Fifty Six

Today's post is brought to you in association with the number fifty six. The A56 runs past the top of our road and a mile up the road from us (heading towards Manchester city centre) it goes past the beautiful but empty Art Deco cinema in Stretford (formerly Stretford Essoldo, pictured above). 

The A56 starts out on Frodsham Street in Chester and heads east through Cheshire, past Warrington and Runcorn and then passes Lymm where it turns to Altrincham, then Sale and Stretford (it is at various points between Altrincham and Old Trafford called Chester Road, Cross Street and Washway Road). Then it runs through Gorse Hill to Old Trafford where Manchester United's ground lies to its left, skirts Hulme and when it hits town it becomes Deansgate. From there north to Salford and Bury and into Lancashire, to Colne and Nelson before reaching Skipton and eventually running out of tarmac in the village of Broughton, North Yorkshire. 

Fact 56 was A Factory Video, a various artists VHS video released by Factory in 1982, the starting point of what Tony Wilson believed would be a brave new artistic world for the record label. The Factory video production arm was Ikon (Brian Nicholson) and operated from the basement of the Factory HQ at 86 Palatine Road. For a while it was based in the cellar of Tony Wilson's house on Old Broadway, a house that in 1982 I walked past every day on the way home from school. Aged twelve, I wasn't really up to speed with what was going on in that cellar. Ikon ran their own video release series and Fact 56 was a compilation of some of those releases.  

It starts with New Horizon by Section 25. New Horizon is the final song on their 1981 album Always Now, a record produced by Martin Hannett and clad in one of Peter Saville's Factory artwork masterpieces. The advice Peter got from band member Larry Cassidy was 'something quite European, but psychedelic with some oriental influences'. 'After that', he said, 'I was on my own'. The sleeve opens like an envelope, marbled on the inside on specialist card with bold type on the front and die cut. 

Tony Wilson was right about the importance of videos and video art. Fact 56 was available to buy on VHS and Betamax. I would guess a lot of copies of both ended up in landfill in the 90s as the world went digital. There are two copies for sale on Discogs, one for £50 and one for 80 Euros which would suggest they're pretty scarce now. 

There isn't too much else about the number 56. It became a symbol of the Hungarian Uprising. Joe DiMaggio had a 56 game hitting streak. It means that I'm now closer to 60 than 50. 

This came out recently, nothing to do with 56, just something I wanted to share- Seu Jorge and Beck covering Nick Drake's River Man, a lush and very lovely bossa nova version of the song from Brazil and produced by former Beastie Boy producer Mario C. 

Use Hearing Protection

On Monday I got to the Museum Of Science And Industry to see an exhibition which has been open since the start of June and which I finally got to on its final day- Use Hearing Protection, a version of the Factory records story. Manchester has been drowning in its own nostalgia for many years now but this exhibition was excellent all the same and really skewered the period when Factory first started, those early years in the late 1970s and early 1980s. Looking at the flickering film footage playing with OMD's Electricity on the banks of tv screens at the entrance to the exhibition was like looking at another world and also the city I remember as a kid- derelict buildings, the Arndale Centre, dirty orange buses. There was an introduction to the main players- Wilson, Hannett, Saville, Gretton, Erasmus, Granada TV, Situationism- and the teardrop guitar Ian Curtis plays in the Love Will Tear Us Apart video.

There were many posters from the time, many loaned by Rob Gretton's family and Tony Wilson's family. These ones stand out, designed by writer Jon Savage, advertising gigs by Durutti Column at the Lesser Free Trade Hall and a Joy Division gig with support from A Certain Ratio and Section 25 (which would set you back £1.25). 

The central room was an exhibition of all the items that make up Fac 1-to Fac 50 in the Factory catalogue- not just singles and albums (though they were all there with sleeve proofs and sketches) but the posters (Fac 1, Fac 15, Fac 26), the menstrual egg timer (Fac 8), the film scripts, the Factory notepaper (Fac 7), the badges (Fac 21) and much more. The major releases, Unknown Pleasures, Closer, Love Will Tear Us Apart, Still and Movement, were accompanied by extras- film clips and interviews and pieces of Martin Hannett's studio equipment. There was an appreciation of the somewhat unsung role women played in the early years of Factory- Ann Quigley, Lesley Gilbert, Linder, New Order's Gillian Gilbert and Lindsay Reade. 

In the room next door (see picture at the top of this post) there was a wall of floor to ceiling screens with nine different live performances projected, starting with Joy Division and ending with New Order. In between this start and end point were some lesser known Factory acts such as The Names and Section 25 and the totally bewitching clip of The Durutti Column playing Sketch For Dawn in a park in Finland in 1981 (later released as part of a Factory video, Fact 56). 

The next room had photographs of Manchester during the period, to put some historical and social context around what was going on at Palatine Road, The Russell Club and The Hacienda. Photos of the Hulme Crescents, the multi- racial crowd enjoying themselves at a Rock Against Racism concert in Alexandra Park, grainy shots of footbridges and people, children playing on bombsites, a post- industrial city on the verge of something even if no- one can really see it at the time. On the way out you could walk through a mock up of the edge of the Hacienda's dancefloor- the future it suggests, the way out, Manchester's rebirth as a modern city begins here. 

There are so many single releases in the first 50 Fac numbers that are from the fringes of the culture, pieces of minor brilliance that Factory's team saw something special in and put out in beautifully designed sleeves that set out to make a statement (and for Gretton, Wilson and Saville to subvert as well). ACR's All Night Party. OMD's Electricity. ESG's You're No Good. X-O- Dus' English Black Boys. The Distractions' Time Goes By So Slow. Section 25's Girls Don't Count. Crispy Ambulances' Unsightly And Serene. Stockholm Monsters' Fairy Tales. And this one, a long time favourite of mine, a one off single by a group of teenagers from Blackpool called Tunnelvision. They'd split up by the time a second single was suggested, leaving one sole 7" single as their legacy- a doomy, sombre, rough- edged slice of post- punk beauty called Watching The Hydroplanes. 

Watching The Hydroplanes

Sketch For Vini

I came across this recently, twenty-two minutes of footage of Durutti Column playing live in Helsinki, Finland in July 1981. Tony Wilson claimed that Vini Reilly was a genius, his guitar playing specifically. There isn't much in this clip to contradict that point of view. Also noteworthy is Bruce Mitchell's drumming and his sheer joy at playing.

Tracklist- Sketch For Dawn; Conduct; Party; Sketch For Summer; Stains; The Missing Boy.



The gig in Kaivopuisto Park was a Factory themed day out in the Finnish capital. Also on the bill were Kevin Hewick and ACR. In August 1982 a VHS compilation titled A Factory Video was put out in a rather beautiful fliptop box including Durutti Column's performance of The Missing Boy (Vini's tribute to Ian Curtis).