"Are you given to taking the form for the substance?

"
Then a little swearing should take care of you."
- The Hall of Magic Mirrors'

FORM
f 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 rights reserved. No part of this book may be reproduced in any

form or by any electronic or mechanical means, including
information storage or retrieval systems, without prior written
permission from the publisher, except by a reviewer who may quote
brief passages.

All photographs of Joy Division taken by Kevin Cummins.

Ty p e s e t i n a ' s l i g h t l y g o t h i c ' t y p e f a c e .

This book is also available in a very special limited edition

collectors hard cover edition printed on special papers and finished
to an exceptionally high standard. Each copy of the hard cover
edition is individually numbered and signed by the authors.
Further details may be obtained by writing to the publishers at the
address given.

SOUND PUBLISHING is a small independant publisher involved in

reference material relating to 'pop' music from the 1950's to date.

ISBN 1 871407 00 1

Hard cover edition - ISBN 1 87U07 01 X

Published by SOUND PUBLISHING

122 LOVELL ROAD
CAMBRIDGE
CB4 2QP
ENGLAND
 .FORM.

On July 20th 1976 a young man by the name of Peter Hook returned
to his Manchester home from a holiday in Torquay. As he read the
local evening paper, the 'Manchester Evening News', his attention
was caught by an advertisement for a concert being held that
evening at the Lesser Free Trade Hall by a London 'punk' band
called the Sex Pistols. He telephoned his old friend from school,
Bernard Sumner, and together they arranged to attend the 'per
formance'.
The actual gig is one that has passed into Manchester folklore -
indeed one wag later wrote in 'New Musical Express' that if all the
people who claimed to have been at the Pistols' Lesser Free Trade
Hall show had actually been there they would have filled Wembley
Stadium. Part of the confusion stems from the fact that the Sex
Pistols had already played the Lesser Free Trade Hall on June 4th, a
performance that was inspirational to Pete Shelley and Howard
Devoto who duly formed the Buzzcocks; and a Stephen Morrisey
who rather than form a band wrote a letter to 'Sounds' and 'NME'
about how wonderful the band were. The July show, where the
Buzzcocks made their debut and the Pistols premiered 'Anarchy in
the UK' was equally inspirational - to Hook and Sumner.
Afterwards they had decided to form a band themselves, not with
the intention of doing anything musical but just to have a good
time. Their response to the Pistols was to become a common one
throughout 1976.
Bernard Sumner (1988): "We always liked groups and music but
we didn't want to be in a group until we saw the Sex Pistols. We
thought, 'God, if they can do it, we can do it'. We put an advertise
ment up in Virgin Records in Manchester for a vocalist and we got a
lot of loonies answering it, and eventually Ian Curtis answered it."
Peter and Barney had already met Ian at local gigs (Curtis had
apparently attended the first of the Pistols' Lesser Free Trade hall
gigs) but they hadn't considered him for the band as he was already
in one. It was only after the guitarist left Ian's band that he got in
touch with the two of them. Peter and Barney accepted Ian over the
phone without hearing him sing, since what they were really after
was someone they could get on with - proficiency was not an
essential requirement. However, as Barney would later remark
(with perhaps a little sardonic humour): "It turned out that he was a
legendary genius".
Legendary genius or not, they still found it hard to acquire a
permanent drummer - and a permanent name. They sought the
advice of the Buzzcocks, like themselves local Salford lads, and

VI
 form.

after meeting Pete Shelley in a pub one night found that the
Buzzcocks were largely making it all up as they went along anyway.
Shelley is largely credited with suggesting the name that the trio
used whilst rehearsing above a pub in Salford - the Stiff Kittens.
In fact these rehearsal sessions seem to have consisted of little
more than extended jams a la John The Postman (infamous for
appearing unannounced at Manchester gigs where he would play
a set consisting of a 20 minute version of 'Louie Louie').
Peter Hook recalls that even in the days when they were just
Kittens the group didn't fit in with the New Hormones clique and
Ian especially "stuck out like a sore thumb", so they had very little
to do with the remainder of the burgeoning Manchester scene.
However they did keep in touch with the Buzzcocks and ten months
after their genesis they 'blagged' Pete Shelley into putting them on
at Manchester's famed 'new wave' venue, the Electric Circus, with
Newcastle's Penetration.
It should be pointed out that they were not selected for their
ability but for the reason that Shelley felt it was important to be seen
giving moral support to local bands. With their impending debut
gig the threesome now desperately needed to find an adequate
drummer. Tony Tabac joined the night of the 28th May, 1977 and
played his first gig the following day. Billed in advance publicity as
the Stiff Kittens the band arrived at the Electric Circus to inform
Richard Boon that they were now called Warsaw - apparently a nod
at '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 Tony
Tabac. By June 30th Steve Brotherdale (aka Steve B'dale) had
joined. He stayed for six weeks. During this time Warsaw went into
the studio for their first recording session. They recorded five tracks
at Pennine Studios on 18th July 1977. These tracks were (much
later) released on the quasi-legit 'Ideal Beginning' EP. They shed
light on the early sound of the band and provide evidence that
Warsaw weren't very 'punk' (they didn't play fast enough) or in fact
very good.
Steve Brotherdale duly left Warsaw in the first week of August to
join the Panik, whom he thought had more potential. He attempted
to take Ian Curtis with him but it was found that Ian's style of
singing didn't suit the style of the Panik's music and he remained
with Warsaw. After advertising for a new drummer they auditioned
"about ten before we found Steve Morris". Steve Morris had never
been in a band before though he got the job for the simple reason

VII
 form.

"they liked the fact I could go 'Bang' and 'Crash' in the right
places."
More gigs ensued, including a return to the Electric Circus in
October as part of a two day festival organised to commemorate the
imminent closure of the club. Virgin Records had arranged to
record the event and when 10" mini-album 'Short Circuit - Live At
The Electric Circus' was released 'At A Later Date' by Warsaw
(credited on the record as Joy Division) was one of the tracks
included. Ian Curtis was later quoted as saying that the band was
unaware at the time that they had even been recorded and that
when the band was asked to choose a representative track they
chose the wrong one. "Royalty-wise I think we owe Virgin," he
said. Peter Hook later recalled they made about 8 between the four
of them.
In an attempt to gain more gigs it was decided to record a new
demo tape and in December they again entered Pennine Sound
Studios to produce the four songs that later became 'An Ideal For
Living'. The studio offered to produce and press up the tapes as
seven-inch EPs. Warsaw eagerly accepted.
Peter Hook: "But when we heard it, my God! It was the most
depressing moment in my life, it was awful."
Reluctantly they decided against promoting the record and con
centrated instead on selling the limited number they had to local
stockists. The sleeve for the record was an elaborate affair which
folded out into a 14" x 14" 'poster' featuring a drawing by Bernard
on the front. The band folded all the original sleeves by hand and
put all the records into the sleeves themselves.
It was around this time that London based 'skinhead' group
Warsaw Pakt recorded and released their 'instant' album (recorded
and released on the same day), so to avoid confusion and because
they had heard that no London booking agency would book a band
with a name so similar, it was decided to change the name. Again.
As previously mentioned the band had acquired the name Warsaw
from a David Bowie album. In fact there was to remain a Warsaw
connection with their new chosen name. The band was henceforth
to be known as Joy Division. The name was derived from a
paperback book called 'The House of Dolls' - allegedly the found
diaries of a young Jewish girl from Warsaw who was sent to a
concentration, camp during the Second World War to end her life in
the prostitutes' wing of the camp - the ironically named 'Joy
Division'. Clearly the band had discovered the book at the end of
1977 as on page 157 of 'House of Dolls' the third paragraph is used

VIII
 form.

On Friday the 14th of April 1978 Joy Division entered the Stiff Test
Chiswick Challenge, which was an audition night set up by two
independent London labels to find new talent from all over the
country. That particular night seventeen bands played, Joy Division
came on stage at ten to two in the morning and managed two songs
before the plugs were pulled.
Although they didn't win any prizes that night they did come into
contact with two people who were to prove to be much more
valuable to them. One of these was the club's DJ, Rob Gretton, and
the other was Granada TV compere Tony Wilson, the presenter of
the only 'new wave' show on TV, the famed 'So It Goes'. In an
interview for 'New Musical Express' in January 1979 Tony Wilson
was to recall, "The bands were all good and they were all boring.
But Joy Division were wonderful and they had something to say. I
thought so and so did Rob, 'cause after that he became their
manager."
Rob Gretton was at the time manager of the Panik, whom Ian had
been so close to joining, but he came away from Rafters that night
with a favourable impression of these angry young men. A chance
meeting with Barney in the phone boxes outside Manchester's main
post office in Spring Gardens led to him being invited down to the
next Joy Division rehearsal to discuss managing them. Unfortunately
Barney forgot to mention his meeting with the rest of the band and
so Rob's appearance was met with some surprise, especially when
introduced by Barney as "our new manager". However Rob initially
took a low profile in the group's affairs until he had worked out what
he wanted to do.
At the same time as Rob was taking Joy Division under his
managerial wing, Ian had been busy trying to gain the interest of an
A&R man at RCA - one Derek Branwood. When RCA displayed
little interest, Branwood suggested to his assistant, Richard Searling,
that he try to arrange something for the band. What he ended up
arranging was two recording sessions that resulted in the material on
the 'Warsaw' bootleg album and a recording contract it would cost
the 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 'Satur
day Rock'. Joy Division took along a copy of the 'Ideal For Living'
EP. This was played and in between tracks the band spoke about
themselves and their influences. Unfortunately no record survives of
the contents of the interview, nor are any extant tapes in general
circulation.

X
 form.

Later in May of that year Tony Wilson founded 'The Factory' at

the Russell club in the seedy locale of Hulme, embarking on a four
night series of gigs of consecutive Fridays. Joy Division were invited
to headline the fourth of these nights by Richard Boon, the Buzz
cocks' manager, who was promoting a new group that night, the
legendary Tiller Boys.
In June the seven-inch version of 'An Ideal For Living' was finally
unleashed on a less than anxious world. Presumably the band felt
that they required some 'product, any 'product', no matter how
unrepresentative of their current sound, to advance their career
further. However little happened. The band could not issue the
tapes they had recorded in May as they did not as yet own them. In
fact over the next two months Rob negotiated with Searling over the
aborted album tapes and finally reached a settlement which involved
the band paying a thousand pounds for the tapes, which they
finished paying in January of 1979.
On September 20th Tony Wilson kept a previous promise to the
band and put them on television. They performed 'Shadowplay' on
Wilson's 'What's On' section of local news programme 'Granada
Reports'. This historic appearance has now thankfully been re-
broadcast nationally on Wilson's retrospective compilation for
Channel Four 'The Way We Were'. The difference between this
new sound and the EP was apparent from the opening notes of the
rumbling bassline.
A 12" release of 'An Ideal For Living' was planned for October
and this time the sound quality was up to scratch. However the band
had already moved beyond this ideal. On the 11th October they
entered Cargo Recording Studios in Rochdale to record two tracks
('Digital' and 'Glass') with the man who would later be regarded as
an integral part of the band in creating their unique 'sound', Martin
Hannett. These tracks were issued in January 1979 on FAC 2 -
'A Factory Sampler'.
The year ended with more gigs, one being at the Factory with
Sheffield-based Cabaret Voltaire headlining and the legends-in-
their-own-lunchtime the Tiller Boys opening. They also managed
three days as support to the Rezillos before the Rezillos broke up,
and on the 27th December they played the Hope 'n' Anchor - their
first London gig. It was on the way home from this gig that Ian
suffered his first epileptic seizure and the group took him to a
hospital. Things would never be quite the same again.
In January 1979 the band was invited back to London, this time to
record a session for the (then) prestigious John Peel Show. At this

XI
 form.

time virtually all the major British acts of the previous decade had
broadcast 'on Peel' in their early days. The session was first broad
cast on February 14th, 1979 and was a major break for the band.
The concurrent release of the 'Factory Sampler' surprised many
people with its diverse selection of material and artists, and also its
packaging; a gatefold, grey sleeve in the style of the cheap Thailand
counterfeit sleeves. The music was contained on two seven-inch
singles 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 be
included in the package and each had one side of a record to
themselves. Joy Division's contributions, 'Digital' and 'Glass', were
described by Paul Morley - with his usual disregard for factual
accuracy - in his review as "the missing link between Elvis Presley
and Siouxsie and the Banshees".
In March another trip down to London resulted in a recording
session with Martin Rushent, head of a subsidiary of Radar Records,
who was interested in signing the group. The fabled four 'Genetic
demos' ('Glass', 'Transmission', 'Ice Age' and 'Insight') remained
with Rushent when it became apparent that he could not strike a
deal with the band.
To promote the 'Factory Sampler' EP and other upcoming pro
ducts, Factory Records initiated a series of 'package' gigs to play at
assorted halls around the country. Based on the package tours of the
sixties (which had recently returned into vogue with the three 'Stiff
package tours) audiences could expect to see up to four bands on
any given night which might include any perm from John Dowie, A
Certain Ratio, Orchestral Manoeuvres In The Dark, Foreign Press
and Joy Division (what happened to the Tiller Boys?)
The majority of April was taken up with rehearsals and recording
for their first album. They had by this time convinced Tony Wilson
to put up the money for this so that they could remain on the outside
of the mainstream music industry as they had always hoped. The
album was set to be recorded at Strawberry Studios in Stockport and
was targeted to cost three thousand pounds. The band spent only
two and a half days recording and a further one and a half days
mixing the recordings. However the eventual cost was some eight
thousand quid. Tony Wilson: "We went a little over-budget on that
one." The initial pressing was to be ten thousand and at the time no
one knew whether the money would be recouped or not.
However from day one Factory have never placed the business of
making money above creative concerns. Indeed some of their

XII
 form.

decisions appear to be financial suicide, issuing records of limited

appeal in expensive sleeves, opening night clubs in unfashionable
parts of 'town' (Martin Hannett: "Just what the world needed -
another nightclub!"). Any ideas of 'get rich quick' with Factory
tended 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, having
listened the record through, then commits suicide. McCullough
seemed unaware of the implications of his conclusion when he
subsequently went to interview Joy Division and apparently denied
implying that the album was pessimistic. When, later that year he
was refused an interview he seemed genuinely surprised.
Joy Division however did not waste their time in retrospective
remorse. Rather in the rash of interviews following the release of
the album appered eager to move on, conscious of the continuous
need for new material. Ian Curtis: "No matter how many songs
you've done, you're always looking for the next one." Strangely
then the new single was to be 'Transmission'.
'Transmission' ha'd been written in April 1978 and had been
recorded in the studio on at least three previous occasions; the
unreleased album, the John Peel session and the Genetic demo.
This time Martin Hannett was to get his chance. However the initial
session at Central Sound Studios proved to be a false economy, the
sound quality was decidedly inferior to previous recordings with
Hannett. The band and Hannett returned to Strawberry Studios in
late July where they duly recorded both sides of the single plus a
third track, 'Something Must Break'. Later that same day they
played at a local festival to open a new Manchester venue, The
Funhouse. The festival was billed as the 'Stuff The Superstars
Special'.
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 a
new version of 'She's Lost Control' intended for US release during
their session at Central Sound Studios. However the result was as
unsatisfactory as the other recordings, so the project was, only
temporarily, shelved.
The next Joy Division recordings to see the light of official release
were two outtakes from the April Strawberry Studio sessions.
Curiously enough the songs weren't released on Factory but on

XIII
 form.

another independent label, the Edinburgh based Fast Records. Bob

Last had approached Factory and asked if they would be interested
in taking part in his 'Earcom' experiment (which is an abbreviation
of Ear Communication, Mark), Factory had no concrete plans for
the release of these two tracks and so agreed to Last's request, much
as they later would to Jean-Pierre Turmel's for the 'Dead Souls'
single.
August saw the band appearing all over the place, most notably at
the Leigh Festival with acts from Liverpool's Zoo label and others
from Factory. In September Joy Division shared the first night bill
for the Leeds Sci-Fi Festival with Public Image Limited among
others. Unsurprisingly PIL were one of Curtis' favourite contem
porary 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 who
announced that he considered the sound of the band 'slightly
gothic'. The label stuck.
At this time the band were asked to support the Buzzcocks on
their nationwide tour of the UK. They agreed and in October they
began their largest stint of gigs in their brief career - some twenty six
dates in all. Reports of their reception on the tour are contradictory.
Either Joy Division were so good they stunned the audience or so
bad as to drive them away. Unfortunately there is precious little
evidence in the way of live recordings from the tour, the few that do
exist are for the most part unlistenable. However thankfully the
Buzzcocks manager did video the two Joy Division sets at the
Manchester Apollo and parts are included in the 'Here Are The
Young Men' video. At the end of the tour Factory issued 'Trans
mission'. Conventional marketing wisdom generally suggests the
beginning of the tour would have been a somewhat more sensible
release date.
After the tour ended Joy Division returned to London to record
their second session for the John Peel Show. The session, on 26th
November, was made up entirely of new songs performed on their
recent tour. The broadcast of the four songs ('Sound of Music,
'Twenty Four Hours', 'Colony' and 'Love Will Tear Us Apart') took
place on the 10th December shortly before the band departed for
the continent, where they were to play a concert in Paris (which was
partially broadcast on French radio). Back in Manchester on New
Year's Eve Joy Division were the surprise guests at Factory's party
and played a short set to the invited audience of about one hundred.
By January 8th 1980 Joy Division entered the familiar surround-

XIV
 form.

ings of Pennine Sound Studios to record their next single. They

recorded three songs: 'Sound of Music' and 'Love Will Tear Us
Apart' from the second Peel session and 'These Days'. However
they were unhappy with the recording of 'Love Will Tear Us Apart'
and decided to try again on their return from an eleven-date tour of
mainland Europe.
The lucky audiences on this continental tour witnessed some of
the longest and most potent sets that the band had ever played.
The Europeans proved most enthusiastic and both the audience
and critical reaction was most favourable. In Amsterdam Dutch
radio captured for posterity all seventeen songs performed over
two sets and these two performances remain the most essential
representation of Joy Division in concert.
In March those fans on the continent who had supported the band
were rewarded with the release of a limited edition single: 'Dead
Souls/Atmosphere', an item most highly prized amongst Joy Division
collectors. The seven-inch single came in a lavish A4 size gatefold
sleeve featuring a hooded figure and a four page 'essay' which
attempted (unsuccessfully) to place Joy Division in the same context
as St Theresa's Ecstacy, Marcel Brio and Heinrich von Kleist. Rob
Gretton: "I thought it was a bit over the top."
Also in March, Joy Division spent two weeks in Britannia Row
Studios in London recording their second album and attempting to
mix the new single, 'Love Will Tear Us Apart', which had been re
recorded at Strawberry Studios earlier in the month. The mixing
was causing them many problems which they never quite resolved to
their satisfaction and finally ended up issuing both versions they had
been working on, on the same single.
Meanwhile upon their return from the continent the band was in
much demand on the club circuit. Factory had booked the Moonlight
Club in London for three nights at the beginnig of April for what
was termed the 'Factory by Moonlight' nights. In the manner of
previous Factory ventures it was announced that a total of nine
bands would be playing over the three nights. A statement was also
issued to the effect that "following their appalling behaviour on the
night of March 23rd, Joy Division have been banned".
Anyway Joy Division duly opened the first night at the Moonlight
and encored with an old favourite, a mightily abbreviated version of
'Sister Ray'. The third night proved a milestone in the band's
history. After supporting the Stranglers at the Rainbow in London's
Finsbury Park, they drove over to the Moonlight Club to take the
stage there less than an hour later. This proved to be too much for

XV
 form.

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 the
stage to be replaced by either Simon Topping (from A Certain
Ratio) or Alan Hempsall (of Crispy Ambulance). Indeed some gigs
were cancelled completely. Ian's epilepsy had been troubling him
for some time and sometimes his fits would be triggered by the
flashing of the lights whilst he was on stage. He also found un
comfortable all the pressure and attention being forced on to the
group and the strain of suddenly becoming a celebrity.
Throughout the remainder of April the band played locally
announced dates and prepared themselves for their first trip to
America, again supporting the Buzzcocks. At the end of April they
returned to Manchester to film the video for 'Love Will Tear Us
Apart' at their old rehearsal rooms in Deansgate, Manchester. They
had problems in getting the sound right and the strain of the
proceedings is apparent in the finished version where the band look
weary from the multiple takes.
In May they travelled to Birmingham to play at one of the
University Halls of Residence, High Hall. Two weeks later and just
one day before they were due to fly to America, Ian Curtis was
found 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. The
first news that many people heard was that the Teardrop Explodes
had dedicated a song "To Ian Curtis, who was dead", on the
Monday 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 had
become an intolerable burden.

XVI
 form.

Ian Curtis had been born on the 15th July, 1956, and from an early
age 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 cart
around. He later said that all he thought about at that time was what
he would spend his money on at the end of the week.
The turning point in his life came when he saw the Sex Pistols at
the Lesser Free Trade Hall in June 1976. After this being in a band
seems to have become the preoccupation of the majority of those in
the audience, including Curtis. He had at this time begun work in a
record shop on John Dalton Street in Manchester, 'Rare Records'.
The shop had enjoyed a reputation for good stock and excellent
service for many years until most of the staff, Curtis included, were
laid off after stocking copies of 'Derek and Clive Live' despite
memos threatening stern repercussions should any of their shops
stock the offensive album. After all the parent company EMI was
refusing to even press, let alone distribute the album through its
shops. However by this time Joy Division were already considering
their positions and had made up their minds to give up their day jobs
to join Factory.
Working at 'Rare Records' brought Ian into contact with a group
that showed him a different way of putting a song over: the Velvet
Underground. This was coupled with a memory of seeing Lou Reed
on the BBC which affected him deeply.
Ian Curtis: "Nothing appealed to me. I was listening to stuff like
the Stones and whatever . . . and there was just something when I
got two of the Velvet Underground albums that seemed to be very
real. There was stuff in the lyrics that I could relate to that there
wasn't in anything else. It was just what I was going through at the
time ... it was the attitude of the thing. I remember seeing Lou
Reed on 'Old Grey Whistle Test' or 'Disco Two' or whatever they
used to call it, and he wasn't the normal 'singer in a group', there
was something more to him that seemed to carry on to the way he
lived and things like that. Instead of just singing about something
you could show it as well - put it over in the way that it is, if you
were totally involved in what you were doing."
Joy Division was to make this point abundantly clear in their later
shows, where audiences left the hall totally drained of energy, as
though they had been put through an emotional mangle which
squeezed out every last drop of feeling. For Curtis there was more
to it than 'just singing'. His involvement with the music carried over
into his private life.
Sometime in 1977 he was married to his childhood sweetheart,

XVII
 form.

Deborah Woodruffe, and was soon the father of a baby girl named
Natalie. For a time this seemed to be a stabilising factor in his life
but soon he began to be depressed again and in 1979 was found
unconcious at his home after inflicting knife wounds on himself. His
marriage began to go through troubles and on the tour of Holland in
1980 he began seeing another lady. A few weeks later he spent three
days in hospital after taking an overdose of tablets due to an intense
bout of depression. His epilepsy was getting worse and he was
referred to a psychiatrist but only kept two of the appointments.
Matters came to a head when Deborah found out about his
girlfriend and asked for a divorce. She later said at the inquest that
he had asked if she was doing the right thing and seemed upset
about their daughter. He promised to stop seeing his girlfriend if the
divorce proceedings were dropped but apparently changed his mind
and asked his wife not to see him again. The day before his death
they had a row.
On Saturday May 17th, he returned to his home to watch a
televised film, 'Stroszek', by his favourite producer, Werner Herzog.
Hours later, early that Sunday morning, he hung himself. A note
found by his body included the sentence: "At this very moment I
wish I were dead. I just can't cope any more." His wife found the
body at about mid-day on Sunday. She immediately went to her
neighbours for help and they rushed round to the house and cut the
body down. At first they thought that they might be able to save him
but when they found him too heavy to lift and cut the rope, they
realised that he had been there for some time. The inquest into his
death returned a verdict of suicide.
In the spate of obituaries that followed, the best being Jon
Savage'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. Ian
Curtis' death was sad and lonely, the fact that he felt he had no one
to turn to is all too clear. If he hadn't felt that way he would still be
here with us. Dave McCullough of 'Sounds' completely missed the
point in his valediction. Any Trouble frontman Clive Gregson, who
had worked with Curtis, voiced the sentiments of many who knew
him personally when he commented on McCullough's obituary
shortly afterwards: "We were in London the day the news broke
that he'd committed suicide, and I phoned Jeremy (who also used to
work with Curtis) . . . (and) said, 'Hell, I've just read that Ian
Curtis has hung himself.' And Jeremy said, 'It doesn't surprise me at
all. I've been expecting that for six years.' Now, I feel really sorry

XVIII
 form.

The group was stunned. Tony Wilson said, "It came as one bloody
shock . . .", which was the nearest anyone got to an official state
ment from Factory. The American tour was cancelled and the three
remaining members steadied themselves and decided whether or
not to carry on. In the weeks that followed they decided that they
would, but under a new name. The band and the label decided that
all the unreleased material should be issued. The first songs to be
released were three compositions recorded for 'Closer' but which
did not make the album. They were issued as a totally free flexi-disc
available just by asking for it at the counter of record shops. The
three 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 ever
recorded.
One week later 'Love Will Tear Us Apart' was issued to the
critical acclaim that had been awaiting it, with or without the extra
attention it was now given. The sleeve looked like a tombstone and
visitors to Macclesfield Crematorium will notice a memorial stone
with the simple inscription: Tan Curtis - 18.5.80 - Love Will Tear
Us Apart'.
The single reached number seventeen in the UK national charts.
The posthumous album 'Closer' was issued by Factory on June the
27th. Again the reviews were hardly restrained in their praise, but
this time they at least tried to argue their points a little better.
'Closer' contained nine tracks and pointed towards a softer, more
subtle sense of fear. Where 'Unknown Pleasures' had a soundtrack
of muffled screams and breaking glass, this album contained a
collection of lighter effects, mists rather than cold, glaring light.
August 1980 saw the release of the 12" version of 'Love Will
Tear Us Apart' which was quickly followed by the UK release of
'Atmosphere/She's Lost Control' which had been released in
America a couple of months previously and was being sold on
import at an inflated price. The release of the 'Transmission' single
on 12" in December, in a sleeve with pictures taken in a fairground
at night, completed the 12" single releases.
The release of further material was left until a time when there
could be no accusations of 'cashing in' levelled at the group, its
management or Factory Communications Ltd and it would be
fifteen months from Curtis' death before the retrospective collection
would be available to the general public.
Meanwhile in the John Peel Show's Festive Fifty at the end of
1980, 'Atmosphere' was voted number two and 'Love Will Tear Us

XX
 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 unveiled
to the nation. It was released on October 8th and was available in
two different sleeves, 'paperback' and a 'hardback'. The hardback
issue was limited and took the form of hessian backed card, contain
ing the standard paperback issue held in with grey ribbon.
The title comes from a book by Saul Bellow called 'Herzog'. The
reference in this book is on page twenty-nine where the character
Herzog explains, "My father was a bootlegger. He has a still ..."
'Still' was the album intended to combat the trade in Joy Division
bootlegs and to give the fans "all those songs they keep complaining
they haven't got". The album consisted of all the tracks not previously
issued in the UK plus a remixed version of 'Glass' and the full set
from Joy Division's last ever live performance at High Hall. The
only track that wasn't included on 'Still' was 'The Drawback' which
is known as 'All Of This For You' on the 'Warsaw' bootleg album.
Nine months later the video 'Here Are The Young Men' was
issued by IKON, the video outlet of Factory. It comprised tracks
from the two shows filmed at the Manchester Apollo in October
1979, four songs filmed in Eindhoven on 8mm in January 1980 plus
the 'Love Will Tear Us Apart' promo.
All became quiet on the Joy Division front until the summer of
1983 when, following the runaway success of New Order's 'Blue
Monday', 'Love Will Tear Us Apart' again entered the UK charts,
peaking at number eighteen. In the wake of this Mark Johnson
finally issued his long-awaited but ultimately disappointing (not to
say 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 And
Wayward Distractions' by Brian Edge. Also issued around this time
and periodically updated, was a Joy Division scrapbook (or two)
compiling all the cuttings you could ever want (and quite a few that
you'd never want).
In 1987 after years of rampant bootlegging off BBC sessions,
BBC Enterprises finally sanctioned the official release of John Peel
Sessions by Clive Selwood on his Strange Fruit label. New Order
were in the first batch of releases and were followed, in December
1986, by the first Joy Division session. In September 1987 came the
second 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 a

whole new aural experience from this 'old' material. And now in
April of 1988 the first Joy Division Peel session is available on CD;
soon to be followed by the second session; and also the final Joy
Division compilation, 'Substance'. This now collects all the non-
album Joy Division releases - at last available on LP, cassette, CD
and even DAT. Hopefully 'Still' will shortly be available on CD and
then 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. If

one discounts the atonal, primordial thrashings of Warsaw, the last
'recording' of Joy Division (their final concert) occurred on the
second anniversary of a day of final rehearsals before their first
studio 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 band
available on Factory Records. The release of 'Substance' also means
that, with the notable exception of the 'Warsaw' bootleg album, all
the important studio recordings of the band are now officially
available. Indeed once 'Still' becomes available on CD the whole
oeuvre will benefit from a crackle-free not to say digital medium.
Since Joy Division did rise out of the ashes of Warsaw fans are
constrained to consider the recordings of Warsaw. However what
the seeker will find is of no intrinsic musical worth. Even within the
climate of punk Warsaw were always the poor relations of their
fellow Manchester bands. Their first recordings, in July 1977, avail
able on the 'Ideal Beginning' EPs (no-one seems sure whether this is
a bootleg - if it isn't it should be), are painful listening indeed: lyrics
obscured by the mix, vocals indistinct, no discernible melodies to
speak of, and not even the benefit of being played at an adrenalin-
pumpin' speed.
Further recordings in December 1977, for a self-financed EP 'An
Ideal For Living', show a shade more subtlety, but precious little
promise. That copies of this item have been sold in the States for
anything from $100 upwards shows the obsessive hold that the
mythology surrounding Joy Division has sometimes exacted on its
fans. The recording quality of the EP thankfully ensured that it
escaped attention, returning back from whence it came.
However a change of name in January 1978 also appears to have
brought a major change in direction. I say appears as one of the
major hindrances to attempts at an adequate assessment of Joy
Division's development towards the more textured sound of their
Factory recordings is the total lack of any concert recordings prior to
March 1979. Up to this date it is only possible to hear Joy Division's
progress through their studio recordings. Certainly their first official
recordings, 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 of
their 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 an

indistinct mush, an identity where formerly there was none. The
exact middle-ground between these two extremes ('An Ideal for
Living' and 'The Factory Sampler') was captured in Arrow Studios
on May 3rd and 4th, 1978. The eleven recordings made on these two
days were intended to constitute Joy Division's first album, which it
was envisaged would probably be released on RCA.
Even within the confines of these sessions it is possible to see a
clear division (sic) between the Warsaw material (all the songs on
'An Ideal For Living' were re-recorded, these versions being infinitely
preferable) and the Joy Division material. Particularly outstanding
are three new compositions, 'Transmission', Tnterzone' and 'Shadow-
play', all of which show a much more adventurous approach to the
sound and internal rhythm of a song. These recordings also illustrate
the emergence of a more haunting turn of phrase in Curtis's lyrics.
Of course the band at last benefited from a strong production: the
sound of these recordings is taut, the guitar-sound insistent, the
drum-sound crisp (far crisper than most subsequent Joy Division
recordings) and Curtis' vocals up-front and not as stylized as later
recordings.
However the band were most upset when producer John Anderson
added some synthesizer to tracks during final mixing, and they
asked for them to be removed. Clearly the band still saw their sound
as being more mainstream than it became; though the movement
towards a 'slightly gothic' (to quote Tony Wilson) sound had begun.
Though some of these thoughts may verge on the speculative, it is
important to consider where Joy Division constructed their sound
from. The evidence of the Factory Sampler and their first session for
John Peel (recorded the last day of January, 1979 and now officially
available 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 of
Warsaw 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 Joy
Division approach to sound (I am not referring to the actual noise
they made) has been observed (correctly) to at least partially derive
from the Velvet Underground, perhaps the closest comparison
should really be Pere Ubu. Ubu had first come to the attention of
any real number of English music fans in 1978 with the release of
their astonishing debut album, 'The Modern Dance' (now thankfully
available on CD, courtesy of Fontana). The whole approach of Ubu
paralleled Joy Division's: the self-conscious use of literary references;

XXIV
 substance.

fractured music (to quote a phrase); and a sound culled straight

from the heart of darkness.
Though some of these similarities were simply a question of
parallel development, the more experimental approach adopted by
some of the new American bands, notably Television and Pere
Ubu, was in 1978 having its most profound impact on the British
New Wave movement. 1978 saw the release of debut recordings by
all four of the prime movers in the Second Wave of the UK New
Music: Joy Division, Public Image Limited, Magazine and Siouxsie
and the Banshees; and though there would be no self-avowal of any
of these bands, they all drew heavily upon the ideas of the more
avant garde American bands of the post-Velvet generation.
As I have already stated there are no known live recordings (save
those the band may have kept to themselves) of Joy Division prior
to March 1979. By this point they were on the verge of recording
their first album, 'Unknown Pleasures', and the sound of the band
live was fully realised - though interestingly enough they were still
performing three songs from the 'An Ideal For Living' EP.
'Unknown Pleasures' was recorded at Strawberry Studios in April
of 1979. The band entered the studio with a wealth of material they
could record. Indeed aside from the songs on the album, two
outtakes were issued on an independent 12" EP 'Earcom 2' (both
are now on 'Substance') and four more outtakes were later included
on 'Still'. It remains the best artefact of Joy Division's career, an
album which manages to integrate the 'attack' of the May 1978
recordings into songs of fractured sensibilities and discordant sounds.
This discordancy aligned to a strong melodic undercurrent became
identified 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 than
adequately documented. Tapes from the summer of 1979 show a
band that is writing material at a furious rate. Amongst songs
written and premiered between May and August 1979 were:
'Atmosphere' (originally known as 'Chance'); 'These Days';
'Atrocity Exhibition' (all recorded for a Piccadilly radio session at
the beginning of June), 'Dead Souls', 'Something Must Break',
'Colony' and 'Sound Of Music'. However they returned to two of
the songs recorded at the May 1978 sessions for their first single:
'Transmission' and 'Novelty'.
Though a very catchy and accessible single, 'Transmission' failed
to register in any but the independent charts. Indeed it is often
forgotten 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 Billboard
Top 100, Joy Division's influence and important only became
apparent 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 still
performing 'Warsaw'. The band were also certainly not afraid to try
out new songs in their live sets. Indeed they opened their last
concert with a song they had only just been working on at the
soundcheck, 'Ceremony'. Of all the titles recorded by Joy Division
only 'From Safety To Where' was never performed in concert.
It is this constant sense of change that has perhaps burgeoned a
healthy mini-industry in Joy Division bootlegs. Aside from assorted
pre-'Substance/Strange Fruit' attempts to collect Peel sessions,
miscellaneous b-sidese and the like together; and two albums of
unreleased 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 intended
to represent Joy Division in concert. There are twenty such gigs
represented on bootleg vinyl - excluding two soundchecks which
have also been bootlegged. A remarkable tally for a group whose
entire live corpus spaned less than fourteen months and who achieved
no chart success in its lifetime. Especially as, though the band
gigged extensively from July 1979 through April 1980, they never
headlined a full UK tour.
The final chapter of Joy Division's recording career - the recording
of 'Closer' - really began in November 1979 when the band recorded
its second session for John Peel. Now available as a 12" single the
session premiered to Peel's listeners three songs intended for Joy
Division's next album: 'Twenty Four Hours' and 'Colony', which
both made it; and 'Sound Of Music' which didn't. It also included a
take of what was to be their next single, 'Love Will Tear Us Apart'.
In fact a January 1980 session at Pennine Studios saw Joy Division
recording versions of the latter two songs plus a take of 'These Days'
- though none of these ended up on 'Closer' ('Love Will Tear Us
Apart' was the b-version on the single; 'Sound Of Music' was later
included on 'Still').
After a second successful visit to the continent in January 1980
(they had played Paris in December 1979) and a few Home Counties
gigs 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 to
promote on their scheduled May US tour - and 'Love Will Tear Us
Apart'. However it was not until the last two weeks in March that an
extensive stint at Britannia Row Studios in London resulted in their
second album 'Closer'.
'Closer' is a most worrying album. Unlike most reviewers at the
time, coloured perhaps by the death of Ian Curtis, I see the album as
evidence of a band careering out of control. The atonal quality of
the band's music had always previously been tempered by a keen
sense of melody. But with 'Closer', rather than the unsettling feeling
that the listener was peering into a dark, dank void, one feels that
you are hurtling through that void and the disturbing force of this is
only compounded by the nature of Curtis' death.
In fact the songs do not just merge into one sound, they are
welded together in an unrelenting vision of doom and gloom.
'Closer' indicates above all a loss of direction. Whereas Pere
Ubu's follow-up to 'The Modern Dance' was the tragi-comic 'Dub
Housing', a maudlin but wry look at humanity (their original
guitarist Peter Laughner had killed himself in 1977), 'Closer' exudes
self-consciousness. It is Gothic - with a capital G. Its bleakness, not
tempered by any sense of redemption, must be down primarily to
Curtis whose character had become unstable. It also comes down
partially to Hannett's over-production. His concern to use any new
'studio-toy', without considering how apposite its use may be, had
now reached its zenith. He was also prepared to allow, nay encourage,
Curtis to develop an over-stylized vocal style. Certainly the songs
had 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 a
single and deserving of substantial sales, is the most genuinely
haunting of all the Joy Division songs. However it does betray its
sense of evocation by sinking into melancholy self-reflection.
The death of Ian Curtis, the release of all these Winter 1980
recordings ('Closer', the 'Love Will Tear Us Apart' single, the
'Komakino' flexi-disc - both the latter now on 'Substance') seemed
to occur at one instant in time so that the recordings came to be
viewed as premonitory. In October 1981 Factory appeased the
bootlegger in us all by issuing their very own bootleg 'Still', ironically
in chart terms their most successful album. Since then we have had
the re-release of the two bona-fide albums on CD ('Unknown

XXVII
 substance.

Pleasures' is a particular treat). We now await the epilogue: the CD

release of both the Peel sessions and 'Substance' - a final collecting
together of strands. Meanwhile there is a new order, a band who
betray their origins perhaps more than Joy Division did with Warsaw.
However, though the best of Joy Division's songs thread the thin
line between thrilling to the danger and succumbing to the romance
of the heart of darkness, since 'Closer' the surviving members have
wisely forsaken any romantic attachment they may have felt for the
void they were teetering on.

XXVIII
 JD: The Recordings

JOY DIVISION: THE RECORDINGS 1977-1980

All recordings marked b. are bootlegs. All official recordings are on
Factory Records except where otherwise indicated. Known videos
are marked v. All studio sessions are printed in bold.

PENNINE SOUND STUDIOS, 18/7/77

1. Inside The Line
2. Gutz
3. At A Later Date
4. The Kill
5. 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. Warsaw
2. No Love Lost
3. Leaders Of Men
4. Failures
1-4 An Ideal for Living EP. ENIGMA PSS 139.
\-A 'Substance'FACT 250

XXIX
 JD: The Recordings

ARROW STUDIOS, MANCHESTER, 3+4/5/78

1. The Drawback
2. Leaders Of Men
3. Walked In Line
4. Failures
5. Novelty
6. No Love Lost
7. Transmission
8. Ice Age
9. Interzone
10. Warsaw
11. Shadowplay
1-11 'Warsaw' b.

'WHAT'S ON', GRANADA STUDIOS, SALFORD, 20/9/78

1. Shadowplay
1 'The Way We Were' bv.

CARGO STUDIOS, ROCHDALE, 11/10/78

1. Digital
2. Glass
1-2 Factory Sampler EP FAC 2/'Substance' FACT 250
2 Still FACT 40

BBC STUDIOS, MAIDA VALE, LONDON, 31/1/79

1. Exercise One
2. Insight
3. Transmission
4. She's Lost Control
1^1 Strange Fruit SFPS013

XXX
 JD: The Recordings

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

1. She's Lost Control
2. Shadowplay
3. Leaders Of Men
4. Insight
5. Disorder
6. Glass
7. Digital
8. Ice Age
9. Warsaw
10. Transmission
11. I Remember Nothing
12. No Love Lost
1-12. 'Bowden Vale Youth Club' b.

STRAWBERRY STUDIOS, MANCHESTER, APRIL 1979

1. Disorder
2. Day Of The Lords
3. Candidate
4. Insight
5. New Dawn Fades
6. She's Lost Control
7. Shadowplay
8. Wilderness
9. Interzone
10. I Remember Nothing
11. Auto-Suggestion
12. From Safety To Where...?
13. Exercise One
14. The Only Mistake
15. Walked In Line
16. The Kill
1-10 'Unknown Pleasures' FACT 10
11-12 Earcom Two: Contradiction FAST 9B/'Substance' FACT 250
13-16 'Still'FACT 40

XXXI
 JD: The Recordings

'PICCADILLY RADIO SESSION' PENNINE STUDIOS,

MANCHESTER, 4/6/79
1. These Days
2. Candidate
3. The Only Mistake
4. Atmosphere
5. Atrocity Exhibition
1-5 'Atmosphere' b.

BAND ON THE WALL, MANCHESTER, MAY/JUNE 1979

1. Walked In Line
2. She's Lost Control
3. Shadowplay
4. New Dawn Fades
5. Day Of The Lords
6. Insight
7. Disorder
8. The Only Mistake
9. I Remember Nothing
10. Sister Ray

ROOTS CLUB, LEEDS, 11/7/79

1. Dead Souls
2. Shadowplay
3. She's Lost Control
4. Candidate
5. These Days
6. Disorder
7. Interzone
8. Glasss
9. Transmission
10. Atrocity Exhibition
11. No Love Lost

XXXII
 JD: The Recordings

THE FACTORY 1, MANCHESTER, 13/7/79

1. Dead Souls
2. The Only Mistake
3. Insight
4. Candidate
5. Wilderness
6. She's Lost Control
7. Shadowplay
8. Disorder
9. Interzone
10. Atrocity Exhibition
11. Novelty
12. Transmission
1-10 'Russell Club' b.
1-10,12 'Deal Soul'b.

CENTRAL SOUND STUDIOS, MANCHESTER, MID JULY 1979

1. Transmission
2. Novelty
3. Dead Souls
4. Something Must Break
1^1 'Atmosphere' b.

'WHAT'S ON', GRANADA STUDIOS, SALFORD, 20/7/79

1. She's Lost Control

STRAWBERRY STUDIOS, MANCHESTER, LATE JULY 1979

1. Transmission
2. Novelty
3. Something Must Break
1-2 FAC 13/'Substance' FACT 250
3 'Still'FACT 40

XXXIII
 JD: The Recordings

IMPERIAL HOTEL, BLACKPOOL, 27/7/79

1. Dead Souls
2. Glass
3. Disorder
4. Auto-Suggestion
5. Transmission
6. She's Lost Control
7. Shadowplay
8. Atrocity Exhibition

PRINCE OF WALES CONFERENCE CENTRE, YMCA,

LONDON, 2/8/79
1. Dead Souls
2. Disorder
3. Wilderness
4. Auto-Suggestion
5. Transmission
6. Day Of The Lords
7. She's Lost Control
8. Shadowplay
9. Atrocity Exhibition
10. Insight
1-10 'Dead Soul' b.

ERICS, LIVERPOOL, 11/8/79 (EVENING SHOW)

1. Transmission
2. Sister Ray/Gimme Some Lovin'
3. Disorder
4. New Dawn Fades
5. Glass
6. Shadowplay
7. Colony
8. Interzone
9. Ice Age

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

XXXIV
 JD: The Recordings

NASHVILLE ROOMS, LONDON, 13/8/79

1. She's Lost Control
2. Exercise One
3. Colony
4. Auto-Suggestion
5. Ice Age

LEIGH OPEN AIR POP FESTIVAL, 27/8/79

1. Disorder
2. Leaders Of Men
3. Colony
4. Insight
5. Digital
6. Dead Souls
7. Shadowplay
8. She's Lost Control
9. Transmission
10. Interzone

THE ELECTRIC BALLROOM, LONDON, 31/8/79

1. Sound Of Music
2. Wilderness
3. Colony
4. Day Of The Lords
5. Shadowplay
6. Transmission
7. Interzone
8. Disorder
9. She's Lost Control
10. Insight

XXXV
 JD: The Recordings

FUTURAMA SCI-FI FESTIVAL',

QUEENS HALL, LEEDS, 8/9/79
1. I Remember Nothing
2. Wilderness
3. Transmission
4. Colony
5. Disorder
6. Insight
7. Shadowplay
8. She's Lost Control
9. Atrocity Exhibition
10. Dead Souls

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

1. Transmission
2. She's Lost Control
1-2 'Something Else' EP b.
1-2 v.

NASHVILLE ROOMS, LONDON, 22/9/79

1. Atmosphere
2. Wilderness
3. Shadowplay
4. Leaders Of Men
5. Insight
6. Colony
7. Transmission
8. Disorder
9. She's Lost Control
10. Atrocity Exhibition
11. Glass
12. Exercise One
2-12 Try To Cure Yourself b.

XXXVI
 JD: The Recordings

MOUNTFORD HALL, LIVERPOOL UNIVERSITY

HALLS OF RESIDENCE, 2/10/79
1. Wilderness
2. Ice Age
3. Candidate
4. Shadowplay
5. Insight
6. She's Lost Control
7. Twenty Four Hours
8. Disorder
9. Transmission
10. Warsaw

NEWCASTLE CITY HALL, 4/10/79

1. Disorder
2. Shadowplay
3. Colony
4. Day Of The Lords
5. Glass
6. Transmission
7. She's Lost Control
8. Atrocity Exhibition

CARGO STUDIOS, ROCHDALE, OCTOBER 1979

1. Dead Souls
2. Atmosphere
3. Ice Age
1,3 'Still', FACT 40
1-2 Licht und Blindheit SORDIDE SENTIMENTAL SS 33002 -
Limited Edition of 1578 copies
1-2 'Substance' FACT 250

XXXVII
 JD: The Recordings

THE ELECTRIC BALLROOM, LONDON, 26/10/79

1. I Remember Nothing
2. Love Will Tear Us Apart
3. Wilderness
4. Colony
5. Insight
6. Day Of The Lords
7. Shadowplay
8. She's Lost Control
9. Transmission
10. Disorder
11. Atrocity Exhibition
12. Interzone
1-12 'Walk Away In Silence' b.

THE APOLLO, MANCHESTER, 27/10/79

1. Dead Souls
2. Wilderness
3. Colony
4. Auto-Suggestion
5. Love Will Tear Us Apart
6. Shadowplay
7. She's Lost Control
8. Transmission

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

THE APOLLO, MANCHESTER, 28/10/79

1. Sound Of Music
2. Shadowplay
3. Colony
4. Day Of The Lords
5. Twenty Four Hours
6. Disorder
7. Walked In Line
8. I Remember Nothing
9. Transmission
1,4,7-9 'Here Are The Young Men' v.

XXXVIII
 JD: The Recordings

WINTER GARDENS, BOURNEMOUTH, 2/11/79

1. I Remember Nothing
2. Love Will Tear Us Apart
3.
3. Wilderness
Wilderness
4.
4. Colony
Colony
5.
5. Insight
Insight
6.
6. These
These Days
Days
7..
7 DDigital
igital
8.
8. Transmission
Transmission
9.
9. Atrocity
Atrocity Exhibition
Exhibition
1-9 'Dante's Inferno' b.

PAVILION, HEMEL HEMPSTEAD, 5/11/79

Soundcheck:
1. New Dawn Fades
2. Dead Souls
3. The Only Mistake
4. Love Will Tear Us Apart

Gig:
1. Dead Souls
2. Wilderness
3. Twenty Four Hours
4. New Dawn Fades
5. Digital

THE RAINBOW, FINSBURY PARK, LONDON, 9/11/79

1. Sound Of Music
2. Shadowplay
3. New Dawn Fades
4. Colony
5. Insight
6. Love Will Tear Us Apart
7. She's Lost Control
8. Transmission

XXXIX
 JD: The Recordings

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

1. Dead Souls
2. Wilderness
3. Twenty Four Hours
4. Day Of The Lords
5. These Days
6. Interzone
7. Disorder
8. Atrocity Exhibition
1-8 'Shadow Play'b.

JOHN PEEL SESSION, MAIDA VALE, LONDON, 26/11/79

1. Twenty Four Hours
2. Colony
3. Sound Of Music
4. Love Will Tear Us Apart
\-A Strange Fruit SFPS 033

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

1. Passover
2. Wilderness
3. Disorder
4. Love Will Tear Us Apart
5. Insight
6. Shadowplay
7. Transmission
8. Day Of The Lords
9. Twenty Four Hours
10. Colony
11. These Days
12. A Means To An End
13. She's Lost Control
14. Atrocity Exhibition
15. Interzone
16. Warsaw
1-16 'Live In Paris/Joy Division' b.
5-9 'Live in Paris/Joy Division' + 'Atrocity Exhibition' b.
(from FM broadcast)

XL
 JD: The Recordings

PENNINE STUDIOS, MANCHESTER, 8/1/80

1. Love Will Tear Us Apart
2. Sound Of Music
3. These Days
1 FAC 23 b-side
2 'Still' FACT 40
3 FAC 23/'Substance' FACT 250

EL PARADISO, AMSTERDAM, 11/1/80

1st Set:
1. Passover
2. Wilderness
3. Digital
4. Day Of The Lords
5. Insight
6. New Dawn Fades
7. Disorder
8. Transmission
1-8 'Gruftgesaenge/Last Order/Stroszek's Last Stand' b.
3-8 'Amsterdam' b.
2nd Set:
1. Love Will Tear Us Apart
2. These Days
3. A Means To An End
4. Twenty Four Hours
5. Shadowplay
6. She's Lost Control
7. Atrocity Exhibition
8. Atmosphere
9. 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. Atmosphere
2. Love Will Tear Us Apart
3. These Days
4. Insight
5. Twenty Four Hours
6. A Means To An End
7. She's Lost Control
8. Sound Of Music
9. Glass
10. Day Of The Lords
11. Shadowplay
12. Interzone
13. Disorder
14. Transmission
15. Atrocity Exhibition

PLAN K, BRUSSELS, 17/1/80

1. Dead Souls
2. Wilderness
3. Insight
4. Colony
5. Twenty Four Hours
6. A Means To An End
7. Transmission
8. Atmosphere
9. Love Will Tear Us Apart
10. Digital
11. Warsaw
12. Shadowplay
13. Atrocity Exhibition
14. Sister Ray
15. The Eternal

XLII
 JD: The Recordings

EFFENAAR, EINDHOVEN, 18/1/80

1. Love Will Tear Us Apart
2. Digital p
3. New Dawn Fades
4. Colony
5. These Days
6. Ice Age
7. Dead Souls
8. Disorder
9. Day Of The Lords
10. Auto-Suggestion
11. Shadowplay
12. She's Lost Control
13. Transmission
14. Interzone
15. 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 21/1/80

1. Deal Souls
2. Wilderness
3. Colony
4. Twenty Four Hours
5. A Means To An End
6. Transmission
7. The Eternal

XLIII
 JD: The Recordings

UNIVERSITY OF LONDON UNION BUILDING, LONDON,

8/2/80
1. Dead Souls
2. Glass
3. A Means To An End
4. Twenty Four Hours
5. Passover
6. Insight
7. Colony
8. These Days
9. Love Will Tear Us Apart
10. Isolation
11. The Eternal
12. Digital
5 'LeThermePartlFb.

TOWN HALL, HIGH WYCOMBE, 20/2/80

Soundcheck:
1. Isolation
2. The Eternal
3. Ice Age
4. Disorder
5. Sound Of Music
6. A Means To An End

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

Gig:
1. Sound Of Music
2. A Means To An End
3. Colony
4. Twenty Four Hours
5. Isolation
6. Love Will Tear Us Apart
7. Disorder
8. 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. Wilderness
3. Twenty Four Hours
4. The Eternal
5. Heart And Soul
6. Shadowplay
7. Transmission
8. Disorder
9. Warsaw
10. Colony
11. Interzone
12. She's Lost Control

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

THE LYCEUM, LONDON, 29/2/80

Soundcheck:
1. Heart And Soul
2. Incubation
3. Komakino
4. Isolation

Gig:
1. Incubation
2. Wilderness
3. Twenty Four Hours
4. The Eternal
5. Heart And Soul
6. Love Will Tear Us Apart
7. Isolation
8. Komakino
9. She's Lost Control
10. These Days
11. 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 Control
1 FAC 23/'Substance' FACT 250
2 FACUS 2/'Substance' FACT 250

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

1. Atrocity Exhibition
2. Isolation
3. Passover
4. Colony
5. A Means To An End
6. Heart And Soul
7. Twenty Four Hours
8. The Eternal
9. Decades
10. Komakino
11. Incubation
12. And Then Again
1-9 'Closer'FACT 25
10-12 FAC 28/'Substance' FACT 250

THE MOONLIGHT CLUB, LONDON, 2/4/80

1. Sound Of Music
2. Wilderness
3. Colony
4. Love Will Tear Us Apart
5. A Means To An End
6. Transmission
7. Dead Souls
8. Digital
9. Sister Ray
1-7 'Atrocity Exhibition' b.
9 'StiH'FACT40.

XLVI
 JD: The Recordings

THE MOONLIGHT CLUB, LONDON, 3/4/80

1. Love Will Tear Us Apart
2. Glass
3. Digital
4. Heart And Soul
5. Isolation

THE MOONLIGHT CLUB, LONDON, 4/4/80

1. 11 ansmission
2. A Means To An End
3. Twenty Four Hours
4. Day Of The Lords
5. Insight
6. Interzone

THE WINTER GARDENS, MALVERN, 5/4/80

1. Disorder
2. Wilderness
3. Twenty Four Hours
4. Heart and Soul
5. Atmosphere
6. Love Will Tear Us Apart
7. Isolation
8. Interzone
9. She's Lost Control
10. Wild Love jam w/ Section 25
1-9 'Malvern/Erics'b.

XL VII
 JD: The Recordings

AJANTA THEATRE, DERBY, 19/4/80

1. Dead Souls
2. Wilderness
3. Digital
4. Insight
5. Passover
6. Heart And Soul
7. Isolation
8. These Days
9. Transmission
10. She's Lost Control
11. Colony
12. 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. Ceremony
2. Decades

Gig:
1. Ceremony
2. Shadowplay
3. A Means To An End
4. Passover
5. New Dawn Fades
6. Twenty Four Hours
7. Transmission
8. Disorder
9. Isolation
10. Decades
11. Digital
1-11 'Still'FACT40

XLVIII
 CAUTIONAny person who (1) falsifies any
D. Cert. of the particulars on this certificate, or (2)
uses a falsified certificate as true, knowing
it to be false, is liable to prosecution.

CERTIFIED COPY ^Mf W OF AN ENTRY

Pursuant to the Births and ^sp Deaths Registration Act 1953
DEATH nT no
Administrative area
Registration district
Sub-district
C/OwvCCi] Of
E^XKccU^fCcld.
1. Date and plac

1&** (VLxaj \>4>o

2. Name andi dsurname surname 3. Sex J (\A/lJLP^.

/ ^ LW CUfZ-f\& 4. Maiden surname _

5. Date and place of birth

ual address

11 faoiSte^ >U6t Mp^LtU&fO-LcL

7 . ( 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(b)
a lQualification
i fi c a t i o n
Cest<Siu*xe received fro^ "liM^rttvy <t>r>w & fi^e^ie^^t oeyutyCorc

(c) Usual address ^

8. Cause of death

^\Wl dcujuKsbiA. failed- V*,w2>e\f

Signature
of informant
Signature of registrar

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

Certified to be a true copy of gentry in a re

jC:..^-L..V^^su De
"^Superintendent Registrar IH '7''l1?^.Date
GA 270370