Peter Hook is the worst singer ever. Except for "Dreams Never End", on which he is awesome.

*assumes thoughtful look*

of course the only reason I can recognize this disease is that I myself own the Gun World Porn record, so hey

DB and I both know a feller named Craig DeGraff from our KUCI days. Ran into him last week at the Sparks show -- he works for Rhino now and is apparently trying to put together some sort of Factory overview collection for American release. He's very much aware of the LTM reissues and James N., who he thinks rocks. Dunno if this will be something like Palatine or not, or even if it will ever happen, but he's trying!

(He said while listening to Ogre shred his voice as various metallic noises clang in the distance.)

Revenge - some classics, definitely. For example, the two tracks with Phil Cunningham and Roger Lyons - Televive and The Wilding are ace, as are Deadbeat, Little Pig, 7 Reasons, State of Shock and Pineapple Face. On these, I think his melodic gifts battle their way through. On much of the other other Revenge stuff the murky mixing and over-complex arrangements swamp everything....and some of the thumping drum sounds are bloody awful.

On the subject of Hookys singing - he used to sing a few other songs live in the v.early days of New Order - I think there are tapes of him singing Mesh around. (I probably have one somewhere..) Also he sang Doubts Even Here on Movement. There's also the songs that Steve Morris sang live and in the Western Works studio session - I've heard Ceremony and Homage with him at the mic....and there may be others.

I will also stand up and proclaim undying love for The Other Two and You. Two absolute classics in 'The Greatest Thing' and the utterly magnificent 'Selfish' and the rest is v.good apart from the weedy 'Movin On'. TGT is a real trojan horse....a deceptively *lite* opening, holding, waiting on the same chord, then on the 'She says the strangest things...' line it all falls into place. Selfish is the inverse - pop perfection from the off, revealing the 'No sense of reason' melodic hook but holding the vocals back the first time around for effect. Gill sounds fantastic - utilitarian yet elegant, plain yet pretty, in charge yet vulnerable.