NO: 14 MAY 1984 Royal Festival Hall - London



Face Up, Everything's Gone Green, Temptation, Confusion, Your Silent Face, Leave Me Alone, Hurt, Thieves Like Us, Age Of Consent, The Perfect Kiss 

[encore] Decades, Blue Monday

Soundcheck (90 minutes): Your Silent Face (inst), The Perfect Kiss (inst), Love Will Tear Us Apart (bass), Hurt, The Perfect Kiss

The band on speaking on why they participated, which appears on the Low-Life Definitive Edition boxset.

Source is a tape from my archives, as well as an MP3 downloaded from Soulseek(?) derived from the same source, with the tape being much better quality.

Bernard notes, "Can't moan about us coming on late now." (missing from the MP3-downloaded version)

Face Up

Early version, with a synth false start. Extended intro.

(see below for lyrics)

BS: "Thanks very much.  That was a new song, we never played it before."  (of course forgetting, intentionally or not, that the group *did* play it on 19 Mar 1984 at Caesar's Palace in Bradford)

Everything's Gone Green segues into Temptation. There's a brief dropout within Barney's first verse of the latter (about six minutes in or so). Right before the "Oh, you got green eyes" bit, Hooky yells out, "And [??] happens when you all go out on strike!"


BS: "Alright, you're gonna start to get a majority vote on everything." (likely in reference to having audience yelling out what song to play next)

(and afterwards)

BS: "Thank you very much, that's dedicated to all the fat bastards in the audience."

Lots of cries for Ceremony.  The Order perform Your Silent Face instead. Bernard sings "why don't you...fuck up as..." (can't make out last word)

A good-sized pause between this and the next track, Leave Me Alone.

A couple of stereo field shifts, likely due to the taper moving around.


BS: "Why don't you all stand up? (cheers) It's only photographers that are allowed to stand up."

Terrific rendition.

Thieves Like Us

BS: "This...this next song is all about hate."

Age Of Consent

PH: "'ve got a good band it's no one[?] to think. This is... eh, 'Coals For Newcastle'"

BS: "See...who said it was shit, eh?"

The Perfect Kiss

Debut performance!

PH: "Shhh..."

BS: "This one's a new song, it's called 'I've Got A Cock Like The M1'"

This has a different bass sequencer melody, a different bass riff, and the main keyboard melody is simpler.

(see below for lyrics)

Gillian hits the keyboard at the wrong time at one point.

BS: "Thanks very much." Another 20 seconds of repeated synth-based noise at the end.


PH: " know this encore is costing us, uh, four hundred quid, a bit more expensive than a fiver, innit?"

New Order than play Decades which some feel was a practice run for the version they played at Paradiso.

(VoxPhantom, same version as Fractured/Image)

Blue Monday

Intro has a break different than the usual.

lyric: How does it feel when you hurt me like you do?

Buuurp! Listen for it.

Other notes...

Date: Fri, 24 Aug 2001 09:43:04 +0100
From: "Steve Waller"
Subject: RE: (Fac33) Perfect Kiss

Jonathan is right. They first played it at Royal Festival Hall on May 14 1984 (I remember as it was my first NO gig). Next line was "It's long and thin and got a white line down it". They also did an early version of Face Up and Decades. The gig was a benefit for miners.

-----Original Message----- 

Behalf Of Jonathan Scott
Sent: 23 August 2001 22:38
Subject: (Fac33) Perfect Kiss

"...I may have posted something about this before,but, Perfect Kiss was first performed live in Woolwich, London in 1984 ..."

They were playing the track as "Kiss of Death" as early as June '84. I cannot check as I no longer have the legion of tapes I once had but remember them playing it at the Birmingham Powerhouse gig that month (the first I attended).


(indeed this is correct)


Quality of this is perhaps on par as the tape I have, maybe slightly worse. This is on CD, and is split into no less than 19 tracks!

  1. Instrumental runthrough of Your Silent Face. Glitch in 3:22 of my copy. Hooky starts "1-2"'ing at about 6:34, and continutes intermittently through the rest of the track. (14:10)
  2. Drum checking, mostly. (0:41)
  3. Bass sequencer for Confusion. Punter makes unintelligible comment at about 0:11. (0:22)
  4. Synth run-through for KW1 again, funny-sounding intro and errant keyboard note. Track ends at 1:38 and then Barney makes comments, calling Hooky's name at one point. Hard to make out. (2:02)
  5. Third runthrough for KW1. Barney talks again at the end. (0:52)
  6. KW1 - Fourth runthrough. More drumchecking at 3:05. And in what is a somewhat rare occurance, Barney makes some suggestions (hard to make out here) to Gillian. (3:47)
  7. KW1 - Fifth runthrough. Bernard says, "All right..." (0:41)
  8. Bass sequencer for Everything's Gone Green, but not the usual one. Very interesting, and reminiscent of their '81 forays. (2:25)
  9. Hooky's bass starting in on Age Of Consent. Hooky says "1-2" at about 0:54, and then plays a different riff (Decades?), a whistle and somebody says "Yo!" (1:23)
  10. Hooky plays the LWTUA bass riff! Ends at about a minute in. Some conversation and scuffling, and then more Decades-type notes, a bit more of LWTUA, and then a "1-2, 1-2". (1:48)
  11. Guitar riff for The Passenger, and then a feedback squall at about 0:30, BS: "A little bit of bass guitar though the wedges, Ed." And then a bit more of the Iggy Pop. (1:10)
  12. Guitar riffing for Sister Ray, and then Barneyh speaks, followed by random riffing before the Velvet Underground tune picks up again. (1:17)
  13. Drums and bass sequencer for 5-8-6, very briefly. Hooky makes a comment, and then Barney plays the Hurt melody on melodica, with Hooky playing the bass riff a bit, a slight pause, and then drum and bass sequencer again with a bit of more Hooky. (1:33)
  14. Barney sounds fairly animated. Something about "bass player" and "soundcheck", Hooky replies, and Barney keeps on ranting as there's a bit more playing. (0:37)
  15. Bass sequencer and then Hooky on Hurt, followed by keyboards. Second try. (1:26)
  16. More Hurt bass sequencer, ending in drums and bass tailing off. Very short third try. (0:13)
  17. Starts off with Hooky 1-2'ing a bit, and then a variation on the Hurt melody until Hooky's bass comes in. BS: "...first the last time(?)...". Fourth try. (0:45)
  18. Full run-through of Hurt, fifth try. Bernard talks a bit at 2:00 in. Cold stop. (4:56)
  19. The very first public airing of The Perfect Kiss! It's an instrumental. Alas, my copy has diginoise through this. (7:53)

Face Up 

The first time I saw you I knew that it was true Your eyes were so green your words were so pure I felt my king[?] hit the floor
You were up and I was down
I fell right down to the ground
Another suicide, my eyes were closed
You hurt me like as if you were old

Oh how I cannot bear the thought of you (x2) Knowing you like I used to do
To see the beauty and you were through

Always so good, always so fine
Always so good, yes that was mine
I said...
Oh how I cannot bear the thought of you...whoo! (reverb on last line)

For a long time now I've seen your face Seen your face, seen your face
For a long time now I've seen your face Seen your face, seen your face
You were so good when I met you
You were so good when I met you
My heart broke into several pieces that day My heart broke forever like that piece of [?]-dy

Oh how I cannot bear the thought of you, Oh how I cannot bear the thought of you Knowing you like I used to do
You were so high, I was so low
You were so close, you put on heat
And my skin[?] wasn't clothes so nice

It wasn't the first time, it wasn't the last time It wasn't between your legs I bet you
It was your heart, it was your source
It was a bottle ...[two words]...
Your heart was cold, your eyes were bright It hit me like a blinding light

I would bet
I never felt touched by the same feeling I would bet I find it hard
To sorrows
I would bet I find it hard
To forget you like yesterday
A long time now I've missed you so
That has left a great big hole
A long time now you fainted into
The darkness...I followed you far

Oh how I cannot bear the thought of you, Oh how I cannot bear the thought of you Always so good, always so bad
Always so fine, always so cute
Always so good, always so bad
Always so, so, so, so, so hard

The Perfect Kiss (aka I've Got A Cock Like the M1) 

(lyric transcription based on 'Digital' Mike Garrity and twist's efforts)

I've got a cock, it looks like the M1
It's long and thin, it's got a white line down it It curls about, it curls about
There's crashes on, and service stations too

I've got a cock like the the the M1...

This is about a man called me and you
a night for us, just with you
Of all the things we need some now
Before the end comes to our home

This is the first time, this is the last time I saw you in front of my house
You had a shotgun, you had a knife
You shot(?) at me and killed my wife

How did you get your name in front of me? Cuz I found you like I knew I should
I won't get laid with them...cuz belsen was a gas...

Artificiality, artificiality, artificiality, Artificiality, artificiality, artificiality

I looked to the right I saw my ride
You saw me with her long legs
You said 'I am at last on my own'

its not your own fault....
its not your own fault....
its not your own fault....
its not your own fault....

Versions - this has amongst the most varied and convoluted set of recordings, with none of them really being idea.

AUD #1 - TJ/"DM" version

TJ: "Have just found one of my three different sources, which may be the one we recorded, though I cannot be sure. Have only listened to Face Up so far, and this take is distinguishable by some audible crowd talking about a minute into the song. I wasn't with my mate at this stage of the gig, so can't tell if it is our master or not. It's quite a loud recording, and I suspect there is some clipping. If I get the chance over the weekend (and Digital rehearsals will have to come first, seeing as we are playing next Friday at the Hope and Anchor), I'll bung it to WAV and stick some up for you to hear. According to IA, DM wasn't at this show, in case any versions show up credited to him."

My BV tape also has 1985-05-23 - Love Vigilantes (sc) and 870806 TF (TOTP). A/B split between Hurt and Thieves...and has an edit right at the end of TPK's bass droning. No chatting during Face Up like TMK version, it's also missing the intro and starts from a fade-in.

Could very well be the same as above as SP associated with JM. CH is an ANA2/ANA3 copy of the DM tape. featuring Jon Marsh as between-song commentator. Think this is the same as the AIT76 2005-01-27 seed, and Rob2005's 2006-09-05 version on DIME (and the better-sounding Renko MP3 variant). Face Up cuts after three minutes on the Rob2005 version, but not others. Multiple shouts of "Ceremony" between Confusion and KW1, along with the sound of a cassette being changed. Flip point between Leave Me Alone and Hurt. Some azimuth issues in the front of Thieves Like Us (Rob2005, but not others). Also, the soundcheck (clocking in at 90m) was recorded, though the only version I have is 47:52 in length.

This (up to Hurt) can be heard here...

AUD v2 - Big Al, Sony WM-D6c, Panasonic clip-on

Missing opening track (Face Up) as taper and friends were still in the pub. Quite possible the same version as SOL's but this hasn't been corroborated. SOL also has this tape (not taped by him). Got this from JB. Missing parts of Face up and EGG.  The v1 recording has Face Up and 90s of EGG, which appears to match what's missing here, but I think that's just due to the opening group(s) having been taped, leaving the same amount of space left for the start of the NO set, as these tracks match a different, unlineaged version I had on an old BV tape.

AUD v3 - unknown from TMK, ANA2

Different than the others, has classical intro (like PFD).  There's a bit of chatter 1:20 in, which may correspond with the TJ version.  Cut between Hurt and Thieves Like Us, and has somebody calling out for DNE at a squeal edit point between AoC and TPK.  This could be the same as the BD/'tombeaux' recording, taped with Sony WM-D6c and external mics, which I don't have, so I can't verify. 

AUD v4 - v1 version, Sony WM-D6, w/built-in mics, ANA0(?)

With respect to the master, only the encore tracks, and the initial 'Face Up' followed by about 90 seconds of EGG survive. Face Up/EGG are lower in volume/more hissy than the encore tracks, which is the common version of the gig (BV version).  This could be a copy of Jerry Keen's recording, which he taped with a Sony.  

Jerry Keen: "Remember hearing it for first time at rfh miners tape got tangled half way through and recording was lost!!". He subsequently clarified that he was only able to record two tracks onto his TDK master. 

AUD v5 - from IAP, at least ANA1

IAP: "On my tape, 'Decades' appears first (and is mislabelled as 'Dead Souls') and has some distinctive chatter, and edit, and another one with somebody saying, "Dead guy, is he doing this for the dead guy?". First part of Face Up is cut. There's a clue near the start of KW1 where the taper (or someone very close to him) yells out 'Hi Al!', which possibly was directed towards Alex Dart.  Also has an internal cut a couple of minutes into Confusion, and cuts about 2/3 of the way into TLU, missing AOC and "M1". Has "Decades", though it may be from another recording.

AUD #6 - from Eddie Wolfram

My BV tape version has a 'cold start' at the start of Blue Monday, which matches none of the other recordings we have full copies of, and a A/B split point between 'Leave Me Alone' and 'Hurt'.  Probably a Wolfram recording due to voice at the end of 5-8-6 having a resemblance. He's believed to also have taped the soundcheck, per IA, which is taxonomied as AUDv6-s.

Sample provided by CW. Not 100% sure its from his master, but turns out it matches this. Has somebody near the taper shouting "Never End!" about 10 seconds before Bernard introduces TPK. Runs fast.

JK says his Wolfram-sourced tape also has a cold start to BM. Believe this is the same as the 'Tudor House' tape that was was shared April Fools' Day 2016, which is also used on the YouTube version posted by Fractured/Image.

AUD #7 - from Dimitroy

This could be the same as the BD/'tombeaux' recording, which I don't have, so I can't verify. Has classical intro bit. Someone yells at the start of LMA. Flip between LMA and Hurt.

AUD #8 - from talvenaika

He had labelled as [source 1], with AUD #1 as [source 2], amusingly enough. This is similar to AUD #1 in that the classical intro has been cut (though you can hear a vestige of it), and doesn't have loud left channel shout for "Ceremony" at the start It's on par with the alternate versions, sound-wise, but for whatever reason has a patina of hiss that doesn't really detract from the sound. "Hurt" is muffled midway, and at the end of Age Of Consent, there's a female voice that states "Dreams Never End", perfect to establish that this version is unique.

Untracked versions

- AB has a recording, according to PJB. no further info.

- Silent Super 8mm extracts of "rehearsal" footage, not certain if this was at the actual venue.



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