Peter Hook and Lindsay Reade cover 'Telstar' on Factory Records rarities compilation". FACT Magazine. 17 September 2012. Archived from the original on 23 October 2012 . Retrieved 18 September 2020. It tells the story of Factory Records’ formative years from 1978 – 1982, exploring how contemporary post-industrial Manchester allowed the label to spearhead innovation in the fields of music, technology and design, giving the city an authentic voice and distinctive identity.

Wilson could have further advanced his broadcasting career in London, but he chose to stay in his hometown of Manchester and work at Granada Television where he became a mainstay on programs such as Granada Reports. Since his death, the city continues to reflect his influence. Why was he such a booster for the city at a time when its fortunes seemed bleak by the 1970s? In 2006 he became the regional political presenter for the BBC's The Politics Show. He presented a weekly radio show on Xfm Manchester – Sunday Roast – and a show on BBC Radio Manchester. In October he joined Blur bassist Alex James, Blue Peter presenter Konnie Huq and previously unknown presenter Emily Rose to host the 21st century version of the 1980s music programme, The Tube, for Channel 4 Radio which ran until 2 March 2007. His final music TV show was filmed in December 2006 for Manchester's Channel M. Only one episode, entitled "The New Friday", was recorded before Wilson became ill.

Collins, Simon (9 February 2007). "Music showcase postponed after founder in surgery drama". The West Australian. Archived from the original on 30 September 2007 . Retrieved 10 August 2007. Use Hearing Protection: The early years of Factory Records tells the story of the four-year period at the very beginning of Manchester’s iconic independent record label. Factory’s history has been described by Dave Haslam as ‘lad heavy’. One of the amplified stories we tell in the exhibition looks at five key women involved in the Factory story at the start. The story questions whether Factory Records was inclusive of women deliberately or coincidentally. Lesley Gilbert photographed by Alison Surtees, courtesy of the Manchester Digital Music Archive Trust

Their second and final album, Something's Going On, was released in 1987. It was not a commercial success, although "I'll Return" reached No. 79 on the US R&B Chart. [11] The album and single failed to chart in the UK. One other single from the album was released, "Are You Receiving Me?". In 1988, the group, minus Dennison, released one last unsuccessful single as 52nd Street, "Say You Will". I didn't want this to be an exposé on sexism in the world of an indie record label, even though they definitely experienced it to varying degrees,” says Golden. “I'm just so constantly frustrated by those stories identifying a person as ‘so and so's wife or girlfriend’.” Street - Chart History: Dance Club Songs". Billboard. Archived from the original on 26 April 2016 . Retrieved 18 October 2020. After the end of Factory Records and the Hacienda, Wilson was still trying to find his third act whether it was launching the annual In the City event (the British equivalent to SXSW) or campaigning for Northern devolution and the Pennine Lancashire project . Osuh, Chris (24 March 2008). "Tony Wilson Will Revealed". Manchester Evening News . Retrieved 24 March 2008.Lindsay also brought Orchestral Manoeuvres in the Dark to Factory, encouraging Tony to release their debut single Electricity. She didn’t work for Factory until later in the label’s history, when she set up Factory’s overseas licensing department.

Mani was a really warm, wonderful human being. Funny guy, he thought a lot about music, had a lot of opinions. There were people alluding to the fact that Reni was involved with the wrong type of stuff, if you know what I mean, and went seriously off the rails, but knowing what a professional he was… you should have seen him – this guy was driven. In the studio you couldn’t get Reni to stop playing the drums. This was a guy who truly believed in what he was doing, and knew that he was one of the best drummers. [So] for him to see this thing fall apart about him, and the fallout between John and Ian – it’s no wonder he went off the rails. I’d go down to the studio and they’d be playing ghetto blasters with all this different music. It was like hanging out at someone’s flat for an old fashioned record session. Dub reggae, obscure hip-hop, deep Chicago house music, and interspersed with that, The Clash and Zeppelin. It was a cacophony of wonderfulness.I'm not sure that it was a good idea to include Ian's father's writing at the end of the book. If anything, it should have been included at the start, to set the mood. To see that Ian's talents as a writer were inherited from his father, who shared his same interest for war history. At the end of the book, after all the suffering and heaviness it doesn't feel very fitting to read a war story that is not necessarily connected to Ian's own struggle. But that's just a personal preference.