FACTORY RECORDS CATALOGUE-----FACTORY RECORDS CATALOGUE----FACTORY RECORDS CATALOGUE-----FACTORY RECORDS CATALOGUE-----FACTORY RECORDS CATALOGUE-----FACTORY RECORDS CATALOGUE

flying FACTORY RECORDS flying

CATALOGUE FAC 201 - 250

 

LAST UPDATE

25-Sep-2007


movingMap.gif (21803 bytes)Fac 201
  DRY Bar
Fac 201
July 25th 1989

Dry201-A.jpg (93149 bytes)    Dry201-B.jpg (61276 bytes)

THANKS FOR THOSE WHO PROVIDE THE SCANS...DON'T KNOW THE NAME

Plan Drawing of the Factory Records Bar in Manchester DRY201. Designed by Ben Kelly and given out to guests at the launch party on 23/07/89. All plans given out were folded. Plan Black on White Paper with DRY201 in Silver in top corner. 15cm x 21cm Folded 42cm x 60cm Unfolded approx

A2 size DRY 201 poster July 1989 Manchester England Given away as a gift set at the launch party for DRY 201 (Fac 201) on Oldham Street by the then manager, Leroy. One of full set of four other colours are Blue, Silver and Black.

 


movingMap.gif (21803 bytes)Fac 202  
  CHARITY DREAM Flight Balloons, Hyde Park
Fac 202
1987

Description:

 


movingMap.gif (21803 bytes)Fac 203  
  12 INCHES OF NEW ORDER
Fac 203
August 1987

Description:

 


movingMap.gif (21803 bytes)Fac 204  
  DURUTTI COLUMN "The Guitar And Other Machines"
Fact 204
December 1987

UK

1987

( Factory Fact 204 )

?

UK

1987

( Factory Fact 204c )*

?

UK

1987

( Factory Fact 204D )[DAT Tape]

cdlogo1.gif (919 bytes)

UK

1987

( Factory Facd 204 )
	4:03	Arpeggiator
	3:47	What Is It to Me (Woman)
	3:13	Red Shoes
	2;41	Jongleur Grey
	3;13	When the World
	2;22	U.S.P.
	5;50	Bordeaux Sequence
	3;08	Pol in B
	4;48	English Landscape Tradition
	5:14	Miss Haymes
	1:42	Don't Think You're Funny
	3:00	Dream Topping *
	3:38	You Won't Feel Out of Place *
	4:57	28 Oldham Place *

 


movingMap.gif (21803 bytes)Fac 205  
  JAZZ DEFEKTORS "Jazz Defektors"
Fact 205
March 1988

UK

1988

( Factory Fact 205 )

?

UK

1988

( Factory Fact 205c )

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 205 )
	5:55	Pressure
	2:54	Invisible You
	7:07	Bounce Back
	7:32	Another Star
	4:20	ook! This Feeling
	3:55	Pandemonium


movingMap.gif (21803 bytes)Fac 206  
  KALIMA "Kalima!"
Fact 206
April 1988

UK

1988

( Factory Fact 206 )

?

UK

1988

( Factory Fact 206c )

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 206 )
	4:46	That Twinkle (In Your Eye)
	3:18	Casabel
	4:22	Sad and Blue
	3:36	Over the Waves
	3:28	Now You're Mine
	4:40	The Strangest Thing
	3:55	Special Way
	5:01	Autumn Leaves
	5:02	Julan


movingMap.gif (21803 bytes)Fac 207  
  LITTLE BIG BAND "Little Big Band"
Fac 207
January 1988

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 207 )
	2:23	Woodland Rock
	3:53	Stranger
	2:26	Travellin' Home
	3:39	Charley James
	2:31	Fixin' To Die
	3:22	Subterranean Home Sick Blues


movingMap.gif (21803 bytes)Fac 208  
  POST G-MEX HACIENDA PARTY
Fac 208
December 1988

Description: This was a party in the Hacienda basement after New Order and Happy Mondays gig at the G-Mex.

 


movingMap.gif (21803 bytes)Fac 209  
  HAPPY MONDAYS - FILM SHOOT
Fac 209

Description:

 


movingMap.gif (21803 bytes)Fac 210  
  CATH CARROLL "England Made Me"
Fact 210
June 1991

UK

1991

( Factory Fact 210 )

?

UK

1991

( Factory Fact 210c )

cdlogo1.gif (919 bytes)

UK

1991

( Factory Facd 210 )
	5:43	To Close Your Eyes Forever
	3:53	Unforgettable
	6:34	Moves Like You
	6:57	Beast on the Streets
	6:36	Subtitled
	4:34	Next Time (He's Mine)
	4:19	England Made Me
	4:12	Send Me Over
	4:16	Train You're On


movingMap.gif (21803 bytes)Fac 211  
  WIRED JOY DIVISION FEATURE
Fac 211
July 1988

UK

1989

( Factory Facd 207 )[Promo VHS]
	14:00	

Description: A Documentary on Channel 4 TV on the release of Joy Division "Substance" FACT 250, broadcasted July 1, 1988. Featuring interview by Tony Wilson, Rob Gretton, Alan Erasmus, Paul Morley, Peter Hook, Steven Morris and Bernard Sumner.

 


movingMap.gif (21803 bytes)Fac 212  
  HAPPY MONDAYS "Wrote For Luck"
Fac 212
August 1989

7in1.gif (962 bytes)

UK

1989

( Factory Fac 212/7 )
	3:41	Wrote For Luck
	2:47	Boom

12in1.gif (986 bytes)

UK

1989

( Factory Fac 212 )

cdlogo1.gif (919 bytes)

UK

1989

( Factory Facd 212 )
	3:41	Wrote For Luck (Radio Mix)
	5:41	Wrote For Luck (Dance Mix)
	5:45	Wrote For Luck (Club Mix)
	2:47	Boom

12in1.gif (986 bytes)

UK

1989

( Factory DJ FAC 212 )[WLTP]
	5:40	Wrote For Luck (Machine Mix)
	5:45	Wrote For Luck (Alternative Mix)


movingMap.gif (21803 bytes)Fac 213  
  JOY DIVISION "Atmosphere"
Fac 213
June 1988

7in1.gif (962 bytes)

UK

1988

( Factory Fac 213 )
	4:11	Atmosphere
	4:15	The Only Mistake

12in1.gif (986 bytes)

UK

1988

( Factory Fac 213 12 )
	4:11	Atmosphere
	4:15	The Only Mistake
	3:53	Sound Of Music

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 213 )
	4:11	Atmosphere
	3:45	Transmission (Live)
	3:14	Love Will Tear Us Apart

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facdv 213 )[Promo no PS]
		Atmosphere [Promo Video]

UK

1988

( Factory Facv 213 )[Promo VHS]
		Atmosphere [Promo Video]


movingMap.gif (21803 bytes)Fac 214  
factoryFAC214.jpg (5886 bytes) Durutti Column
FAC 214

August1988

7in1.gif (962 bytes)

UK

1988

( Factory Fac 214 )
	1:22	Jongleur Grey
	1:17	Bordeaux Sequence
	1:16	English Landscape Tradition
	0:56	U.S.P.

Description: Silver on transparent plastic flexi disc. 7" 45 rpm on square shaped plastic.

Designed by Mark Holt of 8vo

10,000 of these flexi were pressed and put in special countertop boxes to promote the Durutti Column album, "Guitar and Other Machines". Mark Holt repeats his superb design, a three dimensional four foot high collage of image and text on the flexi and it looks amazing. Almost all went out to shops and were never seen again. The counter top container/box was an 8vo classic in itself and might attract serious interest amongst Durutti fanatics. So if you've got one....

 


movingMap.gif (21803 bytes)Fac 215  
  HACIENDA WHITE WINE  - 'Vin D'usine Blanc"
Fac 215

Description: Wine from the Hacienda, 200 Bottle Edition. Label designed by Peter Saville

 


movingMap.gif (21803 bytes)Fac 216  
  HACIENDA RED WINE  - 'Vin D'usine Rouge"
Fac 216

Description: Wine from the Hacienda, 200 Bottle Edition. Label designed by Peter Saville

 


movingMap.gif (21803 bytes)Fac 217  
  TO HELL WITH BURGUNDY "EARTHBOUND"
Fact 217
February 1988

UK

1988

( Factory Fact 217 )

?

UK

1988

( Factory Fact 217c )

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 217 )
	3:28	Who Wants to Change the World
	1:59	Somewhere, Anywhere
	3:29	On A Slip
	2:17	The Razor of Truth (Slice Up Yer Life Mix)
	4:01	Falling
	2:15	Go
	2:39	Mother of the Sea
	2:02	Earthbound
	3:03	Dangerously Loose
	2:53	For Whom the Bell Tolls


movingMap.gif (21803 bytes)Fac 218  
  TO HELL WITH BURGUNDY "Who Wants To Change The World"
Facd 218
January1988

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 218 )
	3:26	Who Wants to Change the World
	2:29	Money
	2:39	Mother of the Sea


movingMap.gif (21803 bytes)Fac 219  
  KALIMA "Flyaway"
Facd 219
March 1989

cdlogo1.gif (919 bytes)

UK

1989

( Factory Facd 219 )
	4:34	Zamba Zippy
	5:34	Tender Games
	4:20	Smiling Hour
	5:13	Flyaway
	4:21	Trickery
	6:47	Land of my Dreams
	3:39	Sparkle
	4:37	Whispered Words
	5:07	Sugar and Spice
	5:19	Mystic Rhythms
	4:09	After Hours
	4:25	Start the Melody
	3:36	Token Freaky
	4:13	Love Suspended
	3:34	Weird Feelings
	5:28	The Dance


movingMap.gif (21803 bytes)Fac 220  
  HAPPY MONDAYS "Bummed"
Fact 220
November 1988

UK

1988

( Factory Fact 220 )(First Edition title embossed]

UK

1988

( Factory Fact 220 )*

?

UK

1989

( Factory Fact 220c )

?

UK

1989

( Factory Fact 220D )

cdlogo1.gif (919 bytes)

UK

1989

( Factory Facd 220 )
	3:24	Country Song
	3:36	Moving In With
	4:35	Mad Cyril
	3:25	Fat Lady Wrestlers
	4:07	Performance
	3:10	Brain Dead
	6:05	Wrote For Luck
	3:45	Bring A Friend
	2:29	Do It Better
	2:48	Lazyitis
	6:12	W.F.L. (The Vince Clarke Mix) *


movingMap.gif (21803 bytes)Fac 221  
  FACTORY GOES TO HOLLYWOOD BADGE
Fac 221
January 1989

Description: A black/bronze badge with a little card "Factory Goes to Hollywood" issued when Tony Wilson went to Los Angeles to raise funds for Bailey Brothers movie (FAC181)

  FACTORY CONTRACT BINDER
Fac 221
1990

Description: 12"x12" binder.


movingMap.gif (21803 bytes)Fac 222  
  HAPPY MONDAYS / KARL DENVER "Lazyitis"
Fac 222
May 1989

7in1.gif (962 bytes)

UK

1989

( Factory Fac 222/7 )

12in1.gif (986 bytes)

UK

1989

( Factory Fac 222 )

?

UK

1990

( Factory Fac 222C )
	3:53	Lazyitis (One Armed Boxer)
	3:52	Mad Cyril (Hello Girls)


movingMap.gif (21803 bytes)Fac 223  
  NEW ORDER "Fine Time"
Fac 223
November 1988

7in1.gif (962 bytes)

UK

1988

( Factory Fac 223-7 )

7in1.gif (962 bytes)

UK

1988

( Factory Fac 223/7 )[Pink sleeve promo]
	3:08	Fine Time
	4:30	Don't Do It

12in1.gif (986 bytes)

UK

1988

( Factory Fac 223 )

12in1.gif (986 bytes)

UK

1988

( Factory Fac 223DJ )[Pink sleeve Promo]
	4:42	Fine Time
	4:30	Don't Do It
	4:43	Fine Line

12in1.gif (986 bytes)

UK

1988

( Factory Fac 223R )
	6:15	Fine Time (Silk Mix)
	4:35	Fine Time (Messed Around Mix)

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 223 )
	3:08	Fine Time (7")
	6:15	Fine Time (Silk Mix)
	4:35	Fine Time (Messed Around Mix)
	4:30	Don't Do It


movingMap.gif (21803 bytes)Fac 224  
  DURUTTI COLUMN "The First Four Albums"
Fac 224
December 1988

4xcdlogo1.gif (919 bytes)

UK

1988

( Factory Facd  224 )

Description: 4 CD including FACT 14 / 44 / 74 / 84


movingMap.gif (21803 bytes)Fac 225  
  NEW ORDER "Substance Video"
Fac 225
September 1989

UK

1989

( Factory / Virgin Fact  225 )
		Confusion
		The Perfect Kiss
		Shellshock
		Bizarre Love Triangle
		True Faith
		Touched By The Hand Of God
		Blue Monday 1988

 


movingMap.gif (21803 bytes)Fac 226  
  KREISLER STRING ORCHESTRA "Kreisler String Orchestra"
Fact 226
September 1989

UK

1989

( Factory Fact 226 )

?

UK

1989

( Factory Fact 226c )

?

UK

1989

( Factory Fact 226D )[DAT]

cdlogo1.gif (919 bytes)

UK

1989

( Factory Facd 226 )
[Benjamin Britten - Simple Symphony]
	3:07	Boisterous Bourree
	3:16	Playful Pizzicato
	7:18	Sentimental Sarabande
	2:44	Frolicsome Finale
	8:41	Zoran Eric - Cartoon
[Benjamin Britten - Variations on a theme of Frankbridge]
	1:36	Introduction and theme
	1:58	Adagio
	1:03	March
	1:24	Romance
	1:16	Aria Italiana
	1:23	Bouree Classique
	2:55	Weiner Waltz
	1:11	Moto Perpetua
	3:32	Funeral March
	1:28	Chant
	7:00	Fugue and Finale
	3:25	M Thomas - Wir Wandelten (Johannes Brahms)


movingMap.gif (21803 bytes)Fac 227  
 

NME FACTS LIST
Fac 227
June 1989

Description: 3 part Factory catalogue published by NME in June/July 1989 in "Fred Facts".

 


movingMap.gif (21803 bytes)Fac 228  
  KARL DENVER "Wimoweh 89"
Fac 228
October 1989

7in1.gif (962 bytes)

UK

1989

( Factory Fac 228/7 )
	4:07	Wimoweh 89 (edit)
	5:57	Wimoweh Instrumental (Edit)

7in1.gif (962 bytes)

UK

1989

( Factory Fac 228 )[WLTP]
	4:07	Wimoweh 89 (edit)
	4:07	Wimoweh 89 (edit)

12in1.gif (986 bytes)

UK

1989

( Factory FAC 228 )
	5:04	Wimoweh 89
	5:14	Wimoweh Instrumental

UK

1989

( Factory FAC 228 )[VHS Promo]
	3:54	Wimoweh 89


movingMap.gif (21803 bytes)FAC 229  
  FACTORIAL Booklet With Music Week
Fac 229
July 1989

FAC229!

The Music Week Factorial

24 page 13” x 10” book to celebrate 10 years of factory given away with music week 15th July 1989

Tony Wilson

'Ubiquitous Granada TV talking head, pop cultural conceptualist, entrepreneur and bullshitter,' was The Cut magazine's recent description of Anthony Wilson. "Yes, very accurate," the Factory Records supremo agreed when I put it to him. "Although the one thing left out was the academic side," Wilson ponders. "Maybe 'bullshitter' is where the word 'intellectual' comes in, because I fundamentally regard myself as an academic, which could of course be determined as a bullshitter."

Whatever your conception of Wilson, the Manchester-based independent label he founded 10 years ago this January has built a unique and fascinating place for itself in Britain's post-punk music scenario. Wilson, the man who started at Granada in 1973, was galvanized by punk in 1976 to such an extent he swept it onto prime-time TV by fronting the controversial So It Goes music show, formed Factory Communications and opened Factory's doors with A Factory Sample in January 1979, paid for with his own money. He's had little reason to look back since, but enough reason to celebrate.

His choice of label name and emphasis on the word 'product' points to Wilson's personal and uncompromising view of the music industry; his love of the music, the culture and, it has to be said, the game plan. As he admits, not mincing words, "an awful lot to do with the music industry for me is the intellectual and artistic theory of it. I see my involvement with Factory somewhat as a laboratory experiment in popular art. When I talk about the conceptual crap theory of it, that's what I mean by the bullshit, as opposed to the bullshit level of the pop industry, which is people being all sweetie and honey with each other and being very insincere. I don't think we've in any way been involved in that part of the entertainment business."

Factory has always kept in touch and on top of what Wilson calls "live youth culture" which in the UK seems to have gone hand-in-hand with Manchester's undeniable impact and influence following the blast of energy that was punk. Two songs on A Factory Sample were by Joy Division, who, after singer Ian Curtis' sad death, were transformed into New Order; both groups combined have arguably been the most enduring and endearing in post-punk times, with the latter also crossing over into the white dance arena. Only The Smiths - another Manchester phenomenon - have exceeded New Order's shrine-like popularity. Factory's run of credible but financially discouraging dance singles in the early eighties with Quando Quango, 52nd Street, Kalima and Marcel King meant the company decided against starting a dance label right at the time that Mute's Rhythm King was honing it's masterplan, but the signs are there that Factory is well prepared for the future. Wilson's pleasure on this tenth anniversary isn't solely the satisfaction of the survivor.

My joy at this particular moment is the moment we're poised at now, with New Order's new album Technique about to become a very significant world force - to actually fulfil, in terms of sales and power, for what I've always thought was the best group around," Wilson told me back in January. "I used to say two years ago that when the next revolution happened, my big question would be whether we would go platinum, or double or triple platinum, and whether we were going to know that the revolution was happening and were we going to be involved with it with groups on Factory?"

The revolution turned out to be the dance explosion, spearheaded by 'house music' and colored by the 'acid house' phenomena, aided by the rocketing success of Manchester's Hacienda club, owned by New Order, where Mike Pickering's Friday 'Nude' night first popularized the sounds in the UK. And yes, New Order are still very much involved in the rhythm-king wars, as are Factory's new stars-in-grooming, music press angels and acid-hooligans Happy Mondays.

"If there was a group like Happy Mondays in Britain and they were on another label, then I'd be terribly upset," remarks Wilson, who feels that 'acid house', "has certainly been the most vibrant thing since punk. When there is a live youth culture, it will produce bands of genius, and Happy Mondays are the continuing proof of that basic reality of life."

Factory and The Smiths never joined forces for a number of different reasons (Wilson's comment is that the label was "too busy" launching James and The Stockholm Monsters, while Factory's notorious lack of promotion didn't suit The Smiths' ambitions) and so never took part ' in Britain's guitar-band boom but with Happy Mondays, the eccentric folk trio To Hell With Burgundy and the ultrapromising Cath Carroll (of Miaow fame) recording her debut album in Brazil, Wilson can justify Factory's unique style of operation. Verbal agreements in place of contracts, that absence of promotion, the attention to aesthetics over commerce in the name, logo and packaging areas, all this has made Factory not only a talking point but also contributed to New Order strengthening their grassroots credibility and substantially increasing their popularity.

"This is where the bullshit and the artistic theories come in, but the mode of production determines the mode of consciousness, being the great Marxist theory," Wilson explains, "so if you change the mode of production, you aren't producing and marketing a pure product. Martin Jackson of Swing Out Sister said to me at the weekend, 'you don't know how lucky you are, and how packaged and fucked up everything is, but you can have a different relationship and allow the musicians to flourish a little longer and have a longer organic life'.

"How many groups that started in 1979 are in a rising sales curve? Only New Order, and Depeche Mode, who have a similar organic relationship with Daniel Miller and Mute. The usual theory is that a group's creativity will die away but you're not going to kill the creativity or the excitement by the structure."

It would be easier to keep principles and structures intact if the marketplace was on your side, but times have changed over the last 10 years. Life without New Order was once conceivable because the independent scene was vital and records sold, says Wilson "but with the decline of the vinyl single and the excitement of the independent scene and the overproduction of records in the independent record area, all of these things combined would have made life without the group hard. Mute always had two groups. We've always wanted a second major group, which is why Happy Mondays makes us feel very good and a lot healthier and stronger."

It was New Order's potential transfer to CBS that forced Factory to reassess its practices. "It began about two years ago, at dinner with Rob Gretton and Alan Erasmus, Rob (New Order's manager) said to me, 'well, maybe we'll go to CBS, we'll sell more records', and Alan started arguing with him, and I looked at my dinner and thought, of course they will, they'll take singles off albums, etc., and I thought, to hell with it, there's no reason not to do this now."

Although the group weren't seriously anxious to sell more records (they'd tour a lot more if they did), they were under pressure from their taxman, and demanding far more accountability from the label. Wilson's answer was a serious restructuring.

Having lost James, Orchestral Manoeuvres and The Railway Children to the majors in the early promising stages of development, "which hasn't always been good for the groups as we all know", contracts are now being issued, a flexible roster of roughly 15 acts bands, mavericks and conceptualists has been cut down to a manageable five, and regular PR and promotion will make their presence guaranteed in the marketplace rather than courtesy of the media's clairvoyant powers. But the most significant change is that after eight and a half years of working without a retail strike force which Wilson referred to as "cheating" the first time we met in 1987, and he once made a 'World In Action' on the subject Factory have employed first Bullet and now Platinum (which helped The Smiths go all the way). "And we're very happy with them," Wilson admits.

"It was our Perestroika," says Wilson, ever the ideologist. "It was the biggest problem for me because I do see it as cheating, but we got bored with the old way. The decision was very much Chinese influenced. As we were doing it, I kept thinking of Deng Xiao Ping's pragmatic phrase which is 'it doesn't matter if the cat is black or white, what matters is if it catches the mouse.'

"A strikeforce is to do with taking a professional attitude at a point in time, and they're adding to our general team. If you don't change, you become a dinosaur. I'm more than happy about the way we've changed. We've moved with the times and not been hidebound by ideals."

But Wilson still fervently believes in independent distribution. "In this year where, tragically, the independent single has kind of gone and it's very tough to put out singles by very weird little groups, nevertheless if you have a major group on an independent label, then historically the problem was having hits with independent distribution but the best and most efficient distributors in this country are The Cartel and Pinnacle. Which distributors have the highest proportion of top five hits? I like The House Of Love and their manager Alan McGhee, but when they say they left independent distribution because they wanted to sell more records, they're nuts! The problem is with daytime radio play, not distribution."

Factory may have got over it's own problems, but it was and touch-and-go for a while. When lan Curtis committed suicide at the beginning of the decade, Wilson wondered, "when somebody that talented dies, why we didn't give up? Maybe we should have, but I'm glad we didn't. You also have to realize how clever joy Division's manager Rob Gretton was, waiting six months to see what happened before bringing in the girlfriend (Gillian, paramour of drummer Steven Morris) and not disrupting the family."

Then, 1984 was another potentially hazardous year; Factory's Hacienda Club was getting into serious financial difficulties (with only New Order's snowballing success managing to plug the leak), musicians were, "constantly wingeing," and to cap it all, joy Division / New Order producer and Factory partner Martin Hannett instigated a lawsuit against Factory over overseas royalties. "Martin was still getting his share of royalties here, even when he wasn't producing," Wilson points out. "I think his real gripe was that we built the Hacienda instead of a recording studio."

Eighteen months later, the "deeply unpleasant" lawsuit was settled out of court and Hannett left the board. A depressed Wilson went to China for his holiday which made him feel a lot better. The label survived too. Five years on, Wilson is buoyant and ambitious, even if, first, his choice of New Order single, Round & Round didn't make top five, and second, he had to resign as chairman, losing the bet with Rob Gretton that it would. Otherwise, the road to 1990 looks fascinating.

Cath Carroll, sublime and photogenic pop-dancer is the hot property, but first on the agenda is a classical label for new British composers, no doubt looking toward the CD generation and those disaffected by pop's inability to deliver. But with all the changes, did Wilson still see Factory adhering to its original principles, shaped by punk and anarchy and the growth of the independent sector?

"To me, the word 'independent' sums up the situation where the entrepreneur and the manager are all personally involved with each other. That to me is what the independents have been and what the ones who still survive are." And to prove the do-it-yourself principle, Wilson talks about the day they invited New Order to the campaign meeting for their Technique album. "Last year was the first time we ever had a structured release campaign. We invited Rob along, who hated it, so we thought we'd ask the group this time to see if they'd hate it.

"To be honest, out of the 10 interesting things to come out of the meeting, eight came from the group. We decided to do a national billboard campaign which no-one's ever done before. There was a great debate about whether to put New Order's name on the billboards or to leave them completely blank except for 'Advertising Technique'. But we didn't do any press advertising in the end because we find it boring. So we're still a little bit snooty. Factory is still about freedom and the profit motive well down the line."

Alan Erasmus

"You're quite lucky that Tina hadn't warned me you were calling because I would've said no," admits Factory co-founder and 'director general' Alan Erasmus. "I've always let others put forward their views, whether I agree with them or not." Erasmus' surprise means he talks all the time through a Budweiser beer can: "I picked up the nearest phone which was in the bathroom, which is this beercan, so every now and then, it slips round my car and I can't hear you," he says halfway through.

Erasmus was an actor in rep and then film when he met Anthony Wilson at a party and struck up a lasting friendship. After, "jumping in at the deep end," with a young band called Flashback, he managed The Durutti Column - then including two sacked Flashbacks and Vini Reilly - and found them some shows at Manchester's Russell Club. The shows were so successful that Erasmus started booking more nights, with bands that had appeared on Wilson's So It Goes show on Granada, while joy Division's manager Rob Gretton started acting as unofficial A&R scout.

It was Erasmus who thought up the label's name, although it was initially for another purpose. "I was driving down a road and there was a big sign saying 'Factory For Sale' standing out in neon, and I thought, 'Factory, that's the name,' because a factory was a place where people work and create things, and I thought to myself, these are workers who are also musicians and they'll be creative. 'Factory' was nothing to do with Andy Warhol because I didn't know at the time that Warhol had this building in New York called the Factory. 'Friday Night Is Factory Night' - so the poster read.

Factory the label only came about after the Russell Club's owners Roger and Pete, started discussing a double twelve-inch single of two groups from Manchester and Liverpool, which Erasmus and Wilson adapted to the more manageable double seven-inch format. A Factory Sample eventually starred Joy Division, The Durutti Column - now just Reilly - John Dowie and Sheffield's Cabaret Voltaire. "That was the start of it. There are lots of frills to the story but you're not getting those."

Erasmus also takes the unofficial title of special projects director. As usual, titles mean little. "I may have met Quincy Jones, had a meeting with New Order about the new album, and done a deal that will bring us in 250,000 over that month," says Erasmus, describing 'a day in the life.'

"I do whatever needs doing. At the moment, I'm looking at the fact that Factory needs an audio-visual side (the Ikon production company which previously made all Factory band videos now works out of a separate office). Then there's DAT too. We released the first Digital Audio Cassette in the UK in 1988, with Durutti Column's Guitar & Other Machines and then New Order's Substance a few months later. Everything from that point on has been on DAT. I do believe that DAT will be launched and marketed by the majors in the future. It's far too good a technology to be abandoned. All studios have DAT now."

Factory's adventurism and idealism was reflected by Erasmus' plan to establish a classical label, starting in 1984 with a quest to find young Soviet and Eastern bloc musicians. "It was at the time that Thatcher and Reagan were putting across the view that the Soviet people were animals, or sub-human, which was out of order," reckons Erasmus. "I went across to Russia and worked very hard trying to organize some deals but the main thing that happened was that the two guys I was dealing with in London, the head cultural guy and the one who ran the record and arts company, got expelled for supposedly being KGB, so I was back to square one. I just wanted to show that people worked the same as us. Glasnost has happened since and there's a greater understanding of people.

"It's been very difficult to get it off the ground, but we have got a classical label together which is establishing itself by using young English musicians. It's a new area for us so we have to get people in who know the ground and can help us to launch it." Erasmus is determined to see Eastern Bloc musicians on Factory, "but a little bit further down the road." He admits his determination lost Factory time, but that's the price you pay for being an innovator.

Keeping up with the artists is another concern. Erasmus feels he has more or less scaled New Order's Barney Sumner's solo album (in conjunction with Johnny Marr). There was a time when Barney was a bit wary of putting it through Factory because he thought he'd see what it did through a major, but at the moment, the pair of them want the album to go with us. When New Order come back from America, I'll be working on that as a project to make sure it gets from A to B, regardless of whether it goes out on Factory or not. If they want a deal because they've been offered 'x' amount, a major can't really top any deal we can offer because of the other points involved. If the deal was for straight cash, then that's up to them. We wouldn't be overly offended by that, but I'd be in touch anyway to make sure it goes through."

Is Factory such an attractive proposition then? "Very," says Erasmus. "These days, we do encourage bands to tour because it does help sales, but at the end of the day, they're not pushed around the same way as they would be by a major, like over what singles to release. We give them our advice but it's up to them. A major will offer 15 to 16 points, whereas with New Order and most of the other bands, the deal is still 50% of profits, after mechanicals and royalties. We now do deals, because in the past, bands like The Railway Children and James have left us, and I always wonder why? Unfortunately for all the bands who've left us, except OMD who we knew would leave before they recorded with us, it's been the kiss of death. We'll see what happens with A Certain Ratio, but The Distractions fell apart after Factory too. I hope they all make it. Someone's on our side, I think."

Peter Saville

Designer Peter Saville first met Alan Erasmus and Tony Wilson in Manchester in 1978 during his final term of college studying graphic design. "I wanted to do music-related work an album cover or poster. My closest friend at college was Malcolm Garrett who'd started working with the Buzzcocks. I pestered, their manager, Richard Boon, who eventually told me that Tony Wilson was opening a club. I did the first posters for The Factory, it followed on from there."

From 1979 through to 1986, Saville shaped the perception of Factory as much as Joy Division or New Order. His reputation as an extraordinary designer grew on the back of sometimes enigmatic, other times painstakingly luxurious, but always individual and innovative album sleeves. Saville also free-lanced - with Ultravox, OMD and Roxy Music being among his clients, "but since then, I've run that side down, from 10 to maybe two or three albums a year. This year, we've done New Order's Technique and the Paul McCartney album. I don't think you can be a record cover designer at 30 and certainly not at 40 (he's 34) because I don't want to be condescending - it's impossible to sit down in a studio and think what a teenager will want - it has to be what I would want. I design for myself for me, because that's the only way that I can work.

"The relationship with Factory and New Order is different - it's not like working in the music business at all. They give me carte blanche to do what I want - a vehicle for ideas, experiments and concepts, while the other areas we work in now are not so open or free. We design identities for art galleries and companies, ... that's more the reality of graphic design, solving problems for people rather than making personal statements on white paper."

Saville's dedicated approach has landed him the blame for Factory's notoriously unpredictable release schedule. "It's only in the last year that Factory have had the pressure on them to perform in the marketplace. Before, records were released when they were released. But as New Order have sold more, the more they're involved in the system. Stores want to know when the records will be in. Any artist, whether a designer or musician, is pressured by a manager or client. Factory rarely apply the same level of pressure as, say, Virgin, (Peter Gabriel's SO), or Polydor (Roxy Music's Flesh And Blood).

"I'm not automatic - designs evolve. Usually, there are discussions with management, the record company and the band as to what a sleeve is going to be, and a decision is taken. With New Order, I have to decide what it's going to be, and the band leave us to get on with it. I express something that I'm interested in. This year, designing Technique, I was interested in shopping - for antiques."

The band of course can add to the delay; 1986's Low-life concept of, "no concept -just photos of them," was initially rejected, leading to another six-week delay ("I've made a cross for my own back with New Order album covers"). Nineteen eighty-nine's antique theme was only finalized after exploring other avenues - "more pop, like dollar bills, pineapples, bananas, sixties art images. In the end, we came up with a pop art antique. For the last two to three years we've been developing a process that's like photographic silk-screening. We bought the antiques and put them through the process. We make it up as we go along. Even if I have a concept, it takes weeks to get there."

Peter Saville Associates current project, a New Order magazine, initially for their American tour and thereafter for retail, still wasn't finished a week before the group were to leave. Factory's new classical label is an important project. With a specialist market, the budget is lower, so the sleeves will have a practical house style, "like a 'Deutsche-Grammophon'. It has to shape itself in people's minds . The idea is different to our pop records. We are giving the musicians an identity. Our pop records were designed in an abstract way and now we're going to do classical records in a pop way. All the musicians are young, living, working and playing, and traditionally, classical music doesn't have that personal identity. It's ironic really because when I was doing pop sleeves in my mid-twenties, I wanted to do them like classical sleeves."

It's been 10 years of excitement, experimentation and rows... "Tony and I have had incredible rows, mainly about things being late... but we've never wanted to stop working with each other."

Could Saville identify what was the most special aspect of Factory? "One of the quotes we thought of putting in the New Order magazine is Rob saying he's always believed in the punk ideal, that if you want to do something, then you do it. Basically, that principle that brought us together has continued to apply over 10 years to everybody at the core of Factory. If you want a classical label, or a club, let's have one. It's believing in what you do. The Hacienda was an outrageous idea when it started, and it took years for it to prove itself, but it's done so now. There isn't a club like it here in London, but it only happened because some people actually cared enough to open the kind of club that they themselves would like to go to.

"Sometimes there are problems because of what the music business is like - the pressure is there for you to just produce. It means so much more when you can believe in the product."

Tina Simmons

General manager Tina Simmons was originally at Pinnacle when she first worked with Factory back in 1979, becoming its label representative in her capacity as label and production manager. Sensing correctly that Pinnacle was overreaching and over-spending, she bailed out and went to Carrere, but she kept in touch with her existing contacts.

Out of the blue, Factory asked Simmons to run its international licensing, but only confirmed that she had the job two months after the interview and only two days before she was about to sell her flat and go on an extended trip to Australia. She sold anyway but moved up to Manchester instead. "Typical Factory," she laughs.

Like at Pinnacle, Simmons has, "many titles" at Factory; after two months, she added production to international and now liaises with PR manager Tracey Donnelly, studios, producers, and handles all the legal matters just call it running the Factory office. "I'm the one who's here all the time," as Simmons says.

Some things haven't changed since she moved to the other side of the fence. "Factory still manufacture their own product and supply it finished to Pinnacle. It's down to the fact that we have more control over, in particular, our sleeves and design side, and the type of material used, which can be really expensive. Anybody who took that on would probably get a little bit worried, like our licensees occasionally do.

"I used to find it a little frustrating at times when, and it still happens, Factory would name a release date and then two months later, it still hadn't arrived, but I can understand more now how that problem occurs. We have a design consultant, Peter Saville, who is an integral part of Factory and who comes up with incredible designs and materials. But he will sometimes change his mind at the last minute, so occasionally there is a question mark around the release schedule with regards to Peter. But we do supply Pinnacle with proofs now - back then, you were lucky if you got the track titles. You certainly didn't see a sleeve or get a white label. The first one I ever saw was for Blue Monday, and Alan still took it away with him, because he was going to give it to John Peel in person. The first white label I could keep was New Order's Confusion, in 1985. But times have changed, because Factory realises that these are good things to have for pre-selling."

Simmons was made a director in 1986, but is not yet a shareholder. "That's typical Factory too - they say, 'we're going to make you a shareholder and we'll discuss it at the next meeting', but they don't get round to the next meeting." When meetings do take place though, they sometimes "go round in circles, with every aspect covered. But also flying off on tangents. That's part of allowing creativity, and a lot is achieved. It just takes longer. There isn't any red tape, like there is with a major - once a decision is taken, you can move forward.

"It's a healthy environment here. If you have an idea, then you're encouraged to pursue it, without anyone telling you it's a waste of time, just as long as we don't break down the original philosophy."

Gary McCausland

Belfast-born Gary McCausland was writing his paper on the economic structure of independent record companies for his post-graduate degree in Industrial Economics at Manchester University when he went to interview Factory Impressed by his knowledge and enthusiasm, the label took note of McCausland's hint that he wanted to work for them and in November 1988, made him production manager.

"Because we're situated in Manchester, I think it's important to have a regional identity. Also, as far as I'm concerned, I want the manufacturing in the UK and not abroad. If I can get a reasonable service here, why go abroad and give away foreign earnings? We use Lambourne and Lintone. There are some pressing plants with different capacities. We like to diversify, but we do use Nimbus almost exclusively for CD's. We use James Upton in Birmingham for our sleeves a regional identity again. They're used to our complicated make-ups."

Having tied up production, McCausland has also taken on the export drive. He admits that breaking new bands overseas is always hard, but the New Order and Joy Division catalogues "carry the Factory flag. People buy new releases just because they're on Factory. We get requests for everything we've released".

McCausland is still researching his paper on independent label economics, which he hopes to have published in September. "Not many people have done academic work on the record industry I'm interested from both the academic and personal sides. Basically, I want to get my oar in."

Tracey Donnelly and Alison Panchett

PR Manager Tracey Donnelly and office clerk Alison Panchett both lacked academic qualifications and relevant work experience for their respective jobs, but that didn't stop Factory from giving them the opportunity. Panchett was temping in London before deciding to move back up north, not to her native Halifax, but to Manchester - "the best city in the north"; Donnelly meanwhile, had various jobs before becoming receptionist at The Hacienda club's 'culty' basement hairdressers. "I put my name forward when the PR job became open," recalls Donnelly "and then went for the strangest interview I've ever had. There was me and a few other girls on the shortlist, and when we met up at The Hacienda, Tony Wilson sat me down with the others and then told them that I'd got the job, and then proceeded to talk to them about their Hacienda jobs and not a word to me about my new job! They'd already decided. Tony bought me a drink after and then said, 'see you in the office on Monday'."

Panchett's interview, was pretty straightforward in comparison. But does she find Factory a weird bunch to work for? "They're not straight people but not totally eccentric either," she reckons. "It's just very relaxed here, and people know what they have to do. They're very straight about work though."

Donnelly agrees. "I don't know any different because I've always worked for weird people. I think I've become as weird as them, so it seems normal."

What was weird about her job? "Well, you might sort out an interview and then one of the group gets arrested, like with Happy Mondays, and you have to sort out bail money, which I don't think you'd find with other labels. A lot depends on court appearances, fixing interviews around that. You become immune to it and join in with the rest of them!"

 

Chronology

1978

January Tony Wilson partners with Alan Erasmus for the first time, trading under the name Movement ofthe24thjanuary, to manage The Durutti Column.

May Opening of The Russell Club.

June Peter Saville completes poster artwork for The Factory opening night at the Russell Club. "Late as usual," quips Wilson.

September Wilson, Erasmus and Saville decide to release sampler single of Manchester bands who've played at the Factory Club.

October Martin Hannett becomes fourth partner.

December 24th The first white labels arrive.

1979

January A Factory Sample released, with two tracks each from Joy Division, The Durutti Column, John Dowie and Cabaret Voltaire. Factory set up offices in Alan Erasmus' flat at 86, Palatine Road, Manchester, sharing with Charlie Sturridge, who starts directing Brideshead Revisited at same time.

May Rob Gretton and Joy Division decide not to release their first album Unknown Pleasures through Radar/Warners but through Factory. "Why go to London if Factory in Manchester can work?," is the general reaction. A Certain Ratio release debut single All Night Party; Orchestral Manoeuvres In The Dark release debut single Electricity. OMD subsequently leave Factory to sign to DinDisc/Virgin, as agreed.

August Open air pop concert in Leigh attended by 300; A Certain Ratio, OMD, Joy Division, Echo & The Bunnymen and The Teardrops Explodes all play. "They gave a party and no-one came," wrote Sounds. Months later, every group had broken.

September Rob Gretton becomes the fifth Factory partner.

October Joy Division release debut single Transmission. No independent charts yet.

November Factory Benelux opens in Brussels with ACR's Shack Up, in partnership with Les Disques de Crepescule, run by Michel Duval.

1980

April Joy Division's Love Will Tear Us Apart released. Gets to number 13.

May With Werner Herzog's Strojek on the video and Iggy Pop's The Idiot on the hi-fi, Joy Division's lead singer Ian Curtis hangs himself. American tour cancelled at 24 hours notice.

July Joy Division's second album Closer is released. Reaches number 6.

September In conjunction with Rough Trade America, Joy Division's Atmosphere single is released in the USA. Huge demand forces UK release. Joy Division become New Order. Play first concert at Manchester's Beach Club before flying to America. Play second show at Maxwell's in Hoboken, New Jersey.

November Factory Records becomes a limited company, trading under Factory Communications Ltd.

December The Durutti Column lose all their members except Vini Reilly who releases solo album Return Of The Durutti Column, produced by Martin Hannett. Gillian Gilbert joins New Order.

1981

January New Order release debut single Ceremony. Reaches number 34.

May Factory New York opens. Run by Michael Shamberg, later to take charge of the label's video division in the USA.

August Joy Division's retrospective double album Still released. Reaches number 5.

September Factory decides to build The Hacienda Club in Manchester. New Order release Procession / Eve7thing's Gone Green single. Reaches number 36.

November Fact 50: New Order release debut album Movement. Reaches number 30.

1982

April Martin Hannett instigates lawsuit concerning overseas royalties.

May The Hacienda Club opens on the 21st. New Order release 12-inch only single Temptation. Reaches number 29.

July A Certain Ratio release debut album Sextet.

1983

Factory enjoy fame as hot dance label in America, with releases from Quando Quango, Marcel King, Section 25, Cabaret Voltaire, ACR, and 52nd Street. "Everyone in the UK was still talking about long raincoats," Wilson says.

March New Order release 12-inch only single Blue Monday. First charts at number 12 and again at number 9 in August. Becomes the biggest selling 12-inch single of all time, totalling over three-million copies.

April Peter Saville establishes Peter Saville Associates in London with colleague Brett Wickens.

May New Order release second album Power, Corruption & Lies. Reaches number 4.

June James release debut single Jim One.

August New Order release single Confusion. Reaches number 12.

October Hairdressing salon Swing opens in basement of Hacienda. Love Will Tear Us Apart re-appears in charts. Reaches number 19.

1984

January Factory settles out-of-court with Martin Hannett. Hannett resigns as Factory director.

April Alan Erasmus goes to Moscow to open negotiations for recordings of young Russian classical musicians for the proposed new classical label.

May New Order release Thieves Like Us single. Reaches number 18.

July Riverside Studios In Hammersmith holds Factory Records week, with concerts, films, videos.

1985

May Fact 100: New Order release third album Low-life. Reaches number 7. New order release Perfect Kiss single. Reaches number 46.

July Factory Australasia opens, run by expatriate Andrew Penhallow. Distribution is through CBS. Soon becomes very successful offshoot.

September Happy Mondays release debut single Delightful.

October New Order release Subculture single. Reaches number 63. Channel 4's The Tube films at The Hacienda.

1986

February Mike Pickering signs The Railway Children and Happy Mondays to Factory. Becomes head of A&R. Also starts DJ-ing 'Nude' night on Fridays at The Hacienda, playing house music from America - the first DJ in the UK to do. New Order play benefit concert in Liverpool in support of Militant Tendency, titled From Manchester With Love.

March New Order release Shellshock single. Reached number 28.

May The Railway Children release debut single A Gentle Sound.

June Festival of the Tenth Summer , a ten-event week-long extravaganza held to celebrate 10 years of punk, culminating in G-Mex concert headlined by New Order and The Smiths.

August New Order release State of The Nation single. Reaches number 30.

September The Durutti Column release Domo Arigato, Factory's first CD only release.

October Fact 150: New Order release fourth album Brotherhood. Reached number 9.

November New Order release Bizarre Love Triangle. Reaches number 56. The Durutti Column's Vini Reilly album is Factory's first DAT release. All subsequent Factory releases follow suit.

1987

July New Order release True Faith single. Becomes their first top-five hit, peaking at number 4. Factory starts filming Mad Fuckers, a car chase / exploitation film, directed by The Bailey Brothers, and still in production.

September Happy Mondays release debut album, Squirrel and G-Man, 24 Hour, Party People, Plastic Face, Can't Smile, White Out. New Order release singles compilation Substance. Reaches number 3.

October A Certain Ratio leave Factory for A&M.

November The Railway Children release debut album Reunion Wilderness. Reaches number 1 in the independent charts. They sign to Virgin six months later. New Order release Touched By The Hand Of God single. Reaches number 20. Factory buys premises in Oldham Street, Manchester, for a massive new bar. "It will be to bars what The Hacienda is to clubs," says Wilson.

1988

March Factory Benelux and Factory New York are closed because they're "unnecessary money pits."

April New Order release Blue Monday '88, a remix by John Potoker and Quincy Jones. Reaches number 5.

July Fact 250: A Joy Division compilation is released, also titled Substance. Reaches number 5.

September The first Factory contracts are drawn up. Cath Carroll is the first to sign, followed by Happy Mondays. New Order have a written agreement that they only have to give six months notice if they want to leave. Factory buys new premises on Princes Street, Manchester. They subsequently decorate it on the outside with Happy Mondays and New Order posters. They have still to move in.

October Happy Mondays release second album Bummed.

November New Order release Fine Time single. Reaches number 11.

1989

January New Order release fifth album Technique. Becomes their first chart number 1.

February New Order release Round & Round single. Reaches number 21. Tony Wilson resigns as Factory Chairman over a bet with Rob Gretton that it would go top-five.

May Happy Mondays release Lazyitis single. Reaches number 85.

July Music Week publish Factory's 1Oth Anniversary edition in time for the New Music Seminar in New York. Rob Gretton says he "can't be bothered" talking about the label because he's too busy organizing New Order's American tour. "That's typical Gretton," says Tony, "I love it." Factory's new classical records to be released, and new bar Dry to open.

 

Interviews and text by Martin Aston.

 


movingMap.gif (21803 bytes)Fac 230  
  REVENGE "One True Passion"
Fact 230
June 1990

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( Factory Fact 230 )

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( Factory Fact 230c )

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( Factory Facd 230 )
	5:30	Pineapple Face
	5:10	Big Bang
	5:45	Kiss The Chrome
	5:09	Slave
	4:40	Bleachman
	3:50	Surf Nazi
	5:25	Fag Hag
	3:09	It's Quiet


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  'YO JOHN' Music Week Advert
Fac 231
August 1989

Description: Factory ad in "Music Week" for John Peel's 50th birthday.

 


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  HAPPY MONDAYS "W.F.L."
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September 1989

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( Factory Fac 232-7 )[DJ Edition]
	3:12	W.F.L. (The Vince Clarke Mix) (Edit)
	6:02	W.F.L. (The Vince Clarke Mix)

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	6:12	W.F.L. (The Vince Clarke Mix)
	7:12	W.F.L. (Think About The Future Mix)

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( Factory Facd 232 )
	6:12	W.F.L. (The Vince Clarke Mix)
	7:12	W.F.L. (Think About The Future Mix)
	3:53	Lazyitis (One Armed Boxer)


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  NEW ORDER'S ACCOUNTS
Fac 233
n/a

Description:

 


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  DURUTTI COLUMN "Womad Live"
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( Factory Facd 234 )
	5:27	Otis
	3:18	English Lanscape tradition
	5:12	Finding the Sea
	6:09	Bordeaux


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  NEW ORDER BLUE MONDAY 88 FLICKER BOOK
Fac 235
December 1988

Description: 30 page Flick Book, shape-cut and bound with plastic plugs

1988 Factory Christmas Gift.

Main Book drawn and painted by Robert Breer

Dust Jacket designed by PSA

Printed by James Upton Printers, Birmingham.

Status Very Rare 350 manufactured, 250 mailed out

New Order's video producer, Michael Shamberg, created a unique collaboration for the video for Blue Monday 1988, the Quincy Jones remix.
He invited Robert Breer, the godfather of American Animation to work with Bill Wegman, the rising photographic star, whose pictures of his Weimaraner, Man Ray, were beginning to win him wide acclaim.
All three working out of New York - Robert lived just up the Hudson - they created the video where Weimaraner and musicians seem to spend most of their time dodging tennis balls.
Breer made a hand painted animation flick book featuring Bill Wegman's Fay Wray, and a stick, which was filmed for inclusion in the video. The band are also seen flicking the original book.
Factory made exact copies of the hand painted book down to weight of card and shaping of edges and used them as their 88 Xmas gift. And it works too, just like Robert intended.

 


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  ROBIN WILLIAMS "Oboe And Piano"
Fact 236
September 1989

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[Francis Poulenc - Sonata]
	4:34	Elegie
	3:53	Scherzo
	4:12	Deploration
[Benjamin Britten - Six Metamorphoses]
	2:19	Pap
	1:18	Phaeton
	2:18	Niobe
	2:06	Bacchus
	2:56	Narcissus
	2:26	Arethusa
[Paul Hindemith - Sonata]
	4:02	Munter
	8:16	Sehr Langsan
	9:36	Lalliet - Prelude and Variation


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  NEW ORDER "Here Are The Old Men"
Fac 237
n/a

Description: Unreleased Video

 


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  HACIENDA SHIRT "Citius Altius Fortius"
Fac 238
1989

Description: To celebrate Mamchester's bid for the 1996 Olympic Games.

 


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  HALCYON DAZE - Happy Mondays Fanzine
Fac 239
November 1989

Description:

 


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FACTORY 10th ANNIVERSARY WALL PLANNER
Fac 240
1988

Description: Calendar wrapped in memorial wrapper. Limited edition of 200.

 


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  SHIRT 'Just Say No To London'
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November 1989

Description:

 


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  HAPPY MONDAYS "Madchester Rave On"
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November 1989

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( Factory Fac 242-7 )

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( Factory Fac 242-7 )[Limited Numbered Edition]
	6:14	Hallelujah
	2:49	Holy Ghost
	3:29	Clap Your Hands
	6:03	Rave On

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	6:21	Hallelujah
	2:49	Holy Ghost
	3:29	Clap Your Hands
	6:12	Rave On

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	3:18	Hallelujah
	2:49	Holy Ghost
	3:29	Clap Your Hands
	6:12	Rave On

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( Factory FACR 242 )[WLTP] [Limited 500]
	3:59	Hallelujah (The Oakenfold Remix - Edit)
	3:59	Hallelujah (The Oakenfold Remix - Edit)

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	2:41	Hallelujah (MacColl Mix)
	5:59	Rave On (Club Mix)
	4:42	Hallelujah (In Out Mix)

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	6:28	Hallelujah (Club Mix)
	5:39	Rave On (Club Mix)
	4:42	Hallelujah (In Out Mix)

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( Factory Facd 242+ )[Promo]

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	2:41	Hallelujah (MacColl Mix)
	3:35	Clap Your Hands


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  STEVE MASON - TECHNIQUE BRONZE CHERUB
Fac 243
1989

Description:

 


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  DURUTTI COLUMN "Vini Reilly"
Fact 244
March 1989

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( Factory Fact 244 )[First Copy bundle with 7" FAC 244+]

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( Factory Fact 244 )[DAT]*

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( Factory Facd 244 )[First Copy bundle with CDS FACD 244+]
	2:47	Love No More
	2:59	Pol in G
	2:13	Opera 1
	4:59	People's Pleasure Park
	3:12	Red Square *
	9:48	Finding The Sea
	4:17	Otis
	2:15	William B. *
	3:57	They Work Every Day
	2:58	Opera 2
	2:04	Homage to Catalonia
	4:04	Requiem Again
	3:01	My Country
  VINCENT GERARD / STEPHEN PATRICK "I Know Very Well How I Got My Note Wrong"
Fact 244+
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( Factory Facd 244+ )
	1:55	I Know very well how I got my note wrong

Description: Bonus single, out-take from Morrissey "Viva Hate" recording sessions. Vini Reilly was a guest artist.


movingMap.gif (21803 bytes)Fac 245  
  MADCHESTER CHRISTMAS 1989
Fac 245
December 1989

Description: 1989 X-Mas Present.

 


movingMap.gif (21803 bytes)Fac 246  
  DUKE STRING QUARTET "Duke String Quartet"
Fact 246
September 1989

UK

1991

( Factory Fact 246 )

?

UK

1991

( Factory Fact 246c )

?

UK

1991

( Factory Fact 210 )[DAT]

cdlogo1.gif (919 bytes)

UK

1991

( Factory Fact 246D )
[DIMITRI SHOSTAKOVICH - String Quartter No.8 Opus 110]
	4:40	Largo
	2:41	Allegro Molto
	3:56	Allegretto
	5:27	Largo
	3:39	Largo
[Michael Tippett - String Quartet No. 3]
	8:08	Grave e Sostenuto - Allegro Moderato
	6:39	Andante
	3:33	Allegro Molto e con Brio
	7:30	Lento
	4:06	Allegro Comodo


movingMap.gif (21803 bytes)Fac 247  
  REVENGE "Revenge"
Fac 247
November 1989

7in1.gif (962 bytes)

UK

1989

( Factory Fac 242-7 )[White Label Promo]
	4:05	7 Reasons
	4:05	Jesus, I Love You (7" Edit)

12in1.gif (986 bytes)

UK

1989

( Factory Fac 247 )
	6:56	Jesus, I love You
	4:05	7 Reasons
	5:44	Love You Too
The run-out grooves on disc one read:
  • I've Had It Now Man
The run-out grooves on disc two read:
  • They're Being Funny With Me

cdlogo1.gif (919 bytes)

UK

1989

( Factory Facd 247 )
	4:05	7 Reasons
	4:05	Jesus, I Love You (7" Edit)
	5:04	Bleach Boy
	6:56	Jesus, I Love You


movingMap.gif (21803 bytes)Fac 248  
  ADVERTISEMENT - 'On CD At Last, On DAT Already'
Fac 248
March 1990

Description: Ad in NME (March 17 1990)'

 


movingMap.gif (21803 bytes)Fac 249  
  KALIMA "Feeling Fine"
Fact 249
March 1990

UK

1990

( Factory Fact 249 )

?

UK

1990

( Factory Fact 249c )

cdlogo1.gif (919 bytes)

UK

1990

( Factory Facd 249 )
	5:58	Shine
	5:23	A Thousand Signs
	4:05	Take It Easy
	5:03	Interstella
	6:03	All The Way Through
	5:17	Big Fat City
	4:48	The Groovy One
	1:51	Azure
	4:20	Unreal


movingMap.gif (21803 bytes)Fac 250  
  JOY DIVISION "Substance 1977 - 1980"
Fact 250
June 1988

UK

1988

( Factory Fact 250 )
	2:25	Warsaw
	2:35	Leaders of Men
	2:49	Digital
	6:07	Autosuggestion
	3:35	Transmission
	4:45	She's Lost Control
	2:51	Incubation
	4:53	Dead Souls
	4:09	Atmosphere
	3:25	Love Will Tear Us Apart

?

UK

1988

( Factory Fact 250c )

?

UK

1991

( Factory Fact 250D )[DAT]

cdlogo1.gif (919 bytes)

UK

1988

( Factory Facd 250 )
	2:25	Warsaw
	2:35	Leaders of Men
	2:49	Digital
	6:07	Autosuggestion
	3:35	Transmission
	4:45	She's Lost Control
	2:51	Incubation
	4:53	Dead Souls
	4:09	Atmosphere
	3:25	Love Will Tear Us Apart
[Appendix]
	3:43	No Love Lost
	3:43	Failures
	3:51	Glass
	2:26	From Safety to Where ...?
	3:59	Novelty
	3:51	Komakino
	3:25	These days



 
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