Picture of Bernie New

NO: 29 JAN 83 Great Hall - Cardiff

Tape from 'Dave Mings' listed as M/2-ish.


Opens with some early-80s yuckage playing over the PA, before it transitions into the dulcet tones of this masterpiece.

Punter yells at 1:02, "Get down you wanker!". Somebody else follows up, "Get out". Lots of chatter simmering at the surface during Barney's first verse. Hard to make it out but you can hear "freaking out" at one point. At 2:07, somebody really close to the mic says something like "Trixie", most mysterous.

Lots of calling out in the gap between songs, of course.


Bernard's intro a bit off key.

Band tunes up between songs.


A particularly good version.

lyric: "Burned my soul/in this hellhole"

On the BV version I have, after this you can hear a punter mysteriously exclaim, "C'mon Julian" (twice) and "drop the tenner"...and (a bit further away) a "C'mon Bernie".


A tiny bit of soundchecking before they start up. Whistling and cheering at the end, and some shout outs.

_We___All___Stand_ follows.


Not the epic version of the old days, but a mere 4:14 in length. Bernard Sumner's guitarwork being the highlight here.


Last line before the refrain mentions "shit".


Punter says "wot's that?" at the start.


Cut at end, cutting out the first bit of the next song. Other versions also split at this point.

_Hurt_ and _Temptation_ close out the set, each song having been a seperate encore.

Hurt has a strange stuttering bit in this performance, listen for it!


About 85 minutes in length.

Sound quality's not that great. Lots of barely audible shouting from the stage and muttering among the guys recording this.

Side A

You can hear the bootleggers talking for the first part, setting up. "Where's Steve Morris? I'm sure he's on drums."

It's just a shakily-played keyboard melody, but it is identifiable as Ecstasy, which as far as I know has never been played live.

Side B

"Wake up Barney!" (shouted from the stage) "Probably quite rusty haven't played so long" (muttered near the recording mic)

The bootleggers are talking about miscellaneous and sundry things, like how to get backstage, and can somewhat be heard, as there's no playing.

"Steve was just the lad, going along for the ride"

Near the end, somebody starts singing "Inside me, Inside my soul" (from Denial) The starstruck fan apparently was a loss for words when Bernard and Stephen apparently came up to talk to them. Kind of funny to hear the bootlegger talk about having just taped the soundcheck before the tape runs out.

NO: 25 FEB 83 Kolingsborg - Stockholm Sweden

MP3 version can be found on Anthology Volume 5

Also have this on tape, appears to be taken from LP. A superior version of the same (better stereo seperation) taken directly from LP has been seeded on STG.

Like many of the earlier concerts, New Order are fairly taciturn.

_586_ opens with a bit of _Your___Silent___Face_ mixed in, probably a sequencer foulup.

Then follows a 1:40 sequence of never-before-heard and unreleased music! The guitar does sound a bit like Everything's Gone Green, though.

BS: "Just waiting for the sequencers to work."

_Age___Of___Consent_ has a different ending than standard.

The drumming for _Denial_ starts sluggish and picks up in tempo. Neat trick.

Lots of clapping and cheering after Temptation concludes. NO come back on and play In A Lonely Place as an encore.

_IALP_ has a bit of tinkering in the opening portion.

NO: 26 FEB 83 Kolingsborg - Stockholm, Sweden

Source is a somewhat-hissy, but fairly good-sounding tape from the archives. An even better 2nd version has surface that includes all ten tracks.


Titled "Who Killed My Father" on the cassette, which is also the first line. Intro has a neat slap-bass sound. There's a cutout at 1:25. Hooky's bass cuts through Bernard's first line in the second verse, and seems fairly pronounced.


Some chattering (in Swedish) between songs and during the intro. Left channel dropout at 2:25 or so. Loud cheering after this is done. Edit. On the complete version, Bernard say something I can't make out, something like, "That's not the first..."

After a rousing version _Dreams___Never___End_, the band tentatively start into _We___All___Stand_. _Senses_ follow. On the incomplete version, the Volume on right channel drops and slowly rises again from about 3:45 to 4:00. Ends with "shooting" synth songs.

Swedish punter sounds like he's saying "y'all kiss his grits", heh.

BS: "All right, we're gonna slow everything down a little now, next one's a ballad."

Titled "Cramp" on my cassette label, I wouldn't call _Hurt_ much of a slowdown. Hooky's bass sound is especially dominating in the live mix. A bit of an epic, this one, ending cheers fade out.


Second time this one is played.

Hooky's bass fills differenciate this song from how it usually sounds.

Ends in tuning guitars.


Hooky's plays the intro on the wrong string, or at the wrong pitch! Vocals are low in the mix here. Some cut-outs between the 1:20 and 1:30 mark. (old version)

A/B flip at this point.


Bit of a false start, lasting about 20 seconds.


The band go off for 15 minutes but finally come back on. Lots of clapping at the start. Hooky tunes up a bit right before the song starts up.

NO: 11 MAR 83 The Ace - Brixton, England

Melody Maker 26 Mar 82
Live review by Lynden Barber



A bit over the top, however the conclusion is spot on.

There are numerous different live sources, ten by one account. I've used one of these for the writeup, which was sourced by TJ, and compared it to the one in my archives. The TJ version appears to have been taped on the floor, while my archives version was taped in the balcony.

The TJ version has about 5s of chatter before Bernard speaks. The archives version starts in right away.

And it turns out I have another copy...lots of treble hiss (dolby recording with non-dolby playback) but very good dynamics. More audience before the start on this one than the above two.


BS: "One two."

On archives version, somebody yells, "Play something different!"

Stereo shift at 3:58 (TJ), right at the end. A bit of guitar tuning, and then Sumner busts out with a guitar riff (can't place it) that causes folks to cheer.


Cut at 1:44 on TJ version.

At 6:00 Barney starts repeating "Confusion", in anticipation of that forthcoming song.

Weird chatter here, including somebody shouting out and folks reacting...on the archives version you can hear a lady saying, "That's weird." The second version I hear "that's brilliant."

Hooky then makes a weird repeated grunting song.

PH: "You're supposed to be fucking civilized!"

That gets a rise out of the crowd.


Brief cut at 0:45 (TJ)...probably a transfer glitch. Another glitch at 2:46. Stereo field shift at 3:17.

Lots more raucous audience shouting, including this classic.

Hooky says something I can't make out, "...you..." something.

punter: "Dogshit on my boot, fucking puerile!" (much closer on the TJ version than on the one in my archives)


Another glitch at 0:55...(TJ).


Glitch at 0:46. Another at 2:45. (TJ)


Hooky starts this one in a different key.

Punters speaking about getting drinks at the bar on the TJ tape.


Stereo field shift at 1:12.

lyrics: "I've got a big cock, and I need to tell yoooouuuu..."

Edit in the archives version at this point.

BS: "Thanks very much, even if you are 90% gay."


Slight glitch at 0:33 of this, almost sounds like they're starting it over. Stereo field shift at 3:15, and another at 5:15.


Lots more audience shouting in front of this one.

PH: "What's that to do with us, [name]?"

Sounds like the recorder or something close to it gets dropped at 0:43 or so.


Sound is pretty poor, sounds like it was recorded in a washtub.

Drumming, possibly of 'Blue Monday' parts, of all things. A complete instrumental version of _Your___Silent___Face_ follows, followed by samples from _Blue___Monday_, and then guitar form _Leave___Me___Alone_, followed by basslines to _Age___Of___Consent_ and _Love___Will___Tear___Us___Apart_.

Bernard then plays a riff that I've heard before that I can't place.

Then a full take of _Blue___Monday_, followed by the guitar riff of _ICB_, and then guitar and bass of _Transmission_ (lasts for 30 seconds or so). Tape ends with _ICB_.

NO: 12 MAR 83 Recreation Centre - Kingston-Upon-Thames Tolworth England

Description from http://slashmc.rice.edu/ceremony/neworder/no_disc/notapes.html

Bootleg lists:

the beach, in a lonely place (?), icb, dreams never end, "move back, scooter blocking", (3 miles to go), leave me alone?, (I'm not the kind), temptation, (heard you calling), "doors jammed, we can't get out", everything's gone green

I looked this show up in AIFL. The author mentions that Bernard had to ask the crowd to step back because a lot of people were getting crushed against the stage. Right after this, there was a "very important" announcement about a scooter blocking some truck. The license # given matched the AIFL author's scooter, and he rushed outside to find the scooter hosted high into the air on some sort of fork lift! Peter Hook is heard to announce something like "You better show some respect, 'cause there's some big blokes up here that'll TEAR YOUR FUCKIN' 'EAD OFF!" (see what he actually says below -ed.) At the end of the show (before the encore) Bernard announces something about "the only reason we're back is 'cause the door's jammed and we can't get out".

Anyway, all this talking is audible and intelligible on the tape, unlike a lot of tapes (and concerts) where they're sayin' shit on the stage the nobody can understand ;-)

From: "Tony Maddocks"
Newsgroups: alt.music.new-order
Subject: Re: Anyone going to the Apollo
Date: Sat, 12 Nov 2005 11:14:58 -0000

Sounds like the Brixton gig went down really well.

First time I saw NO was at the State in Liverpool I think it was '83 or 4. Lucky to get 30 mins out of them then! The gig was marred by Manc/Scouse banter "You bunch of lathargic Scouse bas@£ds", and so on. I remember Barney snatching a camera out of some amxious guys hands only th photograph him and return it! Great but short set. I was only thinking yesterday what a shame we never hear Doubts or Dreams Never End live anymore.

Source MP3 on Anthology Part One. I have this elsewhere on at least three separate tapes and two different CDs. The 'Confused Dreams' bootlegs edits out a lot of the interesting between-track bits.


PH: "This is the brass section. If the Jam can do it, I'm sure we can."


Essential performance of this classic.


BS: "Listen, you better move back. Everyone had better move back, right, cuz a lot people are getting hurt and thrown."

Somebody comes up on stage...

" S.S..Sorry to interrupt you here but we got a very important announcement here. There's someone who owns a scooter, SMG643Y, that's SMG643Y, now if they can go and remove it, because it's causing obstruction to one of the trucks. Thanks a lot, and don't spit at me."

This of course was the scribe Mark Johnson's scooter, New Order weren't too happy with the way he was following the band and decided to play a practical joke on him and have his scooter lifted up.

PH: "What's that? [smooch] Worth waiting for!"

Confused Dreams leaves this out, what a shame. _Leave___Me___Alone_

PH: "16, I think. It's been a long time."


BS: "This one's a fast one for all you bollock brains."


PH: "You shouldn't swear, there are several big blokes here that'll RIP YER FUCKING 'EAD OFF"


NO call out "Confusion!" during the chorus.


BS: "One, two! Listen, we've only come back on because the door's jammed and we can't get out."

(mp3 has Bernards announcement about why they came back edited out)

"A halo that covers my balls..."

End has song fading out to a reggae tape...

NO: 23 MAR 83 State Ballroom - Liverpool, England

Tape I have marked as second generation. Quality very good, gig well-recorded. Setlist on nogig is correct. A few other versions exist as well.

Sounded like a fairly rowdy gig, with technical problems. Guess that's normal for Mancs playing to Scousers.


PH: "We'll wait till..."

(you can hear a keyboard line from BM at a couple of points)

Hooky blurts out something about four minutes in. The first few minutes consist of simply the bass riff, as NO is presumably trying to get stuff to work right. Song lasts a total of more than ten minutes.


PH: "A bit more light please, Andy."

(a moment later)

"A little bit more, mate."

(a moment after that, sounding a tidge consterned)

"Andy, a little bit more light please!"

The start of _Dreams___Never___End_ falls apart a bit.


(crowd is apparently not hearing what they want to hear and getting rowdy...somebody can be heard to cry out "Get on with it, you fuckers!)

BS: "Shhhhhhhh...."

Long break between YSF and _We___All___Stand_, you can hear the crowd getting more restless.

_Ultraviolence_ follows. Lovely synth effect at the end, which continues through the pause between tracks.


People can be heard shouting for their JD favorites like Transmission and Warsaw, there's a long break between Ultraviolence and The Village.

BS: "You tell us what to play and we *won't* play it!"

Punters cries out for Ceremony and Warsaw.

BS: "Airight, this one's by the Human League, we're into cover versions now."

PH: (tsks-tsks) "Whatever happened to tolerance?"

PH: "Wot?"

Finally, after a long time, the track starts.

PH: "Well, clap along with it!"


Bernard says something at the start I can't make out.

Ends with a Hooky bass solo that goes on for about a minute, and elicits cheers.


BS: "Sorry, we've got huge technical problems."


PH: "This is the one that Sequential Circuits have been waiting for. No. Ready? A bit of light Andy onstage, please!"

Sequential Circuits Prophet V's with the original chipset, forget what it's called at the moment, are notoriously unreliable and detune quickly, so maybe that was the problem in this case.

(after song is through)

BS: "Ah, we're finished, you can go home."

NO: 24 MAR 83 State Ballroom - Liverpool, England

Seems to be a common source that starts with the opening of _Truth_ cut a bit.

Ends in a couple of bass notes.

A bit of guitar and a drum beat before Hooky leads off the next song, _Leave___Me___Alone_.

_Hurt_ has an unusual drum-and-bass type opening, as I presume the band were having some eqipment issues.

Followed by _Chosen___Time_, which one audience member greats with a whoop.

There's a cut after this song, I presume there was a long pause numbers.

Somebody can be heard calling for Warsaw.

BS: "Can't understand ya, you...you fanatic bastards."

BS: "See, you're all right...go on..."

Someone else who sounds like John Cooper Clarke can be heard saying something about busting out with chicken(?)...a few other 'interesting' audience shouts as well, but that's out the

BS: "See, we'll have the lot of ya after, in the dressing room. We're from Manchester."

More banter...

BS: "And I can't even know ya..."

Then _Ultraviolence_ starts.

Some guitar soundchecking (a but of a VU riff) before the start of _Everythings___Gone___Green_.

The near-tribal drumming of _Denial_ follows.

Another long pause between numbers.

A couple of bass notes. Somebody breaks a beer bottle.

Punter calls out, "Drugs, drugs."

BS: "Just what you need for keeping ag...up to...sc.." [can't fully make out]

Off mic, Hooky is heard to say, "No, no, no no, we're very tolerant about it."

A guitar lead gets plugged in.

Somebody mentions Tony Wilson, always a popular name in Liverpool.

punter: "Git your arse into gear!"

BS: (directed at a heckler, presumably) "I see you...yeah, I know, don't come to one of our gigs, please..."

PH: "I know you're from Manchester but I don't trust you."

A shout of 'Joy Division' follows. And are...

PH: "Here's one for you rebels..."

Hooky plays a little bass riff...and then the sequencer for _Blue___Monday_ finally finishes loading up.

_Temptation_ is the final song in the set.

NO: 31 MAR 83 'Top Of The Pops' - BBC 1

First appearance of New Order on TOTP. Unlike the rest of their contemporaries, they performed their hit live. Barney sports a blue denim jacket and dreamy eyes. The four minute edit version would be featured on a number of other '83 gigs. At the end, Barney looks at Hooky, who smiles.

NO: 01 APR 83 'Switch' - Channel 4

Better quality PAL->NTSC dub.

Tracks aired:


A bit more serious than their previous appearance on TOTP.

This version of Blue Monday has a unique opening sample not present anywhere else...starts out with "And there was light..."

NO: 11 Apr 83 - Coasters, Edinburgh


The debut!

taper: "Barney's playing bass!"
female companion: "Quite unusual."
taper: "They've changed 'round."
female companion: "Really?"

_Age___Of___Consent_ and _Procession_ follow.

The latter includes some alternate lyrics, the specifics I will note at some future point.

lyrics: "Your live is your own, your life is your own, I need you to stop."

Then _In___A___Lonely___Place_ followed by _Leave___Me___Alone_.

After last "leave me alone" line, Barney goes "Fuck off."

_Senses_ also has the extra verse when started appearing during the '83 live dates.

Hooky calls out "Ready?" off-mic at the start.

At this point, there's an edit and break on the tape between the last number and _586_.

There's quite a racket and Bernard giggles throughout the second verse, as well as hitting notes not otherwise recommended. Some improv lyrics and swearing.

lyric: "In the future, when you want me up your fanny. I will help you / when you call out for that twat."

BS: "How was that, [can't make out] *spit*...how's that for professionalism?"

Folks cry out for all sorts of stuff. New Order settle for _Denial_.

Slight droput between the end of the last song and _Temptation_. Barney also throws in a guitar bit from somewhere.

Some alternative lyrics in this, too.

More folks shouting out for their favorites.

BS: "I'll take Ceremony over a fucking ambulance."

Hooky twangs his bass.

BS: "That's a big one and a smaller one."

Lots more shouting out before _Blue___Monday_ starts up.

BS: "A bit more DMX, Ed."

The intro gets a bit pear-shaped. Vocals get 'interesting' at points.


Starts with the tail end of _Procession_, a full take of _ICB_ followed by _Temptation_, which on this tape is only the ending.

At the start of _ICB_ somebody yells out something about a DMX.

NO: 12 APR 83 Assembly Rooms - Edinburgh

Courtesy of cmkcmk on DIME.

Here's what he had to say:

"To warn you at the outset, Your Silent Face is all over the place tape speed wise. But apart from that this is a superb show in the be-chandeliered Assembly Rooms and well worth having. It is crystal clear and a great show. The Wake supported this night with Bobby Gillespie borrowing Hooky's bass for the show. As was once said elsewhere on the sleevenotes to The Wake CD reissues, there were moments of confusion during the early part of The Wake's set as to whether it was The Wake or New Order as New Order weren't the most visible of bands in terms of press photos and appearances at this time.

This was their second open to all ages show in Edinburgh following on from the previous night's show at the local roller disco 'Coasters'... and my second new order show. Over the next few nights I went up to St Andrews and then Glasgow to see them, but this I think was the best of them.

New Order are on fine form - Barney hitting the notes, mix full of trademark early 80s echo and delays and 'Dreams Never End' and 'Ceremony' are blistering. The echo on the drum after Hooky half shouts 'soul' in Dreams Never End sent a chill down my spine that night. Ceremony is at the usual breakneck speed of the times.

I got this show at a record fair, but not until 1987. it was also not from the usual new order bloke and without the usual sort of cover - it came in a normal tape box with the standard sony inlay with writing on it. Up to then I had never been able to find a copy for sale.

I don't know exactly where it was recorded as the crowd were pretty wild that night and they sound a bit distant on the tape.

There are some poor edits between the songs which were on the original tape and as I said, 'Your Silent Face' is a bit all over the place until the tape speed settles. This could be sorted with pitch adjustment software and patience. I have the former but little of the later sadly!"

Another version via TJ also exists.



The tape speed is indeed 'fact' until about 3:47. (CNK)

Squeal edit between songs on the CNK version. The TJ version has a cut here, with the first part of the next song missing.

_Hurt_ and _Dreams___Never___End_ follow.

Strange lower-pitched-than-normal bass sequencer on _Ultraviolence_ as well as on _We___All___Stand_.

Another squeal edit between tracks. (CNK)

A/B split on the TJ version.


Syndrum is really loud here.

_The___Village_ also has speed issues here....or maybe it was played fast!

PH: "Pause for thought."

Squeal edit _Chosen___Time_ and a blistering _Ceremony_, where Bernard repeats 'forever, forever, forever' as the final lyric.


Second time it makes an appearance, the tape is quickly faded out.

NO: 13 APR 83 Pathfoot Hall, Stirling University - Stirling, Scotland

Thanks to TJ for supplying the recording, which is about first or second generation.

Stephen Smith also has a version that's a bit different, he writes:

"My cassette is a bit lacking in the higher frequencies unfortunately, not sure how many generations this one is (I got it from a guy who sold live tapes in our town). Probably one for completists only.

Audience chatter to start with, one guy says 'Why do you always stand behind the giants?â' SSomeone else says something about a bald eagle, which I take it means there was a bald guy in front of them.


This is the short version. About thirty seconds of audience chatter before this starts out with SM banging real drums, right before the drum machine kicks in.


Fairly unusual to see this so early in the set.

_Procession_ is followed by _Your___Silent___Face_.

Bernard sings 'why don't you fuck off?' as the signature line.

_The___Him_ is next.

BS: "Will the er, person who threw beer on stage at the beginning kindly see us in the dressing room cos we'd like to buy him another one afterwards." (thanks to Stephen Smith for supplying)


Falters a bit past midway as Hooky hits a bum note, and all but the drums stop.

The final five seconds or so is cut.

Stephen Smith: "No cut on my cassette, plays right through."

Some guitar soundchecking in front of _Ceremony_.

Stephen Smith: "In between songs one guy shouts to his pal "Tam", who shouts back 'See you outside at the phone box when it's finished, right.'"


Syndrum plus real drums. KW1 sequencer kicks off briefly by mistake, a byproduct of the sequencers failing so they jammed into the Velvets _Sister___Ray_ until fixed by the roadies.

Sample lyrics:

'I saw you on the inside'
'You saw me on the outside'
'You sucked my ding-dong'...

Very cool reverb effects.

PH: "Spent three weeks working on that one."


PH: "This is one for band that follows us we call 'Bollock Brains'.

TJ notes that this was added to the set because of their sequencer problems.

(at end)

PH: "Well, that was one of you fuckers then."


Third ever performance.

Vocals start off pretty dire.

_In___A___Lonely___Place_ finishes off the set.

lyric: 'Blood that was special for none'

Ends in synth effects.

Tape squeal at end.

Stephen Smith: "No squeal at the end of my cassette, just synth effects and an audience cheer."

NO: 14 APR 83 Tiffany's - Glasgow, Scotland

Some tape hiss on the tape I have, which has only a portion of the performance (Hurt, Truth, and ICB). I subsequently received a CD from GaoBest for the full performance (taped by MB, who did the rest of the Glasgow gigs) with naturally stunning SQ.


BS: "Hello, everyone"

There's a breakdown after about 30 seconds. Hooky comments:

PH: "It's the 'A' version."

BS: "All right, this is my life..."

_Everythings___Gone___Green_ gets played next.

A few bass notes in between. This is the TOTP edit version.


Quite a bit of cooing and whooping on this one. Intro bit changes a bit in midstream before the vocals kick in.

"We can take you...anywhere you want" also, lots of "take me take take" chanting...

It's always an a joy to listen to this one, damn Brian Edge for calling this song a "Duran Duran outtake".

I also have _Truth_ and _ICB_.

The guitar intro on ICB is quite good. Hooky can be clearly heard doing backing vocals.


This version has these extra lyrics:

"Too fast and furious
Too hard to handle
[can't make out this line]
Too tough to break."


The Order (namely) Gillian triggers the intro to Hurt by mistake.

BS: "Why do women have legs? So they don't leave a trail like a slug."

PH: "Can I be a [???] while you got the gloves on?"

(this appears to have been somebody who was gobbing at Hooky)

Very energetic performance.


PH: "Well you know I got spit all over over my guitar. Where are the Blackburn boys when you need 'em, eh?"


PH: "What a pleasure to be here tonight to be spat at by this bastard with the gloves on, it's really really fuck all."

Long break between this one and the next song. Stephen hits his cymbals plenty of times, though.

Are New Order going to play _Blue___Monday_ again? Why, yes they are! I assumed this was due to it being a mess the first time and because the first version was the special TOTP edit, and this was the full-bore rendition.

BS: "A bit more DMX."


(a part of what he was saying is missing from the tape due to the edit)

BS: "...can you not be fucking ready when you were ready?"

BS: "All right, for those of you with, eh, brains, we're just waiting for the sequencer to load its memory, all right? So you gotta stand here along with us."

Fourth time they've performed this one.

NO: 15 APR 83 Pavilion - Ayr, Scotland

From Doug Scoular:

"Just a note that the Orient Cinema, Ayr gig didn't actually happen at that venue. It was changed to Ayr Pavilion after the tickets were printed."

I was there, and still have the ticket with the wrong venue indicated. They were supported by The Wake, by the way."

Decent sound, not great (all known copies seem to stem from a version recoreded and/or played back with Dolby C), with vocals fairly well-defined. At least until shakepiggie's DIME seed showed up, which is likely from the better of the two known recordings.

The opener, _Ceremony_, has an additional/different improvised lyric.

"Oh why do I play so badly, play in time my sh... can't stand me."


BS: "Sorry we're so late but we had a little, eh, Ultraviolence to cope with..."


Somebody calls out "Manchester!" at the start.


Starts with slowly strummed guitars instead of the bass synth. Nice.

A little bit of _Sister___Ray_ thrown in between here, maybe while they were waiting for their synths to load up for _The___Village_.

Some variations:

'Our love is like the earth, the sun, the beach, and the dirt'

The band soundcheck a bit between songs.

_Everything___Gone___Green_ has somewhat different sounding sequencer parts than normal, but other than that New Order proceed to run through their typical set around that time, with _Denial_, _Age___Of___Consent_ and _Temptation_ following.

The end of _IALP_ has filter sweeps.

Tape edit for encore which is _Blue___Monday_. Plenty of cries for that.

Don't know who says this, wonder in fact if it's Steve Morris, it does sound a bit like him.

SM: "Thank you very much. All right. See one of you later, y'alright?"

Someone with a Scottish accent reintroduces them.

False start to Blue Monday.

Compere yells out "New Order", as a reintroduction. Fans continue to chant.

PH: "Shh...a moment of silence for the dead we left behind in Glasgow!" [a moment later] And these are the ones that left 'em for fucking dead, right?"

Needless to say, this encore is a shambles, but is very fun listening nonetheless.

Bernard laughs through one of the lyrics, as well as trying to speak his way through the second verse...as well as an ad-lib at the end that sounds like "how does it feel when your butt don't march..." (clarifying what he's singing would be appreciated)

Also a fairly unique sounding bass sequencer riff, as well as lots of sampled "W-R-L"s at the end (Confusion wasn't played that night)

A version of the classic that even Mike Garrity would love.

NO: 22 APR 83 Savoy - Cork, Ireland

Tape I have about 4th generation.

Gigography lists 5 songs, obviously they played more than this but I haven't run into anything listing what they are yet. Looks like the songs we have were from midway to the end.

My version has _Your___Silent___Face_ cut off at the beginning, and there's another dropout about 2:15 or so in.

BS: "'k you."


PH: "Slight pause before."

There's a unique thirty second interlude between Procession and _Everythings___Gone___Green_.

New Order do a bit of instrument tuning between _Temptation_ and _Confusion_.

Nice version of Confusion, except it cuts out on the version I have. Bernard starts off with a few bass plucks. The lyrics are still in development, reflecting that this song had been debuted just 11 days ago.

BS: "Our lives still haven't changed from the past to the future" is an example.

Lyrics repeat "people are stupid" bit quite a few times as well.

BS: "Thank you very much..."


lyric: "And from my head to my toes, from my eyes to my balls, every time I see the [oops]."

NO: 24 APR 83 Rosehill Hotel - Kilkenny, Ireland (Eire)

Here's the setlist.

  1. we all stand
  2. leave me alone
  3. denial (little dead)
  4. the village
  5. temptation
  6. confusion (cut) (+)
  7. in a lonely place (little boy) (*)
  8. age of consent
  9. blue monday (short version!) (aka TOTP edit)
  10. everything's gone green
  11. ceremony

(+) audience tape has this in full, so does the FM rebroadcast It was subsequently determined by "Johnny James" this was interpolated from a different show.

(*) not part of FM broadcast...appears on a audience recording that is inserted in the FM copy I have.

53 minutes
note: FM radio broadcast; does anyone know which radio station broadcast this concert, or the broadcast date? Does an audience recording source exist? Was anything else performed???

I have this on tape...the gig date had been listed as 18 APR 83, though some sources list the date as 24 APR 83, which seems to be the consensus these dates, and better fits with the other Irish dates at around that time.

Johnathan Scott adds:

From: "Jonathan Scott"
To: ceremony@monkey.org
Subject: (Fac33) Rosehill Hotel gig
X-OriginalArrivalTime: 22 Nov 2001 10:22:03.0998 (UTC)

The Rosehill "This is my Ceremony guitar" Hotel gig was broadcast on Radio One here in the UK by (I think) Richard Skinner and at the time, was one of the best New Order live shows available. Radio One were very lucky to get the band in such a good mood. Considering the bands history, I was surprised at the time that the BBC would risk the cost of a mobile unit on a potential waste of time like New Order! Just imagine if they had recorded the Edinburgh Playhouse gig...wow...

Anyone who has NOT heard this show should make a real effort to as it is (IMHO lol!) fantastic.

Jonathan, Glasgow.

Date: Thu, 22 Nov 2001 17:17:24
From: "John Saunders" 'Dave Mings'
To: ceremony@monkey.org
Subject: RE: (Fac33) Rosehill Hotel gig

Radio one broadcast this twice. I'm sure one of the times was a joint John Peel / David Jensen show. My copy has the boom of the news jingle cutting in during Blue Monday, I don't know if that was the first or second broadcast.

Parts of this gig, including 'that' version of Ceremony is available on Audiogalaxy.


Snotters says:

"...that BONG 19 seconds into Blue Monday is on all the versions I've heard - including the Radio London FM broadcast I have and the Radio 1 medium wave broadcast in 83."

Making it likely this is present on the medium the BBC use for playback...


I could be wrong about my copy being an audience recording...the stereo seperation is amazingly good and the sound very well defined, especially the drumming.


A fairly delicious version of this tune.


A bit of buzzing at the very start. There's a volume drop about 2:50 in, the rest of the recording stays at the lowered level. I wonder if this is a problem with my copy or with the master? (audience tape, not FM)


(at the end)

BS: "Thanks very much. Very kind of you."

NO immediately get into The Village. Opening riff is a bit off...

Odd couplet spotting:

"Our love is like the earth, the sun, the trees, and the afterbirth"...


"From the heaven to the city
My heart will be with me
And when it finally stops
The synthesizer will be in tune"

BS: "Thanks very much. Did I say how grateful we are? If you want to hear Temptation, we'll play it for you."

What was cut from the BBC broadcast but has been restored in the video included with the PC&L boxset is the following.

BS: "So we do care about our audiences....especially girls with big tits."

PH: "Sexist humor."


Weird intro bass riff...sounds like a pooch being strangled...really!

BS: "Oh, thanks very much. See, basically, we're very misunderstood. We love people, really."

PC&L boxset video adds:

BS: "Especially Irish people. In fact, this is my favorite town in Ireland...oh, thanks very much, it's nice of you..."

And then Hooky pulls out a piece of paper...

PH: "Now I've been told here on this little piece of paper...who's Matthew Carney?"

Matthew Carney, calling out from the audience: "I am, I am"....

PH: "Ah, you're a cunt."

PH: "Matthew Carney, there's a telephone call for you at reception. You've missed out on a bottle of wine, but never mind."


Barney tests out the bass (assuming this is their usual live arrangement while Hooky makes a comment)

PH: "This is our nightly request box, so keep shouting!"

This song was supposedly not complete in the FM broadcast, but it appears to be complete here. Update: Confusion is complete in the latest BBC rebroadcast.


Seems the tempo is faster here than I've ever heard them play this song. It's almost catchy. That's because it's playing too fast!

This song was left out of the FM broadcast. In fact, it's not from this gig at all, according to "Johnny James", but was taken from a different recording, and indeed does not appear on the video included on the PC&L boxset.

The band then play _Age___Of___Consent_. With a guitar break suspiciously like Sister Ray. The FM version has this crossfaded from the end of Confusion.


Side two of my tape opens with the ending bass riffs of Age Of Consent, and somebody repeatingly calling out for Ceremony. But the Order first play Blue Monday, the 1983 Top Of The Pops edit version(!)

There's a flub in the lyrics where Barney and Hooky are singing different things. Also the way Sumner pronounces "go down to the beeeassh" is pretty funny. And of course, the BBC1 "bong" jingle mentioned earlier at 0:19 in.


Brief break in soundboard source used on PC&L boxset DVD at start.

BS: "Do you really want us to play Everything's Gone Green? Alright, we'll play it!"

There's a skip a little before a minute in...right when somebody says "hey" so it might have been in the source rather than just a skip in my copy.

On the PC&L boxset video, Bernard says "bye everyone", confirming that the band would indeed come back out for an encore.

Audio cuts out so very hard to make out here.

BS: "We've never...this sone...before....it's very nice..."

BS: "Actually, we did an encore last night.


BS: "This is my, uh, Ceremony guitar. I only ever play Ceremony with this. 1959 Les Paul, but it just suits Ceremony, you know what it's like, don't you?" Bernard plays a bit of the lead riff before the band kick in with a wonderful version of this.

Brian Clough, posting on the WIM forum, states:

"He was talking shite at Kilkenny, he's never had a 1959 Les Paul !! The guitar he was referring to at that gig was his 1961 ES335, which as you will all know was a completely different shape and type to a 1959 Les Paul ! The only connection was that both were made by Gibson."

He sings of avenues paved with gold...

Skip at 3:07 on my copy of this, probably on the source of the particular FM recording I have.

Bernard says "thank you very much...thanks very much" during the "Forever...letting me know lines".

And then...we have the following gem...

BS: "Thank you. Thanks very much. So pleased to see you all here. I'm so pleased you like Ceremony. [Bernard raises voice] I'm so pleased you like Temptation. (Hooky shouts affermation) I'm so pleased you like Blue Monday. (Hooky: "Yeah!") Straight from Top Of The Pops, we have New Order! On my left, I have Peter Hook. On my right, I have Gillian Gilbert. Behind me, I have Ian Curtis."

Hooky says something hard to make out, something about people.

They conclude.

BS: "Thank you...that really is the end. Bye, everyone!"

Some people say they were really happy, but I think they're actually just practicing their own inimitable form of satire for the benefit of the broadcast.

NO: 26 APR 83 - Saint Francis Xavier Hall - Dublin, Ireland

This copy is sourced from the wolfram archives, about average quality for the time.

_Your___Silent___Face_ starts off the recording, followed by _Age___Of___Consent_, and _Dreams___Never___End_, followed by _586_.

Very little in the way of band talking between tracks here, at least until you can hear a male punter asking a female cohort where she was going and doubting she could get a better view.

At the end, there's more chatter as the instruments clatter to a close.

Lots of shouting betwen tracks with folks shouting out for "Everything's Gone Green"


PH: "Must of the acts of the town that [can't make out] we're in".

(at end)

BS: "Thank you. [can't make out what he says right after]

Tape split between ICB and _Ceremony_.

Some of the fan shouts make it hard to make out what the band is telling them.

BS: "Just so these guys have[?] Two years ago here, no chance.

PH: "...you all...[?] you're a fucking nice audience, and we play everywhere.

A bit more taper chatter about 30s in.

_Temptation_ follows.

BS: "All right, the title of the next song is called..."

I guess he was slowly teasing it, as the audience start to stop and chant for more.

There's another tape cut....

Somebody yells off mic.

BS: "Okay, this one is called 'go home'". Fans boo.

But then the band relents and starts to play _Confusion_, which is delightfully choppy.

Then follows a unique syndrum squence, which is not unlike the interlude between We All Stand and 5-8-6....not sure if they were having technical problems or were just being difficult.

BS: "So that's what happens when you get older....so that's what happens whenever you get excited ... offstage."

At about the two minute mark, Bernard starts talking, "a bit of ... far away from the football, a success I must say..." is all I can make out here.

This continues for a minute more and then transforms to _Blue Monday_

This track cuts off about the last minute or so.

NO: 09 MAY 83 Tower Ballroom - Birmingham

Aside from opening with "Love With Tear Us Apart" (with football-style chanting by the audience), the only really interesting part happens when NO goes to play the final song.

BTW, both my tape copies as well as the MP3 from the Lars Nelleman anthology are missing Senses and Truth, FWIW. However, I've since got the excellent copy seeded by davemings that includes these.

The running order of my second copy is:

LWTUA, Age Of Consent, Blue Monday, Leave Me Alone, Denial, Everything's Gone Green, Temptation, Confusion.

The fourth and subsequent tracks are faded in and out.

This seems to be the same as the 'Birmingham 83' boot, except that lists 'Your Silent Face', which must be an error, as that song wasn't played here.


Gillian howler, she messes up the intro synth riff.

After LWTUA finishes, Hooky can be heard saying "Happy Birthday, Rob!" at the end. Lots of singalong on this. The opening synth falters, and then regains its footing. Barney forgets the lyrics at at least one point in the song.

_Blue Monday_ has a interesting deviation:

lyric variation (about 1:40 in):

"Now i stand here waiting
Oh so close to me
When I find out who made it
I'll throw[?] away [???] own teeth[?]"

More interestingly, this seems to be a soundalike of the TOTP version! The song lasts four minutes as opposed to the usual 7-8 minute rendition.


BS: "Good evening punters, I hope you're all enjoying yourselves..."

The drums kick in.

BS: "This is for the punk twatters amongst you. It's called, eh...I don't know what it's called, actually."


Has interesting final bit with Hooky's echoed bass.


Last lyrics of Barney's are improvised.

lyric: "I've never seen such a twat like you before."


Barney strums guitar in between the tracks.


PH: "I'm getting paid for it, though..." (cheering)

Somebody calls for Sister Ray.

BS: "Okay, this next one involves use of a Sequential Circuits ten thousand note memory sequencer..."

Of course it messes up and Bernard mumbles something unintelligable.

I can't 100% vouch for what I'm hearing, but Bernard's improvising lyrics on Confusion strangely...

BS: "You just won't believe when I tell you all how bad this is!" (Hooky does backing using the standard line)


"Hiding your feelings
You told me you care
But you think the cost
Stop laughing in bed

Your tits are so big
They hang down to the ground
Your nipples are for sucking
That's why they are round

BS: "Thanks very much."

Ends with repeated synth note until fade-out.

NO: 10 MAY 83 Victoria Hall - Hanley, Stoke-on-Trent

Craig Wood writes:

"I was front circle, first row. I got comped in that night, they'd sold out of actual tickets and I had a letter from Barry Hime (major ticket seller- he founded the Piccadilly Box Office ticket agency) to the promoter. It did get me in, though.

My friend Kim (who lived in Hanley) suggested we head straight upstairs, better view, no 'football hooligan' fans getting in the way, and I could record and take pictures uninterrupted. Ever thoughtful, our Kim. The security at Hanley was always a bit over-zealous, I had to be careful again later that year when I recorded EC on the Punch The Clock tour after the Hacienda show got pulled...

I remember that this was the show where Barney kept taking off layers of clothing. He must have been wearing about five shirts or jumpers or coats.... eventually he got down to his Bundeswehr (sp?) vest - which became a must-have fashion accessory soon after. Even *I* had one... bought it in Oasis in Manchester, 3 pounds for a copy, 4 for an original. I took the original. I wonder what happened to it..."

Source kindly provided by MM.


A bit of instability in the tape source at the start, but clears up within thirty seconds.

Someone calls out for 'Confusion'


PH: "This one's for all you rocking horses in the audience."


PH: "Music being the food of love, play on."

Someone calls out "Rob", and mutters something inaudible from here.

_Procession_ follows.

_We___All___Stand_ is next.

Slight cut between this and _ICB_.

_586_ follows.

PA hum and feedback.

Hooky says something again, like "turn off..."

At about 2:30 the sound goes all pear shaped, as a security person spots the recorder and bellows "That is not allowed!". At this point the first source ends and the second source (which I'd guess is the usual one) begins.


Bit of a keyboard solo at the 1:30 mark.

_In___A___Lonely___Place_ finishes up the set.

NO; 27 MAY 83 Veronica's Countdown - Dutch TV

A *very* interesting piece with the persenter asking first Steve and then Barney about the various sounds their keyboards make. You can hear pieces of "Confusion". Steve makes a joke about somebody being shrunk down to fit into the drum synth. Barney's crossing his arm and giggling at everything.

After which, the Order perform _Blue___Monday_. Hooky has his trademark leather jacket. You also get a closeup of Steve inserting floppies in the Emulator.

NO: 17 JUN 83 688 Club - Atlanta


Spacey drumming and guitar feedback for about 45 seconds (waiting for the sequencers to load?), with Hooky yelling "Liar!" or something like that, and then "Oi! Let's go!"

Bernard's bass solo here is exceptionally good. Shortly before 6:00 in the bass gets louder in the mix (probably taper manual level adjustment)

PH: "Ah, what do you want to hear? Fuck you."

_Ceremony_ and _Chosen___Time_ follow.

The bass synth can barely be heard initially, I assume whoever was mixing this had their hands full, as the vocals also come in late.

_The___Village_ follows, and then _In___A___Lonely___Place, featuring an extended bass outro.

PH: "If you like reggae, you'll like this." Last word is obscured by a loud guitar chord. Rather than something like We All Stand, we instead get _Your___Silent___Face.

Then follows about three seconds of a way-too-fast 5-8-6, and then another two second airing of the bass synth.

PH: "two...three".


The Order squelch the final gurgling of their wayward synth and play this instead.

BS: "Thank you very much."

Punter repeatedly cries out for Everything's Gone Green, and is informed by Bernard that "that's the one after this one".

_5___8___6_ is then aired, at the right speed this time.


And indeed, Bernard keeps his promise and the band play this number.

The speed gremlins attack instead at 2:55. The song ends with a repeating Hooky solitary note.

_Blue___Monday_ closes out the set.

NO: 19 JUN 83 Nightlife - Austin, Texas

Obtained on CD from GaoBest.

NOOL has a review done by 'nwMarco', here: http://www.neworderonline.com/Live/Concert.aspx?ConcertID=226

This mentions that 'Almost Anyone' (which were a couple of friends of his) opened for them. A recording of that does exist.

Taped by RH, who made digital copies, one of which ended up in GaoBest's clutches. To quote:

"...who used D5. He sold parts of his collection in the early '90s then made copies from his master tapes to CDR for one of my contacts..."

Gig SQ is as-usual excellent, as these are first-gen or close to it. Soundcheck SQ is maybe 2nd generation, hard to tell as recording volume was low, an interesting listen.


Bass-synth intro with some scratchy/jangly guitar.

BS: "Thank you very much. This one's for eh, [a name, surname sounds like 'Bock and Markie']...before they get here."

Some guitars, one-second-in false bass start, and then Dreams Never End commences.

The intro for the next song sounds like an interesting cross between Everything's Gone Green and Temptation, but only because it turns out some stuff got triggered in error. False start.

BS: "We all make mistakes...[you know?]..."

Then New Order start over with a nice rendition of _Temptation_.


Barney strains his vocal range for "the life keeps getting stranger every day part".


BS: "Gary, Gary, could you [turn up(?)] my vocals a bit clearer on stage, please. A bit more, eh, 8k, no, 1k."

Lots of cheers and whistles after this one.


This version sounds massive.


End is nice echo-effects. The group exhibits getting creative with their instrumentation here.

_Denial_ follows.


BS: "Cassette deck...this next song..."

Some instrumental noodling before _Confusion_, which features more sampled vocals being manipulated.

Hook Line:

PH: "Any requests?"

Folk cry out, of course.

PH: "We don't do requests, so fuck..."

Yet the punters are still calling out, you can hear a girl cry out for "Mony Mony", and of course, the omnipresent "Transmission".


People clap to the intro.

Barney Says:

"How does it feel when your cock grows stiff"

Lots of other synth effects in this one.


Rough description of the proceedings. Taper and some buddies provide some running commentary. They sound all like Americans, with one sounding like he's from the area the gig was played.

Here are the bits and pieces I've been able to pick up.

Denial (drums)
Age Of Consent (bass)
Blue Monday (synths)
In A Lonely Place (synths)
Thieves Like Us (synths)
Tapers talk about New Order's tour iternary. "They toured in Greece with the Fall and the Birthday Party" (presumably in 1982). (edit)
bass noodling that is commented on sounding like "Wilderness", and some other stuff.
More Thieves Like Us (synths)
More Blue Monday (drums/synths)
Sister Ray (guitar+bass/drums for a few seconds) Ceremony (guitar)
video game noises and scattered discussion..."it's about 7:20"... Bernard does 1-2's...speeding ticket (68mph)...trying to buy beer and needing IDs...
_Age___Of___Consent_ (false start) comment: "New Order on 45, let's play 10 songs in 30 minutes!"
Procession (synth bit) / Confusion (sequencer bit) _Age___Of___Consent_ (they pause for a bit and then restart, so it's run through twice)
Hooky says something about the vocals out the side...have magically reappeared, and then Bernard mentions 'Cries and Whispers'.... Some vocal mic checks by Bernard and Hooky. _Cries___And___Whispers_
Bit of 'Maniac' by Hall and Oates over the PA Confusion (drums)

NO: 21 JUN 83 Florentine Gardens - Hollywood, CA

First-gen tape copy.


The very start is missing.

Levels start high and drop after a couple of seconds.

Sounds like tape speed issues, as it runs a semitone fast up until the 1:16 point. Likely the tape speed slider on the recording device got bumped by mistake, and was only noticed after a minute or so. Levels drop at 1:22, and go back up at 1:43.

_Chosen___Time_ follows.


Folks start screaming when Bernard sings "I've lost you".

BS: "Can we have for... acoustic snare drum playing through the foldback just a bit?"

Punter yells, "Can you hear that?"


BS: "A bit of electronic snare drum as well."

A Fan cries a few times between 1:45 - 2:30, sounds like they're saying "eat shit".

BS: "Thanks very much. [can't make out first part of this] ...half the shit on my mic."


Internal cut at about 2:00.


Includes extra verse common to the 1983 renditions of this song.


Melodica melody is a bit different than usual.

punter: "Hey idiot, turn up the vocals!"

Oh my God, actual valley girls.


Lots of chattering going on during the middle of this.

Edit between EGG and _Ceremony_ , which is missing the first few seconds.


More valley girl chatter at start.

NO: 23 JUN 83 The Fantasy, Fullerton CA

John Darnielle sent the following in reminiscing about this show, which I am thankful to be able to share with you:

"Hi there! I was just thinking about a gig I attended a million years ago, and I found myself at your site. It was the 23/6/83 gig at Billy Barty's Roller Fantasy in Fullerton. (The promoter, Goldenvoice, was trying to get people to call it "The Fantasy" but nobody was buying it...roller disco had been a big deal in southern California a few years before.)

A few things I remember:

  1. The show was opened by Pompeii 99 and Saccharine Trust. Pompeii 99 went on to become the musicians in the second incarnation of Christian Death.
  2. During "Ceremony," at about the midway point, Peter Hook put down his bass and left the stage. At least I think it was Hooky. It might have been Bernard! Memory is sketchy after such a long time. At any rate, and you should be able to tell from the tape if you have it, one of them set down his instrument on a stand and left the stage, leaving the rest of the band to finish "Ceremony" by themselves. I remember Morris and Gillian exchanging a sort of "what the hell?" look at this point.
  3. The flyers and posters for the gig said PERFORMING THEIR HIT 'BLUE MONDAY' - it was a big number on KROQ at the time. To open the set with a half-done version of it seemed like a way of kissing off the public.

Despite all that I loved the show - the adversarial feel was somehow appropriate for the time, or for my age. I was sixteen.

That's all I've got, and it isn't much, but I thought you might find it interesting."

Regarding the recording:

Have a 3rd/4th gen-sounding copy of this performance, since upgraded to first-generation.


Sound levels for the first minute fluctuate, quiet for the first 20 seconds, and then get louder for 10 seconds, and go back down. Again, this doesn't seem to be present on the first-gen, which may be a different recording.

Cheering at 1:34.

_Leave___Me___Alone_ follows.

Sounds like a rough edit into _The___Village_. The first gen doesn't have this edit.

And right at the start, it sounds like Hooky is saying, "Oh baby" or something similar, not very loudly.

The sequencer pattern sounds slightly different than wont.

The first-gen does sound like there's an edit between The Village and _Cries___And___Whispers_, which is quite an excellent rendition.

lyric: "Someday, we'll find / That truth is not to find..."

Brief edit on first-gen.


BS: "Listen, if you like this, you must like Ronald Reagan. If you like this, you like fucking anything."

After "taken from a killing ground, an all-providing hand..." is sung, Bernard yells, "More vocals." The 3rd/4th gen version distorts briefly for a couple of seconds shortly thereafter, this isn't present on the first-gen copy.

Another tape edit into _In___A___Lonely___Place_. (higher-gen version). No edit on M/1.

Then _Ultraviolence_, which ends in a neat synth effect.

_Procession_ follows.

Cut in tape between Procession and _Denial_ (M/1 version).

The last song is _Ceremony_. As John notes above, at about the three minute point Hooky stops playing, as there's no bass during the final portion of the sound.

The tape ends abruptly afterwards.

NO: 24 JUN 83 Echo Beach - San Francisco, CA

Tape quality is fairly good, listed as third generation.

Fairly loud and roudy audience, at least for an '83 US performance.

The group start out with a cracking version of _Age___Of___Consent_.

Hooky (or Barney?) mumbles something about a guitar before the band launch into _Dreams___Never___End_. They repeat the first phase a couple of measures longer than normal before going into the main part. Hooky comments for the vocals to be turned up midway during the first verse.

_586_ follows, and then the debut of _Lonesome___Tonight_. The lyrics are fairly well-developed, unlike some other classics they've debuted, though only the first verse was complete, the second one is ad-libbed (lines like "dick in your shithole" kinda give it away). Nice outro bass solo.

BS: "Thanks very much."

_Hurt_ follows. Female nattering mars the intro somewhat.

Then _Chosen___Time_.

A bit of soundchecking follows, a slight bit of Hendrix' "Are You Experienced".


Brief internal cut about thirty seconds in.

Fairly long break while the band swap instruments for _Confusion_.

Hooky mumbles something at the start.

Another pregnant pause before the Order perform their next number, _Procession_.


I believe Hooky says, "Anybody want to guess what the next one is?" but it's hard to tell, as it's drowned out in reverb.

BS: (between verses) "Turn the synth down a bit, down a bit..." Then he throws a curse at the soundman.

NO: 25 JUN 83 I-Beam Club - San Francisco, CA

Source : Aud (unknown) - tracks 1-3; Aud (M2) - tracks 4-12 > WAV > FLAC

Snotters, who seeded this on EZT, says:

"This tape's always been a bit strange, in that I think it comes from 2 different sources. Tracks 1 - 3 are pretty average, quality-wise (the sound is very poor at the start of Ceremony and gradually gets better). Tracks 4 through to the end are exceptionally good for an audience recording. Rather than split the gig up I thought I'd seed it all - just be warned (and preferrably skip to Thieves Like Us when you listen to it!)."

As with all US 83 Tour gigs this one's a corker.

"Sharksfan2000" attended this show, he doesn't remember much but there were at least two long breaks (the other 5-10 minutes, the other 15 minutes) because of, surprise surprise, sequencer trouble. According to his initial recollection, about 200 people were in attendance, but on second thoughts, it appear to have been more. He comments:

"I remember that the club was quite crowded. Looking at an old article about the I-Beam its capacity was noted as 600 - I find that number hard to believe, but now I think I originally underestimated the crowd there, and it may have been 300-400 total. I'd forgotten that the I-Beam (which closed many years ago) was divided into a number of interconnected spaces, and from where I wasstanding I'm sure I could only see a portion of the crowd there. I was standing in the main room, probably 30-40 feet from the stage. It was at that show that I first saw someone wearing a Joy Division "Unknown Pleasures" t-shirt - of > course I had to go buy one right away after that!

The band had some problems with their sequencers during the set, which caused a couple of lengthy delays - I recall one of them being around 15 minutes, and the other one being 5-10 minutes.

Hooky had his hair tied back into a short ponytail, and spent most of the show with his back to the audience. Not much interaction between the band and the I-Beam crowed.

I remember "Leave Me Alone" being a highlight for me - especially the last portion when Barney and Gillian trade off guitar leads. "Your Silent Face" was also great, and the first time I realized that Barney was playing a melodica on that song. Listening to the recording of the show made me remember that I was worried that they weren't going to play "Temptation" after they played "Blue Monday" (thought they might finish with that one). I believe "Temptation" was an encore."



Edit at about 3:05. I think this is where the second source (with louder drums) is joined in.

Fans woo, and somebody can be heard saying "yeah, going up!".

An edit.


Band plugs in and starts playing, WRL sample. Cut in the tape at 0:18.


Sound isn't completely terrible, though there's a couple of dropouts in this track. Some undecipherable audience chatter at about 0:15. Audience members woo afterwards. There's an edit after the song.


The debut for this song!

BS: "...hear this before."

A female fan starts chattering at 1:25 or so...all I can make out is "I hate"...somebody then yells out, "Bitch".

Quite unique guitar parts...too bad it's quite hard in places to make out



After they finish, a heckler shouts out something like:

"Hey, you take the...pigfuckers. You guys are the saints, get the sound together. Last year, the same thing, oh! The same thing, gentlemen. Great records, the whole bit, [someting] suck!"

Someone yells out "Wanker!"

BS: "There's a lot of people in this room...."

A bit of tuning before _We___All___Stand_.

_Leave___Me___Alone_ follows. A good rendition of this classic. Somebody calls out for songs, and while the band waits for the sequencers to load, Stephen bangs on the cymbals, and Bernard mumbles something about the reason for the delay.

After _The___Village_ there's yet another tape edit, followed by the start of _Denial_, that has a very slow drum buildup, which suddenly speeds up, and end up being a great version.


Vocals start out quiet in the mix.

Quite a long version, clocking at nearly eight minutes. A fairly long pause (forty five seconds) between tracks.

BS: "All right, what do you want us to play next? We probably won't play it."


The opening bars hammer out.

BS: (in the most blase voice imaginable) "Oh, what a surprise."

_Temptation_ ends the set.

Thieves Like Us 25 JUN 83 I-Beam - San Francisco CA

I'll gave you a thousand reasons
Why I'm your girl
I've heard you're a hundred assholes
Now with this song

It's called love...we masturbate
It's called love...we masturbate
It's called love and we masturbate
It's called love...love love, love love love

I saw a thousand tree trunks
In the boiling sun
I heard a hundred voices
In the heat every night

It's called love...it melts away
It's called love and it has it's way
It's called love [woo!] love love love
It's called love [woo!] love love love

[reverb on vocals makes it difficult to make out the following verse]

...a thousand...
I see you...a hundred...
Love is at home...

It's called love [x4]

...on the street.
...it comes to you...
Someday we're going to treat you out.
...other people of ours

It's called love [x2]

...becomes soulful...moves so fast
My eyes are plastic...

It's called love [x3]
It comes to us

It's called love and it comes to us [x3] It's called love [x3]

NO: 27 JUN 83 The Commodore - Vancouver, Canada

The known recording isn't a very clear one, to me it sounds like it was recorded from inside a bag or jacket pocket.

Somebody says "Oh, great" (sarcastically) at the start.

_Age___Of___Consent_ opens the proceedings, followed by _Dreams___Never___End_.

_Cries___and Whispers_

BS: "Turn up the vocals, Ed, please."

Followed right on its heels by _Senses_

_Lonesome___Tonight_ has somewhat different lyrics. More accurately the live version played here has the same phrases as http://www.worldinmotion.net/neworder/lyrics/substance/lonesometonight.htm but in different sequence. This is about the third time NO has played this song live.

New Order take a few seconds to tune their gear before rendering _Confusion_.

During the song, mid-verse, Bernard askes the soundcrew to "turn the fucking vocals up". One of the choruses is Bernard singing "Confusion, confusion, confusion, confuu-uushu-uun".

_ICB_ has a somewhat different bassline than the recorded version, at least in the beginning. My version has a cut about a second into the song. Since this is about 30 minutes in, that suggests a c60 in the upsteam lineage chain.

This is followed by _Denial_.

Weird how New Order plays more songs from Movement (4) here than from PCL (2)...especially since PCL had been released the month before. There's another edit between Denial and BM.


Guy near the taper can be heard saying, "Ah, you probably like that better".

Blue Monday breaks down right when BS starts to sing "How does it...". Sumner then comments about a piece of gear breaking that I can't quite make out. The song restarts, and finishes up with the same outro used on the TOTP version.

After the song Bernard comments:

(mark this for Barney Says)

BS: "So you only get [robbed...]?...we don't normally play that version, that's the special Canadian version, short because you all are fucking dicks tonight."

Hooky says something about instruments which I can't quote make out.

Brief (under 30 second) interlude of improvised stuff, then _586_, which has a different ending than I usually heard.


Some strange audience banter.

Woman: For me. [referring to the clapping] Guy: ah?
Woman: It's for me.
Guy: That's what I tried to tell you, you think everything is related directly to you.

Then Bernard cuts in dedicating Ceremony to the road and stage crew, in his own inimitable manner.

(mark this for Barney says)

BS: "[...a lot of...] This is a very old song, it's called, erm, 'The Day The Road Crew Got A Jump'. Just about ..."

PH: "Dedicated to that guy over there, in the grey t-shirt...his name's Arthur..he's very lonely...starving...[2 words can't make out]

BS: "I like that guy over there, he's one bloke who needs a jump!"

PH: (at the same time as Barney) "Take a bow, take a bow, Jim."

NO: 29 JUN 83 First Avenue - Minneapolis, Minnesota

Rolling Stone 15 SEP 83
Interview by Debby Miller


Briefly mentions Minneapolis gig, also includes a description of their *reading habits*. Wow, a Rolling Stone article that's actually pseudo-informative.

Original Waterrat leaves out _Everythings___Gone___Green_ as the penultimate track.

There is a video of this performance, which is a pro shot (multiple cameras).


There's some high-pitched distortion that appears in the first couple of minutes, I don't know where that's from.

About 2:15 in Bernard yells to one of the sound crew about turning the foldback down, with a choice "you cunt!" thrown in. About 5:00 in, Bernard yells "Turn the vocals up!".

There's some percussive string thumping in between this and the next track.


Bernard sings the "time won't heal" line in a falsetto.


BS: "I bet you haven't heard a bass played like that, have you?"

Single chord and feedback squall, as well as Barney's droll comment, introduce this next one.


Steve noodles with the bass synth a bit before the band start up. The lyrics, naturally, are still in flux at this point.

Near the end, a voice can be heard saying, "OK...I don't have the equipment on, let's go!" This version is 11 minutes long.

BS: "Thanks very much. If you didn't like that, you must be Americans!"


Bernard appears to be beating something (probably one of their balky Sequential Circits Prophet 5's) into the ground!

The intro drum pattern is different here. Gillian has to be about the most unlikely person ever to strap on a guitar.

Audience recording cuts out a couple of times, after the taper and friend comment about the performance being real nice.

_In___A___Lonely___Place_ features the incomparable Mr. Morris for an extended shot, which in my mind is the best visual on the tape.

Another cut between these songs on the audience tape.

_ICB_ has lots of closeups of Gillian on guitar.


BS: "This is 'Don't Piss Yourself With Enthusiasm'"

The band swap instruments around, and Barney plucks his bass going into the intro. This video does provide evidence that Gillian can play with more than one finger on each hand, albeit barely.

lyric: "Con-fucking-fusion!"

There's an audience recording of _Everythings___Gone___Green, which was apparently not videotaped.

Inexplicably, during the performance of _Temptation_, a (high-pitched male) voice says:

"I want to thank you. Good night! You too were great."

A few minutes later, after a bit that sounds suspiciously like jazz, Barney unstraps his guitar and the band leave the stage.

NO: 30 JUN 80 - Cabaret Metro - Chicago, IL

This is the legendary gig that as far as we know, no tape exists.

UPDATE - A recording has surfaced and was shared on 2017-08-05.

There are quite a few observations regarding what went on that night, only some of them bear any resemblance to reality. This will eventually be rewritten to account for the actual performance.

The following quote is from:

New Order, 1983: "That was an incredible experience. Joy Division never made it to America because [vocalist] Ian Curtis killed himself on the eve of the tour. When New Order came, it was one of the hottest days in the city of Chicago's history. 'Blue Monday' had been a huge club hit-- it was like the change of music going from guitar-based punk to synthesizer-based New Wave or post-punk--but at that show, the power went down onstage because it was so hot in the club. Before it came back on they did a sort of 'New Order unplugged,' and it was the closest thing to Joy Division playing 'Blue Monday,' because they had to play it with just guitar and drums and none of the electronic gear."

TJ adds:

"Sorry, missed ICB out from the middle of that rumoured set.

Ceremony/Age of Consent/Dreams Never End/Cries and Whispers/Lonesome Tonight/Your Silent Face (where it all went wrong)/ICB/Sister Ray/a jam of sorts/She's Lost Control instrumental/Transmission instrumental.

Again, absolutely no idea of how accurate this is, this was included in a letter to me by a trader many years ago, he said he hadn't got a tape of the show but had attended it, and that is what they'd played. I discounted it as BS immediately, and hadn't thought of it again until it was mentioned below that other people had said they'd done some JD at this gig. Pretty spectacular if it's true - but no recording has ever been seen as far as I know."

TMK replies:

"Thanks much for the rumoured setlist. Very interesting, indeed. This is the first time to see such a setlist for this gig. I first heard this rumour about JD songs at this gig in 1984. The thing is - when my two friends reported that NO had played a number of JD songs, they sounded _disappointed_ about it (what was wrong with them?? :>) However, if others have also heard similar rumours from people who attended the 1983 Chicago gig, it is entirely possible that rare JD material was performed. I looked for a recording of this gig for several years in Chicago, to no avail. There was never even the slightest rumour that one existed. So, the big question is _where_ is the elusive 1983 Chicago recording - does one even exist?!"

Another note from TJ:

"All I know about it is that the sequencers failed halfway through the set, and unfortunately they'd played most of the guitar tracks in the early part of the set! What followed was a bit of improvisation. I had heard that they did a couple of JD instrumental versions as the last two songs(SLC/Transmission), but have not heard any proof of this. I did see a setlist posted somewhere once that included these, from somebody from Chicago. No guarantee of course that it is accurate or even bona-fide. From memory, it was Ceremony/Age of Consent/Dreams Never End/Cries and Whispers/Lonesome Tonight/Your Silent Face (where it all went wrong)/Sister Ray/a jam of sorts/She's Lost Control instrumental/Transmission instrumental. No idea if this is true.

Maybe the MB archives will tell all!"

RM's rspns: "I talked to Mark Buckwalter this morning...(re: picking up the 81 shows with Doubts Even Here played to master them to CD from his best tapes...)--he said NOPE. It's a rumor...the show was never taped. He and his closest sources were snapping up the US tapes immediately after they became listed by anyone, and from tapers, and friends of tapers--they all said no tape exists to our knowledge. sorry."

More interesting speculation from TJ:

"I think that if this set is genuine, we can make a few assumptions and a likely scenario - the sequencers and synths failed during Your Silent Face, and as they'd already played all the guitar-based songs they had intended to (and were only 20/23 mins into the set), they had to make a quick change, hence ICB (which was well-rehearsed), followed by a Sister Ray jam while the techs tried to fix the sequencers. As this failed, they were a bit stuck, so threw in a couple of crowd-pleasers. We'll never know unless we can either get a first-hand account or something from the band themselves."


"Makes you wonder what had happened to Leave Me Alone and The Him though, both of which had been played on that tour and not in the previous two dates - you'd have thought they would be more likely candidates than a couple of JD instrumentals (unless they were feeling guilty!)."

NO: 02 JUL 83 St. Andrews Hall - Detroit

Sourced from a tape with cassette label indicating it was made in W. Germany, Collectors Cass 1049. Tape is a chrome Maxell UDS-II. Sound quality is okay, but isn't as sharp as one would hope, and is somewhat hissy.

This is the sequence on my tape, and probably differs from what was actually performed. I suspect this tape leaves out the first song (EGG), as well as the first encore tracks (Lonesome Tonight and 586).

There'a another version of this, of course, that is complete. The "Collectors Cass 1049" version actually sounds superior to the full copy, at least the one I have, which has been heavily NR'ed and may be MP3-sourced. And a third, bettering the first two, featuring the final three tracks...these have long been misidentified as being from Trenton, NJ.

_Everythings____Gone____Green_ is the first track of the set. Not pressent on CC1049.

PH responds to somebody by saying, "Time for you to breathe...".

_Blue___Monday_ (TOTP edit)

During first drum break, a male voice comments "it's fucking great". (CC1049 version)

Somebody cries for "Age Of Consent" a few times. (CC1049 version)


Booming double kick drum fills until the intro sequencer pattern starts up.


Song ends at the point where New Order would stop and restart. Don't know if this is something they started doing during their '83 gigs or if it is a one-off.

Odd because the non-CC1049 version does resume.

_We___All___Stand_ follows.

Some chatter during the intro, with somebody saying, "You can't stand up here, you're in everybody's way, you can't stand up here". (CC1049 version)


After the song finishes. Bernard addresses the audience.

BS: "This has got to be 40..."


BS: "Hello, it's the first time we've played ... good on this tour, been on this tour." [not 100% sure on wording]

On the non-CC1049 version somebody calls for Transmission.

The CC1049 version has this track last.

And then _Lonesome___Tonight_, with a fairly languid intro and with Barney singing this completely out of tune and him cooing right before the synths kick in. Female voice can be heard at 4:45 saying something (can't make it out)

Missing (criminally) from CC1049 version.


PH: "That ...sequencer... there, drop it 5."

Interesting statacco effect with the guitar.

Quite a distinctive ending. There's is quite a long pause between tracks, it sounds like New Order is trying to play Procession but never get it off the ground, as we just here the synth drone and nothing more.

You can also hear punters yelling out for old JD standbys like "Transmssion", "Ceremony", and "Incubation"(!) and another person advising the group to "get a bigger hammer" to fix the synths.

Bernard than says, "Thank you, [something], sorry."

BS: (in a weird nasally voice, attempting to imitate the Jersey accent) "Okay, suckers."


After "when your heart grows cold", Bernard says something (to the sound guy, presumably).

Bernard utters something that sounds like "Wait 'em" at 3:43.

PH: (probably sarcastially) "C'mon you guys, a bit shy."


Best version of this ever.

PH: "Thought that was a banana, Stu(?)."

"Con-fucking-fusion", to quote Mr. Sumner.

Great interplay of guitar here.

Last lyric: "Everything goes on..."

Ends with a Hooky bass vamp.

Squeal tape edit.

On the non-CC1049 version, there's about three minutes of chanting and at least two edits (one cut, one squeal) while the audience cries out for the group to come back out.

PH: "Might...[something] the bit...cha..."

Lots of chanting and clapping.

BS: "Fucking confusion!" (at a few points)

NO: 05 JUL 83 The Spectrum - Montreal

Jan Bollansee's description of the recording:

"Kindly provided by TJ, this recording catches the band in high spirits as they play to an appreciative Canadian crowd. The gig falls in two parts. The first, proper set features six songs, climaxing with a truncated Blue Monday. Then, by way of a very long encore, the band perform another seven tracks, starting this time with a full Blue Monday (since the taper's friend can be heard asking, "didn't they already play this one?", it's definitely the start of the encore, and not of a separate second set). Cries & Whispers features one of Hooky's brothers on vocals (because it was his birthday) and Thieves Like Us is another early, and very long, rendition.

This recording is not without flaws. It's fairly hissy in some parts, and very hissy in other ones (lineage unknown). There are also cuts before and after the second version of Blue Monday, and the ending of Everything's Gone Green is cut. Finally, the two cassette sides played at different volumes and speeds. I raised Side 1 by 1.5 dB and slowed it down by 8.705 %; Side 2 was raised by 3 dB and slowed down by 4.93 %. However, don't let all this deter you: it's a very enjoyable recording of a great gig!"


First few seconds has tape wear, there's unintelligible audience chatter, but lots of cheering.

_Chosen___Time_ follows.

Tiny bit of tuning, followed by _Your___Silent___Face_.

_Temptation_ is next.


BS: (like he's soundchecking) "two" [then mutters a few words]

person: "someone(?) ...pretty bad on that side."


The TOTP edit version.

BS: "I'm gonna(?)...[can't make out rest of phrase]...will you decide what you...[sounds like "wedgie wedgie"

Another punter calls for Ceremony.

punter #1: "The favorite."

punter #2: "What?"

punter #1: "The favorite."

End of the first part of the gig, edit at this point.

PA music at this point, and then another edit, followed by the full version of _Blue___Monday_.

punter: "Didn't they already play this?"

This person (possibly the taper) mutters something else about 1:08 or so in, "His [sounds like: chin-air] broke."

Tape edit at this point.


BS: "[word] Eddie... I'd like to introduce Peter's brother, he's called Andrew...he's gonna [do]? the next song."

This isn't Hooky's brother but really just a roadie, according to James Nice's Shadowplayers, it was Andrew Liddle, who later handled their lighting rig.

His vocals aren't exactly the stuff of legends, but they're servicible. Hooky's bass sounds like it's playing in the wrong key, unlikely this was the case to to adjust for Andrew's vocal range.

Andrew: "Thank you, I'd just like to say that I did it for the money."

PH: "His solo record will be going out on Factory next week."

_The___Village_ follows.

BS: "Thanks very much, that's the thousand-line version you're gonna get... it's all downhill from now on."

PH: "...ask if you can get good help anymore."


Another nearly-eleven long minute epic, with a very unusual synth-wash intro.

The verses are completely improvised, with the lyrics about the aformentioned Andrew, though the chorus is somewhat similar to the standard version.

Bernard sings "My name is Andrew"...etc.


Synth sounds at the beginning are pretty atypical, and interesting to listen to.

BS: "Thanks very much."


Hooky starts his intro over.


More cries for "Ceremony", which is about the only one that doesn't get played tonight.

The ending is cut, I presume the tape runs out.

NO: 07 JUL 83 Paradise Garage - New York

"Paradise Garage. Simply a huge garage, sagging under the weight of masses of disco lights. Decorated in black and grey corrugated metal, like a huge Hacienda minus any sense of style, and plus the best PA system in the world."

(Mick Middles, Sounds 23 July 83)

Interview in Sounds 23 July 83 which talks about Paradise Garage gig at http://www.new-order.net/terminal1.demon.co.uk/NewSounds7-83.htm

From alt.music.new-order:

> Richard David Behrens

> Does anyone know where I can get a copy (MP3, cassette, CD?) of the > 1983 Paradise Garage NYC gig? I was right there in the front row on a > first date with the girl I stayed with for a decade. She got mad that > they left the stage after fifty minutes and leaned over and knocked > over Bernard's monitor. I remember a dance band with Simon Topping > from ACR playing congas opened for them. Does anyone remember the > name of this band? Quando Quango? I must be getting old.

> Edward

> I just dug out a November '83 copy of Trouser Press which has a NO > interview and review of that show. It confirms Quando Quango's set > preceded NO. I can't help you out with any boots, but I can send you a > photocopy of the article if you're looking for a trip down memory lane. > An excerpt:

> "[The Paradise crowd] isn't sure hot to take a remark like Hook's > introduction to 'Confusion': 'We want you all singing along on this, you > funhouse bastards.' ... A few tunes later Hook tries one last pep talk: > 'Seldom have I ever met an audience as lethargic as we are." 'Probably > all Joy Division fans, Dicken mutters. 'You get what you deserve!' some > yells out."

> Richard David Behrens

> Thanks for the info. I do remember the "funhouse bastards" comment > and that is one of the reasons why my girlfriend attacked their > monitors. They looked so grim on stage, staring at the audience with > lowered eyes like we were beneath contempt. Someone who knew them at > the time commented, "They're like that! Off stage they can be real > funny and charming but when they get up on stage, POW! it's like the > drugs kicked in or something and they get real paranoid and > aggressive." I'm paraphrasing that.
> Thanks for the offer. I know someone who has a big collection of TP > and I can ask him if he has Nov. 83.

Recording about 3rd generation, probably taken from the "Ceremony" bootleg. Otherwise, a clear recording, minus the tape hiss. It seems that the bootleg transposed DNE and Temptation from ninth and tenth (at the end) to fourth and fifth.

Setlist in nogig confirmed, except my copy leaves out the last track, Temptation. I've since obtained a complete cassette copy.

_Your__Silent___Face_ and _Hurt_ lead off the set.

During the intro of the later, somebody close to the taper says they can't figure out if they're using tape or not, the person next to him replies, "It doesn't matter".

BS: "Thank you very much, punters."

Then followed by a very curious "Ribit", mimicking the sound a frog makes.


PH: "Why you all singing along for this one, all you Funhouse bastards?"

Somebody cries, "We love you, anyway."

(background, one of the roadies..."Ready?"...another roadie..."No")

BS: "Sorry to keep you waiting, we're just waiting for the sequencer to load up. We're not sorry really, I don't give a shit really. I don't, anyway."

(after it finishes)

BS: "Thanks very much, punters." Then he says "ribbit", like a frog!

_Leave___Me___Alone_ has fairly unsteady guitars but is just lovely anyway.

Bernard mutters something and then you can hear a guitar lead get unplugged.

_Thieves___Like___Us_ has 'scratch' lyrics, some of which are unintellegable.

The following represents all that I could make out:


This is followed by _Everythings___Gone___Green_.

And the following classic, introducing _Ceremony_, wrongly credited to Hooky in the Sounds article:

BS: "Seldom...seldom have I ever met an audience more lethargic than we are...very quiet here in New York, aye. Aren't we all Joy Division fans? [Steve provides the drum fill for Atrocity Exhibition]

PH: "Sussed you out, eh?"

There's supposed to be an audience member who yells out "Don't forget we're in a disco!!" You can hear this if you listen carefully.

Bernard plays something Velvet Underground-y for a second or two until the band start into Ceremony.

_Blue___Monday_ features this lovely couplet:

"How does it it feel, to be treated in front of a cunt like you..." (getting back at some front row heckler, it sounds like)

Or it could have been...

"How, Does it feel, To be - Stuck in front of a bunch of pricks like you?" - Bernard's 1983 autocue work" ('Hannett Of The Apes', NOOL)

"...thought I heard you (falsetto) SPEAK..."

Nice ending. Gets a rousing response. The band don't even stop and with a momentary burst of feedback, burst into _Dreams___Never___End_.

_Temptation_ starts with a weird horn-synth intro bit, and rounds out the set. Excellent guitar work on this version.

Thieves Like Us 07 July 83 Paradise Garage NYC

I've been a thousand people
In the pouring rain
I've had my bible(?)
In the pouring rain
I've felt the coldness
Lovers...In the pouring rain

Oh, it's called love
Oh, it's called love
Oh, it's called love
And it belongs to us

I heard a hundred voices
Beat me to the ground
I heard the ....(?)
Of the New York Sound

Oh, it's called love
And it belongs to us
And it's called love
And it's taken from us

Oh it dies so quickly
It has so soon
My eye is like a bursted moon
My kent(?) falls down to the house so far I can't burst out from a broken cow

Oh, it's called love
It's caaaaaaled love
It beloooooongs to us...ooh!

NO: 08 JUL 83 Ontario Theatre - Washington D.C.

Interview in Sounds 23 July 83 which talks about Paradise Garage gig as well as Ontario Theatre gig in D.C., at http://www.new-order.net/terminal1.demon.co.uk/NewSounds7-83pt2.htm


Photo accompanying the article looks to have been taken at the Paradise Garage DJ booth. Same outfits as in the 'Confusion' video.

Apparently the D.C. gig was very noteworthy in that Rob Gretton actually joined New Order on stage to play syndrums for the set opener _In___A___Lonely___Place_, as Hooky had had too much to drink, but casually strolled off after his bit was done.

Hooky comes barreling in...I won't spoil the exchange between him and Barney, it's a classic. It's in the review.

WBL also sent in the following article summary.

New Order

Howard Wuelfing
July 9, 1983; Page C4
Section: Style; Performing Arts
Word Count: 252

There was more than one moment last night in New Order's show at the Ontario Theater when it was none too easy to tell where machinery stopped and musicianship started. Having arisen from the ashes of Joy Division, undoubtedly England's most influential post-punk act, New Order since have forged an uneasy but often exhilarating alliance with technology.At one point most of the band huddled together to one side of the stage while tapes, rhythm machines and synthesizer programs...


Source is a C90 that's being burned to CD. Sound is clear but is a bit dodgy on the high end. Maybe a mic/room acoustics issue. A few tracks are left out of the original WR listing! (586, Age Of Consent[cut], and Confusion)

Some drums (sounds like Everything's Gone Green!) being played before the Order start into _In___A___Lonely___Place_. Some shouting out and audience chatter, girl says "Well, well...". Bernard's vocals sort of go weird at the "How I wish you were here with me now" bit. The song got a good amount of applause, nobody noticed Gretton as the new syn-drummer.


Also starts out with no bass. Hooky comes on after the three and a half minute mark and starts playing.

The taper or somebody close to him says "Hello, Hooky."

PH: "Good evening, [can't make out]"

BS: "The black sheep turns up..."

PH: "All right, shitheads. ...Nearly got away with it...nearly too...to walk...

[can't make out phrase properly, as Hooky is speaking off-mic.]

Punter comments that "they need to get their act together up there". Other people yell, "Fuck you", and "He's on tape!".

BS: "God, guess who we're waiting for now?"

Somebody yells out, "Ian lives!"

Girl yells out "Fucking CRAP!" as they continue to soundcheck. Soon enough, they play _The___Village_. Another one that features the lyric, "the sun, the trees, and the afterbirth".

Some talking during the long gap between songs, girl saying "I know", and guy saying something I couldn't be bothered to try to make out.


Short TOTP version.


Fourth time this is performed.

Some variations in lyrics, naturally. Will document them at some point. Followed by _We___All___Stand_


A strange-sounding version, as guitars and vocals come in strangely. Also, the acoustics become muddier than they were before.


Hooky screams at the intro.


Major internal cut at about the 3:00 mark.

The set ends with a storming version of _Confusion_. People clap hoping for an encore, but one isn't forthcoming. Somebody comments at the very end, "I knew they wouldn't... I knew they wouldn't!"

NO: 09 JUL 83 City Gardens - Trenton, New Jersey

Source is cassette from my collection, a non-descript Maxell XLII. This is on the A side. The B side contains the abbreviated (only first seven songs) from the gig in Washington DC the night before. The filler after that is a performance by Minimal Compact in Gothenburg, Sweden 12 DEC 86 ("Take Me Away" and "Nuclear Twist") This is noted to establish that this tape was copied no earlier than late 1986.

Sound is fairly clear and dynamic, some level of hiss, not too bad, though there likely are azimuth alignment issues at the start, but these clear up.

The opening 30 seconds is the tail end of a song (probably not New Order)...just a bit of synth and feedback. There's a break, and then the proper set begins.


The opening lines from Bernard are off-key.

Right channel volume cuts out from 1:22 - 1:35...may be a mic issue. At 2:43 some fan calls out for an Eric...there's a bit of chatter throughout this one.

_Your___Silent___Face_ and _Dreams___Never___End_ follow.

Right afterwards, there is _Truth_.

Good melodica intro.

Hooky segues into the bassline for _Leave___Me___Alone_, which stops and starts.

lyric: "You get these words wrong / I don't give a fuck."

_Cries___And___Whispers_ follows. There's not much substance to these notes because the Order are just playing these straight through!

lyric: "The edges froze / they turned to fucking ice"

Bernard appears to be having a bit of trouble with his delivery here...a couple of lines are more spoken than sung.

The volume greatly drops for the intro of the next one, _Hurt_, but that is more likely a reflection of recording characterisitics within the venue than a tape error.

Fairly energetic version, too.


PH: "Add more sequencer through here, drop it five."

Interesting statacco effect with the guitar.

Some keyboards can be heard in between tracks, as well as a punter yelling out, "Get a bigger hammer!"

BS: (in a weird nasally voice, attempting to imitate the Jersey accent) "Okay, suckers."

It has been revealed by 'Mongo Lloyd' that the final tracks after Hurt were _586_, _Denial_, _Temptation_, an pre-encore break with PiL-type music playing, and the encore of _Blue___Monday_. Indeed it turns out the original listing of 586/BM/Confusion here are actually from the Detroit show a week earlier, so the notes have been integrated with that listing, and a writeup of these tracks will shortly be forthcoming.

NO: 20 JUL 83 Hacienda, Manchester

I've noted that the description from:


refers to the following incident:

Midway throught the second song, Hooky shows. "Ah, the black sheep returns," mutters Bernard, while shooting Hooky a rueful glance. Hookey straps on his bass, looks out into the audience, and apologised: "Hi shitheads!"

This actually happened during the Ontario Theatre gig on Jul 8, 1983, but considering we have to go on a wag writing for a British weekly paper, all bets are off.

Both of these songs are making their debut in England, although oddly enough they were played on the last part of their US tour.

Sources are MP3 from Anthology Part One misc directory (referred to as Anth-MP3), a tape in my archives (refeered to as 'tape') which I suspect was sourced from the video of this performance, another copy from one of the audience masters (XX), and a third M1 from a different master that Snotters posted to Easytree.


Anth-MP3 version starts right when the beats kick in, there's no lead in. The XX version has about 5 seconds of country & western type music, which is said to be "Latin, possibly Merengue", which you can hear more in full on Snotters' version.

Another version has 10 seconds and Hooky "thwacking" his bass.

Dropout between 0:45 and 0:50 on tape version. Volume goes up at 2:45-2:55 and back down at 2:45. Brief cut-out at about 3:00.

What's intriguing is that even in 1983, the vocals stray from the deadpan delivery in the recorded version.

Punter says something about what New Order are going to play, difficult to make out, though. This is at the 1:50 mark.


Tape garbles at the 0:20 mark. Like somebody hit record briefly.


Appears on 'Play At Home'. Not surprisingly, the bit where Barney comments about all the cameras

BS: "Uh, can everyone move back a little bit please."

PH: "Take the TV cameras with you, they've got all the fucking room."

BS: "Move back, there's people being knee-capped in the front here." (credit to FHTH, p.136 for the correction)

lyric: "How many times before, did you comb your long black hair?" and "The lies we told our youth/A Hitler of our own, a home I call my own."

New Order play about 10 seconds of _Sister___Ray_ before switching gears into _Your___Silent___Face_.

Barney hits a bum note during the melodica solo at 5:20 or so.

BS: "Thanks very much."

Somebody cries out for Procession. Somebody else yells "Leave Me Alone". A third person yells "Get a haircut!".


BS: "I've got a message here that I've like to read out, and it's from Carolyn...or Carol, and she says that it's to Steve from Hyde, and she's sorry you couldn't make it to Legends on Saturday, and she says that we wouldn't read that message out for...ads for Carolyn."

Beautiful, given the song in question they're about to play.


BS: "Listen, can you move back, as there's not even enough room for _me_ onstage now."

I had 'not everyone can groove with me on stage'...which is kinda a bit silly. Thank to Dave Mings for the correction.

(not heard on XX source, there's an edit point instead)

Ends with Confusion-style guitar noodling.

_Denial_ follows.


BS: "Andy, would you tear that cabbage off the back of the stage, please?"

PH: "Pretend you didn't hear that." (responding to a loud hum that sounds like somebody unplugged their instrument)

Random punter can be heard on the Anth MP3 to sardonically reply "Ok".

New Order continue to soundcheck a bit before the next song starts.

Barney picks at the strings on the head end of the guitar upstream of the bridge. Hooky cries, "Ready?", and they're off.

"W...WRL" intro. This is a pretty wild version, apt for the Hac.

There's a blank-space gap of a few seconds between Confusion and the next one, a few seconds of audience noise, and another gap.

_Temptation_ is performed without incident, and appears on 'Play At Home'. Well, not quite without incident. At one point Barney points skyward in a gesture indicating he can't hear himself playing loudly enough..


Appears on the 'Play At Home' video...the video mostly consisting of scenery around the Manchester area.

BS: "Move back a little bit."

This version is about 12:30. Some difference in lyrics, but only one major digression.

Skip at 4:17-4:21, or more properly a brief internal cut, at least on the XX version.

Clapping and cries for "more". Must have taken a while because after a couple of minutes of cries, there's an edit. Eventually, New Order come back and encore with performances of _In___A___Lonely___Place_ and _Everythings___Gone___Green_.

The 'friend of the band' tape has EGG incomplete, whereas with XX and Snotters' it's complete. Snotters' even includes a bit of the post-gig music as well.

And now the soundcheck...

(times are approximate)


00:00 Synth bleet, and then silence. You can hear the street traffic


02:00 Soundchecking mics starts in earnest.

02:20 Some drum checking, some people in the audience mutter as Barney repeats "one-two" more than a few times. This goes on for quite a few minutes. Ends in some crumpling sounds and an edit.

(subtract 9:20 if you have this portion as a separate track)

09:20 Synths for _Your___Silent___Face_.

10:10 A quiet passage.

10:40 Bass synth melody of _Lonesome___Tonight_ (a part Hooky usually plays with his bass)

11:20 Synth for _Confusion_, and then more bass synth as above.

13:15 Voice chorus effect for _Blue___Monday_.

14:00 Some talking, and ghostly synth for _Blue___Monday_.

14:25 First loud motorcycle passes by. You'll hear quite a few of these.

14:40 Continuation of voice chorus.

15:25 More "one two"s as somebody messes with pitch of chorus.

16:00 Crumpling sounds, more traffic sounds.

17:20 Assorted drum soundchecking and random keyboard bursts.

19:40 More quiet audience chatter, drums stop, background traffic again.

21:05 Bass for _Decades_ and _Love___Will___Tear___Us___Apart_ and various other snippets.

25:35 Hooky checks his mic.

26:45 Now it's Barney's turn. He counts up to four!

27:10 Our first chance to hear some guitar, fairly intermittently.

29:50 Bass and guitar of Iggy Pop's _The___Passenger_(!), well, occasionally.

32:20 Barney makes a comment as various sounds come in and out, including what sounds like a guitar part for _Ceremony_. Some more noodling.

34:50 bass/drums for _Leave___Me__Alone_. Goes on for about 30 seconds, stops, and starts again 40 seconds later. Afterwards, Barney plays his guitar part for about a minute or so.

37:10 guitar/bass/drums for _Leave___Me___Alone_.

38:20 More _Decades_-type bass, etc.

39:10 Silence, just background chatter. Lone synth about a minute later, and some more guitar, bass, and keyboard noodling after that.

42:20 Another take on _Leave___Me___Alone_, this time with vocals, which are much louder than the other instruments. End of song is cut off as we've run out of tape by the 46:10 mark.


(this portion was recorded at lower volume and has poorer acoustics than the first side)

00:00 We're greeted with loud crumpling, and Barney soundchecking. Somebody around the taper says, "What's he using?" in reference to equipment, presumably, not drugs. Various other random things. Somebody sounds like he says "Oh...fuck everyone!" at around the two-minute and forty-five second mark.

03:30 Synths from _Decades_.

04:20 Drum and bass sequencer for _586_. Then some silence and mic checks.

08:40 _586_. First few seconds are low volume over the PA. This take has vocals but sounds crappy over the sound system.

11:40 Some more silence.

12:10 Bit of bass from _Lonesome__Tonight_, the same bit that was played by a bass synth earlier, as well as a different bit. Also, the synths.

13:20 _Lonesome___Tonight_, with vocals.

18:15 Another quiet bit, and then a vocal check and a bit of bass.

20:35 Keyboards for _Thieves___Like___Us_.

22:00 Instrumental take of TLU.

27:20 Hooky starts talking, none of which I can make out. A bit of keyboars and bass synth as Barney replies to him.

30:00 Various bits of _Confusion_, including guitar and bass.

32:05 _Confusion_, with vocals.

37:15 More silence, and more _Decades_ bass, some chatter between band members, and more "one two"s.

41:00 _Age___Of___Consent_, with vocals. Final part is cut as tape runs out at the 45:45 mark.

NO: 01 AUG 83 Beacon Theatre - New York

I have concluded that this is probably a spurious entry.

Love Vigilantes wasn't played until the start of '85, and New Order had just finished up their East Coast leg of their '83 tour in early July, so to go back three weeks later would make no sense.

The tracks to referred here most probably originate with New Order's performance at the Felt Forum on 1 AUG *85*.

NO: 01 DEC 83 The Academy - Brixton, England

"Love reaction, gives you satisfaction". This gig promimently features NO's "cover" of Love Reaction, which was a ripoff of Blue Monday done by Divine.

Also features the debut of Sooner Than You Think. Titled Aleph, it sounds different enough to warrant its own trackname.

I'll eventually get around transcribing this one, but in the meantime, here are some reviews:

Sounds 10 DEC 83
Live review by Dave McCullough


McCullough--defintely not happy with what he perceives as New Order playing "over indulgant disco trash...TERRIBLE rubbish, again a vague insult to the blacks who do it so much better..."

Melody Maker 11 Jan 86
Interview by Adam Sweeting


Bernard responds to the criticims that NO were contemptuous of the audience by saying they were really directing it at themselves.

MP3 copy made from LP. Sound is poppy, but OK. Sounds like a fairly rowdy gig from the playback.



There's some talking near the mic between Confusion and _Temptation_.

_Your___Silent___Face_ and _Temptation_ follows.


PH: "This one's for someone who, ah, couldn't be with us tonight. Because he's gone to seen the Moving Hearts, the bastard."

The group improvise a bit before they start playing.

Hooky says something like "so what"...

The song kicks in properly, but there's a false start. It ends in strummed guitar.


This is the prototype for Sooner Than You Think, but sounds different enough to warrant its own title. It's almost an instrumental, but does have Bernard singing the following lyrics:

"If you are like one of these/
You want to live with me today"


Has a unique synth line that's featured prominently here.


BS: "This is the professional part of the set now...we've given you all the shit, now the good stuff."

lyric: "Our love is like the fucking flowers, the rain, the sea, and the fucking hours."

Some guitar strumming in between tunes...

_Age___Of___Consent_ follows.

_Blue___Monday_ (Love Reaction)

Here it is, Love Reaction New Order style. Hooky and Barney chant 'Love Reaction/Gives you satisfaction' and other lyrics from that NO ripoff. Awesome.

NO: 02 DEC 83 Town Hall - Bournemouth

I have three copies of this performance, with two different sources.

#1 is a tape with this gig and the soundcheck, the sound is about third/fourth generation on this one, with some hiss and rumble. 8/9. GaoBest has a copy of this that is pristine first-generation sounding (but is actually 2nd gen, according to him), 9/9+, which I have since obtained and copied. This version does _not_ have a cut 586! This source also appears on volume six of the New Order MP3 Anthologies, and is taken from an even higher generation source than my original tape copy.

#2 has only surfaced recently, and apparently was taped by Neil Donkin. It has somewhat superior sound to the first two copies (not so sure about this after listening to GaoBest's), and a good "down in front" feel without the chanting. 9-/9, only marred by a couple of technical glitches.

A lot of the following information should help the gentle reader figure out the difference between all the version. The original writeup is based on listening to #1.

There appears to be absolutely no interaction between New Order and the crowd here.


#2 has sporadic chattering from 0:30 - 1:00.


Two strummed chords, and full speed ahead.

#2 has scuffling between 0:30 - 0:40.

#1 has annoying heckling between Ceremony and _Leave___Me___Alone_. Sounds like football chants, fairly silly stuff. "Come on you Spurs!" can be heard in between Leave Me Alone and IALP, as well as between IALP and Hurt.


Has a bass solo not otherwise present on the normal, released version. #2 has a skip about 2:30 in, dunno if this is just in my CD (I suspect it is) or a problem upstream. If you listen carefully during the intro, you can hear a bit of vocoder, similar to what was used in the Order's cover of "Love Reaction". :) Excellent, excellent version.

Some Hawaiian guitar chords before the drumming which marks _Denial_, marred by Bernard flubbing the opening verse. Fans yell out 1-2-3-4 on this.

Tape break in #1 version.


Features a Wild West-type opening riff, or it could be an attempt at The Rolling Stones' "Satisfaction".

Go here for a listen:

BS: "Eddie, can I have more DMX through the front...and through here as well." A really good version of this underrated gem. Has the "who killed my father" lyrics.


Either Bernard was forgetting lyrics or they were having mic problems... he repeats the first line..."Won't you...please let me go?" three times.

#2 has a skip at about 2:15, could be a mastering fault.


My earlier copies of #1 and 2 has a cut here, as this is the A/B split, but the GaoBest #1 does not!

Another repeated first line...Bernard swears about his foldbacks or something like that, but does it in his singing voice:

BS: "Straghtaway you left...Eddie, would you take the fucking Quadra out the foldback."

A few females chatter away on #2 in the thirty seconds between the end of 5-8-6 and Confusion.


New Order really goes wild with the samples on this version.

#2 has a scuffle about 1:15 in. Loud female shouting "No!" or something like that about 4:20 in. The Anthologies version of #1 cuts after 4:47 (the song is about seven minuts long). All other versions are complete.


Sound appears to have been taken from a video recorder.

Drums and a bit of cheesy keyboard, and distortion.

"202, tom." Something about speakers.

Drumming from _Heart___and___Soul_, and more distortion

Keyboards from _Your___Silent___Face_ aka KW1, and yet more distortion.

Keyboards from _Blue___Monday_, and the sequencer.

Keys and synths for _Confusion_.

Some talking, and unrecognizing keyboard playing.

Bass riffs...aborted JD riffs.

Birthday Party riffs

One Two Three Four ad infinitum

Start of Bass Riff for _586_, then some dialogue, and then a long synth note, followed by other similar notes.

Some drums and bass, nothing recognizable.

A couple of interesting bass riffs, and then some more.

Drum machine for 5.8.6, and sequencer patterns.

Then a performance of 5.8.6!

And _Leave___Me___Alone_, including backing vocals.

More synth notes. Then the tape cuts off.