"Are you given to taking the form for the substance?"Then a little swearing should take care of you."

- The Hall of Magic Mirrors'

FORMf and substance 1

by Clinton Heylin & Craig Wood©1988

All Rights Reserved. All Wrongs Reversed.

"Another day?Well Suffer!For that's the way of the West.'-'Humour Me'.

2nd edition. Printed late May 1988. Print run 1500 copies.

The entire contents are copyright. 1988. SOUND PUBLISHING.

All r ights reserved. No part of this book may be reproduced in anyf o r m o r b y a n y e l e c t r o n i c o r m e c h a n i c a l m e a n s , i n c l u d i n gi n f o r m a t i o n s t o r a g e o r r e t r i e v a l s y s t e m s , w i t h o u t p r i o r w r i t t e npermission from the publisher, except by a reviewer who may quotebrief passages.

All photographs of Joy Division taken by Kevin Cummins.

Typeset in a 's l ight ly goth ic ' typeface.

T h i s b o o k i s a l s o a v a i l a b l e i n a v e r y s p e c i a l l i m i t e d e d i t i o ncol lectors hard cover edit ion pr inted on special papers and finishedto an excep t i ona l l y h i gh s t anda rd . Each copy o f t he ha rd cove re d i t i o n i s i n d i v i d u a l l y n u m b e r e d a n d s i g n e d b y t h e a u t h o r s .Further detai ls may be obtained by wri t ing to the publ ishers at theaddress given.

SOUND PUBLISHING is a smal l independant publ isher invo lved inreference material relating to 'pop' music from the 1950's to date.

ISBN 1 871407 00 1

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P u b l i s h e d b y S O U N D P U B L I S H I N G122 LOVELL ROADCAMBRIDGECB4 2QPENGLAND

.FORM.

On July 20th 1976 a young man by the name of Peter Hook returnedto his Manchester home from a holiday in Torquay. As he read thelocal evening paper, the 'Manchester Evening News', his attentionwas caught by an advertisement for a concert being held thatevening at the Lesser Free Trade Hall by a London 'punk' bandcalled the Sex Pistols. He telephoned his old friend from school,Bernard Sumner, and together they arranged to attend the 'performance'.

The actual gig is one that has passed into Manchester folklore -indeed one wag later wrote in 'New Musical Express' that if all thepeople who claimed to have been at the Pistols' Lesser Free TradeHall show had actually been there they would have filled WembleyStadium. Part of the confusion stems from the fact that the SexPistols had already played the Lesser Free Trade Hall on June 4th, aperformance that was inspirational to Pete Shelley and HowardDevoto who duly formed the Buzzcocks; and a Stephen Morriseywho rather than form a band wrote a letter to 'Sounds' and 'NME'about how wonderful the band were. The July show, where theBuzzcocks made their debut and the Pistols premiered 'Anarchy inthe UK' was equally inspirational - to Hook and Sumner.

Afterwards they had decided to form a band themselves, not withthe intention of doing anything musical but just to have a goodtime. Their response to the Pistols was to become a common onethroughout 1976.

Bernard Sumner (1988): "We always liked groups and music butwe didn't want to be in a group until we saw the Sex Pistols. Wethought, 'God, if they can do it, we can do it'. We put an advertisement up in Virgin Records in Manchester for a vocalist and we got alot of loonies answering it, and eventually Ian Curtis answered it."

Peter and Barney had already met Ian at local gigs (Curtis hadapparently attended the first of the Pistols' Lesser Free Trade hallgigs) but they hadn't considered him for the band as he was alreadyin one. It was only after the guitarist left Ian's band that he got intouch with the two of them. Peter and Barney accepted Ian over thephone without hearing him sing, since what they were really afterwas someone they could get on with - proficiency was not anessential requirement. However, as Barney would later remark(with perhaps a little sardonic humour): "It turned out that he was alegendary genius".

Legendary genius or not, they still found it hard to acquire apermanent drummer - and a permanent name. They sought theadvice of the Buzzcocks, like themselves local Salford lads, and

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after meeting Pete Shelley in a pub one night found that theBuzzcocks were largely making it all up as they went along anyway.Shelley is largely credited with suggesting the name that the trioused whilst rehearsing above a pub in Salford - the Stiff Kittens.In fact these rehearsal sessions seem to have consisted of littlemore than extended jams a la John The Postman (infamous forappearing unannounced at Manchester gigs where he would playa set consisting of a 20 minute version of 'Louie Louie').

Peter Hook recalls that even in the days when they were justKittens the group didn't fit in with the New Hormones clique andIan especially "stuck out like a sore thumb", so they had very littleto do with the remainder of the burgeoning Manchester scene.However they did keep in touch with the Buzzcocks and ten monthsafter their genesis they 'blagged' Pete Shelley into putting them onat Manchester's famed 'new wave' venue, the Electric Circus, withNewcastle's Penetration.

It should be pointed out that they were not selected for theirability but for the reason that Shelley felt it was important to be seengiving moral support to local bands. With their impending debutgig the threesome now desperately needed to find an adequatedrummer. Tony Tabac joined the night of the 28th May, 1977 andplayed his first gig the following day. Billed in advance publicity asthe Stiff Kittens the band arrived at the Electric Circus to informRichard Boon that they were now called Warsaw - apparently a nodat 'Warzawa' from Bowie's 'Low' album ... oh and because they"didn't want to be called 'the' somebody".

A number of local support slots came and went, as did TonyTabac. By June 30th Steve Brotherdale (aka Steve B'dale) hadjoined. He stayed for six weeks. During this time Warsaw went intothe studio for their first recording session. They recorded five tracksat Pennine Studios on 18th July 1977. These tracks were (muchlater) released on the quasi-legit 'Ideal Beginning' EP. They shedlight on the early sound of the band and provide evidence thatWarsaw weren't very 'punk' (they didn't play fast enough) or in factvery good.

Steve Brotherdale duly left Warsaw in the first week of August tojoin the Panik, whom he thought had more potential. He attemptedto take Ian Curtis with him but it was found that Ian's style ofsinging didn't suit the style of the Panik's music and he remainedwith Warsaw. After advertising for a new drummer they auditioned"about ten before we found Steve Morris". Steve Morris had neverbeen in a band before though he got the job for the simple reason

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"they liked the fact I could go 'Bang' and 'Crash' in the rightplaces."

More gigs ensued, including a return to the Electric Circus inOctober as part of a two day festival organised to commemorate theimminent closure of the club. Virgin Records had arranged torecord the event and when 10" mini-album 'Short Circuit - Live AtThe Electric Circus' was released 'At A Later Date' by Warsaw(credited on the record as Joy Division) was one of the tracksincluded. Ian Curtis was later quoted as saying that the band wasunaware at the time that they had even been recorded and thatwhen the band was asked to choose a representative track theychose the wrong one. "Royalty-wise I think we owe Virgin," hesaid. Peter Hook later recalled they made about £8 between the fourof them.

In an attempt to gain more gigs it was decided to record a newdemo tape and in December they again entered Pennine SoundStudios to produce the four songs that later became 'An Ideal ForLiving'. The studio offered to produce and press up the tapes asseven-inch EPs. Warsaw eagerly accepted.

Peter Hook: "But when we heard it, my God! It was the mostdepressing moment in my life, it was awful."

Reluctantly they decided against promoting the record and concentrated instead on selling the limited number they had to localstockists. The sleeve for the record was an elaborate affair whichfolded out into a 14" x 14" 'poster' featuring a drawing by Bernardon the front. The band folded all the original sleeves by hand andput all the records into the sleeves themselves.

It was around this time that London based 'skinhead' groupWarsaw Pakt recorded and released their 'instant' album (recordedand released on the same day), so to avoid confusion and becausethey had heard that no London booking agency would book a bandwith a name so similar, it was decided to change the name. Again.

As previously mentioned the band had acquired the name Warsawfrom a David Bowie album. In fact there was to remain a Warsawconnection with their new chosen name. The band was henceforthto be known as Joy Division. The name was derived from apaperback book called 'The House of Dolls' - allegedly the founddiaries of a young Jewish girl from Warsaw who was sent to aconcentration, camp during the Second World War to end her life inthe prostitutes' wing of the camp - the ironically named 'JoyDivision'. Clearly the band had discovered the book at the end of1977 as on page 157 of 'House of Dolls' the third paragraph is used

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On Friday the 14th of April 1978 Joy Division entered the Stiff TestChiswick Challenge, which was an audition night set up by twoindependent London labels to find new talent from all over thecountry. That particular night seventeen bands played, Joy Divisioncame on stage at ten to two in the morning and managed two songsbefore the plugs were pulled.

Although they didn't win any prizes that night they did come intocontact with two people who were to prove to be much morevaluable to them. One of these was the club's DJ, Rob Gretton, andthe other was Granada TV compere Tony Wilson, the presenter ofthe only 'new wave' show on TV, the famed 'So It Goes'. In aninterview for 'New Musical Express' in January 1979 Tony Wilsonwas to recall, "The bands were all good and they were all boring.But Joy Division were wonderful and they had something to say. Ithought so and so did Rob, 'cause after that he became theirmanager."

Rob Gretton was at the time manager of the Panik, whom Ian hadbeen so close to joining, but he came away from Rafters that nightwith a favourable impression of these angry young men. A chancemeeting with Barney in the phone boxes outside Manchester's mainpost office in Spring Gardens led to him being invited down to thenext Joy Division rehearsal to discuss managing them. UnfortunatelyBarney forgot to mention his meeting with the rest of the band andso Rob's appearance was met with some surprise, especially whenintroduced by Barney as "our new manager". However Rob initiallytook a low profile in the group's affairs until he had worked out whathe wanted to do.

At the same time as Rob was taking Joy Division under hismanagerial wing, Ian had been busy trying to gain the interest of anA&R man at RCA - one Derek Branwood. When RCA displayedlittle interest, Branwood suggested to his assistant, Richard Searling,that he try to arrange something for the band. What he ended uparranging was two recording sessions that resulted in the material onthe 'Warsaw' bootleg album and a recording contract it would costthe band a thousand pounds to get out of.

In May of 1978 the band went to the local BBC radio station,Radio Manchester, to be interviewed on a programme called 'Saturday Rock'. Joy Division took along a copy of the 'Ideal For Living'EP. This was played and in between tracks the band spoke aboutthemselves and their influences. Unfortunately no record survives ofthe contents of the interview, nor are any extant tapes in generalcirculation.

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Later in May of that year Tony Wilson founded 'The Factory' atthe Russell club in the seedy locale of Hulme, embarking on a fournight series of gigs of consecutive Fridays. Joy Division were invitedto headline the fourth of these nights by Richard Boon, the Buzzcocks' manager, who was promoting a new group that night, thelegendary Tiller Boys.

In June the seven-inch version of 'An Ideal For Living' was finallyunleashed on a less than anxious world. Presumably the band feltthat they required some 'product, any 'product', no matter howunrepresentative of their current sound, to advance their careerfurther. However little happened. The band could not issue thetapes they had recorded in May as they did not as yet own them. Infact over the next two months Rob negotiated with Searling over theaborted album tapes and finally reached a settlement which involvedthe band paying a thousand pounds for the tapes, which theyfinished paying in January of 1979.

On September 20th Tony Wilson kept a previous promise to theband and put them on television. They performed 'Shadowplay' onWilson's 'What's On' section of local news programme 'GranadaReports'. This historic appearance has now thankfully been re-broadcast nationally on Wilson's retrospective compilation forChannel Four 'The Way We Were'. The difference between thisnew sound and the EP was apparent from the opening notes of therumbling bassline.

A 12" release of 'An Ideal For Living' was planned for Octoberand this time the sound quality was up to scratch. However the bandhad already moved beyond this ideal. On the 11th October theyentered Cargo Recording Studios in Rochdale to record two tracks('Digital' and 'Glass') with the man who would later be regarded asan integral part of the band in creating their unique 'sound', MartinHannett. These tracks were issued in January 1979 on FAC 2 -'A Factory Sampler'.

The year ended with more gigs, one being at the Factory withSheffield-based Cabaret Voltaire headlining and the legends-in-their-own-lunchtime the Tiller Boys opening. They also managedthree days as support to the Rezillos before the Rezillos broke up,and on the 27th December they played the Hope 'n' Anchor - theirfirst London gig. It was on the way home from this gig that Iansuffered his first epileptic seizure and the group took him to ahospital. Things would never be quite the same again.

In January 1979 the band was invited back to London, this time torecord a session for the (then) prestigious John Peel Show. At this

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time virtually all the major British acts of the previous decade hadbroadcast 'on Peel' in their early days. The session was first broadcast on February 14th, 1979 and was a major break for the band.

The concurrent release of the 'Factory Sampler' surprised manypeople with its diverse selection of material and artists, and also itspackaging; a gatefold, grey sleeve in the style of the cheap Thailandcounterfeit sleeves. The music was contained on two seven-inchsingles and played at 33V3 rpm. Each of the four artists involved(Joy Division, Durutti Column, John Dowie and Cabaret Voltaire)were invited to provide an image for the sheet of stickers to beincluded in the package and each had one side of a record tothemselves. Joy Division's contributions, 'Digital' and 'Glass', weredescribed by Paul Morley - with his usual disregard for factualaccuracy - in his review as "the missing link between Elvis Presleyand Siouxsie and the Banshees".

In March another trip down to London resulted in a recordingsession with Martin Rushent, head of a subsidiary of Radar Records,who was interested in signing the group. The fabled four 'Geneticdemos' ('Glass', 'Transmission', 'Ice Age' and 'Insight') remainedwith Rushent when it became apparent that he could not strike adeal with the band.

To promote the 'Factory Sampler' EP and other upcoming products, Factory Records initiated a series of 'package' gigs to play atassorted halls around the country. Based on the package tours of thesixties (which had recently returned into vogue with the three 'Stiffpackage tours) audiences could expect to see up to four bands onany given night which might include any perm from John Dowie, ACertain Ratio, Orchestral Manoeuvres In The Dark, Foreign Pressand Joy Division (what happened to the Tiller Boys?)

The majority of April was taken up with rehearsals and recordingfor their first album. They had by this time convinced Tony Wilsonto put up the money for this so that they could remain on the outsideof the mainstream music industry as they had always hoped. Thealbum was set to be recorded at Strawberry Studios in Stockport andwas targeted to cost three thousand pounds. The band spent onlytwo and a half days recording and a further one and a half daysmixing the recordings. However the eventual cost was some eightthousand quid. Tony Wilson: "We went a little over-budget on thatone." The initial pressing was to be ten thousand and at the time noone knew whether the money would be recouped or not.

However from day one Factory have never placed the business ofmaking money above creative concerns. Indeed some of their

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decisions appear to be financial suicide, issuing records of limitedappeal in expensive sleeves, opening night clubs in unfashionableparts of 'town' (Martin Hannett: "Just what the world needed -another nightclub!"). Any ideas of 'get rich quick' with Factorytended to disappear with another commissioned Peter Saville sleeve.

'Unknown Pleasures' was released in June 1979 to mixed reviews.Although most were favourable, Dave McCullough in 'Sounds'reviewed the record from the fictional angle of a person who, havinglistened the record through, then commits suicide. McCulloughseemed unaware of the implications of his conclusion when hesubsequently went to interview Joy Division and apparently deniedimplying that the album was pessimistic. When, later that year hewas refused an interview he seemed genuinely surprised.

Joy Division however did not waste their time in retrospectiveremorse. Rather in the rash of interviews following the release ofthe album appered eager to move on, conscious of the continuousneed for new material. Ian Curtis: "No matter how many songsyou've done, you're always looking for the next one." Strangelythen the new single was to be 'Transmission'.

'Transmission' ha'd been written in April 1978 and had beenrecorded in the studio on at least three previous occasions; theunreleased album, the John Peel session and the Genetic demo.This time Martin Hannett was to get his chance. However the initialsession at Central Sound Studios proved to be a false economy, thesound quality was decidedly inferior to previous recordings withHannett. The band and Hannett returned to Strawberry Studios inlate July where they duly recorded both sides of the single plus athird track, 'Something Must Break'. Later that same day theyplayed at a local festival to open a new Manchester venue, TheFunhouse. The festival was billed as the 'Stuff The SuperstarsSpecial'.

As early as July the band were thinking about the US market.After all many of their influences were derived from America.Possibly they would be accepted on the 'other side of the pond'more readily than in Albion. As such they recorded demos for anew version of 'She's Lost Control' intended for US release duringtheir session at Central Sound Studios. However the result was asunsatisfactory as the other recordings, so the project was, onlytemporarily, shelved.

The next Joy Division recordings to see the light of official releasewere two outtakes from the April Strawberry Studio sessions.Curiously enough the songs weren't released on Factory but on

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another independent label, the Edinburgh based Fast Records. BobLast had approached Factory and asked if they would be interestedin taking part in his 'Earcom' experiment (which is an abbreviationof Ear Communication, Mark), Factory had no concrete plans forthe release of these two tracks and so agreed to Last's request, muchas they later would to Jean-Pierre Turmel's for the 'Dead Souls'single.

August saw the band appearing all over the place, most notably atthe Leigh Festival with acts from Liverpool's Zoo label and othersfrom Factory. In September Joy Division shared the first night billfor the Leeds Sci-Fi Festival with Public Image Limited amongothers. Unsurprisingly PIL were one of Curtis' favourite contemporary bands. A few days later the band made their first (and last)nationwide television appearance in BBC 2's new 'youth magazine','Something Else'. Also in attendance was Tony Wilson whoannounced that he considered the sound of the band 'slightlygothic'. The label stuck.

At this time the band were asked to support the Buzzcocks ontheir nationwide tour of the UK. They agreed and in October theybegan their largest stint of gigs in their brief career - some twenty sixdates in all. Reports of their reception on the tour are contradictory.Either Joy Division were so good they stunned the audience or sobad as to drive them away. Unfortunately there is precious littleevidence in the way of live recordings from the tour, the few that doexist are for the most part unlistenable. However thankfully theBuzzcocks manager did video the two Joy Division sets at theManchester Apollo and parts are included in the 'Here Are TheYoung Men' video. At the end of the tour Factory issued 'Transmission'. Conventional marketing wisdom generally suggests thebeginning of the tour would have been a somewhat more sensiblerelease date.

After the tour ended Joy Division returned to London to recordtheir second session for the John Peel Show. The session, on 26thNovember, was made up entirely of new songs performed on theirrecent tour. The broadcast of the four songs ('Sound of Music,'Twenty Four Hours', 'Colony' and 'Love Will Tear Us Apart') tookplace on the 10th December shortly before the band departed forthe continent, where they were to play a concert in Paris (which waspartially broadcast on French radio). Back in Manchester on NewYear's Eve Joy Division were the surprise guests at Factory's partyand played a short set to the invited audience of about one hundred.

By January 8th 1980 Joy Division entered the familiar surround-

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ings of Pennine Sound Studios to record their next single. Theyrecorded three songs: 'Sound of Music' and 'Love Will Tear UsApart' from the second Peel session and 'These Days'. Howeverthey were unhappy with the recording of 'Love Will Tear Us Apart'and decided to try again on their return from an eleven-date tour ofmainland Europe.

The lucky audiences on this continental tour witnessed some ofthe longest and most potent sets that the band had ever played.The Europeans proved most enthusiastic and both the audienceand critical reaction was most favourable. In Amsterdam Dutchradio captured for posterity all seventeen songs performed overtwo sets and these two performances remain the most essentialrepresentation of Joy Division in concert.

In March those fans on the continent who had supported the bandwere rewarded with the release of a limited edition single: 'DeadSouls/Atmosphere', an item most highly prized amongst Joy Divisioncollectors. The seven-inch single came in a lavish A4 size gatefoldsleeve featuring a hooded figure and a four page 'essay' whichattempted (unsuccessfully) to place Joy Division in the same contextas St Theresa's Ecstacy, Marcel Brio and Heinrich von Kleist. RobGretton: "I thought it was a bit over the top."

Also in March, Joy Division spent two weeks in Britannia RowStudios in London recording their second album and attempting tomix the new single, 'Love Will Tear Us Apart', which had been rerecorded at Strawberry Studios earlier in the month. The mixingwas causing them many problems which they never quite resolved totheir satisfaction and finally ended up issuing both versions they hadbeen working on, on the same single.

Meanwhile upon their return from the continent the band was inmuch demand on the club circuit. Factory had booked the MoonlightClub in London for three nights at the beginnig of April for whatwas termed the 'Factory by Moonlight' nights. In the manner ofprevious Factory ventures it was announced that a total of ninebands would be playing over the three nights. A statement was alsoissued to the effect that "following their appalling behaviour on thenight of March 23rd, Joy Division have been banned".

Anyway Joy Division duly opened the first night at the Moonlightand encored with an old favourite, a mightily abbreviated version of'Sister Ray'. The third night proved a milestone in the band'shistory. After supporting the Stranglers at the Rainbow in London'sFinsbury Park, they drove over to the Moonlight Club to take thestage there less than an hour later. This proved to be too much for

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Curtis and he had to be helped offstage after the fifth number.In point of fact, Ian's health had been deteriorating for some time

and a number of gigs had ended in near riots after he had left thestage to be replaced by either Simon Topping (from A CertainRatio) or Alan Hempsall (of Crispy Ambulance). Indeed some gigswere cancelled completely. Ian's epilepsy had been troubling himfor some time and sometimes his fits would be triggered by theflashing of the lights whilst he was on stage. He also found uncomfortable all the pressure and attention being forced on to thegroup and the strain of suddenly becoming a celebrity.

Throughout the remainder of April the band played locallyannounced dates and prepared themselves for their first trip toAmerica, again supporting the Buzzcocks. At the end of April theyreturned to Manchester to film the video for 'Love Will Tear UsApart' at their old rehearsal rooms in Deansgate, Manchester. Theyhad problems in getting the sound right and the strain of theproceedings is apparent in the finished version where the band lookweary from the multiple takes.

In May they travelled to Birmingham to play at one of theUniversity Halls of Residence, High Hall. Two weeks later and justone day before they were due to fly to America, Ian Curtis wasfound dead at his home in Macclesfield.

He was twenty three.The news reverberated around the music world. It affected people

whose interest in the band had been, to say the least, minimal. Thefirst news that many people heard was that the Teardrop Explodeshad dedicated a song "To Ian Curtis, who was dead", on theMonday after the event. Most people didn't hear anything at all,and it was left up to the music papers to break the sad news.

From the few facts that emerged at the inquest into Ian Curtis'death a picture emerges: of a quiet, sensitive man for whom life hadbecome an intolerable burden.

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Ian Curtis had been born on the 15th July, 1956, and from an earlyage had begun to speak of dying young and of taking his own life.After he left school he worked for a while in a factory pushing a cartaround. He later said that all he thought about at that time was whathe would spend his money on at the end of the week.

The turning point in his life came when he saw the Sex Pistols atthe Lesser Free Trade Hall in June 1976. After this being in a bandseems to have become the preoccupation of the majority of those inthe audience, including Curtis. He had at this time begun work in arecord shop on John Dalton Street in Manchester, 'Rare Records'.The shop had enjoyed a reputation for good stock and excellentservice for many years until most of the staff, Curtis included, werelaid off after stocking copies of 'Derek and Clive Live' despitememos threatening stern repercussions should any of their shopsstock the offensive album. After all the parent company EMI wasrefusing to even press, let alone distribute the album through itsshops. However by this time Joy Division were already consideringtheir positions and had made up their minds to give up their day jobsto join Factory.

Working at 'Rare Records' brought Ian into contact with a groupthat showed him a different way of putting a song over: the VelvetUnderground. This was coupled with a memory of seeing Lou Reedon the BBC which affected him deeply.

Ian Curtis: "Nothing appealed to me. I was listening to stuff likethe Stones and whatever . . . and there was just something when Igot two of the Velvet Underground albums that seemed to be veryreal. There was stuff in the lyrics that I could relate to that therewasn't in anything else. It was just what I was going through at thetime ... it was the attitude of the thing. I remember seeing LouReed on 'Old Grey Whistle Test' or 'Disco Two' or whatever theyused to call it, and he wasn't the normal 'singer in a group', therewas something more to him that seemed to carry on to the way helived and things like that. Instead of just singing about somethingyou could show it as well - put it over in the way that it is, if youwere totally involved in what you were doing."

Joy Division was to make this point abundantly clear in their latershows, where audiences left the hall totally drained of energy, asthough they had been put through an emotional mangle whichsqueezed out every last drop of feeling. For Curtis there was moreto it than 'just singing'. His involvement with the music carried overinto his private life.

Sometime in 1977 he was married to his childhood sweetheart,

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Deborah Woodruffe, and was soon the father of a baby girl namedNatalie. For a time this seemed to be a stabilising factor in his lifebut soon he began to be depressed again and in 1979 was foundunconcious at his home after inflicting knife wounds on himself. Hismarriage began to go through troubles and on the tour of Holland in1980 he began seeing another lady. A few weeks later he spent threedays in hospital after taking an overdose of tablets due to an intensebout of depression. His epilepsy was getting worse and he wasreferred to a psychiatrist but only kept two of the appointments.

Matters came to a head when Deborah found out about hisgirlfriend and asked for a divorce. She later said at the inquest thathe had asked if she was doing the right thing and seemed upsetabout their daughter. He promised to stop seeing his girlfriend if thedivorce proceedings were dropped but apparently changed his mindand asked his wife not to see him again. The day before his deaththey had a row.

On Saturday May 17th, he returned to his home to watch atelevised film, 'Stroszek', by his favourite producer, Werner Herzog.Hours later, early that Sunday morning, he hung himself. A notefound by his body included the sentence: "At this very moment Iwish I were dead. I just can't cope any more." His wife found thebody at about mid-day on Sunday. She immediately went to herneighbours for help and they rushed round to the house and cut thebody down. At first they thought that they might be able to save himbut when they found him too heavy to lift and cut the rope, theyrealised that he had been there for some time. The inquest into hisdeath returned a verdict of suicide.

In the spate of obituaries that followed, the best being JonSavage's in 'Melody Maker' and Paul Morley and Adrian Thrills in'New Musical Express', there was much romanticising over the'glamour' of a rock 'n' roll death. There is, of course, none. IanCurtis' death was sad and lonely, the fact that he felt he had no oneto turn to is all too clear. If he hadn't felt that way he would still behere with us. Dave McCullough of 'Sounds' completely missed thepoint in his valediction. Any Trouble frontman Clive Gregson, whohad worked with Curtis, voiced the sentiments of many who knewhim personally when he commented on McCullough's obituaryshortly afterwards: "We were in London the day the news brokethat he'd committed suicide, and I phoned Jeremy (who also used towork with Curtis) . . . (and) said, 'Hell, I've just read that IanCurtis has hung himself.' And Jeremy said, 'It doesn't surprise me atall. I've been expecting that for six years.' Now, I feel really sorry

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The group was stunned. Tony Wilson said, "It came as one bloodyshock . . .", which was the nearest anyone got to an official statement from Factory. The American tour was cancelled and the threeremaining members steadied themselves and decided whether ornot to carry on. In the weeks that followed they decided that theywould, but under a new name. The band and the label decided thatall the unreleased material should be issued. The first songs to bereleased were three compositions recorded for 'Closer' but whichdid not make the album. They were issued as a totally free flexi-discavailable just by asking for it at the counter of record shops. Thethree tracks were 'Komakino', 'Incubation' and 'And Then Again'.The third track was not credited on the label and along with'Incubation' were the only instrumentals that the group had everrecorded.

One week later 'Love Will Tear Us Apart' was issued to thecritical acclaim that had been awaiting it, with or without the extraattention it was now given. The sleeve looked like a tombstone andvisitors to Macclesfield Crematorium will notice a memorial stonewith the simple inscription: Tan Curtis - 18.5.80 - Love Will TearUs Apart'.

The single reached number seventeen in the UK national charts.The posthumous album 'Closer' was issued by Factory on June the27th. Again the reviews were hardly restrained in their praise, butthis time they at least tried to argue their points a little better.'Closer' contained nine tracks and pointed towards a softer, moresubtle sense of fear. Where 'Unknown Pleasures' had a soundtrackof muffled screams and breaking glass, this album contained acollection of lighter effects, mists rather than cold, glaring light.

August 1980 saw the release of the 12" version of 'Love WillTear Us Apart' which was quickly followed by the UK release of'Atmosphere/She's Lost Control' which had been released inAmerica a couple of months previously and was being sold onimport at an inflated price. The release of the 'Transmission' singleon 12" in December, in a sleeve with pictures taken in a fairgroundat night, completed the 12" single releases.

The release of further material was left until a time when therecould be no accusations of 'cashing in' levelled at the group, itsmanagement or Factory Communications Ltd and it would befifteen months from Curtis' death before the retrospective collectionwould be available to the general public.

Meanwhile in the John Peel Show's Festive Fifty at the end of1980, 'Atmosphere' was voted number two and 'Love Will Tear Us

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form.

Apart' number three in the listeners' poll ('Anarchy in the UK'retained its number one placing for a third year).

In October 1981 Peel played the first tracks from the 'new' album'Still'. Over six programmes the entire double album was unveiledto the nation. It was released on October 8th and was available intwo different sleeves, 'paperback' and a 'hardback'. The hardbackissue was limited and took the form of hessian backed card, containing the standard paperback issue held in with grey ribbon.

The title comes from a book by Saul Bellow called 'Herzog'. Thereference in this book is on page twenty-nine where the characterHerzog explains, "My father was a bootlegger. He has a still ..."'Still' was the album intended to combat the trade in Joy Divisionbootlegs and to give the fans "all those songs they keep complainingthey haven't got". The album consisted of all the tracks not previouslyissued in the UK plus a remixed version of 'Glass' and the full setfrom Joy Division's last ever live performance at High Hall. Theonly track that wasn't included on 'Still' was 'The Drawback' whichis known as 'All Of This For You' on the 'Warsaw' bootleg album.

Nine months later the video 'Here Are The Young Men' wasissued by IKON, the video outlet of Factory. It comprised tracksfrom the two shows filmed at the Manchester Apollo in October1979, four songs filmed in Eindhoven on 8mm in January 1980 plusthe 'Love Will Tear Us Apart' promo.

All became quiet on the Joy Division front until the summer of1983 when, following the runaway success of New Order's 'BlueMonday', 'Love Will Tear Us Apart' again entered the UK charts,peaking at number eighteen. In the wake of this Mark Johnsonfinally issued his long-awaited but ultimately disappointing (not tosay appallingly written) history of Joy Division, originally entitled'An Ideal For Living'. Two more books have followed: in July 1984'Joy Division' by Mike West and in December 1984 'Pleasures AndWayward Distractions' by Brian Edge. Also issued around this timeand periodically updated, was a Joy Division scrapbook (or two)compiling all the cuttings you could ever want (and quite a few thatyou'd never want).

In 1987 after years of rampant bootlegging off BBC sessions,BBC Enterprises finally sanctioned the official release of John PeelSessions by Clive Selwood on his Strange Fruit label. New Orderwere in the first batch of releases and were followed, in December1986, by the first Joy Division session. In September 1987 came thesecond Joy Division session.

Also in 1987 both 'Unknown Pleasures' and 'Closer' were issued

XXI

form.

as CDs in the UK and featured much improved sound, presenting awhole new aural experience from this 'old' material. And now inApril of 1988 the first Joy Division Peel session is available on CD;soon to be followed by the second session; and also the final JoyDivision compilation, 'Substance'. This now collects all the non-album Joy Division releases - at last available on LP, cassette, CDand even DAT. Hopefully 'Still' will shortly be available on CD andthen maybe the ghost can be laid to rest at last.

The chicken stops here.

XXII

.SUBSTANCE.

The recording career of Joy Division was certainly a short one. Ifone discounts the atonal, primordial thrashings of Warsaw, the last'recording' of Joy Division (their final concert) occurred on thesecond anniversary of a day of final rehearsals before their firststudio recording.

Yet within that two year span the band was a most prolific outfit.With the imminent release of the Joy Division volume of 'Substance'there will be four volumes of official studio recordings by the bandavailable on Factory Records. The release of 'Substance' also meansthat, with the notable exception of the 'Warsaw' bootleg album, allthe important studio recordings of the band are now officiallyavailable. Indeed once 'Still' becomes available on CD the wholeoeuvre will benefit from a crackle-free not to say digital medium.

Since Joy Division did rise out of the ashes of Warsaw fans areconstrained to consider the recordings of Warsaw. However whatthe seeker will find is of no intrinsic musical worth. Even within theclimate of punk Warsaw were always the poor relations of theirfellow Manchester bands. Their first recordings, in July 1977, available on the 'Ideal Beginning' EPs (no-one seems sure whether this isa bootleg - if it isn't it should be), are painful listening indeed: lyricsobscured by the mix, vocals indistinct, no discernible melodies tospeak of, and not even the benefit of being played at an adrenalin-pumpin' speed.

Further recordings in December 1977, for a self-financed EP 'AnIdeal For Living', show a shade more subtlety, but precious littlepromise. That copies of this item have been sold in the States foranything from $100 upwards shows the obsessive hold that themythology surrounding Joy Division has sometimes exacted on itsfans. The recording quality of the EP thankfully ensured that itescaped attention, returning back from whence it came.

However a change of name in January 1978 also appears to havebrought a major change in direction. I say appears as one of themajor hindrances to attempts at an adequate assessment of JoyDivision's development towards the more textured sound of theirFactory recordings is the total lack of any concert recordings prior toMarch 1979. Up to this date it is only possible to hear Joy Division'sprogress through their studio recordings. Certainly their first officialrecordings, discounting 'An Ideal For Living': 'Digital' and 'Glass'on the Factory Sampler - offer a fully-fledged, not to say distinct'sound': unmistakably Joy Division if considered on the basis oftheir later recordings.

As such in a mere ten months ('Digital' and 'Glass' date from

XXIII

substance.

October 1978) Joy Division had developed a distinct sound from anindistinct mush, an identity where formerly there was none. Theexact middle-ground between these two extremes ('An Ideal forLiving' and 'The Factory Sampler') was captured in Arrow Studioson May 3rd and 4th, 1978. The eleven recordings made on these twodays were intended to constitute Joy Division's first album, which itwas envisaged would probably be released on RCA.

Even within the confines of these sessions it is possible to see aclear division (sic) between the Warsaw material (all the songs on'An Ideal For Living' were re-recorded, these versions being infinitelypreferable) and the Joy Division material. Particularly outstandingare three new compositions, 'Transmission', Tnterzone' and 'Shadow-play', all of which show a much more adventurous approach to thesound and internal rhythm of a song. These recordings also illustratethe emergence of a more haunting turn of phrase in Curtis's lyrics.Of course the band at last benefited from a strong production: thesound of these recordings is taut, the guitar-sound insistent, thedrum-sound crisp (far crisper than most subsequent Joy Divisionrecordings) and Curtis' vocals up-front and not as stylized as laterrecordings.

However the band were most upset when producer John Andersonadded some synthesizer to tracks during final mixing, and theyasked for them to be removed. Clearly the band still saw their soundas being more mainstream than it became; though the movementtowards a 'slightly gothic' (to quote Tony Wilson) sound had begun.

Though some of these thoughts may verge on the speculative, it isimportant to consider where Joy Division constructed their soundfrom. The evidence of the Factory Sampler and their first session forJohn Peel (recorded the last day of January, 1979 and now officiallyavailable on a Strange Fruit 12" single and soon to be a CD single)suggests that a year from their first gig as Joy Division the ghost ofWarsaw had been wholly laid to rest. Instead a fractured, dense,often discordant sound had evolved - seemingly from nowhere.

... Or maybe from the heart of darkness? Though the JoyDivision approach to sound (I am not referring to the actual noisethey made) has been observed (correctly) to at least partially derivefrom the Velvet Underground, perhaps the closest comparisonshould really be Pere Ubu. Ubu had first come to the attention ofany real number of English music fans in 1978 with the release oftheir astonishing debut album, 'The Modern Dance' (now thankfullyavailable on CD, courtesy of Fontana). The whole approach of Ubuparalleled Joy Division's: the self-conscious use of literary references;

XXIV

substance.

fractured music (to quote a phrase); and a sound culled straightfrom the heart of darkness.

Though some of these similarities were simply a question ofparallel development, the more experimental approach adopted bysome of the new American bands, notably Television and PereUbu, was in 1978 having its most profound impact on the BritishNew Wave movement. 1978 saw the release of debut recordings byall four of the prime movers in the Second Wave of the UK NewMusic: Joy Division, Public Image Limited, Magazine and Siouxsieand the Banshees; and though there would be no self-avowal of anyof these bands, they all drew heavily upon the ideas of the moreavant garde American bands of the post-Velvet generation.

As I have already stated there are no known live recordings (savethose the band may have kept to themselves) of Joy Division priorto March 1979. By this point they were on the verge of recordingtheir first album, 'Unknown Pleasures', and the sound of the bandlive was fully realised - though interestingly enough they were stillperforming three songs from the 'An Ideal For Living' EP.

'Unknown Pleasures' was recorded at Strawberry Studios in Aprilof 1979. The band entered the studio with a wealth of material theycould record. Indeed aside from the songs on the album, twoouttakes were issued on an independent 12" EP 'Earcom 2' (bothare now on 'Substance') and four more outtakes were later includedon 'Still'. It remains the best artefact of Joy Division's career, analbum which manages to integrate the 'attack' of the May 1978recordings into songs of fractured sensibilities and discordant sounds.This discordancy aligned to a strong melodic undercurrent becameidentified at this time as a characteristic of certain Manchester acts,nobably Joy Division, A Certain Ratio and The Fall.

From this point Joy Division's career as a 'live' act is more thanadequately documented. Tapes from the summer of 1979 show aband that is writing material at a furious rate. Amongst songswritten and premiered between May and August 1979 were:'Atmosphere' (originally known as 'Chance'); 'These Days';'Atrocity Exhibition' (all recorded for a Piccadilly radio session atthe beginning of June), 'Dead Souls', 'Something Must Break','Colony' and 'Sound Of Music'. However they returned to two ofthe songs recorded at the May 1978 sessions for their first single:'Transmission' and 'Novelty'.

Though a very catchy and accessible single, 'Transmission' failedto register in any but the independent charts. Indeed it is oftenforgotten that Joy Division achieved no chart success, save regular

XXV

substance.

appearances in independent charts, until after Ian Curtis' death.Like Velvet Underground, who failed to ever crack the BillboardTop 100, Joy Division's influence and important only becameapparent after the fact.

As a general rule the Joy Division 'live' set consisted of ten songs.Which songs were performed tended to be a last-minute decision.The choice of material was spread over the whole gamut of their,admittedly brief, career. As late as February 1980 they were stillperforming 'Warsaw'. The band were also certainly not afraid to tryout new songs in their live sets. Indeed they opened their lastconcert with a song they had only just been working on at thesoundcheck, 'Ceremony'. Of all the titles recorded by Joy Divisiononly 'From Safety To Where' was never performed in concert.

It is this constant sense of change that has perhaps burgeoned ahealthy mini-industry in Joy Division bootlegs. Aside from assortedpre-'Substance/Strange Fruit' attempts to collect Peel sessions,miscellaneous b-sidese and the like together; and two albums ofunreleased studio material: 'Warsaw' (the May '78 tapes) and'Atmosphere' (the June '79 Piccadilly radio session and the first'Transmission' session from July 79); the bootlegs have been intendedto represent Joy Division in concert. There are twenty such gigsrepresented on bootleg vinyl - excluding two soundchecks whichhave also been bootlegged. A remarkable tally for a group whoseentire live corpus spaned less than fourteen months and who achievedno chart success in its lifetime. Especially as, though the bandgigged extensively from July 1979 through April 1980, they neverheadlined a full UK tour.

The final chapter of Joy Division's recording career - the recordingof 'Closer' - really began in November 1979 when the band recordedits second session for John Peel. Now available as a 12" single thesession premiered to Peel's listeners three songs intended for JoyDivision's next album: 'Twenty Four Hours' and 'Colony', whichboth made it; and 'Sound Of Music' which didn't. It also included atake of what was to be their next single, 'Love Will Tear Us Apart'.In fact a January 1980 session at Pennine Studios saw Joy Divisionrecording versions of the latter two songs plus a take of 'These Days'- though none of these ended up on 'Closer' ('Love Will Tear UsApart' was the b-version on the single; 'Sound Of Music' was laterincluded on 'Still').

After a second successful visit to the continent in January 1980(they had played Paris in December 1979) and a few Home Countiesgigs in February, the band returned to Strawberry Studios the

XXVI

substance.

second week in March where they re-recorded 'She's Lost Control'for an intended American 12" single - presumably as something topromote on their scheduled May US tour - and 'Love Will Tear UsApart'. However it was not until the last two weeks in March that anextensive stint at Britannia Row Studios in London resulted in theirsecond album 'Closer'.

'Closer' is a most worrying album. Unlike most reviewers at thetime, coloured perhaps by the death of Ian Curtis, I see the album asevidence of a band careering out of control. The atonal quality ofthe band's music had always previously been tempered by a keensense of melody. But with 'Closer', rather than the unsettling feelingthat the listener was peering into a dark, dank void, one feels thatyou are hurtling through that void and the disturbing force of this isonly compounded by the nature of Curtis' death.

In fact the songs do not just merge into one sound, they arewelded together in an unrelenting vision of doom and gloom.'Closer' indicates above all a loss of direction. Whereas PereUbu's follow-up to 'The Modern Dance' was the tragi-comic 'DubHousing', a maudlin but wry look at humanity (their originalguitarist Peter Laughner had killed himself in 1977), 'Closer' exudesself-consciousness. It is Gothic - with a capital G. Its bleakness, nottempered by any sense of redemption, must be down primarily toCurtis whose character had become unstable. It also comes downpartially to Hannett's over-production. His concern to use any new'studio-toy', without considering how apposite its use may be, hadnow reached its zenith. He was also prepared to allow, nay encourage,Curtis to develop an over-stylized vocal style. Certainly the songshad worked better in concert or on the Peel session.

Two songs recorded directly between 'Unknown Pleasures' and'Closer' illustrate a far stronger way of dealing with the mysterious:'Dead Souls' and 'Atmosphere'. 'Atmosphere', now reissued as asingle and deserving of substantial sales, is the most genuinelyhaunting of all the Joy Division songs. However it does betray itssense of evocation by sinking into melancholy self-reflection.

The death of Ian Curtis, the release of all these Winter 1980recordings ('Closer', the 'Love Will Tear Us Apart' single, the'Komakino' flexi-disc - both the latter now on 'Substance') seemedto occur at one instant in time so that the recordings came to beviewed as premonitory. In October 1981 Factory appeased thebootlegger in us all by issuing their very own bootleg 'Still', ironicallyin chart terms their most successful album. Since then we have hadthe re-release of the two bona-fide albums on CD ('Unknown

XXVII

substance.

Pleasures' is a particular treat). We now await the epilogue: the CDrelease of both the Peel sessions and 'Substance' - a final collectingtogether of strands. Meanwhile there is a new order, a band whobetray their origins perhaps more than Joy Division did with Warsaw.However, though the best of Joy Division's songs thread the thinline between thrilling to the danger and succumbing to the romanceof the heart of darkness, since 'Closer' the surviving members havewisely forsaken any romantic attachment they may have felt for thevoid they were teetering on.

XXVII I

JD: The Recordings

JOY DIVISION: THE RECORDINGS 1977-1980All recordings marked b. are bootlegs. All official recordings are onFactory Records except where otherwise indicated. Known videosare marked v. All studio sessions are printed in bold.

PENNINE SOUND STUDIOS, 18/7/77

1. Inside The Line2. Gutz3. At A Later Date4. The Kill5. You're No Good For Me

1-3 The Ideal Beginning 7" b.2-1 The Ideal Beginning 12 b.5 From The End To The Beginning (one sided) 7" b.1-5 In The Beginning 12" b.

ELECTRIC CIRCUS, MANCHESTER, 2/10/77

1. At A Later Date

1 Short Circuit: Live At The Electric Circus.VIRGIN VCL 5003.

PENNINE SOUND STUDIOS, DEC. 1977

1. Warsaw2. No Love Lost3. Leaders Of Men4. Failures

1-4 An Ideal for Living EP. ENIGMA PSS 139.\-A 'Substance'FACT 250

XXIX

JD: The Recordings

ARROW STUDIOS, MANCHESTER, 3+4/5/781. The Drawback2. Leaders Of Men3. Walked In Line4. Failures5. Novelty6. No Love Lost7. Transmission8. Ice Age9. Interzone

10. Warsaw11. Shadowplay1-11 'Warsaw' b.

'WHAT'S ON', GRANADA STUDIOS, SALFORD, 20/9/781. Shadowplay1 'The Way We Were' bv.

CARGO STUDIOS, ROCHDALE, 11/10/781. Digital2. Glass

1-2 Factory Sampler EP FAC 2/'Substance' FACT 2502 Still FACT 40

BBC STUDIOS, MAIDA VALE, LONDON, 31/1/791. Exercise One2. Insight3. Transmission4. She's Lost Control1^1 Strange Fruit SFPS013

XXX

JD: The Recordings

BOWDON VALE YOUTH CLUB, ALTRINCHAM, 14/3/79

1. She's Lost Control2. Shadowplay3. Leaders Of Men4. Insight5. Disorder6. Glass7. Digital8. Ice Age9. Warsaw

10. Transmission11. I Remember Nothing12. No Love Lost

1-12. 'Bowden Vale Youth Club' b.

STRAWBERRY STUDIOS, MANCHESTER, APRIL 19791. Disorder2. Day Of The Lords3. Candidate4. Insight5. New Dawn Fades6. She's Lost Control7. Shadowplay8. Wilderness9. Interzone

10. I Remember Nothing11. Auto-Suggestion12. From Safety To Where...?13. Exercise One14. The Only Mistake15. Walked In Line16. The Kill

1-10 'Unknown Pleasures' FACT 1011-12 Earcom Two: Contradiction FAST 9B/'Substance' FACT 25013-16 'Still'FACT 40

XXXI

JD: The Recordings

'PICCADILLY RADIO SESSION' PENNINE STUDIOS,MANCHESTER, 4/6/791. These Days2. Candidate3. The Only Mistake4. Atmosphere5. Atrocity Exhibition

1-5 'Atmosphere' b.

BAND ON THE WALL, MANCHESTER, MAY/JUNE 1979

1. Walked In Line2. She's Lost Control3. Shadowplay4. New Dawn Fades5. Day Of The Lords6. Insight7. Disorder8. The Only Mistake9. I Remember Nothing

10. Sister Ray

ROOTS CLUB, LEEDS, 11/7/79

1. Dead Souls2. Shadowplay3. She's Lost Control4. Candidate5. These Days6. Disorder7. Interzone8. Glasss9. Transmission

10. Atrocity Exhibition11. No Love Lost

XXXI I

JD: The Recordings

THE FACTORY 1, MANCHESTER, 13/7/79

1. Dead Souls2. The Only Mistake3. Insight4. Candidate5. Wilderness6. She's Lost Control7. Shadowplay8. Disorder9. Interzone

10. Atrocity Exhibition11. Novelty12. Transmission

1-10 'Russell Club' b.1-10,12 'Deal Soul'b.

CENTRAL SOUND STUDIOS, MANCHESTER, MID JULY 19791. Transmission2. Novelty3. Dead Souls4. Something Must Break1̂ 1 'Atmosphere' b.

'WHAT'S ON', GRANADA STUDIOS, SALFORD, 20/7/791. She's Lost Control

STRAWBERRY STUDIOS, MANCHESTER, LATE JULY 1979

1. Transmission2. Novelty3. Something Must Break1-2 FAC 13/'Substance' FACT 2503 'Still'FACT 40

XXXIII

JD: The Recordings

IMPERIAL HOTEL, BLACKPOOL, 27/7/79

1. Dead Souls2. Glass3. Disorder4. Auto-Suggestion5. Transmission6. She's Lost Control7. Shadowplay8. Atrocity Exhibition

PRINCE OF WALES CONFERENCE CENTRE, YMCA,LONDON, 2/8/791. Dead Souls2. Disorder3. Wilderness4. Auto-Suggestion5. Transmission6. Day Of The Lords7. She's Lost Control8. Shadowplay9. Atrocity Exhibition

10. Insight1-10 'Dead Soul' b.

ERICS, LIVERPOOL, 11/8/79 (EVENING SHOW)1. Transmission2. Sister Ray/Gimme Some Lovin'3. Disorder4. New Dawn Fades5. Glass6. Shadowplay7. Colony8. Interzone9. Ice Age

2,4-5 'Malvern/Erics' b.

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JD: The Recordings

NASHVILLE ROOMS, LONDON, 13/8/791. She's Lost Control2. Exercise One3. Colony4. Auto-Suggestion5. Ice Age

LEIGH OPEN AIR POP FESTIVAL, 27/8/791. Disorder2. Leaders Of Men3. Colony4. Insight5. Digital6. Dead Souls7. Shadowplay8. She's Lost Control9. Transmission

10. Interzone

THE ELECTRIC BALLROOM, LONDON, 31/8/791. Sound Of Music2. Wilderness3. Colony4. Day Of The Lords5. Shadowplay6. Transmission7. Interzone8. Disorder9. She's Lost Control

10. Insight

XXXV

JD: The Recordings

FUTURAMA SCI-FI FESTIVAL',QUEENS HALL, LEEDS, 8/9/791. I Remember Nothing2. Wilderness3. Transmission4. Colony5. Disorder6. Insight7. Shadowplay8. She's Lost Control9. Atrocity Exhibition

10. Dead Souls

'SOMETHING ELSE', BBC STUDIOS, 15/9/79

1. Transmission2. She's Lost Control

1-2 'Something Else' EP b.1-2 v.

NASHVILLE ROOMS, LONDON, 22/9/79

1. Atmosphere2. Wilderness3. Shadowplay4. Leaders Of Men5. Insight6. Colony7. Transmission8. Disorder9. She's Lost Control

10. Atrocity Exhibition11. Glass12. Exercise One

2-12 Try To Cure Yourself b.

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JD: The Recordings

MOUNTFORD HALL, LIVERPOOL UNIVERSITYHALLS OF RESIDENCE, 2/10/791. Wilderness2. Ice Age3. Candidate4. Shadowplay5. Insight6. She's Lost Control7. Twenty Four Hours8. Disorder9. Transmission

10. Warsaw

NEWCASTLE CITY HALL, 4/10/791. Disorder2. Shadowplay3. Colony4. Day Of The Lords5. Glass6. Transmission7. She's Lost Control8. Atrocity Exhibition

CARGO STUDIOS, ROCHDALE, OCTOBER 19791. Dead Souls2. Atmosphere3. Ice Age1,3 'Still', FACT 401-2 Licht und Blindheit SORDIDE SENTIMENTAL SS 33002 -

Limited Edition of 1578 copies1-2 'Substance' FACT 250

XXXVII

JD: The Recordings

THE ELECTRIC BALLROOM, LONDON, 26/10/791. I Remember Nothing2. Love Will Tear Us Apart3. Wilderness4. Colony5. Insight6. Day Of The Lords7. Shadowplay8. She's Lost Control9. Transmission

10. Disorder11. Atrocity Exhibition12. Interzone

1-12 'Walk Away In Silence' b.

THE APOLLO, MANCHESTER, 27/10/79

1. Dead Souls2. Wilderness3. Colony4. Auto-Suggestion5. Love Will Tear Us Apart6. Shadowplay7. She's Lost Control8. Transmission

1,5-7 'Here Are The Young Men' v.

THE APOLLO, MANCHESTER, 28/10/79

1. Sound Of Music2. Shadowplay3. Colony4. Day Of The Lords5. Twenty Four Hours6. Disorder7. Walked In Line8. I Remember Nothing9. Transmission

1,4,7-9 'Here Are The Young Men' v.

XXXVIII

JD: The Recordings

WINTER GARDENS, BOURNEMOUTH, 2/11/79

1. I Remember Nothing2. Love Will Tear Us Apart3. Wilderness4. Colony5. Insight6. These Days7. Digital8. Transmission9. Atrocity Exhibition

3. Wilderness4. Colony5. Insight6. These Days7. Dig i ta l8. Transmission9. Atrocity Exhibition

1-9 'Dante's Inferno' b.

PAVILION, HEMEL HEMPSTEAD, 5/11/79Soundcheck:1. New Dawn Fades2. Dead Souls3. The Only Mistake4. Love Will Tear Us Apart

Gig:1. Dead Souls2. Wilderness3. Twenty Four Hours4. New Dawn Fades5. D ig i ta l

THE RAINBOW, FINSBURY PARK, LONDON, 9/11/791. Sound Of Music2. Shadowplay3. New Dawn Fades4. Colony5. Insight6. Love Will Tear Us Apart7. She's Lost Control8. Transmission

XXXIX

JD: The Recordings

THE RAINBOW, FINSBURY PARK, LONDON, 10/11/79

1. Dead Souls2. Wilderness3. Twenty Four Hours4. Day Of The Lords5. These Days6. Interzone7. Disorder8. Atrocity Exhibition

1-8 'Shadow Play'b.

JOHN PEEL SESSION, MAIDA VALE, LONDON, 26/11/791. Twenty Four Hours2. Colony3. Sound Of Music4. Love Will Tear Us Apart

\-A Strange Fruit SFPS 033

LES BAINS DOUCHES CLUB, PARIS, 18/11/79

1. Passover2. Wilderness3. Disorder4. Love Will Tear Us Apart5. Insight6. Shadowplay7. Transmission8. Day Of The Lords9. Twenty Four Hours

10. Colony11. These Days12. A Means To An End13. She's Lost Control14. Atrocity Exhibition15. Interzone16. Warsaw1-16 'Live In Paris/Joy Division' b.5-9 'Live in Paris/Joy Division' + 'Atrocity Exhibition' b.

(from FM broadcast)

X L

JD: The Recordings

PENNINE STUDIOS, MANCHESTER, 8/1/80

1. Love Will Tear Us Apart2. Sound Of Music3. These Days1 FAC 23 b-side2 'Still' FACT 403 FAC 23/'Substance' FACT 250

EL PARADISO, AMSTERDAM, 11/1/80

1st Set:1. Passover2. Wilderness3. Dig i ta l4. Day Of The Lords5. Insight6. New Dawn Fades7. Disorder8. Transmission

1-8 'Gruftgesaenge/Last Order/Stroszek's Last Stand' b.3-8 'Amsterdam' b.

2nd Set:1. Love Will Tear Us Apart2. These Days3. A Means To An End4. Twenty Four Hours5. Shadowplay6. She's Lost Control7. Atrocity Exhibition8. Atmosphere9. Interzone

1-7 ' Gruftgesaenge' b.1-4,6-7 'Amsterdam' b.1,5-7 'Stroszek's Last Stand' b.1-4 'Last Order'b.8-9 'Solitary Demands' EP b.

XLI

JD: The Recordings

THE BASEMENT, COLOGNE, 15/1/80

1. Atmosphere2. Love Will Tear Us Apart3. These Days4. Insight5. Twenty Four Hours6. A Means To An End7. She's Lost Control8. Sound Of Music9. Glass

10. Day Of The Lords11. Shadowplay12. Interzone13. Disorder14. Transmission15. Atrocity Exhibition

PLAN K, BRUSSELS, 17/1/80

1. Dead Souls2. Wilderness3. Insight4. Colony5. Twenty Four Hours6. A Means To An End7. Transmission8. Atmosphere9. Love Will Tear Us Apart

10. Digital11. Warsaw12. Shadowplay13. Atrocity Exhibition14. Sister Ray15. The Eternal

XLII

JD: The Recordings

EFFENAAR, EINDHOVEN, 18/1/801. Love Will Tear Us Apart2. Digital p3. New Dawn Fades4. Colony5. These Days6. Ice Age7. Dead Souls8. Disorder9. Day Of The Lords

10. Auto-Suggestion11. Shadowplay12. She's Lost Control13. Transmission14. Interzone15. Atmosphere

2-4,10 'Here Are The Young Men'v.1-15 'Morturi Te Salutant' b.1-6,7-11,15 'A Christmas of Joy (Division)' b.

KANTKINO, BERLIN 21/1/801. Deal Souls2. Wilderness3. Colony4. Twenty Four Hours5. A Means To An End6. Transmission7. The Eternal

XLIII

JD: The Recordings

UNIVERSITY OF LONDON UNION BUILDING, LONDON,8/2/80

1. Dead Souls2. Glass3. A Means To An End4. Twenty Four Hours5. Passover6. Insight7. Colony8. These Days9. Love Will Tear Us Apart

10. Isolation11. The Eternal12. Digital

5 'LeThermePar t lFb .

TOWN HALL, HIGH WYCOMBE, 20/2/80

Soundcheck:1. Isolation2. The Eternal3. Ice Age4. Disorder5. Sound Of Music6. A Means To An End

1-4,6 'Out Of Balance, Out Of Tune' EP b.

Gig:1. Sound Of Music2. A Means To An End3. Colony4. Twenty Four Hours5. Isolation6. Love Will Tear Us Apart7. Disorder8. Atrocity Exhibition

1-8 'Disorder/Live Transmission - Dance To The Radio' b.

XLIV

JD: The Recordings

THE WAREHOUSE, PRESTON, 28/2/80

1. Incubation (Cross Of Iron)2. Wilderness3. Twenty Four Hours4. The Eternal5. Heart And Soul6. Shadowplay7. Transmission8. Disorder9. Warsaw

10. Colony11. Interzone12. She's Lost Control

1-3,5,7-12 'LeThermePartII',b.

THE LYCEUM, LONDON, 29/2/80

Soundcheck:1. Heart And Soul2. Incubation3. Komakino4. Isolation

Gig:1. Incubation2. Wilderness3. Twenty Four Hours4. The Eternal5. Heart And Soul6. Love Will Tear Us Apart7. Isolation8. Komakino9. She's Lost Control

10. These Days11. Atrocity Exhibition

2-11 'Kimakino' b.1-4 'How Many Echoes Are There' b.

XLV

JD: The Recordings

STRAWBERRY STUDIOS, MANCHESTER,EARLY MARCH 1980

1. Love Will Tear Us Apart (vocals re-recorded at Britannia Row;mixed at Britannia Row)

2. She's Lost Control1 FAC 23/'Substance' FACT 2502 FACUS 2/'Substance' FACT 250

BRITANNIA ROW STUDIOS, LONDON, 18-30/3/80

1. Atrocity Exhibition2. Isolation3. Passover4. Colony5. A Means To An End6. Heart And Soul7. Twenty Four Hours8. The Eternal9. Decades

10. Komakino11. Incubation12. And Then Again

1-9 'Closer'FACT 2510-12 FAC 28/'Substance' FACT 250

THE MOONLIGHT CLUB, LONDON, 2/4/80

1. Sound Of Music2. Wilderness3. Colony4. Love Will Tear Us Apart5. A Means To An End6. Transmission7. Dead Souls8. Digital9. Sister Ray

1-7 'Atrocity Exhibition' b.9 'StiH'FACT40.

XLVI

JD: The Recordings

THE MOONLIGHT CLUB, LONDON, 3/4/801. Love Will Tear Us Apart2. Glass3. Digital4. Heart And Soul5. Isolation

THE MOONLIGHT CLUB, LONDON, 4/4/801. 11 ansmission2. A Means To An End3. Twenty Four Hours4. Day Of The Lords5. Insight6. Interzone

THE WINTER GARDENS, MALVERN, 5/4/801. Disorder2. Wilderness3. Twenty Four Hours4. Heart and Soul5. Atmosphere6. Love Will Tear Us Apart7. Isolation8. Interzone9. She's Lost Control

10. Wild Love jam w/ Section 251-9 'Malvern/Erics'b.

XL VII

JD: The Recordings

AJANTA THEATRE, DERBY, 19/4/80

1. Dead Souls2. Wilderness3. Digital4. Insight5. Passover6. Heart And Soul7. Isolation8. These Days9. Transmission

10. She's Lost Control11. Colony12. Nobody Counts jam w/ Section 25

2,4,7-10 'LeTerme'b.1,3,7 'LeThermePartH'b.

TJM REHEARSAL STUDIOS, MANCHESTER, 28/4/80

1. Love Will Tear Us Apart

1 promo video v.

HIGH HALL, HALLS OF RESIDENCE,BIRMINGHAM UNIVERSITY, 2/5/80

Soundcheck:1. Ceremony2. Decades

Gig:1. Ceremony2. Shadowplay3. A Means To An End4. Passover5. New Dawn Fades6. Twenty Four Hours7. Transmission8. Disorder9. Isolation

10. Decades11. Digital1-11 'Still'FACT40

XLVIII

D. Cert. CAUTION—Any person who (1) falsifies anyof the particulars on this certificate, or (2)uses a falsified certificate as true, knowingit to be false, is liable to prosecution.

CERTIFIED COPY ^Mf W OF AN ENTRYPursuant to the Births and ^sp Deaths Registration Act 1953

DEATH nT noRegistration districtSub-district

E^XKccU^fCcld.

Administrative area

C/OwvCCi] Of

1. Date and plac

2. Name and surname

1&** (VLxaj \°>4>oi d s u r n a m e 3 . S e x J ( \ A / l J L P ^ .

/ ^ L W C U f Z - f \ & 4 . M a i d e n s u r n a m e _

5. Date and place of birth

ual address

1 1 f a o i S t e ^ £ > U 6 £ t ■ M p ^ L t U & f O - L c L(b) Qualification7 . ( a ) N a m e a n d s u r n a m e o f i n f o r m a n t ( b ) Q u a l i fi c a t i o n

Cest<Siu*xe received fro«^ "liM^rttvy <t>£r>w & fi^e^ie^^t oeyutyCorc

( c ) U s u a l a d d r e s s ^

8. Cause of death

^\Wl dcujuKsbiA. failed- V*,w2>e\f ■

Signatureof informant

Signature of registrar

6gvfc*vfc#*t£K. cTu**-*, \ojfoo J [/^:M^.4-u^ier fiea^,^.

Certified to be a true copy of gentry in a re£

jC: . .^-L. .V^^suDe■"^Superintendent Registrar IH '7''l1?^.DateGA 270370