from him to Ian in So This is Permanence), Rex committed suicide by hanging in 2010.’
4 January 1981
New Order play the Fan Club (Brannigan’s), Leeds.
‘This was where Rob fell in love with Mandy H, the DJ on the night. She was a very well-respected punk DJ and it seemed to be love at first sight, with him ending up following her around all night like a lovesick cow. That was a good gig, that one. We always had good gigs in Leeds.’
12 January 1981
New Order play Eglinton Toll Plaza, Glasgow, supported by Bombers Over Vienna and Positive Noise.
14 January 1981
New Order play Plato’s Ballroom (Mr Pickwick’s), Liverpool.
21–23 January 1981
New Order enter Cargo Studios in preparation for recording their first album – they would be working on the album for the next seven months.
22 January 1981
New Order: ‘Ceremony
(FAC 33)
|
Seven-inch track list: |
|
|
‘Ceremony’ |
4.34 |
|
‘In a Lonely Place’ |
4.35 |
Run-out groove one: Watching forever
Run-out groove two: How I wish you were here with me now
|
Twelve-inch track list: |
|
|
‘Ceremony’ |
4.34 |
|
‘In a Lonely Place’ |
6.12 |
Run-out groove one: Watching love grow forever . . .
Run-out groove two: How I wish we were here with you now
Recorded in Strawberry Studios, Stockport, Manchester.
Additional recording EARS, Trenton, New Jersey.
Engineered by Chris Nagle.
Produced by Martin Hannett.
Designed by Peter Saville.
Entered the UK chart on 14 March 1981, remaining in the chart for 5 weeks, its peak position was number 34.
26 January 1981
New Order record their first John Peel session at BBC, Langham 1 Studio, Maida Vale, London.
|
‘Dreams Never End’ |
3.13 |
|
‘Truth’ |
4.21 |
|
‘Senses’ |
4.25 |
|
‘I.C.B.’ |
5.19 |
Engineered by Dave Dade.
Produced by Tony Wilson (a different Tony Wilson).
‘This was a great compliment, and these were great to do. There was literally “no messing about”, you would be booked in for a maximum three hours, which included setting up, miking up and soundchecking. It produced a pretty straight, i.e. live, version of the songs, fuelled by adrenalin. Much truer versions. They literally threw you out when your time was up. Great canteen.’
February 1981
New Order enter Britannia Row Studios, Islington, for overdubs on ‘The Kill’ and ‘The Only Mistake’ to be included on the upcoming Joy Division album, Still.
‘This felt very strange. Not only to be back in Britannia Row after Closer but working on Joy Division songs too. A weird, out-of-body feeling. It was lovely to hear Ian’s vocals in those surroundings again, and it brought back some nice memories. Strange being back with Martin, but we kept it professional.’
6 February 1981
New Order play Comanche Student Union, Polytechnic, Manchester, supported by Stockholm Monsters and Foreign Press.
It’s also where Rob first met Howard ‘Ginger’ Jones, who was virtually hired on the spot, with absolutely no qualifications, to scout locations for what would become the Haçienda. Eventually they settled on a former boat showroom and New Order had to sign huge personal guarantees for the loans to build the club. They took a lease for twenty-five years on the building.
New Order play Roadmenders, Northampton, supported by Stockholm Monsters.
9 February 1981
New Order play Heaven, London, supported by Section 25 and Stockholm Monsters.
‘Rob hired the Pink Floyd-devised quadrophonic PA system from Britannia Row for this show, as well as persuading Martin Hannett to mix the sound. Quadrophonic is in effect two stereo systems joined together by a joystick controller: a normal stereo set-up in front of the audience and another normal system behind. The joystick allows you to pan sounds at the sound guy’s discretion, right round the four stacks and around the building. Unfortunately, no one took into the account the shape of Heaven. It was not square. Also no one took into account the shape of Martin Hannett, who was also not square. He was off his rocker when he arrived – after the soundcheck and just before the doors opened. Martin seemed to enjoy himself but the reports were of a “very confused” sound, with effects flying all over the place and drowning out the group. We would go on to use this system with much better effect later in our career.’
14 February 1981
Peter Hook interviewed on BBC Radio 1’s Walters’ Weekly.
16 February 1981
New Order’s first Peel session broadcast.
17 February 1981
New Order play Rock Garden, Middlesbrough.
‘I do remember the Hell’s Angels that worked there laughing when we arrived. There were no steps up to the back entrance; they’d hidden them and were taking the piss, going, “Hope you don’t scrape your shoes, nancy boys,” as we clambered inside. At least the skinheads from the Warsaw days had moved on.’
10–13 March 1981
New Order record ‘Procession’ and ‘Everything’s Gone Green’ with Martin Hannett in Strawberry Studios and Yellow Two.
21 March 1981
New Order play the Boys Club, Bedford, supported by Section 25 and IC1. The gig is organised by long-time supporter and author of From Heaven to Heaven: New Order Live: The Early Years, Dec Hickey.
22 March 1981
New Order play Jenkinson’s Bar, Brighton, supported by Section 25.
‘This was a tiny basement pub near the seafront in Brighton. They gave us the snooker room as a dressing room. About thirty people turned up. I love Brighton.’
27 March 1981
New Order play Trinity Hall, Bristol, supported by Tunnelvision. This is the first New Order gig to appear on a vinyl bootleg, The Dream, about a year later, then a great compliment.
8 April 1981
New Order play Rock City, Nottingham, supported by Minny Pops.
‘We always made sure we had Factory bands as support wherever possible. The Minny Pops were from Holland. A nice group, especially Wally, their lead singer. I loved their single “Night Train” and went on to produce them.’
New Order play Cedar Club, Birmingham, supported by Minny Pops.
17 April 1981
New Order play St Andrews University, Fife, supported by Foreign Press.
‘Payback. We used to borrow Foreign Press’s PA a lot when we were skint. So we gave them a few gigs. And used their PA again! A double-edged-sword payback, eh?’
18 April 1981
New Order play Victoria Hotel, Aberdeen, supported by Foreign Press.
19 April 1981
New Order play Valentino’s, Edinburgh, supported by Visitors.
22 April 1981
New Order play ‘Atmosphere’ (Romeo & Juliet’s, Sheffield), supported by Tunnelvision.
‘Annik came to this gig and it was lovely to see her. She also attended the following evening. I loved Tunnelvision. Martin Hannett produced the first single and I ended up doing their second one, as well as some production work after that. This really was the start of a period where me, Barney and Steve would all be meeting bands and getting into producing them. Barney did Section 25, Happy Mondays. Steve and Gillian produced Thick Pigeon (who, incidentally, were Stanton Miranda, Michael Shamberg’s girlfriend, and Carter Burwell, who later made his name scoring films for the Coen Brothers).’
New Order record Granada TV’s Celebration, performing two sets. First Set: ‘Truth’, ‘Procession’, ‘Ceremony’, ‘Doubts Even Here’, ‘Truth’, ‘I.C.B.’, ‘Chosen Time’, ‘Digital’ (instrumental), ‘Chosen Time’, ‘Denial’ (titled ‘Little Dead’). Second Set: ‘Dreams Never End’ (various attempts), ‘The Him’, ‘Procession’, ‘Senses’, ‘I.C.B.’, ‘Denial’ (titled ‘Little Dead’), ‘Ceremony’, ‘In a Lonely Place’ (part). The show was broadcast on 18 June 1981 with only these songs: ‘Truth’, ‘Ceremony’, ‘I.C.B.’, ‘Chosen Time’, ‘Denial’, ‘Dreams Never End’.
‘You weren’t allowed to touch the sound desk, as it was union-controlled. Rob wanted Chris Nagle to do the sound, so not for the first time we had a massive stand-off with Rob threatening repeatedly to pull the gig, literally banging heads with the union rep. The rep won. This led to a very uncomfortable programme, mainly caused by Dec Hickey’s dancing (watch it on YouTube and you’ll see why).’
24 April–4 May 1981
New Order enter Strawberry Studios to begin work on their debut album, Movement, with Martin Hannett, then move to Marcus Studios at Kensington Gardens Square, London, and Sarm West, Notting Hill, London, for mixing.
6 May 1981
New Order play Forum Ballroom, Kentish Town, London, supported by Tunnelvision and Safehouse.
‘This was the first New Order gig to be promoted by Final Solution, a promotion company set up by Colin Faver and Kevin Millins. They used to love doing wacky things in really wacky places. It was the precursor to the rave thing, raves without rave music – the idea being that they’d bus people into strange places for the gigs. They would become close friends.’
New Order play Talbot Tabernacle, London, supported by Tunnelvision.
‘We’d sold out the Forum so they added the Tabernacle, which was a lovely venue, but tiny. It was almost like a secret gig so the atmosphere was incredible.’
8 May 1981
New Order play University Student Union, Reading, supported by Section 25.
‘This might be New Order’s first-ever encore. It was suggested by Section 25’s Larry Cassidy and we thought, Why not! We got on really well with all of Section 25, a really underrated band in my opinion.’
13 May 1981
New Order begin a European tour, playing Palais Des Arts, Paris, France, supported by Malaria.
‘Malaria were an all-girl group, which was great because we copped off with most of them. We also had the New Order bootlegger with us, Duncan Haysom. We had met him in England and he tagged along, becoming Barney’s first-ever cabin boy. Barney loved to have an unpaid slave.’
15 May 1981
New Order play L’ Ancienne Belgique, Brussels, Belgium, supported by Malaria. The show is promoted by Annik Honoré. Performances of ‘Truth’ and a debut performance of ‘Everything’s Gone Green’ are later used on The Factory Complication.
‘Odd being back. Brought back many memories of Ian and Joy Division. Their ghosts lurked everywhere and sent shivers down my spine.’
New Order play Markthalle, Hamburg, West Germany, supported by Malaria.
‘This gig was crazy. The audience was composed of loads of staunch, far-right skinheads. We got the shock of our lives when we came on. They hated us, and I got hit on the head by a wooden knuckleduster almost straight away. Bottles were flying about liberally all over the stage. We bombed, so thought we’d get our own back at the end by playing ‘Everything’s Gone Green’ over and over again. Don’t ask me why. It went on for about twenty-five minutes. We bored them into submission. When we went back in the dressing room afterwards the skins were sat there drinking our rider. We got them out then realised they’d stolen all our bags. He who laughs last, eh?’
17 May 1981
New Order play Saltlagaret, Copenhagen, Denmark, supported by Before and Basement Level Sounds.
‘The promoter here was lovely; he did the whole Scandinavian tour. He taught me to juggle, saying, “You must have a big set of balls, Peter!” Luckily, mate, I have!’
19 May 1981
New Order play Roxy, Stockholm, Sweden, supported by Malaria.
22 May 1981
New Order play Lobo Disco, Gothenburg, Sweden, supported by Malaria.
25 May 1981
New Order play Chateau Neuf, Oslo, Norway, supported by Cosmic Overdose and Basement Level Sounds.
New Order play the SO36 Club, West Berlin, supported by Malaria.
‘Possibly the first time Bernard did a “Whoo!” Another famous vinyl bootleg.’
June 1981
Ben Kelly pays his first visit to Whitworth Street to survey the Haçienda building.
‘Rob and Tony had asked Peter Saville to design the Haçienda from scratch. The idea scared him to death so, searching for a way out, he suggested Ben Kelly, who he’d met at the Dindisc offices in London when they collaborated on an award-winning Orchestral Manoeuvres in the Dark sleeve. Ben, though initially daunted by the task, grasped this fantastic opportunity with both hands . . . to Saville’s audible sigh of relief, no doubt.’
18 June 1981
Celebration screened, New Order’s first-ever TV appearance. Songs broadcast: ‘Dreams Never End’, ‘I.C.B.’, ‘Chosen Time’, ‘Denial’, ‘Ceremony’, ‘Truth’.
20 June 1981
New Order play Glastonbury Festival.
‘We played before Hawkwind on a co-headline. Very open post-apocalyptic festival vibe, full of bikers and hippies. Very easygoing, completely unlike now. Drugs openly on sale all round the site. This would be our first of three headline appearances at Glastonbury.’
The finishing touches are made to New Order’s debut LP. Meanwhile, the lease on the Haçienda building on Whitworth Street is signed.
‘An important occasion in our downfall. The lease offered was twenty-five years, an obscene amount of time, and the cost and responsibility was enormous. Rob and Tony asked for a shorter term, but the owner did a fantastic double-bluff, saying, “We’ve got someone else interested now,” so they panicked and signed.’
September 1981
New Order: ‘Ceremony II’
(FAC 33)
Twelve-inch track list:
|
‘Ceremony’ |
4.22 |
|
‘In a Lonely Place’ |
6.12 |
Run-out groove one: This is why events unnerve me
Run-out groove two: How I wish you were here with me now
Recorded in Strawberry Studios, Stockport, Manchester.
Engineered by Chris Nagle.
Produced by Martin Hannett.
Sleeve design Peter Saville.
Second release, this one featuring Gillian Gilbert; twelve-inch with a different sleeve. Notably not much difference, slightly faster.
‘A valiant effort by Rob, to finalise her place in the band.’
11 September 1981
New Order: ‘Procession’/‘Everything’s Gone Green’, double A-side (FAC 53)
|
‘Procession’ |
4.04 |
|
‘Everything’s Gone Green’ |
4.25 |
Run-out groove one: Soft
Run-out groove two: Hard
Recorded at Strawberry Studios, Stockport, Manchester
Mixed at Sarm West, Studios, London.
Engineer Chris Nagle.
Produced by Martin Hannett.
Design: Peter Saville.
Entered UK chart on 3 October 1981, remaining in the charts for 5 weeks, its peak position was number 38.
Available in nine different-coloured sleeves: black, red, blue, brown, yellow, orange, green, aqua and purple, on grey ‘chipboard’ cardstock.
‘ “Procession” was a complete contrast to “Ceremony”: Steve had written the lyrics and the vocal hook, and it sounded very poppy and immediate. It also helped us find a great use for that Yamaha amp we’d bought in America that cost us a fortune in import duty. It had a reverb spring in it, and when you shook it, it made a great noise. So we shook it like hell, recorded it and featured it in the song.’
19 September 1981
New Order play Kulttuuritalo, Helsinki, Finland. First outing for ‘Temptation’ live.
‘ “Temptation” was an instrumental because the vocal hadn’t been written yet. In those days the vocal/lyrics were a group effort, but Barney would improvise “live” if he was drunk enough. When we first started playing “Temptation” he used to sing, “I’ve got a cock like the M1,” and things like that.
‘Section 25 supported, with Paul the guitarist travelling overland to the gig; it took him a week to get there and a week to get back. At the gig, Barney got caught with a bottle of vodka in his pocket, and was arrested by this little old bloke. As he was led away I was pissing myself, thinking it was absolutely hilarious. Turns out the liquor laws are very stringent in Helsinki and alcohol is not allowed on public show. I went to tell Rob, thinking he deserved to join in on the merriment, but his face drained and he ran off to spring him. “We’ve got a bloody gig to do,” he screamed, running through the crowd.’
23 September 1981
New Order play Phoenix Hall, Sheffield Polytechnic, Sheffield, supported by Section 25, Stockholm Monsters.
25 September 1981
New Order play the Assembly Rooms, Walthamstow, supported by Airstrip One, Doctor Filth.
26 September 1981
New Order ‘Mystery gig’, Bodiam Castle, Kent. Cancelled because of flooding.
‘This was a Final Solution production and coaches were supposed to leave from Speakers’ Corner, Marble Arch, the idea being that nobody knew where they were going. They’d pick people up and drive them to the gig and then back again. Shame the weather put paid to this one. The location was beautiful and we had spent a lovely afternoon there earlier. As a bonus, ticket-holders were given free entry into Heaven, the gay nightclub that Kevin Millins ran in London. I believe a few of our fans reached an epiphany with that freebie.’
October 1981
Work begins on the Haçienda. Fact 51 Limited created: half of the shares held by FCL, half by Gainwest, New Order’s new limited company.
‘This was a big deal for us. The initial estimate for the build was £70,000; that soon rose to £144,000, finishing at £550,000. Why we weren’t alarmed I’ll never know, but we should have been. It was obvious it was already out of control. Trouble was, we had no personal money whatsoever. There was nothing to relate it to. The whole thing seemed ridiculous. We were earning thirty pounds a week. But I must say the idea of your own club with free entry and free drinks to me, a musician, seemed insanely attractive. I was bewitched. What a sucker.’
8 October 1981
Joy Division: Still
(FACT 40)
Two x twelve-inch track list:
‘Procession’
Disc One:
|
‘Exercise One’ (Unknown Pleasures session) |
3.05 |
|
‘Ice Age’ (Oct/Nov 1979, Cargo Studios) |
2.22 |
|
‘The Sound of Music’ (‘Love Will Tear Us Apart’ Session 1) |
3.53 |
|
‘Glass’ (Factory sample) |
3.55 |
|
‘The Only Mistake’ (Unknown Pleasures session) |
4.15 |
|
‘Walked in Line’ (Unknown Pleasures session) |
2.46 |
|
‘The Kill’ (Unknown Pleasures session) |
2.14 |
|
‘Something Must Break’ (‘Transmission’ Sessions) |
2.47 |
|
‘Dead Souls’ (‘Licht und Bleinheit’/Sordide Sentimentale) |
4.52 |
|
‘Sister Ray’ (Live at Moonlight Club, 2 April 1980) |
7.34 |
Disc Two:
|
‘Ceremony’ |
3.50 Live at Birmingham University, 2 May 1980 |
|
‘Shadowplay’ |
3.54 Live at Birmingham University, 2 May 1980 |
|
‘A Means to an End’ |
4.01 Live at Birmingham University, 2 May 1980 |
|
‘Passover’ |
5.05 Live at Birmingham University, 2 May 1980 |
|
‘New Dawn Fades’ |
4.01 Live at Birmingham University, 2 May 1980 |
|
‘Transmission’ |
3.33 Live at Birmingham University, 2 May 1980 |
|
‘Disorder’ |
3.20 Live at Birmingham University, 2 May 1980 |
|
3.05 Live at Birmingham University, 2 May 1980 |
|
|
‘Decades’ |
5.22 Live at Birmingham University, 2 May 1980 |
|
‘Digital’ |
3.53 Live at Birmingham University, 2 May 1980 |
Run-out groove one: The chicken won’t stop
Run-out groove two: The chicken won’t stop
Run-out groove three: The chicken won’t stop
Run-out groove four: The chicken stops here
‘[The run-out is] a reference to the film Ian reportedly watched before he committed suicide: Stroszek by Werner Herzog (the scene where the chicken dances on a hot plate). Maybe a metaphor for how he felt.’
The final Joy Division album, a double LP comprising songs never readily available and some formally unreleased; it also includes a live recording of their final concert.
The first 5,000 came with a collectors’ hessian cloth cover.
Recorded and mixed at Strawberry Studios, Stockport, Manchester, and at Britannia Row Studios, London.
Engineered by Chris Nagle.
Produced by Martin Hannett.
Designed by Peter Saville.
Entered UK chart on 17 October 1981, remaining in the charts for 5 weeks, its peak position was number 5.
23 October 1981
New Order play Bradford University, supported by Crispy Ambulance.
26 October 1981
New Order play the Ritz, Manchester, supported by Beach Red.
‘Notable for the first appearance of “Hurt”, our first fully programmed sequencer song. We jammed it as an instrumental, hoping that after a few drinks Barney would be inspired enough to try a vocal.
‘This ended up a terrible concert, which was awful for a hometown gig. Gillian played “Senses” completely out of tune. She probably knocked the modulation wheel and didn’t know what to do about it.
‘We hated playing in Manchester. Everybody has a great time except you, and you end up running round like a lunatic, looking after all your mates who disgrace themselves, drink the dressing room dry, and end up fighting with the doormen. I’ve got a feeling that Rob promoted this gig himself. His idea being that if we promoted it, we kept all the money. But he spent it all on a huge PA that nearly blew the bloody roof off!’
6 November 1981
New Order play Perkins Palace, Pasadena, California.
‘It was great to be back in America. We went for a walk as soon as we arrived and got stopped by a motorcycle cop for jaywalking. We thought we were crossing the road. He let us go when he discovered we were limeys.’
7 November 1981
New Order play Market Street Cinema, Los Angeles, California, supported by Simple Minds.
‘Simple Minds were supporting us but came up with that old trick of delaying their appearance so they seemed like the headline band. Terry and I rumbled it pretty quickly but our lot were at the hotel so, without back-up, we stormed their dressing room, kicking hell out of the door shouting, “Come out, you fuckers!” They were screaming like little girls inside. We carried on kicking until they came out and went on. We’d fallen for it once with Fast Breeder in Manchester (see Unknown Pleasures), never again. It was a sparsely attended gig, although legend has it both bands played well. We had a much better night at the I-Beam.’
New Order play I-Beam Club, San Francisco, California.
‘One of my favourite gigs in the whole wide world; real, funky place full of history.’
10 November 1981
New Order play Berkeley, California.
‘I don’t think this gig happened.’
15 November 1981
New Order play the Masonic Temple, Toronto, Ontario.
‘Our first time in Canada, a lovely place. The food was excellent, just like home but with a French accent.’
17 November
New Order play the Channel, Boston, Massachusetts.
18 November
New Order play the Ritz, New York.
19 November
New Order: Movement
(FACT 50)
Track list:
|
‘Dreams Never End’ |
3.13 |
|
‘Truth’ |
4.37 |
|
‘Senses’ |
4.45 |
|
‘Chosen Time’ |
4.07 |
|
4.33 |
|
|
‘The Him’ |
5.29 |
|
‘Doubts Even Here’ |
4.16 |
|
‘Denial’ |
4.20 |
Run-out groove one: If I hear anything I like . . .
Run-out groove two: . . . I’ll come out!
Recorded at Strawberry Studios and Yellow Two Studios, Stockport,
Manchester, Marcus Music Studios and Sarm West Studio, London.
Engineered by Chris Nagle, assisted by John and Flood.
Produced by Martin Hannett.
Designed by Peter Saville and Grafica Industria.
Entered UK chart on 28 November 1981, remaining in the charts for
10 weeks, its peak position was number 30.
Tony Wilson describes the chart position as ‘extremely poor’. OMD, the Human League, Heaven 17 and Depeche Mode all release albums in the autumn that chart higher.
‘We weren’t that bothered. We always expected a post-Joy Division backlash. We were enjoying ourselves so just got on with it.’
19 November 1981
New Order play the Ukrainian National Home, New York.
‘It wasn’t a great gig. I remember the hall being so big and noisy; it ruined everything. It was quite a restrained performance, as I’m sure you’ll agree when you watch the video. Filmed and edited by Michael Shamberg, it became our first New Order video release, Taras Shevchenko, eventually released on Factory and Factory USA nearly two years later.
‘It was the last gig on that US tour and recorded at a Ukraine National Home, not a normal gig venue. Michael liked that. After the show Ruth and I were standing outside. It was an early show, so it was still light, and I was standing on the bottom of the ramp at the back of the truck, waiting to get a taxi. Then, all of a sudden, I flew high up in the air and landed on the floor.
‘I was like, “What the fuck happened there?” and what had happened was, they’d put a bass bin in the truck and hadn’t flipped it off its wheels. The truck must have been on a slight incline, so when they went to get another bass bin, the fucking bass bin rolled out, came flying down the ramp, hit me and sent me flying in the air. BANG! It’s amazing how rubbery you can be when you’re not expecting something.’
21 November 1981
New Order play Trenton, New Jersey. Set list: ‘The Him’, ‘Dreams Never End’, ‘Procession’, ‘Truth’, ‘Senses’, ‘Chosen Times’, ‘Denial’, ‘Ceremony’, ‘In a Lonely Place’.
22 November 1981
New Order play the Peppermint Lounge, New York.
‘That’s where a certain member of our entourage copped for a girl who wore Rupert the Bear trousers. We used to follow them, going, “Rupert, Rupert the Bear. Everyone knows your name.” The guy dumped her as soon as he’d slept with her, and she got really upset and started following us around like a stalker. It got him in a bit of trouble, that attitude.’
Mike Pickering returns from Rotterdam with a brief to book bands and acts for the Haçienda. The opening date is set for 21 May 1982.
‘The construction of the Haçienda was marked by many problems, the first of which was when they tried to use the original wooden balcony, and spent a lot of money on it — even trying it in three different positions — only to get it condemned by the fire brigade who refused to issue a certificate of “fire worthiness”. They had to build a new one from scratch, made of concrete. Tony and Rob argued about where the stage should go. Rob wanted it at the end. Tony wanted it in the middle. Tony won and it was built in the narrowest part of the club, creating terrible sound and bad sight lines.’
December 1981
New Order do not appear on a Granada TV special, despite rumours they were there, dressed as Santa Claus.
‘There might have been a load of Santa Clauses on it and Tony’s gone, “Here’s New Order dressed up as Santa Claus!” We didn’t do it. I would remember that. Imagine Barney dressed up as a Santa Claus. He’s more like fucking whatshisname, the other one . . . Scrooge.’
19 December 1981
New Order: ‘Everything’s Gone Green’
(FBNL8)
Twelve-inch single:
|
‘Everything’s Gone Green’ |
5.33 |
|
‘Cries and Whispers’ |
3.25 |
|
‘Mesh’ |
3.00 |
Run-out groove one: Why did Regulus go back to Rome?
Run-out groove two: To reach the other side.
Recorded at Strawberry Studios, Stockport, Manchester
Mixed at Sarm West Studios, London.
Engineered by Chris Nagle.
Produced by New Order.
Designed by Peter Saville.
Martin Hannett instructs his lawyers to begin proceedings against Factory.