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Spike | 15 YEARS OF BOOKS, MUSIC, ART, IDEAS | www.spikemagazine.com they found a wonderful lead singer, but they became Simian which are not my cup of tea. I went to see The Music in Leeds: I was taken out by their manager and fell in love with them and I spent six months arranging the new label around The Music, and at the last minute their two managers who were friends of mine brought a third manager in who was a complete twat, he wanted a bidding war and in the end signed for lots of money to Hut. It was very depressing and I was outraged for about two years. The Music weren’t that good though Tony. No, The Music were that good and they had that potential, but the way their managers took them was completely fucking wrong and ended up taking them nowhere. If we’d have put them in the right environment then they’d have created a far more important second album. So the wrong environment has just fucked them. In fact I heard someone within their camp say that to some one the other week, so yes that’s what I think about them. And as I say it’s never stopped, it’s always if I ever see a great band. When I saw Raw-T live at In The City I was blown away, there were several major labels there who were also blown away. I presumed that my job with Raw-T would be to bash them around the head when they started behaving like twats, and instead the majors all offered them crap singles deals, no one offered them a real album deal and suddenly BUY Tony Wilson books online from and the rest is history. Who’s designing the imagery for F4? I have a graphic designer who I’m very fond of called Jason Nichols who does In The City’s stuff and in it’s great having him move on from that to do the record sleeves. He did the F4 thing and I’m very happy with that. We were originally going to be called Red Cellars and there was a very clever designer called John Walsh designed a Red Cellars logo and was doing the whole thing. I took him to meet Raw-T and he met them and experienced them and got a logo from one of their boys, took it away to work on and a month later had been too busy to do it because he had more important work on. To which after a few days I exploded in a very unpleasant manner and said, ‘Fine, the most important thing in the fucking world is Raw-T so you can fuck off!’ Strangely the reason it’s not called Red Cellars is not just that my partner thinks it’s a good idea cos it relates to Factory and it avoids a 15-minute explanation of why it’s called Red Cellars. But it was when I was lying in my bunk in the Amazon rainforest doing drugs, the very night Raw-T’s first single had to go to press, and I thought if I call it Red Cellars I’m going to have to use John’s logo and I’m so angry at John for being too busy to do Raw-T, and so utterly outraged I refused to use his logo. So I needed to think up a new name, and finally thought F4. That was out of a fit of anger 560 More Spike email RSS Facebook Twitter A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Spike | 15 YEARS OF BOOKS, MUSIC, ART, IDEAS | www.spikemagazine.com at one of Manchester’s best designers for having been too busy to do Raw-T. I always say to people that the portrayal of me by Coogan as an affable fool is very sweet but in fact my daughter who is next to me will testify, I’m a truly horrible person. And you have to be to get things done. Would you ever start a new nightclub again? Yes I would but it’d be very difficult. I’d love to have somewhere like The Castle in Oldham where Raw-T go and play, it’s like a cross between an Oldham pub and 8Mile by Eminem. I’d love something like that, but then again that’s a fucking nightmare anyway, so maybe not. I’d love to do that personally but I can’t imagine it happening, I now have so many other little jobs in my life and it gets complicated but who knows maybe one day. What band in musical history do you wish you could have signed? Everyone wishes they could have signed their own Velvet Underground; that’s the history of the interesting side of rock’n’roll. We all would have liked to have our own Velvet Underground and that’s about it really. I got Joy Division, I got the Mondays and now I’ve got Raw-T and I wouldn’t complain for one moment. What were you talking about when you mentioned that music culture was based around 13 year revolutionary cycles? I used to think that there was a 13 year cycle, but BUY Tony Wilson books online from and then the revolution I expected in 2002 didn’t happen. I always think that what happens is that English kids absorb American rock’n’roll and regurgitate it with English irony and sell it back to them. But this time it didn’t happen, it was Welsh kids, one could argue that Lost Prophets and Funeral For A Friend were in some way that kinda thing I was hoping for, but it didn’t happen so I’m quite happy to accept that. But at the moment I’m very lucky to be involved with Raw-T who are following in the footsteps of Dizzee Rascal, Wylie and Mike Skinner, in that British hiphop has found its own voice which is a pretty peculiar thing to happen. I got accused on The Culture Show of jumping on a band wagon that was already happening, this was from Q magazine or NME. Whereas the guy from Hip-Hop Connection was fantastic, as in someone who actually knew what he was talking about. It hasn’t really happened yet, it’s just beginning I think. How important has Situationism been to you? I was just a fan having been introduced to it by my acid dealer who happened to be the main translator of The Revolution Of Everyday Life by Raoul Vaneigem in Britain. I was a fan and therefore referred to it a lot in terms of naming things and various bits and pieces. Although when you look back on it in the end I think the way we did it, by, as Peter Saville once said, in the entire 14 years of Factory not one decision was ever taken, EVER with an eye to profit. And that was entirely true 561 More Spike email RSS Facebook Twitter A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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