By request, a closer look at the song that defined the transition between Joy Division and New Order. [reposted due to audio issues – not sure what happened, but I had to go back to the original source files to rebuild this!]
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Thanks for reposting. The MP3 file seems much better. The AAC file still seems to be missing one side of the audio.
Yeah – the left track (on the AAC) still seems too quiet on this repost. It is better than the first version you posted, but still not ideal.
I attached a new file to the AAC link – it won’t automatically download (I think 97% of the folks subscribing don’t want a third repost), but you can manually download, and it should be fine.
Brian – You’re probably not aware of Human Drama’s version, from their “Pinups” album – but it’s no much different than any of these… would have been a nice addition.
oops – meant “so much different”
I’ll check that out for the Bonus Tracks episode!
Wonderlick is really only the front/California half of Too Much Joy. The rhythm section is still in New York. 🙂
And as for feedback, loved the episode! I’ll take more…
Susanna and the Magical Orchestra do a lovely version. Don’t know if Youtube links work here, and the version on this clip isn’t exactly as the one I have (off a Word magazine cover CD) – different solo, but otherwise more or less the same:
And by the way, many thanks for Coverville, which is great. The only music podcast, of the many I’ve tried, that I’ve stuck with (not least because you break it into chapters, which I’ve never had any others do, but is so handy when you think yes, I’ve got the gist of that one and I’m not that keen). Always interesting, always good variety, and always professional in sound and presentation. I need to tell more people about it, again! Best wishes, Iain.
Brian, I think you were a little too rough in your introduction to Paul Young’s version of “Love Will Tear Us Apart”. It seems to be the prevailing opinion of Joy Division fans, although taken on its own (which I admit is very difficult when it comes to covers) it’s not the “happy” interpretation that many (mistakenly) believe it is. There is anguish in Young’s voice, and I don’t understand why others can’t hear it. The problem, I readily admit, is in the production, not the performance. That be placed in the lap of Laurie Latham, the producer, who otherwise does a brilliant job with the remaining tracks on “No Parlez”, one of my favorite albums of the 80s.