Saturday, March 2, 2013

An Ideal For Living (Dec. 1977-Jan. 1978) + RCA Studio Sessions (May 3-4, 1978) ENTIRE Transcription

Joy Division 

"An Ideal For Living" EP, recorded Pennine Sound Studios, Oldham (December 1977)
Unreleased 1st album, RCA Studio Sessions, Arrow Studios, Manchester (May 3-4, 1978)

The following is my best attempt at decoding all the lyrics to all the songs in this Joy Division recording session. I have several documents containing whole gigs and recording sessions entirely transcribed by myself, so I figured instead of giving you just one song in all its forms, I'll give you a whole session today.


Track-List:
1. Warsaw
2. No Love Lost
3. Leaders of Men
4. Failures
5. The Drawback
6. Leaders of Men 
7. (They) Walked in Line 
8. Failures (of the Modern Man)
9. Novelty
10. No Love Lost
11. Transmission
12. (Living in the) Ice Age
13. Interzone
14. Warsaw
15. Shadowplay

1-4: "An Ideal For Living"
5-15: RCA Studio Sessions

I don't really have a whole lot to say, here. We all know the history of these two sessions, how important (or unimportant) they were for the evolving band.

Fresh off of the name change from Warsaw, Joy Division produced and manufactured their own EP. It was an entirely in-house project, with the band financing it and guitarist Bernard Sumner drawing the Nazi-youth cover art for it. Pictures of the band Gareth Davey took decorated the liner notes and inside sleeve (note: few pictures from this photo-session have surfaced).

The production and pressing job they did on the vinyl was of extremely poor quality and the Nazi imagery drew boos from critics, but the effort eventually attracted legendary radio DJ and apparently experienced band manager Rob Gretton to the band.

Joy Division were rather unpopular. The lack of promotion or recorded material during the Warsaw days really hurt them, and they had to almost start from scratch when the EP was released.

As 1978 continued, the band slowly started getting more and more material written and performing. The year started out rough; every other month, they would get a gig or two. At one point, an extensive November 1978 tour was planned, but most of the gigs were canceled, since the bands they were supposed to support, The Rezillos and The Undertones, had an incident at their gig on November 14, 1978, causing most of Joy Division's section of the tour to be canceled.

On April 14, 1978, at the Rafter's club in Manchester, Joy Division were set to play along with several others bands. Ian walked up to famous TV anchorman and host Tony Wilson, viciously, furiously haranguing him for not showing the band on his Granada TV's "Granada Reports" show. The move was bold and daring, and it earned them an appearance on September 20. Joy Division was the last band to perform at the club that night (they started at about 2:00 am). By then, the band was so pumped up and fueled by blind rage that they gave an extremely entertaining performance that not only won over Tony Wilson but Rob Gretton.

After the show, Rob Gretton approached the band, congratulating them and giving them his phone number. Within a short time, the band ousted their old manager Terry Mason (friend of the band who stayed with them, as a roadie and a sound mixer during most of their gigs) in favor of the new punter. Under Gretton's direction, "An Ideal for Living" was rereleased as a 12" vinyl, with a new cover art that eradicated the Nazi imagery.

Rob Gretton quickly got them a deal with RCA to record. On May 3 and 4, 1978, the band went into the studio and recorded eleven songs, including new versions of their previous "An Ideal for Living" tracks. Under the direction of one of the producers (I think Rod Searling), the band was introduced to the disco song "Keep On Keepin' On", which they wanted the band to do a cover of. The band was impressed and learned the instrumentals, but come recording time, they got Ian drunk and he ended up belting the lyrics to "Interzone".

The eleven tracks were supposed to comprise a new, first album, but for whatever reason, the deal feel through. Some say that the band disliked the post-production RCA did on the tracks and the direction the band wanted to go, but I'm not too sure. Surely Rob Gretton would've wanted the album to be released regardless, to attract attention to the band and make money?

Nevertheless, the tracks were left in the archives, unreleased and unheard, until Alan Erasmus, an associate and original Factory partner with Tony Wilson and Peter Saville, organized for the tracks to be released on vinyl bootleg in 1981 and eventually on CD in 1989.

In my opinion, the RCA tracks are amazing. Everyone knows and loves "An Ideal for Living" ("No Love Lost" is STILL my jam), but not a lot of people talk about the RCA songs. Personally, I think it contains one of the best versions of "Transmission". The raw, naked tracks have never been released, but I think a lot of the post-production enhances the songs. Whadda listening to me, for?! Go listen and judge for yourself! I guarantee you won't be disappointed.



Warsaw 

3 5 0 1 2 5 go! 

I was there in the backstage 
When first light came around 
I grew up not a changeling 
To win the first time around 
I could see all the weakness 
I could pick all the faults 
But I concede all the faith tests 
Just to stick in your throats 

31G, 31G, 31G 

Hung around in your soundtrack 
To mirror all that you've done 
To find the right side of reason 
To kill the three lies for one 
I could see all the cold facts 
I could see through your eyes 
All this talk made no contact 
No matter how hard we tried 

31G, 31G, 31G 

I can still hear the footsteps 
I can see only walls 
I slid into your mantraps 
With no hearing at all 
I just see contradiction 
Had to give up the fight 
Just to live in the past tense 
To make believe you were right 

31G, 31G, 31G 

3, 5, 0, 1, 2, 5 



No Love Lost 

So long, sitting here; didn’t hear the warning 
Waiting for the tape to run 
We’ve been moving ‘round in different situations 
Knowing that the time would come 
Just to see you torn apart, witness to your empty heart 
I need it
I need it
I need it

Through the wire screen, the eyes of those standing outside looked in at her 
As into the cages of some rare creature in a zoo 
In the hand of one of the assistants, she saw the same instrument 
Which they had, that morning, inserted deep into her body 
She shuddered instinctively 
No life at all, in the house of dolls 
No love lost, no love lost 

You’ve been seeing things in darkness, not in learning 
Hoping that the truth will pass 
No life underground, wasted, never changing 
Wishing that this day won’t last 
To never see you show your age, to watch until the beauty fades 
I need it 
I need it 
I need it 



Leaders of Men 

Born from some mother's womb
Just like any other room
Made a promise for a new life
Made a victim out of your life

When your time's on the door
And it drips to the floor
And you feel you can touch
All the noise is too much
And the seeds that are sown
Are no longer your own

Just a minor operation
To force a final ultimatum
Thousand words are spoken loud
Reach the dumb to fool the crowd

When you walk down the street
And the sound not so sweet
And you wish you could hide
Maybe go for a ride
To some peep show arcade
Where the future's not made

A nightmare situation
Infiltrate imagination
Smacks of past holy wars
By the wall, we've broken laws

The leaders of men
Born out of your frustration
The leaders of men
Just a strange infatuation
The leaders of men
Made a promise for a new life 


No saviour for our sakes
To cross the internees of hate
Self induced manipulation
To crush all thoughts of mass salvation 



Failures 

Don't speak of false messiahs 
Failure of the modern man 
To the center of our life's desires 
As a whole, not an also ran 
Burned in a hollow field 
Break the image of your father's son 
Drawn to an inner feel 
He was thought of as the only one 

He no longer denies 
All the failures of the modern man
He no longer picks sides 
Sees the failures of the modern man
Wise words and sympathy 
Tell the story of our history
New strength gives a real touch 
Sense and reason make it all too much
With a strange fatality 
Break the spirits of a lesser man
Some other race could see 
In his way he was the only one 

He no longer denies 
All the failures of the modern man
No, no, he can't pick sides 
Sees the failures of the modern man
Now that it's right to decide 
In his time he was a total man
Taken from Caesar's side 
Kept in silence just to prove who's wrong
No, no, he can't despise 
All the failures of the modern man
No, no longer denies 
All the failures of the modern man





The Drawback 

Seen the troubles and the evils of this world
I've seen the stretches between godliness and sin
I've heard the promise and confessions of due faith
And hypocrisy that always lies within

And they left it for you 
All of this for you 
And they left it for you 
All of this for you

I've seen the products and the other world of waste
I've seen the color of corruption deep within
I've seen them lose themselves in dignity and taste
To see in black and white and through to black again

And they left it for you 
All of this for you 
And they left it for you 
All of this for you

And they left it for you 
All of this for you 
And they left it for you 
Everything for you 

I've seen the troubles and the evils of this world
I've seen the ones who could succeed but always lose
I've seen what's left of poor technology and work
And watched them drowning as they leave their ship of fools

And they left it for you 
All of this for you 
And they left it for you 
All of this for you 



Leaders of Men 

Born from some mother's womb
Just like any other room
Made a promise for a new life
Made a victim out of your life

When your time's on the door
And it drips to the floor
And you feel you can touch
All the noise is too much
And the seeds that are sown
Are no longer your own

Just a minor operation
To force a final ultimatum
Thousand words are spoken loud
Reach the dumb to fool the crowds

When you walk down the street
And the sound's not so sweet
And you wish you could hide
Maybe go for a ride
To some peep show arcade
Where the future's not made

A nightmare situation
Infiltrate imagination
Smacks of past holy wars
By the wall, we've broken laws

The leaders of men
Born out of your frustration
The leaders of men
Just a strange infatuation
The leaders of men
Made a promise for a new life 

No saviour for our sakes
To cross the internees of hate
Self induced manipulation
To crush all thoughts of mass salvation 



(They) Walked in Line 

All dressed in uniform, so fine 
They drank and killed to pass the time 
Wearing the shame of all their crimes 
With measured steps, they walked in line 

They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 

They carried pictures of their wives 
And other tags to prove their lives 
And made it through the whole machine 
With dirty hearts and hands washed clean 

They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 

Full of a glory never seen 
They made it through the whole machine 
To never question anymore 
Hypnotic trance, they never saw 

They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 

They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 
They walked in line 

Walked in line 
Walked in line 



Failures (of the Modern Man) 

Don't speak of safe messiahs 
A failure of the modern man 
To the center of our life desires 
As a whole, not an also ran 
Love in a hollow field 
Break the image of your father's son 
Drawn to an inner feel 
He was thought of as the only one 
He was thought of as the only one 

He no longer denies 
All the failures of the modern man
No, no, no, he can't pick sides 
Sees the failures of the modern man
Wise words and sympathy 
Tell the story of our history
New strength gives a real touch 
Sense and reason make it all too much
With a strange fatality 
Broke the spirits of a lesser man
Some other race could see 
In his way he was the only one 
In his way he was the only one 

He no longer denies 
All the failures of the modern man
No, no, no, he can't pick sides 
Sees the failures of the modern man
Now that it's right to decide 
In his time he was a total man
Taken from Caesar's side 
Kept in silence just to prove who's wrong
He no longer denies 
All the failures of the modern man
No, no, no, he can't pick sides 
Sees the failures of the modern man 
All the failures of the modern man 



Novelty 

When people listen to you, don't you know it means a lot? 
'Cause you've got to work so hard for everything you got 
Can't rest on your laurels now, not when you've got none 
You find yourself in the gutter, right back where you came from 

Someone told me being in the know is the main thing 
We all need the security that belonging brings 
Can't stand on your own in these times, 'gainst all the odds 
I don't wanna act all cool, like all the other sods 

You slap our backs and pretend you knew 
About all the things that we were gonna do 
Whatcha gonna do, whatcha gonna do 
When it's over? 

You're on your own, now; don'tcha think that it's a shame? 
But you're the only one responsible that's to blame 
When you gonna grow up and act, and be yourself? 
'Cause pretty soon you find yourself nailed to the shelf 

Grab it while you can, but don't ever relax 
'Cause there's always someone gonna stab your back 
Whatcha gonna do, whatcha gonna do 
When it's over? 



No Love Lost 

So long, sitting here; didn’t hear the warning 
Waiting for the tape to run 
We’ve been moving ‘round in different situations 
Knowing that the time would come 
Just to see you torn apart, witness to your empty heart 
I need it 
I need it 
I need it 

Two way mirror in the hall 
They like to watch everything you do 
Transmitters, hidden in the wall 
So they know everything you say is true 
Turn it on 
Don’t turn it on 
Turn it on 

You’ve been seeing things in darkness not in learning 
Hoping that the truth will pass 
No life underground, wasted, never changing 
Wishing that this day won’t last 
To never see you show your age, to watch until the beauty fades 
I need it 
I need it 
I need it 



Transmission 

Radio, live transmission 
Radio, live transmission 

Listen to the silence; let it ring on 
Eyes, dark gray lenses, frightened of the sun 
We would make a fine pair, living in the night 
Left to blind destruction; take away our sight 

We could go on as though nothing was wrong 
And hide from the days to remain all alone 
Stayed in the same place, staring all the time 
Touching from a distance, further all the time 

Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 

And I could call out when the going gets tough 
And we could make contact if we just holler 
No language, just sound, is all that I know 
We'll synchronize love to the beat of the show 
And we could dance 

Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 
Dance, dance, dance, dance, dance to the radio 



(Living in the) Ice Age 

Seen the real atrocities 
Buried in the sand 
Stockpiled safety for a few 
We stand holding hands 

I'm living in the ice age 
I'm living in the ice age 
Nothing will hold, nothing will fit 
Into the cold, no smile on your lips 
Living in the ice age 
Living in the ice age 
Living in the ice age 

Searching for another way 
Hide behind the door 
We're living holed in disused shafts 
With hopes for little more 

I'm living in the ice age 
I'm living in the ice age 
Nothing will hold, nothing will fit 
Into the cold, no smile on your lips 
Living in the ice age 
Living in the ice age 
Living in the ice age 

Living in the ice age 
Living in the ice age 
Living in the ice age 
Living in the ice age 



Interzone 

I walked through the city limits 
Attracted by some force within it 
Around a corner where some prophet lay 
A wire fence where the children played 
And I was looking for a friend of mine 
Yeah, looking for a friend of mine 

Car screeched, hear the sound of dust 
Metallic blue, turned red with rust 
Stood apart, all forgotten youth 
Are turned on to a knife-edged view 
And I was looking for a friend of mine 
Yeah, looking for a friend of mine 

Down the dark streets, houses looked the same 
I was walking 'round and 'round and nailed me to a train 
Had to get away, trying to find a way to get out! 

Saw twelve windows, ten in a row 
The light shined an unearthly glow 
No place to stop, no place to go 
I guess they died some time ago 
And I was looking for some friends of mine 
Yeah, looking for some friends of mine 



Warsaw 

I was there in the backstage 
When first light came around 
I grew up not a changeling 
To win the first time around 
I could see all the weakness 
I could pick all the faults 
But I concede all the faith tests 
Just to stick in your throats 

31G, 31G, 31G 

Hung around in your soundtrack 
To mirror all that you've done 
To find the right side of reason 
To kill the three lies for one 
I could see all the cold facts 
I could see through your eyes 
All this talk made no contact 
No matter how hard we tried 

31G, 31G, 31G 

I can still hear the footsteps 
I can see only walls 
All this talk made no contact 
With no hearing at all 
I just see contradiction 
Had to give up the fight 
Just to live in the past tense, 
To make believe you were right 

31G, 31G, 31G 

3, 5, 0, 1, 2, 5 



Shadowplay 

To the center of the city where all roads meet looking for you 
To the depths of the ocean where all hope sank searching for you 
Moving through the silence without motion, waiting for you 
In a room with no window in the corner, I found truth 

In the shadowplay, acting out your own death; knowing no more 
As the assassins all grouped in four lines dancing on the floor 
And with cold steel odor on their bodies made a move to connect 
I could only stare in disbelief as the crowds all left 

I did everything, everything I wanted to 
I let them use you, for their own ends 
To the center of the city in the night, waiting for you 
To the center of the city in the night, waiting for you


Thank you, goodnight.
-Wallflower

Sunday, February 24, 2013

First Lyrics to Closing Lyrics (A Series) Pt.9: Komakino

Here's a special one!

Just to recap, this is going to be a part of a series of posts I'm going to make on this blog. This'll be where I compare an early set of lyrics to a later set of lyrics for one Joy Division song. Sometimes I may compare multiple sets of lyrics of just one song to each other. When you couple in a lot of the live variations to certain songs, you can get all sorts of results.

Today's choice was one of the last Joy Division songs in their catalog and probably one of the most underrated: Komakino.

JoyDiv theorizes that the song was named after the Kanto Kino theater in Berlin, Germany. Joy Division played a gig there on January 21, 1980.

Like half of the Closer-era material, "Komakino" was conceived, composed, and released at the end of Joy Division's lifetime. One of my personal favorites, Joy Division did not have the chance to properly enjoy and play this song as much as I personally would've hoped. The song was only played at one gig, as far as we know; perhaps it was to be played only at this one gig and then never seen again, like songs like "Something Must Break" and "The Kill (Still Version)".

Joy Division sure picked one hell of a gig to debut it, though: Lyceum Ballroom, London (February 29, 1980). I'll talk more about this gig later, but for now, let me say this: it was the best, most monumental, legendary, holy-shit awesome gig Joy Division ever did, bar-fucking-none. Believe me, I'll gush about the gig later on.

Anyway, all three versions (that's right; there's only three, unless the Closer outtakes tape that Peter Hook has has more versions on it) have very similar instrumental composition, but all of them have significantly different lyrics. I'll get to that in a moment.



First known version, live debut:

Lyceum Ballroom, London (February 29, 1980) [Soundcheck]

This is the hour when the young men return
Strangers were always too good
Moment so moving goes straight to your heart
Rapidly changes to fear
Pattern is set, her reaction will start
Complete but rejected too soon
Thinking ahead in the grip of each tear
Nothing will keep me from you

Chewing a moment when all will be right
Pact just been buried for years
Thickness so great, it's so hard to reflect
Attraction that brought me to you
Through jungles of dead wood and cities on fire
Places I never have been
Each shadow that danced in the light of each day
How could I ever forget

Just walk with me
Take part to see
Just walk with me
Take part to see
Yeah, be with me
Take part to see
Yeah, walk with me
Take part to see

Yeah, walk with me
Take part to see
Just be with me
Take part for me



Second live version, gig version. This version has significantly different lyrics to the previous version. It's weird how that happened, because they are soundcheck and gig versions to the same gig, and they can't have been played more than a few hours from each other. My friend Darkman has a theory that Ian had had a few more drinks by the time they played the live set, and that's why Ian had a harder time with this version's lyrics. I can believe that, because in a lot of places, especially the first verse, it's really hard to understand what he's saying:

Lyceum Ballroom, London (February 29, 1980) [Gig]

This is the hour when the young men return
Strangers were always too good
Moment so great, it just touches your heart
Gradually changes to fear
Pattern is set, we gradually part
Go while it changes to fear
Look to the future, the grip of the year
Go while it changes my mind

Chewing a moment when all will be right
Pact just been buried for years
Pitfalls so great, it's so hard to reflect
Attraction that brought me to you
Through jungles of dead wood and cities on fire
Places I never have been
The shadow that danced in the light of the day
How could I ever forget

Walk with me
Take part to see
Walk with me
Take part to see
Yeah, walk with me
Take part to see
Yeah, walk with me
Take part to see

Yeah, walk with me
Take part to see
Yeah, walk with me
Take part, I see



Third and final version, studio version. The lyrics, again, are entirely different, and again, it's strange, because this version was recorded only about a month later. Sadly, the "Walk with me" chorus was removed, which is a shame because I really liked it, but was replaced with a new closing verse:

'Closer' Outtake (March 18-30, 1980)

This is the hour when the mysteries emerge
A strangeness so hard to reflect
A moment so moving goes straight to your heart
Vision that's never been met
The attraction is held like a weight deep inside
Something I'll never forget

The pattern is set, her reaction will start
Complete but rejected too soon
Looking ahead in the grip of each tear
Pitfalls and light as we breath
Shadow that stood by the side of the road
Always reminds me of you

How can I find the right way to control
All the conflict inside, all the problems beside
As the questions arise, and the answers don't fit
Into my way of things
Into my way of things



Now, if you haven't noticed it already, one of the lines to the soundcheck/gig version is "Through jungles of deadwood and cities on fire". Recall, if you will, the final verse to the Closer version of "Atrocity Exhibition".

"And I picked on the whims of a thousand or more
Still pursuing the path that’s been buried for years
All the deadwood from jungles and cities on fire
Can’t replace or relate, can’t release or repair
Take my hand and I’ll show you what was and will be"

The line is almost exactly the same. Isn't it weird that there's such a connection between the two songs? But continuing with that tradition, consider this pattern: "She's Lost Control" was rerecorded in mid-February 1980, right around this time. For that version, Ian wrote an additional closing verse. "Atrocity Exhibition" was first recorded in June 1979 and rerecorded in March 1980, with that new closing verse. "Komakino" never got an early studio recorded version, but was played live; in March 1980, it was recorded and was given a new closing verse. All of the closing verses for these three songs were FIVE lines long, and they were recorded literally within a month of one another. It's fascinating to me that Ian had established lyrics for all three songs, but come recording time in February-March 1980, he changed and/or added new five-line closing verses to the songs. I wonder if he even realized it, or if it just came naturally.

That's not all. The line "This is the hour when the young men return" seems to be reworked for the opening verse to "Decades".

"Here are the young men, the weight's on their shoulders
Here are the young men, well, where have they been?

We knocked on the doors of Hell's darker chambers
Pushed to the limit, we dragged ourselves in"

Here are the young men - this is the hour when they return - where have they been? Cool stuff...


Last thing to mention: chapter two of Deborah Curtis' book Touching From a Distance is titled "Walk with me, take hold and see". It's clearly a line from "Komakino", however there is no early draft of lyrics for the song in the book.

Whew...this was a longer post than I had anticipated. I hope you found it informative and interesting. Cheers!

-Wallflower

Saturday, February 16, 2013

Warsaw Demos (July 18, 1977) ENTIRE Transcription

Joy Division 

Warsaw Demos, recorded Pennine Sound Studios, Oldham (July 18, 1977) 

The following is my best attempt at decoding all the lyrics to all the songs in this Joy Division recording session. I have several documents containing whole gigs and recording sessions entirely transcribed by myself, so I figured instead of giving you just one song in all its forms, I'll give you a whole session today.

This post also contains also any flavor text (as in vocals in between songs) in addition to all the lyrics. The flavor text will appear in italics.


Track-List:
1. Inside the Line
2. Gutz (for Garters)
3. At a Later Date
4. The Kill
5. You're No Good For Me


This is the first time I'm giving you guys a decoded recording session, rather than a gig. What better way to start that off than with the very first Joy Division studio recording session ever?

This is the only studio session with Steve Brotherdale on drums, instead of Stephen Morris. Stephen wouldn't join the band until September/October 1977.

In my opinion, this is a very underrated session. I mean, the sound quality is poor and the songs themselves are nothing too special, but the choruses sang by the entire band (perhaps minus Brotherdale) are very energetic and involving, and the lyrics shine through and are a tell-tale sign of all the wonderful things to come from the band. Interestingly enough, "Gutz (For Garters)", "At a Later Date", and "You're No Good For Me" were written by Peter Hook, not Ian. Surprising, huh? According to Peter from his new book, by the time the material for An Ideal For Living was being created, he knew he was beat in terms of writing lyrics.

Most bootleg releases of these Warsaw Demos are incomplete, i.e. they have a few minor edits. Nothing too significant is lost, this way; just a few countdowns before each song starts and maybe an extra second or two at the end of each song. The only release that is unedited (or at least, is the MOST complete) is the bootleg "From the Center of the City". My good friend FageOner obtained a copy of the bootleg and remastered it a few months ago. If you haven't already, visit his blog to get it.


All of the extra stuff, like the countdowns, I have put in italics.

You can hear Ian coughing all throughout the recording session. I really don't know why. The setup at the studio must have been crappy, or the guy who made the mixes probably couldn't mix for shit. The producer of this session remains unknown, perhaps for good reason.

"Inside the Line" is the first example of the common crossing the line/inside or beyond the line motif in several of Ian's songs. I've wanted to cover that for a long time.

"Gutz", according to Peter Hook, was originally called "Gutz For Garters". I'm not sure why this name change occurred or when it occurred, but I've restored the full title. The end of the track has a very jarring and sudden stop to it, even though it's uncut; you can barely make out the final word "Gutz" being uttered.

This version of "The Kill" has lyrics very akin to the kind we would eventually see in "Exercise One" and the draft to the unknown Warsaw song "Conditioned". All the more reason to do a post for "Exercise One"...



Inside the Line 

*Drumsticks tap together 

Hey! You! You too! 

I could make the choice for you
Dirt sticks close to you; it's all around me
Everything I try to do
I can't even seem to find the room to move

But you think you're number one (Hey!)
Actors through the filthy scum (You!)
Crowded in a room for one (You too!) 

Darkness when the lights are on
Turn me on for good; it's so exciting
Slogans on the walls; don't need no advertising
I can't even seem to find the room to move

Shackled up in fantasy (Hey!)
Hoping for some time to breathe (You!)
Suffocation comes too easy (You too!) 

I just want some time to breathe
Dirt sticks close to you; it's all around me
Everything I do, they're always trying to crowd me
I can't even seem to find the room to move

Watching every move I make (Hey!)
Choice of one that's hard to take (You!)
In fact it's just a big mistake (You too!) 

Effects that make it feel like you

Maggots run inside the line (Hey!)
Prepping for the perfect crime (You!)
Say there is no right or wrong (You too!)
I don't know what's right or wrong
I don't know what's right or wrong 



Gutz (for Garters) 

Ian: ...3, 4. 

WARSAW!!! 

Don't talk to me girl, you know it's not nice
Don't laugh at murder, I won't pay the price
The price are too high-powered, such a good thrill
I'd do it myself, 'cause it makes you so ill

Blame bad things on me, whatever you do
We're not normal, but we're different from you
You're such a chic tart, you're really dressed up
Don't wanna talk to you, just left with your mum

Don't be a puppet, always rush you around
Won just for your photo; try and tie me down
I won't tell him I talk like this all night
He must be worried 'cause you're sounding so trite

Respect is only normal; the way to your lives
Ever tried to sleep around; once I begged for a wife
Wouldn't have to change you, start casting the way
If don't keep our heads alive, we'll never get a say
You know what's special, just black as I say
Can you see me, just ourselves, no comment, copycat!

Guts 



At a Later Date 

Ian: ...4! 
*Ian coughs 

Why must we be put down when we try to get away?
Why must we all grow up when we could just play and play?
Good things in life are free, can't buy everything, that's true
Only one thing wrong with that: what it don't buy I don't use

*cough 

Only thing I'm thinking of is "Why are we all here?"
There must be more to do at nights than drinking rotten beer
The world's a very shady place, and you can't trust a soul
"Grin and bear it" seemed the thing, when it just gets a hold
At a later date 
It might come out's a fright
At a later date 
I hope that you're alright

Human beings are dangerous and they call me in the dark
But everything gets twice as cold in marching for a lark
There's loads of things I'd like to do if I could find the time
Working really tires me and I think I'll turn to crime
At a later date 
I hope they start it soon
At a later date 
Before we hit the moon

I just can't be bothered to make an effort here at all
People make you feel your contributions are too small
I just can't be bothered to make an effort here at all
People make you feel your contributions are too small
At a later date 
I'll be awful great
At a later date 
Someone somewhere blew it 
At a later date 
At a later date 



The Kill 

Ian: ...4. 
*Ian coughs 

Life can be skewed, good things are nice
Counting on you, really no threats
The waiting is through, deciphering the scars
Just who fooled who, sit still in their cars 

It's another, 'nother, 'nother, 'nother kill 
It's another, 'nother, 'nother, 'nother kill 
It's another, 'nother, 'nother, 'nother kill

I can smell truth, your talking's a lie
Turn onto you, before say "die"
Wrapped in your trunk, to reach out the brief case
So I can detect the longer it's taking 

It's another, 'nother, 'nother, 'nother kill 
It's another, 'nother, 'nother, 'nother kill 
It's another, 'nother, 'nother, 'nother kill

Dangerous cues, set by distraction
Deprived of all use, nor in satisfaction
Total destruction; the worst ever met
Kept in apartment, sublimely for you... 

*cough

Who's got the front stage, to keep you in rocks?
Who's got the vision, that puts in the locks?
Loss of all resource; forced into your head
Just that it was, whacked into the air... 

It's another, 'nother, 'nother, 'nother kill 
It's another, 'nother, 'nother, 'nother kill
It's another, 'nother, 'nother, 'nother KILL!!! 

*cough 
Ian: Sorry... 



You're No Good For Me 

Ian: 1, 2, 3, 4! 
*Ian coughs 

Don't know what I'm doing, don't know where I'm going
Leading me to ruin, I should have traded you in
Yeah, you think you're something but you're no good for me

Don't know if I care, don't know if I'm there
I just sit and stare, making love to thin air
Yeah, you're being insulted but you're no good for me 

Na na na na na na na na no good 
Na na na na na na na na no good 
Na na na na na na na na no good

I do lots of good, surprised at what you would
Don't call me no crud, I really think I'm good
Yeah, you think you're something but you're no good for me

Try to call the tune; I'll probably so and ruin it
I'll just get it groomed, there's lots of attitudes
Yeah, you're being insulted but you're no good for me

I get by the local peer group and their pressures
I can wash the dishes; my soups can taste delicious
Yeah, you think you're something but you're no good for me

Forgotten how you feel; to me you're looking real
Come on let's make a deal and think of where we live
Yeah, you think you're something but you're no good for me 

Na na na na na na na na no good 
Na na na na na na na na no good 
Na na na na na na na na no good

Forgotten how you feel; to me you're looking real
Come on let's make a deal; we'll think of where you live
Yeah, you're being insulted but you're no good for me
Yeah, you're being insulted but you're no good for me


Thanks for reading, and happy listening!

Friday, February 8, 2013

University of London Union, London (February 8, 1980) ENTIRE Transcription

Joy Division 

Live at University of London Union, London (February 8, 1980) 

The following is my best attempt at decoding all the lyrics to all the songs in this Joy Division gig. I have several documents containing whole gigs entirely transcribed by myself, so I figured instead of giving you just one song in all its forms, I'll give you a whole gig today. I may do this again with a few other gigs.

This post also contains also any flavor text (as in vocals in between songs) in addition to all the lyrics. The flavor text will appear in italics.


Track-List:
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
-Encore Break-
11. The Eternal
12. Digital


I originally intended on having every gig transcript I post on my blog on the day of the month it originally happened, starting with the January 1980 dates. Sadly, that didn't happen as planned, and I don't really intend on doing it. This one gig, though, will be the special exception. 33 years ago today, the ULU Joy Division gig happened. And it must've been glorious.

The concert was recorded by Duncan Haysom, whom you can clearly hear cheering after each song. There are multiple recordings, but the most common and famous one is Duncan's. It's the one that was used for the 2007 remaster of Closer and was also re-remastered in November 2012 by Analog Loyalist for his blog. I used the 2012 remaster to decode the gig.

Duncan remembers: "At the start of the gig Ian was about to intro the band when Steve cut in and started the drumming on Dead Souls so Ian just started dancing. The second chorus is sung by Hooky because the lead to Ian's microphone fell out...It fell out twice; I can't remember if Hooky picked up the vocals on the other time. Ian just dropped the mic to the floor and walked away when it happened on the chorus...There may be some more photos of this gig.”

Peter Hook had to sing the second chorus and the “Calling me...” chorus by himself. Ian came back for the final chorus. It seems Peter Hook only sang the first three lines of each chorus (except the “Calling me...” one). 

The gig overall is excellent. Not sure if it's one of their best, though. The quality and clarity of the sound is heavily improved by Analog's remasters, but multiple equipment problems during the gig itself continually plague the sound, all throughout. Stephen's drums really sound screwed up; only the cymbals sound normal. Ian's vocals are also screwed up, as Duncan states...

However, this is the quintessential Closer gig. SIX songs from the album were played at this gig (including rarities like "The Eternal"), which is more than any other known gig. Only "Atrocity Exhibition", "Heart and Soul", and "Decades" were left out. The gig also has the LWTUA single - "Love Will Tear Us Apart" and "These Days", which kinda went alongside the Closer album, just as the Transmission single went with Unknown Pleasures. Couple that with the older songs "Digital", "Glass", "Insight", and "Dead Souls", and you have a pretty well rounded gig that can be taken as a visible evolution of the band's career.

Side Note: Still, I wish they would've used the Lyceum Ballroom (February 29, 1980) gig for the 2007 Closer remaster instead. Why? Well, FIVE songs from the Closer album were played at that gig (including "The Eternal" and "Heart and Soul"), the LWTUA single, the synth rendition of "She's Lost Control" (implemented in late February 1980), and most importantly the very rare appearances of "Incubation" and "Komakino", which were Closer outtakes. Also a five-song long soundcheck, which has extra versions of "Incubation" and "Komakino" as well.

This is gig has the absolute BEST version of "Passover" I've ever heard. One of my favorite live JD songs, for sure!

As far as we know, this gig debuts "Isolation". The somewhat different lyrics makes it show.

Ian played his coffin guitar on “The Eternal” (according to Analog Loyalist); sounds during that song are akin to that of “Love Will Tear Us Apart”. I'm pretty sure Ian didn't normally play guitar on “The Eternal”, but this being an early version, they were probably still figuring things out. It also doesn't sound like Bernard plays both keyboards simultaneously at any point in the song (Bernard had two keyboards; one he used for the normal synth drones and the second for the chirping bird sound effects), unlike at the Lyceum Ballroom gig.




Audience member: Yee-hah! 
Audience member: Warsaw! 

Dead Souls 

Someone take these dreams away 
That point me to another day 
A jewel of personalities 
Break all true realities 

And keep calling me 
They keep calling me 
Keep on calling me 
They keep calling me 

Where figures from the past stand tall 
And mocking voices ring the halls 
Imperialistic house of prayer 
Conquistadors who took their share 

They keep calling me 
They keep calling me 
Keep on calling me 

Calling me... 
Calling me... 
Calling me... 
Calling me... 

They keep calling me 
Keep on calling me 
They keep calling me 
They keep calling me 



Glass 

*Drums start up 
Audience member: HOOKY! Warsaw! 
Audience member: Yay! 
Audience member: Hooky! 


Hearts fail, young hearts fail 
Any time, wearing down 
On the run, on the ground 
Take it quick, take it neat 
Take it quick, take it neat 
Take it quick, take it neat, take it quick, take it neat, take it quick... 
Take it neat 

Hearts fail, young hearts fail 
Any time, wearing down 
Overheat, overtired 
Put your hands where they're safe 
Keep your hands where they're safe 
Do it again 
Do it again and again and again 
Do it again and again and again 
Do it again and again and again 
Do it again and again and again 

Any time, pressurized 
Turn around and do it again 
Any time, pressurized 
Turn around and do it again 
Turn around and do it again 
Turn around and do it again 
Do it again 
Do it again and again and again 
Do it again and again and again 
Do it again and again and again 
Do it again and again and again 
Do it again and again and again 

Audience member: Hooky!



A Means to an End 

A legacy, so far removed 
One day will be improved 
Eternal rights, we left behind 
We were the better kind 
Two the same, set free too 
I put my trust in you 
I put my trust in you 
I put my trust in you! 
I put my trust in you! 

Fought all good, stood side by side 
Our friendship never died 
...With points to prove 
Our vision touched the sky 
Captives souls, depart too soon 
I put my trust in you 
I put my trust in you 
I put my trust in you 
I put my trust in you! 
I put my trust in you! 

A house somewhere, on foreign soil 
Where aging lovers call 
Had to see your final needs 
Where dogs and vultures eat 
Come to this, I turn to go 
I put my trust in you 
I put my trust in you 

I put my trust in you! 
I put my trust in you! 
In you, in you, in you 
Put my trust in you, in you 



Twenty-Four Hours 

So this is permanence, love's shattered pride 
What once was innocence, turned on its side 
A cloud hangs over me, marks every move 
Deep in the memory, what once was love 

Oh, how I realized how I wanted time 
Put into perspective, all I had to find 
Just for one moment, thought I had my way 
Looked beyond the day in hand, I watched it slide away 

Excessive flash-points, beyond all reach 
Solitary demands for, all I'd like to keep 
Let's take a ride out, see what we can find 
Valueless collection of hopes and past desires 

Oh, how I realized how I needed time 
Put into perspective, all I had to find 
Just for one moment, thought I had my way 
Looked beyond the day in hand, I watched it slide away 

Now that I've realized, how it's all gone wrong 
Gotta find some therapy; this treatment takes too long 
Deep in the heart of, sympathy held sway 
Gotta find my destiny before it gets too late 

Audience member: Warsaw! 



Passover 

This is the crisis I knew had to come 
Destroying the balance I kept 
Moving, unsettling, and turning around 
Wondering what will come next 
Is this a role that you wanted to live? 
I was foolish to ask for so much 
Without the protection and infancy's guard 
It all falls apart at first touch 

Watching the reel as it comes to a close 
Brutally taking its time 
People who change for no reason at all 
It's happening all of the time 
Can I go on with this chain of events, 
Disturbing and purging my mind? 
Back out of my duties when all's said and done 
I know that I'll lose every time 

Moving along in our God-given ways 
Safety is sat by the fire 
Sanctuary from these feverish smiles 
Left with a mark on the door 
Is this the gift that I wanted to give? 
Forgive and forget's what they teach 
Or pass through the deserts and wastelands once more 
And watch as they drop on the beach 

This is the crisis I knew had to come 
Destroying the balance I'd kept 
Turning around to the next set of lives 
Wondering what will come next... 

Audience member: Warsaw! Warsaw! Warsaw! Warsaw! 
Audience member: Love will tear us apart! 



Insight 

Guess your dreams always end 
They don’t rise up, just descend 
I don’t care anymore 
Lost the will to want more 
Not afraid, not at all 
I watch them all as they fall 
But I remember, when we were young 

Those with habits that waste 
Sense of style and good taste 
Making sure you were right 
Hey, don’t you know you were right? 
Not afraid anymore 
I keep my eyes on the door 
But I remember… 

Tears and sadness for you 
More upheaval for you 
Reflects a moment in time 
Special moment in time 
Yeah, we wasted our time 
We didn't really have time 
But we remember, when we were young 

All God’s angels beware 
All you judges beware 
You sons of chance, take good care 
For all the people not there 
Not afraid anymore 
I'm not afraid anymore 
Oh, I’m not afraid anymore 
Oh, I’m not afraid anymore 

Audience member: Warsaw! Warsaw! 
Audience member: Love will tear us apart! 
Audience members: Yay! Wooh! 
Audience member: Disorder! 



Colony 

A cry for help, a hint of anesthesia 
The sound from broken homes, we used to always meet here 
I watch all Hell break loose, confined and don't repair 
Is this what life's about? Is this the dream we share? 

Can you help me, can you spare some time? 
No apologies, 'cause all these thoughts were mine 
Hope to find some friends that I can lead astray 
Betray father's sleep, witness dormant grave 

I can't see why all these confrontations 
I can't see why all these dislocations 
No family life just made me feel uneasy 
Stood alone, here in this colony 
In this colony 
In this colony 
In this colony 
In this colony 

Dear God in his wisdom took you by the hand 
Dear God in his wisdom made you understand 
Dear God in his wisdom took you by the hand 
Dear God in his wisdom made you understand 
Dear God in his wisdom took you by the hand 
Dear God in his wisdom made you understand 
Dear God in his wisdom took you by the hand 
Dear God in his wisdom made you understand 
In this colony 
In this colony 
In this colony 
In this colony 

Audience member: Warsaw! Warsaw! 
Audience member: Lost control! 



These Days 

Morning seems strange, almost out of place 
Searched hard for you and your special ways 
In these days, these days 

Spent all my time, learned a killer's art 
Took threats and abuse, till I learned my part 
Can you stay, for these days? 

These days 
These days 

Used outward deceptions to get away 
Broken hot romance to make it pay 
These days, these days 

These days 
These days 

Drag through it all, it's the modern age 
Take care of it all, now these debts are paid 
Can you stay, for these days? 

Audience member: Warsaw! Warsaw! 
Audience member: Lost control! She's lost control! 
Audience member: Disorder! 
Audience member: Piano's coming to drag him, now. 
Audience member (in response to the above statement): What? 
Audience member: Oh my God...oh my. 



Love Will Tear Us Apart 

When routine bites hard, and ambitions are low 
And resentment rides high, but emotions won’t grow 
And we’re changing our ways, taking different roads 
Then, love, love will tear us apart again 
Love, love will tear us apart again 

Why is the bedroom so cold? Turned away on your side 
Is my timing that flawed? Our respect runs so dry 
Yet there’s still this appeal that we’ve kept through our lives 
But love, love will tear us apart again 
Love, love will tear us apart again 

Do you cry out in your sleep? All my failings exposed 
There’s a taste in my mouth as desperation takes hold 
Yet it’s something so good, just can’t function no more 
But love, love will tear us apart again 
Love, love will tear us apart again 
Love, love will tear us apart again 
Love, love will tear us apart again 

Audience member: Lost control! 
Audience member: Transmission! (cut off on Duncan's tape) 



Isolation 

Fear, everyday, every evening 
Calls her aloud from above 
Case is secluded for reasons 
Painstaking devotion and love 
Surrendered to self preservation 
Those who just care for themselves 
A blindness that touches perfection 
But hurts just like anything else 

Isolation, isolation, isolation, isolation 

Mother, I tried; please believe me 
Doing the best that I can 
Ashamed of the things I’ve been put through 
Ashamed of the person I am 

Isolation, isolation, isolation, isolation 

Those who could see all the beauty 
Of things I could never describe 
This is my one consolation 
This is my one lucky prize 

Isolation, isolation, isolation, isolation, isolation, isolation 

Ian: K you. 



-Encore Break- 

*Audience screaming and calling for an encore 
Duncan: More! More! 
*Whistles 
Duncan: Oh, you bastard. 
Audience member: I know they're gonna come back.

*Cheering escalates (probably signaling the band coming back) 
Audience member: Lost control! 
Duncan(?): 'Bout fucking time. 
Audience member: She's lost control! 
Audience member: Transmission! 
*Miscellaneous requests 
Audience member: Exercise One! 
Audience member: WARSAW! WARSAW! WARSAW! 
*Audience quiets as Peter plays first note of bass for “The Eternal” 
Audience member: She's lost control! (sounds like 'Minister Trout!') 



The Eternal 

Audience member: As I said, their electric guitar... 
*A bit more chatter 

Procession moves on, the shouting is over 
Praise to the glory, of loved ones now gone 
Talking, they shout, as they sit ‘round their tables 
Scattering flowers, washed down by the rain 
Played by the gate, at the foot of the garden 
Watching them pass, like clouds in the sky 
Try to cry out, in the heat of the moment 
Stood by a fury that burns from inside 

Cry like a child, though these years make me older 
With children, my time is so wastefully spent 
A burden to keep, though their inner communion 
Accept like a curse an unlucky deal 
Stood by the gate, at the foot of the garden 
My view stretches out from the fence to the wall 
No words could describe, no actions determine 
Just watching the trees and the leaves as they fall 

Audience member: Lost control! 



Digital 

Feel it closing in… 
Feel it closing in… 
The fear of whom I call 
Hearing someone call 
Feel it closing in 
Feel it closing in 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 

Feel it closing in 
Patterns start to form 
Feeling cold then warm 
Patterns on the wall 
Feel it closing in 
Feel it closing in 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 
Day in, day out 

Still, I look around 
To see just what happened 
Stood by the door alone 
And now it’s fade away 
I see you fade away 
Don’t ever fade away 
I need you here today 
Don’t ever fade away 
Don’t ever fade away 
Fade away, fade away, fade away 
Fade away, fade away, fade away, fade away 
Fade away, fade away, fade away, fade away 

Ian: Thank you, goodnight. 
*Audience calls for more