New Order Quotes
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People cross the road to give me their autographs.
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The chemistry involved made everything Factory did quite special.
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True Faith’ ended up being a big song for us, no doubt about it. The title I got from a book I was reading at the time, James A. Michener’s Texas, which talked about Catholicism being the only ‘True Faith’. Rob liked that. Here’s a little-known fact: Barney and I were the only two Protestants at Factory; nearly all the rest were Catholics. Read into that what you will.
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What I loved about Anton was that he did the pictures really quickly, with no fuss, no fucking about: bang, bang, bang, and it was over. At the time, I thought, Now, that’s how a photo shoot should be. Those shots he took of us in the tube station: absolutely brilliant.
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If you looked at the sound pattern of an old-fashioned record, it would be very spikey. But nowadays, there's no spikes - everything looks like a brick, so the quiet bits become louder. It's actually damaging because it's like listening to a drill.
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One of the things I like about music is it's an abstract art, totally abstract, where you can convey an emotion, which I find amazing.
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There was a big flash and a big boom, ... Somebody came running down the trails saying, 'Help, we need help.'
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There is a lot of back end work in photography that clients never see. There have been wonderful photographers who go out of business because they focus on the art and forget about the business.
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If you're a lead singer, then you can't afford to be sensitive. On stage, everyone looks at the lead singer, even if you don't want them to - in America, they have those massive follow spots on you all the time; it does your head in. So, if you are a lead singer and you don't toughen up, you're in the wrong job, and you have to get out.
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In the six years I've been here, there's only been one instance when we had to ask someone to leave. And they did without a fuss.
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Playing live is great, but it's not a creative thing, really. It's a reproductive thing.
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Technology is always a double-edged sword.
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Do we need to go into the circumstances of Ian’s death? Not really; they are well documented and I’ve already done that in my Joy Division book and, anyway, all the books are about Ian’s death in a way. We were very young. I was just twenty-four and, looking back now, in my early sixties, shockingly young to have to deal with any of it. We were now very, very nervous. What would happen? Would we succeed in any way now Ian had gone? Were we good enough on our own . . . without him? We were scared.
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Thatcher was wrong. People don't exist - well, they don't flourish - as individuals. Life's about swapping ideas and communicating with other people.
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I used to be a party monster, very into Acid House, which I saw as my weekend reward for working hard all week.
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Never stand in the middle of two people having a fight, because you'll always come off worse.
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I know that Get Ready isn’t considered a New Order classic but personally it’s one of my favourites, much better for me than the dreaded Republic.
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It was a bit nerve-wracking but a lot of fun.
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I knew from working with New Order that I enjoyed working with Phil Cunningham.
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Nowadays, who actually listens to the tracks on an album, anyway?
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That was the thing about Joy Division: writing the songs was dead easy because the group was really balanced; we had a great guitarist, a great drummer, a great bass player, a great singer.
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It's quite ironic I suppose, it's that thing about being in a group when you all start out as friends and then invariably end up hating each other. So I just thought they needed telling really, in case they were labouring under the apprehension that they were still friends.
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I really don't like it when members of bands slag each other off in the press. If you've got a problem, you should sort it out without going public.
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Yeah, I still feel as if I have things to do really. I'm not ready to stop.