NO: 03 JUN 1984 Powerhouse - Birmingham, England



Temptation, The Village, Chosen Time, Your Silent Face, Senses, Denial, Ultraviolence, 586, Age Of Consent, The Perfect Kiss, Confusion

Stockholm Monsters opened.

Snotters' description:

3 songs from Movement played; the debut of Perfect Kiss "mk. 2" (as opposed to the radically different "mk. 1" arrangement) the hilarious interplay between Barney and an abusive punter at the beginning of Perfect Kiss Hooky's superb "tribute" to the club DJ


Sound cuts out at 0:33, like somebody unplugged a lead (snotters)

Then the sound goes pear-shaped white noise-y between 4:19-4:22. That's not a fault of the recording but of the PA, as other versions of this recording also suffer from this.

BS: "Thanks very much."

The Village and Chosen Time follow.

(end of the latter)

BS: "It's raining."

Volume fades down a bit and then back up. (snotters)

Your Silent Face

[Snotters version] Another sound gremlin at 0:50 or thereabouts. Sound distorts between 1:30 and 1:45, and again between 2:10-2:45. Small glitch at 3:50.

After Bernard says, "Why don't you FUCK off"...he then mutters something like "head paste".

Barney tunes his guitar after they finish.


Morris is drumming his arms off. More distortion between 2:15 - 2:20.

Quite a bit of shouting between this one and Denial.

More Morris on speed. He is a drumming deity.

Lots more shouts out. Steve even bangs the drums once more. :)


Neat sound effects starting at 4:15. At 4:35 there's an edit which sounds like the sound crinkling.


Before the start, somebody cries out for 'Too Late', which gets a chuckle from the stage.

Age Of Consent

Tape garbles a bit between 1:00 - 1:10.

Another long gap with punters shouting out.

The Perfect Kiss

Thanks go to Snotters for the help with the interplay betwixt Barney & the hapless punter, as well as to the exchange between Hooky and the DJ.

BS: "Diane, turn the foldback up a little bit please?"

Punter yells at Barney to "fuck off".

BS: "You fuck off, you big tit."

Cheers. Then someone shouts out "wanker".

BS: "In fact, you're a cunt, not a tit."

More cheers.

BS: "Or you're a bollock-brain, not a cunt. And if you want a fight I'll see you in the dressing room afterwards."

This is, as Snotters notes, the debut of the modern arrangement of TPK, but it's still different enough to the release to be interesting to listen to. The main synth line has a different tone. And the frogs!

New Order head off the stage, and there's a tape break. When the tape resumes, there's some reggae/dub-type music over the PA.

DJ: "I don't know if you'd get anymore, but if you want some, you better shout for it."

So folks shout for it.

The DJ then plays the opening bars to Blue Monday, but then stops it, to loud booing. The reggae music comes back on. There's another break at 1:37, resuming with more music.

And then New Order come back on, with what has to be one of the most memorable exchanges to come from the band (between tracks, anyway):

PH: "So we've only come back on to tell the fucking DJ what a fucking dickhead he is, all right?"

DJ: "That works two ways then, doesn't it, you know? They want more, just give it to 'em."

PH: "Why don't you fuck off?  Mind your own fookin' business."

The crowd is well riled up at this point, and a couple of punters hurl insults out while the band soundcheck their instruments.

From Joy Divsion Central Twitter @JD_Central

[snotters recording]

punter #1: "Fucking Sylvester"
punter #2: "Sieg Heil"
punter #1: "Wanker!"
punter #2: "Bring back Ian Curtis!"


BS: "Can we have, er, a moment of silence, for uh, respect. Please be nice to us."

Of course, the track starts right off.

Bernard then cries for the sequencer to be turned up.


AUD #1 - PM Sony WM-D6c, Aiwa CM60 stereo mics, this is the one in the YT link above

AUD v2 - v1, Sony WM-D6, hand-held Sony stereo mic, 90' orientation

AUD v3 - Previously uncirculated soundcheck with takes of TPK, The Passenger, Senses, and KW1, as well as an unknown jam.

There's also a 4th version. PMx: "It was so long ago that I can't remember for sure, but it is likely that the tape came from a guy who was local to where I lived, in Birmingham (a town called Walsall) who did lots of taping. I remember that his main interest was the Waterboys, but he also taped many other local gigs and sold them at record fairs."


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