© Kevin Cummins
© Kevin Cummins
New Order: Technique
(FACT 275)
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Track list: |
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‘Fine Time’ |
4.42 |
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‘All the Way’ |
3.22 |
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‘Love Less’ |
2.58 |
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‘Round and Round’ |
4.29 |
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‘Guilty Partner’ |
4.44 |
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‘Run’ |
4.26 |
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‘Mr Disco’ |
4.20 |
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‘Vanishing Point’ |
5.14 |
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‘Dream Attack’ |
5.13 |
Run-out groove one: What exactly do you mean Peter?
Run-out groove two: ?reteP naem uoy od yltcaxe tahW
Recorded at Mediterraneo Studio, Ibiza, and Real World Studios, Box, Bath.
Mixed at Real World Studios.
Assistants at the Box: Aaron Denson, Richard Chappell, Richard Evans.
Recorded by Michael Johnson.
Mixed by Alan Meyerson.
Produced by New Order.
Designed by Peter Saville Associates.
Photography by Trevor Key.
Entered UK chart at number 1 on 11 February 1989, remaining in the charts for 14 weeks, its peak position was number 1.
The Loveless was a 1982 film directed by Kathryn Bigelow, which starred Willem Dafoe. The town in the film is called Liberty and is used in the lyrics.
‘Another story . . . I had a pool competition on with the young tape-op and was letting the poor kid win. I said, “Fancy a bet?” and he went for it. Now I am sure most of you will know that with all the downtime on recording sessions most musicians are pretty good at pool. Me being no exception, I whooped his ass. At the end I was double or quitting him up to £512. Needless to say, he couldn’t pay. In the end Rob suggested playing for his leather coat, then his car. I won them both. Then Rob suggested a night with his girlfriend. I was laughing, but the kid phoned her and put it to her, and she agreed, having been assured he would win. I was very flattered but had no intention of going ahead with it. Then Rob said, “Right, one last game. Your car – against all you owe him and double the money?” Rob loved a gamble. Amazingly, the kid went for it. I beat him hands down, he burst out crying, “One thousand and twenty-four pounds. My coat, my bird, my car!”
‘I said to Rob, “I’ll let him stew, then let him off tomorrow. He’s a nice kid.”
‘Only he never came back. Never rang, never came for his wages. Nothing. A couple of days later I got a message: “Peter Gabriel wants to see you.” Oops.’
20 January 1989
New Order play Montpellier Le Zénith, France.
21 January 1989
New Order play Lyon Le Transbordeur, France.
‘I went drinking with Ken Niblock in the afternoon, unusual for me but I was annoyed with the others, they were all getting on my nerves. I was really pissed when I got to the gig, so when I got into the dressing room and noticed the key in the lock on the inside of the door, I locked us in, carefully putting the key down my trousers, and sat down going, “Nobody cares. You can fuck off, you twats. Nobody cares!”
‘In my mind I was commenting on how being in a successful group meant you could do and act how you wanted. I suppose my aim was to challenge the cliché. In reality I just wouldn’t let anyone out of the dressing room. They were going, “Give us the key, Hooky.”
‘I just kept saying, “Nobody cares. Nobody cares. And you come near me and I’ll fucking twat you.”
‘So Andy Robinson tried to get the key from down my trousers and I twatted him. Rob tried to get it off me, and I twatted him as well. I was really pissed. And then I threw the whole rider out the window and lay on the floor, going, “You’re not fucking opening the door, you can all fuck off. We can do whatever we want. It’s ridiculous.”
‘We just sat there for over an hour past stage time and still no one had come to ask us what was going on. Eventually a combination of Rob and Andy shouting and banging on the door brought someone.
‘ “What eez ’appenin?” he said.
‘I was going, “Fuck off, Pedro, you French twat.”
‘ “Help us,” they chorused, “He’s locked us in and won’t let us out!” God, he must have been puzzled.
‘Eventually they got three blokes to kick down the door. I was laughing by this point. We were nearly two hours late. The audience were going mental. The crew were crapping it.
‘So anyway, we went on stage and we were playing and I thought, This sounds dreadful. Every song sounded shit. They finished and walked off and I looked at my set list and I still had one to go. I’d only been playing the wrong bassline to every song. I was playing one behind. I dived about on a flight case on the stage for a while then got bored. I went backstage to find them lot all hiding in the promoter’s office. He had put out a line of coke for each of them and I stormed in and went, “What are you doing?”
‘They went, “Oh, fucking hell, he’s here again,” and scarpered, I grabbed the rolled-up note and did all four lines, then went, “See, nobody cares, Mr Promoter.”
‘Oh man, they were so pissed off, more for that than the bloody gig. Barney was doing a cover picture for a magazine called Best and I even muscled in on that. It’s one of my favourite pictures that, of me and him. Later the guy said he’d charge me for the door, so I said, “Right! Then I want my door. And I’m not going until you unscrew it and bring it to me.”
‘I had a terrible hangover the next day, and a lot of apologising to do.
‘Thanks, Ken.’
New Order: ‘Round and Round’
(FAC 263)
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Seven-inch track list: |
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‘Round and Round’ |
3.31 |
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‘Best and Marsh’ |
3.59 |
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Twelve-inch track list: |
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‘Round and Round’ |
6.40 |
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‘Best and Marsh’ (full length) |
4.25 |
Run-out groove one: Shall we tell the Yanks about all this?
Run-out groove two: I don’t know . . . what do you think?
Featuring slightly different mixes by Stephen Hague.
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Twelve-inch remix: |
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‘Round and Round’ (club mix) |
7.07 |
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‘Round and Round’ (Detroit mix) |
6.29 |
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Both mixes by Kevin Saunderson. |
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CD track list: |
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‘Round and Round’ |
3.59 |
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‘Round and Round’ (twelve-inch) |
6.50 |
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‘Best and Marsh’ |
3.31 |
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Instrumental Making Out mix of ‘Vanishing Point’ |
5.10 |
Recorded in Mediterraneo Studio, Ibiza, and Real World Studios, Box, Bath.
Recorded by Michael Johnson.
Mixed by Alan Meyerson.
Remixes by Kevin Saunderson.
Co-produced by New Order and Stephen Hague.
‘Best and Marsh’ produced by New Order.
Designed by Peter Saville Associates.
Photography by Trevor Key.
Entered UK chart on 11 March 1989, remaining in the charts for 7 weeks, its peak position was number 21.
February 1989
New Order’s Peter Hook appears on The Other Side of Midnight alone, surrounded by technology, playing ‘The Happy One’.
13 February 1989
New Order play Armenia Aid, Moscow Stadium, USSR.
CANCELLED.
21 February 1989
New Order were filmed playing live for a new TV show (Big World Café) at Brixton Academy.
25 March 1989
New Order play Glasgow SECC, supported by A Guy Called Gerald.
26 March 1989
New Order play Birmingham NEC, supported by the Happy Mondays.
9 April 1989
New Order play Puerto Rico.
New Order embark upon a two-leg, 35-date US tour, the second leg with PIL and the Sugarcubes. The tour programme, Untitled, doesn’t turn up until the final week.
11 April 1989
New Order play Knight Center, Miami.
New Order play Bayfront Arena, St Petersburg, Florida.
14 April 1989
New Order play O’Connell Center, Gainesville, Florida.
15 April 1989
New Order play Six Flags Over Georgia (Southern Star Amphitheatre), Atlanta, Georgia.
16 April 1989
New Order play Saenger Theatre, New Orleans, Louisiana.
20 April 1989
New Order play City Coliseum, Austin, Texas.
21 April 1989
New Order play Astroworld, Houston, Texas.
22 April 1989
New Order play Starplex Amphitheatre, Dallas, Texas.
25 April 1989
New Order play Mesa Amphitheatre, Mesa, Arizona.
27–28 April 1989
New Order play Universal Amphitheatre, Los Angeles, California.
New Order play Santa Barbara County Bowl, Santa Barbara, California.
May 1989
Academy video released. Live video recorded at London Brixton Academy on 4 April 1987.
International Aids Day fundraiser.
Track list:
‘Bizarre Love Triangle’
‘Perfect Kiss’
‘Ceremony’
‘Dreams Never End’
‘Love Vigilantes’
‘Confusion’
‘Age of Consent’
‘Temptation’
‘Temptation (reprise)’
Video produced and directed by Mike Mansfield.
Music produced by New Order.
Designed by Peter Saville Associates.
2 May 1989
New Order play Civic Auditorium, Portland, Oregon.
3 May 1989
New Order play Paramount Theatre, Seattle, Washington.
4 May 1989
New Order play Queen Elizabeth Theatre, Vancouver.
Tour break. Haçienda’s seventh birthday party in Amsterdam, but Hooky misses his flight.
14 June 1989
Pete de Freitas of Echo and the Bunnymen dies in a motorcycle accident.
‘Pete was a really nice bloke. Sadly missed. I remember Barney telling me he bumped into Pete’s ex-girlfriend, Jayne Casey, and said, “Tell me, how is that lovely boyfriend of yours?”
‘ “Not too well,” she said, “seeing as how the last time I saw you we were both at his memorial service, you prick.”
‘ “I’d forgot,” he said.’
14 June 1989
New Order play Shoreline Amphitheatre, Mountain View, California. The band dedicate their set to Pete de Freitas.
16 June 1989
New Order play Irvine Meadows Amphitheatre, Irvine, California.
17 June 1989
New Order play Aztec Bowl, San Diego, California.
18 June 1989
New Order play Irvine Meadows Amphitheatre, Irvine, California.
21 June 1989
New Order play Park West Amphitheatre, Salt Lake City, Utah.
New Order play Red Rocks Amphitheatre, Denver, Colorado.
25 June 1989
New Order play Sandstone Amphitheatre, Bonner Springs, Kansas.
‘It is strange that a lot of these gigs really blend into one. They were very samey. This one I remember because dusk was falling as we went on stage and within seconds it was pitch-black. Then Andy Liddle turned on his amazing light show, and as we looked out into the void all of a sudden it was filled with dive-bombing bugs heading for the lights. We were covered in seconds, in your mouth and every other orifice. My slicked-back hair was crawling as they burrowed under the gel that stuck it down. It was hell.
‘Gillian kept running away screaming. It was the most I’d seen her move in nine years of touring. She had to be persuaded to come back, and just stood there shaking. I have no idea how we got through it and remember at the end Terry Mason turning the keyboards upside down and emptying out a mountain of writhing bugs. As I showered they kept falling out of my hair.
‘ “I’m a celebrity . . . get me out of here!” I cried.’
27 June 1989
New Order play St Paul’s Auditorium, Minneapolis, Minnesota.
29 June 1989
New Order play Marcus Amphitheatre, Milwaukee, Wisconsin.
30 June 1989
New Order play Poplar Creek Music Theatre, Hoffman Estates, Illinois, Chicago.
1 July 1989
New Order play Pine Knob Music Theatre, Detroit, Michigan. Gig cancelled due to Bernard Sumner being ill. Rescheduled for 17 July.
3 July 1989
New Order play Pittsburgh, Pennsylvania.
4 July 1989
New Order play Darien Lakes Theme Park, Buffalo, New York.
5 July 1989
New Order play Blossom Music Center, Cuyahoga Falls (Cleveland), Ohio.
7 July 1989
New Order play CNE Grandstand, Toronto, Ontario.
10 July 1989
New Order play Great Woods, Mansfield, Massachusetts.
11 July 1989
New Order play Lake Compounce Park, Bristol, Connecticut.
12 July 1989
New Order play Jones Beach, Wantaugh, New York.
New Order play Mann Music Center, Philadelphia, Pennsylvania.
15 July 1989
New Order play Merriweather Post Pavilion, Columbia, Maryland.
‘Fifty thousand copies of our tour programme turned up. Titled Untitled, they featured photos by Donald Christie. A nice man, Donald, he’d had unfettered access backstage to get the candid shots for the programme. Unfortunately, Peter Saville’s lengthy deliberations over the style and content of it had taken so long that it was now too late. We simply did not have time to sell them. It was very arty and told our audience practically nothing about us. It was beautiful but almost useless. Forty-nine thousand were shipped back to England at great cost and languished in a warehouse in Stockport for years, completely forgotten by everyone, until Factory went bust and they were destroyed, because of non-payment of storage charges.’
17 July 1989
New Order play Pine Knob Music Theatre, Detroit, Michigan.
19 July 1989
New Order play Brendan Byrne Arena, Meadowlands, New Jersey.
23 July 1989
Dry 201, owned by Factory, opens in Oldham Street, Manchester.
‘We were home for the opening night. I came up from the basement, where the druggies were, to get a bottle of beer from the main bar. I grabbed a bottle of Bud and couldn’t find an opener so I thought I’d do the old rock’n’roll trick of banging the cap off on the brand-new bar top. Suddenly I heard a shout. “Hooky, do you know how much that cost? It’s Delabole blue-grey slate, hand-carved, a solid piece,” shouted a shocked Ben Kelly. “Thirty-five thousand pounds’ worth!”
‘ “Well done, Ben,” said I. “Works perfectly as a bottle opener!” ’ BANG!
‘Pearls before swine, mate, pearls before swine. Luckily it didn’t mark.’
25 August 1989
New Order headline Reading Festival, Reading, supported by the Sugarcubes, House of Love, Tackhead, Spacemen 3, Swans, My Bloody Valentine. Compére: John Peel.
It will be four years before New Order play live together again.
September 1989
New Order: Substance video
(FAC 225)
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Track list: |
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‘Confusion’ (directed by Charles Sturridge) |
3.58 |
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‘The Perfect Kiss’ (directed by Jonathan Demme) |
5.29 |
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‘Shellshock’ (directed by Rick Elgood) |
3.14 |
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‘Bizarre Love Triangle’ (directed by Robert Longo) |
3.54 |
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‘True Faith’ (directed by Philippe Decouflé) |
4.23 |
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‘Touched by the Hand of God’ (directed by Kathryn Bigelow) |
4.18 |
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‘Blue Monday 1988’ (directed by Robert Breer & William Wegman) |
4.06 |
Executive producer: Michael Shamberg.
Designed by Peter Saville Associates.
Also includes audio of ‘The Happy One’ between video clips.
27 September 1989
Jack Robert Lawrence Bates born.
New Order: ‘Run 2’
(FAC 273)
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Seven-inch track list: |
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‘Run 2’ |
3.35 |
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‘MTO’ |
3.43 |
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Twelve-inch track list: |
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‘Run 2’ |
3.35 |
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‘Run 2’ (extended) |
5.22 |
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‘MTO’ |
3.43 |
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‘MTO’ (minus mix) |
5.24 |
Run-out groove one: The Death of Art spells the murder of Artists . . .
Run-out groove two: . . . so kill me now!
Recorded in Mediterraneo Studio, Ibiza, and Real World Studios, Box, Bath.
Recorded by Mike Johnson.
Mixed by Alan Meyerson.
Remixed by Scott Litt and Mike (Hitman) Wilson.
Produced by New Order.
‘Run 2’ remixed by Scott Litt, additional beats on extended version by Afrika Islam.
‘MTO’ additional production and remix by Mike ‘Hitman’ Wilson for Real House Productions. Engineered by Chris Andrews.
Designed by Peter Saville, inspired by the packaging for Bold washing powder.
Entered UK chart on 9 September 1989, remaining in the charts for 2 weeks, its peak position was number 49.
John Denver’s publishing company filed a suit against the song, claiming that it closely resembled his ‘Leaving on a Jet Plane’. The case was settled out of court, and subsequent pressings of the song came with a co-writing credit to Denver.
‘Rob fought this so hard. He hired a musicologist in England to analyse the song. It turns out that musicologists use a scale of twelve notes and if eight of those notes are present in both songs, then the accused, us, is deemed guilty. Which we were. Rob wouldn’t have it, so he then got an American musicologist to analyse it. He said the same. We lost again. John Denver got his per cent cut and a writer’s credit. Warners wanted to take it off the album on any subsequent pressings, but we said no. I still don’t hear it now. Denver died in 1997, shortly after it was eventually settled. God, imagine if we did that with all the tunes that sound like us? We’d make a fortune. Humh . . . there’s a thought.’
November 1989
New Order are approached about the England World Cup song.
November 1989
Revenge: ‘7 Reasons’
(FAC 247)
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Seven-inch track list: |
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‘7 Reasons’ |
4.05 |
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‘Jesus, I Love You’ (edit) |
4.05 |
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Twelve-inch track list: |
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‘7 Reasons’ |
4.05 |
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‘Jesus, I Love You’ |
6.56 |
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‘Love You Too’ |
5.44 |
Run-out groove one: They’re being funny with me . . .
Run-out groove two: I’ve had it now Mam!
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CD track list: |
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‘7 Reasons’ |
4.05 |
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‘Jesus, I Love You’ (edit) |
4.05 |
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‘Bleach Boy’ |
5.04 |
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‘Jesus, I Love You’ |
6.56 |
Recorded and mixed in Suite 16, Rochdale, Lancashire.
Engineered by Michael Johnson.
Mixed by Rex Sargeant.
Produced by Revenge.
Designed by Peter Saville Associates.
Photography by Trevor Watson.
Video: Martyn Atkins.
‘Me, CJ and Dave Hicks were still working very hard to find our way. But we were desperate to get our record out before Electronic (probably, in truth, it was just me), so we rushed it like mad. Listening now though, I like it. I’d ripped off the Go-Betweens, one of my favourite bands ever, for the track. The first time I’d done lyrics alone, even putting in a reference to the Stone Roses . . . “I want to be adored”. Factory gave us £5,000 for a video. I was determined not to make the expensive mistakes New Order had on their videos. We roped in Martyn Atkins (who used to work with Peter Saville) to do it. Martyn was a dirt-biker like me so we had a lot in common, mainly a love of thick leather trousers. It turned out OK.’
December 1989
Electronic’s ‘Getting Away With It’ single released.
‘Beat him! Yesss!’
