NEW ORDER DISCOGRAPHY
SOUNDTRACKS 2001 - 2007
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24 HOUR PARTY PEOPLE
London
April 8th, 2002
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|
FR |
2002 |
( London
0927 44930 2 )[French Sticker][Released April 23] |
|
JP |
2002 |
( WEA WPCR
11270 )[ [with lyrics Inlay & Obi][Released May 22] |
|
KO |
2002 |
( London
0927 44930 2 )[Promo] |
|
UK |
2002 |
( London
)[Promo CDR + PR] |
|
UK |
2002 |
( London
0927 44930 2 )[Promo
with sticker] |
|
UK |
2002 |
( London
0927 44930 2 ) |
|
US |
2002 |
( FFRR )(Internal
Review Promo) |
|
US |
2002 |
( FFRR 0
8122-78136-2 8)[Promo] |
|
US |
2002 |
( FFRR 0
8122-78136-2 8)(Released Aug 6) |
4 : 51 New Dawn Fades (With Moby)
5 : 41 Temptation
7 : 28 Blue
Monday
4 : 56 Here
To Stay
- Various Artists
- Temptation is an edited version of the '87
Substance edition.
Liner Notes
What is a soundtrack
album? A marketing device featuring attractive if unrelated tracks, perhaps?
Bollocks. At worst a soundtrack album is a souvenir of a movie. And at worst,
right now, you're holding a souvenir of "24 Hour Party People" a film directed
by Michael Winterbottom, written by Frank Cottrell Boyce and produced by Andrew
Eaton. Shot in 2001 and released in 2002, this strange story of a record company
who inhabited the city of Manchester in the North West of England, was conceived
by the aforementioned gentleman on top of a snowy mountain in Northern Canada in
1999. They were cold and had had a tough few weeks filming their beautifully
thoughtful cowboy classic, "The Claim".
"Next time we knock ourselves out let's do it for something close to our
hearts... like music." These boys grew up through the wild days of punk and were
still awake enough a decade or so later to revel in the dionysian splendor of
acid. This was a seriously broad canvas for a cinema friendly movie and to focus
their passions they chose one city that had been there or thereabouts right
through these wondrous explosions, taking punk to it's grimy heart and, a decade
or so later, encouraging the mating of Detroit and Ibiza to spawn the dance days
of the late 20th Century.
For a story-line they took the exploits of five young Mancunians - who
started not a band but a record company. They called it after a sign they
spotted announcing Factory Closing.
They decided they'd like a sign saying Factory Opening. They were; an out of
work actor, Erasmus; an irascible manager, Gretton; a local TV presenter,
Wilson; a nascent Gandalf of the mixing desk, Hannet, and a gifted young
typographer, fresh out of college, Saville. Five seriously heterosexual
gentlemen who in one way or another, in the words of Manchester impresario Alan
Wise, were all in love with each other. They were also in love with their
wonderful bands, two of whom would be central to their generations and central
to the movie, Joy Division/New Order and the Happy Mondays. And so there's this
movie about some strange and wonderful musicians, a company composed of five
people who repeatedly failed to give a fuck and a northern city that has stamped
it's music legend on the history of rock and roll.
The film is bloody funny and bloody tragic. If you haven't seen it it doesn't
matter but you should probably get out more. At worst this soundtrack album is a
souvenir of that movie. What is a soundtrack album? At best it's "The Harder
They Come". This was the soundtrack album for an utterly marvelous reggae movie
from the early seventies, called, unsurprisingly, "The Harder They Come". This
soundtrack album was just a fucking great album, containing numerous reggae
classics. It could serve as an utterly classic introduction to Reggae for poor
little whiteys like me who knew fuck all, or as a sampler full of spectacular
classics, collected to be treasured by the aficionado. Now that's what I call a
soundtrack album and if we come anywhere close to emulating Jimmy Cliff and
cohorts on that one you're holding a good piece of plastic. If for no other
reason, that in following the timeline of 24 Hour Party People, from 1976, the
dawn of punk, to 1992, the death of acid, my friends Pete and Rachel at London
Warners have assembled some of the classic tracks of those eras. They are the
songs which shape the film and they are the songs which shaped a few lives.
Track Selection:
01
Songs like "Anarchy In The UK". Where else could our album start? Where else
could the movie start? It should be tough for Mancunians to admit they owe it
all to a bunch of southern bastards from London, but since those two astonishing
nights in June and July 1976 when the Sex Pistols played their first two gigs
outside of the capital at Manchester's Lesser Free Trade Hall, there isn't a
musical-Manc who doesn't proudly acknowledge that Manchester was propelled
towards it's musical destiny by the shock troops of punk. Johnny Rotten snarled
us into existence and we say thanks on bended knees. They didn't play "Anarchy"
at those gigs. It hadn't been written at that point. But they did play it in
Manchester that summer, in late August when they did their first and only live
TV performance, for Granada Television. What was "Anarchy in the UK" like, that
afternoon. What was Johnny like. Just listen to the laugh that graces the
opening bars of "Anarchy". That's what they were like. And to all those
Americans who claim the Ramones were more important than the Pistols. Fuck off.
Thanks Iggy and the Dolls but great rock and roll is sprinkled with irony and
that's what our boys add. "Another council tenancyyyyy." This is it, the clarion
call of the punk revolution.
02
Spin forward ten years or so. Another bunch of wild kids. The Happy Mondays. And
they're calling for action too. For "24 Hour Party People". How old are you? Are
you old enough? Shaun's a bit pissed off that no-one asked his permission to use
his words for the movie title. That's 'cause people tend to think it's a phrase
that always existed. It didn't. It's Shaun's. But then again, some famous geezer
once complained that the problem with Shakespeare was all the cliches. Poor
fucker didn't realise that when Bill wrote them, no-one had said them before. He
just expressed something so perfectly they became part of the language. Oh god,
he's comparing Shaun Ryder to Shakespeare now. Indeed the film does deal at
length with the contentious belief that Shaun Ryder of the Happy Mondays is one
of our finest poets. But he is. This early classic from their early years still
makes ultimate sense today and has seen a delicate revisiting by Jon Carter. He
has carefully and sonically added a little of the now to a group without whom we
wouldn't have got here. At least not with as much fun. Musically, of course, it
was the Mondays who collided the house rhythms of mid 80's Chicago and Detroit
with working class UK indie punk and Ibizan drug rituals to forge Acid House.
03
The Mondays were Factory's second truly great band. The first have had many
names. Back in the Lesser Free Trade Hall for those Pistols gigs were some lads
who were so inspired they went out and formed a band. First they called
themselves Stiff Little Kittens. For about a week. Then they were Warsaw but
somewhere down the road they changed their name to Joy Division. Writer, Paul
Morley calls them the last band or the first group????? Or something. Read his
book Nothing. Please. Wonderful writing about a group whose first pure seven
inch single was "Transmission". Great rock bands are always great dance bands
and it is no surprise that the melodic punk thrash of Bernard Sumner's guitar,
soon to be trademark high fret bass playing of Peter Hook and the insistent rock
thump of Stephen Morris's drums filtered through producer Martin Hannett's
digital delay machine, supported a semi-manic lead singer imploring the world to
dance to the radio. Dance, dance, dance. The connection with Rotten is clear.
The energy. The attack. For two years punk had torn down the walls and screamed
fuck off. It was eloquent but limited. Now here was the band to let punk say
more. To make punk say more. Expand expression. My favorite bit of Transmission
has always been the way Ian winds up through the second chorus and then hits
straight into the third verse without pause. Verses were never meant to be sung
so intently. Until now. Until "Transmission."
04
And I've told a half lie. Yes, Joy Division took punk energy and instrumentation
into deeper waters, but another Manchester beat group had already touched the
heartstrings. They arranged those gigs at the Lesser Free Trade Hall, even
played their debut gig at theLesser Free Trade Hall, even played their debut gig
at the second one. But that touched a city. They went on from the expressive
ennui of boredom to touch the world with a series of classic love songs. Punk
Love. The Buzzcocks. How strange again that this northern industrial conurbation
would make this emotionally delicious contribution to the punk song book. Ever
Fallen in Love is the touchstone of their opus. Shelley's voice was made to sing
of love. Was made to sing this song. And those literary mancs; who else would
use the word "commotion"? And of course it's timeless. Pete has that wonderful
phrase, 'nostalgia for an age yet to come'. Exactly.
05
So we're two parts into the punk pantheon. Maybe it's the fact I grew up with
The Beatles, Gerry and the Pacemakers and Billy J Kramer and the Dakotas
swapping number one slots for three months at the dawn of my own youth. (As
mancs we draw a veil over the postmodern irony of Freddie and the Dreamers cause
we don't think foreigners will understand it.) Anyway I always see these things
in threes and in the punk explosion there was a big three indeed. And the
fucking Ramones weren't any of them. Pistols and Buzzcocks? The Pantheon is
utterly incomplete without the white riot boys. The Clash. Bastards arrived
three hours late for soundcheck the day Granada filmed them for their debut TV
stuff. And they bought this other lot with them who we'd never heard of.
Siouxsie and the something or others. Late show meant minor crowd riot outside
with 66 yards of plate glass doors kicked in and a good old rumpus after a fab
set in which Janie Jones was a stand out and Strummer kept singing after he fell
over and concussed himself on the drum riser. Fab. And the Banshees were great
too. This was the last ever gig at the Queen Elizabeth Hall Belle Vue. 'Cause
the Clash played. And the audience did as they were told. And rioted. And the
song; well Mick Jones may have been a bit of a hippy but those singular slash
chords in the opening bars of Janie Jones are simply thrilling. And Strummer may
have been a diplomat's son but his cockney drawl was the voice of '77.
06
And arguably the movie of '95 was "Heat"; the De Niro-Pacino vehicle. My
partner, Yvette, and I were watching said movie in the Universal Multiplex on
top of Barham Blvd in Los Angeles one wonderful warm LA evening. Midway through
the movie, vehicles start moving and a great boom heralded one of the most
powerful pieces of soundtrack imaginable. Thrilled from the start, 30 seconds
in, I go nuts; "fuck me, it's one of ours, it's one of ours." Took me a little
while longer to figure it was "New Dawn Fades" in a stunning reworking by my
favourite Christian, Moby. Just an amazing moment in my life. Thanks, M.
At the Moby LA gig in the summer of 2001, Moby, John Frusciante of the Chili
bunch and Billy the bald one from the Pumpkins suggested that they join the
support act in a rendition of said Joy Division classic. Since the support band
were Joy Division/New Order it's rewarding to know their initial reply was "how
does it go?" Moby then mixed this live performance especially for "24 Hour Party
People" Here it is. Again, thanks to M. And if you ever get to read the book of
the movie, published by Macmillan books, price 9.95 in the UK, you'll know that
NDF contains the unnerving suggestion that the lead singer of said group takes
the blame.
07
And then there's the epitaph to this period. If punk died when Sham 69 got NF'd
at gig after gig, post punk died with Ian and was reborn with Bono as the new
rock and roll. Joy Division weren't rock and roll. Don't walk away in silence is
hardly the thing of which rock anthems are made. Atmosphere - or "the bells, the
bells' as I tend to think of it. Hannet's sweeping crashing tingling sound that
takes us into the chorus each time round. And my other late partner, manager
Gretton always hated the video for this track which is the centrepiece of the
movie. Anton Corbijn animating his own photographs on a beach in Spain, some 7
years after Ian's departure. Rob thought it was sentimental and self-mythologising.
Probably right, but I found out a few months ago that the bloody band love the
bloody video so I feel a bit better about it.
08
And now a Vini Reilly track. As God says in the Movie, it's good music to chill
out to. With all the mythologising over the Ian Curtis suicide, the applause at
the way Blue Monday reshaped music and the delight at the way the Happy Mondays
reshaped their central cortexes, it can be forgotten that Factory Records of
Manchester, England, was begotten to get the music of an anemic-looking
waif-like (genius) guitarist out there on the street. I'm not going to explain
the origin of the Nom de Plume that Vini worked under - The Durutti Column - buy
the fucking book. But I will explain that the track "Otis" comes from an album
called Vini Reilly, the sixth of ten major albums by our Vin. This is the point
in the 80's where the fiddling with the new computer technologies via a bunch of
wires and a bunch of gaffer tape, has progressed to the motherboard and you can
buy all-in-one boxes that do the trick very nicely thank you. Bit like replacing
ten years of meditation with a tab of acid. We bought Vini some boxes; a sampler
and a sequencer to be exact. And this is the result. The machines work well but
it's still Vini's guitar that haunts
09
Voodoo Ray. This album should perhaps provide a soundtrack of our lives, at
least the lives of those who really lived through the past three decades. And if
this early classic of British House culture was not part of your soundtrack,
then you didn't fucking live. I remember the rumours. He was called Gerald.
Honest. And there was some indie label in Stoke. It was a seven inch single or
maybe twelve. And you'd walk into the Hacienda, turn right after the entrance
and before you had even passed through Ben Kelly's post-modernist arches, if you
were lucky, it would be A Guy Called Gerald and those oooh aaahs that would
propel you to the dance floor. This classic piece was really the first sign that
this wasn't just an import culture. Why were we so surprised by what Gerald had
done. Hadn't it happened before. America the beautiful, but she needs the twist
that the children of Albion bring to Rock and Roll. Talk Chuck Berry, Iggy Pop,
Derrick May and Slipknot. And in the late 80's the Detroit boys were getting the
treatment from Gerald and Voodoo Ray wasn't just great music. It was one of the
first signs that it was happening all over again.
10
Now Temptation by New Order 'cause this is where the Detroit boys were coming
from. One of the beauties of the house music timeline was that this mindbending
American import had it's origins back on this side of the Atlantic. The mid
eighties inventors of acid stripped beats tell how in the early 80's they tired
of America's then black music, a tired bastard of disco, and found succour in
driving their cars round the streets playing the primitive synthesizer
constructions of English bands like Depeche Mode and New Order on their stereos.
Fuck me, Detroit in awe of Basildon. But that's exactly what happened. And
Temptation is the perfect example. It's one single after Everything's Gone
Green. (And that's the daddy of them all as well as being Martin Hannet's last
piece of work with Barney and chums.) But this is an album of classics, and EGG
suffers from (new) lead singer Bernard trying to write lyrics like his lost
friend. But on Temptation Barney starts to find his own voice, almost a
childlike nonsense prose which nevertheless creates it's utterly memorable
phrases. What colour are your eyes. I don't fucking know.
11
The colour of the jeans was blue but you wouldn't have any tight ones in your
wardrobe. Loose Fit is simply and unashamedly anthemic, and as a celebration of
the wide thighed jeans and broad shouldered t-shirts needed to accommodate the
sweaty invocation of a Manchester/Ibiza dance floor, LF makes the phrase baggy
sound less of a swear word. Throughout all it celebrates the bagginess of that
special rhythm which had everyone dancing. Everywhere. That was 88/9/90. People
didn't just dance on the dance floor. They danced in alcoves, they danced in the
toilets, they danced at the bar and behind the bar. Everybody moved. Why? Listen
to the rhythm of this song and don't ask any more. When the Happy Mondays did
one of those reunions to pay the tax bill at Manchester's MEN arena in early
2000, I called to pick up my son. I arrived during the encore, high up in the
eaves of the building. The Mondays, even without central personnel like Moose
and PD were doing Loose Fit and every one of the 16,000 mad fuckers in the
audience, were dancing. Grooving. Irresistible.
12
Pacific State. Perhaps the Manc classic. I have problems with the track merely
because I can no longer separate the sound from a particular image. Steve Lock,
then of Granada TV in Manchester, made a one hour doco on Madchester. And the
core scene showed legions of cars, queuing, traipsing, searching, through an
industrial estate in Blackburn in the early hours of the morning. (How many
holes indeed?) All to the sound of 808 State's perfect tune. They were searching
for a rave, the big one that was weekly up in North East Lancashire, until the
Manchester gangs got too close. So this track is real soundtrack. Implying
everything. Hopefully you'll have a flashback yourself...
13
And now a piece of shit called Blue Monday I'm being very LA here. P of S is a
term of endearment for a unit of commercial art, out there on the coast. And
this is ground breaking commercial art. I objected to this bit of the set list
but bow to the superior commercial and artistic sensibilities of Mr. Tong. And
yes it's a pretty good song. Well, Kylie thinks so. The movie has several
references to implied Factory records supposed Nazi chic, an accusation
sometimes leveled against a largely leftist/anarcho bunch of trendies. One
afternoon in New York, in the Summer of 1989, at the chaotic and crowded Hyatt
Marquis on Times Square, in the middle of a hectic New Music Seminar conference
with 10,000 attendees, I was summoned from my little panel on sex and rock to
hurry to the main ballroom. It was a hip hop panel and Factory were underfire
for being fascist. Again. In New York, What the hell was the problem. Turned out
Blue Monday was the problem. We, or rather New Order and this track, had stolen
black dance music. We were accused of interracial theft. Like one informed
journalist once put it. The second half of the 80's was all about technology.
Electronics that could make a white boy play nearly as rhythmically as a black
boy and drugs that could make a white boy dance... Etc...
14
Which brings us to Move Your Body. What's this one called? Move your what. No.
Is it. Oh yes, oh God, it's that one. Time to remember how we never remembered,
or at least never knew the titles most of the time. Which is that one that goes
der der de dede...? Two points to be made. House returned the piano to the land
of the living. It had been redundant for a decade and then here we have it.
Fresh and thrilling. Second point. Any movie or collection of songs that seeks
to address the 80's and went into battle without a Marshall Jefferson track
wouldn't be worth pissing on. I'm sure there's an MJ track with a piece of
Kennedy or maybe Abraham Lincoln in it, but I've been asking for that for about
ten years now and I'm giving up. This one will do. In fact it is just bloody
marvelous and oh the innocence it represents when one could use the word House
and not drown in cheese. The innocence of those T-shirts with the US face.
Innocence.
15
Which brings us back to dancing and the core experience of both movie and album.
She's Lost Control. I was doing an interview with a geezer from Radio Wales the
other day. He said he had been a. Jam fan. And as such had waited one night in
early 1980 for the Jam on the BBC. But before Weller strode into view he had to
watch the support band on his TV. Joy Division. They sang She's Lost Control. He
told me he had never seen or heard anything like it before. I should hope not.
It was a cruise missile into the nervous system of any viewer. It was Ian
Curtis, describing and being and living the moments of Uncontrol. It was
extraordinary and this is an extraordinary song. Of course the lyrics and the
myth get confused. Ian's epilepsy remembered in all his movements. And the song.
Maybe best to forget the life, the death. Just listen. To then. And to now.
16
My personal fave moment of the 24 Hour movie is when the helicopter shot zooms
over night time Manchester which looks as good as LA or any other fab city as
it's lights twinkle and entice. And suddenly the beat hits, the music explodes
and that voice, that voice. Hallelujah. It could be no other song as this
Northern City is celebrated. And as a vital point in history this is the start
of the Oakie and Osbourne collaboration with the Mondays. Plus the excellent
Andy Weatherall on this one. It was, in it's early and original version, a
religious song. The reverend Shaun William Ryder is going to lie down beside you
and fill you full of junk sounds pretty religious to me. But O and O turn it
into a truly religious piece. It's not just the plainchant stuff that my son
wants to sample for some jungle shit he's working on, it's the ecstatic sense of
celebration contained in every sweep of every line and bar. I believe. I
believe.
17
Near the end and we find we're Here to Stay. If this piece of plastic rejoicing
in the past is meant to flash a little light on how we all got here, then let's
have a new piece from the prime survivors. New Order in fact turned to the above
Mr. Osbourne, who got his teeth into producing with the Mondays in 89/90, to
make their most recent work bite. The hard edged guitars, just right for the
2000's. Forgot to congratulate Steve on that one, too embarrassed when I visited
the studio, still on my to do list, so maybe I should say it now. Osbourne =
Genius. Now add in the beat-brain of the Chemical Brothers and we have a New
Order track to stand comparison with all their other stand out stuff.
18
Which brings us full circle and how else to close but with Love Will Tear Us
Apart. Nothing more to say. Except that someone in New York picked up the
Rolling Stone single of the year Award for 1980 for LWTUA on our behalf and
never passed it on. If he's reading this, and he's still got it, could he get in
touch. Thank you.
Anthony Wilson
March, 2002
|
CSI
Hip-O Records
September 24th, 2002
|
|
US |
2002 |
(
Hip-O
Records 440 069 401-2) |
Crystal
CBS's surprise-hit science drama,
C.S.I.,
|
PETER SAVILLE SHOW
January 2003
|
|
UK |
2003 |
(
London ) |
30:15 Soundtrack
- New Order contribution to Peter Saville
Show. Limited to 3000.
|
REALITY BITES
June 08,
2004
|
|
US |
2004 |
(
BMG 82876 60614 2 ) |
Confusion
- Various Artists: 10th Anniversary
Edition including 6 Bonus Tracks left behind on the initial soundtrack
release in 1994. New Order "Confusion" in one of them.
|
D.E.B.S
March 22, 2005
|
|
US |
2005 |
(
Lakeshore Records LKS 33817) |
Temptation
|
Marie Antoinette
October 10, 2006
|
2x |
US |
2006 |
(
Verve b0007822-02) |
Ceremony
|
The History Boys
October 16, 2006
|
|
UK |
2006 |
(
Korova KODE1008 ) |
Blue Monday
|
CONTROL
WARNER
Oct 1st 2007
|
|
UK |
2007 |
(
Warner ) |
Track Listings
1. "Exit" - New Order |
2. "What Goes On" - The Velvet Underground |
3. "Shadowplay" - The Killers |
4. "Boredom (Live At The Roxy)" - The Buzzcocks |
5. "Dead Souls" - Joy Division |
6. "She Was Naked" - Supersister |
7. "Sister Midnight" - Iggy Pop |
8. "Love Will Tear Us Apart" - Joy Division |
9. "Problems (Live)" - Sex Pistols |
10. "Hypnosis" - New Order |
11. "Drive In Saturday"- David Bowie |
12. "Evidently Chickentown (live)" - John Cooper Clarke
|
13. "2HB" - Roxy Music |
14. "Transmission (Cast Version)" - Joy Division |
15. "Autobahn" - Kraftwerk |
16. "Atmosphere" - Joy Division |
17. "Warszawa"- David Bowie |
18. "Get Out" - New Order |
|
|