More debut albums should be so amusingly perverse with its titles -- and there's the original vinyl sleeve, which consisted of sandpaper precisely so it would damage everything next to it in one's collection. Released in the glow of post-punk fervor in late-'70s Manchester, one would think Return would consist of loud, aggressive sheet-metal feedback, but that's not the way Vini Reilly works. With heavy involvement from producer Martin Hannett, who created all the synth pieces on the record as well as producing it, Reilly on Return made a quietly stunning debut, as influential down the road as his labelmates in Joy Division's effort with Unknown Pleasures. Eschewing formal "rock" composition and delivery -- the album was entirely instrumental, favoring delicacy and understated invention instead of singalong brashness -- Reilly made his mark as the most unique, distinct guitarist from Britain since Bert Jansch. Embracing electric guitar's possibilities rather than acoustic's, Reilly fused a variety of traditions effortlessly -- that one song was called "Jazz" could be called a giveaway, but the free-flowing shimmers and moods always revolve around central melodies. "Conduct," with its just apparent enough key hook surrounded by interwoven, competing lines, is a standout, turning halfway through into a downright anthemic full-band rise while never being overbearing. Hannett's production gave his compositions a just-mysterious-enough sheen, with Reilly's touches on everything from surfy reverb to soft chiming turned at once alien and still warm. Consider the relentless rhythm box pulse on "Requiem for a Father," upfront but not overbearing as Reilly's filigrees and softly spiraling arpeggios unfold in the mix -- but equally appealing is "Sketch for Winter," Reilly's guitar and nothing more, a softly haunting piece living up to its name. The 1996 reissue is the edition to search for, containing six excellent bonus tracks. Two are actually solo Hannett synth pieces from the sessions, but others include an initial tribute to Joy Division's Ian Curtis, "Lips That Would Kiss," and "Sleep Will Come," featuring the group's first vocal performance thanks to A Certain Ratio member Jeremy Kerr. by Ned Raggett
Tracklist :
1 Sketch For Summer 3:02
2 Requiem For A Father 5:07
3 Katharine 5:29
4 Conduct 5:02
5 Beginning 1:40
6 Jazz 1:39
7 Sketch For Winter 2:25
8 Collette 2:23
9 In "D" 2:26
Related Works
10 Lips That Would Kiss 3:49
11 Madeleine 3:04
12 First Aspect Of The Same Thing 3:41
Written-By – Martin Hannett
13 Second Aspect Of The Same Thing 2:59
Written-By – Martin Hannett
14 Sleep Will Come 1:48
Producer – Vini Reilly
Vocals – Jeremy Kerr
15 Experiment In Fifth 3:35
Producer – Vini Reilly
Credits :
Bass – Pete Crooks (pistas: 1 to 11)
Drums – Toby (pistas: 1 to 11)
Electronics [Switches] – Martin Hannett (pistas: 1 to 13)
Guitar – Vini Reilly
Written-By – Vini Reilly (pistas: 1 to 11, 14, 15)
segunda-feira, 11 de julho de 2022
THE DURUTTI COLUMN - The Return Of The Durutti Column (1980-1996) FLAC (tracks+.cue), lossless
THE DURUTTI COLUMN - LC (1981-1996) RM | FLAC (tracks+.cue), lossless
After some abortive collaborations, Reilly hooked up with a regular drummer, talented fellow Mancunian Bruce Mitchell, to create LC, Durutti's second full release. Self-produced by Reilly but bearing the unmistakable hints of his earlier work with Martin Hannett, LC, named after a bit of Italian graffiti, extends Reilly's lovely talents ever further, resulting in a new set of evocative, carefully played and performed excursions on electric guitar. Mitchell's crisp but never overly dominant drumming actually starts the record off via "Sketch for Dawn I," added to by a simply captivating low series of notes from Reilly that builds into a softly triumphant melodic surge, repeating a core motif again and again. His piano playing adds a perfect counterpart, while the final touch are his vocals -- low speak-singing that sounds utterly appropriate in context, mixed low and capturing the emotional flavor at play via delivery rather than lyrical content. As great as Return is, this is perhaps even better, signaling a full flowering of Reilly's talents throughout the album. Mitchell proves him time and again to be in perfect sync with Reilly, adding gentle brio and understated variation to the latter's compositions. Nowhere is this more apparent than on "The Missing Boy," the album's unquestioned highlight. Written in memory of Ian Curtis of Joy Division, on it Mitchell adds quick, sudden hits contrasting against the low, tense atmosphere of the song, while fragile piano notes and Reilly's own regret-tinged, yearning vocals complete the picture. For all the implicit melancholy in Durutti's work, there's a surprising amount of life and energy throughout -- "Jaqueline" is perhaps the standout, with a great central melody surrounded by the expected Reilly elaborations and additions in the breaks. As with the rest of Durutti's mid-'90s reissues, the expanded version of LC appears full to the brim with intriguing bonus tracks galore. The first three capture an abortive collaboration with another Manc drummer, funk performer Donald Johnson. A contribution to a holiday album, "One Christmas for Your Thoughts," finds Reilly back with drum machines, while the very first Reilly/Mitchell collaborations, "Danny" and "Enigma," round out this excellent release. by Ned Raggett
Tracklist :
1 Sketch For Dawn I 5:19
2 Portrait For Frazer 3:33
3 Jacqueline 2:19
4 Messidor 2:33
5 Sketch For Dawn II 4:35
6 Never Known 6:46
7 The Act Committed 5:04
8 Detail For Paul 2:01
9 The Missing Boy 6:38
10 The Sweet Cheat Gone 2:49
Related Works
11 For Mimi 4:34
12 Belgian Friends 5:24
13 Self Portrait 4:41
14 One Christmas For Your Thoughts 4:25
15 Danny 3:39
16 Enigma 3:00
Credits :
Percussion – Bruce Mitchell (pistas: 1 to 10)
Written-By, Vocals, Instruments – Vini Reilly 
THE DURUTTI CULUMN - Live at the Venue London (1983-2004) FLAC (tracks+.cue), lossless
Side One
1 Party 2:45
2 Mother From Spain 3:03
3 Jacqueline 5:48
4 Conduct 2:40
5 Sketch For Summer 2:29
6 The Beggar 5:01
Side Two
7 Never Known 5:04
8 The Missing Boy 6:02
9 Sigh Becomes A Scream 5:40
10 Self Portrait 3:21
11 Friends In Belgium 3:03
Credits :
Guitar, Piano, Vocals – Vini Reilly
Percussion – Bruce Mitchell
domingo, 10 de julho de 2022
THE DURUTTI CULUMN - Another Setting (1983-2015) FLAC (tracks+.cue), lossless
Continuing -- perhaps to a fault -- the sound and style of LC, Another Setting is a quite fine effort from Reilly and Mitchell, which makes up for quality what it lacks in surprising reinvention. Whereas LC was a clear leap forward from an impressive start, Another Setting tries slight variations instead, otherwise sticking to the same combination of Reilly's elegant guitar work; Mitchell's subtle, effective drum lines; and a dollop of distanced singing and keyboard work from Reilly on top of that partnership. Given that this combination is already so distinctly and uniquely the band's, though, it's hard to complain too much when hearing numbers like the gently tense "Bordeaux" and the emotional, oboe-tinged crawl of "Smile in the Crowd," later covered by Depeche Mode's Martin Gore. Opening track "Prayer" is actually one of the best things he's done, a softly rising, meditative piece with soft synth horns mixing with a brief Reilly guitar part just so. "Francesca," meanwhile, demonstrates his skills at combining a central melody with subtle improvisation and development throughout the rest of the track, again double-tracking his pieces to create a hypnotic effect. These and many other moments clearly signal where a fair amount of Cocteau Twins' work would eventually go, not to mention other later avatars of experimental guitar calm like Talk Talk and Piano Magic. Mitchell's standout moments crop up throughout, one of the best being "The Beggar." Giving just enough drumming heft and power to be as anthemic as an early U2 song without sounding ridiculously overwrought at all, it's a grand fusion of Durutti's general restraint and a more straightforward punch. The sometimes easy-to-miss humor in Durutti also remains present, as the title of one Morricone-tinged number puts it, "For a Western." Its 1998 reissue is a humdinger -- besides including the entirety of the quite rare Amigos Em Portugal release, a five-song EP released only in that country, both sides of the "Favourite Descending Intervals"/"To End With" single fill out the disc. by Ned Raggett
Tracklist :
1 Prayer 3:27
2 Response 1:32
3 Bordeaux 3:34
4 For A Western 2:50
5 The Beggar 4:59
6 Francesca 3:04
7 Smile In The Crowd 5:04
8 You've Heard It Before 4:40
9 Dream Of A Child 5:24
10 Second Family 2:40
11 Spent Time 4:21
+
12 I Get Along Without You Very Well 3:39
Vocals – Lindsay Reade
Written-By – Hoagy Carmichael
13 Love Fading 4:09
14 For Noriko 4:07
15 Bordeaux (Live) 6:06
Mixed By [Live Mix] – Stuart James
Performer – Andy Connell
16 The Beggar (Live) 4:38
17 Piece For Out Of Tune Piano 12:55
Piano – Vini Reilly
Credits :
Percussion – Bruce Mitchell (pistas: 1 to 11)
Performer – Bruce Mitchell (pistas: 13 to 16), Vini Reilly (pistas: 13 to 17)
Songwriter – Vini Reilly (pistas: 1 to 11, 13 to 17)
Trumpet – Simon Topping (pistas: 1 to 11) 
THE DURUTTI CULUMN - Amigos Em Portugal (1983-2005) RM | FLAC (tracks+.cue), lossless
Amigos Em Portugal
1 Amigos Em Portugal 3:58
2 Menina Ao Pé Duma Piscina 3:23
3 Lisboa 4:10
4 Sara E Tristana 2:56
5 Estoril À Noite 2:52
6 Vestido Amarrotado 3:48
Dedications For Jacqueline
7 Wheels Turning 2:53
8 Lies Of Mercy 2:46
9 Saudade 2:28
10 Games Of Rhythm 2:07
11 Favourite Descending Intervals 4:50
12 To End With 1:23
Credits :
Guitar, Piano, Vocals – Vini Reilly
Percussion – Bruce Mitchell
THE DURUTTI CULUMN - Without Mercy (1984-1998) FLAC (tracks+.cue), lossless
Marking a further progression in the overall Durutti sound, Without Mercy both an expanded lineup and sense of what could be done with Reilly's compositions. Consisting of a two-part full-album instrumental piece, Without Mercy integrates the slight hints of classical orchestration and accompaniment from Another Setting more fully via a slew of additional players. Besides the indefatigable Mitchell on percussion and Reilly on guitar, bass, and keyboards, performers on everything from viola to cor anglais and trumpet flesh out Without Mercy's sound to newly striking heights. Reilly's work on piano sets the initial mood for the song, a sound by now as intrinsic to Durutti's approach as his guitar work, capturing both tender beauty and deep melancholy just so. Manaugh Fleming's oboe and Tim Kellet's trumpet start to step in as well as Reilly's guitar, adding in here and there as needed while the track unfolds further to another typically brilliant Reilly guitar solo. From such a striking start, the song continues to unfold over the album's full length. It's very self-consciously romantic (track and album are in fact named for Keats' noted poem La Belle Dame Sans Merci), but the combination of new and old instruments, plus the continuation of the unique Durutti sheen and shine in the recording quality, results in quietly touching heights. Blaine Reininger's viola and violin and Caroline Lavelle's cello add even more classical atmosphere, while the restraint they exercise as well as all the other performers prevent things from becoming a bloated prog-rock monstrosity. Then again, the funky horns and beats about eight minutes into the second part don't hurt either. Even at its busiest, reflection and subdued but not inactive performing are the key, with clear echoes of Erik Satie's work at many points, while Reilly is almost always, either via keyboards or his guitar, front and center. The 1998 reissue matches a slightly earlier CD version with the inclusion of the Say What You Mean, Mean What You Say EP. Also appearing are two separate, very stripped-down pieces recorded around the same time, one of which, the wonderful "All That Love and Maths Can Do," features violist John Metcalfe in his first recorded effort with Durutti. by Ned Raggett
Tracklist :
1 Without Mercy 1 18:49
Bass Guitar, Piano, Drum Machine [DMX] – Vini Reilly
Cello – Caroline Lavelle
Congas, Drum Machine [DMX] – Bruce Mitchell
Engineer – Michael Johnson
Engineer [Assistant] – Nigel Beverley, Tim Dewey
English Horn, Oboe – Maunagh Fleming
Producer – Anthony Wilson, Michael Johnson
Viola – Blaine Reininger
2 Without Mercy 2 19:38
Bass Guitar, Piano, Drum Machine [DMX] – Vini Reilly
Cello – Caroline Lavelle
Congas, Drum Machine [DMX] – Bruce Mitchell
Engineer – Michael Johnson
Engineer [Assistant] – Nigel Beverley, Tim Dewey
English Horn, Oboe – Maunagh Fleming
Producer – Anthony Wilson, Michael Johnson
Viola – Blaine Reininger
Say What You Mean, Mean What You Say
3 Goodbye 1:52
4 The Room 6:03
5 A Little Mercy 3:40
6 Silence 7:47
7 E.E. 4:37
8 Hello(w) 1:09
Related Works
9 All That Love And Maths Can Do 3:36
Viola – John Metcalfe
10 The Sea Wall 3:28
Credits :
Guitar, Written-By – Vini Reilly
Percussion – Bruce Mitchell (pistas: 1 to 8)
Saxophone – Mervyn Fletcher (pistas: 1 to 8)
Trombone – Richard Henry (pistas: 1 to 8)
Trumpet – Tim Kellett (pistas: 1 to 8)
Violin – Blaine Reininger (pistas: 1, 2, 10) 
THE DURUTTI CULUMN - Domo Arigato (1985) FLAC (tracks+.cue), lossless
A live recording in Japan from 1985, where Durutti and Reilly had built up a considerable reputation and fan base, Domo Arigato is a well-recorded and performed treat, showing the then-current lineup performing songs old and new for an appreciative audience. At this point, Reilly and Mitchell performed with trumpeter Tim Kellet and violist John Metcalfe, who were able to help replicate more recent, classically inspired songs and to reinterpret earlier material as well with skill and style, along with throwing in a completely new song or two along the way. Starting with the first Durutti track ever, Return's "Sketch for Summer," prefaced by as low-key an introduction from Reilly as anyone could ever deliver, Domo Arigato brings the group's studio work to exquisite life. Hearing Mitchell's percussion work in addition to some gentle drum machine pacing, rather than the straightforward rhythm box of the original, makes for wonderful listening, while Reilly's guitar work is unsurprisingly excellent. Immediately followed up with a triumphant, slightly extended version of LC's "Sketch for Dawn" that hits a polite but effective dance groove and last charging solo toward its end, it makes for a wonderful one-two punch. Without Mercy appears via selections from that lengthy work, including the separate Say What You Mean reduction "A Little Mercy" and "Mercy Dance," which takes the distinctly funky part of the composition and turns it into a quick, fun jam. Kellet and Metcalfe do a fine job interpreting the fuller arrangements and performances from that album onto their respective instruments, unavoidably losing some of the variation but none of the attractive complexity. If a sole highlight had to be picked, the performance of the Ian Curtis tribute "The Missing Boy" would likely have to be it, building on the fragile energy and wistful remembrance from the original in spades to result in a powerful interpretation, Reilly's singing echoed from a far depth. The 1998 reissue includes three studio works recorded around the same time, starting with the fine L.A. tribute "Our Lady of the Angels," partially recorded in the city itself. Equally intriguing is the group's first recorded cover version, the Jefferson Airplane classic "White Rabbit," with guest vocals from Debi Diamond. by Ned Raggett
Tracklist :
1 Sketch For Summer 2:22
2 Sketch For Dawn 4:50
3 Mercy Theme 2:16
4 Little Mercy 10:04
5 Jacqueline 5:35
6 Dream Of A Child 6:37
7 Mercy Dance 3:45
8 The Room 4:40
9 E.E. 4:09
10 Blind Elevator Girl 8:12
11 Tomorrow 2:50
12 Belgian Friends 3:04
13 Missing Boy 7:45
14 Self Portrait 2:51
15 Audience Noise 0:54
Credits :
Percussion, Xylophone, Drum Machine [DMX] – Bruce Mitchell
Songwriter, Vocals, Guitar, Synthesizer [DX-7], Piano – Vini Reilly
Trumpet – Tim Kellett
Viola – John Metcalfe 
THE DURUTTI CULUMN - Circuses and Bread (1986-2007) RM FLAC (tracks+.cue), lossless
Durutti's fifth studio album finds the core Reilly/Mitchell/Kellet/Metcalfe lineup of the mid-'80s still in excellent form, steering back from the lengthy excursion of Without Mercy in favor of shorter songs typical of Durutti's other recorded work. While the overall style and mood of the performers had little changed, Reilly in particular remains a master of his art, able to progress and experiment without making a big deal of it, and whose sound remains so unique still that almost any recording of it is worthwhile. Starting with the fine "Pauline," with an excellent viola line from Metcalfe helping to set the tone, Circuses and Bread doesn't radically advance Durutti so much as it codifies it further. One of his most wracked songs ever appears midway through -- "Royal Infirmary," whose combination of piano, trumpet, and gunfire almost seems like a reference to World War I, and which likely influenced similar efforts focusing on that conflict from Piano Magic and possibly even Mark Hollis. Reilly's singing in places is stronger than ever -- while still generally understated and subtle, there's less echo and a clearer, crisper recording quality. In his playing, there's slightly more of a willingness to try more common guitar approaches -- consider the strung-out solo on "Hilary," which while buried in the mix provides a near acid rock counterpoint to the usual crisp shimmer that's more upfront. Metcalfe's lines and string plucks add further fine drama, Mitchell is excellent and varied as always in his percussion approaches, and Kellet comes up with some real winners, like the mournful brass on "Street Fight." Concluding with some lengthy, exploratory tracks, including the minimal progression of "Black Horses" and "Blind Elevator Girl," Circuses and Bread is another Durutti highlight. In a curious footnote, however, it remains the sole Durutti album from the 1980s not reissued in the comprehensive late-'90s remastering/re-releasing program via Factory Once Records. Quite why this is the case remains unclear. by Ned Raggett
Tracklist :
1 Pauline 2:47
2 Tomorrow 4:05
3 Dance II 5:39
4 Hilary 3:15
5 Street Fight 4:04
6 Royal Infirmary 4:20
7 Black Horses 8:31
8 Dance I 5:00
9 Blind Elevator Girl (Osaka) 10:19
+
10 All That Love And Maths Can Do 3:37
11 I Get Along Without You Very Well 3:39
Vocals – Lindsay Reade
Written-By – Hoagy Carmichael
12 Verbier (For Patti) 2:40
13 The Aftermath 4:26
14 A Silence 4:43
15 Cocktail 2:07
16 Telephone Call 1:43
17 Mirror A 2:10
18 Mirror B 3:44
Credits :
Written-By – Vini Reilly (pistas: 1 to 10, 12 to 18)
THE DURUTTI COLUMN - A Night in New York (1987-1999) RM | FLAC (image+.cue), lossless
This is the CD reissue of Live at the Bottom Line New York, which was originally released on cassette in 1987 and is presented here with one bonus track added and tape hiss subtracted. The Durutti Column is really just guitarist Vini Reilly, but for this performance he is helped out by violist John Metcalfe and percussionist Bruce Mitchell. Reilly's forte is the sweet-toned, slowly evolving instrumental. The aptly named "Arpeggiator" makes as good an introduction to his art as any; it's built on a repeating cascade of guitar arpeggios around which the drums beat politely while the viola slithers snakily in the background. Other tracks, such as "Our Lady of the Angels" and "Miss Haynes," make more extensive use of the delay pedal, to sometimes haunting and always lovely effect. Music this repetitive shouldn't be as consistently interesting as Reilly's is, and the fact that he can pull it off is a credit to his impressive taste and musicianship. His singing, however, is a credit to neither, and it mars the otherwise very pleasant "Missing Boy," "U.S.P." (the CD bonus track) and "Tomorrow." Recommended anyway. by Rick Anderson
Tracklist :
1 Prayer 3:42
2 Arpeggiator 3:49
3 Our Lady Of The Angels 5:11
4 Pol In B 3:03
5 Miss Haymes 5:46
6 For Mother 5:29
7 Requiem 3:40
8 Jacqueline 5:12
9 Elevator Sequence 5:21
10 Missing Boy 7:50
11 U.S.P. 8:24
12 Tomorrow 3:10
Credits :
Performer – Bruce Mitchell, John Metcalfe, Vini Reilly 
quinta-feira, 7 de julho de 2022
THE DURUTTI CULUMN - The Guitar and Other Machines (1987-1996) RM | FLAC (image+.cue), lossless
Following up the band's second live album, A Night in New York, Durutti's composition changed slightly, with both Kellet and Metcalfe off to pursue other ventures, the former ending up in Simply Red. The core Reilly/Mitchell duo settled down in studio to create another striking development in Durutti's story, The Guitar and Other Machines. So named because of Reilly's choice to explore and use newer instruments, specifically a Yamaha Sequencer and a DMX Drum Machine among others, while also trying out new approaches with his guitar playing, first signaled on Circuses and Bread. Opening track "Arpeggiator," one of several cuts originally previewed on A Night in New York, gives a sense as to the result. There's a more straightforwardly soaring lead guitar line; quick, gently perky synth loops; a heavy drum punch; additional strings; and other touches to fill out the busy but strong arrangement. While technology in general was no stranger to the band, these instruments and approaches were, resulting in a generally lusher record than most recorded by Durutti before it, with more rather than fewer instruments being the key motif while still retaining an economy of performance. Both Metcalfe and Kellet appeared on an album highlight, "When the World," recalling the band's mid-'80s highlights while Reilly turns in a surprisingly loud, kick-ass solo, contrasting his acoustic work on the immediately following "U.S.P." Otherwise, a variety of other performers assisted the duo as needed, including producer Stephen Street, who sat in on bass on "English Landscape Tradition," and guest singers Stanton Miranda and Pol (a high point of "When the World" who ironically enough doesn't appear on "Pol in B"). Rob Gray's mouth organ work adds a nicely rootsy feel to "What Is It to Me (Woman)" and "Jongleur Grey," a notable contrast against Durutti's generally futurist approach. Continuing the string of excellent Durutti reissues, its 1996 reappearance included several other studio tracks done around that time, notably the moody and mysterious "LFO Mod," which only appeared on the Valuable Passages compilation in the U.S., and "Dream Topping," featuring a reunion with A Certain Ratio singer Jeremy Kerr. Concluding the reissue are four further tracks from a performance at Peter Gabriel's WOMAD festival, with guest appearances from Chinese opera singer Liu Sola and Swing Out Sister keyboardist Andy Connell, both of whom would feature on the Vini Reilly album. Ned Raggett
Tracklist :
1 Arpeggiator 4'05
Written-By, Arranged By – Mitchell, Reilly
2 What Is It To Me (Woman) 3'47
Harmonica [Mouth Organ] – Rob Grey
3 Red Shoes 3'13
Vocals – Pol, Stanton Miranda
4 Jongleur Grey 2'42
Harmonica [Mouth Organ] – Rob Grey
5 When The World 5'14
Percussion – John Metcalfe
Trumpet – Tim Kellet
Vocals – Pol, Stanton Miranda
6 U.S.P. 2'24
7 Bordeaux Sequence 5'52
Vocals – Pol
8 Pol In B 3'08
9 English Landscape Tradition 4'49
Bass – Stephen Street
Written-By, Arranged By – Metcalfe, Reilly
10 Miss Haymes 5'15
11 Don't Think You're Funny 1'41
Related Works
12 LFO Mod 6:24
13 Dream Topping 3'01
Written-By – Jeremy Kerr, Simon Topping, Stuart James
14 28 Oldham Street 4'58
Producer – Nick Garside, Stuart James
Live At WOMAD
15 Otis 5:32
16 English Landscape Tradition 3:19
17 Finding The Sea 5:15
18 Bordeaux 6:06
Credits :
Computer [Computed], Engineer – Paul Miller (pistas: 1 to 8, 10)
Written-By, Performer, Producer – Vini Reilly
THE DURUTTI CULUMN - Obey the Time (1990-1998) FLAC (image+.cue), lossless
Tracklist :
1 Vino Della Casa Bianco 1:02
2 Hotel Of The Lake 1990 5:16
3 Fridays 4:10
4 Home 5:39
5 Art And Freight 3:32
Drums – Bruce Mitchell
6 Spanish Reggae 4:58
7 Neon 6:30
8 The Warmest Rain 6:51
9 Contra-Indications 4:11
Computer [Computed], Engineer – Andy Robinson
10 Vino Della Casa Rosso 1:35
Credits :
Computer [Computed], Engineer – Paul Miller (pistas: 1 to 8, 10)
Written-By, Performer, Producer – Vini Reilly
THE DURUTTI CULIMN - Lips That Would Kiss (1991-2007) RM | FLAC (tracks+.cue), lossless
Originally released on Factory Benelux in 1991 as that label was winding down operations, Lips That Would Kiss was therefore exceedingly rare until its reissue by the stalwart collector's label LTM in early 2008. Lips That Would Kiss is an essential Durutti Column document for fans. Gathering 19 rare and unreleased tracks recorded between 1980 and 1984, this CD fills in the picture sketched by the first four albums by Vini Reilly and associates, between 1979's minimalist post-punk outing The Return of the Durutti Column and 1984's chamber music experiment Without Mercy. Both sides of two rare and outstanding singles, 1980s limpid "Lips That Would Kiss"/"Madeleine" (the last Durutti Column release produced by Factory's in-house genius Martin Hannett) and 1981's chillier "Enigma"/"Danny," are here, as well as 1982's 2 Triangles EP (including the lengthy and unfortunately descriptive "Piece for Out of Tune Grand Piano") and a previously unreleased outtake from those sessions. Reilly's contributions to the legendary From Brussels with Love and The Fruit of the Original Sin, released by the artsy Belgian indie Les Disques du Crepuscule, finish off the set's previously released material, leaving nearly half of the disc for material from the previously unreleased Short Stories for Pauline. Recorded in Brussels with violinist Blaine L. Reininger (Tuxedomoon) and drummer Alain LeFebvre backing Reilly's plaintive guitar and piano improvisations, the album was initially supposed to come out on Factory Benelux in late 1985, but its release was scrubbed due to a competing newer release on the mothership label, the live album Domo Arigato. It's a shame, because these nine tracks make a convincing bridge between the original delicate, folk-influenced miniatures of the Durutti Column's early releases and the near-new age pop/jazz/classical fusion that took hold starting with the two side-long pieces that made up Without Mercy. Annoyingly, this is not the complete album: the rest of the album appears as bonus tracks on LTM's contemporaneous reissue of 1986's Circuses and Bread, where they don't make nearly as much musical or thematic sense; dismantling this obscure and after-the-fact anthology to release the entirety of Short Stories for Pauline as originally intended, plus a dedicated singles-and-compilation-tracks anthology, and the reissue of Circuses and Bread minus the anachronistic material, might have better suited the Durutti Column's occasionally difficult to parse but almost always worthwhile history. Stewart Mason
Tracklist :
1 La Douleur 2:29
2 Madeleine 3:00
3 Lips That Would Kiss 3:45
4 Danny 3:37
5 Enigma 3:00
6 The Sea Wall 3:20
7 Snowflakes 4:22
8 Little Horses Of Tarquina 1:40
9 Experiment In Fifth 3:34
10 Take Some Time Out 3:30
11 At First Sight 4:15
12 Journeys By Vespa 3:19
13 Destroy, She Said 3:44
14 The Square 3:58
15 Hommage To Martinů 3:07
16 Piece For An Ideal 2:08
17 Zinni 5:59
18 Favourite Painting 4:49
19 Piece For Out Of Tune Grand Piano 12:54
THE DURUTTI COLUMN - Red Shoes (1992) FLAC (tracks+.cue), lossless
1 Red Shoes 3:14
2 When The World (Version) 4:28
3 For Madeline (II) 4:46
4 Pete's Riff 6:40
Composed By – Pete Townshend
5 For Zinni (III) 2:51
6 The Crowned Goddess 2:54
7 For Rebecca 3:53
8 Song For Les Preger 2:41
Greetings Three
9 Florence Sunset 5:50
10 All That Love And Maths Can Do 3:33
Composed By – John Metcalfe
Written By – Vini Reilly and John Metcalfe
11 San Giovanni Dawn 3:55
12 For Friends In Italy 4:35
Credits :
Composed By [All Songs Composed By] – Vini Reilly (pistas: 1 to 3, 5 to 12)
Performer [Performed By] – Bruce Mitchell (pistas: 9 to 12), John Metcalfe (pistas: 9 to 12)
Performer [Performed By], Producer [Produced By] – Vini Reilly
THE DURUTTI COLUMN - Sex & Death (1994) FLAC (image+.cue), lossless
The first Durutti release on the reorganized Factory Too label, Sex and Death is Reilly once again coaxing lovely magic from his chosen instruments -- no change there, then. With the ever-present Mitchell assisting him on drums and another variety of assisting players -- old bandmate Metcalfe back again with some viola, album co-producer Stephen Street helping with a bit of bass (as does New Order's Peter Hook), three guest singers, and more -- Reilly again serves up a smart set of songs. His generally up-to-the-minute approach to recording and performing still in place, Reilly embraces breakbeat culture via hip-hop loops at points while otherwise following his particular muse as he chooses. "The Rest of My Life" could and should have been a hit single, a sharp, funky rhythm the bed for a great, slightly twangy series of guitar lines and a softly sung female vocal, intertwining just so. Meanwhile, "The Next Time" is a touch straightforward even for Reilly, with Rob Gray's passionate lead vocal soaring over the delicate soloing and big, at-times arena rock-level drums from Mitchell, which Reilly then matches with a duly bolstered but still clean rip. Interests from here and there suggest themselves throughout -- "Fado," for instance, refers to the traditional song style of Portugal, and has an air about it from that background. Other songs recall the murkier beginnings of Reilly's work, like "For Collette," Metcalfe's plucked strings echoing off into the distance over a fragile, barely there lead melody accompanied by a simple three-note loop on synth, all of which develops into another quietly triumphant anthem. He saves a sly joke for the end -- "Blue Period," not so much referring to an artistic period by anyone or another as it does the fact the song itself is a classic blues lick revamped in Reilly's own preferred playing style. Ned Raggett
Tracklist :
1 Anthony 2:05
2 The Rest Of My Life 4:14
Voice – Ruth-Ann Boyle
3 For Colette 6:05
Programmed By – Martin Jackson
Viola – John Metcalfe
Voice – Cowie Eastwood
4 The Next Time 6:23
Bass Guitar – Peter Hook
Voice – Rob Gray
5 Beautiful Lies 5:27
Keyboards [Stylaphone Solo] – Martin Jackson
6 My Irascible Friend 5:51
7 Believe In Me 2:49
Bass Guitar – Stephen
Voice – Ruth-Ann Boyle
8 Fermina 2:51
9 Where I Should Be 2:00
Voice – Ruth-Ann Boyle
10 Fado 5:16
Voice – Cowie Eastwood
11 Madre Mio 1:42
Viola – John Metcalfe
12 Blue Period 5:10
Bass Guitar – Vini
Credits :
Drums – Bruce Mitchell
Producer – Stephen Street
Producer [Produced With], Written-By, Performer [Played By] – Vini Reilly
quarta-feira, 6 de julho de 2022
THE DURUTTI COLUMN - Rebellion (2001) FLAC (tracks+.cue), lossless
Right from the first note it's clearly a Durutti Column album, and thank Heaven for that. Twenty years-plus since Vini Reilly "returned" with his debut effort and though he's looking pretty grey on the back cover, there's no question that he's still got both the drive and sheer sense of beauty in his guitar playing fully in place. With Bruce Mitchell again his partner on drums and a variety of guest singers and players helping out along the way, most notably the lovely, powerful singer Vick A. Wood, Rebellion was Reilly's first U.K. release since Time Was Gigantic, and showed that the world was still his. Certainly, he's not breaking sudden new ground -- in respects, he's almost the post-punk Eric Clapton at this point, quietly experimenting rather than suddenly sign-pointing the future. But if his hushed singing and endlessly listenable, endlessly shimmering guitar is the keystone for all he does, Rebellion provides enough variations to make it one of his best efforts yet. With the guest instruments including fiddle, harmonica, and Tibetan banjo, while bhangra samples, breakbeats, and on "Overlord, Pt. One" a reggae-flavored rap from Bic add more modern flavor, Reilly and company demonstrate that variety rather than reworking one approach is the key to the Durutti Column's relevance in a new century. One of the most inspired moments is grounded in far earlier days, though -- a version of Irish folk standard "The Fields of Athenry," which deserves attention as much for Wood's bravura vocal turn as for Reilly's entrancing arrangement. Then there's "Geh Cak Af en Yam," which sounds like an LC standard at once gone acoustic and even more spacy and inspired than before, the subtly enjoyable "Falling," and the utterly captivating "Mello, Pt. 1," all exquisite testaments to the continuing power of Reilly's art. Ned Raggett
Tracklist :
1 4 Sophia 4:23
2 Longsight Romance 5:46
3 Geh Cak Af En Yam 5:12
Violin – John Gell
Vocals – Camilla Britten
4 The Fields Of Athenry 5:36
Engineer – Keir Stewart, Simon Spencer
Engineer [Assistant] – Rick Ellis
Harmonica – Gerard Keaney
Vocals – Vick A. Wood
5 Overlord Part One 4:25
Rap – Bic
Vocals – Vick A. Wood
6 Falling 4:55
7 Voluntary Arrangement 4:23
Vocals – Vick A. Wood
8 Mello Part One 5:38
9 Mello Part Two 4:17
10 Protest Song 3:41
Banjo [Tibetan] – Sophia Kellar
Vocals – Vick A. Wood
11 Meschugana 4:18
Credits :
Drums – Bruce Mitchell
Performer – Vini Reilly
Producer – Keir Stewart.jpeg)
THE DURUTTI COLUMN - Someone Else's Party (2003) FLAC (image+.cue), lossless
Despite being a reflection upon his mother's illness and passing, Someone Else's Party is far from being Vini Reilly's most sullen album, but it most certainly falls in line with the albums that preceded it. Save for two vocal turns -- one, rather jarringly, featuring Rebekah del Rio's Spanish-language version of Roy Orbison's "Crying," as heard in David Lynch's Mulholland Drive -- Reilly goes it alone with his guitar, effects, and a laptop he calls Laurie. "Requiem for My Mother" is the central song of the album, in which his reverberant spirals of guitar encase one of his long career's most poignant songs. Serviceable dance beats and lightweight dub settings occasionally surface; his guitar and voice remain at their best when sparsely adorned. Even if the three or four lackluster songs were lopped off, the album would still be too long -- Reilly's albums have always carried more impact when kept somewhere between 30 and 40 minutes. As unique and entrancing as it might be, his searching, meandering style of guitar-playing begins to wear out its welcome well short of an hour. Proving that Reilly is certifiably bonkers, he declared upon this album's release that it's the only one he's made that's been deserving of release. It's an accomplished one for sure, one with an appeal that reaches far beyond the devout fan base; when stacked against the remainder of his recordings, however, it only falls somewhere in the middle of the pack. Andy Kellman
Tracklist :
1 Love Is A Friend 4:22
Programmed By – Laurie Laptop
2 Spanish Lament 4:30
Voice [Sampled] – Rebekah Del Rio
3 Somewhere 3:52
4 Somebody's Party 4:34
5 Requiem For My Mother 4:23
6 Remember 5:28
7 Vigil 5:52
8 Blue 4:55
9 No More Hurt 5:34
Loops [Drum Loop] – Laurie Laptop
10 Spasmic Fairy 3:14
11 American View 4:27
12 Drinking Time 3:29
Vocals – Eley Rudge
13 Woman 6:54
14 Goodbye 3:15
Credits :Performer, Written-By – Vini Reilly
THE DURUTTI COLUMN - Tempus Fugit (2004) FLAC (tracks+.cue), lossless
Tracklist :
1 Counting... 0:12
2 Shooting 4:50
Harmony Vocals [Vocal Harmonies] – Jill Taylor
3 Lullaby 4 Nina 4:45
4 Mystery 5:04
5 Guitar-Woman 4:02
6 Violence 6:06
7 Bollywood 4:43
Co-producer – Keir Stewart
8 Love Song On Quattro 4:39
9 Tempus Fugit 3:50
10 The Man Who Knows 3:00
Lyrics By – Gerard Keaney
11 Slipping Away 3:09
12 Trip For An Opera 5:12
13 Untitled For You 4:30
14 Salford Harmonics 3:32
15 ...Shopping 0:04
Credits :
Written-By, Performer, Producer – Vini Reilly
THE DURUTTI COLUMN - Idiot Savants (2007) FLAC (tracks+.cue), lossless
After several inconsistent releases, the Durutti Column hit a purple patch in the mid-'00s. Even the famously self-critical Vini Reilly recognized this, going so far as to describe Idiot Savants' predecessor, Keep Breathing, as one of the only albums in his extensive catalog worthy of a passing grade. With Idiot Savants, however, the Durutti Column's run of good form falters slightly, as the album's strengths are marginally outweighed by its weaknesses. Reilly's music has often integrated sampled vocals, drawing on everything from Annie Lennox to opera, and that approach is at the heart of this album's standout, the rousing "Better Must Come," which incorporates the refrain from Jamaican child star QQ's hit of the same name. The reason Reilly first started working with samples was that Tony Wilson (the Durutti Column's original manager and biggest champion) disliked his protégé's singing; regardless, on "2 Times Nice," another high point, Reilly turns in a convincing vocal performance, mixing his flat melancholia with unlikely bursts of heavy metal guitar. Elsewhere, he enlists guest singer Poppy Roberts -- most successfully on the delicate "Interleukin 2," a piece composed specifically for Tony Wilson to relax to whilst undergoing cancer treatment. (Wilson himself named the track for one of the drugs he was taking.) These three numbers stretch over six minutes each and are compelling throughout, but a few other lengthy tracks wear out their welcome: "Whisper to the Wind" and "Gathering Dust" soon begin to meander blandly, notwithstanding Roberts' presence, whereas the nine-minute "Please Let Me Sleep" would have been more effective had it ended after the beautiful Spanish guitar passage that occupies the first five minutes. Given the overall inconsistency, this isn't an essential entry in the Durutti discography; nevertheless, it shows that Reilly can still come up with fresh, inventive work. Not bad for an artist three decades into his career. Wilson Neate
Tracklist :
1 Better Must Come 6'14
Arranged By – Stewart, Reilly
Written-By – Stewart
2 Interleukin 2 (For Anthony) 6'13
Written-By – Vini Reilly
Arranged By – Keir Stewart
3 Please Let Me Sleep 9'04
Written-By – Vini Reilly
Producer [Produced By], Recorded By, Mixed By – Tim Thomas
4 2 Times Nice 6'13
Written-By – Vini Reilly
5 No Last Surprise 5'44
Written-By – Vini Reilly
Producer [Produced By] – Laurie Keith
6 Gathering Dust 6'05
Arranged By – Roberts, Reilly
Written-By – Roberts
7 Whisper To The Wind 8'31
Written-By – Stewart
8 That Blows My Name Away (For Rachel) 4'16
Written-By – Vini Reilly
Credits :
Drums [The Gonzo Drum Master] – Bruce Mitchell
Guitar [The Guitarist] – Vini Reilly
Producer [The Producer] – Keir Stewart
Vocals [The Singer] – Poppy Roberts
segunda-feira, 4 de julho de 2022
THE DURUTTI COLUMN - Sporadic Three (2007) FLAC (tracks+.cue), lossless
Gathering further odds and ends, this compilation continues the archival project of The Sporadic Recordings and Return of the Sporadic Recordings -- somewhat ironic titles, as Vini Reilly's output has always been anything but irregular. Sporadic Three casts a retrospective eye over the Durutti Column's work via unreleased and rare tracks capturing its stylistic range through the years. As is often true of collections assembled from secondary material such as home demos, alternate versions, and outtakes, it's uneven in quality. A rudimentary rendering of the 1981 single "Danny" stands alongside Reilly's best early recordings and the ethereal, ornate "Birthday Present" is a quintessential guitarscape that wouldn't sound out of place on any Durutti Column album; by contrast, "The Best Dream," with Reilly's rather flat vocals, fails to go anywhere interesting. Reilly has periodically incorporated elements of electronic music to sublime, timeless effect, but that's not the case with "In the City," whose heavy-handed dialog samples and formulaic techno beats render it clichéd and dated. However, one of the stronger numbers, the playful "New Order Tribute," is actually a pastiche of the titular band at its most dance-oriented. Given that several tracks weren't finished articles intended for release, the inconsistency here isn't surprising, but the material does offer intriguing glimpses of Reilly at work, trying out ideas: "Dig a Hole," for instance, is a sparser, slightly quicker version of "Big Hole," which appeared on 2006's Keep Breathing, and on "Natural Mystics" Reilly sings lyrics that featured on that same album in the very different musical setting of "It's Wonderful." Ultimately, Sporadic Three is aimed at the Durutti Column completist (who else really needs more versions of "Drinking Time" or the twee "I B Yours"?); nevertheless, there's still plenty here for more casual fans of one of the most enduring and prolific original Factory artists. by Wilson Neate
Tracklist :
1 Birthday Present 3'30
Electric Guitar [Gibson Pete Townsend Custom SG] – Vini Reilly
Producer – Keir Stewart
2 Dig A Hole 5'50
3 Mama And Papa 5'50
Producer – Laurie Laptop
4 In The City 3'24
Engineer – Laurie Laptop
Producer [Uncredited] – Bruce Mitchell
5 The Best Dream 4'54
6 The End Of The Journey 4'03
Flamenco Guitar [Juan Montero Flamenco Guitar] – Vini Reilly
7 For Loretta 4'22
Recorded By, Producer – Laurie Laptop
8 New Order Tribute 3'15
9 I B Yours (Version) 4'03
Vocals – Elli Rudge
10 Natural Mystics 6'00
11 Drinking Time (Version) 3'38
Effects – Laurie Laptop
12 Trust The Art Not The Artist 4'30
13 Fate 5'06
14 For Danny 5'14
Drums – Bruce Mitchell
THE DURUTTI COLUMN - Live in Bruxelles 8/13/1981(2008) FLAC (tracks+.cue), lossless
Part of LTM's early-2008 reissue series of a slew of Durutti Column releases that had originally appeared on Crepuscule, Live in Bruxelles was the sole "new" release, though as the title indicates it's actually an archival tape seeing official light for the first time. Taken from a radio soundboard recording done for broadcast, the set is a mix of tracks from The Return of the Durutti Column, the then-unreleased LC, and various singles and one-offs, including the highly obscure, somewhat unsettling physicality-of-romance portrait "Stains (Useless Body)." Compared to the almost preternaturally clean atmospheres of the studio recordings at the time, Live in Bruxelles is rougher around the edges, not just simply because of the recording quality (fair but not pristine) and the mix, which often foregrounds Bruce Mitchell's drums. It's hearing those drums that gives the disc part of its impact, though -- having just recently begun to work with Vini Reilly, you get a sense that he's still testing out the feeling of the partnership to the full, and moments like the breakdown toward the end of "Sketch for Dawn" and the various mini-solos throughout "Jacqueline" show both what a remarkable drummer he is and how well he slotted in with Reilly's own muse. Reilly himself shines as expected; while his singing is much more direct and sharp given the mix, as can especially be heard on a stellar take on "The Missing Boy," as ever it's still a voice notable more for absence rather than presence, translating most of his feelings into his trademark fluid guitar runs and deceptively calm melodies. (There's one notable exception to this via some crazy soloing on "Self Portrait," which almost comes out of nowhere.) An enjoyable bonus appears at the end with the inclusion of an interview done just after the performance, where Reilly thoughtfully answers various, if sometimes muffled, questions about his work, including some thoughts on the balance between experimentalism and accessibility he found himself aiming for (which in many ways remains true through the present day), as well as a calmly stated but fierce denunciation of the venue's PA system he's just performed with. by Ned Raggett
Tracklist :
1 Sketch For Dawn 5:09
2 Messidor 2:29
3 Jacqueline 3:53
4 Conduct 2:38
5 Sketch For Summer 2:14
6 Danny 3:23
7 Stains (Useless Body) 3:10
8 The Missing Boy 8:01
9 Self Portrait (Version) 5:44
10 For Belgian Friends 2:06
11 Interview 15:30
Interviewee – Vini
Interviewer – Marcel Vanthilt
Credits :
Performer – Bruce Mitchell, Vini Reilly
Written-By – Vini Reilly