Clocking in at over 700 pages, former New Order bassist Peter Hook has much to say in his new book Substance, which catalogues, in fan-delighting minutiae, his tumultuous tenure in Britain’s foremost indie four-piece. Intra-group wrangling, love trysts, moodiness, shocking amounts of white powder and hangovers from hell defined the band’s existence. Throw in some jet lag, tax issues and ownership of a loss-making nightclub and you have a story that’s more epic than any film could ever capture (although Michael Winterbottom’s 24 Hour Party People from 2002 gave it a good try.)
By Alan Gregson
Any James fan will tell you that a vital part of the band’s live show is Andy Diagram and his roving trumpet antics. What they might not know is that over the years, Diagram has performed trumpet duties for, among others, Black Francis, Nico, A Certain Ratio, The Pale Fountains and Pere Ubu.
Diagram was one of the first trumpeters to use effects pedals with his instrument and he took the sound to a new level with his own band, Spaceheads, using loopers controlled from his iPhone, along with percussion from his long-time collaborator Richard Harrison, to produce extraordinary soundscapes, usually accompanied by projections from Rucksack Cinema.
We catch up with Diagram on the Warrington farm of his mate Mark Harrison for the 11th annual Mud Hutters Tea Party.
As autobiographies go, Tony Garnett’s The Day The Music Died: A Life Lived Behind The Lens is as gritty, honest and heart-wrenching as the film and television work that he’s known for. In the Sixties and Seventies, his career was entwined with that of director Ken Loach, a producer on such notable dramas as Kes (possibly the finest film ever made), Cathy Come Home and Up The Junction. In the Nineties, Garnett’s BBC projects This Life, about a group of hedonistic law graduates, and The Cops, focusing on a police station in the fictional northern town of Stanton, were both controversial and strong signifiers of their time. Continue reading “Tony Garnett: the film-maker with his own epic story to tell”
By Alan Gregson
Like most kids growing up in the Seventies and Eighties, before EasyJet made European holidays affordable to most people, we spent our family holidays in the UK, initially at caravan parks, then Pontins in Blackpool and Butlin’s in Pwllheli.
The first holiday I can remember was at a caravan park in Grange-over-Sands, Cumbria. My memories are not dissimilar to Fathers Ted and Dougal’s experience of a caravan holiday, although I don’t remember Graham Norton turning up to perform the Riverdance. It did, however, rain so much that the whole caravan shifted overnight. My other memory of that holiday is the Laurel & Hardy films shown every night in the campsite bar, possibly a memorial to Stan Laurel who was born close by in Ulverston.
When Rowetta joined the Happy Mondays in 1990, not only did she bring the Mancunian masters of indie-dance crossover a more soulful presence, she provided additional visual stimulus to a band that was already pretty watchable in the first place: cos the Mondays had Bez!
With her dominatrix toughness and body hugging bondage attire, Rowetta arrived as an equal partner in this most laddish of lad bands. Here was a woman who was clearly having a ball. With every swish of her whip, Factory Records shifted towards the mainstream: no longer would indie automatically mean an embracing of the mediocre. Soon, Pills ’N’ Thrills And Bellyaches arrived, an LP that was basically a summer holiday on vinyl, reaching No.4 in 1990. Rowetta’s extraordinary vocal range and “Yippee-yippee-yay-yay-ay”-ing perfectly counterbalanced Shaun Ryder’s Nike Air-wearing, couldn’t-give-a-toss cool. We just wished that our girlfriend was hot like Rowetta.
When your knees have started to knock and there are too many miles on the clock, the idea of spending a weekend in the sprawling metropolis of Glastonbury brings on a sense of unease rather than excitement. All that expanse, all those people and, can you believe it?, Coldplay!
Nowadays, of course, there are more festivals than bands but for those of us not overly fussed about standing three-quarters of a mile down a field to watch Muse on a distant screen, there are options. Take the Cock & Bull Festival near Bath, for example, a 500-capacity gathering that manages to mix music, DJs, farm animals, decent food and reasonably priced drinks. Cock & Bull is more Livestock than Woodstock, with pigs, cows and sheepdogs all delighted that you could make it.
By Dan Poole
Premiership football in the mid-Nineties was played upon hallowed turf. It was a time of glorious convergence, when TV money and foreign flair hadn’t yet saturated the English game with a tsunami of cynicism but, rather, added a subtle sheen to a sport still rooted in Bovril and bobbly pitches. Players’ shirts were still baggy, football boots were black and advertising hoardings were analogue. Players such as Dennis Bergkamp, Gianfranco Zola and Juninho were rubbing shoulders with Darren Peacock, Neil Ruddock and Carlton Palmer; like pineapple and cheese on a stick, it was a clash of tastes but by God it was delicious.
Unless you have broom handles for legs, it’s become practically impossible to buy jeans in Britain. “Skinny” is now the nation’s regular fit, while “Regular”, well… you have to assume every pair has been dragged from the shelves of the high street and taken to the nearest incinerator. All of a sudden, everyone’s starting to look like Max Wall.
One location that’s stubbornly impervious to the enforced narrowing of fashion is Manchester. Here men, on the whole, still dress like they’re off to see Oasis at Maine Road. Perhaps it was an act of black magic conjured in the bowels of the Factory Records office one long night in 1989, but it’s like a spell has been cast on the city, meaning that the width of jeans will forever provide legs with much-needed space. It certainly pays to visit Manchester in the sales and stock up on wide-fitting denim.
Two weeks on from the referendum and the dust is far from settling. Some people are a few friends lighter while others are feverishly posting messages about loopholes that might prevent the UK’s break from the EU. Facebook, once home to throwaway banter and pictures of slap-up breakfasts, has transformed into a political shooting alley. Leave voters tread with extreme caution on social media or have stopped using sites altogether. Right now, there seems no end to it, although the ever-reliable Billy Bragg made a valuable point on his Facebook page earlier this week, telling his 273,000 followers: “Though it may be painful for the Remainers, democracy must prevail. The alternative is unthinkable.”
Bloomsbury, London: the heart of British literature and not a shop selling vinyl records for, oof, at least half a mile. Tim Burgess, frontman of The Charlatans, is sitting in a stupendously sunlit room in the offices of Faber & Faber, publisher of his new tome Tim Book Two: Vinyl Adventures From Istanbul To San Francisco. Part paean to LPs and part autobiography, it features a cast of 54 contributors including Ian Rankin, Lauren Laverne, Andrew Weatherall, Bob Stanley and David Lynch, with each naming an album that deserves closer inspection.