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15 august 2013 :: belated coolness: sumner and marr doing getting away with it at jodrell bank a month ago.
6 march 2013 :: johnny marr doing forbidden city and getting away with it live.
15 january 2013 :: emi is going to reissue electronic’s first album this march, with an extra cd of rarities. unusually, the second disc also contains songs from their later years; the tracklisting is as follows: disappointed (single mix), second to none (edit), lean to the inside (edit), twisted tenderness (guitar/vocal mix), idiot country two, free will (edit), until the end of time (edit), feel every beat (edit), getting away with it (instrumental), turning point (edit), visit me (edit), and twisted tenderness (instrumental). the set can be pre-ordered from amazon.co.uk and recordstore.co.uk.
23 october 2009 :: bernard sumner’s new band bad lieutenant have been playing electronic’s tighten up on their current tour; two videos of the rendition at heaven in london have appeared on youtube.
15 june 2009 :: johnny marr was interviewed for the talking shop segment on the bbc news website on saturday. he again singles out get the message as the best song he’s written: “it’s great because i have no idea how it happened — i can remember starting with a bassline. ten minutes later the backing track was done, and then this person who i find interesting and unfathomable came in and wrote these words which were interesting and unfathomable with an amazing atmosphere. it seemed like it belonged to somebody else. what was great about that song was that it didn’t sound like the smiths, and it didn’t sound like new order. that was why i thought we’d done something really unique.” thanks to nick mckay for the heads up.
15 march 2009 :: brief mention of the los angeles gigs in this colourful pet shop boys interview conducted by johnny marr. neil tennant: “this was after chris and i had co-written the patience of a saint and getting away with it. you invited us to go because you were supporting depeche mode for two nights at the dodger stadium. it’s very big, about 60,000 people. i just remember chris and i had a different expensive designer outfit for each day, we were so different from you. we had a make-up artist, we were pop stars. you and bernard turned up in what you were wearing. on the second night, in the winnebago, backstage, bernard was lying on the bed with a sign on his chest: ‘don’t wake me up until it’s time to go on stage’. he used to have to drink pernod to fire him up. and a bucket beside him to be sick into.”
photo by kevin cummins.
9 march 2009 :: emi have recently put several electronic videos on youtube, all from the best of dvd: getting away with it (us), get the message, feel every beat, disappointed, forbidden city, for you and vivid. all are available in high quality. other uploads seem to have been removed, including late at night and the first version of getting away with it.
5 march 2009 :: bernard sumner was interviewed by will hodgkinson for the sky arts programme songbook, broadcast today at 8pm gmt. he also played acoustic versions of four songs with phil cunningham and jake evans, including electronic’s getting away with it. view this thread on new order online for further airdates and video downloads. update :: watch an excellent upload of getting away with it here.
13 february 2008 :: johnny marr talks about some of his best albums in this month’s uncut magazine, in a piece quite similar to last august’s retrospective in q. on electronic’s first album (‘the supergroup special’), he says: “bernard and i had always known each other — i played with him in 1983 on a quando quango record! but madchester, that time was pretty amazing and somewhat unfathomable, really. there was an incredible explosion of creativity and newness in fashion and music and design — backsmack in the middle of my hometown. and often backsmack in the middle of my kitchen! it was really necessary. the smiths and our aesthetic dominated the underground music scene so much that when we stepped aside the inevitable change was allowed to come blasting through.
“i remember what would often happen with electronic is that we recorded at my house and, after having worked all day, i would say to the engineer, ‘you can work on the hi-hat sound and i’m going to go and hang out for a couple of hours.’ and about 3:30 in the morning, three cars would arrive outside my house with a bunch of people falling out, or dancing out, and we’d all pile into the control room. and i’d start working on the track. i looked over and in the corner bez was talking to someone, and i got the pitch wheel of the tape machine and slowed one of the tracks — it was ‘feel every beat’ — down until he started grooving. i knew then that was the right tempo. i used him as a human metronome. at the time he was probably the best indication of when something was in the right swing.”