DeViCom Biografie: A Certain Ratio

A Certain Ratio f. 1997 in Manchester, England

No UK has crystallized independent, punk-influenced funk more than Manchester's A Certain Ratio. The original line-up comprised Jeremy Kerr (bass), Simon Topping (vocals, trumpet), Peter Terel (guitar), MArtin Moscrop (guitar, trumpet), Martha Tilson (vocals, ex-Occult Chemistry), who joined a little later, although she had left by 1982, and Donald Johnson (drums) who replaced a drum machine. They signed to Factory Records in 1979 for the cassette-only release The Graveyard and the Ballroom. One side was produced at Graveyard Studios, the other live, supporting Talkinh Heads at London's Electric Ballroom.After releasing All Night Party in September 1979, there was a hiatus before "Flight",a UK Independent Top 10 hit over a year later. In the meantime, the band had teamed up with Factory's European sister company Benelux, for a cover of Banbarra's mid-70s funk classic "Shack Up", in July 1980. This edgy but rhythmic version offered an excellent snapshot of the band's innovative studio technique. To Each..., the band's official debut album, attracted BBC disc jockey John Peel in 1981, a year that also yielded "Do the Du" (officially intended for release in the USA), and in December "Waterline" also fared well. 1982 kicked off with a move from the independent to the national charts as Sextet further established the band's reputation. Like To Each..., Sextet housed an intriguing, mostly instrumental collection hinged around funk rhythms. A 12-inch single for Benelux, "Guess Who", surfaced in July, followed by the Knife Shits Water EP in October, coinciding with the release of I'd Like to See You Again. The band also issued an obscure 12-inch single on the Rock Steady label, "Abracadabra", under the guise of Sir Horatio, in September 1982. A year later, "I Need Someone Tonight" was released, reaching the UK Independent Top 10. Topping and Terel had departed, to be replaced by Andy Connell, and Brazilia became the band's first project of 1985, preceding "Wild Party" in July. Those in anticipation of a new ACR album had to wait until the end of 1986 for Force, although a compilation, The Old and the New, had provided some consolation earlier in the year. "Mickey Way" promoted Force and continued ACR's run of the Independent hits. by 1987, the band had outgrown the confines of mere cult status and, looking to branch out, signed with A&M Records. To bridge the gap, the Dojo label issued Live in America in February, alongside "Greetings Four", for the European label Materiali Sonari. It was not until the summer of 1989 that new ACR product arrived, and both "The Big E" and "Backs to the Wall" revealed a shift towards a more accessible sound. However, neither these, nor "Your Blues Eyes" in October, the Four for the Floor EP in February 1990, nor "Won' Stop Loving You" in May, could provide that elusive hit. As a result September 1989's Good Together made little impact and ACR left A&M Records soon afterwards. The group then moved to New Order manager Rob Gretton's Rob's Records, although Creation Records reissued their back catalogue and also unveiled a sampler album of remixes from their vast duiscography (including contributions from Electronic and 808 State). Their experimental work and love of collage material has ensured their status as one of the most uncompromisingly original acts working in the post-punk era. Change the Station was the first album of new ACR material in seven years.