Record Play Pause: Confessions of a Post-Punk Percussionist: Volume 1 – Stephen Morris. Signed Copies up for Grabs…

Stephen Morris has become synonymous with drumming in Post Punk band Joy Division and Electronic pioneers New Order, in fact some say he isn’t actually human but he is actually a drum machine…

Steve has eclectic tastes, some might say eccentric, I mean who has a Cyberman and a Dalek in their home studio?….

Or a bunch of military vehicles in his barn?…

Some even say geeky….

For the first time Stephen Morris pens HIS memoir, the others have done it, Bernard and Peter have already done theirs but this is the one we have all been waiting for…

As some of you may already know Steve has embarked on a book signing tour across the uk which has had great success.
A couple have already been done with a few more to come, details below:

May 9th – Manchester, Dancehouse*:
May 13th – Liverpool, British Music Experience*:
May 17th – Hebden, Trades Club*/:
May 22nd – London, The Social^: SOLD OUT
May 23rd – Glasgow, Mitchell Theatre:
July 17th – Bath, Christ Church:
* Interviewed by Dave Haslam
/ DJ Set from Stephen
^Unknown Pleasures Playback

For those who have yet been unable to make the dates, or may not be able to get their hands on a signed copy, have teamed up with publishers Constable to give people a chance of winning a signed copy.

The competition is available worldwide (p&p charges apply) and there are five books up for grabs!

The competition question is as follows:

What is Stephen Morris’s Middle Name?

The competition runs until Saturday the 15th Of June and winners will be notified by email shortly after

For those who aren’t lucky to win one of the signed books from the competition then they are still available from Amazon on the following link:

Here’s also a “sneek peak” of what to expect in the book…

My plans to become a drummer hadn’t exactly set the world on fire either. I’d borrowed a pair of sticks (which allegedly used to belong to Woody Woodmansey from the Spiders from Mars), bought the Gene Krupa Drum Method book – which almost made sense – and was tapping away on the settee in the hope I would get taken seriously. I trawled through the Manchester Evening News classifieds and the small ads in Melody Maker and Sounds, hoping to find some drums in my price range – free to ridiculously cheap – but they all seemed a bit on the expensive side.
I’d started paying even more attention to the drumming on records and at gigs. I’d seen Buddy Rich on TV – the greatest drummer in the world, they said. I thought he was just an arrogant show-off. He sounded like an angry man urgently rolling a barrel full of marbles down a never-ending flight of stairs. There was no way I was going to be doing any of that stuff. Besides, it looked too much like hard work. No, to me the most interesting drummers were the ones who kept it simple like Jaki Liebezeit or Moe Tucker. I didn’t like the showing-off thing. Even back then, I figured the drummer’s job was to hold the band together, not to stand out. It’s a thankless task but someone’s got to do it.
My mother was still laughing sceptically at my plans for a career in ‘music’.
‘You? In a band? You couldn’t say boo to a goose! You’d be home in no time. You never wear that nice check shirt I bought you . . .’
My father wasn’t impressed with my new choice of instrument either.
‘Drummers, Stephen, I’ve never met a sane one yet. They all end up taking morphine and drinking absinthe, rotting their brains. You don’t want to end up like that, do you?’
‘No,’ I lied, ‘but it’s all different nowadays,’ hoping he had forgotten the Hawkwind gig, which he hadn’t. I wheedled and I cajoled, I wouldn’t give it a rest. I told him I was saving up and I’d even started selling off some naffish records to raise a bit of cash. (These naff records were a result of me misunderstanding the terms of the Britannia Music Club. I had been lured into membership by the opening offer of free albums, and expected our relationship to remain on those terms for the rest of time. But they started sending me shit ones that I was expected to pay for every month. Always read the small print.)
As part of the deal to accomplish my percussion purchase, I found it best that I keep my end of the gig deal and show an interest in my father’s musical heritage. I had still not been forgiven for Hawkwind.
Keeping my end of the bargain, I was taken by my father, twice, to the Southport Floral Hall (quite a journey from Macclesfield; well, it was with my Dad driving). First it was to see Count Basie and His Orchestra, and then a few weeks later Marlene Dietrich. Count Basie was all right, a lot better than I expected, to be honest, but I really thought Marlene Dietrich was fantastic. She was getting on a bit but she still had that charisma. A pre-war Berlin decadent chanteuse vibe, all in gold lamé and top hat and tails. A kind of Nico for the old folks. She was undeniably a star that refused to fade, transcending the showbiz cliché shit.
I had to admit to Cliff that I had enjoyed both gigs more than I expected, but especially Marlene’s.
I love that quote of hers: ‘Do you think this is glamorous? That it’s a great life and that I do it for my health? Well it isn’t. Maybe once, but not now.’

I’d only wish i’d read it sooner..


Best of luck!

Steve Competition!

Peter Hook & Manchester Camerata Present Joy Division Orchestrated at @Royal Albert Hall Friday 5th July 2019. TICKETS ON SALE TODAY @ 9AM HERE –

@Peter Hook & @Manchester Camerata Present @Joy Division @Orchestrated at @Royal Albert Hall Friday 5th July 2019.


Peter Hook & Manchester Camerata Present Joy Division Orchestrated – Royal Albert Hall, London – Friday 5th July 2019


Peter Hook & Manchester Camerata Present

Joy Division Orchestrated

Friday 5th July 2019 – Royal Albert Hall, London


SJM Concerts with

Peter Hook & Manchester Camerata Present

Joy Division Orchestrated

Friday 5th July 2019

Royal Albert Hall, London, SW7 2AP

Tickets On Sale Friday 5th October 2018 at 9AM at, & Royal Albert Hall Box Office.

Sign Up For Info & Pre-Sale Here –

Joy Division’s legendary bassist Peter Hook is set to revisit the band’s post punk repertoire with Manchester Camerata for a special date at London’s Royal Albert Hall on Friday 5th July 2019.

Celebrating one of the most influential bands ever, “Peter Hook & Manchester Camerata Present Joy Division Orchestrated” sets the group’s famous works in an immersive show that recognises their role in shaping popular culture and the esteem in which they are held.

Curated by Peter Hook who acts as Executive Producer for the project alongside Musical Director Tim Crooks, the concert will be the first time that an original member of the group has participated in such a project and the duo are presently arranging the band’s decisive back catalogue for the concert.

The event pairs up musically the elements of post punk that characterised Joy Division’s ground-breaking sound to a full orchestra and will pay homage to the band and the spirit which defines their heritage.

Given the band’s iconic legacy as one of the most seminal groups in music history, the arrangements of classic Joy Division will be presented in a state-of-the-art concert setting with the highest standards of production.

As a band tragically ended just on the eve of their first American tour in May 1980, Joy Division’s influence has grown remarkably since and remains ever present, with fans of all generations and the many contemporary bands who have taken on the template of the band’s sound in the modern era.

Across their two LPs and singles, all produced by Martin Hannett for Factory Records, the band’s landmark tracks are to be featured in “Peter Hook & Manchester Camerata Present Joy Division Orchestrated“, including from the band’s debut album, considered by many the finest debut release by any group.  Meanwhile its follow up is described as a “start to finish masterpiece” (Pitchfork) and their singles are regularly lauded as some of the greatest ever to hit vinyl.

Bound to be a hugely evocative event, “Peter Hook & Manchester Camerata Present Joy Division Orchestrated” comes to London’s Royal Albert Hall on Friday 5th July 2019.

About the first Orchestrated concert Peter Hook commented;

In my recent work with orchestras, I realised that my first group could also lend itself to this. Post punk is already dramatic and this will accentuate that and take it to another performing and emotional level. “

I’ve been very impressed with how our arranger Tim Crooks works and I know the band’s canon will be treated with great reverence and care, enthusiasm and passion as the originals were. I am positive everyone involved will create something very special.”

Tim Crooks added “To be given the opportunity to present the music of Joy Division with Hooky and the wildly experimental Manchester Camerata is a great honour. The process for me involves peering through the veil of history to create an immersive experience that retains the anarchic, raw spirit of the originals. Modern life is rubbish. This is analogue, unfettered and live.”

Meanwhile, Manchester Camerata’s CEO, Bob Riley rounded off; “The holy grail for an orchestra is to envelop an audience in sounds that spark your imagination in a way that nothing else can. Working alongside Tim, Hooky and the visceral energy and iconic sounds of Joy Division will do this in a unique way, and as an orchestra, we can’t wait!”

Tickets for the event go on sale on Friday 5th October at, & Royal Albert Hall Box Office.

Peter Hook & Manchester Camerata Present Joy Division Orchestrated Links





Peter Hook & The Light Announce Debut Concerts For “Technique” & “Republic” – The Albums Of New Order In London / Manchester / Glasgow In Late September 2018

Peter Hook & The Light Announce Debut Concerts For “Technique” & “Republic” – The Albums Of New Order In London / Manchester / Glasgow In Late September 2018


An Evening With Peter Hook & The Light Performing The Albums “Technique” & “Republic” By New Order With An Opening Set Of Joy Division Material

Friday 28th September 2018 Koko, Camden, London
Saturday 29th September 2018 Albert Hall, Manchester
Sunday 30th September 2018 02 ABC, Glasgow

Tickets on sale Friday 9th February 2018 at 10AM via Alt Tickets & See Tickets

London –

Manchester –

Glasgow –


Having toured the albums from Hooky’s previous bands for almost eight years now, Peter Hook & The Light have now arrived at the next chapter in their journey as they reach the late Eighties and early Nineties albums of New Order, “Technique” and “Republic” which they will perform for the first times in London, Manchester and Glasgow in September this year.

The Light have just completed a widely acclaimed world tour performing both “Substance” albums of Joy Division and New Order across North and South America. Europe, Australia and New Zealand but these “Technique” and “Republic” concerts mark the band moving forward through the catalogue once more.

The first of the concerts see the group back in Camden at Koko after the fully sold out Roundhouse concert in December on Friday 28th September. They then play Manchester’s Albert Hall for the first time in their home city Saturday 29th September before heading north of the border for a Scottish concert at the ABC, Glasgow Sunday 30th September.

As has become their custom, all dates feature The Light performing an opening set of Joy Division material

Tickets for all dates go on general sale Friday 9th February at 10AM via Alt Tickets for London and See Tickets Manchester and Glasgow. Links are above.

About Technique & Republic

“Technique”, New Order’s fifth studio album chronicles the impact of acid house on the band, marking the clearest statement of the rock and dance influences which were shaping their output. Released in January 1989, just after the bands infamous G-Mex gig and aftershow downstairs at The Hacienda in December the previous year, it became New Order’s first album to go to number one in the UK. It was also hugely successful in the United States where the influence of Quincy Jones’ Qwest label regularly got the band’s singles to the top of the American dance charts,

“Technique” was driven by the classic acid house single “Fine Time” which rivals “Blue Monday” as probably the most openly dance orientated record the group ever produced whilst other tracks on the LP “Round And Round”, “Mr Disco” and “Vanishing Point” also reflect the dance sensibilities then fusing their way into New Order’s sound. Yet like on its predecessor, “Brotherhood”, these are balanced by the vocal led, more rock leaning “All The Way”, “Gulity Partner” and “Run”.

Legendarily recorded in Ibiza in 1988, Technique has often been observed to capture the sound of that summer and the heady period back them both on the island and in the UK and of course, Manchester. As is widely known, the band didn’t actually do much work in Ibiza, a jaunt that Factory label boss Tony Wilson once told Peter Hook “was the most expensive fucking holiday you’ve ever been on”.

The band returned to the UK to finish the LP at Bath’s Real World Studios later in 1988, itself the scene of another legendary New Order party when recording was completed.

In many ways, “Technique” epitomised its time and the culture surrounding it. It came out to generally ecstatic reviews from the top notch echelons of the music press. In the UK, Melody Maker called it “a rare and ravishing triumph” whilst NME proclaimed the band “had fashioned an LP of rare and unflinching honesty”. Across in the States, SPIN called it New Order’s best ever album, Rolling Stone referred to its “sonic presence with immaculate playing” and Pitchfork sum up the album simply as “magnificent.”

“Placed in the perfect position to deliver the definitive alternative take on house music, the band produced another classic record”. All Music

Many consider “Technique” to mark the high point of New Order and as they went on from the album to headline Reading Festival in August 1989, before going on hiatus and also pursuing their solo projects, this is generally thought of as the golden period for the band.

Due to the well documented history surrounding “Republic”, it is remarkably difficult to characterise it as sharing the same sunny outlook as “Technique” but Hooky’s decision to include it in these concerts underline his commitment to perform all of his catalogue that he has committed to record.

Not that “Republic” wasn’t hugely successful. Again it went to number one in the UK and became the band’s biggest ever selling album in America, narrowly missing the Billboard album chart top ten peaking at number 11.

However it is not unknown that it was New Order’s most difficult album to make. Factory Records had hit financial trouble and needed a New Order album to bail themselves out so the band were coerced into recording the album in to save Factory. Something that didn’t entirely work out as Factory was then to go bankrupt in November 1992 and New Order then signed to London Records, an offshoot of Warner Bros with “Republic” released in May 1993.

The band roared back with first single “Regret”, still thought of as one of their finest ever, and subsequent singles “Ruined In A Day” and “World” did well, both in their original versions and as remixes which again dominated the dance charts.

Yet it’s not hard to deduce that the demise of Factory, coupled with the ongoing difficulties surrounding the band’s involvement in Manchester’s Hacienda as well as internal friction within New Order and due to the band members’ solo projects, all had an impact on the recording sessions and mood that lies behind “Republic, something that Stephen Hague did his utmost to assuage in producing the LP.

Still considered a worthwhile addition by fans to New Order’s catalogue, yet, if not perhaps hitting the standards they had previously set for themselves, “Republic” did receive some strong reviews. NME’s Dele Fadele awarded it 8/10 on release whilst All Music commented that “Republic simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs.”

For videos and concert footage from The Light check / /

The Hacienda Xmas Party at The Warehouse Project Manchester 30/12/17

The Hacienda Xmas Party at The Warehouse Project Manchester 30/12/17


Todd Terry Kevin Saunderson Graeme Park Preview Return To Store Street



This year’s Hacienda Christmas party sees the club back at The Warehouse Project for its first event with the club in over three years. Taking place Saturday 30th December, the night once again sees some of the finest US DJ’s guests taking charge alongside The Hacienda’s own original DJ influences.


With a heavyweight line-up featuring from stateside, Danny Tenaglia, Todd Terry and Kevin Saunderson, The Hacienda’s contingent includes Graeme Park, A Guy Called Gerald, Greg Wilson,  Danny Rampling, Justin Robertson,  Allister Whitehead , Tom Wainwright & Russ.


As the DJ’s playing share a long history and association with FAC51, both via the records they have produced and having played at the original venue and more recent events, we caught up with Todd Terry, Kevin Saunderson and the club’s longest serving resident, Graeme Park, to chat over The Hacienda then and now and being back to the WHP for Christmas.


One of the finest DJ’s and producers in the world, Todd Terry, whose unique blend of tough garage beats, hip hop, techno and classic vocals have seen his records shape dance music heart and soul. Beyond the smash number one hit of Everything But The Girl’s “Missing” produced by Todd, his productions such as “Keep On Jumping”, “Something’s Going On” and remixes for the likes of Pamela Fernandez, Bjork and George Michael amongst others are considered some of the very best works ever produced. With a body of work stretching back three decades, just to mention these few tracks scarcely does justice to Todd’s catalogue.

A regular at the original Whitworth Street venue, who headlined many New Years Eve and Birthday parties in the nineties, Todd remembers that the “the club  was always exciting. What was great for me was that I always got a chance to break new records, laying down new tunes such as Weekend, Bango and Orange Lemon’s Dreams of Santa Anna which the crowd took to straight away. That gave me real confidence in the material.”


Equally Told, much admired and well loved in Manchester also remains a great fan of the city and its scene. “Every time I visit Manchester, the city is always vibrant. People are always ready to party there and it has a unique vibe to it that doesn’t compare to anywhere else.”


A name known to any dance music aficionado as Reese, Inner City, E-Dancer and as himself Kevin Saunderson, Kevin is also one of the most influential producers in dance music history. A core member of Detroit’s “The Belville Three” with Derrick May and Juan Atkins, Kevin’s tracks, “Good Life”, “Big Fun” and “The Colour Of Love” were huge worldwide hits in dance music’s early days and remain seminal today. Again like Todd, that’s aside from his huge body of work including more underground tracks like “Star Dancer” and his “History Elevate” series.


Active across the Northern scene at the original Hacienda and clubs like Soak, Basics and more when he was living in the UK and recording for Neil Rushton’s Network Records in the late Eighties, Kevin also recalls the sprit and influence of FAC51.


The Hacienda was always a classic feeling kind of venue. Even then it was obviously very historical and had been around for a few years. What I remember most is that it was all about the music and that gave it one of the greatest atmospheres I’ve experienced in a club.”


When I first visited back in early 88 the Northern scene didn’t feel that developed but by the latter part of the year it had shot up and everyone was on the same page and the same vibe. Everyone was so enthusiastic. They really cared about what the DJ played and were in tune to this great new music.” The Hacienda’s very own Graeme Park, Scots born but Manc adopted needs no introduction to the club’s fraternity. An ever present with the club since 1988 onwards and its longest serving resident, Graeme’s considerable talents as a DJ, radio presenter, producer and remixer is well documented and his personal influence on the longevity of the club cannot be overstated. Looking forward to being reunited with his American DJ friends at the Warehouse Party gig, Graeme reckons that “this is one of the most exciting line-ups of legendary DJs we’ve had. Their music, remixes and productions throughout the 80s and 90s provided the soundtrack to the hedonism of The Haçienda. Their legacies are important and they inspired younger contemporary producers today.”


I’ve had the pleasure of DJing with them on their respective home turfs and I’ve toured and hung out with them around the world over the years, so I know firsthand how great they are behind the decks too. They can all work a dance floor sublimely, thanks to their years of experience behind the decks. Their craft shines through. They are also rare examples of producers of music who are equally at home behind the decks and in the studio. That is a rare talent that many DJ/producers lack nowadays.”


As for coming back to The Warehouse Project Graeme concludes “I’ve always loved the place as the crowd are amazing and always up for it. Previous Haçienda nights at the WHP have been great but I’m certain that this will be the best one yet. Just don’t ask me what I’m going to play though.”


Todd and Kevin also agree. Here’s Todd first up, “the WHP is always a good party. I get to play what I want such as old school house, disco, funk, and old school hip hop. Can’t wait to hang with you guys, see you soon!” While the last word for now goes to Kevin.


I ‘m looking forward to it for sure. Get ready for a combination of classic tracks and  music from the future. Some bits of house, lots of techno, cause that’s who I am!”


Tickets for The Hacienda Xmas Party at The Warehouse Project Saturday 30th December are available here –


FAC 51 The Hacienda @ The Warehouse Project, MCR

Saturday 30th December 2017 – 8pm to 5am

Danny Tenaglia, Todd Terry, Kevin Saunderson, Graeme Park,

A Guy Called Gerald, Greg Wilson,  Danny Rampling,

Justin Robertson,  Allister Whitehead , Tom Wainwright & Russ.

On Sale Now Here –



Webmaster Announcement.

Fellow readers of…

It is with heavy heart that i can confirm that the news section on will no longer be updated.

As you will all know, social media pages can be easily updated within seconds to get the latest New Order and associated news as it happens, whereas it is somewhat time consuming updating the NoW site,
However, i will continue to share the latest news on our sister pages on Facebook. –

New Order –

Joy Division / New Order / Electronic –

Factory Records –

This doesnt mean the end of – (for now) but i can forsee in the coming years that i will have to close it down or leave it in archive mode.

The site has been a passion, especially the discographes and i am loathed to lose the New Order Discography that i have worked on for many years ,and which is still the number one and most comprehensive New Order Discpgraphy on the planet.

I have another project in the pipeline with the discography in mind but this will take several years to come to fruition, i will keep you all informed on progress naturally.

I would like to take the opportunity to thank everyone who have been involved in the project.

Special thanks goes out to Peter Hook and James Masters.