Three weeks at number one from w/e 10th September 1983
In 1991, a peculiar, almost unprecedented chart quirk occurred. Bryan Adams’ single “Everything I Do (I Do It For You)” held firm at number one for so long that his label A&M were faced with a tricky decision – should they hold back his follow-up single “Can’t Stop This Thing We Started” until it ran out of steam (which it showed no imminent signs of doing) or just put it out anyway and risk it being overshadowed?
Ultimately, A&M took the latter route, leading to the absurd spectacle of “Can’t Stop” rising, peaking and falling out of the charts before its elder brother had fallen from the top spot. Radio stations gave it some begrudging plays and DJs asked daft questions like “I wonder if he can do it again with this one?” but everyone knew the answer to that question already. In 1991 at least, Bryan Adams was going to be The Bloke With The Robin Hood Song to Mr and Mrs Woolworths.
Obviously I’m troubling you with seemingly unrelated Bryan Adams trivia because New Order were faced with a similar flattering but awkward problem in 1983. “Blue Monday” was proving to have such longevity with both British post-punk kids and common-or-garden clubbers that any follow-up single was going to find itself competing with its predecessor both critically and commercially. On the official charts “Confusion” did lead the way for a few weeks, peaking at a very respectable number 12 (the same peak position as Adams’ “Can’t Stop This Thing We Started”, serendipity fans) before being usurped by their earlier release rising back up above it. It was almost as if “Confusion” served the purpose of reminding the public that New Order had another better single in the shops at the same time.
Despite being one of New Order’s biggest eighties hits, “Confusion” doesn’t seem to have quite recovered from being overshadowed. I can’t remember the last time I heard the original mix on the radio and I don’t think I’ve ever heard it played in a club (although this is certainly an "age thing" – the US club charts point towards lots of turntable spins over there at least). It was slightly grudgingly well-reviewed at the time, with lots of luke-warm praise littered with reservations; Tom Hibbert's half-hearted verdict of "vaguely toe-tapping" in Smash Hits not being entirely atypical. It didn’t appear to be what people expected.
I have to wonder if the shadow cast by “Blue Monday” was the only problem here. Immersing myself in this single again, the first thing I’m struck by is a hesitancy and uncertainty we haven’t heard from New Order since “Everything’s Gone Green”. Bernard Sumner feels fractionally out of time with the rhythm track and strangely ill at ease with the limits of his vocals for the first couple of minutes at least. Arthur Baker was one of the most credible American producers of the era, a painfully cool operator despite his unremarkable hairy appearance, and the group sound almost cowed, desperate to impress and slot neatly alongside his plans.
Eventually everything coheres, but the boisterous, Americanised chanting of “Why can’t you see – What – You – Mean – TO – ME!” feels tacked on, like a badge of New York street credibility piercing the skin of an underfed, pale Manc kid. More than on any post-Blue Monday record of New Order’s career, the group sound like they know what they want to be rather than aware of the strengths of who they truly are, but an unexpectedly monstrous hit will often create these schisms.
