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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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Sunday, June 16, 2013

It's tough at the side

The first part of Betty Page's interview in the 12th July 1980 issue of Sounds.




Honesty And Feeling With Smelly Feet

The Distractions tell Betty Page: "It’s tough at the side!”

So there I was, sitting as comfortably as the bass drum beneath me would allow, my delicate pink stilettos vying for space with be-gaffa’d mike stands and towels in the back of an airless Transit van with a pop group. The things I could tell you about being on the road! Well, for ten minutes, anyway, sharing this most salubrious mode of transport with The Distractions, currently touring-to-promote-the-album and on their way to checking in at a local mid-priced guest house to match their current mid-successful status.

Mike Finney, lead crooner, variously described as bank clerk / accountant / friendly uncle, and Steve Perrin-Brown, half of guitar duo and often dubbed boy-next-doorish, bemoan the general lack of ackers. “I bet Grace Jones (Island label-matess) doesn’t have to travel in the back of a van. Perhaps she’s a highly-skilled welder, though. I’d look after her leopards if she’d mend my car!"

Reality dispels dreams of Amazons with the thought of Terry’s Guest House’s scrambled eggs (apparently resembling grey armadillos) and the next gig, at the Fulham Greyhound, local London pub testing ground.

The Distractions aren’t often stuck in a fantasy. Despite the constant championing by the press with the accompany shower of superlatives, they realise they have a long way to go yet. Deemed by many to be akin to a slowly maturing wine, the time for uncorking the bottle has yet to come. Back in ’78 our own Mick Middles described their snail paced crawl to success" as essential, and that a hit single then would’ve done some harm. Two years hence, the situation seems to have reversed. Do these particular molluscs have their target in sight?

Mike: “At the time it was true, but I agree, the situation has reversed and we would like a hit single. We’re the only pop group that doesn’t sell records.”

Steve: “It’s art – it must be if we’re working, not having any commercial success but getting critical acclaim. We’ve still got a lot more snail pacing to go; it’s a very ill snail and it can be a lethargic snail too.”

Has the media overkill done any damage?

Steve: “I don’t think it’s harmful. They’re not treating us like The Police. To be honest it’s the only thing that got us out of Manchester – it’s done us nothing but good.”


I mentioned the danger of media darlings being doomed to cult status, but Steve was convinced this was no bad thing: he’d prefer true appreciation rather than vague interest. But from hit records comes forth manna, something you don’t get too much of being a bunch of cults.

(c) Betty Page, Sounds, 12 July 1980.

Thursday, June 13, 2013

Masters unhidden

We revealed last year that we'd located a "hidden master" tape containing what would have been The Distractions' debut record, recorded at Cargo Studios in 1978.  That tape was digitised and the wonderful tracks on it have been pored over by a chosen few.  Now, finally, this process is stepping up a gear as the Distractions retrospective project, three years in the planning, slowly comes to fruition thanks to Hidden Masters.  




This original master tape of side one may well be 'Nobody's Perfect', which is being remastered on 180 gsm vinyl, as well as being made available on CD for the first time.  The tape below is definitely the master of It Doesn't Bother Me.




This master tape comes with a little history.  It is Take #3 of Something For The Weekend, a single pulled off 'Nobody's Perfect' and re-recorded, produced by John Wood at Island Record's famous Basing Street Studios in London.



Monday, June 10, 2013

Naivete and ambiguity

A couple more snippets from Mick Middles' Factory: The Story of the Record Label.  The cover below is from the original 1996 edition, since updated in 2002 and 2009.




'... sex, of one form or another, was the fuel for every Buzzcocks song ever written.  Magazine, I always liked to think, used a rather more subtle, perhaps more feminine sexual approach.  Slaughter and the Dogs were a backstreet gang bang.  The Drones talked about it, very loudly, while The Distractions were a charming mix of sexual naivete and ambiguity.  They would hardly dare to steal a kiss yet would ultimately steal other people's wives... in image, that is.  Ludus's Linder was - far more than Margox - the most potent post-punk sexual figure in Manchester.  She toyed with this in her artwork, and in her music and, eventually, even became the muse for Morrissey.'


Paul Morley is in the City Arms pub in Manchester, freshly up from London, but with Factory Records associates, is busy slagging off the Manchester scene:

'"I just can't stand it up here any more," he announced, "really, I can't.  I don't think there is a scene at all.... I'm not impressed with the independent scene... it seems so bloody pointless."'

'This wasn't, one presumed, quite the response that Factory had hoped for.  As if to emphasise the point, standing next to Morley, chirruping in his ear in fact, was the figure of ex-Stockport Grammar boy, Martyn Fry, frontman of ABC... His lame suit, someone noticed, reflected the image of local lad and Distractions vocalist, Mike Finney.'


(c) Mick Middles (2009). 

Virgin Books: London.

Sunday, June 2, 2013

Wising up

In City Fun Volume 2 Number 3 this extract gives an indication of the frustrations The Distractions had with their labels Island and Factory Records.  This issue was published on 7th November 1980 and thanks to the Manchester District Music Archive it is preserved at The Hidden History of Manchester's Punk Fanzines.




The Distractions are currently wising up a bit, the hard way.  On stage in Liverpool recently between song patter consisted of remarks such as “This was our first single on Island, it was in white vinyl because it was supposed to be out at Christmas.  It came out in April”“This came out on Factory, they ripped us off as well but were nice about it.”

The time The Distractions have spent with Island Records appears almost as a waste.  It got them an album released but no Island records accurately capture the feel of the band.  On stage they are as good as ever.  Watch them.  At least they learn by their mistakes. 

Nobody’s Perfect was a good record to listen to at home...

To get emotional to...

To cry to...

Nobody’s Perfect.

Tuesday, May 28, 2013

Excavation work

The richly-deserved glowing review of the Jess Roden Anthology in this month's Mojo confirms what we all knew.  That one of Hidden Masters' next releases will indeed by the eagerly-anticipated Distractions retrospective box-set.  You can read Jim Irvin's review here (there's also a 5-star review in Record Collector), or better still, read it in the magazine.




"Hidden Masters is a new label and archiving service founded by former Island press officer Neil Storey, who's planning similar excavation work on other Island acts such as The Distractions and Head Hands & Feet, which based on this evidence, we're looking forward to with keen interest."


Sunday, May 19, 2013

Great lost band of Manchester

More excerpts from Mick Middles' essential Factory: The Story of the Record Label, and a rare poster advert for the first post-Factory single (from a February 1980 issue of Sounds):


(c) zocardo at ebay.


The great lost bands of Manchester, beautiful in their pomp... The Distractions, Section 25, Northside, even A Certain Ratio.  Factory bands of distinction; Factory bands unable to achieve much beyond a cult status. These were the great eclectic acts that were the heart of the record label.


[Tony Wilson is en route to a New Order gig in the US...]

Wilson's mind flashed instantly to that day, in 1979, when had had driven Ian Curtis down to London's Nashville Rooms, only to swell with pride as they discovered Joy Division's first real out-of-Manchester queue.  On the San Diego freeway that night, the feeling was almost as good.  A touch of sadness would creep in, also, not just because the jam had triggered memories of a simpler, fresher, more exuberant, more naive, more optimistic Factory Records.  That feeling had surfaced, temporarily, that afternoon, as they argued in the hotel bar.  But it was only temporary.  Wilson glanced around the members of the band - lost really, cynical now, famous, rich, but so happy to reach the end of the tour.  And Rob, recovering but not quite the Rob of old.  Something had changed.  It wasn't just to do with success and money, either.  It was merely the passing of time.  This gig, thought Wilson, would be fun... but it wouldn't be that much fun.  It wouldn't be Joy Division and The Distractions carving up a fuss on a fag-burnt carpet in London, or giggling schoolishly over large turds at the Leigh Festival, or hitting out at Sounds journalist Dave McCullough in the Wellington pub two hours before the Stuff the Superstars event... He could glance around at the traffic jam around him and feel the rush of pride.  But he couldn't deny it - something had changed.  The magic had faded.


(c) Mick Middles (2009). 
Virgin Books: London.

Sunday, May 12, 2013

Digitisation begins

News over at Hidden Masters reveals that the process of digitising all the reels, records - perhaps even cassettes - for The Distractions retrospective is about to start.  First though, a rare Distractions badge...





POSTED BY NEILSTOREY ON 4:52 PM IN DISTRACTIONSNEWS | 0 COMMENTS
Folks, it’s that time again. Just as the sun starts shining we put Neil into a studio with no windows. He and the infamous Richard Whittaker of FX will be starting all the digitisation work for The Distractions retrospective very very soon.

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