"The title "Unknown Pleasures" in all likelihhood refers to Proust's "Remembrance of Things Past", a divisive, drawn out autobiography of the author's wilful self-absorbed youth" (Page 82)
If that sentence does not grate then this book is definitely for you as it admirably sums up the author's approach - "Unknown Pleasures" is a recording that like Jeff Buckley's "Grace", has become near mythical as a memorable initial recording followed by the singer's early death with no time to subsequently disappoint by later output . As a result many writers on limited evidence feel able to extrapolate their views and this book is sadly no exception.
Chris Ott is clearly a long time US based devotee of the group and their output and as an American has done a lot of homework on the Mancunian rock scene of 1976-1980. He covers well how it grew out of copying the London led punk scene and was then left behind by Joy Division as they moved on from their initial incarnations as the Stiff Kittens and Warsaw. His detailed coverage of the early recordings and John Peel "Top Gear"sessions and the growing contact with Rob Gretton and Tony Wilson plus producer Martin Hannett (whose cutting edge if erratic approach to new recording techniques was used so effectively but at the cost of alienating group members by his control freak approach), is the best retelling of the story I have seen to date.
Where the book starts going astray is half way through as we move to the recordings of the songs that made it to the final LP and the remainders that were used on later releases and compilations. That Ian Curtis developed quickly as a great lyricist and singer and that he was a major catalyst with other members of the group in how songs were developed is well covered - however the hagiography with which Ott imbues him and the interaction of his private life (relying heavily on his widow's recent biography) lead to an overemphasis on the tragic suicide that occurred shortly after and little evaluation of the LP and its subsequent impact (the small sales of 15,000 in six months being little explanation of why the recording is cited in many "best of" lists). Instead what is provided is a retelling of Curtis's quick and sad decline in health and the tragic interaction of drugs and manic live performances reflecting the growth of intensity in his epilepsy seizures. One sad result is the rest of the group become a mere backdrop, which as New Order subsequently showed they were clearly not.
If that sentence does not grate then this book is definitely for you as it admirably sums up the author's approach - "Unknown Pleasures" is a recording that like Jeff Buckley's "Grace", has become near mythical as a memorable initial recording followed by the singer's early death with no time to subsequently disappoint by later output . As a result many writers on limited evidence feel able to extrapolate their views and this book is sadly no exception.
Chris Ott is clearly a long time US based devotee of the group and their output and as an American has done a lot of homework on the Mancunian rock scene of 1976-1980. He covers well how it grew out of copying the London led punk scene and was then left behind by Joy Division as they moved on from their initial incarnations as the Stiff Kittens and Warsaw. His detailed coverage of the early recordings and John Peel "Top Gear"sessions and the growing contact with Rob Gretton and Tony Wilson plus producer Martin Hannett (whose cutting edge if erratic approach to new recording techniques was used so effectively but at the cost of alienating group members by his control freak approach), is the best retelling of the story I have seen to date.
Where the book starts going astray is half way through as we move to the recordings of the songs that made it to the final LP and the remainders that were used on later releases and compilations. That Ian Curtis developed quickly as a great lyricist and singer and that he was a major catalyst with other members of the group in how songs were developed is well covered - however the hagiography with which Ott imbues him and the interaction of his private life (relying heavily on his widow's recent biography) lead to an overemphasis on the tragic suicide that occurred shortly after and little evaluation of the LP and its subsequent impact (the small sales of 15,000 in six months being little explanation of why the recording is cited in many "best of" lists). Instead what is provided is a retelling of Curtis's quick and sad decline in health and the tragic interaction of drugs and manic live performances reflecting the growth of intensity in his epilepsy seizures. One sad result is the rest of the group become a mere backdrop, which as New Order subsequently showed they were clearly not.
