Shock
Member
Shock & Pod Concerts Present...
A CERTAIN RATIO + Cap Pas Cap & Shock DJs
Saturday March 10th. The Village, Wexford St. 8pm
Shock is pround to announce a very special show taking place on Saturday 10 March at the Village, the return of A Certain Ratio.
Starting their career on Factory Records, this Manchester punk rock band were called 'Joy Division but better dressed" by Tony Wilson. The last time they played here they tell us 'American Werewolf in Paris' was in the cinema!
Somewhere between the Graveyard and the Ballroom, in a place defined by late seventies industrial Manchester and early eighties New York sunsets, at a point between the old and the new, they found their feet. Formed during the ampthetamine-crazed soundwave that was Punk UK 1978, taking in influences from teutonic technotronicers Kraftwerk, powered by Wire and holding court in George Clinton's Funkadelic house of Parliament, A Certain Ratio took to the stage.
Intense and diverse, and originally drummerless, they released their debut single in 1979 - "All Night Party/The Thin Boys" through Factory Records, a label set up by Rob Gretton, Alan Erasmus, and Anthony (H) Wilson. A highly prophetic choice of title, as this was indeed the beginning of one long all-nighter for both parties. Donald Johnson joined as drummer after its release, completing the original line up with Simon Topping, Jez Kerr, Pete Terrell and Martin Moscrop. The band returned to the studio and completed a series of gigs around the country with labelmates Joy Division during late '79 and early 1980. Factory released the debut album "The Graveyard and the Ballroom", a limited edition cassette-only release that contained both studio demos and live tracks.
In late 1980, the story switches from post-punk Manchester to the hustle-bustle of the Big Apple, New York City. Romantic Mancunians love to ponder the similarities between the two cities, the skyline over Hulme, the great canals running through the cities (born from their mutual industrial heritage), the fantastic nightlife. Realistic Mancs know the score - Manchester is fuck-all like New York, but it looks good in print. The band played gigs with local funk-machine ESG, along with a fledgling New Order and a little known support act by the name of Madonna. They filmed the 'Tribeca' film with Michael Shamberg, a film featuring a fantastic gig at Hurrah's, interspersed with footage of the band concocting a percussive beatdown in their loft dwellings. In the middle of this flurry of activity, the band checked into EARS studio, New Jersey, with legendary producer Martin Hannett at the controls. The fruits of these sessions formed ACR's debut studio album, "To Each...", an album on which the impact was single-handedly destroyed by "that idiot hippie" - an in-house engineer at the studio who decided to zero all of Hannett's mix settings before he'd had chance to get the album to tape.
In the year that followed ACR built their own studio, The Soundstation, using the money from the advance paid to them by A&M. A wise move, it gave them the opportunity to record as and when they required. Whilst many bands squander their advance payment on the usual trappings of fame, or use it to pay for studio time (at great cost), ACR built their own recording facility and this would benefit them for long after they split from the label. It was during that time that the band also started to work with programmer Michael "Moist" Eastwood on all their albums, singles and live performances. The single "I Won't Stop Loving You" was given the remix treatment by both Bernard Sumner and Norman Cook, it looked like the tune would finally provide the elusive hit and was played heavily by Radio 1. Unfortunately, it only skimmed the top forty. It was followed by the distinctly un-commercial, but ultimately fantastic, "ACR:MCR" album. The album was mainly instrumental, crossing from electro to dub to latin and taking in a large disco biscuit on the way, and half the album had been previously released on the "Four For The Floor" EP. One of the main highlights from the album was the track "Good Together", a post acid haze of a tune featuring the vocal talents (?!) of one Shaun William Ryder and the omnipresent Bernard Sumner. The track was previously much sought-after when it was released on a pink-label 12" promo, and it was given a revamp (featuring Denise Johnson) for its inclusion on the EP and album.
The turning of a new millennium saw a rush of interest in A Certain Ratio - their influence on a plethora of DJs and musicians across the globe found them constantly referenced through the media. Balearic maestro Andy Weatherall set the ball rolling with the 2000 release, "Nine O'Clock Drop", on Nuphonic - a compilation of the tracks that had most influenced the DJ throughout his career. ACR's 'Waterline' sat alongside classic cuts from the likes of William Orbit, Colourbox and ex label-mates Quando Quango.
The enduring appeal of ACR's back catalogue has been brought to a new audience. Soul Jazz Records re-released ACR's first 3 albums, "The Graveyard and the Ballroom", "To Each" and "Sextet" during 2004 and the band's fourth release, "I'd Like To See You Again" will be released by LTM Records in June 2005. 2005 also sees the re-release of "ACR Live In America" on Melodic Records during May, and a new release - "ACR Live in Holland" through LTM Records in July.
'A Certain Ratio pioneered Factory Records dance-wig' - Q Magazine
'No group can claim a greater role in Post-Punk's mutation info funk' - Uncut
'A Certain Ratio's Punk-Funk sounds staggeringly now' - Jockey Slut
Click here to join our mailing list to get news, ticket giveaways & photos
Tickets to this very special show are €18 available now from
Ticketmaster, Road Records, City Discs, Sound Cellar
Big Brother Records and www.ticketmaster.ie
www.acrmcr.com | www.stateofshock.net
www.myspace.com/acertainratio | www.myspace.com/shockstate
A CERTAIN RATIO + Cap Pas Cap & Shock DJs
Saturday March 10th. The Village, Wexford St. 8pm
Shock is pround to announce a very special show taking place on Saturday 10 March at the Village, the return of A Certain Ratio.
Starting their career on Factory Records, this Manchester punk rock band were called 'Joy Division but better dressed" by Tony Wilson. The last time they played here they tell us 'American Werewolf in Paris' was in the cinema!
Somewhere between the Graveyard and the Ballroom, in a place defined by late seventies industrial Manchester and early eighties New York sunsets, at a point between the old and the new, they found their feet. Formed during the ampthetamine-crazed soundwave that was Punk UK 1978, taking in influences from teutonic technotronicers Kraftwerk, powered by Wire and holding court in George Clinton's Funkadelic house of Parliament, A Certain Ratio took to the stage.
Intense and diverse, and originally drummerless, they released their debut single in 1979 - "All Night Party/The Thin Boys" through Factory Records, a label set up by Rob Gretton, Alan Erasmus, and Anthony (H) Wilson. A highly prophetic choice of title, as this was indeed the beginning of one long all-nighter for both parties. Donald Johnson joined as drummer after its release, completing the original line up with Simon Topping, Jez Kerr, Pete Terrell and Martin Moscrop. The band returned to the studio and completed a series of gigs around the country with labelmates Joy Division during late '79 and early 1980. Factory released the debut album "The Graveyard and the Ballroom", a limited edition cassette-only release that contained both studio demos and live tracks.
In late 1980, the story switches from post-punk Manchester to the hustle-bustle of the Big Apple, New York City. Romantic Mancunians love to ponder the similarities between the two cities, the skyline over Hulme, the great canals running through the cities (born from their mutual industrial heritage), the fantastic nightlife. Realistic Mancs know the score - Manchester is fuck-all like New York, but it looks good in print. The band played gigs with local funk-machine ESG, along with a fledgling New Order and a little known support act by the name of Madonna. They filmed the 'Tribeca' film with Michael Shamberg, a film featuring a fantastic gig at Hurrah's, interspersed with footage of the band concocting a percussive beatdown in their loft dwellings. In the middle of this flurry of activity, the band checked into EARS studio, New Jersey, with legendary producer Martin Hannett at the controls. The fruits of these sessions formed ACR's debut studio album, "To Each...", an album on which the impact was single-handedly destroyed by "that idiot hippie" - an in-house engineer at the studio who decided to zero all of Hannett's mix settings before he'd had chance to get the album to tape.
In the year that followed ACR built their own studio, The Soundstation, using the money from the advance paid to them by A&M. A wise move, it gave them the opportunity to record as and when they required. Whilst many bands squander their advance payment on the usual trappings of fame, or use it to pay for studio time (at great cost), ACR built their own recording facility and this would benefit them for long after they split from the label. It was during that time that the band also started to work with programmer Michael "Moist" Eastwood on all their albums, singles and live performances. The single "I Won't Stop Loving You" was given the remix treatment by both Bernard Sumner and Norman Cook, it looked like the tune would finally provide the elusive hit and was played heavily by Radio 1. Unfortunately, it only skimmed the top forty. It was followed by the distinctly un-commercial, but ultimately fantastic, "ACR:MCR" album. The album was mainly instrumental, crossing from electro to dub to latin and taking in a large disco biscuit on the way, and half the album had been previously released on the "Four For The Floor" EP. One of the main highlights from the album was the track "Good Together", a post acid haze of a tune featuring the vocal talents (?!) of one Shaun William Ryder and the omnipresent Bernard Sumner. The track was previously much sought-after when it was released on a pink-label 12" promo, and it was given a revamp (featuring Denise Johnson) for its inclusion on the EP and album.
The turning of a new millennium saw a rush of interest in A Certain Ratio - their influence on a plethora of DJs and musicians across the globe found them constantly referenced through the media. Balearic maestro Andy Weatherall set the ball rolling with the 2000 release, "Nine O'Clock Drop", on Nuphonic - a compilation of the tracks that had most influenced the DJ throughout his career. ACR's 'Waterline' sat alongside classic cuts from the likes of William Orbit, Colourbox and ex label-mates Quando Quango.
The enduring appeal of ACR's back catalogue has been brought to a new audience. Soul Jazz Records re-released ACR's first 3 albums, "The Graveyard and the Ballroom", "To Each" and "Sextet" during 2004 and the band's fourth release, "I'd Like To See You Again" will be released by LTM Records in June 2005. 2005 also sees the re-release of "ACR Live In America" on Melodic Records during May, and a new release - "ACR Live in Holland" through LTM Records in July.
'A Certain Ratio pioneered Factory Records dance-wig' - Q Magazine
'No group can claim a greater role in Post-Punk's mutation info funk' - Uncut
'A Certain Ratio's Punk-Funk sounds staggeringly now' - Jockey Slut
Click here to join our mailing list to get news, ticket giveaways & photos
Tickets to this very special show are €18 available now from
Ticketmaster, Road Records, City Discs, Sound Cellar
Big Brother Records and www.ticketmaster.ie
www.acrmcr.com | www.stateofshock.net
www.myspace.com/acertainratio | www.myspace.com/shockstate
