History > Fact 400 Palatine / The Factory Story / 1979-1990 | ||
Fact 400 Palatine (also available on CD as Facd 400 and cassette as Fact 400c) was the Factory Records box set, its anthology. Opting for a thematically arranged presentation rather than numerical order of Fac number (intriguing though it would be) or chronological (too obvious), Palatine was a lavish presentation. Review (from Q Magazine)Whether a four-record compilation covering Factory's history is timely self-celebration or urgent self-preservation against the recession, the label's deserved reputation as innovator and provocateur prepares the way for unqualified hosannas. And yet, 49 tracks on, the inclination is to draw breath through clenched teeth rather than party. The four albums are thematically arranged. The early years volume, Tears In Their Eyes, opens with Joy Division's Transmission and OMD's Electricity, recalling that, for Factory bands, the preoccupation with technology has been fundamental. This means receptiveness to the peculiar qualities of machine-made repetition is necessary to enjoy whole tracts of Palatine - named after Palatine Road, Factory's address. If not, A Certain Ratio's All Night Party and Flight, plus tracks by Section 25 and Stockholm Monsters are allure-free and create the wrong frame of emotion for the tragic power of Joy Division's Love Will Tear Us Apart, the warmth of Durutti Column's Sketch For Summer and James' Folklore. The dance album, Life's A Beach, is less enclosed. A Certain Ratio enter industrial funk and fun mode for Shack Up, while Kalima's Sparkle and Quando Quango's Genius are exhilarating attempts to salsa-fy British hips. However, they do go on, with New Order's The Beach, Cabaret Voltaire's Yashar and Happy Mondays' chic-ugly 24 Hour Party People outstaying their welcome. The next phase is The Beat Groups and, apart from Durutti Column's delightful Les Paul-style workout on Otis, there's a flavouring of guitar on The Distractions' jangly Time Goes By So Slow, The Railway Children's twinkler Brighter and James' Hymn From A Village ("Be a songsmith crook / Study depth in style," they advise). But too often dark and heavy tones override, the colourlessness imposed by an upfront, dull bass figure - a feature so prevalent throughout the compilation it seems a label characteristic. Finally, Selling Out covers Factory's recent chart-designed and less aurally strenuous material. If a pure pop licence was issued just the once, for Electronic's Getting Away With It, New Order's True Faith and Happy Mondays' Step On (the Oakenfold / Osbourne remix) feel like breakthroughs. Northside and Cath Carroll share the welcome lightness without coming on like legends in the making. If this compilation does express the Factory story, then it's been about sounds rather than songs, a focus on style which rarely time-travels well. Factory's contribution is probably better enjoyed, quite simply, through their best artists' best albums - and the subsequent careers of the many who slipped away, from OMD through James to The Railway Children. [2 stars] Phil SutcliffeTracklisting
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