NO: 26 JUN 1982 The Haçienda, Manchester
(via lo-fi noise makers YouTube)
In A Lonely Place, Ultraviolence, Denial, The Village, We All Stand, Senses, Chosen Time, 586, Temptation, Everything's Gone Green
Soundcheck (20 minutes): Hurt, 586.
Uncertain if Ceremony as originally credited is truly from this date since the song wasn't played during the set. CW recalls that there was a soundcheck tape with We All Stand, The Village, 586, Temptation, EGG, which he never had a copy of.
'From Heaven To Heaven' mentions a four-minute snippet recorded from the Whitworth St. doors, so it's safe to say there's quite a bit of uncertainty in terms of what's available in circulation for this.
(Playlist by Fractured / Image)
Swamp Children opened.
My original copy was supposedly a 3rd gen soundboard tape (most likely really an audience tape), 'davemings' on STG seeded a 2nd gen copy that sounds very pleasing to these ears.
There has been some confusion over how many sets were played. The consensus is that there was only one, with the "first" set listed matching the one listed for Tenax - Florence, Italy, with IALP tacked on. I may have done my part in perpetuating this error, since the original Waterrat listing did *not* list two sets (though it seems to now!)
I'll keep the following from 'twist' for now, as it documents the fictitious set:
"I think this was for the opening of the Hacienda. Anywho, two sets played. Power cut during the second set. From NOOL "There were two sets for those lucky few who had managed to get into the opening of the Hacienda, in what would be a momentous night. Overcoming the sound problems was the first problem faced by the band, as the power blew during Ultraviolence at the start of the second [sic] set, and the sound system was generally churning out a muddy and uneven sound.
The first set (Dreams Never End, 586, Procession, Chosen Time, Truth, Senses, Ultraviolence, Everything's Gone Green, Temptation, In A Lonely Place) contained no surprises, and it was left to the headline set to get everyone on their feet (20 minute delay not withstanding). Re-opening with In A Lonely Place and Ultraviolence before the powercut, the band came back to pummel us with Denial, spark curiosity with The Village, chill us out with We All Stand, speed things up again with a rejuvenated Senses and Chosen Time, finishing with the new electronic way forward in the face of the triumvirate that was 586, Temptation and EGG."
I've been able to trace down three versions:
(1) Bootleg version, the one with the '82 Italian dates
(2) 'davemings' STG version.
(3) Since then, another version has surfaced, which is more complete in that it has a compere introducing the venue.
I figure (2) was recorded closer to the PA, and is loud, with somewhat better sound than (3). (1) sounds the murkiest of the lot.
From (3), announcer (unidentified, not Tony Wilson):
"Hacienda. That's really for members. Next Tuesday, for the 29th of June, we have 52nd Street and Swamp Children. The Saturday after that, the 3rd of July, the rearranged Funkapolitan. And the Wednesday, 7th of July, a concert you shouldn't miss, Liaisons Dangereuse, and on Friday, the 9th of July, A Certain Ratio. [punter: "that's quite good, innit"] What about that? The next newsletter will be out pretty soon, as will the membership cards, still problems getting the embossing done at a very secret printers. Admission very soon will be even lower, that means even though you'll pay nothing tonight, we'll pay you to come. Okay, this is not just another venue, but a club, and it's based not on mere consumption but on contribution. So what are you going to give? (punter: money). So the Hacienda gives you, tonight, New Order!"
Josef K says that Barney may have played keyboards for 52nd Street for that gig, but hasn't been able to confirm it. This actually may have happened later in the year, as detailed in Michael Butterworth's book.
Then a 52nd Street ("Cool As Ice", I think) song comes over the PA.
In A Lonely Place starts out things.
BS: "One two." And then a couple of notes on the melodica, which bear a striking resemblance to the opening synth line of Sooner Than You Think, two years early. Synth here sounds very untuned. (3) is the most complete, (1) only has the trailing bit of the melodica blast, a clink of glasses, and somebody a few seconds into the drum intro saying something like "what a lousy place" (2) has the melodica and then punters yelling out "Oh!" and "Bernard."
Then Ultraviolence, with the bass levels being a bit too high and causing a bit of distortion...in line with the comments made above about the problems with the Hacienda's PA. Barney's vocals are full of reverb as usual on '82 recordings.
At shortly before 3:30 the power cuts out, leaving the audience shouting in confusion.
Alan Erasmus (thanks to Dave Mings for the ID) and Wilson talk next.
RG: "...a little problem. It's gonna get ugly(?) eh? Just stick around please."
[only heard on (2), (3) has an edit point starting here]
TW: "It's either a fuse or a bad wire, if it's only a bad wire, it should be traceable, it'll be about ten minutes. Sorry about this solution."
Another edit and a bit more crowd before the power is restored and New Order start over playing Ultraviolence again.
The entire performance can be viewed on the Definitive Edition of Power, Corruption, and Lies. Here's a clip of UV via shugzv's YT.
Denial follows, also on the Definitive Edition of the PC&L release.
The Village has an interesting bass synth riff not otherwise present on the release.
About 30 seconds gap between this one and the next song, which is We All Stand . On (3), a punter identifies the track.
Drop-out in right channel at 4:14, lasts about 10 seconds. (2)
A/B split between We All Stand and Senses, fadeout captures the first couple seconds of boinging synths, which is cold-start replayed. Another small break before the next one, Chosen Time.
(3) has an edit point after Chosen Time.
Then follows 586, with the Touch records release's sequencer sound rather than the later PCL sound. Bass sound is distorted here. Bit of a drop in levels at about 15:10, coming back at about 15:25. (2)
(3) sounds complete to these ears.