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the official distractions website

Welcome to the official Distractions website. We will be aiming to record the history of one of the greatest, but least heralded, of all Manchester beat groups.

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Friday, December 14, 2012

Hidden History

The Manchester District Music Archive has recently launched its online exhibition, City Fun - The Hidden History of Manchester's Post-Punk Fanzines, curated by Abigail Ward and Dave Haslam.  Truly a treasure trove of Distractions articles (some of which we've shown previously, 1, 2, 3), here's a couple about the Factory single in volume 1, issue 11 from 6th November 1979:


The Distractions

The Distractions current single on Factory Records is now being promoted and advertised by Island Records though remains on the Factory Label.  The bands' next single is two recorded tracks from the TJM EP and will be out in November/December, the tracks being 'Doesn't Bother Me/Maybe It's Love' [it was actually One Way Love] produced by John Astley/Phil Chapman (Jags single).  Island are fully satisfied with The Distractions and will now be recording their album in January.

THE DISTRACTIONS  (Factory) by Andy Zero

‘Time Goes By So Slow’ / ‘Pillow Fight’

Time Goes By So Slow written by Adrian Wright and Pillow Fight by Mike Finney/Steve Perrin – on the original 5,000 labels it’s the other way round – a mistake creating an instant collectors item for those that ‘collect’ things.  Now there are 20,000 copies pressed.  All the facts for freaks.

‘Time Goes By So Slow’.  A melodic lilting ‘love(?) song’, “I wonder why you had to go,” vocals delivered emotively, the bass and drums thud and guitars riff and jangle, the organ floating lightly behind.  A great song.

‘Pillowfight’.  The words start jealously, “What did you dream about last night/Bet it wasn’t me”.  The bass goes up and down, fast paced the drumming crisp and solid, the two guitars jangling/riffing in a style encompassing and surpassing Cliff Richards/West Coast psychedelia/that cotton pickin’ down home sound – but this is Manchester 1979 and it could be 1985 but what’s the odds.  And the backing vocals moan accusingly satirical while the organ flirts on the edge of consciousness.  Two original, well crafted songs, modern, I think they’re brilliant.  The sound is clear and well mixed, the production is well criticised.

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