Wallflower of Music: 2013

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)

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

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

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 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

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

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 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

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

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

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

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

(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

Nothing will hold, nothing will fit

Into the cold, no smile on your lips

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

Nothing will hold, nothing will fit

Into the cold, no smile on your lips

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

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

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.

http://toanend.blogspot.com/2012/11/the-warsaw-demo.html

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

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

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

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

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!!!

*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

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

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

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

Keep on calling me

Calling me...

They keep calling me

Keep on 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

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

Any time, pressurized

Turn around and do it again

Any time, pressurized

Turn around and do it again

Do it 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!

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!

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!

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

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

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

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

Used outward deceptions to get away

Broken hot romance to make it pay

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

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…

The fear of whom I call

Hearing someone call

Feel it closing in

Day in, day out

Feel it closing in

Patterns start to form

Feeling cold then warm

Patterns on the wall

Feel it closing in

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

Fade away, fade away, fade away

Fade away, fade away, fade away, fade away

Ian: Thank you, goodnight.

*Audience calls for more