Picture of Bernie New

NO: 27 JAN 85 Tiffanys - Leeds, England

I have three sources for this one. One from Simon Park, and is a fairly good sounding tape. The other is in my archives, and is pretty hissy, but fairly listenable. They originate from different sources. The third is from Snotters and is the best of the lot.

A bit of flutter on the source tape for the first part of _The___Perfect____Kiss_. Some loud talking at the 4:10 mark, somebody asking about the location of one of their mates or something like that. (Park tape)


BS: "Thanks very much. This next song is in a slightly different vein to that one...that's...different. Eddie, can I have more guitar though the side fill?"

Punters shout out and start chanting "Here we go".

The bit before the chopping guitar solo is a bit odd, it's lower in pitch than normal.

_Sunrise_ and _Sooner___Than___You___Think_ follow. Lots of chattering through the first part of the latter on SP version.

_Lonesome___Tonight_ follows on their heels.

lyric: "You reached out in my sleep, and instead of me you [dr... fuck]?"


A bit more chanting. Somebody remarks, "Drum machine." Tiny bit of rumble at the 4:00 mark.


BS: "We're gonna brighten it up a little bit now because you all came to enjoy yourselves, not listen to us."

On the Park tape, a male fan asks his female counterpart what he said, and she explains it to him (and us). Simon Park didn't know these people, and remarked that they didn't appear to be New Order fans. He eventually moved away from them in order to get away from their talking.

BS: "It's Gillian's birthday today". Folks start to sing "Happy Birthday". Bernard than adds, "It's Steve's birthday tomorrow." Which it is not, Oct 28th being the correct date for Mr. Morris. However, Jan 27th _is_ actually Gillian's birthday, the Blackburn and Finsbury announcements were akin to a practical joke.

Bernard says something sounding like "So I met you" at about the 1:30 mark. He ad-libs after the "one of these you'll go back to home" (can't quite make it out).

After they play the tune.

BS: "Thank you very much."

Then this peach of a Barney put down in response to the audience calling out. The Snotters version has an edit at this point, missing the first word below:

BS: "'Temptation' (in a very sneering tone), listen, we're fucking sick of playing that bleedin' song." Another or maybe the same punter calls for "Procession" instead (heard on Park tape).

The Order proceed to play _586_.

BS: "We play what we fucking want."

Bernard makes the following comment at shortly before the two minute mark.

BS: "I was going to do a little bit of dancing on this one but, er, I'll save it for Temptation."

An edit takes out the first part of _Temptation_ on the Park version, which has a false, or more accurately, a late start due to the sequencers not loading in time.

The A/B split takes out a bit more, so the initial part of the first stanza is left out. The archive tape and Snotters' version has it complete...you can hear Hooky or somebody playing scales.

Tony Meehan writes:

"The sequencer, much to BS's annoyance starts playing Temptation. He promptly walks over to the sequencer and fiddles with it for a couple of minutes. Each time it starts Temptation. BS gives in and proudly announces that the next song is a new one, Temptation."

BS: "Sorry about this...this has been parked(?)...not too late(?)... got it right. ...anything like that." (hard to make out due to the muddy recording.)

Punter #1: "What do you think so far?" Punter #2: "Pretty good."
Punter #1: "Right, yeah."
Girl Punter: "took me about four...four numbers to get into it..."

(can't make out rest of what she's saying)

Bernard mutters "[numble], We love you", after singing, "Heaven, a gateway, a hope.", "a feeling inside, it's no fuck" and other barely-audible comments.

BS: (at end) "See, we've played that one so much that we can play it."


Very good version, nice drum and Hooky outro.

Archives version has sound problems for the first part of the song. SP and Snotters versions are fine.

Cut in tape for encore (on Snotters version no pre-encore PA music). Can't identify song.

BS: "Gillian's made us come up because you all have sung 'Happy Birthday' to her. Unfortunately, she doesn't appears to be coming up. [Hooky strums bass] Oh, she's there, she's there."

Gillian plays a couple of notes on her keys.


BS: "You've all got to wait for this next song cuz our roadie over there, Andy, doesn't know how to load the sequencer." Ouch. And he's now their manager."

Interesting synth tones in this version.

BS: "Thank you, thank you, thank you. We love you, I love that. we're not doing just one encore, but two. Because it's Gillian's birthday, as I said before."

Then the group launch into _Age___Of___Consent_ and the volume surges up (on both audience tapes).

Punter on Park tape calls out for "more" as that tape finishes.

BS: "Thank you".

NO: 28 JAN 85 Finsbury Park, Michael Sobell Sports Centre - London

Date: Wed, 22 Aug 2001 11:08:07 EDT
From: GaoBest
Subject: Re: [Re: Re: (Fac33) live BLT preference ] / memories

I liked how they announced it was Gillian's birthday in late January '85 for that michael sorrell (sic) sports centre and then the next day as well, or something like that. Actually I just can't remember anymore! But it was something like that.

Waterrat's listing omits the fragment of 'TV Eye' they performed between BM and Temptation...right after NO sang happy birthday to, not Gillian, but a 'David'.

Earlier versions of this gigography may have listed 86 JAN 28, this was based on a mislabelled tape.


Had two audience tape versions, one in my archives from an unknown source (referred to as 'THO tape' for my nom-de-plume) which I've misplaced, the other from Simon Park (referred to as 'Park tape)'. I believe these may be identical, but am not completely certain. The 'THO tape' version has been supplanted by one seeded by davemings to DIME, one he describes as M/3-ish.

Also have a video (single-camera amateur shot) of this performance, courtesy of Peter 'Solitude' Petrou, who taped the gig. Very good job he did, too.

New Order come on to a Kraftwerk tune: 'Numbers'.

In an unusual twist, they play about two minutes of _The___Perfect___Kiss_, and then switch to playing _Ceremony_.

I had thought that this was something they intended to do, but Simon Park points out that it is clear from the video that this wasn't intended at all, the reason being due to a sequencer failure. A roadie (looks like Andy Robinson) goes out to try to help Gillian, who looks across at Barney with a puzzled look on her face.

BS: "Thanks very much. Sorry about the acoustics in this place, but the GLC thought they'd give you all a job understanding what the lyrics were."

Simon Park, who supplied the correction to what I had originally, notes that the GLC was the Greater London Council, the local authority for London at the time and the gig was meant to be for the unemployed of London.

Philip Collins recalls that the gig wasn't just for the unemployed:

"The gig wasn't just for the unemployed, it was for students as well (bargain price of ?1.50) or for those with jobs (?3.50 I think!)...I got the last 3 discounted tickets after traisping down to County Hall (GLC Headquarters) with a handfull of student union cards one morning but tickets were also on sale through the usual outlets for the higher price."

The Order than re-try _The___Perfect___Kiss_, and this time make it all the way through.

BS: (at intro) "A little less bass on the vocals, Ed."

_Sunrise_ follows.

New Order then play through _Subculture_ without interruption.


He delivers the following in a 'preacher' tone:

BS: "Er, this is one you all know just to keep you all happy, because New Order are about pleasing the public and you are the public, so we'd like to dedicate this song to you."

(once again thanks to Simon for the above)

Bernard sings the following instead of the usual lyric:

"No hearing, no breathing, no fucking, no shouting, no bollocking..."

He sings the "Why don't you piss off..." line very, very quietly. Turns out he said "fuck off" instead.

A keyboard comes in at the wrong time...they may have been having sequencer/equipment problems, as the end of the second verse uses a different sound (like a whoosing) than what is typical.

The video gets interference and cuts before the end.

BS: "Thank you, thank you."


The drum pattern is very different than typical.

(at completion of what is a really good version, on second thought, this version is pretty ropey)

The video misses out on part of the intro, with the sound cutting in and out throughout.

A/B break of Park tape.


BS: (at start) "All you miserable bastards, you're worse than we are."

A/B break of davemings source.


BS: "What's next?"

PH?: "Confusion? I dunno."

This above exchange is only audible on the video version.

PH: "Stop laying onto your friends, you fuck..." (last word is muttered, may be something else)

Lots of soundchecking. And then Hooky says "Glad you are aware of the long..." Last word obscured by the start of the song.

Video cuts before the end, resuming partly into the next song.


PH: "One...to...warm you up."

Bernard says, "Eddie baby, come here" after the last part of the first verse. Bridge before second verse has a Gillian howler. Sound on Park tape muffles slightly. "I'm not the kind that needs to tell you" has different lyrics which I can't make out.

Video version has tons of audio distortion here.


BS: "And who says we couldn't play our instruments?" Just buy the record. So is...[mumble]..."

_Blue___Monday_ closes out the main set. The sequencers go a bit awry.

Video version has another cut, so the first bit is missing.

Tape cuts out as people clamor for more. The first part of what Bernard says gets cut out as the taper hits 'play' again.

BS: "...New Order. Apart from Steve and Gillian. It's Gillian's birthday today. Happy birthday to you, Happy birthday to youuoouu." The audience complete the singalong.

Punter complains about something being "fucking sneaky"...maybe he realizes that Gillan's birthday was actually the day before.

(audience sings along and finishes it out)

Hooky and Barney play a minute or so of TV Eye by the Stooges.


BS: "A little improvisation while we load Temptation into the sequencer. One two three four! This is our way of saying 'Thanks!'"

The Park tape has Temptation cut. It's complete on the other versions.

NO: 05 FEB 85 Caley Palais - Edinburgh, Scotland

There are at least two sources for this gig. The first one was made using a Sony Professional Walkman (no info re mic) and includes the backing tape (Parliament-Funkadelic's 'Flashlight') selection between the main performance and the encore, but has a few dropouts (most notably the first four minutes of the initial song (Confusion), which may only be present in the copy the CD was made from and not in the master) but otherwise decent sounding. It's likely the CD was made from a second/third-generation copy of the master, though a comment by the person I got this from indicates the taper was a mate of his, so it just may be the source itself.

The second version omits this, but adds a few seconds more before the intro of Confusion. This very much sounds like a first generation copy, and while featuring a bit more crowd noise and better dynamics. On the newer version I have, the taper identifies himself, see below!

Stephen Smith reports that, "Funny to think back, the Caley Palais one was actually pretty good. They weren't chuffed right enough about the local council and who can blame them. But they were still pretty good. The Wake played that night too and they were fantastic."

PH: "Hello".

Bernard then says three words I can't make out, sounds like "Get up off".


PH: "This is, er, Confusion, man." (in a silly voice)

Bernard yells out instructions...1:56, "sequencer", and something else a few seconds later, "twat".

BS: "Thanks very much. Sorry about the sound in here tonight, you should sack the local Council."


Hooky flubs the intro bassline a bit.

Glitch at 2:28 on the first version.

Small dropout in Sunrise near the end with first version.


Some punter calls out for Everything's Gone Green. The "yes you do's" that appear on the album version are missing here. Theres a couple of dropouts in the first version about two minutes in.


Apparently they start having sound problems at this point, given the rushed soundcheck imposed by the aformentioned Council's 10PM deadline.

Somebody accidentally triggers the drums for the next song. Bernard notices a distinct hum being put out.

BS: "There's still a loud noise on stage, Ed". [starts to hum along to it]...still there....might be the sequencer, Gillian, try pressing stop."

Meanwhile, punters call out for all sorts of stuff, hilarious. Steve plays out the drum parts for Denial, and Bernard joins in for a few seconds.


The debut performance of this song.

Guitar sound (not melody) is slightly different, but bass riff is essentially the same. There's a dropout at about 3:50 on the second version...present on my source, and likely a problem with the master.

A bit of a break while New Order get ready to play an electronic song.

BS: "Turn this guitar down then."

Punters call out for Ceremony and Age Of Consent.


Bernard calls out "Sequencer, sequencer" at about 0:20.


BS: "Thanks very much. It sounds like that on the record, for sure. We would like to sound different than the record, so this next one sounds really different to the record."

This is an odd comment, suggesting that the original version of this song on Lowlife, which was released in May of 1985, sounded radically different. This song was debuted on 27 JAN 85, in Leeds...and this performance is their second. With that said, it doesn't sound much removed from the version that made the album....the lyrics are fully realized, for instance. In fact, this is likely not the case, since, according to TJ, the only part of Love Vigilantes that was changed was from having the melodica coming in after the first four bars of bass to right at the start. Most likely, Barney couldn't have cared less when he made that comment whether or not any of the audience had heard it, as he was criticizing his own group's butch-up of the songs.

More shouts for Ceremony and Age Of Consent.

Bernard warms up the melodica as Hooky calls out "1, 2, 3, 4".


Somebody's shouting "Your Silent Face, Barney...Your Silent Face."

The reverb on the keyboard arpeggiato sequence is missing for the first couple of bars. Bernard says something 'sotto voice' right after the "you took me a little further" line.


This gets a rousing roar. On the second copy somebody whistles and there's clapping at the 1:00 mark. Bernard sounds like he says "undertook" instead of "understood".


If you listen carefully on version two, you can hear folks mentioning the word "cock" a couple of times, in reference to the '84 Royal Free hall version.

This version has a different bass sequencer part in the intro which I rather like, but for the most part it's the version we know and love. [The sound from about 3:20 on sounds a bit muffled, this is how it's present on my master...I suspect that this was a mic placement issue...as at the end of TPK, you can hear the mic get banged into a few times]. Another version from the same master I picked up doesn't have the muffling.

Bernard says something which I can't make out except somthing that sounds like "If any of you fuckers..."


[Muffled up until the 6:45 mark on the second version copy] Not present in a more recent copy I picked up.

Barney mutters something I can't make out when singing "I've never seen anyone quite as...before.".

BS: "Thanks a lot, good night."

On the newer version one tape, the taper adds a note:

taper: "This is Ians from Edinburgh, if you bought this off an English guy, you've been ripped off." He then makes a sound not unlike neighing. "All originals from Edinburgh." The last phrase I can't clearly make out, sounds like "Been getting anything else", but probably isn't.

(thanks to 'Dave Mings' for helping me decipher the first bit)

NO: 06 FEB 85 Barrowlands - Glasgow, Scotland

Source is from Malcolm Beaton, which I have two excellent copies of, though the one from GaoBest was a semitone too fast and needed to be corrected. There's another version that was taped by UKBT, which may be the one that 'jamtart25' seeded to DIME in March 2007.


BS: "Thanks a lot. We'd like to dedicate this next song to the City of Glasgow." (a bell rings at the word "dedicate")


There's a breakdown in _Blue___Monday_. And a burp!

(at the end)

BS: "No strap...eh, one strap!"


The fans chant along...


During the intro, Bernard mutters about "...you bastards" and "...next time." that I can't totally make out.

lyric: "A cunt that never changes remains a stupid TWAT."

and, "So why don't you FUCK off..." Barney adds "It's just rape... two, three, four."

PH: "Thanks a lot."

BS: "Eddie, turn up the guitar a little bit, please." Steven drums the intro to Atrocity Exhibition.

There's a few skips and glitches in the jamtart25 DIME version.


Sequencer starts up, goes silent, and starts up again.

Stereo field drift near the end (present on both copies).


BS: "Er, the next song is our new single, erm. It's really good. Think it is, anyway, is it? Yes it is."

(first line above is left out of one of my copies, but is present on the other)

They were having technical difficulties, resulting in the following unusual sequence to start out, sung along to Steve's drumming.

"Just takes us a long time to get going. A very long time.
Very very very long time.
It's called a Perfect Kiss
Takes a long time to get going, doesn't it? Hurry up!
Hurry up!
Hurry up!
Hurry up!
Hurry up!
Hurry up!
Doesn't start like this on the record.
It starts very different to this on the record. Hurry up!
Hurry up!
Fucking hurry up!
Hurry up!
Hurry up!

It's starting now."

At about the 3:45 point, a synth line gows awry. It's a couple of octaves higher than what it is supposed to be. Again at 4:50, but gets quickly squelched.

The 'jamtart25' DIME version fades out before the end of the song.

After the song finishes us, Bernard smartly notes:

"Uh, it sounds a bit like that."


Hooky mistakenly starts in with Age Of Consent before stopping and realizing he's a bit too far ahead in the set.

The second verse gets a bit mangled, as Barney is surprised to hear that a bit of Blue Monday had been triggered.

Barney ends it all with a guitar "flourish".


Hooky makes fun of his previous flub...

PH: "I ask myself what could possibly go wrong now..."

(terrible bass racket, masquerading as the intro)


(at end)

BS: "Thanks very much".

The 'jamtart25' version has a bit of 'squeal' edits at this point.

NO come back on stage to encore with _Ceremony_.

BS: "Eh...we left our drinks on stage, so we had to come back on. Ahahaha. Heard about the Ethopian prostitute? She had more men than HOT DINNERS."

(previous editions of my listing had "our Guinness." (*huh?*). Thanks to David Ewing and many others since for the correction.


lyrics: "Bolts from my dick, people down below..."

(at end)

BS: "Thanks a lot, thanks very much."

NO: 14 MAR 85 Lancaster University - Lancaster

Lancaster is halfway up the M6 between Greater MCR and Carlisle. Here are TJ's recollections about this gig.

"Yes, it's one we found out about at very short notice, like the night before, from a mate who was a student there. It had been hastily arranged and hadn't been publicised at all, in fact we were a bit sceptical as to whether he was taking the piss, we half expected to get there and find no gig!

If I recall correctly it was a Thursday night, and I usually worked Thursdays but luckily had this night off, so we were able to head up there, having rung a student mate to secure the tickets. I do have the ticket somewhere. From where I lived then, it was a four hour drive. We didn't arrive until about five minutes before they came on stage, I was still on my way from the bar area. It wasn't a very big crowd, maybe 100 if that, certainly nowhere near the crowds they were drawing everywhere else. ATR was there, though I didn't know him at that stage, just recognised him from gigs. Barney said "hello everyone" at the start, and I think Hooky said "alright cunts" off-mic to the group of lads stood right in front of him. There was enough room so that everyone wasn't jammed tight to the stage as would usually be the case. I've got a sneaking feeling Gillian was wearing a really shiny red top, couldn't tell you about the rest though. We always stood just between Gillian and Barney in those days, the lads who wanted to put themselves about a bit went on the Hooky side.

The gig itself flew by, they seemed to be off really quickly, so it was a surprise when we listened to the tape and it was 65 minutes for 10 songs, it felt more like 45. I suppose that's from having so many new songs that are still bedding in, sure you recognise them but don't have a feel for how long they actually last. If they did an encore I wouldn't have known about it, we were out of there within a minute of Perfect Kiss finishing and back heading for the M6 home. Didn't get in until 3am but it had been worth it."

Tape also courtesy of TJ. Indicated as second generation.

First two songs are lower in volume than the rest. Second side of his tape is unbalanced toward one side.


Hooky mutters something before the start of this that I can't make out, but quite like was 'Alright, cunts' off-mic as described above.

Johnny Dobbyn was there and shares his observations:

"The comment 'Hooky mutters something before the start of this that I can't make out' for the March 14th 1985 concert at Lancaster University. My recollection is that Hooky opened the gig, after a disastrous support and what felt like an hour's wait, with the words "Evening, cunts". It's also my possibly imperfect recollection that he closed it with the words 'Night, cunts' too."

BS: "Thanks very much."

Some feedback amidst the shouting for Procession.


About three minutes in the muffling goes away. Think this is a tape defect rather than a source issue.

BS: "Eddie, turn the white sequencer down. It's still on."

Punter shouts out for "The Perfect Kiss", which


Barney's mic cuts out, so Hooky ends up sounding like he's doing vocals here! During the bridge, it also sounds like New Order's sequencers act up.

PH: "Oi!" (may not be him)


lyric: "Now I stand here masturbating."

Bs: "Thanks a lot."


Bs: "Thank you, cunts."


(During the intro)

BS: "This is a Barry White cover version."

Punter really goes on and on shouting out things like 'warning in the park'

BS: "Careful, you little creep. You probably have... I can see you, lad. Slim, slim, this fucking squirt, make him [s/l: sue your head]? Somebody adds 'Kick him out!'


A/B split after this song.


The lyrics are -still- not in their final form!


Guy with a couple more of those 'walk in the park' pronouncements, presumably wanting to hear _Subculture_.

BS: "Do something."

You can hear Sumner end the stanza with an "Oh, baby."


BS: "Who said punk [is violence?], eh? Perfect lot." (can't quite make this out)

lyric: "I should have stayed at home, playing with my big fat cock."

NO: 09 APR 85 Tower Ballroom - Birmingham England


Fans shout out 'Peter Hook' like a football chant.


"Barney was in a very good mood throughout, didn't seem too concerned about the feedback they were getting at times. It was actually quite a weird one as the sound shifted quite a lot during the set - Sunrise sounded like bubbling monitors, we were right down the front in front of Barney and you could hear the monitor mix louder than you could the PA sound. "

BS: (at 0:39) "Thank you, thank you."

Tapes feature "That Bird"...who shouts out something between 0:35-0:38 and calls out 'Barney!' at 0:45. Who is she??? C'mon, one of you must know! Maybe not an ex-wife or something like that... :)

BS: "Thank you, thank you."

A bit of tuning before the Order gear up for their next number, which is _The___Perfect___Kiss_, with a particular punter trilling away.

lyric: "Tonight I should have stayed at home/ Playing with my big fat cock."

Some distortion in the 6:40 - 6:50 range.

_This___Time___Of___Night_ is next.

TJ continues:

"It was sorted out for Perfect Kiss but the bass sequencers went haywire at the start of This Time of Night. Barney missed the first vocal line of the song because he was gesticulating at Oz to take the top off the sequencers, which were spitting through the foldback."


BS: "Well, there's a few poets in the audience, this next one is very...quiet...and beautiful...just like all of you...until we start playing again." (thanks to TJ for the correction)

Bass levels really high on this, probably causing whoever's manning the mixing desk a bit of consternation.

BS: (gesturing to roadie) "Semi-acoustic guitar." (addressing the audience) "Oi, does anybody know how to tune it?"

_Sooner___Than___You___Think_ follows.

TJ adds:

Subculture ad-libbed lyric, "I like fucking in my sleep, when it gets late at night, I often have a wank when my penis gets up tight, I sit around by day, thinking about womens' legs, I often think that women are just like brown eggs" (typical Bernard rhyme!!)

BS: "Thank you, thank you very much. (off-mic) Here we go."

(imitating midlands English)

BS: "Can't understand this gibberish y'all talk over here...down here, mate, down here, down here, down here. I can understand 'fucking', I know what that means. Does anyone know? Something that we don't get very much of."

TJ's commentary:

"He was pissing himself after Sooner Than You Think over some of the comments at the front, the best of which was "play something YOU know!"


BS: "The song's called fucking. It's all about Birmingham."

lyric: "I help them, how they fuck. My penis gets so tight. I sit around by day. Thinking how to get between these legs. I often think...[can't make out last bit] I...[something]...

Sings "fuck" instead of "shaft".

BS: "I want him to tell you, punter, punter."

Barney plucks one of the strings on his guitar.


Amazing Hooky intro, too bad it was a bungle.

Here's what TJ has to say about it:

"Hooky's bass on Leave Me Alone was on the wrong string for the first 30 seconds! Only time I've ever seen him play it on the 6-string, from memory he pinged a string in Sooner and it was still being fixed. Bass is back to normal on Age of Consent though."

Barney ends it all with a wanky guitar flourish.

BS: "Pretty flashy, pretty flashy."


Hooky calls out "ready" off-mic.

Drums speed up as the song starts.

lyric: "Believe me, this feeling don't last forever."

Midway, Bernard namechecks Killing Joke.

TJ explains:

"During Denial, the "Killing Joke" reference was to the audience's reaction to his riffing stance during the guitar part, Hooky was laughing at him pulling a face."

Cut between songs.


BS: "Don't like that one. So we're gonna to play this one instead."

Lots of feedback during the first part of the song, and a bit later as well.

Bernard yells out, "Bastard" before the 'I lost you..." bit.

Segues into _Temptation_.

TJ comments:

"The Age of Consent/Temptation segue was interesting because the lights changed at the end of Age of Consent, everythone thought that was it as the lights went down momentarily, then we recognised the sequencer."

BS: "We'd like to dedicate this song to Birmingham...and all the people who live there, including everyone from Glasgow. Whoo! I'm not a cunt, I'm not a cunt, I'm not familiar with hardly nobody."

[not sure what he's saying during the last bit]

Huge feedback squall at end.

BS: "Thank you good night."

BS: "Thank you. More sincere than Howard Jones and twice as cheap... I believe that of anyone." (again, thanks to TJ for the assist)

I asked whether Howard Jones was on the bill. TJ replied with the following:

"Nope, this one was opened by the Stockholm Monsters. Barney was taking the piss out of Howard Jones because the Jones thing had criticised New Order in print the week before, saying they just walked on stage and didn't thank the crowd for applause."

Cut here.

BS: "This is for the ones who stayed. Could any of the road crew give me a bass guitar? Bass guitar? (to the audience) Do we still know what one is?"


BS: "This one features Mr. Arther Baker. Terry, where is he? In our presence tonight. 1-2-3-4."

Bernard (or is it Hooky) yells out "Terry". Bernard's vocals are raised about two or three lines.

Appears to slow down near the end, right before they Heys! and the synth sweeps. Ends in a sampled bass loop.

(older entry)

See http://web.archive.org/web/19990421161857/http://www.image.dk/~biotech4/no/liveanth.htm


Date incorrectly listed as 26 APR 85 on that page.

This time of Night listed as the last track. Elegia listed has having been played on the soundcheck.



A few breaks in the tape at the start, as Hooky can be heard to say "Ready" and call out Steve's name.

_The___Perfect___Kiss_ follows.


BS: ...some of your two sequences there. [sentence I can't make out] Oh, [something]...through the foldback, Ed. Put...through the foldback. Uh, I thought it was going to improve the...sequencers...load the sequencres.."

[monstrously loud sequencer levels through the PA, quickly quieted down]

BS: "Hold on, hold on boss."

BS: "A bit more bass through the snare drum, Ed."

sings "We are"...and makes another comment directed towards Ed.

Features Bernard's axe playing the main guitar line to this song.

BS: "One two, one two. You have to take that down... One two, one two...take the sequencers down..." And more 'one twos' and level-related comments. Would take too long to note all the directions down, so I'll exclude these from the rest of the writeup.

Somebody yells out and Hooky responds.


Bernard complains about the intro being too bassy and makes other comments regarding the sound.

Hooky prefaces the second take with a bit of bass...this time there are vocals.


Bernard complains about a really loud voice coming through the monitors. It sounds there was a bit of an audience for the soundcheck.

Hooky makes a comment at the start.

There's a great bit where Barney comments, "My sequencer's gone really out of it. whatt's gone wrong? Arrrrgggghhh!"

BS: "Our fault, our fault."

PH: "Sorry, sorry."

punter: "I'll go get your prizes!"

BS: "It's a change isn't it. Gives you lot some confidence it yerself."

PH: "God knows you need it."

A bit later on...

BS: "We've been out of the club circuit for a long time, you know." (as he's tuning up).

Rest of what he and Hooky say here I can't make out, though Hooky too starts complaining about the sound of the Emulators.

At the end Hooky asks, "You all right, love?" Mate replies to the affirmative.

NO: 10 APR 85 Mayfair - Swansea, Wales

Source courtesy of dropdeadfred's DIME seed and from ST.


Fairly good melodica solo in this version.

BS: "Thank you."


Single bass note, some silence, and the band start in, with the bass mostly unaccompanied by guitar during the introduction.

BS: "Turn down the guitar a little bit - the side fill."

_Temptation_ follows.


(before start)
BS: "You made his fucking heart stop..."

BS: "Andy(?), turn these fucking lights on."

Cut at 5:25, right before the synthesized frogs.

BS: "Thank you, thanks very much."


BS: "Turn the sequencers up, Ed. The bass amp."


(at end)

BS: "Shh! Talking..." [cut in tape]


Second time this is ever played. My source has a right channel drop at 0:43 and between 0:51 - 1:30, again at 1:38 - 1:40. Left channel drop between 1:47 - 2:01.

Other versions do not have the dropout issue.

[tape flip after Let's Go, sentence spoken cut on original audience version. A newer recording with this in it has recently resurfaced. ]


(the ST version misses the first sentence here, thanks to bcingyou for the transcription)

BS: "Are you feeling comfortable? We've never played here in Swansea before. We played in Cardiff but never played Swansea. Before we go any further... before we go any further... I'd like to apologize for the dirt on the jeans because I only brought one pair of pants to wear...or own. Is everybody ready? 1-2-3-4..." then Ceremony bass intro, breakdown.

BS:"We're not that good, didn't expect us to get it first time. Steve knows what we're doing."

The Sister Ray improv gets run through before things get sorted....

The band then commence into _Ceremony_ proper. Bernard says something like "sit down" during the intro.


BS: "My guitar is a...is a bastard. Can't play anything on it. But then again, I can't play anything on anything else. Very quiet in here, anyone else? Never played here in Swansea before, you know. So we got to try everything on some of you...and we'll try playing that."

Dropout in right channel from 1:09 - 2:10.

He makes a comment between verses.

BS: "This is ba.. tr... next time."

lyric: "Don't let anybody tell you're a twat, because you're not that."


BS: "Almost apologize for the person who tuned my guitar...in murderous(?)".

BS: "Thanks very much. We're touched, we're... Thank you, Nick the DJ. See you after, Nick."


Bernard mutters something after the first verse.

The tape has the last part of the song (obviously a cut in this track) first, followed by the start of the song up until the break.


Bernard comes in late on vocals, first line song is "You treat me like you do."

Copious use of the "screech" sample here. The DJ says something at the very end.

NO; 17 APR 85 University - Salford, England

According to Simon Park, this was filmed. His description:

"Majority if not all the gig. A one camera shot, quite a dark recording taken from a balcony directly in front of the band the person filming does not move.

Not sure of the source or even where I got it from."

The sound on the videotape is overdriven.

But there are audience tapes, the one I have is courtesy of Dave Mings, with a subsequent upgrade showing via TMK in 2005.


Missing on the video, which starts at the next song.

Bit of level adjustment before the drum machine kicks in. Vocals a bit quiet in the mix.

Bernard sings, "you realize you can't FUCK without someone else."

And he pops his lips at the end.

BS: "Thank you very much."

Folks whistle. And chant.


Has bass intro with melodica coming in soon afterwards.

_The___Village_ is next.


BS: "Thank you very much, it's a beautiful song, it's a beautiful song."

BS: "Thanks very much. (probably addressed to Oz) Top the vocals, [rest is mumble I can't make out]


The debut! Fairly shaky both in playing and tempo.

The video misses out on some of the intro.

During the middle of the first verse, Bernard tells Steve to slow down.

The lyrics are not in their final form, obviously. Good guitar work near the end.

Somebody calls for EGG.

BS: "Fucking shit!"

_This___Time___Of___Night_, followed by _Temptation_.

Profanity in its usual place on the latter, between "last" and "time".


I think Bernard says something with "bullshit" in it at the end, very hard to make out.


Somewhat short (7:21) version of this classic.


An interesting version, different intro dumming and melodica bits. Bernard sounds he's singing from a thousand miles away.

Why there's frogs at the end of this is very curious.

Break in tape...assuming the last two songs are the encore tracks, confirmed by watching the video.

BS: "Thanks very ...touched by us...[lots of reverb obscuring what was said]. Thank you very much. As you know, we all come from Salford. I believe Manchester United won three-one today..."

(thanks to Dave Mings for deciphering this!)

BS: "And we're not actually bitches..."


Ends with Hooky bass solo, which segues right into a chaotic version of _Sister___Ray_.

Plenty of witty Barney-isms...like "she says you're full of excrement" and "she says you're full of shit". Bernard's guitar cuts out, prompting him to toss it to the floor while Andy Robinson(?) hands him a new one. Later on, Barney drops his mic like it had been soiled, leaving his crew scrambling for it, and then he's handed a third guitar to plug in, which he places on the ground and drags it by the lead before tugging it out. And then he walks out, leaving the rest of the band to mop up, but Hooky makes up for it by bursting forth the riff to Ceremony.

Beautiful stuff.

NO; 18 APR 85 Rotters - Doncaster, England

The Beloved ware support.

Sources are two tapes, the first an incomplete recording (only the first five songs, up to Hurt) done by Simon Park, the is second a complete audience recording. A third one, sourced by TJ, has shown up recently as well, with excellent sound quality.

Simon's source sounds very good, the other one has tracks out of sequence and somewhat worse (but still not bad) sound, and the third version easily tops the first two, and seems to have less near audience chatter than the others.

Philip Collins says:

"The out of sequence tape came from the desk of someone my brother used to work with and was borrowed long enough to be copied! We had no idea at the time which gig it even was but I did some trading back in about '87 and the person I traded with identified it as Doncaster. Can't give any more details other than that but I think that was the person who taped it..."


Guitar plugin, bass drone, and they're off!

Intro on full audience tape starts at the bass drone.

Levels on first bass notes really high, but that's likely a venue PA problem. Punter says something at 1:05 on full audience tape, and somebody else blurts out something at about 1:35.

punter: "...the new single" (really thick accent) (Park tape) Bit of a drop out at 1:30, likely not a tape problem.

Talking at 2:40, one of the punters says something like, "Fuck me, they've now playing fucking pop!". Another says, "Don't mind getting into that one [and a few words I can't make out]" (also Park tape)

Otherwise, a standard version of the tune.

BS: "Thanks very much."

_Ceremony_ is greeted with pleasant shouts. Punter starts talking frantically at the 1:05 mark, even after Barney starts singing. I can't make out any of it! (Park tape)

Levels start out really loud again and go down (full aud tape). The Order cack up the ending by playing the wrong bits at the wrong places. Bernard woos near the end.

Rather than continuing with the next song, the full audience tape skips to Confusion.

About a 10 second gap before the Order start up the next tune, _Thieves___Like___Us_. Song number eight on the full audience tape, after "Confusion".

There's an additional guitar line in the intro. This is a very good version, and deserves the rousing applause it receives. It's more clearly heard in the full tape than in the Park tape. The bass sounds odd here, like during the '85 JP/AU/NZ dates.

Barney tunes up a bit.


Song number nine on the full audience tape.

Intro guitar line sounds like a bit like the opening they used for Ultraviolence 02 DEC 83 Bournemouth. See:


2:25, somebody blurts out. (Park tape)

BS: "Thank you very much."

More indiscriminate shouting out.


The tenth song on the jumbled version of the audience tape.

Hooky's intro is somewhat off, the synths are even more off. The Park tape cuts out after 1:15, alas, but it appears in full on the other one, and turns out to be an interesting version. Neat melodica outro.


The last song on the jumbled tape. Tempo is quite speedy. Sounds like somebody's making smooching noises into the mic right before the start.

Drop out in the left channel at about 0:27 in (jumbled tape). Hooky ends with a bass flourish.

BS: "Thank you very much again."

The next bit is only present on the TJ-sourced tape, since there's likely an edit in the jumbled vesion.

BS: "Pardon. Listen, if you all shout out at once, I can't here. Now, applications, one at a time please. This is the most unruly audience we've ever played to. Which leads us nicely to Confusion. What a way with words now, what a way with words."

About a second of Shellshock can be heard afterwards, but this definitely wasn't from the gig, since that song wasn't debuted until nearly a year later. (jumbled tape)


The full audience tape features this as the seventh tune, which is actually where it should be! However the previous song is "Ceremony".


Vocals are pretty quiet in the mix. This is the first track in the full audience tape's sequence. A few feedback squalls and the syndrums threatening to march out the hall. "mic scrape" at 4:20.

Tape edit on TJ version.

BS: "Once again, I can't play this one fast(?)" [reverb obscures what he's saying]"

Hooky then plays the bassline for "Exercise One"!!!

BS: "...to you. Beats a smoky nightclub(?)"


Second track of jumbled audience tape, consecutive, no edits. Some more shout outs after this


This is also in sequence with respect to the full audience tape. Lots of chanting along with the machine beats.

Gillian bungles the keyboard line right before Bernard's main vocal.

Good guitar work near the end. Ends in a bass synth loop.

BS: "Thank you, we love you. Bye bye."


Edit can be heard between this and the next track on the jumbled tape version. Knocking sounds four secons in. Fans call out for "Temptation", and what do you know? They get their wish.

Right channel dropout at about 1:56, click at about 2:00, back to normal at 2:31. (21:13)

Unknown audience tape has a brief edit, and then continues with TPK.

The sequence of the tape, by the way, is:

Subculture (8), Sunrise (9), Blue Monday (10), Temptation (11), The Perfect Kiss (1), Ceremony (2), Confusion (7), Thieves Like Us (3), We All Stand (4), Hurt (5), Chosen Time (6).

NO: 19 APR 85 Leisure Centre Macclesfield

Alan Wise intro, preserved only on Lazlo recording.

AW: "Welcome to Macclesfield Leisure Centre. They all thought before tonight's turn up on stage in two minutes, do that again(?) all the group, for the audience, just for Lance Mumford happy 21st birthday from Jumping Jack Flash, the second announcement from the (concerned?) tonight, Stephen and Gillian would like to say "hello" to everyone in their hometown, the best place on Earth to live.


AW: "Welcome to New Order!"

PH: "Okay, sheep-shaggers, let's go!"

The davemings copy starts off at "shaggers". My M3 starts off at "let's go".

Hooky's bass sound for _As___It___It___When___It___Was_ is fabulously overloaded, as it is here and throughout.

BS: "Thank you. That song's so new, it won't even be on our next LP, which is so old, that song won't be on it."


Bernard throws in an original couplet:

"Oh, I threw it to the ground
Like this [?] guy we found
In a great big pool of blood
I couldn't take it no more"

_Blue___Monday_ follows, in glorious cowbell technicolor.

BS: "Thanks very much." [?]

Punter cries for Everything's Gone Green, which he's not going to get this time. The Order instead perform _Sooner___Than___You___Think_.

_This___Time___Of___Night_ comes on its heels.

Another brilliant stanza:

"The marks, they'll never show / Elvis Presley will never go"

Hooky's bass goes a bit awry near the end.

Shouts out for "Age Of Consent" and "Confusion".


Hooky's bass is just massive here.

Ends with a bell.

BS: "That goes to show you should always carry a spare."

Craig Wood notes, "Remember, this was after Elegia where he completely destroyed his guitar. It was almost, but not quite, Townshend-esque Auto-destruction. But wrecked it was."

I find it hilarious that Bernard would pick the solemn dirge to trash his axe on. Which I think must have been the point.


Bernard sings "inside my balls" and "To beat back this Emulator will cause me no pain."...

Hooky's backing vocals are quite distinct near the 3:45 mark.


BS: "Who said we were a synthesizer group, eh? I won't fuck off. You bastard. I can see the public's behind us."

And this one-liner: "Please don't adjust your set because you've got the wrong TV."


Hooky yells out, "C'mon you fucking cunts!" (or something to that effect)

Thank you very much, I do appreciate it, I do appreciate it."


BS: "This is our tribute to the Three Degrees. It's called, 'A Thermometer in the bottom".

lyric: "I often thought he was strange / I often thought he was a bad bastard."

NO: 26 APR 85 Canton (club) - Hong Kong

Al Jarvis writes:

"The lad I've corresponded with about the Hong Kong gig says they played Blue Monday (admittedly, might be missing from a recording?) and that they also came on with Barney asking if anyone was in from Manchester, and that they continued to be condescending to the audience throughout, their comments bordering on 'racist' (his words, not mine)."

NO: 01 MAY 85 Koseinenkin Kaikan Hall - Tokyo, Japan

The is the "other night", as 01 MAY 85 is (mostly) featured on FACT177 (PFD). FM broadcast provided courtesy of GaoBest... there's a bit of tape/FM hiss, but the sound is otherwise high quality. This was subsequently released in 2019 as a 3CD bootleg, which includes a full audience recording by the mysterious "Kinney".

Turns out that Koseinenkin Kaikan = Welfare Pension Hall or Welfare Insurance Hall (info courtesy of Zsolt)

The first track features an announcer in Japanese talking in the background through the warmup music.

All I understand is "Manchester", "Joy Division", the band members' names (including Ian Curtis) and "New Order", so I presume they're getting the Nipponese up to speed...

And...it's some announcer with a Brit accent.

AN: Good Evening! New Order, all the way from Manchester, England to Kosei Nekin Tokyo Japan, which is where I come from, New Order! (the FM announcer talks over this, annoyingly, so it's harder to make out than it should be)


BS: "Thank you, thanks very much."


They must have been having equipment problems, or somebody majorly messed up the intro. I'm thinking the bass sequencer was acting up, given Barney's comment below. You can Hooky clearly on backing vocals, as well as guitar(!)

BS: "Bass sequencer"


Has a lovely guitar intro I've not otherwise heard on any other version, then kicks into the usual synthetics. Hooky's intro bass sounds off-key, but later there's very good interplay, at least by my low standards. Big whoop about 3:30 in.

BS: "Turn up the foldback, Ed." (I think)


For the first time, I can make out the line after "It comes and it goes", which is "and it TERRIFIES me".

They segue right into _Your___Silent___Face_.

BS: "Thank you very much, thank you very much indeed. Must apologize for the fact that I don't speek any Japanese whatsoever. The only language I speak is the international language of love. And...uh, right."


BS: "Eh...the next song is called..." (he stops there)

He throws in an "oh yeah..." after one of the "leave me alone" stanzas.

NO play _The___Village_, and then follow that with _586_.

BS: "I heard you calling...you bastard!" And a bit later on I swear he says "Bronski Beat!" There's quite a feedback, so at another point, instead of "Can you hear me?" he sings "can you hear this feedback?"


BS: "The next one's called Twats Like Us."

Different intro guitar melody line, Barney's well done pissed at this point, which always makes for entertaining listening.

BS: "Thank you very much. Is it possible to have a bit more treble on the vocals? It sounds like a double-decker bus has fallen on that system there. Volume on the vocals up...


At this point, Barney starts getting really insulting, knowing full well they don't understand a word that he's saying.

BS: "Ehm...this is where we go apeshit because you all obviously don't have the guts to do it yourself."

I nominally speak the same language and have difficulty understanding what he's on about half the time in these old gigs.

The song ends in Barney's guitar and feedback.


BS: "Thanks again, thank you very much. I hope I added a little love and care into your otherwise humdrum lives."


A punter calls out "Bah-nee!" Bass noodling, and feedback.

BS: "And here we are."

(after some seconds)

BS: "Okay, motherfuckers!"

It's Rock The Shack with that gee-tar, heh. The mix is strange, has the synths very low in the mix. And it souns like Barney's voice is giving out.


The Japanese announcer cuts in again as the punters clap for an encore. Amazingly enough, NO oblige. It's hilarious hearing the announcer read the song titles. Interestingly enough 'Denial' and 'Your Silent Face' are announced as 'Little Dead' and 'KW1'

The damn announcer talks through the middle part of the song, which is faded out.

Hooky says at the end of this track that this show was being recorded for a radio station, exact wording is somewhat hard to make out.


This along with Sister Ray only exists in audience tape form, as the soundboard/FM recording fades out at Ceremony, as noted above.


This is the legendary "phantom encore". I guess the goading had worked as the concert-goers were standing up out of their seats begging for more.

NO: 02 MAY 85 Koseinenkin Kaikan Hall - Tokyo, Japan

After many years, I've finally written up the 02 MAY 85 gig which was (mostly) featured on PFD, which this writeup was based on.

Hooky is fabulously wearing his "Kill 'em all and let God sort 'em out" T-shirt. And he's playing in *sweats*, rather than in the leather trousers he's famous for.

The Perfect Kiss (song three), Age Of Consent (song seven), and Temptation (song eight) are inexplicably ommited from the video.

New Order come out to 'pomp-and-circumstance' type music, after quite a good house tape number that I can't place at the moment.


PH: "Confusion"

Which they play.

BS: "Thanks very much."

Bernard swaps out his bass with a black Strat with a white faceguard. Wonder how often/long he had that particular guitar.


Barney only sings first line of the second verse. After this song, he gives up his Strat for his usual axe.


BS: "Shhh..." (right before first verse)

BS: "Thank you very much."


Still in nascent form, and features the following different lyrics.

lyric: "Until that day when the sun shown down, I was in the house where you were found."

The chorus is, "Whatever you do for me, the blind never see. Whatever you think of me, the deaf will never be free (or hear?)"

Second chorus is same except 'think' and 'blind' twice for 'do' and 'deaf'.

The refrain is as follows:

lyric: "We make a liviing out of writing songs. All the things in your life that go wrong [second line repeated a few times]..."

Ends with Hooky's bass.


BS: "Thank you very much, now we'll play something else that you don't know. Sequencer up on stage, Ed. It's not there."


BS: "Thank you very much. It's cost me an awful lot of money for guitar picks, so I wish you'd applaud louder."

_Face___Up_ than is played. Afterwards the cameras go black and white, which I've never understood, unless it was some low-light infrared camera.


BS: "This one's called Sunrise."

Sumner yells "Down!!" after singing "Live your life with hate".

House backing tape comes on again (the conclusion of the first song) and then it's Human League's "Don't You Want Me".



BS: "Thank you. This next song is called 'Pumped Full Of Drugs'. A litle DMX through the wedgies, Ed....Ed, electric bass drum, it's not plugged in."


A couple minutes go by before Bernard makes a startling announcement when a stage light shines in his face.


This was my introduction (along with the guitar pick line above) to the wild world of Barneyisms.

Barney and Hooky at at least one point are singing different things. Good use of cowbell.

At the end, New Order leave their gear running, you can hear it as the house backing tape plays, and then a woman's voice starts talking.

NO: 03 MAY 85 Club 'D' - Tokyo Japan

This has finally surfaced via an audience recording from the mysterious 'Kinney'.

TJ comments: "And what a treat it was too. A gig that had everything. Great versions, shoddy versions, more bum notes than the National farting contest, sequencer failures, banter, Rob (sounded like him anyway) calling Barney a knobhead, quintessential Gillianisms at times, duelling ice cream vans during Leave Me Alone. Fabulous stuff. Cheers again, this is such a great find and well worth the 34 year wait!!"

_Your___Silent___Face_ starts off the proceedings.

BS: "This is called _The___Perfect___Kiss_"

_Sooner___Than___You___Think_ follows...with a partial breakdown during the intro.

Bernard says "Sequencer" before starting the first verse.

The song sort of stumbles to an end, followed by _5___8___6_, which has a frew drum sequences that stop and start before the song proper gets going.

Bernard tells the crowd to relax, as best as I can make out as he plays a chord from _The___Village_ before the sequencer starts.


BS: "Eddie, Eddie can you turn the acoustic kit down...?"

Near the end it sounds like the guitars go out of tune, sparking the "ice cream vans" comment.

BS: "Song's called _This___Time___Of___Night_".

This next song is a very old song, it's the very first song we recorded as New Order, it's called _Ceremony_, only Ian knows what it means[?], and we played it once in Joy Division."

Some wild audience banter at this point.

Guy: "Aw geez, what happened to your hand?" (not "hair", though that would make more sense given the answer that follows...)

Girl: "Lice."

Somebody then shows out "Drink a beer".


Greeted to cheers.

BS: "It seems a bit a way... [something] record.". A female (Australian) voice can be heard "you understand this?". Seems that the band self-edited the track by cutting the power, which was greeted by boos.

BS: "I screwed that up. It's erm...."

Punter yells "It's OK, it's OK, I don't mind."


About 2:05 in Bernard yells "Sequencer".


Off-mic shout of "ready".

BS: "Eddie, these monitors don't seem to be working at all...somebody's possibly unplugged it...seequencer doesn't come through. The sequencer doesn't come through."

OZ: "Wasn't working, Barney.

BS: "What, Ozzie."

OZ: "It wasn't working, you knobhead."

RG: "You knobhead."

BS: "These three knobheads, yeah."

RG: "At least we know we can't fucking hear it."

BS: "He knows about [can't make out]." Some guitar noodling follows, and then finally, the track. Some terrific guitar to close this out.

BS: "Thanks very much".

NO: 04 MAY 85 Koseinenkin Kaikan Hall - Osaka, Japan


Synth speed varies a bit through the first few seconds.

BS: (at 1:23) "One, two"


You can hear a chair squeaking, it's so quiet.

BS: "Excuse me, this next one...called Confusion. And we'd like to dedicate it to [somebody or something I can't make out, due to a bunch of cheering].

At 2:42 Barney orders the crew to "turn it down a little bit."

I swear at the end somebody yells out "Boo yah!" (at 5:08).


A good demonstration of why Hooky's bass sound is utterly dependent on the chorus pedal he forgot to bring or broke down.


BS: "Thanks a lot."


How odd, at 1:55 or so there's a sound of somebody reloading a magazine, heard a bit again at 2:16.

At end:

BS: "Is it possible that you've got my melodica? [and a couple more words I can't decpiher]


There's a bit of improvisation...or Bernie just plum forgot the lyrics!


The recorder gets tapped or something at 3:40ish.

Edit between this and the next number, _Hurt_, which starts out a much lower volume and is faded up...


BS: "Excuse me. Thank you very much."

_Blue___Monday_ finishes out the main set.


BS: "I...have only sung this...once before."

There's about three minutes of clapping and cheering for an encore, but one doesn't come, as the venue PA starts playing Talking Heads' Burning Down The House.

But...New Order _do_ come back...

BS: "Thank you very much for...[can't make out]...the encore"

_Temptation_ finishes out the set.

NO: 15 MAY 85 Canterbury Court - Perth

We think the setlist given for the Atlanta '85 show was really this instead. See photo of the poster promoting the show.

NO: 17 MAY 85 Powerhouse - Melbourne

Original copy was from an Nth generation audience tape. Bad enough to make listening to this one a PITA. GaoBest lent me a copy off the DJ master (actually two, but that's a story to tell later) so I should be better able to describe the proceedings. These may be from different sources.

There's a little bit of the opening pre-gig backing tape here.


BS: "Turn the lights down, and let us have a bit of atmosphere tonight."

Bernard then gives directions to the soundman through the opening arpeggiator bit.

BS: "Sequencers over there, Ed...the drum machine is dead, just a bit.... Drum machine." [wording my not be exactly correct]

(song plays)

Barney sings "Buzz off!" instead of the usual.

BS: "Thanks a lot...thank you very much. A bit more [amps in the pit]? Ed."


lyric: "When you're all alone, you'll realize that your heart is made out of stone."

He also sings, "I always try, I always piss."

Ending "Let's Go" chords.

BS: "Oh, thank you very much, thank you. Bit more sequencer, Ed, please. Both top and both bottom."


lyric: "Your eyes was blue, your hair was long, guess what you're gonna do with my big dong!"

_Leave___Me___Alone_ follows.


Hooky does a "1, 2, 3, 4" countup.

(at the end)

BS: "Who said we'd fucking play it?...(to a roadie) Slim, Slim, my guitar..."

There's an edit here, probably on the master. It may be the mic getting bumped instead.

_This___Time___Of___Night_ is played.

Somebody can be heard crying out for _Thieves___Like___Us_...and amazingly enough New Order play it. It sounds like they're having problems with their mixing, the drums are way up...though on my nicer 1st gen copy, this doesn't sound too bad.


Can't make out what Mr. Sumner is talking about, I assume it regarding the equipment problems that seem to have flared up.

BS: "Eddie, you know, ehm, turn the vocals up inside for the wedgies, the wedgies sound, eh, spaced out. Shit, you fucking gubbins will have to lock him in the dressing room."

[I think I managed to work it out, but the drum clangor of the Denial intro obscured the last bit, so I'm not entirely certain this is accurate]

There appears to be another small edit between these tracks.


(at the end)

BS: "Ah, we're getting into it it, it's hard for me to say... thank you very much."

_Ceremony_ is next.

You can hear folks shout out for Blue Monday.


BS: "Thank you very much...bit of drum machine through the wedges, Ed."

The original tape I have cuts out between the set and the encore, truncating the opening of Blue Monday. The one from GaoBest preserves the interstital.


The Order take the stage again, after almost a five minute break. Barney tells the crowd, "Thank you very much". Quite a few chant for Blue Monday, and like Thieves Like Us Before, those wishes are fufilled.

BS: "Thank you very much. This song is all about anal sex." (after a few seconds) "Or is it poppers?"


BS: (clearly making fun of the shouters) "Anybody know what time it is? What is it? What is it? Someone shout out."

Expectedly, the crowd recognizes the tune and goes gaga.

Bernard flubs a few of the lyrics, and the keyboards are dire.

NO: 18 MAY 85 Selina's Coogee Bay Hotel - Sydney, Australia

Tape from GaoBest, first-generation copy from analog master. Excellent sound.

There's about 1:40 '85 era intro before the group open with _Temptation_, a fairly unusual choice for the initial song.

About 20 seconds in Bernard says "sequencer".

BS: "Thanks very much."

Hooky counts up before New Order launch into _Lets___Go_. The bass riff is mangled a bit during the intro.

BS: "As you may have noticed, there's no vocals on that song. It's because it was an instrumental."

Random punter comments:

"If I had the strength, I'd lift you up." "I've enjoyed the song very much..."

Some guitar tuning through to the next song, _Love___Vigilantes_.

Barney hums the melody between verses.

BS: "Thank you very much."

Another long pause between tracks. Stephen quietly drums to fill the silence.

BS: "Is it possible that one of the road crew could tune my guitar, please?"

BS: "Could I possibly have another guitar, please? To replace the one that you are tuning...and a lead to plug in."

Don't let the politeness fool you, I don't think Mr. Sumner's much of a happy camper here.

_The___Village_ follows.

Hooky plucks his bass a few times. Punter calls out "'ardcore drummer".

BS: "Thank you. We'd like to dedicate today's set to somebody who sadly can't be with us tonight because he's dead."

Folks inexplicably *cheer*. Those wacky Aussies.

BS: "I think you all know this person...Mr. Elvis Presley."

(Thanks go to Drew for filling in the blanks)

Of course, five years ago to the day was when Ian Curtis killed himself.


Some more punter chatter about getting feet back together.

The Order than plow though _Sooner___Than___You___Think. A break of a few seconds, and then _586_ follows.

BS: "Thank you very much. But don't break your necks."


There's a brief internal cut near the end that comprises the original A/B split.


The sequencer misfires at the end of the song, but is quickly squelched.

Punters call out for _Confusion_. And the Order deliver, after a fashion.

BS: "Erm, I'd just like to say that even animals are people, and the next song is called Confusion."

lyric: "I see your future...innn your eyes".

The pre-gig backing tape sounds like Nitzer Ebb, but J Cross identified it as Cabaret Voltaire's "Sensoria", which is a great song.


BS: "Thank you very much. The next song is called "Anal Blood".

(Thanks to Drew once more, who's 99% certain that's what he's saying.)

Nice whooshing effect at the end.


The bass riff for this version sounds different than what I've heard elsewhere!


"Her name was Sister Ray
She was all so gay!
Her name was Sister Ray
Her name was Sister Ray
She said 'I love you'
She said 'I love you'
She said 'I love you'
She said 'I love you'
She said 'sex dance'
She said 'sex dance'
She said 'sex dance'
She said 'sex dance'

She said this is a rare opportunity to score shit Everything that you call your brain
The thing that makes you all so gay
She said I've known you
If I, I've been cool
Like you, I've been cool
If you were as old as me
If you were as old as a tree
She said 'sex dance'
She said 'sex dance'

Sex dance
Sex dance
Sex dance, baby!
Baby, sex dance"

She said I started the human race in death [can't make out this line]
She said I started the human race in death I need to find...
To be...
Everything's all cold[?]
To take drugs...etc.

The ending speeds up a la the version played in Brazil in '88, but not as much, and ends in a bass loop.

NO: 20 MAY 85 Easts Leagues Club, Brisbane Australia

Sound quality on this one is really nice, although my source says this is 4th generation. Sounds more like 1st to me. It's still an audience tape, though.

I've since obtained this on CD, which appears to have better sound, with much less trebly hiss (thanks to GaoBest). But later examination turns up that there's no frequencies above 16khz, so either these are MP3 sourced, somebody applied a bandpass filter, or it passed through 32khz DAT (probably the latter).

Opening acts were "Let's Get Naked", who were scheduled to go on at 8PM, and "Love's A Blur", at 9PM.


BS: "One two" (during pre-gig backing music over the PA)

BS: (during intro) "Sorry about the delay, we've just had to polish three bottles of champagne off."

Hooky has the strange bass sound as featureed on the other Australasian gigs.

"Thanks very much", Bernard says after the opener, Blue Monday, finishes up.

Followed by one of the best versions of _Ceremony_ ever. They were ON that night.

"Steve's supposed to be a bit louder in his monitors", Bernard tells the sound crew after the song finishes up.

_Dreams___Never___End_ is also superb. No drawn out "sooouuuuulll" though, but a nice yelp on "scream".

Hooky bums the bass outro, though.

PH: "Eh, wrong string...try this one."

Sumner cuts him off.

BS: "Eddie baby, turn this monitor down a little bit."

This is the last time _The___Him_ is ever aired live.

Steve for some reason uses Atrocity Exhibition's drumline, before switching to the more usual pattern for the song. Tons of echo on the vocals at some point.

Ghostly synths add to its appeal. And people are singing along!

PH: "...you, twat face."

Bernard cuts in mid-sentence with "Pardon?".

_This___Time___Of___Night_...again, very good version here. Vocals get overdriven...sounds cool.


BS: "Pardon."

Hooky may be saying a few words off-mic, can't tell if it's him or not.

After the song finishes:

BS: "Thank you very much, I say it's a pleasure to be here tonight to entertain. Well, I wish that we could be here more often."

Very impassioned vocals on _The___Village_.

Hooky calls out "Ready?" right before they start into the number.

BS: "Eddie...turn the acoustic drums up a bit."

_Temptation_ has a false start. Somebody can be heard to cry for Everything's Gone Green.

PH: "Wrong, try again Eddie(?). Naw, naw, sorry. Naw naw, sorry, it's just not doing anything. Try again."

There's a dropout on my tape about a couple minutes in. This is missing from the CD recording I have now.

Bernard yells out in between verses, "[something] this drum!".

PH: "Think it sounds better out there as it sounds terrible up here! Out for a bit."

That's a long pause after _Face___Up_, with some good guitar tuning.


BS: "This is a new song. It's called As It Is When It Was."

Which they play.

BS: "Thanks very much. Good night". The tape is left on while people call out for their favorites, which was not preserved on my previous copy. Eventually, New Order come out again to play _The___Perfect___Kiss_.

BS: (talking to someone) "The guitar doesn't seem to be working again." Then they run through what sounds like Hendrix' "Are You Experienced" real quick, which turns into the intro to The Perfect Kiss.

PH: "Brix Smith [something]...let's go!"

BS: "One, two!"

Neat effect as the drums fire out of sync.

The performance ends abruptly, like somebody pulled out a plug.

Humorous, somebody calling out "more! Isolation more! Isolation more! more! more!" as the tape comes to a close.

NO: 23 MAY 85 Logan Campbell Centre - Auckland New Zealand

I have quite a few tapes of this concert. I suspect that there are in fact two audience sources for this.

The original writeup of gig was made from a tape marked as fourth generation, but sounding fairly good. I've since received no less than 7 tapes from GaoBest, gig and soundcheck from an M/3 tape (a different source that has LV and Love Juice complete, but has slightly worse sound) and gig/soundcheck copied directly from the master.

Am still sorting this one...

Intro music is something with trumpets, a distant cousin to the Viking stuff.


PH: "Good evening, and welcome. This is Love Vigilantes. Let's go, Steve!"

There's a fadeout right at the intro, and there's volume problems as the taper's moving about, so the intro here is a bit ropey.

BS: (at end) "Sequencer." A few seconds go by. "Shut up, you drunk."


BS: "Thanks very much, thank you." Punters cry for Ceremony, which doesn't get played tonight.

_Temptation_ follows.

(at end)

BS: "Ed, there's a loud snare drum somewhere again, a little bit of drum machine, what, I don't know."


(at end)

BS: "Thank you very much."

Some talking in my right ear by the taper or someone close, "I forgot to turn...(something) scale." (in the non-DP source)

A bit of guitar, and then the start of _Elegia_. The taper gets bumped, the tape speed goes wonky for a second.

Very nice version. Punter calls out for EGG. New Order play _Your___Silent___Face_ instead.


(?): "Hello."

Not sure who says this. Doesn't sound like Bernard, but it does appear it's from the stage.

A fairly new song.

Sounds like the chorus is "Whatever you may think of me, you know the fucker will never see...". There's a couple of others lyrical variations, but it sounds fairly close to the release.

They then get right into _Denial_, which is dominated by Morris' rolling drum patterns. Lots of echo on Bernard's vocals at this point. More cries for EGG in the between-song gap?


BS: "Wha'? Come here. I can see you. I can hear this back as well. What? What, what you want, what you want?"

Channeling Ian Dury here?

The DP source I have doesn't do the A/B flip in the middle of the above, while the non-DP source does.


BS: "Song's called 'A Perfect Kiss'. Which got nothing to do with kissing. It's all death."

At one point Barney sings, "we believe in the land of pussy" (last line of the first chorus)

BS: "Thank you very much, you motherfuckers."


BS: "This song's all about...the intervention of the penis in politics."

Ha ha ha.

Punter lass comments, "It's gonna be fast."

About a three-minute gap between the main set and encore. The songs played during the break are by ACR.


PH: "Well, I'm gonna do this one then, because we're not miserable bastards who won't come back..."

(my original 'non-DP' 3rd-4th gen source starts at 'cause', leaving out the first phrases)

PH: "Cuz they're like that, they don't give a fuck about New Zealand but I do, my mother was born here."

A storming version, as you'd imagine.

Huge feedback squall during the break.

Edit between this one and _Love___Juice_.

The following transcription is probably not entirely accurate.

See http://www.new-order.net/no/gigs/nogigs85.html#NO-850523.lovejuice for lyrics:

Hooky closes it out with a really catchy bass line, and then fans clap to some machinery left on...then the house lights go up and the backing music comes on.

GaoBest says there's also a soundcheck for this gig.

His notes below:

> what do you show for the 5-23-85 soundcheck? i still do not know how > long mine is; originally it was 87 minutes but i've since found more > materials and i don't have time or energy to listen to it just yet.

And a more detailed breakdown:

Date: Thu, 20 Sep 2001 03:02:41 EDT
From: GaoBest
Subject: (Fac33) 5-23-85 Logan Campbell Centre, Auckland, New Zealand Soundcheck

This is confusing as hell. From 1993 to 1996, I was satisfied knowing that I had a 94 minute soundcheck. Then I decided to borrow the analog cassette masters in July 1996, to make myself first generation copies on cassette. To this day, I have never played these tapes, and I now have 4 tapes.

I have a 90minute cassette and a 100 minute cassette, both which simply say "NO 5-23-85 Logan Campbell Centre, Auckland S/C 1AUD" but with no other information.

I also have two 90 minute cassettes. I am simply copying the information I wrote on the tapes, maybe someone has a perfect copy from master of this soundcheck and can help to shed some light.

The Cure -Let's Go To Bed

NO 5-23-85 soundcheck
The Perfect Kiss - synths
Age of Consent - bass/drums
Love Will Tear Us Apart - strings
(approx. 20 minutes here)

This Time of Night
Your Silent Face - keyboard intro
This Time of Night - sequencers, keyboards, etc. Elegia
(approx. 40 minutes here)

(cuts into) Elegia
The Perfect Kiss (edit version) (cut)
Love Vigilantes
(approx. 29 minutes here)

phone interview w/ Hook (w/ Australian DJ?) - 4 minutes

I simply wrote "33' total" for the other side of this tape.

Anyway, I could potentially have 89 minutes of soundcheck. I could have more soundcheck that I'm unaware of. All I know is that this is a really horrible mess so I have no idea what I really have; if I take a few hours, then I can listen and maybe offer more information. In the meantime, maybe someone else can shed some information.

My notes:

I have a soundcheck version of Love Vigilantes from this gig as a filler track on my RFH tape. Hooky's bass cuts out during the middle (may have been something to do with the mixer). When Barney sings "I want to see my family" he then says, "Just ...[?]...one sec, lads, volume cuts down again, and then he says "Eddie, more bass sequencer and more vocals", and then "all right...". After it finishes, the taper (an Aussie) talks to a couple of folk whilst Barney calls out "you know about my strat...my stratocaster". New Order do random soundchecking, and guitar bits that sound like Ceremony.

This extra bit is also appended on the M/3 version of the gig tape...it may explain why it's better circulated than the rest of the soundcheck. stay tuned on where it fits overall into the soundcheck.

0:00 drum sequencer (unknown patterns, TTON-ish! pretty cool sounding). Levels are turned up at the 1:55 point. Ends at 2:31 about a second of silence.

2:34 TPK sequencer. Tape stopped after one second, silence of a second on tape.

6:06 Edit on tape (two seconds). Resumes at 6:08, with more TPK soundchecking. Ends at 9:37, with another second of silence silence. Future edit/breaks here should be assumed to account for gaps of about a second.

9:38 syndrum pattern (again unknown) and some chattering, with the drums starting again at the 11:11 mark. At 14:52, Hooky's bass can be heard and it it melds into Age Of Consent. Stops at about 17:30 with a few seconds more of chatter.

17:40 More Hooky Age Of Consent bass and this time with much faster drum sounds...the riffs blend into a bit of LWTUA, with a chuckle and somebody near the taper saying "You rule!"...and some more chatter.

20:15 Yet more drum soundchecking. Stops at 21:25 for about five seconds, and then continues. Another edit/break at 22:58

22:59 Still more drum soundchecking. Barney says stuff at 24:51. edit/break at 25:06.

25:07 The drum soundchecking continues. Slows down at 29:50. edit/break at 30:22.

30:24 Bit of cymbal, and immediately another second pause, then resumes with more cymbals...Barney says something at 31:50, and the drums get a bit loud. Sound cuts out and fades at 33:11, and cuts at 33:19. Another edit/break.

33:20 This Time Of Night synths. Sound swell at 34:16, lasting a couple of seconds. Volume drops at 34:52, and rises up again at 35:05. Fades out at 35:35, at 35:40 somebody says, "Somebody's...[can't make out rest]"

35:57 Synth intro from 'Your Silent Face'. Volume swell at 36:16, lasting only a couple of seconds. Volume drop at 38:18, somebody (Bernard?) says "Okay." and then you can hear a frog sample from TPK. Some more chatter by the band, and a bit more drum checking.

39:35 A tiny bit more drum checking, followed by guitar playing the Ceremony riff, followed by squiggle noise, and a bit of Leave Me Alone. Bernard says something, and then "How are you doing, Peter?" Hooky replies. Then Bernard plays a bit of As It Is When It Was.

43:00 More drum soundchecking. Ceremony guitar riff. Bernard starts talking at 43:55 about the sound, hard to make out. More talking at the end of the 45th minute, and then somebody starts singing really badly, with Hooky (I assume) commenting "Oh dear."

46:46 Age Of Consent bassline. edit/break right at 47:00.

47:01 Some more talking, "me? me?" and "OK". Age Of Consent bassline continues, volume swell at 46:56. Then the bassline for 586 sneeaks in there, morphs back to Age Of Consent's and then becomes LWTUA's, and then Denial's. Bernard soundchecks at the end of

the segment.

49:02 Hooky one-two's and comments "the equipment seems to be better than it was in Australia". He even makes it up to three-four at a few points. If you listen closely you can hear a bit of Decades and even 24 Hours bass. At 52:07, Bernard says, "Okay, uh, burn out the guitar." More AoC bass follows.

52:12 More AoC bass soundchecking.

53:04 A bit of drumming, and then some guitar riffing here. Nothing I can recognize.

54:22 BS: "Is it possible to do [something] backward?". Then Barney one-two's a couple of times and calls out "Andy". Some more one-two'ing, with Hooky off-mic calling out for Andy. At 56:24, I think that's Andy saying "We'll do [something] checks when you'r ready." Somebody else says, "Aren't you going outside?".

56:45 More guitar riffing, Bernard says "could you [can't make out]" at 57:00 and then "This song, actually". Guitar soundchecking blends into the sequencer for This Time Of Night," with Barney giving instructions on the levels for vocals and guitar on the monitors. Very good guitar lines here that I don't think I've heard in this song.

62:05 PH: "Bernard, how about Elegia?" BS: "I've never heard...play some drums..." Hooky one-twos. Meanwhile Stephen's playing some drum patterns. BS: "Here's the bass sample." Lots going on here, with Barney suggesting (to Gillian?) to "play it on the Emulator".

64:20 BS: "Eddie...Ed, take the acoustic guitar a bit down" He also suggests to turn up Steve's drum monitors up a bit.

65:11 This Time Of Night bass, followed by synths for Elegia. Edit at 65:43.

65:43 A bit more synths, and chatter. 66:06 BS: "I think we're ready, Ozzie. I'm not sure."

66:10 Finally, a complete song. Elegia. At 68:15 Barney starts giving directions, which can barely be heard above the din.

71:50 Elegia synths. Barney comments to turn the foldback up. Edit at end.

72:28 PH: "We'll just do with, eh, we'll just do with [can't make out]... I think most of it is coming from the aft....right..." At this point scuffling can be heard on the mic.

72:47 Subculture...during the intro Barney's commenting about sound levels, which vary throughout here, with the music coming in alternately loudly and quietly against the vocals. At 75:13, Barney says something about the Voyetra synth, Emulator, and the percussion. At the end, Barney comments, "er, still trouble with the bass guit...bass sequencer, maybe...you should turn it up a little bit, just can't hear it."

78:22 Another attempt at Subculture. Some more talking in the midst of the track, calls for adjusting levels, etc. Volume goes up at 79:36.

82:08 The Perfect Kiss (checks). At 82:48, Barney says to turn the sequencer down. He continues: "What you have to do, Ed, what you have to do" and some other instructions hard to make out.

83:29 You can hear the taper zip his bag, as there's more band chatter. Before they start in again, Hooky cries out, "Let's go!"

83:52 The Perfect Kiss, in what amounts to Barney just singing a bit of the chorus. Hooky says something at 86:02.

86:29 The Perfect Kiss, with Barney singing "Let's go out and have some fun!" first. Taper starts moving around when Barney sings so there's weird stereo field shifts at that part.

90:39 Barney comments, "I'll do some vocals in a minute." Hooky: "Sometimes we all dr...[can't make out]...yeah, right." This is followed by some guitar noodling for Love Vigilantes. Ends at 92:07.

Love Juice 23 MAY 85 Logan Campbell Centre - Auckland New Zealand

"I saw you walking down the street
You saw me, that you have oh such big feet You said I loved you, what is your name?

I said you should never utter the Lord's name in vain. You said beauty is what you find it
Under your clothes is where they find it

Love is up around the tree
But if you want it, it's just for me

Love is where you find it...
When the dreams are good(?).
Love is where you find it...

Love Juice
Love Juice
Love Juice smells like
Stale fish
It smells like a three-way!

How many lies can you bribe for 20 pounds. When you drop your wad you waste it all around

You tell...love juice is where the free wind blows Love Juice...are where the gypsies go."

Smell all the beautiful flowers
Time wasted in our hours
The time of this hopeless song
The death... for my wonderful son.

Love is where you find it
Love is the color of blood
Love is where we're raging through it
With envy and tied with lust
Love is through with raging threat with evvy and tie it with lust

Love is where you find it
Love is where you find it"

NO: 14 JUN 85 Pink, Punk, Pimms event -- New Hall College, Cambridge

See http://www.colpur.com/CTW.html for info about this gig. A bizarre one-off. No setlist information has surfaced for this one, until "jsz" posted it to:


The setlist that is listed there is in complete disagreement with what I had had before, which was based on the recollection of a student who claimed to have been there:

Elegia, Subculture, Love Vigilantes, Lonesome Tonight As It Is When It Was(?), Confusion, Sunrise, Ceremony Blue Monday

NO: 16 JUL 85 The Hacienda - Manchester

Tape from Dave Mings (DM). As provided, it ran really fast (80 cents).

Announcer (Tony Wilson?):

AHW: "...thank you, come out, come on out for it, first of all, welcome to 'The Summer Of Love', which is the crappy title which our managing director has thought up future(?) choose this, you get disco-tech, but not quite as crowded as this, thank God."

Basically, you have to move back, the people about five feet here got to move back. There's loads of space there. [two words] at Wembley, so one step back...."

Punter yells out, 'Hello, Richard'...

He continues:

AHW: "...no there's no space at front because you are are getting crushed, right? People get crushed, the gig will stop, right? Anyway, the next lot that we're going to play tonight are shit to look at, anyway. Just want to listen to them, so you don't need to be that close. In fact, I find being close to them quite distasteful sometimes, for they don't wash up as they should. Ladies, and gentlemen, first act up for the Summer Of Love, New Order!"

The borzage source misses AHW's introduction.


BS: "Thanks a lot."

Hooky coughs.


PH: "Right, today is my brother's birthday, so I'd just like to say happy birthday Paul, and for all you bastards to buy him a drink. And this song is for him."

Paul may not have been too happy at the way they butchered this particular number. The line before 'I left the world to your love and soul' has changed lyrics, something about "the [?] tell us the truth".

PH: "Happy birthday, Paul."


The punters are roused enough to sing along.

BS: "Song's called Subculture."


BS: "Would you move back a bit please, looks like, eh, if you move here[?] in the front there, we'll be playing a benefit for ourselves if you don't. This one's called, er, This Time Of Night. Don't know what it's about.

BS: "Thank you very much, motherfuckers."


BS: "This one's called, 'For Two'[?]"

Naturally, it features a good ad-lib or three.

BS: "Thank you very much, punters. Can I, er, ask you to move back again please?"

Shouts out for EGG/Ceremony...


(at end)

BS: "Yes, can you, uh, move back again please?"

Hooky plays a descending riff.

BS: "It's causing us a lot of discomfort here on stage."


The debut of this one. Not an auspicious start, as nobody is playing in time on this one, at least to start out with.

DM version has a cut between this one and _The___Perfect___Kiss, as well as some azimuth issues.

lyric: "We believe in the land of pussy."

The borzage source has a cut between songs here.

Cut near the end of _The___Perfect___Kiss_ on the DM version.

BS: "Thank you...very much."


Right channel drop a few seconds in on DM tape.

BS: "Thank you very much...indeed."


BS: "This one is very fast and very loud and I want you all to hear."

BS: "Thank you very much...[Bernard makes a grunt and then says Pardon? or something like that]

_Ceremony_ wraps up the main set.

Punter yells out, "Fucking temptation, Everything's Gone Green, Procession."

BS: "Thank you very much, good night!"

And then there's a 3 minute interlude with chatter from the ch

AHW: "Hello, you'll have to wait...you'll have to wait till Barney cools down a bit. He'll probably come back on again, I don't know if he will or not. Right, one quick point. Right, the reason...we wanted to explain the reason you all paid five quid in tonight. The group thought you can...we could charge you four quid, more reasonable. But actually the reason you paid five quid is that the point of the gig, is that the acoustics in this club, which is the best club in New York, are not great acoustics, as you know. So the reason you're paying your money is that there's a process of gigs that New Order are doing to raise money to put about 10 grand's worth of baffling up there, to keep the sound down. Poor activity. Alright, listen...listen. I don't know whether they're gonna come back on, you don't know whether they're gonna come back on, at this moment in time, they probably don't know whether they're gonna come back on, so we're all in a delightful state of anticipation."

Man he rambles...

Cut and then a bit of backing music, song I can't id. New Order come back on, and play a sound effect that betray what they're going to play.


BS: "Eh, this one's called Confusion."

Someone calls out for Sister Ray. Maybe somebody who had seen them in Salford earlier in the year, because prior to that they've only played it sporadically (Scamps Blackpool 05 SEP 80, St. Andrews Stirling University 13 APR 83, Inside Festival 12 AUG 84, Salford University 17 APR 85, and Sydney 18 MAY 85)

BS: "Well, don't you want us to play anymore?"


Cuts shortly before 4:00 on DM tape.

NO: 20 JUL 85 WOMAD Festival - Mersea Island Essex England

Sources for this are a CD from GaoBest as well as a tape from my archives, taken from the same source. My source has the announcer into and the first 15 seconds of crowd noice, but the sound on GaoBest's is remarkable, as it's taken from the master. The taper was McB, the same guy that did all the Glasgow gigs. On top of that, also have a video (single-camera low-generation but shaky) I received from Peter 'Solitude' Petrou, who taped the gig, or at least what he could manage considering it was freezing, even though it was in the middle of July!

Announcer: "There they are, New Order!"

BS: "Sorry you had to wait a long time, but I'm sure it'll be worth it."

Punter yells something about trash and bastards.

PH: "Good...good start, that one, with one fucking guitar. It's so cold, my fucking head's gone numb, like the rest of me body."

Another punter yells, "Let's Go".

The synth sequence for Elegia starts.

BS: "This one's called Elegia." A fan calls out, "Barney!" Barney shushes him.

BS: "Thank you very much." Sound of bass guitar being plugged in, it sounds. Melodica sounds, foreshadowing the next song.

Fans shouting out for their old favorites.

PH: (rebuking them) "Change with the times, mate, change with the times."

BS: "This one, erm, is a country song, a redneck song."

Hooky's bass starts off first, unlike the LP version, but all the early live versions go this way.

BS: "Thank you. Thank you very much, punters. We're getting into it now, we're getting into it."

New Order then play the old chestnut, _Blue___Monday_.

BS: "Thank you very much. We'll go straight to an acoustic number now called _Leave___Me___Alone_, it's off Power, Corruption, And Lies. That's what I'm supposed to say, anyway.

PH: "And this one is? Any ideas?"

Folks shout out their guesses.

PH: "Well, you're all wrong as usual, it's _586_. Sorry."

On the video version, the audio cuts out at some point here. The ending (including the quote below) is cut.

BS: "Thank you. Very controlled, very professional. [of all the things, a dog barks!] All in all, I'd say we're getting better."

I can't say I disagree.


About halfway through, it sounds like the bass sequencer dies. It complains loudly before doing so, and sputters again a bit later.

The video only has a small portion of this, thirty seconds a part of the way in. The next four tracks weren't taped.


BS: "This next one's a new song that you won't know at all, it's called 'Shame Of The Nation'. It's about, eh, it's probably about unemployment."

The bass sequencer is still having some trouble here.

The second verse is different. lyrics:

"You can't win, or else you lose
Only you can afford to choose[?].
If you don't find what you're looking for. You don't find what you come for.

I am blind and am wrong.
Everything in between is always gone.
I love you and you love me.
Because the state of the nation will never be..."

BS: "For those of you who listen, thank you, obviously."


BS: "And this one's called Subculture, it's all about SHAGGING!"

Bad Barney: "Oh I sit around by day, not sit, _shit_!"

During the break, Barney says, "Steve Morris on drums behind me."

Some guitar noodling.


PH: "This is a song about romance, because it's so romantic here under all of these twinkling Sony lights."


BS: "What? I'm ready."

Barney's guitar during the intro is off-key here, and even Steve loses the plot a couple minutes in.

The delivery of the first couple of lines in the second verse is a bit odd, as if Barney was being strangled.

Near-segue to the ghostly keyboards of _Sunrise_.

BS: "Thanks a lot."


PH: "This is Ozzie plugging the Wake, eh?" (referring to the musical interlude before the encore)

Bells-and-whistles version.

This makes it into the video, which is considerably less shaky than it was earlier.

PH: "Keep yer cans to yourself you fucking tosser!" (correction courtesy of PHD)

More feedback squalls.


BS: "Thanks a lot. Good night" (echoed)


Melody Maker 11 Jan 86
Interview by Adam Sweeting


Article mentions Bernard's comment that the Sounds reviewer (who gave a really bad review) was "completely out of her box drunk, blacked out" when they were playing.

NO: 01 AUG 85 Felt Forum - New York

4 of the tracks played here appear on 'Confused Dreams' (Confusion, Ceremony, Your Silent Face, Love Vigilantes)

I also have 128kbps MP3s from Lars Nellemann's Anthology, as well as a copy on tape...and a copy from the master on CD. Writeup based on the Anthology MP3s.


BS: "Thank you very much."

PH: "This one's a Certain Ratio song, we thought we'd play it for you because you were so good to them.

This version includes the "ra-ta-ta-ta ta-ta-ta hey's" we know and love.

New Order than play _Ceremony_.


BS: "Thank you very much indeed. All our friends live in New York."

Intro features Barney scraping his pick across his guitar. Vocals seem notably expressive.

BS: "Although I've never seen anyone as fucked as you before." And then 1, 2, 3, 4 in French.


BS: "Song is called Your Silent Face". Unusually, he introduces it during the sequenced into.

Bernard utters "piss" with emphasis on the silibant.


Unusual bass synth intro before main melody starts. The guitar solo is a bit funkier than usual, as well.

At one point Barney exclaims, "You motherfucker!"


BS: "I gotta say thank you very much, you're not only.." [not sure on phrasing of last clause]

lyric: "I heard you calling, baby!"

BS: "Thanks very much, everybody enjoying it tonight? Otherwise, the [part rafters?] got to be real embarrasing."

Some punter yells out "Wot?" Yeah, I couldn't make it out either.


Especially expressive guitar riffing. There's some difference in lyrics, espcially after the second verse.

Then _State___Of___The___Nation_, the third time New Order had ever played that song. Thus, some of the riffs and sequencer effects are different (and sound better, honestly) than what appeared on the final A-side release.


BS: "Thank you, thank you, (I know) all the new songs are a bit too much to bear, so we'll play one you all know, possibly.

Person close to taper chuckles at the 'Possibly' bit.

BS: "Pardon? Right, yeah, that's the way it is. Possibly."


BS: "Believe the lyric, gee, we have words to say..."

Sumner's guitar is pretty dominating throughout. Turly an epic, one of their best performances ever.


PH: [coughs] "All right, This one's for Jonathan, because I was gonna tell him that one was for him, but I forgot. So, fuck it."

at the end...

BS: "Thanks a lot."

(tape cut/encore)

According to attendee Dave Marin, "I was at this show. The final song, _Sunrise_, was played after more than half the audience had already left and the lights were already turned up (indicating the end of the concert) for a few minutes.

Somebody mentions Lou Reed's "A Perfect Day".

During the intro, Hooky plays bassline of Doubts Even Here through peals of feedback. A superb rendition, drenched with feedback.

BS: "Turn the lights off, you daft cunt."

This Sunrise is so loud and feedback drenched that it probably overloaded the recording a bit.

BS: "Who is right?" [this is just one guess, he may be saying something else entirely]

NO: 02 AUG 85 Opera House, Boston MA

First generation recording done by Eric Moffat, supplied by RH. Probably done with built-in condenser mics from fairly fair back. There may be other sources out there.

The band open with _The___Perfect___Kiss_, not a common occurance.


BS: "Thank you. See where change up my guitar, it's not very professional."


(at end)

BS: "Thank you."

_Subculture_ follows.

Bernard ends this a capella, and Hooky's bass starts in on the next number in the set, _As___It___Is___When___It___Was_.

BS: "'Q, thank you, you've been very kind..." [rest is a mumble]

BS: "Say, we love you, we love you, each and every one of you."

Hooky starts upthe intro to _Leave___Me___Alone_

BS: "Beautiful, beautiful, beautiful!"

lyric: "You get these words wrong, you stupid bastard."

(at end)

punter: "More orange juice!"

PH: "You're a very bad co...right after they squeeze it."

(not what he's saying, as it's very hard to make out)

_Thieves___Like___Us_ follows.


Thank you thank you, we're going to attempt it (clears throat) the upcoming song. You know what horrible(?) bastards we are. You ready? Eh, Gillian? You ready?

This is the second performance of this song, the first having been at the Hacienda the month before. The guitars is in a different key than the final version, as well as the versions, though the chorus is very similar to release.

A/B flip point between this and the next song.


BS: "You all are so nice(?) so we'll play something for you all anyway. But if we play it well, then we'll all encore late at night." [hard to make out]

Bernard than says someting difficult to make out over the start of the song

BS: "Thank you. This is(?)...going to be our last song, don't argue... [a few other words]

PH: "Our monitors aren't working(?) Nope, try again. Nope. Nope. Nope."

Then Hooky starts in anyway for _Age___Of___Consent_.

BS: "Thank you. [a few more words]


At about the 1:30 point, Bernard starts talking. All I can make out is him giving directions to one side of the audience, and mentioning a sample.

lyric: "If it wasn't for your big bollocks, I'd be a big fucking cunt today."

About 4:30, somebody cries, "Whoever's got a tape recorder. Remove him!" and about 6:30, the inexplicable "Get shit on a horse."

Bernard says something at the end that's impossible to make out. Fans cheer and clap.

NO: 04 AUG 85 International Centre - Toronto, Canada

Paul Boyd:

"With apologies to James, I am the person who videotaped the concert. I was permitted to with do so with permission of Rob Gretton and the band who furnished me with a stereo board feed. Previously, I also had done a stereo television simulcast with Durutti Column, another Factory artist here in Toronto. I was not affiliated with CFNY in any way. CFNY did indeed record the concert with a full 24 track analog audio recorder via mobile truck, and it was sent to the band to remix. It was remixed and edited ( the band did not want a live radio recording available of " As It Is When It Was " as the BROTHERHOOD album had not been released yet ) and the station aired it a number of times. The videotape that was made has since been remastered to digital dvd to preserve it. I own the copyright of that recording. Though there are no plans to release it commercially, Steve Morris told me after he'd viewed it the the band liked the recording much more than the Tokyo show "Pumped Full of Drugs". " We played better in Toronto and we liked the look of your video better, a bit darker looking ".

Various sources have surfaced. Most common is the incomplete FM version. There's also a complete audience vesion, and more recently, a fairly complete SBD version as well!


The first track is the '85 intro music. The sequence of the rest:

Love Vigilantes (7th song)
5-8-6 (8th)
Age Of Consent (9th)
Temptation (10th)
Elegia (1st)
Subcuture (2nd)
Sunrise (4th)
Ceremony (11th)
The Perfect Kiss (12th)


BS: "Thanks very much, thank you."

(The FM version CD I have repeats this a few seconds later...)


(at start)

BS: "Turn these spotty lights off, Andy.'

PH: "Let's go, let's go!"


(at end)

BS: "Thank you very much." (said in a clipped way)

Edit in SBD (not FM) version.


BS: "This song is called Sunrise."


Bit of a stereo shift at 4:00 and 4:15. (audience version)

BS: "Thank you very much, very grateful."


Errant keyboard note at 1:57.

PH: "It's a real problem, this long hair, innit..." (SBD source fades out)


PH: "Get ready, kids! No? Well, fuck you then."

(Could also be "Have any kids?" but I think I have it correct above)


BS: "Thank you very much, this next song is called 'Exhibition Arsehole'. I'm sure you all know where that is."

lyric: "and I've never seen anyone quite like you before, oh yeah, motherfucker."

_Ceremony_ follows.

BS: "I'd like to dedicate this next song to Rock Hudson...the dirty bastard." I guess this was about the time it was disclosed he had AIDS, he died about two months after this gig.

BS: (at end) "Thank you very much."

Folks stomp for the encore. There's an edit in all sources as New Order come back on, so they may have been off-stage for a while.


PH: (about 0:15 in) "Saves us doing it, I suppose."

BS: (about 0:55 in) "Thank you very much, thank you."

lyric: "I often thought he was a fucking mad bastard."

BS: "Thank you very much, good night"

Announcer at end on FM version.

NO: 05 AUG 85 Agora Theatre - Akron, Ohio

Thanks to TJ for the detective work. This has now been tentatively added.

http://www.neworderonline.com/MessageList.aspx?ThreadID=11739 for more information about this one.

Stephen Hanula (via faclist@yahoogroups) writes the following:

I can't remember the set list but a friend of mine actually wrote it down and also the correct date.

Here's the CORRECT ORDER. The correct day was 8-5-85 (Monday, August 5, 1985 as I couldn't do my RADIO NINE show ). At the Akron Agora. A Certain Ratio opened.

  1. Blue Monday
  2. Dreams never end
  3. Everything's gone green
  4. Lonesome tonight
  5. (A song with the main lyrics being "This time of night". The song is

    I believe from the "Brotherhood" album and my best guess is either "Paradise" or "Way of life"

  6. Subculture
  7. ???? (Is what I wrote down)
  8. Face up
  9. Sunrise
  10. In a lonely place

End of set. No encore.

The set list you sent me is nearly 100% wrong. The only 2 songs I wasn't certain about were from the "Brotherhood" album (#'s 5 and 7). Any New Order pre-1985 I would know 100%. They ABSOLUTELY DID NOT play "Temptation", "5-8-6", "Hurt", "Chosen Time", "Perfect kiss", "Confusion", and "Age of consent".

(We finally pinned down the aformentioned set to the 12 Aug 85 Atlanta date)

NO: 06 AUG 85 Bismark Theatre - Chicago, Illinois

Source is a tape from my archives. Sound is a bit hissy and the vocals are echoey, but this is otherwise OK. Except for the speed, which is a semitone fast on my tape (which I've fixed for CD mastering). Glitches noted. A better copy (a first generation version sourced directly from the master recording) has since been uncovered.

This recording has the intro pieces, as can be most commonly heard on PFD.

One of the longest sets they had played to date, probably brought on in part due to the equipment failures during their '83 Chicago performance, if I'd had to guess.

New Order open with _State___Of___The___Nation_, about the fourth time they've played it.

Ends with some Hooky chords.

BS: "Thank you very much."


Between-song gap has a couple of tinkles.

_Confusion_ and _Sooner___Than___You___Think_ follow.

At the conclusion of the latter, Bernard makes the following quip.

BS: "Thank you very much. That's the professional part of the show... over with. We can get drunk now...fuck it all up."



BS: "Thank you very much."


At the end, Bernard mutters an interrogative about hoping, ending with "this one?". Hard to make out.


PH: "You don't believe it... are the saints still listening? I must be stumbling in blood."

Very hard to make out, so this may not be accurate.

A/B split.


BS: "Terry, where is the guitar?"

I think this is what he says, anyway, it's hard to make out.

PH: "This is the, er, Emulator loading time...by the way, this is more intelligent than you...or we are, actually."

I am not totally sure of the wording, especially the last part, but I think it is correct.

There's an internal cut at about 7:32.


BS: "Andy, don't turn the lights down, we'll make a mistake, please."

(at the end)

BS: "I want to thank you very much."

Some guitar strumming.


PH: "What do we do when we got that started?" [again, not sure on wording]

Bernard's "thanks very much" is obscured by the guitar intro to _Ceremony_.

The last lines of the first stanza aren't regulation...all I can make out is "as much as you can" and "...to free them."

BS: "Thanks a lot."

PH: "Thanks."

BS: "Woooo, woooo. Terry, Terry, I need a strap, please."

PH: "Man, this is way more than we planned to be playing at the start of the set."


Bass intro stops. False start. Then comes a very strange pronouncement, which I can somewhat make out:

BS: "We have age of consent...little longer(?)...just thought I'd tell you to take the surprise away from you...I am...I enjoy specing(?) away it all, you see. It's part of my personal philosophy in life. It's a good time to tell you about my life story. I was born in 1956. My mother...was a jukebox. Whatever she's [unknown?], with a guitar."

PH: "Don't look at me...greatest over..." (best I can do, sorry)

The song is subsequently played all the way through, followed by _Blue___Monday_.

Hooky sneaks in a couple notes to LWTUA when the machine drums start up.

During the later portion of the song Barney can be heard to say "eighty-six" and "idiot", at 4:50 and 5:00 respectively.

BS: "Thank you very much."

Synth blares out before the venue backing tape can be heard.

NO: 08 AUG 85 Warner Theatre Washington DC

This gig was most likely played the day after, as the tape I have of this date is labelled 09 AUG 85.

See http://www.new-order.net/no/gigs/nogigs85.html#NO-850809

NO: 09 AUG 85 Warner Theatre - Washington D.C.

WBL provides a review summary:

J.D. Considine
August 10, 1985; Page D4
Section: Style; Performing Arts
Word Count: 197

The dance music dispensed by New Order is so austere and unrelenting that it hardly came as a surprise last night at the Warner Theatre to find that most of the groove was ground out by drum machines and sequencers. Not that the automation made the music stiff or mechanical, for from the poppish exuberance of "The Perfect Kiss" to the ecstatic drive of "Blue Monday," New Order's performance was decidedly physical.True, the gadgetry did generate its share of...


Sound quality is extremely good, although there's a pronounced hum throughout. GaoBest says "D5/NAK 300. 2 SONGS HAVE MIC PROBLEMS, ELSE GREAT!!". I can't tell wrt the taping equipment, obviously, but I don't note any mic problems beyond that.

First, a comment from a reader:

> From: "W.B. Lyttle"
> Subject: New Order - Warner Theater - DC August 85 >
> Don't have a copy of the tape, but I was in the audience for this show. > One bit of conversation that isn't mentioned in the summary was an > audience member yelling at Peter Hook during a quiet moment: "Nice of > you to show up, Hooky" in reference to the prior show at the Ontario > Theater the year before.

I think the audience member was referring to the '83 performance where Hooky was wasted, and didn't show up on stage until after the first song.

New Order take the stage, and strum a bit of Let's Go before getting into the first song.

BS: "Thank you very much. Thank you."


BS: "This song's called Elegia."

Partway during the song, you can hear the following annoying conversation near the recording mic:

Lady: "Do you mind if I sit on the aisle?"

Guy: (can't make out)

Lady repeats her question, with apparantly fruitless results.

Lady: I'm sorry, I'll just stay there."

BS: "Thanks very much."


Second to last time New Order ever play this song.

BS: "We're gonna have you jumping up and down with a very old song called ICB"

Nice rendition of _Hurt_, one of the best I've ever heard. Spotted is the following lyric:

BS: "I'm quite determined that that there will be no mistakes, like the last time we played in Chicago."

(the gig prior to this one)

_Leave___Me___Alone_ is "dedicated" to somebody in the crowd. (thanks go to Reg Bumswizle, er, Tim, for supplying the correction)

BS: "Thank you very much. I'll say that you've got a lot of spunk for coming into town tonight. Hopefully, you'll have a lot more for everybody after the show."

PH: "Okay Bill, if you're out there, this is a request by Jennifer from Akron. She says she's gonna marry ya...I doubt it very much, let's go."

Bernard starts to improvise lyrics, which I can't be bothered at this time to try and decipher.

BS: "Thank you very much."


Has the "W..W R L sample."

Also features feedback squalls and more choice lyrics:

lyric: "You're hiding for feelings, you're searching for pussy."


lyric: "My penis is big, I saw your twat, you know that I'd never come back."


(at end)

BS: "Thank you very much."


Nice lyric: "I like fucking in my sleep. When willies grow so hard..."

The song ends a capella.

BS: "Thank you very much, thank you very much indeed, I mean it from the bottom of our hearts...my heart, I should say, because I'm the only one in the group that's got one."

_The___Village_ follows.


(at end)

BS: "Thanks very much. We were a lot wilder than the last time we came here."

(they apparently viewed the '83 gig in DC as a disaster)

The song is split by the end of side A on my tape.


BS: "Thanks very much, thank you. You probably want something... value for money, yet..."

Somebody yells out "Warsaw", really loudly, before NO get into Ceremony.


(you can hear a punter yelp for 'She's Lost Control')

BS: "Thanks very much, say no more..."

lyric: "If it wasn't for your big willy, I'd be a heavenly person today."

Lots of shooting sounds near the end.

(first encore)


BS: "Thanks very much. I don't know what to say. Thanks very much, very kind of you. Only thing really [can't make out 2-3 words]...the encore."

Barney says something after the first chorus, can't make it out, alas, something directed to Steve.

AoC segues into _Temptation_.

BS: "Thanks very much, good night."

NO: 11 AUG 85 Fox Theatre - Atlanta, Georgia

More recently, we've been having doubts that this was really Atlanta. TJ writes the following:

"Hi Sam,

I've been doing some more detective work...... I remembered seeing a poster on eBay last year for Perth Canterbury Court 15/5/85, but hadn't realised that this was an unknown gig until looking at your gigography. I know we hadn't got a recording, or so we thought....

I've done a lot of listening to the horrow show that we had previously tentatively identified as Atlanta Fox Theater 11/8/85, but I am now starting to come over heavily to the idea that this is indeed the Perth 15/5/85 show.

  1. The CD I go had OZ/NZ85 written on it - this is how it was labelled when it went to David Sultan in the first place as part of that box. (the tape itself doesn't seem to reflect that)
  2. The performance is very much one of a band who haven't been rehearsing, rather than one mid-tour, as would have been the case for Atlanta.
  3. The setlist fits in better with what they were doing in Hong Kong/Japan/ Australia than it does the US - many overlaps with the New Orleans 12/8/85 show but hardly any with the Melbourne 17/5/85 show, which fits in with their rotation policy.
  4. As It Is When It Was is better formed than the Japanese versions, but not as advanced as the US versions, and the lyrics are the same as Brisbane five days later.
  5. The voice that calls out for In A Lonely Place when Bernard picks up his melodica before Hurt is not an American one....sounds more Antipodean to me.

Still in stitches over some of the performances that night - Subculture on the wrong bass string, shoddy Sunrise guitar work, an apocalyptic Chosen Time, Bernard's failure to read the setlist, Gillian striking again on STYT..... quite possibly the worst ever performance I would think!"


Sooner Than You Think
Age Of Consent
As It Is When It Was
Chosen Time
Perfect Kiss


This gig is probably one of the worst-played in New Order's ouevre, and should be interesting for that reason alone.


Intro guitar is all over the place, to say the least.

BS: "Thank you very much.


BS: "This next song is called Sooner Than You Think"

The guitar solo is way off.

Hooky plays a few bars of something or another before the next tune.


The last couplet is different than the normal.

"One of these days when you're all by your own/ You'll wind up in your house that you cannot own"


BS: "This is a very new song."

He must have crossed this up with the next song, As It Is When It Was.

The audio during the first portion of the song is clipped.


BS: "This one's called a Bullet In My Ear"

Again, the intro is waaay off.

Barney coughs midway through, 1:55.

BS: "Eddie, you turn the drums a bit down please?"


The bass riff is all over the place here.

"It's the time you love to hate, I can take you up anywhere you want I am quite determined that there will be no more mistakes, like the last one. Happy [can't make out, this is delivered in a yelling tone]"


BS: "Sequencer, Ed, just a little bit more."

The Order a decent version of this tune. I love the whoops and the "Can you hear me calling you...baby!" parts. Loud synth 'tinkle' at around the 3:37 mark, before the marimba-sounding keyboard solo.

BS: "Hey, no swearing!"


This has to be the worst-performed song ever for New Order. The bass synth riff is on another planet, and Barney is giggling throughout because it's so bad.

BS: "...a new tuning than we wrote this song in, [?} tune. You got any red light, Andy? Anyway, anyway, anyway, I'm sure we'll get the next one right."


This is faded out at the 5:30 mark.


Faded in. Hooky's messes up the intro (unless he meant it, heh). A bit of trouble with the mixing, as Barney's vocals cut out at about 2:21.


New Order may have introed with this song....lots of use of the "ratatata" samples, ending in a Hooky bass flurry.

NO: 12 AUG 85 McAlister Auditorium - New Orleans, Louisiana

Another GaoBest special, excellent sound. Total of seventy eight and a half minutes.

There's a Cabaret Voltaire-style tune playing over the PA when the band take the stage.

Girl audence members saying "Ohmigod!" and the like.


BS: "Hello, we're New Order!"

A bit of feedback through this one.


Bass intro, THEN the melodica kicks in.

BS: "Thanks very much."


A fan yells out the song title in recognition.

After song finishes...

Hook Line:

"You'll get used to these delays, don't worry about it."

New Order then play _586_.

BS: "Thanks very much. Thank you very much."

One fan then yells "Welcome to New Orleans!". Another yells, "Ceremony!" Ah, fans.


BS: "I can believe that, anyhow...be nice of you."

Bernard starts to improvise lyrics (or at least the phrasing) a bit. It may be the Pernod, or maybe not.

Some punter says "I heard that wrong note".

BS: "Thank you [two words that I can't make out] very much."

Chosen Time (click on the URL to listen): http://www.new-order.net/no/audio/lv/New_Order-19850812-Chosen_Time-Last_Performance.mp3

The _last_ time New Order *ever* perform this song. As if they knew, this version blisters!


"Thanks very much, but don't kill yourself."

Punters can be heard saying "Relax" and "It's hot down here".

Barney Says:

"Thank you very much. As Divine said, 'I've had more people in bed than there is in this room tonight'....but not quite as much feedback."

The Order then perform _The___Perfect___Kiss_. You can hear the audience shout out things at certain points in the song.


BS: "Thank You very much."

PH: "This one's called Face Up."

Which segues right into a very good version _Age___Of___Consent_, which segues into an intense version of _Sunrise_, ending in feedback as NO step off.

Either they don't step off very long or they're in such a hurry to wrap up they forget to take the normal 5 minute break...

BS: "Thank you very much. Well, I don't know that this guitar's still in tune, after all that frenzied activity. Anyway, the next song we're gonna play is a very nice ballad."

Some punter yells out for Blue Monday a couple of times.


Barney Says:

"Road crew, road crew!"

New Order close out with _Sister___Ray_. This version sounds somewhat different, as Barney sings "I always get the words wrong...singing this fucking song". Closes out with Hooky playing out the main melody.

Heh, a fan yells out "How 'bout Louie Louie"...cute.

NO: 14 AUG 85 - City Coliseum - Austin, Texas

Source is taken from the archives, credited as being third-generation. Sound is excellent, much better than the Black And White And In Colour 2xLP boot, at least based on the playback I heard. I believe the tape and bootleg sources are from different sources, but are strikingly similar (recorded close together with similar equipment).

Moreover, the LP version may have edited out some of the more audible audience chatter.

Lots of punter chatter before the start of _Your___Silent___Face_.

Bernard says "fuck off" instead of "piss off". Lovely.

BS: "Thanks very much."


Brief tape garble from 2:12 - 2:15. The LP version doesn't have this defect, which might help to establish it's a different source if this is on lower-gen versions.

Loud cheering at end.

punter: "I can't believe how good they are." (more clearly heard on B&W&C version)

punter: "I know, it's great."
(more clearly heard on audience tape version)

_Dreams___Never___End_ has a false start, with Hooky's bass stopping right after the first bars. Somebody catches on quickly and calls out "False start!"

PH: "I told these bastards once, I've told them a thousand times to make sure the strap is on the bottom [word or two muttered I can't make out]."

punter: "Peter! Fire fire!"

The usual long pause while they swap instruments for _Confusion_.

PH: "On with it."

(at end)

BS: "Thanks very much."

Punter says something like "I must say it's good to CSO."

The bootleg has an edit between Confusion and _Sooner___Than___You___Think_ which misses the above comment. Likely a Side A/B flip.

Another edit on STYT on LP boot version, not present on tape version.


Third time the band ever play this.

BS: "Are we ready? Everyone ready?"

Obviously not as they start out *completely* out of time.

lyrics: "Just like a leaf upon a tree."

Bernard's voice cuts out when he goes to sing the chorus in the middle of the tune.

punter girl #1: "Wait, I wanted to say that..." punter girl #2: "Somewhere we can go again Sunday evening..." (this concert was on a Wednesday night)

Somebody titters right before the start of _Subculture_.


A hilarious interchange.

PH: "Any requests?"

punter (predicting Hooky's reply): "We don't do requests, so fuck off."

PH: "Got any? Fuck off then."

Segue into _Temptation_. Just like at their Tower Ballroom Birmingham gig earlier that year.

Weird feedback over Bernard singing "oh, you've got green eyes..." forcing him to repeat the line.

BS: "Thanks, Salford. Thanks very so much!"


PH: "You see what your hot Texan bodies have done to my fucking equipment! Ghastly."

BS: (during intro): "We've made crap on this record."

BS: (responding to a heckler, presumably): "In your eye. Fuck you."

The cowbell evokes a comment from someone in the crowd.

punter: "Make it worthwhile, fucker" (only heard on LP bootleg, which has lots of annoyed-sounding folks)

BS: "Thanks very much. Very flattered."


punter: "Fucking assholes..." (on tape version)

Whistling and shouting is *very* loud on the tape version, less so on the LP version.

PH: "Just ask Mr. Sound...were, and we're all fucking dead." (don't quite have this figured out)


Somebody loudly cries out twice for Ceremony (tape version).

BS: "Thanks very much. We're really gonna play...two songs."

(at end)

BS: "Thanks and good night!" Folks scream in positive response.

NO: 16 AUG 85 Rainbow Music Hall - Denver, Colorado

The original WR listing gave the venue as being in "Boulder". Rainbow Music Hall was actually in Denver. However, the tape insert I have for this lists "Boulder", so I'm not 100% sure whether the venue or city is incorrect here, though it's most likely that this was confused with the '86 venue with respect to the city.

Tape from archives, sounds like a condenser mic recording, as frequency-wise it seems to top out at 8kHz.

I'd estimate lineage to be about 2nd/3rd generation from master. An energetic, superb performance with a good setlist, too bad the source isn't any better.


BS: "Thanks a lot."


Immediately kicks off. Hooky hits a bum note at the start.

Lots of whistling and cheering, with somebody mimicing the Police's famous mating cry, "Ee-Yo".


(at end)

BS: "This is the night, eh, you shouters." (or something like that)


BS: "Thank you very much, thank you very much indeed."


(at end)

BS: "Thanks very much, thanks very much, now we'll [start it]? if you want to."

Break in tape at this point, suggesting the master may have been at least one C60. The beginning of _Everythings___Gone___Green_ is cut here.

Folks calling, "C'mon, bring it on!" and "Barney".

BS: "Eddy, turn the sequencers up! I mean Gillian(?)..." (rest of this is lost in reverb)


(at end)

BS: "To everyone, thanks very much."

Then Hooky and Barney start talking at the same time.

PH: "What are you shouting Shadowplay for you fucking prick!" (thanks to 'bcingyou' for the correction)

BS: "He went and fell on the ground".

Folks laugh at the put-down.


(during intro)

BS: "Well, Subculture's all about shafting...big thing tonight."


BS: "Thank you very much. We're gonna play a real old song, it's called, er, 'Little Dead'". Interesting to see Bernard use that name for the title of the song.

He then adds, "It was a bit slower than this.", as this is one that Steve always speeds through. Hooky ends it with a bit of a flourish.

_Confusion_ follows. Another reason for suspecting the source was a C60 is because Confusion cuts at end of side A after a minute, but

BS: "I have to say then, thank you very much, thank you very much indeed. Very pleased to hear you damn ... like the Mancs old bollocks." (guitar noise makes the last part hard to make out)

_The___Perfect___Kiss_ follows.

lyric: "Tonight I should have stayed at home, playing with my big fat cock."

One second gap at the 8:02 mark, near the end.

Edit here, I presume TPK is the end of the main set, which is also supported by Hooky's next statement:


PH: "I've beaten Bernard."

BS: "Thanks very much. This the the first encore we've played on tour."

Untrue, of course, but the fans sound like they bought it.

BS: "Thanks very much, you need to be a great too! Another one of those...fag...[rust Steve]" (not what he says, but the best I can make out)


BS: "Thanks very much. That one's...[can't make out]."

NO: 20 AUG 85 Henry J. Kaiser Convention Centre - Oakland CA

GaoBest claims that NO played in Oakland on 8/20/85 (he initially said 9/20/85 but this may have been a typo)...the Gigography has 8/19/85...I do have a tape of this one, as of yet unlistened to.

From: GaoBest
Date: Tue, 9 Oct 2001 11:53:48 EDT
Subject: Re: (Fac33) Monday Glasgow gig
To: ceremony@monkey.org

In a message dated 10/9/01 6:02:48 AM, GalacCon writes:

| They didn't do an encore on Monday night. Local radio station, Radio Clyde
| got lots of calls complaining. I heard some folk saying Hooky got spat
| at, and Barney too much abuse as well, which put the band in a bad mood.

Personally I would have been ecstatic. This is total classic NO to not do the encore; and if the crowd put them in the bad mood, all the better.

I still don't know why they did an encore at the 9-20-85 Kaiser Arena (Oakland, CA) gig where they got spat on, the lights were annoying them, and probably more - starting the Blue Monday encore with "you really don't deserve it" made me wonder why they bothered! I think the last encore song was Sister Ray but I've not heard the tape in years.

(Entry has since been corrected to reflect the correct date)

"sharksfan2000" adds:

"I think that 20 August is the correct date of this show rather than the 19th - the 20th was a Tuesday, and I don't think the gig was on a Monday. I remember being disappointed in the performance after the show, but listening to the recording of the show, it wasn't so bad after all. I think a lot of my disappointment was being so far from the band at that show, and the really crappy sound - the sound on the recording is much better than what I heard that night!

I don't have many specific memories of the show, and although I did sort of realize that the band was in a bad mood as the show wore on, I didn't know about the spitting incident until much later.

"Sister Ray" was by far the most memorable part of the show for me, since I had no idea they might play that. And from the reactions of people I saw in the crowd, most of them had no idea what the band was playing. I suppose that shouldn't have been a big surprise - I imagine many there had only followed them since "Blue Monday". It's easy to hear on the recording how the band members left the stage one by one until it was only Steve drumming through the feedback from the guitar and bass that had been left onstage. A classic New Order moment."



BS: "We are [guitar strum] The New Order".

First line: "A thought that never changes remains a waste of time."

End of first stanza: "You caught me in a bad time, I see you looking


This is transposed from later on in the song, of course.

BS: "Thanks very much, thank you very much."

I think Hooky says "Let's Go" off-mic.


A few tentative notes from the melodica right before intro bass. Very nice guitar here.

BS: "Turn the lights down a bit, I knew...let's get a bit of atmosphere going here, please. Do you what that word means alright? (clears throat) I know what it means."

The guitar intro to As Is It When It Was segues into the synths of _Sunrise_.

PH: "We're always pulling fucking stunts like that.

BS: "Eddie, baby, Eddie!"

Mic click at 5:26.


BS: "Andy...Andy, make sure to see what I'm playing, please."

(probably in reference to playing the intro a song too early)

BS: "Well, (we'll) make it a bit easy for you now, play something that you all know."


(at the end)

BS: "Thanks very much, punters. Andy, a few more lights to the side... side of the stage, wouldn't go messing up. Gotta see what I'm playing, Andy, you motherfucker."

The 'Andy' in question is Andy Liddle, who handled their lighting for most of New Order's live work.


Keyboards come in a bit early about 2:30, but only few seconds, like this was a mistake. Otherwise, nice.


lyric addition, improvised: "Cannot show, cuz we do not know, we don't know where I have gone. We do not know the size of your tits, we don't know where you have been. You love you, you love me, that's how happy we have to be..." (or "the way it has to be")


BS: "Would the little shit who's spitting in the front come backstage after? We'd like to meet you."

As a result, not one of their better renditions, at least until the end.

lyric: "Avenue all lined with trees, turn the FUCKING lights off!"

BS: "Thank you very much, thank you very much indeed."


(at the end)

BS: "Excuse me. Still a bunch of fucking hippies, eh? Where's your flowers? They've all withered."


BS: "Ah you miserable bastards, you don't deserve it (mumble). No more fucking... [at this point Hooky had thrown down his bass in disgust at the anemic response]...Something's feeding back, Ozzie"

A second or two of guitar strumming before the Order start into a version of _Sister___Ray_. At some point I should transcribe the lyrics Barney sings for it, an amazing-sounding rendition!

NO: 22 AUG 85 Civic Auditorium - Santa Monica, California

Fairly good sounding tape from the archives. I suspect there were more than seven songs played, and that the tape is incomplete, as Waterrat, et al don't list more than seven songs here.


BS: "This is called 'A Perfect Kiss'".

Apparently the wrong part was triggered, and the song comes to a stop after about 25 seconds, with Barney saying, "Sorry.". Song restarts with the proper bit first.

Quite a bit of 'bird noise' (annoying audience chatter) during this. Really, it's just a single annoying bitch.

BS: "Thank you very much."

One can hear some guy call out, "Relax",

bitch: "I don't need your bullshit", and "They actually were once Joy Division... give us a break! (as _Temptation_ starts up).

This is not Depeche Mode, people.

Song suffers from a few feedback squalls, and lots of Barney's cooing. :)

More commentary: "They were even better last time."


PH: "Okay, kids."

More *annoying* commentary from the bitch.


BS: (after about one minute of intro) "Hello, everyone!"

Another entry in why one should not tape around catty bitches.

bitch: "These fat girls over here....they're like...slapping their butts..."


Guitar intro starts off way off-tune...

"You get these words wrong..." portion sung in a more drawn-out fashion, as was common during this tour.

More commentary...

PH: "This is a pause while we change basses on the QX...[last bit drowned out by the intro to _Love___Vigilantes_]

Alternate lyrics: "Then I saw the telegram, that said I was a miserable bastard and that I should be shot."

Good one!


Some time spent tuning...

BS: "Okay, we know this number a bit now, we're going to get to know you all. My name's Bernard, this is Gillian, this is Steve, and this is Hooky. Yes, please...I'm dumb."

[the last part may have been directed to one of the crew]

NO: 22 AUG 85 Civic Auditorium - Santa Monica, California

Fairly good sounding tape from the archives. I suspect there were more than seven songs played, and that the tape is incomplete, as Waterrat, et al don't list more than seven songs here.


BS: "This is called 'A Perfect Kiss'".

Apparently the wrong part was triggered, and the song comes to a stop after about 25 seconds, with Barney saying, "Sorry.". Song restarts with the proper bit first.

Quite a bit of 'bird noise' (annoying audience chatter) during this. Really, it's just a single annoying bitch.

BS: "Thank you very much."

One can hear some guy call out, "Relax",

bitch: "I don't need your bullshit", and "They actually were once Joy Division... give us a break! (as _Temptation_ starts up).

This is not Depeche Mode, people.

Song suffers from a few feedback squalls, and lots of Barney's cooing. :)

More commentary: "They were even better last time."


PH: "Okay, kids."

More *annoying* commentary from the bitch.


BS: (after about one minute of intro) "Hello, everyone!"

Another entry in why one should not tape around catty bitches.

bitch: "These fat girls over here....they're like...slapping their butts..."


Guitar intro starts off way off-tune...

"You get these words wrong..." portion sung in a more drawn-out fashion, as was common during this tour.

More commentary...

PH: "This is a pause while we change basses on the QX...[last bit drowned out by the intro to _Love___Vigilantes_]

Alternate lyrics: "Then I saw the telegram, that said I was a miserable bastard and that I should be shot."

Good one!


Some time spent tuning...

BS: "Okay, we know this number a bit now, we're going to get to know you all. My name's Bernard, this is Gillian, this is Steve, and this is Hooky. Yes, please...I'm dumb."

[the last part may have been directed to one of the crew]

NO: 22 OCT 85 Guildhall - Preston

First version of mine was a somewhat muddy audience tape, to be augmented by a copy of UKBT's master. So this writeup is based on the first copy, augmented with listening to the master...which ran about 70 cents too fast.

The audience is very raucous for this one, but it takes a while for NO to notice. :-)


BS: "Hello, everyone." [this is right when tape starts]

BS: "We'll start the set tonight with a very old song. It's called Ceremony."

(they play song)

The master copy seems to have taken a bit of damage during the first part of Ceremony, so there's a couple of garbled sections, but it's still very listenable. There's no evidence that the band stopped playing when the pint of lager landed on Barney.

BS: "Thanks a lot."

[harder to make out on the master copy]


(after song finishes)

BS: "Thank you very much"

_Love___Vigilantes_ follows.


BS: "Thank you very much. We're gonna play another new song now, I'd tell you what it's called but I can't pronounce the title when I'm pissed."

He's apparently joking, as he goes on to announce it!

BS: "As...As It Is When It Was"

The first part on the UKBT master copy has a few glitches.

lyric: "Whatever I think of you
I know the sky will shatter you
Whatever I think of you
I know the matter will also find[?] too"

[the last line here appears to be slurred and hard to make out]


BS: "Play in tune, eh?"

_State___Of___The___Nation_ follows.


BS: "Now We're gonna play..gonna play another new one. The song is called Broken Promises, and we wrote it this week..."

(the plural is present in the announcement, and is not a transcription error)

This song is premiered at this concert. The lyrics are markedly different than the released version, especially in the chorus, and has a unique guitar/bass interplay not present in the release, as at this stage it's half an instrumental.

I picked out a couple lyrics:

"I'm so glad I found you/
I don't know what to think about you"


"I'm so mad about you/
I don't know what to think about you"

Nice orgasmic scream by some female audience member in between _Subculture_ and _586_. The UKBT version has an edit at this point.

586 ends with feedback that segues into _Sunrise_, very nice.

On the UKBT version somebody goes "duh nuh nuh na na na na na" a couple of times before Hooky's comment, and there's some talking right up until the guitar/drums come in.

PH: "You make it sound even fucking worse."

(can't quite make this out, alas)

They play the song.

PH: "You sheep-shaggers...[grumble]..."

BS: "I see you stopped throwing drinks at us...[a loud white noise sort of sound obscures the rest of the sentence, but it's discernable on the UKBT version] Did it on purpose. Anyway, as I saying, I see you've stopped throwing drinks now. Why you have stopped throwing drinks is what I want to know. Cuz that's what life is all about."


BS: "They blame me when it goes wrong. A bit of vocal up..."

BS: "Thank you very much...[can't make out rest]"


Starts out with audience chatter.


An couple of aborted takes.

PH: "Is that sequencer echro really loud over there or is it out front? Barn? Is that sequence echo really loud...because. we got...

BS: "Yes, it is really loud."

PH: "Could you take it down through the side fill, Charlie."

PH: "Sequencer echo."

BS: "Sequencer echo, compared to the original."

PH: "Right."

A bit later on....

PH: "One, two."

Bernard throws in scratch lyrics for this one.

(after the song finishes)

Hooky mutters something.

PH: "Have you had it done(?)"

Bernard laughs.

PH: "Face it, he doesn't know what the fuck he's going. We don't blame you. Strays and waifs. Waifs and strays, lad, this way."

Hooky plays the bassline to _State___Of___The___Nation_ and then does a vocal soundcheck into the mic. Next, it's Bernard's turn at the guitar.

During the intro, Hooky comments about the mix:

PH: "One two. Just bring the mix down a little...shall we?"

Bernard whoops.

PH: "The mix down...the mix."

The take stops.

PH: "Does the emulator go [makes a duh duh det sound]"

Another take commences, with more comments about Hooky needing the Emulator...and adjusting the mix through the side fill some more.

NO: 25 OCT 85 University of London Union - London, England

A benefit concert for a Mexican earthquake.

Sound is pretty dodgy on this one. Bad cycling hiss. I've since received another copy from Simon Park, which he taped, I believe. It has better sound. A big thanks to Philip Collins for the assists with the transcripts and explanations!

I've since received a third version which is different than the first two. There's a fourth one that I don't have that's superior to any of these, but a low-gen version of this version is only available in MP3 format. TJ says that his version (which would be a fifth, but hasn't circulated to the best of my knowledge) is badly distorted due to being taped at too high a level and being too close to Hooky's bass amp.


BS: (after they presumably take the stage): "Thank you very much." The third version misses this.

BS: "This song's called State Of The Naton"

Hooky says something a minute in about turning something off, can't make out exactly what it is.

There's a few minor variations in the lyrics, like:

lyric: "If I only knew you were our friend, you could drive us where we've been."

BS: "Thank you very much."

The Order than play _Everythings___Gone___Green_.


Barney plays a bit of the Let's Go riff, whilst Hooky makes the following announcement:

PH: "Good evening. This one's for, erm, Gary Holton, because I learned of his demise earlier today."

(According to Philip Collins, he was an actor who had died that day)

The Park tape has a dropout on the right channel at the 1:00 mark for this song that lasts for about a minute. This is likely an issue with the source.

Edit on the Park tape between the preceding song and the next.


Sound of a guitar string getting scraped in the intro.

Hooky blurts out the following in the middle of the tune:

PH: "You gotta love this smoke machine, fucking hell!"

Hooky goes a bit off-key near the end.


BS: "Thank you very much, we're geting into it a little bit now. I sincerely hope all of you are as well..."

Hooky starts playing the bass riff...

BS: "We're going to play a brand new song...it's called As It Is When It Was."

lyric: "those fucking crooks" (instead of 'those thieves and crooks')

BS: "Charlie, put a little bit more top on the vocals, please."

_Subculture_ follows. Bernard's mike cuts off at one point, so we only hear Hooky's backing vocals.


This version of the tune has substantially different vocals than the released version. It was introduced by Barney as follows:

BS: "Er, this is a new one. It features all guitars just to prove that we don't need the synthesisers to sound good...actually, we always knew that anyway."

Thanks to Philip for providing this tidbit, I didn't catch it the first time around. Philip wrote that he says, "but I bet you all knew that anyway", but upon further listening of both of the versions I have, I think what I have above is correct.

"I'm so glad I found you..." is the chorus.

Absolutely stunning guitar solo here.

BS: "There's a few goals in it, anyway, we'll get it right... anyway, I'm sure..."

BS is cooing and the crowd is clapping in tune to _Face___Up_, which on the third version you can hear Hooky's "three-four" count-in.

That song melds into _Temptation_ without a break.

"Oh it's the last fucking time"...pretty shambolic near the end. Song cuts out on the tape on my archive copy before it can finish, oops. On the Park copy, there's a cut near the beginning as the taper flips over the tape. The third version also cuts near the end.


BS: "Thank you very much...Charlie, Charlie...put the vocals through the front a a bit brighter please...thanks very much Charlie, thank you."

BS: "It's nice to be nice so why doesn't everyone be nice? I am. It's what my uncle Bill said."

Beware the super-woo!

BS: "Thank you very much."

It's mellow venue music...we keeping forgetting we're not in love anymore... bring back the 80s now...

There was a long wait for the encore. The Park tape has a couple of quick edits here. The third version only leaves a very small bit of the backing music on before New Order come back on for the encore, in accordance with other tapes from this source which also tend to be tightly edited.


BS: "Sorry about the delay, we've just been getting a few drinks down our necks. Got to get your priorities right haven't you, people? Pernod before people, that's what I say"

(Yet another thanks to Philip for the transcript!)

lyric: "Got to get a home, I've been so alone you see, motherfucker."

Here's a great stanza for the ages, an assist from Philip to get the wording right:

"When I walked through the door, my wife, she laid upon the floor She was sucking cocks, she had 4 in her mouth. And I said, 'You dirty bastard, what are you doing on the floor sucking big fat cocks you whore'. Oh, oh fucking hell!"

The ending bass part melds into Blue Monday.

_Blue___Monday_ has cool feedback noises. Philip notes:

"The feedback on Blue Monday was from Barney's guitar - for a while around this time Barney would play guitar at the end of Blue Monday and basically make lots of feedback!"

NO: 26 OCT 85 Octagon - Sheffield University - Sheffield, England

Tape from a 'dropdeadfred' on DIME.

Very clear audience tape, sounds like it was taken from a boot LP, but in fact, I think this is simply clipping.


Well, very clear until about 45 seconds in, when levels drop and the amount of hiss increases...levels go up again at the three minute mark.


(at end)

BS: "Charlie, turn the snare bass down. Bring the high-hat up a little bit."


PH: [coughs] "Well, here we are in a [g...], and where do we go from here? This one's for the hopelessly inadequate bastard that threw that pot, and hope you'll be happy forever with your three-inch willy."

Nice put-down.

Hooky throws in an extra stanza, a bit hard to make out but something like this:

lyric: "Hey, you can dance what they meant to do/ And left the world to your own"

A bit of guitar strumming in between.


BS: "Thank you very much."


Left channel dropout at 0:28, when Hooky's bass starts in.


At 2:15...

BS: "Turn the lights down a bit."

And at end...

BS: "Turn the lights down a little bit, cuz we've got an atmospheric bit, please. That's better."


BS: "Ready?"

Has the "we're as happy as the human race" lyrics.

Another level drop at about 2:20, lasting for about ten seconds.


Cut in tape after this and before the next song.

_Denial_ follows.


Somebody calls for it twice and, lo!, they play it!

There's some chattering and lots of shout-outs after this track.


Big bass strum and then the drums...

On my version, the very end is cut.

NO: 08 NOV 85 Pavilion - Hemel Hempstead England

An important event in the historical development of New Order, as this is the live debut of Bizarre Love Triangle...during the performance, it was performed as an instrumental.

_Bizarre___Love___Triangle_ (soundcheck)

The sequencing is significantly different than any recorded version I've heard. They don't perform this song again until the beginning of 1986.

Stephen Smith has provided me a transcription of his version.

"Sound quality is very poor on my cassette, which is a real shame as it sounds like a pretty good gig. Also, it runs about a semitone+ too high with Barney's vocals sounding Pinky and Perkyish. I've done as much as I can to remedy this without turning it into a flange infested nightmare (bit of noise reduction and appropriate pitch adjustment - it might still be a tad too fast).

The Beloved were the support.


There seems to have been quite a few people present at the soundcheck, as the cheers go up for this one. Ah, this is actually the first song of the performance...as it was tacked on the soundcheck version of BLT. A fairly impassioned performance; good stuff.

BS: "Thank you very much."

BS: "But the top is hurt..."

PH: "Stop following(?) us, you. Hear hear. Can't hear you, your mouth's full of shit."


Full on again. Big echo when Hooky screams "On your soul" and "scream" at the end.


BS: "This is an old song, but the shirt I'm wearing is new."


BS: "We're gonna play something that's a bit more quiet now... if you don't mind." He then has a brief utterance I can't make out.

Solid rendition of a great tune.


(at end)

BS: "This is the more sensitive part of our set. Hope its not falling on deaf ears."


Bernard laughs a bit through this one, leaves the crowd to finish off the "why don't you" with a hearty "fuck off".

BS: "Andy, why do you keep putting the lights on when I go near the microphone."


Hooky coughs, and starts this with a "one, two a one, two three, four".

Some good old profanity from Bernard with different lyrics than the final ones, different chords in the chorus, different all round really.


A squall of feedback then plucked bass before the whole thing kicks off.

Hooky plays more melodic lines than normal, over the top of Bernard's bass plucking.

BS: "Dead fucking professional. That's us!"


Huge feedback squall during the intro.

Some really brutal lyrics from Bernard.

[Tape cut here]


BS: "Eh, thanks very much. This next song's called.


BS: "Thank you very much, goodnight."

Tape has a cut, some audience chatter. Somebody shouts, "Kill the hippie!"

BS: "Thank you very much, motherfuckers. This is a new song, there's no lyrics for it yet, it's called Bizarre Love Triangle (somebody must shout something derogatory about the title here)...yeah, but the songs good."

Heavy rhythm guitar from Bernard, sounds great, screeching sequence lines. Fantastic. Chorus has some temp lyrics, " Every time I see you...". All the ingredients are there, just needed that last bit of finessing to get it to the classic it became.


BS: "A few weeks and that'll sound really good I believe. The next song is a new one, eh, but the next one has got lyrics to it. Shit lyrics, but it has got lyrics to it. Stop touching them them fucking mikes then you little cunt. See, I notice the world around me.

(at the end)

BS: "Thank you very much, and you all thought I was drunk."

NO: 10 NOV 85 Hammersmith Palais - London

Source: 'State Of The Nation' and 'This Time Of Night' MP3s from Anthology Part One misc directory, fairly hissy. Also downloaded from http://realgizmo.free.fr (Temptation-State Of The Nation). I also have MP3s of the full set, these seem to be a a bit fast and have an excessive degree of noise reduction.

This also includes a soundcheck of 'ICB', but I can't be sure if this is a part of the set or is a filler track (I suspect the latter).

Also have this courtesy of Simon Park, who taped this gig. SQ is good, though there's a fair amount of hiss on my first generation copy, could be because of the sound in the Palais. This is a different source than the MP3 set above.

And yet another source, this one seeded on STG by 'tumult01', different than the rest, and including a bit more of Alan wise's intro than the rest. The seeded copy had been exposed to excessive NR, but to his credit tumult01 posted a non-NR'ed version later on. In sound, it's similar to the MP3 set, but pitched more or less correctly, and is a somewhat more dynamic recording than Simon's tape (probably due to the equipment used and where the taper is positioned, as Simon sounded like he was loacated down front.

Support was A Certain Ratio, who apparently jammed with the band on Confusion.

Alan Wise: "Joy division, they must have a few bills, therefore." (on tumult01 version)

Alan Wise: "...welcome if you will, Blue Monday!" (the start on Simon Park tape)

Punter cries "Joy Division!" and "Johnny" on the Park tape.


BS clears throat.

PH: "One. Can't(?) fookin' play it every time."

The Park copy muffles after about 4:30 or so. Bit of a dropout on tumult01 version at the 0:30 mark.

Somebody sounding a lot like TJ says, "What's going on." on the tumult01 tape at the 4:55 mark. And then there's a sound like a wayward synth in the right channel a bit after.

BS: "Thanks very much."


Punter on Park tape exclaims "Aww, shit.", and can be heard saying at least one more thing a bit later on.

BS: "It's called Perfect Kiss. It's about nothing in particular."

They play TPK.

BS: "Thanks very much, we appreciate it. I'm not a limey bastard."


BS: "What would you like us to play, what would you like us to play?"

They play SOTN.

On the tumult01 recording, a couple of folk (including 'The Bird'), start yelling something that sounds like, "Stand down", dunno.

BS: "Thanks very much, we'll play something...erm...a bit quieter now, for all the sensitive souls in the audience..." (They play 'Elegia')

_Elegia_ starts up...

BS: "Ah, thank you very much, thank you very much, thank you very much. This is called Elegia, and it means "funeralesque dirge", we just thought we'd play into the hands of our critics with this one."

(thanks to Simon Park for this addition)

A few seconds later, he says something I can't quite make out.

(On the tumult01 recording), somebody says (at 2:05), "Don't kick me, please." Recorder gets bumped at the end of the song.

New Order than play _As___It___Is___When___It___Was_.

Bass racket at the end. Bernard says something hard to pick up.

More bass rumbles...

PH: "Do it all the time."


(after song finishes, crowd screams bit)

BS: "This is eh...this is where we take the set a little bit more uptempo. Because we realize that we got three thousand meatheads in here tonight, and what everybody likes is a nice drumbeat. So this next song has got a nice drumbeat."

(somebody is taunting Hooky in a major way)

PH: (off-mic) "Ready?"

BS: "Shut up shitface, fucking [last word unintelligable]..."

PH: "I'm sick of listening to you cunts [bit I can't make out]..."

Fans cheer at the put-down.

NO play _586_

Barney sings "I feel danger..." instead of "I see danger."

Edit in tape between tracks here.

BS: "That is the real top-off[?]...Hey, it's nice to be down in London again, it's nice...we love you Cockney bastards."

Bernard's first sentence is cut off on the tumult source, being at the A/B tape flip.

PH: "Makes you realize why you live in fucking Maccelsfield." (it's not 'Manchester')


BS: "This song always reminds me of a cabaret song..."


BS: "I feel like I know you all personally...

ON tumult01 version, somebody coughs.

BS: "I know this song personally."

Nice funky guitar playing heretofore unheard melody...and then Bernard goes all guitar-wanky later on.


Somebody coughs on the Park tape during the intro.

Barney's singing is a bit off, and his vocals cut off.

BS: "Thanks very much, thank you very much."

punter #1: "Sorry..."

punter #2: "Shi...[?] my ru..."


The sequencer gets stopped slightly late, and plays a couple of bars extra as a result.

BS: "Thank you very much."

Two cuts/edits in the Park tape for the encore.

The tumult tape also has a pair of cuts/edits, but we can hear what was played in between, T-Rex's 'Bang A Gong'.


Sequencing is interesting.


PH: "We told Malcolm(?) that one day we'd make it in this business, and tonight, we have."

They play it...

BS: "Thanks a lot, good night!"

A voice at the end says something that sounds like "hello tomorrow"... (on MP3-sourced version)

Tumult version preserves post-gig music, nothing I can identify.

NO: 03 DEC 85 Hacienda - Manchester, England (Both Sets)

First Set

The first two tracks were aired live on BBC's Old Grey Whistle Test. This performance (as well as the one after it later that night) are also archived on the Lars Nelleman Audio Anthologies (MP3) and I have these on cassette as well.

Writeup is based on the MP3s. The sound there is listenable, but suffers from high-frequency distortion and too-fast playback.


Mistakenly titled "As It Is And When It Was" by the OGWT.

Bernard sports a white T-shirt and a haircut reminiscent of all people, Morrissey.

Gillian rocks out in a ankle-length print dress. Elite.


BS: "Thank you very much, thank you very much...happy birthday Gary, who's 19 today."

Bernard dumps his guitar as he gets into the first verse. Something on it needed to be repaired, as he retrieved it back from one of the roadies in time for the "solo". Annoyingly, credits roll over the latter portion of the song.

BS: "Thanks an awful lot, thank you very much."

The group then proceed right into _Face___Up_. Afterwards, there's a long pause.


BS: "Well, this next song is called The Perfect Kiss. Thanks very much, thanks very much, we appreciate it."


Barney Says:

BS: "Thank you very much, thank you very much indeed. Pissed me off."

Then the group perform _Your___Silent___Face_. "Fuck off" substituted for "Piss off". This is actually a fairly rare replacement, in fact I haven't heard this elsewhere.

This is followed by _Sooner___Than___You___Think_.

Barney Says:

BS: "You know if they got Sade's audience in tonight? Hahaha." (cries for 'Lets Go', 'We All Stand' and 'Happy Birthday Kid')

Then the group fire up _This___Time___Of___Night_.

Barney Says:


BS: "I know some of the audience can count. How many songs have we done tonight? A lot...I say we've done a lot, too many, in fact. (sarcastically) It's good we're not playing a second show."

Hooky yells out "Eddie". Bernard starts yelling out lyrics, probably through the feedback. This version is collosal, New Order sound right pissed off at the audience, as evidenced throughout. Ends in a huge feedback squall.

The intro to _Temptation_ has this somewhat extraordinary and confusing statement, since I can't quite suss it out:

Someone cries for "We All Stand".

Barney Says:

BS: "You are a bunch of cunts. Yeah. And I've had better fun pissing in urinals than playing in front of you lot. (someone cries "Fuck off, Barney") But I want you to know I love you all, and I feel like I know you personally."

Harrowing scream by Barney right before the guitar thrash starts.

Bass false start before the Order finish up with _Age___Of___Consent_. The guitar solo is a bit off, to say the least. It all ends in feedback.

BS: "Thank you very much, you're all bastards!" (I think)

Second Set

The crowd are _really_ raucous here.


PH: "Hi Andrew, please, little bit of a light...that(?) is a need to go on here."


Some punter calls out for a 'Janet' a few times.

Fans sing along to _Subculture_, whether it be the lyrics or the melody. After the song concludes, a punter yells for "Ceremony" as a couple of girls scream.

Hook Line:

PH: "The guy here screaming he says tell 'em to move back. But will they take any notice? No."

(thanks to Dave Mings for the correction above)

Hooky then says something I can't make out, which is puncuated with copious use of the F-word.


Hook Line:

PH: "Fuck off, twatface. You know, that's all there is...[can't make out rest]"

Voice sounds come into the mix really loudly, and there's a drum sequence near the end that I haven't heard used before in BM.

Punter calls out for Temptation.


Barney varies his lyrics a bit. (instead of 'truth' it's 'lies')

"Do you believe in lies
A hope that never dies
A home that i call my own
A life i'd like to own"

New Order than play _Love___Vigilantes_.

SQ changes a bit (either taken from a different source or the taper moved away from the crowd noise) as NO perform _586_. Afterwards, Hooky seems pleased with himself.

Hook Line:

PH: "...must have been, I though that was pretty good meself..."

Then the group perform _Face___Up_, as the audience sing along to the chorus. Bernard substitues the usual with "your eyes are blue, your hair was gray..."

_Ceremony_ follows.


Some female punter starts to jabber about something which I can't quite make out, and her mate shusshes her. Barney humourous sings about the state of the nation causing our starvation. Unless he was always singing this, I always assumed he was referring to 'our salvation'. Bass melody is different in this rendition.

BS: "Thank you very much". This is the only extraneous comment Barney makes during the second performance.

One last burst of sequencer and guitar before the proceedings close out.

NO: 06 DEC 85 Central Polytechnic - London, England

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

Ken Weingold on the "faclist" mailing list states:

"Someone I know was nice enough to put the New Order bootleg I ripped from vinyl up on his high speed connection. Download it and enjoy. It's from 12/6/85, except for the last song, which is from the next day or two." (Last song is She's Lost Control from the Fulcrum in Slough the following night)

Philip Collins adds that contrary to my description that this was for a coal miners' strike:

"This was in aid of the Terence Higgins Trust, an HIV charity. The band were very late coming on stage - there was an interminable wait after Quando Quango's set had finished before New Order showed up. There were 3 cameras filming this gig but I've never heard of a video of it being in general circulation although the mixing desk recording (or the first 8 songs at least) surfaced pretty quickly on the 'More Than Despair' boot."

Also have this on CD now, which has quite a few glitches, alas, as the sound is otherwise excellent!

        Atmosphere:       1:12 skip, popping throughout
        Dreams Never End: glitches at 1:40 and 2:25
        Sunrise:          pop 0:06-0:07, skip 1:27
        Lonesome Tonight: pop 5:21
        5-8-6:            glitch 1:28, 3:10
        Perfect Kiss:     skip 0:11, pop 1:09 (NOT 3:50, that sounds like
                            the master), pop 5:23, glitch 7:01
        Face Up:          pop 1:44, glitch 4:30
        Age Of Consent:   pops 0:43, 0:54, 3:38

Intro to _Atmosphere_:

BS: "Thank you very much, I hear those well..." (or 'a hero's wel...') (not present on soundboard, only on the audience version)

PH: "C'mon, a bit of respect!"

BS: "More guitar through the monitors, Ed."

It's remarkable that the drum pattern in this version of Atmosphere resembles the latter-day performances. I guess it's supposed to be a simulacrum of Hannett's echoplex that the drums got run to. The keyboards come in more than halfway through, overpowering the rest of the music. The "set down with due care" line is almost spoken.


Bit of a false start. This is the track Hooky gets a beer can thrown at him.

(from the parent page, contributed by Winston Winand)

"Someone must have disliked the fact that Hooky was singing lead on Dreams Never End. If you here the bootleg he doesn't come in at the right time halfway through. That's because he had just been struck on the head by an empty beer can thrown from deep in the audience. Hooky mumbled something back but I didn't catch it. Needless to say, there wasn't any encore that night. However, Atmosphere was brilliant with the audience dancing like crazy on the synth bits!" Thanks again to Winston Winand!

After some careful listening, I've gleaned on what Hooky was saying. What an accomplishment, I know.

PH: "You cunts make me fucking sick!"

By the way, the guitar interplay is simply amazing.


PH: "One two"

Synth wash, bass rumble. Barney whoops after first verse. Volume on vocals for intro of second version was low in the mix. No Gillian backing vox.

BS: "Thanks very much, thanks very much."

Promiment cabinet rumble leads us to the performance of Sunrise.

BS: "Thank you punters, thank you very much."


BS: "You all move back a bit, else we'll be doing a...a suffocation benefit next week. I'm sure you don't want us in London again."

Interesting lyrics:

"When you reached out in your sleep, and you felt my big fat cock."

Intro to _Weirdo_:

PH: "Fuckin' A, you're witnessing something extra special there, usually you get less people kicked in" (Barney interrupts at this point, so I'm indebted to the sharp ears of Jan Bollansee for the last part)

BS: "A bit less bass on the vocals, Ed....Put your chopper away."

(Philip Collins notes that someone had come onstage with a clapperboard as the gig was being filmed.)

(fans shouting out for crap)

BS: "Shut up! One-two-three!"

This version features lyrics slightly different than the recorded version, but is otherwise pretty well developed.

Lots of bass feedback, fans cry out for their favorites, "Let's Go" can be heard as one of the choices.


BS: "Drum machine, Ed, got to hear it to play in time to it."

There's technical difficulties with this one, the sequencer is messed up, but the synths finally come in near the end. This song also features a quite promiment keyboard solo, hey. Also, Barney's mic cuts out at about 2:50 where he says "heard you calling"

BS: "What did you move that monitor for? I can see you know."


Barney whips out one of his all time classics:

BS: "Can you move back a bit please, someone's getting crushed in the front. I don't give a fuck really, but it sounds good if I say it."

The source tape has distortion about 35-40 seconds into this song, which isn't present on the glitchy CD version.

Barney's vocals cut out after the first verse.

The source on the CD version gets garbed at about 3:50.

There's loud feedback during part of the second verse. At the end of it, Barney comes out with a bit of self-congralatory bravado:

BS: "Ahead of our fucking time, ahead of our time. Bronski Beat ripped that song off, and I could name a few others as well."

A couple of syndrum beats greet the arrival of Face Up.

The vocals come in a bit late for the second verse.


PH: "It's his birthday today, we promised he could come up onstage."

..and a writeup for the soundcheck...which has excellent sound...

_Atmosphere_ (instrumental) 1:31

_Atmosphere_ 4:06

_Shes___Lost___Control_ (breakdown) 0:24

_Shes___Lost___Control_ 2:54

_As___It___Is___When___It___Was_ (with LWTUA intro!) (breakdown) 0:44

BS: (at 0:32) "Turn up the [?] a bit"

_As___It___Is___When___It___Was_ 3:26

A bit of intro cut

_Bizarre___Love___Triangle_ (breakdown) 0:32

PH: "Right!"

BS: (at end) "Ed, please, turn the sequencers down a little touch, and bring the drum machine up a little bit."

_Bizarre___Love___Triangle_ 4:46

BS: "I'm getting the drum machine in through the side...all right!"

See http://www.new-order.net/no/gigs/nogigs85.html#NO-851206.blt for the lyrics.

_Love___Will___Tear___Us___Apart_ (instrumental) 2:53

Hear Gillan completely mess up the keyboard part.

Bizarre Love Triangle 06 DEC 85 Central Polytechnic - London, England

Every time I think of you
I feel shocked right through with a bolt of blue It's no problem of mine, it's just something I find You will take me by the hand and I can leave you far behind

There's no sense in telling me
The wisdom of a fool won't set you free But that the way that it goes and it's what everyone knows Keep your thoughts inside your head
You think too much and you'll be dead


Every time I see you falling
I get down on my knees and pray
I'm waiting for that final moment
You say the words that I can't say

Every time I think of you
I wish my life could be new
But that the way that it goes and it's what everyone knows Keep your thoughts inside your head
You think too much and you'll be dead

I feel fine and I feel good
I feeling what I never could
But that the way that it goes and it's what everyone knows Keep your thoughts inside your head
You think too much and you'll be dead

chorus x 2

NO: 07 DEC 85 Thames Hall, Fulcrum Centre - Slough, England

Source is CD from Solitude. Sound is outstanding, with Bernard's guitar being especially noteworthy.

Original listing has Subculture fourth, followed by TTON, but on the source I have, it's TTON and then Subculture, so I have corrected the tracklist accordingly.

Starts with 'Funeral For A Viking', which can be heard only on a newly-surfaced audience version.


Fade-in, first few bars cut (SBD).

BS: "Eddie..." (AUD only)

BS: "Thank you very much."

_Blue___Monday_ opens with Hooky's bass.

BS: "Thanks a lot. This is called _A___Village_." (yes, he says 'A', not 'The')

An *amazing* rendition.

BS: "Eddie, can I have more light when I'm playing the guitar please? I can't see what I'm playing."

PH: "You leave my mic stand alone, bigmouth!"


Hooky coughs at the very end. Inexplicably the soundboard version has this and the next song in reverse order.


Hooky's backing vocal levels get turned way up during the first verse.

BS: "Eddie, more drum machine. Eddie! Drum machine! Oh... Please be quiet, we're trying to concentrate."

It does little good to quiet the rabble down.


Cowbell at 0:45 or thereabouts.

Instead of "I've lived my life on alcohol", Barney sings "in shadows", repeating the previous line.

Barney mistakenly comes in early for the "love is found" part, but shuts up and waits for the proper point to come in.

BS: "Thank you very much. Thanks very much indeed. When we...I retire, I'm gonna move to Slough, we love you all so much."


Guitar strumming and feedback before this commences.

Barney sings, "You just won't believe me...baby!"

At the end, Hooky's still dealing with a particularly nettlesome punter. The audience version has an edit at this point.

PH: "You have got a fucking big mouth. You really have." Barney then laughs.

PH: "So, like, cunt-face, you paid to get in, you take your choice."


Some very interesting lyrical variations, I don't think its lyrics are nailed down.

"We're as happy as our drunken hearts."

"I know you and you know me
And we're as loose as we can be
We're as loose as an open wind
We're as loose as a guitar string"

And, of course, "just like a _fucking_ lock without a key".

Barney strums his guitar in between this and the next song.

PH: "Oh, that's not a very nice thing to say, is it?" Feedback.

(edit in SBD version)


Ends in Barney scraping his guitar strings. Stellar version.

(edit in SBD version)


Another really good performance.

BS: "Thank you, good night". Hooky finishes it off with a bass solo.

Audience tape has a snippet of the PA backing music, a funky number with female vocals.

Of course, the band come back for a couple of encores.


BS: "Just to prove we love you all..."

(this is missing from the CD copy, might have not made it to that source, or isn't in my transcription)

A punter then excitedly exclaims, "She's Lost Control!" and cheers erupt around. In my opinion this is a great version of the JD classic.

BS: "Thank you very much. I really do hope you all enjoy yourselves as much as we have, because, for once in our lives we are enjoying ourselves. Why, I thank you so much."


Barney busts out with a very early guitar solo (at 1:00).

BS: "Thanks a lot, good night!" The female sample then moans, as the SBD tape cuts off. The AUD tape continues a bit longer before concluding, and someone asks if they're going to come back out.

NO: 10 DEC 85 El Dorado, Paris

Source is tape in my collection, my notes mention this was recorded with a Sony M-2. Unfortunately, my copy sounds like it's a few generations off the master. Another version (Be.Co.'s) has surfaced recently, as well as a third (from calimero) , which has some of the (horrid) pre-gig backing music, and is missing Age Of Consent.

The audience seem really into this one, as NO get a huge ovation when they start to play, their first song being the hallmark _Your___Silent___Face_.

Theres a defect about 20 seconds into _Dreams___Never___End_, like somebody hit pause by mistake and immediately fixed their error. (tape in my sollection)

BS appears to say a couple sentences in what I thought was French, but was quickly corrected by a speaker, who claims nothing of the sort. So I took another listen and managed to make out the following.

BS: "Hello, everyone...we'd like to thank [some name] as our road crew, because your immigration laws wouldn't allow our road crew into the country because of their extremely low IQ."

_Temptation_ has another source tape problem about 2:45 in. I'm not promulgating this information to be picky, but as a means to track the genesis of particular concert sources. Not present on the Be.Co. version.

BS: "Thanks very much, thanks very much..."

There's a lot of shouting right before the Order get into _Subculture_.

_Leave___Me___Alone_ has major audio gaps between 3:35 and 3:50, and another one at 4:30, right at the end of the song, but not on the Be.Co. copy. The calimero version has an edit here.

_Sooner___Than___You___Think_ follows.


BS: "Eh, this next song is a new song, I know you don't speak English, but I can't speak French...and it's called Shame Of The Nation, it's about prostitutes with big tits..."

(heh, somebody yells out for him to 'don't ever speak French')

BS: "It's about fear and intimidation."

State/Shame Of The Nation gets cut off on the Sony version, so we never hear the ending, but the Be.Co. version is complete.

The sound seems to improve somewhat for _Blue___Monday_. Nice funky guitar work on same. This appears twice on my tape, side A (which sounds much better) is cut, side B (which seems to suffer from overly high recording levels) is complete.

BS: "What, you got a guitar lead, please...you know."

Then you can hear him say something else off-mic.


PH: "Just can't get good help when you need it..."

There's a few pops and small skips in the Be.Co. version during this track.

The ending is a bit different.


PH: "C'mon...have a conversation [something]...fuckin' hell. One, two, three, four."

Bernard sounds slightly rusty with the lyrics...but here's a classic:

lyric: "Destroyed by self-hate/and we're taking a buzz"

Another stop/start edit (M-2). They conclude with _Sunrise_.

BS: "Thanks very much, good night!"

NO: 11 DEC 85 Salle Jean Vilar, Maison De La Culture - Rennes, France

I have two versions.

Audience tape quality OK. Not very good stereo separation, and there's lots of small clicks, which I assume is present in the source this was copied from, but it's not an LP boot, to the best of my knowledge. Another audience source, in better sonic quality, has emerged from TJ's archive.

This is also available as a soundboard source, which I have a CD of. Sound is stellar, but some cleanup has been done to remove some of the diginoise that was one my source's copy.

_Blue___Monday_ has more than average amount guitar.

My soundboard source has a slight volume drop at about the 4:00 mark.

BS: "Thank you very much."

Printed cassette label mistakenly lists Ultraviolence. Next song is actually _586_. I thought this was the first time I've seen NO play this song *right after* Blue Monday, but they've done it a few times before.

Barney sings "I feel danger" instead of "I see danger".


BS: "Er, this next song is called The Village."

Then follow chords from some unknown song, into the next song.


PH: "New Dawn Fades, no fuckin' hell."


Loud heckling and song-calling. (not audible on soundboard)

BS: "You don't speak fucking French you daft bastards...parley francais... I mean Engles...parlez Engles bastardos."

lyrics: "I've gotten used to your big fat cock..."

And this variation:

"The marks they'll never show
they damned like you they never fucking know now you must open your heart
let it bleed and tear apart
you know the price of shame
Turn your back cuz you're not too sane."


Awesome echoed "Show me."

BS: "Merci beaucoup, monseur madame."

Let's Go-ish strumming, then Hooky bang out descending chordal bass riff, right as _Subculture_ starts up.

lyric: "In the end you will submit, it's got to hurt your PUSSY a little bit."


BS: "This song is called 'Confession'. Hope that doesn't confuse you very much."

(this doesn't appear on the audience copy)

First part of song has tons of feedback, enough to make Barney skip lyrics.


Soundboard version has a cut at about 1:53 in. Wonder if this is the A/B change. Diginoise starts in at 3:30, lasting for about thirty seconds.

(after the song finishes)

BS: "Au revior sua...Merci, thanks very much."


TJ's version contains some of the the backing (encore)


BS: "Right, this is called, eh, As It Is When It Was. Fromage et petits pois" (translation: "Cheese and Green Peas", thanks to Airneck on DIME for the correction)

"Thank you, goodnight!"

lyric: "I'm not grown up, and I am not a boy / This cock of mine is not a toy."

NO: 12 DEC 85 Exo 7 - Rouen, France

Notes indicate that it is second generation audience tape.


BS: "Above is it for a minute..."

Also sounds like "I'll borrow this for a minute" or "...Above is boring, innit?"

(some random drumming)


PH: "'ere we go."


(Bernard mumbles something about his guitar levels)

By the way, this is the last time they ever play this song.


Barney plays a mini-riff before Hook's bass roars forth.


(yes, somebody yells out for 'Warsaw' hehe)

BS: "Coca Cola tape please."

I doubt that's what he says, but that's what it sounds like. The last part could be "T...erry, please."

(song ends)

BS: "Thank you very much."

A long pause, then Hooky says off mic, "Ready?"

_Thieves___Like___Us_ has a point about two minutes in where everything... stops for a second

Intro to _Subculture_, as people yell for all sorts of songs...

PH: "You're all wrong, this is Subculture. Subculture."

Hooky basschecks at the end.


PH: "This one should be good. I doubt it, though."

_Age___Of___Consent_ has nice echo on some of the vocals.

Cut during the bass intro. Probably the point of the tape flip.

BS: "Thank you very much. Good night".

(wait of a few minutes while people cheer for an encore, here the bootlegger stops the tape. It resumes with some ACR tune, which fades out as NO take the stage again)

BS: "We'll gonna play two new songs now."

PH: "We'll be playing them mostly cuz you've been playing A Certain Ratio, you bastard."

(song finishes)


BS: "That was called _As___It___Is___When___It___Was and this song is called The Shame of the Nation". More French, Hooky.

NO: 13 DEC 85 Salle Du Baron - Orleans, France

Another one of the Stash/ATR mixers. This soundboard is especially quiet, there wasn't a mic to pick up ambient audience noise, it seems. There's also an audience version extant.


(at the end)

BS: "Thank you very much, we're New Order."


PH: "Love the sounds of your own voices don't you, you boring bastards."

Hooky (I think) calls out "Eddie!" off-mic shortly after the song begins.

Probably the cleanest live version of this you'll ever hear.


Get a load of Gillian's guitar playing here in the beginning. Probably not helped by having this forefront in the mix.

lyric: "I don't care about the human race, and I don't care about your fucking face."

(at the end)

PH: "Fucker." [coughs]


BS: "Eh, this one's called Love Vigilantes. Brighten 'em up, Ed, brighten 'em up, brighten 'em up."

BS: (a few seconds later) "Turn the drums up, Ed."

BS: (at 1:26) "More drums, Ed." He misses his cue as he mumbles "My wife walked..." before saying silent for twenty seconds until he can restart.

BS: (at 1:55) "Too much!"


PH: (off-mic) "Ready?"

This is the next-to-last time New Order play this one. A very good run-through, with Hooky and Barney's vocal interplay being a highlight.

_Sooner___Than___You___Think_ is next.


The last time New Order perform this one. Diginoise glitch at 0:01.


BS: "Hi, everyone. Bonjour. A la nuit. This one's called, eh, Dans cette time a la nuit. Fromage a Potage. Fucky fucky. Fucky fucky."

BS: "More drum machine, Eddie baby, more drum machine."

BS: (at 1:10) *sings* "The bass sequencer I cannot hear. If you turn it up, my ears will feel much better, Eddie. I can hear the bass sequencer. Turn it up, you..." Hooky bravely adds the correct backing vocals.

And this gorgeous sequence:

"Without you they'll never fucking show Without you my dick won't grow
Without you they'll never know
Without you my dick's like a bone
Without you I've lived in pain
Without you my anus is insane"


"We know the feel of pain
Turn your back and fuck your brain"

BS: "Wooooh! Too much, Ed."

Errant synth note at end.


Cuts after about 1:12 on the mixer version. This is about the point there would have been an A/B flip, it's likely this was played through before anybody noticed.


One of two times they play this live (another time this was soundchecked), and the last time ever before the 2002 dates. TJ says that considering how bad a shambles this version was, that was probably for the best. Can't say I disagree.

At 0:48, Barney exclaims, "Jesus!"

A fairly wretched guitar solo (it's a two-note vamp) graces the latter park of this track.


Fairly eventless rendition, except for the ending, which features orchestral samples, a somewhat-different keyboard riff, and a few other things.

NO: 15 DEC 85 Rotterdam Arena - Rotterdam, Neterlands


From "vinz":

Arena, Rotterdam: Saw the complete soundcheck, they posed for my (photo) camera (except Bernie), spoke to Gretton, this gig was videoed with two cams.


One source I have (from GD via JB) has the first half of _As___It___Is___When___It___Was_ missing, but it's complete on another audience version.

BS: "Thank you very much."


You can hear a woman laughing at the start. (GD).

Aggressive Dutch voice at end, might be swearing in English. More giggling. (GD).


Guitar flourish at end.
BS: "Thanks very much, thank you very much."

On the second version, the left channel drops from 3:27 to 3:34.

lyric: "I always try/I always fucking miss."

punter: "Fucking magical...magic" (GD)

BS coughs.

BS: "Thanks very much, thank you very much."

_Ceremony_ follows.


Hooky's "2-3-4" count-in can be heard off mic.

BS: "Thank you very much, thank you...[can't make out]"

Some screams.


BS: "C'mon, I'm sure you can do better than that, you're a bunch of fucking wimps."

He's probably commenting on the lack of audience participation.

BS: "Andy, Andy, Andy. These lights, turn the fucking lights (off), bothering me a bit."


Bass intro goes slightly pear-shaped.


PH: "You're gonna remember this one because we played it last time. You know what happened last time, don't you?" There's a unique whistle at the start which is a melody immortalized in a Lords Of Acid song.

Hooky flubs the intro a bit.

Edit in tape between this and _Age___Of___Consent_. (all versions)

BS: "...unless it's fucking spiders, it's head is stuck [something]... I don't like spiders."

_Sunrise_ finishes up the main set. Starts with Bernard scraping his guitar strings.

Punters yell out for more. The band leave 'em waiting for a while, and the house music even comes on again, but then the band reappear to cheers.


At 4:15 Bernard yells for something starting with P to be turned up.

_Face___Up_ starts before the last notes of the preceding song subside.

NO: 17 DEC 85 Manhatten Club - Leuven, Belgium

See http://www.image.dk/~biotech4/no/liveanth.htm (gone now)

Turns out the date listed there is wrong. Waterrat's correction follows.

"Regardless, I have a question:
NO-851231 'Cultuurcafe VUB' Leuven Belgium [a venue NO never played, the listing has since been corrected]

I have the above show listed as 31 DEC 85 I believe it may have been a late night gig similar to the Ally Pally gig the band played last year on New Year's eve. I have tapes of the gig which list it on 12-31-85 and 1-1-86 and so on.

I think it occured on either the 31st or the 1st, because the announcers on my video tapes welcome the audience by saying 'Happy New Year' which I doubt would happen on the 31st."

Actually, the gig was recorded on 17 DEC, but *broadcast* two weeks later.

53 min sb A+

The Perfect Kiss
Age Of Consent
Thieves Like Us
State Of The Nation
As It Was When It Was
The Village
Blue Monday

GeoBest says that there's a mixing desk tape of this gig (and a video!) that includes Let's Go as the first track. Also, the original broadcast version has TPK first, it should be after Thieves...it could be that version moved TPK from fourth to second (or first as above). It also omits Confusion (sixth track) and Temptation (11th track).

It appears that subsequent (re-)broadcasts included Let's Go.

Recording was done using a 24 track mobile, according to the captions at the end of the Rox Box broadcast.

According to Simon Park, "It was broadcast on a satellite TV station in the eighties called Rox Box. They showed the majority of the show in one go and I never saw it repeated. They also broadcast (from memory) the first two songs from the gig on a separate date, which were not in the first broadcast."

A segment of videotape preserves the announcers' intro...there's a caption with 'REM 3:03' in this.

announcers (male and female):

"...Manhattan in Belgium, for one of Britain's most popular bands. Ladies and gentlemen...please welcome...New Order!"


BS: "We'll start tonight with an instrumental. It's called "Let's Go".

PH: "Shut up, bigmouth....ready?"

Gillian bumps her elbow against the keyboard at the 2:07 mark, and injects a couple of bum notes. Oops. :)

BS: "Thanks very much, thanks very much."


Slight variation with Hooky's opening bass salvo.



BS: "Love is the air that destroyed the eagle."

At about 3:45, Barney yells, "Turn the fucking amp down!"

BS: "And when it dies, it dies for fucking good." (later verse)


Barney plucks the riff to "Are You Experienced" by Jimi Hendrix. He does this a couple of other times during the 85-86 period (Edinburgh Playhouse 9 Sep 86 is the other time I recall offhand). Then some guitar strumming, sounds like he's having a bit of trouble with his sound.

BS: "Thanks very much, thank you very much indeed."

A bit more strumming.



lyric: "Now we turn our backs to the wall/ To see if it's worthwhile, what's grown up."

Ends with some loud guitar chords.


BS: "This next song's called Confusion, and on this song we're gonna loosen up a little bit, I think".

Sound of Bernard plugging his bass in.
Ends up with a bit of a bass solo.


Sounds mostly like the LP version, but even here there's slight differences in the structure of the song.

lyric: "And the lies of those fucking crooks."

He draws out the last word "glove" to the point of hilarity.

BS: "Thank you very much, thank you very much."


Another disguised attempt to influence the live mixer:

lyric: "And we're stuck two years in Hell/ The wrong place, the right side of the bells"

The mixer leaves off the last ten seconds...but the CD I have has it punched in from the audience version.


BS: "Now this is Subculture, Subculture, Subculture, Subcult..."

lyric: "I like fucking in the park, when it gets late at night."

lyric: "I like talking in my sleep, when people fuck so hard.

They need what they can suck, a joint that makes them high."

Pop at 3:57.

Barney playes the riff to "All Along The Watchtower" by Jimi Hendrix before descending into some weird guitar noodling (others would call it wankery) here. If the Cure can play Jimi songs, why can't NO?


BS: "This is not a new song, it's a very old song."

PH: "One. Two. Three. Four."

The keyboards sound really off, but the sound is absolutely stunning otherwise.


BS: "Thank you very much, goodnight."

New Order than encore with _Temptation_ and _Blue___Monday_.

The latter has an overdriven guitar sound unique to this version. It has to be heard to be believed. Bernard comes in a bit early on the second verse, but otherwise this version is unusually good. Plus Hooky performs topless!