You Either Make Money, or You Make History: The Rise and Fall of Factory Records

When Factory Records entered receivership in November 1992, it left behind one of the most remarkable catalogues in British music. Joy Division's 'Unknown Pleasures', New Order's 'Blue Monday' and Happy Mondays' 'Pills 'n' Thrills and Bellyaches' had all been released through the Manchester label. It had also financed The Haçienda, commissioned some of the most recognisable record sleeves ever designed and helped establish Manchester as an important centre of independent music.

Unfortunately, Factory had never been particularly good at looking after money. Record sleeves were expensive to manufacture, successful musicians were helping finance a nightclub that struggled to make a profit, and the company's unconventional approach to contracts eventually complicated attempts to rescue it. By the early 1990s, those decisions were catching up with the people responsible.

Tony Wilson became Factory's public face, although the label was never his achievement alone. Alan Erasmus helped establish its earliest ventures, Martin Hannett developed the sound of its first great recordings, Peter Saville created the artwork, and Rob Gretton provided much of the practical experience required to manage the musicians. They were an unusual collection of personalities who didn't always agree, particularly when Wilson's latest idea involved spending money the company could scarcely afford.

Between them, they built a record label whose history became inseparable from Manchester itself. Joy Division emerged from the city's punk scene, New Order developed an increasingly successful relationship with electronic music, and Happy Mondays became central to the Madchester explosion. Along the way, Factory helped create a nightclub that would influence British dance culture long after the company responsible for opening it had disappeared.

The story begins in June 1976, when the Sex Pistols arrived at Manchester's Lesser Free Trade Hall.

'Anarchy in the UK' – Manchester, Punk and the Beginning

On 4 June 1976, the Sex Pistols played at Manchester's Lesser Free Trade Hall in a concert organised by Howard Devoto and Pete Shelley. The pair had travelled to London to see the band earlier that year and returned determined to bring punk to Manchester. They were already developing Buzzcocks, although neither could have anticipated how frequently their decision to organise the concert would be discussed over the following fifty years.

Only around forty people attended, but several would become familiar names in British music. Peter Hook and Bernard Sumner were there, while a young Steven Patrick Morrissey, who would later become the frontman of The Smiths alongside Johnny Marr, is also widely associated with the June audience. Paul Morley, who would become one of Britain's most influential music journalists through his work with the NME, witnessed the performance too.

The Sex Pistols returned on 20 July, supported by Buzzcocks and Slaughter and the Dogs. Martin Hannett attended the second performance, while Mark E. Smith, the future frontman of The Fall, was another figure associated with the Manchester concerts. Mick Hucknall, who would initially front The Frantic Elevators before finding international success with Simply Red, has also been linked with the performances, particularly the July show. Tony Wilson is generally placed at the second concert, although he has frequently been included among those who attended the more famous June appearance.

Over the years, the two performances have become almost inseparable, with conflicting accounts about exactly who attended which night. The stories have been told so frequently that the audience sometimes appears to grow with every retelling. What is beyond doubt is that the concerts brought together people who would become associated with Joy Division, New Order, Buzzcocks, The Smiths, The Fall and several other important developments in British music.

Manchester already had a successful musical history. The Hollies, Herman's Hermits and 10cc had all enjoyed considerable popularity, while its venues regularly welcomed established touring acts. Punk offered something different. Young musicians no longer needed expensive equipment, years of technical experience or the approval of somebody working for a major record company before attempting to make music of their own.

Hook and Sumner were encouraged to form a band, Devoto and Shelley continued developing Buzzcocks, and Mark E. Smith established The Fall. Morrissey's musical ambitions would eventually bring him together with Johnny Marr, while Hucknall moved towards the soul-influenced records that brought Simply Red enormous success during the 1980s.

Tony Wilson was already becoming interested in the movement through his work at Granada Television. Rather than simply report on the musicians emerging from Manchester's clubs and rehearsal rooms, he wanted to give them an audience. His enthusiasm would eventually lead him away from the television studio and towards the independent music business.

'So It Goes' – The Birth of Factory Records

In 1976, Wilson began presenting 'So It Goes' on Granada Television, a programme that offered an alternative to the established music shows of the period. While 'Top of the Pops' concentrated on the charts, Wilson featured bands that many viewers had never heard of. The Sex Pistols made their television debut on the programme, while Buzzcocks, The Clash, The Jam, Patti Smith and Siouxsie and the Banshees also appeared across its two series.

Wilson was attracted to punk's independence, particularly the willingness of musicians to make records and organise concerts without relying on the established industry. His friend Alan Erasmus shared that enthusiasm, and in 1978 the pair began promoting live music nights at the Russell Club in Hulme. Alan Wise was also involved, while Joy Division, The Durutti Column and Cabaret Voltaire were among the musicians who performed.

They called the nights 'The Factory', a name that reflected the industrial surroundings and the atmosphere they wanted to establish. The audiences were not always substantial, but the events brought together musicians, artists and promoters who would become closely associated with Manchester's independent music scene.

One of those people was Peter Saville, then a graphic design student at Manchester Polytechnic. Wilson commissioned him to create a poster advertising The Factory, and Saville produced something considerably different from a conventional concert advertisement. His interest in typography, architecture and art history would become central to the label's identity, with record sleeves that frequently looked as though they belonged in an art gallery rather than a record shop.

The poster became 'FAC 1', the first entry in Factory's catalogue. It wasn't ready in time for the original event, an early indication that the company wouldn't always operate according to conventional expectations. The numbering system soon extended beyond music, with posters, buildings, parties and other objects receiving the same treatment as records.

By the end of 1978, Wilson and Erasmus had decided to establish a record label. Hannett and Saville became involved as partners, while Joy Division's manager Rob Gretton subsequently emerged as another important figure. Gretton understood how to manage musicians, organise performances and protect their interests, providing experience that would prove essential as Factory began working with increasingly successful artists.

Its first record arrived in January 1979. 'A Factory Sample', released as 'FAC 2', was a double seven-inch compilation featuring Joy Division, Cabaret Voltaire, The Durutti Column and comedian John Dowie. Saville designed its distinctive metallic packaging, establishing the importance of artwork before Factory had even released a full-length album.

The company also developed an unusually informal relationship with its musicians. Artists retained considerable control over their recordings, while Factory avoided many of the contractual arrangements normally expected by record companies. For bands attracted to punk's independence, that freedom was particularly appealing.

Joy Division were already developing a sound far removed from the music that had inspired them at the Lesser Free Trade Hall. Their debut album would provide Factory with its first major success and introduce Martin Hannett's remarkable production methods to a much wider audience.

'Transmission' – Joy Division and Martin Hannett

Joy Division emerged from Manchester's punk scene, but by 1979 they were making music that sounded considerably different from the bands that had inspired them. Their earliest performances owed plenty to the Sex Pistols and Buzzcocks, with loud guitars, hurried arrangements and the aggression associated with the movement. However, Ian Curtis, Bernard Sumner, Peter Hook and Stephen Morris gradually developed something far more distinctive, taking punk's energy and turning it towards subjects that were considerably more personal.

Tony Wilson explained the difference particularly well in 2007. "Punk enabled you to say 'fuck you', but it couldn't go any further. It was a single, venomous, two-syllable phrase of anger. Sooner or later, someone was going to say more; someone was going to want to say 'I'm fucked.'"

For Wilson, Joy Division were the group who made that transition. While punk frequently directed its anger towards politicians, authority figures and the establishment, Curtis began looking inwards, writing about isolation, fractured relationships, anxiety and his own experiences. The songs retained the aggression of the band's influences, but his lyrics explored emotions that were rarely expressed with such vulnerability in punk.

The instruments were developing just as quickly. Hook's bass frequently carried melodies that would ordinarily have belonged to the guitar, while Sumner's economical playing left considerable space within the arrangements. Morris brought a precision to the drums that gave the songs an almost mechanical quality, something that would become particularly important once Martin Hannett began working with them.

In April 1979, Joy Division entered Strawberry Studios in Stockport to record their debut album, 'Unknown Pleasures'. Hannett was producing, and his methods soon became a source of tension. The band were used to playing with considerable volume and aggression, but their producer had little interest in simply reproducing their live performances. He wanted to isolate individual instruments, manipulate sounds and use the recording studio in ways that would have been difficult to replicate on stage.

Hannett experimented with electronic effects, delays, unusual microphone placements and techniques that often left the musicians wondering what he was attempting to achieve. Drums were treated with reverberation, guitars were stripped back, and seemingly insignificant noises became part of the arrangements. He was particularly interested in the space surrounding each instrument, allowing individual sounds to emerge without being overwhelmed by everything happening around them.

Hook and Sumner would later admit that they initially preferred the raw sound of their live performances, feeling that Hannett had removed some of the aggression that made Joy Division so powerful. Listening to 'Unknown Pleasures' now, however, it is difficult to imagine the album without his contribution.

'Disorder' provides an immediate introduction to the results, with Morris's drumming and Hook's bass developing around Curtis's increasingly urgent vocal. 'She's Lost Control', inspired by a young woman Curtis encountered through his work as an assistant disablement resettlement officer, uses mechanical percussion and a repetitive bassline to accompany lyrics about an epileptic seizure. Elsewhere, 'New Dawn Fades' and 'Shadowplay' demonstrate how effectively the band could move between restrained arrangements and the aggression of their earlier performances.

Peter Saville provided the artwork, using an image derived from radio signals emitted by a pulsar. The sleeve offered no conventional identification on its front, with white lines set against a completely black background. It was an unusual choice for a relatively unknown group's debut, but Saville had little interest in following the established rules of record packaging. The design has since become one of the most recognisable in music, occasionally appearing on clothing worn by people who have never listened to the album.

Released in June 1979 as 'FACT 10', 'Unknown Pleasures' established Joy Division's reputation and gave Factory its first major album. Hannett's production and Saville's design became essential parts of its identity, but the record's success as a piece of music depended on the four musicians who had developed such an unusual approach to songwriting.

The band followed it with 'Transmission', one of their most powerful singles, while 'Atmosphere' revealed a quieter, more restrained side of their music. Originally released through the French label Sordide Sentimental in March 1980, 'Atmosphere' demonstrated how much the group had developed in a relatively short period.

Their second album, 'Closer', was recorded in March 1980, with synthesisers becoming increasingly important. Songs such as 'Isolation' and 'Decades' suggested directions the group might have pursued had circumstances been different, while 'Heart and Soul' and 'Twenty Four Hours' retained more of the guitar-driven intensity associated with their earlier recordings.

On 18 May 1980, Ian Curtis died by suicide at the age of twenty-three, shortly before Joy Division were due to begin their first American tour. He had been living with epilepsy and experiencing considerable personal difficulties, and his death brought the band's history to an abrupt end. 'Closer' was released posthumously in July, but another recording would become the song most closely associated with Curtis and Joy Division.

'Love Will Tear Us Apart' became a hit in the weeks following his death, and there is something remarkable about how different it sounds from almost everything else the band recorded. Where 'Unknown Pleasures' was dominated by Hannett's spacious production and the unsettling atmosphere of its arrangements, here Joy Division produced something approaching perfect pop music. Bernard Sumner's synthesiser melody is beautiful, almost deceptively cheerful, while Hook's bassline and Morris's steady drumming give the recording a warmth rarely heard on their earlier releases.

The melody is bright, but the words are anything but. Curtis was writing about the deterioration of his marriage to Deborah, describing the growing distance between two people who had once been close. His vocal is surprisingly restrained, almost resigned to what is happening, while the music continues around him with an optimism that the lyrics cannot share.

The synthesiser line is sad and sweet at the same time, carrying much of the emotion without becoming overpowering. Curtis sounds vulnerable and exhausted, yet the song possesses a melodic quality that makes it immediately accessible. It takes the personal concerns that shaped Joy Division's earlier recordings and places them within one of the finest pop singles of its era.

Its title would eventually be inscribed on Curtis's memorial stone in Macclesfield, becoming inseparable from the story of his life and death. However, reducing 'Love Will Tear Us Apart' to a memorial overlooks the recording itself. Joy Division had already demonstrated their ability to make intense, experimental music, but here they produced a pop song without losing the emotional complexity of their earlier work.

Following Curtis's death, Sumner, Hook and Morris decided they could not continue under the same name. They began recording together again, eventually joined by Gillian Gilbert, and became New Order.

'Everything's Gone Green' – New Order's Reinvention

Continuing without Ian Curtis was never going to be straightforward. The surviving members of Joy Division had spent years developing a sound around his distinctive voice and lyrics, and finding somebody who could replace him wasn't an attractive prospect. During their earliest rehearsals, Bernard Sumner, Peter Hook and Stephen Morris experimented with sharing vocal duties before Sumner eventually became the group's principal singer.

The trio performed at Manchester's Beach Club in July 1980, before the new line-up had been completed. Gillian Gilbert joined that October, initially playing guitar before becoming increasingly involved with synthesisers and keyboards. She already knew the musicians through Manchester's music scene and had occasionally performed with Joy Division. Her arrival allowed Sumner greater freedom to concentrate on singing, while her interest in electronic instruments would become essential to New Order's development.

Their first single, 'Ceremony', arrived in March 1981 as 'FAC 33'. It was one of the final songs written by Joy Division, with Curtis having performed it during the band's last concerts. The surviving musicians struggled to recover some of his lyrics from the available recordings and eventually completed their own version, accompanied by 'In a Lonely Place', another composition dating from Joy Division's final months.

'Ceremony' provided a connection with the past while offering an indication of how New Order might develop. Hook's distinctive bassline and Sumner's increasingly confident guitar playing remained central to the arrangement, but the recording felt less oppressive than much of Joy Division's material. It was an important first step for musicians who were still trying to establish their identity without Curtis.

Their debut album, 'Movement', followed in November 1981, with Martin Hannett returning as producer. The sessions were difficult, and much of the record retained Joy Division's atmosphere. Hook and Sumner were still becoming accustomed to their vocal responsibilities, while Hannett's increasingly strained relationship with the musicians contributed to the difficulties surrounding the album.

'Movement' is often described as a record caught between Joy Division and the New Order that would eventually emerge. Considering the circumstances in which it was made, that uncertainty is understandable. It would also become the final studio album the band recorded with Hannett, whose methods were no longer suited to musicians increasingly determined to control their own recordings.

New Order subsequently began experimenting more extensively with synthesisers, sequencers and drum machines. Visits to New York introduced them to clubs where disco, funk and electronic music were developing in directions that sounded very different from British post-punk. Kraftwerk had already demonstrated the possibilities of synthesisers, but the developing American dance scene showed how electronic records could work on a dancefloor.

'Everything's Gone Green', released towards the end of 1981, provided an early indication of that change. 'Temptation' followed in 1982, retaining Hook's melodic bass and Sumner's guitar while allowing synthesisers and electronic rhythms to occupy a much more prominent position. Sumner was also becoming increasingly comfortable as a singer, with the uncertainty of 'Movement' gradually giving way to a more recognisable New Order sound.

The biggest development arrived in March 1983 with 'Blue Monday', released as 'FAC 73'.

Its origins were wonderfully unusual. The band had become frustrated with audiences demanding encores, something they were reluctant to provide, and one idea was to create a piece of music that could effectively play itself while the musicians left the stage. The concept encouraged them to experiment with a largely electronic arrangement that pushed the available equipment further than they had previously attempted.

The recording began with the distinctive beat of an Oberheim DMX drum machine, followed by sequenced synthesisers and Hook's unmistakable bass. Programming the instruments was a complicated process, requiring notes and rhythms to be entered manually rather than through the straightforward software musicians have available today. Gillian Gilbert later recalled accidentally leaving a note out of one of the synthesiser sequences, creating an irregularity that remained in the finished recording.

At more than seven minutes long, 'Blue Monday' was hardly a conventional commercial single. There was no obvious chorus, the instrumental sections were unusually lengthy, and Sumner's detached vocal appeared almost secondary to the arrangement. Yet the combination of programmed rhythms, electronic melodies and Hook's bass gave the recording an appeal that extended far beyond the independent scene.

Peter Saville's artwork was almost as unusual. The sleeve resembled a computer floppy disk, incorporating elaborate die-cut sections and a colour-coded system that concealed information about the release. Manufacturing it proved considerably more complicated than producing a conventional record sleeve, leading to the famous story that Factory lost money on every copy sold.

The precise figures have been disputed, but the expensive packaging was characteristic of Factory's approach. 'Blue Monday' went on to become widely recognised as the biggest-selling 12-inch single in history, bringing New Order international attention.

Their second album, 'Power, Corruption & Lies', followed in May 1983. It was the band's first studio record without Hannett, and the difference from 'Movement' was immediately apparent. The album combined guitar-led songs such as 'Age of Consent' with more electronic arrangements, including 'Your Silent Face', demonstrating how confidently the group could now move between different approaches.

Saville supplied another memorable sleeve, this time incorporating Henri Fantin-Latour's nineteenth-century painting 'A Basket of Roses'. Its classical imagery offered little obvious connection to the music, but that was rarely a concern at Factory. The artwork had an identity of its own rather than being expected to illustrate the songs inside.

'Blue Monday' was absent from the original British vinyl edition of 'Power, Corruption & Lies', continuing New Order's habit of treating singles and albums as separate releases. Later in 1983, the band travelled to New York to work with producer Arthur Baker on 'Confusion', developing their interest in American electro and dance music further.

By the middle of the decade, New Order had moved a considerable distance from 'Movement'. Their success was also providing Factory with the money to pursue increasingly ambitious projects, including a nightclub Wilson, Gretton and the band had opened on Whitworth Street West.

'Sketch for Summer' – The Durutti Column, A Certain Ratio and the Other Side of Factory

Although Joy Division and New Order became Factory's most recognisable artists, the label's early catalogue was considerably broader than its biggest commercial successes. Wilson and Erasmus were interested in musicians whose work didn't necessarily fit within an established genre, even when their recordings were unlikely to sell in substantial numbers.

The Durutti Column were among their earliest projects. Led by guitarist Vini Reilly, the group developed music built around delicate guitar arrangements, unusual rhythms and instrumental passages that rarely followed conventional rock structures. Their debut album, 'The Return of the Durutti Column', arrived in 1980 with an original sandpaper sleeve inspired by Situationist ideas. The packaging could damage neighbouring records, a practical problem that appeared to concern Factory considerably less than the artistic concept behind it.

The music inside was far more delicate. 'Sketch for Summer' demonstrated Reilly's precise, understated guitar playing, which would become central to a series of albums including 'LC', 'Another Setting' and 'Vini Reilly'. His work rarely received the commercial attention enjoyed by New Order, but he remained one of the label's most distinctive musicians throughout its existence.

A Certain Ratio occupied another part of the catalogue. Formed in 1977, the group began with a stark post-punk sound before incorporating funk, percussion and dance rhythms into their music. Their albums 'To Each...' and 'Sextet' developed those influences at a time when the relationship between post-punk and American dance music was still relatively unusual in Britain.

Section 25 followed a similar journey towards electronic music, particularly through 'Looking from a Hilltop', released in 1984. Quando Quango and Kalima contributed to the label's increasingly varied catalogue, while Orchestral Manoeuvres in the Dark's 'Electricity', originally issued through Factory in 1979, provided an early example of the electronic pop that would become increasingly important during the following decade.

Factory would later work with The Railway Children, Northside and other groups who extended the label's activities beyond its original post-punk artists. Not every record was successful, and several musicians remained relatively obscure, but the catalogue demonstrates how varied the company's interests had become.

Wilson and his partners were also interested in creating places where those musicians could perform. Their most ambitious project would eventually cost far more than any individual record.

'The Haçienda Must Be Built' – FAC 51

In 1982, Factory embarked on what would become its most expensive experiment. Wilson, Gretton and New Order wanted to establish a nightclub inspired by the venues they had encountered in New York, where DJs, musicians and dancers occupied spaces unlike anything available in Manchester at the time.

The proposed venue was a former yacht showroom on Whitworth Street West. Designer Ben Kelly was commissioned to transform the building, creating an industrial interior that incorporated exposed materials, bold colours, hazard stripes and distinctive architectural features. Peter Saville contributed to its visual identity, ensuring the project fitted into Factory's wider approach to design.

The result was 'FAC 51', The Haçienda, which opened on 21 May 1982. Its name was inspired by Situationist ideas about reclaiming urban spaces, particularly the phrase 'The Hacienda Must Be Built'. For Wilson, it was an opportunity to create something Manchester didn't already possess, although the financial implications would soon become apparent.

Factory and New Order financed the venue, meaning that money generated by the band's records was repeatedly used to keep it operating. Martin Hannett had argued that the company should invest in a professional recording studio instead, believing it would provide a more reliable source of income. The disagreement contributed to the deterioration of his relationship with Factory, and he eventually left the company.

The early years were far less glamorous than the stories that subsequently surrounded The Haçienda. The building was enormous, expensive to maintain, and frequently nowhere near full. It had been designed with considerable ambition, but the people responsible were still working out how to persuade audiences to visit regularly.

Before becoming famous for acid house, The Haçienda was one of Manchester's most interesting live music venues.

Mike Pickering was central to its early development. A close friend of Rob Gretton, he had spent time organising events in Rotterdam, where he helped establish an underground music night called 'Rotterdam Must Dance'. During that period, he organised a New Order performance in a repurposed water tower, demonstrating how abandoned industrial spaces could be turned into places for music.

After returning to Manchester, Pickering became involved with Factory and The Haçienda, initially helping book the musicians who would perform on its stage. His interests extended from punk and post-punk to funk, disco and electronic music, making him particularly suited to a venue that was still attempting to establish its identity.

Pickering's autobiography, 'Manchester Must Dance', co-written with Paul Morley, provides an excellent account of those years. As explored in my feature on Mike Pickering and 'Manchester Must Dance', his contribution extended far beyond playing records. He helped emerging bands find audiences, introduced clubbers to unfamiliar music and later became involved in Deconstruction Records, M People and the careers of several major British artists.

The list of musicians who performed at The Haçienda during its early years is remarkable. New Order, James, A Certain Ratio and The Chameleons appeared alongside Echo & the Bunnymen, Orchestral Manoeuvres in the Dark, Culture Club, The Alarm and Thomas Dolby. The stage also welcomed Curtis Mayfield, Nick Cave and the Bad Seeds, Eurythmics and Erasure, reflecting how broad its musical programme had become.

New Order performed regularly, despite being among the people financing the club. In January 1983, the band played 'Blue Monday' there before the single had been released, offering the audience an early opportunity to hear a recording that would become closely associated with both New Order and The Haçienda.

The Smiths played three times during 1983, beginning in February when they supported Manchester funk group 52nd Street. It was only their third concert, and they were still several months away from releasing 'Hand in Glove' as their debut single. Morrissey and Johnny Marr were developing a musical partnership that would soon produce some of the finest British records of the decade, but they remained relatively unknown outside Manchester.

By November, the situation had changed. On 24 November 1983, the same day The Smiths appeared on 'Top of the Pops' performing 'This Charming Man', they returned to The Haçienda for a concert supported by James. The venue was packed, with hundreds reportedly unable to get inside. It was an early indication of how quickly the group were becoming one of Manchester's most important bands.

Madonna's appearance in January 1984 was another extraordinary booking. She performed 'Holiday' at the venue as part of Channel 4's 'The Tube', during her first visit to Britain. The surviving footage captures a young American singer beginning to attract attention, several years before she became one of the biggest names in popular music.

The Stone Roses also appeared before Madchester became a national obsession. Their August 1985 concert came several years before the release of their self-titled debut, when Ian Brown, John Squire, Mani and Reni were still developing the music that would establish their reputation. Happy Mondays became another regular presence within the wider Factory community, with Pickering playing an important role in bringing them to the label.

The Haçienda continued attracting important groups throughout the following decade, including The Fall, Primal Scream, Inspiral Carpets and The Charlatans. On 5 September 1994, Oasis performed shortly after the release of 'Definitely Maybe', connecting the emerging Britpop generation with a venue that had played an important role in Manchester's previous musical movements.

Noel Gallagher had already spent years visiting The Haçienda before Oasis became successful, later recalling being barred from the club on more than one occasion. He also described it as the first place he ever danced, offering another reminder of how closely Manchester's guitar bands and club culture had become connected.

Despite its remarkable programme of live performances, The Haçienda struggled financially. Its enormous running costs made it difficult to generate a profit, particularly when the musicians appearing on stage were often still developing their reputations. The venue's fortunes began changing when DJs became more important than the live programme.#

Manchester already possessed a thriving dance music community. DJs such as Colin Curtis and Hewan Clarke were introducing audiences to American funk, soul and electronic records, while Stu Allan's broadcasts on Piccadilly Radio helped bring those sounds to a wider audience. Specialist record shops such as Spin Inn allowed local DJs to discover imports from Chicago, Detroit and New York before they received significant national attention.

Pickering became one of the people introducing those records into The Haçienda. By the middle of the decade, the Friday residency 'Nude' was developing an increasingly strong relationship with American house music. Alongside other DJs, including Little Martin, Pickering incorporated recordings from Chicago and New York into sets that also featured funk, electro, soul and hip-hop.

Frankie Knuckles, Marshall Jefferson, Adonis and Farley 'Jackmaster' Funk were among the musicians whose records became increasingly important. The stripped-back rhythms and repetitive basslines were very different from the music that had originally been associated with Factory, but they were attracting audiences who wanted something beyond conventional pop and rock records.

'Nude' helped establish The Haçienda as a destination for house music. By 1987, its Friday nights were attracting increasingly large crowds, with clubbers travelling from across Greater Manchester and beyond to hear records that remained difficult to find elsewhere. Graeme Park would become another central figure in the club's DJ culture, developing a musical partnership with Pickering that continued long after the original venue closed.

Dave Haslam and Jon Dasilva contributed their own approaches, incorporating guitar music, hip-hop, funk and electronic records into the club's programme. The Haçienda's reputation developed through several overlapping nights and DJs rather than the work of one individual, even if some names subsequently became more closely associated with its history than others.

The biggest transformation came in 1988, when acid house began moving beyond specialist clubs and attracting national attention.

Acid house had originated in Chicago, with musicians experimenting with synthesisers and drum machines to produce hypnotic electronic tracks built around repetitive rhythms. The Roland TB-303 became particularly important, producing the distinctive bass sounds associated with records such as Phuture's 'Acid Tracks'. Those recordings gradually reached Britain, where DJs incorporated them into sets alongside house, electro and other forms of dance music.

Manchester was undergoing a transformation similar to that taking place in London, where Paul Oakenfold, Danny Rampling and others were developing nights influenced by their experiences in Ibiza. Records and ideas travelled regularly between the cities, although Manchester's club culture developed a character of its own.

The Haçienda became one of the venues most closely associated with the movement, particularly following the launch of 'Hot' in July 1988.

Organised by Paul Cons, with Pickering and Jon Dasilva behind the decks, 'Hot' brought some of Ibiza's atmosphere into the industrial surroundings of The Haçienda. The Wednesday night combined house, acid house and Balearic influences, with palm trees, beach balls and other holiday-themed decorations helping transform the interior. A temporary swimming pool was even installed beside the dancefloor, an idea that reportedly caused problems when water spilled across the venue.

The music was loud, the dancefloor was packed, and the growing popularity of ecstasy changed the way audiences experienced clubbing. People could spend hours dancing to repetitive electronic rhythms, with the DJ booth becoming just as important as the stage where bands had performed during the venue's early years.

'Hot' became closely associated with the Second Summer of Love, when acid house moved towards the centre of British youth culture. Pickering later described the early ecstasy period in 'Manchester Must Dance' as a time when some social divisions appeared to disappear temporarily. Football supporters, students, designers and musicians from different parts of Manchester could find themselves occupying the same dancefloor.

Manchester was also producing records that reflected what was happening inside the building. Pickering formed T-Coy with Simon Topping, releasing 'Carino' in 1987, an important early British house recording. A Guy Called Gerald's 'Voodoo Ray' followed in 1988, while 808 State's 'Pacific State' brought a more melodic approach to electronic dance music the following year.

Those records demonstrated that British musicians were no longer simply importing the sounds of Chicago and Detroit. They were developing their own interpretations, with The Haçienda providing somewhere those recordings could be played to large audiences.

The influence extended to Manchester's guitar bands. Happy Mondays were particularly well suited to the developing relationship between funk and house music, while The Stone Roses would incorporate dance rhythms into 'Fools Gold'. By the end of 1989, both groups were central to the movement the music press had begun calling Madchester.

However, there was another side to The Haçienda's success.

The venue's running costs had always been high, and the changing drinking habits associated with ecstasy made the situation increasingly difficult. Many clubbers were buying water rather than alcohol, meaning the club could attract substantial crowds without generating the revenue required to cover its expenses.

The drug trade also attracted people who had little interest in the music. In July 1989, sixteen-year-old Clare Leighton collapsed at The Haçienda after taking ecstasy and subsequently died. Her death brought considerable public attention to the risks associated with the developing rave scene, while drug dealing, gang activity and violence increasingly threatened the club.

Security costs grew, regular customers became uncomfortable with the changing atmosphere, and the police and licensing authorities began taking a greater interest in the venue. The optimism associated with the earliest acid house nights was becoming increasingly difficult to maintain.

The Haçienda temporarily closed in January 1991 before reopening later that year. One important development during this period was the arrival of 'Flesh', launched by Paul Cons and Lucy Scher in October 1991. The monthly night provided a prominent space for Manchester's LGBTQ+ community and attracted clubbers from across the North of England, becoming an important part of the city's gay nightlife.

The venue survived Factory's collapse in November 1992, but the difficulties surrounding its operation never disappeared. Manchester's nightlife was changing, other clubs and promoters were attracting audiences, and The Haçienda's reputation was becoming increasingly associated with violence and financial problems.

After fifteen years, The Haçienda finally closed on 28 June 1997. The building was demolished in 2002 and replaced by apartments, bringing an end to one of Manchester's most recognisable musical landmarks.

Its history had been anything but straightforward. The venue spent years losing money before becoming one of Britain's most celebrated nightclubs, hosting musicians who would go on to international success and helping establish Manchester's reputation within the emerging house and acid house scenes.

For New Order, the experience had been particularly expensive, but their involvement placed them close to the records and DJs transforming Manchester's musical culture. During the second half of the 1980s, those influences would become increasingly apparent in their own music.

'Bizarre Love Triangle' – New Order and the Dancefloor

By 1984, New Order had established themselves as one of Britain's most distinctive groups. Bernard Sumner was becoming increasingly interested in synthesisers and programmed rhythms, while Peter Hook remained attached to the melodic basslines and guitar-based arrangements that had been central to Joy Division. Stephen Morris and Gillian Gilbert were becoming more comfortable with electronic technology, helping the band combine those different approaches.

'Thieves Like Us', released in April 1984, demonstrated how effectively they could work together. Developed through their collaboration with Arthur Baker, the single combined a relaxed electronic rhythm with Hook's melodic bass, providing another indication of how much New Order's music had changed since 'Movement'.

Their third album, 'Low-Life', arrived in May 1985, bringing together guitar-driven songs and electronic arrangements with increasing confidence. 'The Perfect Kiss' became one of its most important recordings, particularly through the accompanying film directed by Jonathan Demme, who had previously worked with Talking Heads on 'Stop Making Sense'. Rather than construct an elaborate narrative, Demme filmed New Order performing in their rehearsal room, allowing viewers to see the equipment and musicians responsible for the song.

'Brotherhood' followed in 1986, dividing the band's guitar-led and electronic approaches across the two sides of its original vinyl release. Its best-known single, 'Bizarre Love Triangle', became one of their most enduring recordings, while the following year's 'Substance' compilation brought together much of their singles catalogue.

Released as 'FACT 200', 'Substance' was particularly important because New Order had frequently kept successful singles off their studio albums. 'Ceremony', 'Temptation', 'Blue Monday', 'Confusion' and 'The Perfect Kiss' were collected together, alongside the new recording 'True Faith'.

Working with producer Stephen Hague, New Order developed 'True Faith' into one of their most successful pop singles. Its electronic arrangement brought the group to an even wider audience, while the accompanying video, directed by Philippe Decouflé, became almost as recognisable as the song itself.

By the end of the decade, New Order were increasingly successful internationally, particularly in America, where their relationship with Quincy Jones's Qwest Records had helped expand their audience. Their success was unusual for a group whose records had begun with 'Movement', a difficult album made in the aftermath of Curtis's death.

The next major development came with 'Technique', released in January 1989. The album was recorded partly in Ibiza before being completed at Peter Gabriel's Real World Studios near Bath. The decision to work on the island reflected the band's interest in the developing Balearic club scene, although its atmosphere was not always particularly conducive to productive recording sessions.

The music drew on the house and acid house records becoming popular in Britain, particularly on 'Fine Time', while songs such as 'All the Way' and 'Run' retained more of the guitar-based approach associated with New Order's earlier albums. The result was a record that reflected the band's growing confidence with electronic instruments without abandoning the elements that had made them distinctive.

'Technique' became New Order's first UK number-one album, confirming their commercial success after nearly a decade of experimentation. However, relationships within the group were becoming increasingly difficult, with disagreements about their musical direction and the pressures of working together contributing to growing tensions.

Following 'Technique', the members began pursuing separate projects. Sumner formed Electronic with Johnny Marr, enjoying success with 'Getting Away with It', which featured Neil Tennant of Pet Shop Boys. Hook established Revenge, while Morris and Gilbert began recording together as The Other Two.

Despite their disagreements, New Order reunited in 1990 for one of the most unlikely projects of their career. England were preparing for the World Cup in Italy, and the band were asked to record the national team's official song. The result was 'World in Motion', released as 'FAC 293' and credited to EnglandNewOrder. With lyrics contributed by Keith Allen and a rap performed by John Barnes, the recording combined New Order's electronic sound with the enthusiasm surrounding the tournament.

Football songs have a habit of becoming embarrassing almost as soon as the competition finishes, but 'World in Motion' has survived considerably better than most. The production is recognisably New Order, the chorus is infectious, and Barnes's performance remains one of the most memorable moments in the history of England's football records.

The single reached number one in the UK, becoming New Order's first and only chart-topping single. The musicians who had begun the previous decade trying to work out how to continue without Ian Curtis were now responsible for England's official World Cup anthem. That commercial success did little to resolve the band's disagreements, while Factory was becoming increasingly dependent on another major release from New Order. Happy Mondays were also enjoying considerable success, although their relationship with the label would eventually become just as complicated.

'Hallelujah' – Happy Mondays and Madchester

Happy Mondays were never likely to be mistaken for a conventional rock band. Formed in Salford during the early 1980s, the group brought together brothers Shaun and Paul Ryder, guitarist Mark Day, keyboard player Paul Davis and drummer Gary Whelan. Bez would become another essential part of their identity, contributing percussion and a style of dancing that appeared to operate according to rules nobody else had been informed about.

Their earliest music combined elements of funk, post-punk and psychedelic rock, with Shaun Ryder delivering lyrics that sounded as though they had been collected from conversations, overheard arguments and some of the stranger corners of everyday life. The songs didn't always follow conventional structures, and Ryder rarely seemed interested in explaining exactly what he was talking about.

The group became associated with Factory through Manchester's independent music community and The Haçienda. Mike Pickering was an important early supporter, recognising something in their music that didn't necessarily fit with the more polished electronic recordings emerging from the city's clubs. Wilson was similarly attracted to their unconventional approach, even when their performances were chaotic.

Their first Factory release was the 'Forty Five EP' in 1985, which included 'Delightful'. Their debut album, 'Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)', followed in 1987, produced by former Velvet Underground member John Cale.

It was a difficult record to categorise, even by Factory's standards. The guitars could sound abrasive, the rhythms moved between punk and funk, and Ryder's lyrics rarely made much effort to accommodate the listener. '24 Hour Party People' would eventually become one of their defining songs, although the recording bore little resemblance to the more polished dance music that would bring them commercial success.

Martin Hannett produced their second album, 'Bummed', released in November 1988. His contribution helped develop their sound, bringing greater attention to the rhythms and instruments while retaining the rough edges that made Happy Mondays distinctive. Where Hannett had emphasised space and restraint with Joy Division, here he worked with the repetitive grooves and unusual arrangements already central to the band's music.

'Wrote for Luck' became one of the album's defining tracks. Built around Paul Ryder's bass and a repetitive rhythm, the recording fitted naturally alongside the dance music growing in popularity at The Haçienda, even though Happy Mondays remained recognisably a guitar band. The song would also become important through its remixes, which introduced the group to audiences more familiar with electronic dance music.

The album's artwork, created by Central Station Design, was another important contribution to Factory's visual identity. The Manchester collective developed colourful, psychedelic sleeves that were considerably different from Peter Saville's minimalist approach to New Order. They suited a group whose image was becoming almost as recognisable as their music.

By the time 'Bummed' arrived, The Haçienda was attracting crowds for its house and acid house nights. Happy Mondays were well placed to benefit from that change, particularly as remixes and collaborations brought them closer to the DJs responsible for Manchester's developing club culture. Paul Oakenfold would become increasingly involved with the band's recordings, helping establish the relationship that would lead to their greatest commercial success.

The Stone Roses released their self-titled debut album in May 1989, bringing together John Squire's guitar playing, Ian Brown's vocals and an increasing interest in dance rhythms. Songs such as 'I Wanna Be Adored', 'Waterfall' and 'Made of Stone' established their reputation, while 'Fools Gold' would demonstrate how successfully they could incorporate the influence of club culture.

Although The Stone Roses were signed to Silvertone rather than Factory, they became closely associated with Happy Mondays and the movement the press began calling Madchester. The name brought together musicians whose records were often quite different, but who shared a connection with Manchester's clubs, fashion and increasingly prominent independent music scene.

For Happy Mondays, the defining release of this period was the 'Madchester Rave On' EP. Its best-known track, 'Hallelujah', developed their relationship with dance music, particularly through the remix produced by Oakenfold and Steve Osborne.

On 23 November 1989, Happy Mondays and The Stone Roses appeared on 'Top of the Pops' during the same programme. The Roses performed 'Fools Gold', while Happy Mondays delivered 'Hallelujah', joined by Kirsty MacColl on backing vocals. Bez's dancing was another memorable part of the performance, particularly as he seemed uninterested in following the usual expectations of a television appearance.

The programme brought two of Manchester's most talked-about groups into living rooms across Britain. Neither had developed through the conventional pop system, yet their music was now attracting national attention. Baggy clothing, club culture and Manchester slang became subjects of fascination, with newspapers attempting to explain why so many important groups appeared to be emerging from the same city.

Happy Mondays followed that success with 'Pills 'n' Thrills and Bellyaches' in November 1990, produced by Oakenfold and Osborne. The pair approached the music differently from Hannett, bringing a greater emphasis on samples, dance rhythms and arrangements that could appeal to a wider audience. The album was recorded partly in Los Angeles, with the band drawing on their established funk influences while incorporating ideas from hip-hop, house music and the records being played in clubs. Oakenfold and Osborne gave the recordings greater clarity without removing the oddities that had made Happy Mondays enjoyable in the first place.

'Step On', a reworking of John Kongos's 'He's Gonna Step on You Again', had already become a substantial hit earlier that year. Happy Mondays transformed the original through their distinctive rhythms and Ryder's delivery, producing one of the most recognisable records associated with Madchester.

'Kinky Afro' became another major success, and both singles reached number five in the UK charts. The album also included 'Loose Fit' and 'God's Cop', the latter taking aim at Greater Manchester's Chief Constable James Anderton, whose outspoken views on drugs and club culture had made him a particular target for musicians associated with The Haçienda.

'Pills 'n' Thrills and Bellyaches' became a major commercial success, earning a platinum certification in Britain and turning Happy Mondays into one of Factory's most important acts. Its production brought the band closer to mainstream pop without removing the strange characters, humour and unpredictable lyrics that had distinguished their earliest recordings.

Wilson was particularly enthusiastic about Ryder's writing, famously comparing him to the Irish poet W. B. Yeats. It was the kind of comparison Wilson enjoyed making, partly because he admired Ryder's ability to turn ordinary experiences into unusual lyrics, and partly because he knew it would irritate people who regarded popular music as inferior to literature.

By 1990, Happy Mondays had travelled a considerable distance from the rough performances of their early Factory years. Their records were successful, their image had become closely associated with Madchester, and they were attracting attention far beyond Manchester's independent music scene.

However, the success was becoming difficult to manage. Drug addiction, disagreements and unpredictable behaviour were affecting the group's ability to record and perform. Shaun and Paul Ryder were both experiencing serious problems, while the demands of touring and recording were placing additional pressure on relationships within the band.

The musical landscape was changing too. By 1991, the initial excitement surrounding Madchester had begun to decline, while American alternative rock and a new generation of British guitar bands were attracting attention. Happy Mondays needed to follow 'Pills 'n' Thrills and Bellyaches', but Oakenfold and Osborne had become increasingly sought-after producers, making another collaboration difficult to arrange.

Factory's solution was to send the band to Barbados, where they would work with Chris Frantz and Tina Weymouth of Talking Heads and Tom Tom Club. The hope was that recording away from Manchester would remove some of the distractions affecting the musicians, although the sessions would become one of the most notorious episodes in the label's history.

'Don't Walk Away in Silence' – The Collapse of Factory Records

By the beginning of 1992, Factory was running out of money. The Haçienda continued to require financial support, New Order were experiencing disagreements that made another album difficult to complete, and Happy Mondays' recording sessions were becoming increasingly expensive.

The band had travelled to Eddy Grant's Blue Wave Studios in Barbados, with Chris Frantz and Tina Weymouth overseeing work on their fourth album. The choice of producers was understandable given their experience with Talking Heads and Tom Tom Club, but their approach differed considerably from the methods Oakenfold and Osborne had used on 'Pills 'n' Thrills and Bellyaches'.

Rather than building tracks quickly around rhythms and Ryder's lyrics, the sessions involved more conventional recording methods that some members of Happy Mondays found frustrating. The problems extended beyond the music, with drug use and disagreements affecting the group's ability to maintain a productive working routine.

Stories about the sessions have become part of Factory folklore. Equipment was supposedly sold to fund drug habits, while Shaun Ryder was accused of attempting to hold the master tapes for ransom. Some accounts have been exaggerated or disputed over the years, but the sessions were undoubtedly expensive and troubled.

The album eventually had to be completed after the musicians returned to Britain, creating further costs for a company already struggling financially. 'Yes Please!' was released in September 1992, featuring 'Stinkin Thinkin' and 'Sunshine & Love'. The record was noticeably different from its predecessors, replacing some of the rawness and rhythmic unpredictability of 'Bummed' and 'Pills 'n' Thrills and Bellyaches' with smoother arrangements influenced by funk and dance-pop.

The commercial response was disappointing, particularly considering how much Factory had spent on the project. With Madchester no longer dominating the music press, the label could not rely on the same attention that had surrounded Happy Mondays only two years earlier.

Factory's hopes increasingly rested on New Order. The band had begun working on 'Republic', their first studio album since 'Technique', but relationships within the group had deteriorated and the recording process was proving difficult. The company needed another successful release, although the musicians were in no position to complete one quickly.

As its financial problems became more serious, Wilson and the other partners began exploring the possibility of selling Factory to London Records. 

The negotiations exposed one of the company's greatest weaknesses. Factory had spent years allowing musicians considerable control over their recordings without establishing the conventional contracts that would have given the label ownership of much of its most valuable catalogue.

New Order's masters were particularly important. The band had generated substantial income, but Factory did not own the recordings in the way a conventional record label might have expected. For a potential buyer, that created a problem, particularly when one of the company's biggest commercial assets could not simply be included in a sale.

The absence of conventional contracts wasn't the only issue. Factory had accumulated debts, its most successful artists were experiencing difficulties, and The Haçienda continued requiring financial support. The problems had developed over several years, leaving little room for a straightforward rescue.

The proposed deal failed, and Factory Records entered receivership on 23 November 1992, owing approximately £2 million. New Order's 'Republic' was eventually released through London Records in May 1993. It had been intended for Factory, with 'FACT 300' associated with the project, but the company's collapse meant the finished album appeared through another label.

The album included 'Regret', one of New Order's strongest later singles, while 'World (The Price of Love)' and 'Ruined in a Day' explored the electronic side of their music. 'Republic' reached number one in the UK, but its success arrived too late to save the company that had supported the band throughout their career.

Happy Mondays also separated following the release of 'Yes Please!', bringing their first period together to an end. Shaun Ryder and Bez would subsequently form Black Grape, enjoying considerable success with 'It's Great When You're Straight...Yeah' in 1995, while the other members pursued different projects.

The Haçienda continued operating for another five years, despite the collapse of the company that had financed it. Wilson remained involved in Manchester's cultural life, while the musicians associated with Factory continued recording and performing through other labels.

After fourteen years, the original Factory Records had disappeared. It wasn't a carefully arranged ending, simply the result of a company whose commitments had grown beyond its ability to pay for them.

'You Either Make Money or You Make History' – The Factory Legacy

Factory's music has proved considerably more durable than its finances. Joy Division's 'Unknown Pleasures' and 'Closer' remain essential post-punk albums, New Order's Factory catalogue contains some of Britain's finest electronic records, and Happy Mondays' music is still closely associated with the period when Manchester became the focus of Britain's acid house explosion.

The artwork has enjoyed a similar afterlife. Peter Saville's designs for Joy Division and New Order remain among the most recognisable in British music, while Central Station Design gave Happy Mondays a completely different visual identity. The contrast between Saville's minimalism and the colourful, psychedelic designs associated with the Mondays demonstrated how much variety existed within the same label.

Martin Hannett's production continues to influence musicians and producers, particularly through his treatment of drums, guitars and the space surrounding individual instruments. Rob Gretton's management of Joy Division and New Order was equally important, helping protect the interests of artists during a period when record companies frequently expected considerable control over their musicians.

The Haçienda's influence extended well beyond the records Factory released. Mike Pickering, Graeme Park, Jon Dasilva, Dave Haslam and other DJs helped introduce American house music to British audiences, while the club provided a meeting place for guitar bands, electronic musicians and people interested in the developing dance scene.

Manchester's musical history would have continued without Factory, of course. The Smiths and The Stone Roses had their own identities and record labels, while Oasis emerged from a generation shaped by several different movements. It would be unreasonable to attribute their achievements to Tony Wilson, although the independent music community surrounding Factory and The Haçienda provided opportunities that benefited the wider city.

Wilson remained central to that story, even if his contribution was often less practical than those of the people working alongside him. Alan Erasmus helped establish the original Factory nights, Rob Gretton managed the musicians, Martin Hannett changed the sound of the records, and Peter Saville developed the artwork. Wilson brought those people together and persuaded them that Manchester was somewhere worth investing their ambitions.

His enthusiasm could be infectious, although his judgement was not always reliable. He could be arrogant, argumentative and remarkably unconcerned about whether his latest idea was financially sensible. Those characteristics contributed to some of Factory's most expensive mistakes, but they also encouraged people around him to attempt things that might otherwise have remained ideas discussed in pubs.

Much of that personality was captured in Michael Winterbottom's 2002 film '24 Hour Party People', with Steve Coogan portraying Wilson. The film follows Manchester's music scene from the Sex Pistols concerts through Joy Division, New Order, The Haçienda and Happy Mondays, frequently acknowledging the differences between historical events and the stories people preferred to tell.

Its approach seems particularly appropriate considering the mythology that developed around Factory. The audience at the original Sex Pistols concert has apparently grown with every retelling, the supposedly disastrous cost of the 'Blue Monday' sleeve has become almost as famous as the record itself, and the Happy Mondays' Barbados sessions have inspired stories that are not always easy to verify.

The film returned to British and Irish cinemas in October 2026, introducing another generation to the people and music associated with Factory. Almost a quarter of a century after its original release, the stories remain entertaining, although the records themselves provide a better account of what the musicians achieved.

Factory's catalogue numbers also continued beyond the company's existence. 'FAC 1' was a poster, 'FACT 10' was 'Unknown Pleasures', and 'FAC 51' was The Haçienda. 'FAC 61' referred to Martin Hannett's legal dispute with the label, while 'FAC 401' was associated with '24 Hour Party People'.

When Wilson died in August 2007, his coffin received the number 'FAC 501'. It was a fitting tribute to somebody who had spent much of his career turning records, buildings, artwork and occasionally ridiculous ideas into part of the same catalogue.

Martin Hannett had died in April 1991, before Factory's collapse, while Rob Gretton died in April 1999. Ian Curtis's death had brought Joy Division's history to an end in 1980, although his recordings continued reaching new audiences through subsequent releases and documentaries. Their contributions remained part of Manchester's musical identity long after the original company disappeared.

Factory's financial failures shouldn't be overlooked simply because the records were excellent. The Haçienda consumed enormous resources, expensive projects created problems, and the absence of conventional contracts complicated attempts to rescue the business. Musicians, employees and creditors all had to deal with the consequences when the company could no longer meet its obligations.

Yet it is difficult to imagine Factory operating according to conventional music industry practices. Peter Saville might have been told to produce cheaper sleeves, Martin Hannett might not have been given the same freedom in the studio, and New Order could have been expected to follow 'Blue Monday' with something designed to repeat its commercial success.

Those decisions might have improved Factory's finances, but they would also have changed the relationship between the label and its artists. The company supported musicians who wanted to develop their music without constantly being expected to recreate their previous records, even if the cost of that approach eventually became impossible to sustain.

Tony Wilson once summed up Factory's philosophy with the phrase 'You Either Make Money or You Make History'. It is a much neater description than the reality, which involved arguments, debts, failed projects and plenty of decisions that would have terrified a conventional record executive. Wilson wanted Manchester to have a record label and a nightclub that could compete with anything elsewhere in the world. He found people who shared that ambition, brought them together and helped create opportunities for musicians whose records might otherwise have taken very different paths.

Factory Records eventually disappeared under the weight of its financial problems, but its records have continued finding new audiences for more than three decades. People are still listening to 'Unknown Pleasures', dancing to 'Blue Monday', discovering 'Pills 'n' Thrills and Bellyaches', and visiting Manchester because of the music associated with the city.

Factory never became a particularly successful business. It did and continues to make history.

For Tony Wilson, Ian Curtis, Martin Hannett, Rob Gretton, Joe, and everyone who has called Manchester home.