Echoes and Innovations
A scholarly exploration into the enduring artistry and experimental evolution of Vini Reilly's seminal post-punk project.
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Introduction
Origins and Identity
The Durutti Column, an English post-punk ensemble, emerged in 1978 from Greater Manchester. Conceived by Factory Records founders Tony Wilson and Alan Erasmus, the band quickly distinguished itself within the vibrant post-punk landscape. Its name, a deliberate misspelling of the "Durruti Column"—an anarchist military unit from the Spanish Civil War—also draws inspiration from a 1966 comic strip, "Le Retour de la Colonne Durruti," distributed during student protests at Strasbourg University. This nomenclature itself hints at the band's intellectual and unconventional approach to music.
The Vision of Vini Reilly
At its core, The Durutti Column is the singular artistic vision of guitarist and occasional pianist Vini Reilly. His distinctive clean, atmospheric guitar work became the band's sonic signature, setting them apart from their contemporaries. Reilly's compositions are notable for their intricate blend of jazz, folk, and classical influences, creating a sound that is both introspective and expansive. Over time, the band's sound evolved to incorporate elements of sampling and electronic dance rhythms, demonstrating a continuous exploration of musical textures and technologies.
Key Collaborators
While Reilly remains the constant, the band has seen various collaborators. Most notably, Bruce Mitchell has frequently accompanied Reilly on drums, serving as a consistent musical partner and, for many years, a co-manager alongside Tony Wilson. Keir Stewart has also been a significant contributor, providing bass, keyboards, and harmonica. Other notable past members include Dave Rowbotham, Chris Joyce, Phil Rainford, Tony Bowers, Colin Sharp, Tim Kellett, Peter Hook, Martin Jackson, and John Metcalfe, each contributing to the rich tapestry of the band's output.
Early History
Formation and Initial Lineup
The genesis of The Durutti Column in 1978 saw Tony Wilson and Alan Erasmus assembling a group from the remnants of the punk rock band Fast Breeder, featuring drummer Chris Joyce and guitarist Dave Rowbotham. Vini Reilly, formerly of Ed Banger and the Nosebleeds, joined on January 25, followed by vocalist Phil Rainford and bassist Tony Bowers from Alberto y Lost Trios Paranoias. This initial configuration, however, proved ephemeral, with Rainford being dismissed in July and replaced by actor Colin Sharp, who also contributed to songwriting. Rainford later transitioned into a successful career as a producer for artists such as Nico and Suns of Arqa.
Factory Debut and Early Disruption
The Durutti Column's early performances at the Factory club, organized by their managers, led to their inclusion on the inaugural Factory Records release, A Factory Sample. This double 7-inch compilation, produced by the legendary Martin Hannett, also featured seminal acts like Joy Division and Cabaret Voltaire. However, on the cusp of recording their debut album, internal disagreements regarding the choice of producer led to the band's dissolution. Rowbotham, Bowers, and Joyce subsequently formed The Mothmen, with Bowers and Joyce later joining Simply Red. Sharp pursued acting and other musical projects, leaving Reilly as the sole remaining member and effectively transforming The Durutti Column into his personal artistic vehicle. Bruce Mitchell, former drummer for Alberto Y Lost Trios Paranoias, would soon become Reilly's most consistent musical partner and co-manager.
The Factory Era
The Return of the Durutti Column (1980)
The band's debut album, The Return of the Durutti Column, released in 1980, was a landmark recording produced by Martin Hannett. Reilly lauded Hannett's ability to translate his desire for a non-distorted electric guitar sound into reality. The album's title and its iconic sandpaper sleeve were inspired by a 1967 Situationist International poster and Guy Debord's book Mémoires, which featured a sandpaper cover designed to damage other books. Musically, the album presented nine gentle guitar instrumentals, a stark departure from the prevailing post-punk aggression. Reilly's classical training was evident in his use of minor melodic and harmonic scales, while Hannett's production added electronic rhythms and evocative effects, such as birdsong on "Sketch for Summer." This release was accompanied by a flexidisc featuring two tracks solely by Hannett.
Home Recordings and Expansion
The 1981 album LC (an abbreviation for "Lotta Continua," Italian for "continuous struggle") marked the introduction of percussionist Bruce Mitchell and was notably recorded on a four-track cassette deck at home. This demonstrated an early embrace of DIY recording, achieving a crisp, professional sound on a minimal budget. The 1982 EP Deux Triangles shifted focus, emphasizing piano over guitar. Another Setting (1983) continued with the Reilly-Mitchell duo. In 1984, the ensemble expanded significantly for Without Mercy, an instrumental evocation of John Keats' poem "La Belle Dame sans Merci." Arranged by John Metcalfe, this album featured a diverse array of musicians including Richard Henry (trombone), Maunagh Fleming (cor anglais, oboe), Blaine Reininger (violin, viola), Mervyn Fletcher (saxophone), Caroline Lavelle (cello), and Tim Kellett (trumpet), showcasing a more orchestral and chamber music influence.
Technological Integration and Evolution
The mid-to-late 1980s saw The Durutti Column increasingly integrate new technologies. Say What You Mean introduced deep electronic percussion, a notable departure from earlier works. Kellett and Metcalfe continued their involvement on Circuses and Bread (1985) and Domo Arigato, the latter being a live album recorded in Tokyo and a pioneering release as the first pop album in the UK issued solely on compact disc (also available on VHS and LaserDisc). After Kellett's departure for Simply Red, he guested on The Guitar and Other Machines (1987), which was the first new UK album released on Digital Audio Tape (DAT), alongside traditional formats. Produced by Stephen Street, this album featured a more direct sound, guest vocals from Stanton Miranda and Pol, and the incorporation of sequencers and drum machines. Reilly also contributed guitar to Morrissey's Viva Hate (1988), though he later claimed insufficient credit and compensation for his compositional contributions. The 1989 album Vini Reilly, co-produced with Street, extensively utilized sampling, looping vocals from diverse artists like Otis Redding, Tracy Chapman, Annie Lennox, and Joan Sutherland. The Factory era concluded with Obey the Time (1990), a solo recording by Reilly heavily influenced by contemporary dance music, whose title was drawn from Shakespeare's Othello.
Key Personnel
Core Members
The Durutti Column's identity is intrinsically linked to its core members, particularly Vini Reilly, whose unique guitar style defines the project. Bruce Mitchell has been a long-standing and crucial collaborator on drums, providing a rhythmic anchor to Reilly's atmospheric explorations. Keir Stewart has also been a consistent presence, contributing bass, keyboards, and harmonica, and even producing later albums. Poppy Morgan is another current member, further enriching the band's evolving sound.
Past Contributors
Over its extensive history, The Durutti Column has featured a diverse array of talented musicians. Early members included Dave Rowbotham and Chris Joyce, who were instrumental in the band's initial formation. Phil Rainford served as the original vocalist, later becoming a notable producer. Tony Bowers, another early bassist, went on to achieve success with Simply Red. Other significant past contributors include Colin Sharp, Tim Kellett, Peter Hook (of New Order), Martin Jackson, and John Metcalfe, whose arrangements were pivotal on albums like Without Mercy. Each artist brought a distinct flavor to the band's sound during their tenure.
Phil Rainford: A Brief Tenure
Phil Rainford, a figure from the late 1970s and early 1980s Manchester music scene, was the original singer for The Durutti Column, joining in early 1978. Despite his involvement in the band's initial Factory Records sample release, his tenure was brief, ending in July of that year due to what was deemed an unsuitable fit. Known at the time as "Phil Raincoat," he later found success as a music producer, working on albums for the iconic singer Nico, including Live Heroes, Femme Fatale, and engineering/mixing Do or Die: Diary 1982. He also mixed the Musical Revue album for Suns of Arqa, sometimes credited with the curious misspelling 'Qainford'.
Post-Factory Era
Independent Trajectories
Following the original Factory Records' demise in early 1991, The Durutti Column's releases initially consisted of compilations and unreleased material, such as Lips That Would Kiss (1991) on Factory Benelux, and the Italian collections Dry (1991) and Red Shoes (1992), which featured alternate versions and outtakes. A tragic event during this period was the death of former member Dave Rowbotham in 1991, who was later memorialized by the Happy Mondays in their song "Cowboy Dave."
New Labels and Collaborations
Tony Wilson's attempt to revive Factory Records led to Sex and Death (1993) being the first release on Factory Too, a subdivision of London Records. This album, again produced by Stephen Street, saw the return of Mitchell and Metcalfe, and featured Peter Hook of New Order on the track "The Next Time." Fidelity (1996) was released by Les Disques du Crépuscule, produced by Laurie Laptop. Time Was Gigantic... When We Were Kids (1998) was produced by Keir Stewart, who also played on the album and became a frequent collaborator. The eight albums originally recorded for Factory were re-released by Factory Too/London under the "Factory Once" banner between 1996 and 1998. The band also contributed "It's Your Life Baby" to the AIDS benefit compilation Onda Sonora: Red Hot + Lisbon in 1998.
Continued Output and Challenges
After Factory Too concluded in 1998, The Durutti Column continued to release albums on independent labels such as Artful Records (including Rebellion [2001], Someone Else's Party [2003], Keep Breathing [2006], and Idiot Savants [2007]) and Kookydisc (Tempus Fugit [2004], Sunlight to Blue... Blue to Blackness [2008]). Kookydisc also issued further volumes of The Sporadic Recordings, remastered versions of scarce early LPs (Live At The Venue [2004], Amigos Em Portugal [2005]), and subscription-club discs of rare material. A download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent), appeared in 2005 via Tony Wilson's F4 Records. The band's music also soundtracked a Jeff Noon play adapted for BBC Radio 3, "Dead Code - Ghosts of the Digital Age" (2005). Tragically, Colin Sharp passed away from a brain haemorrhage in 2009, and Vini Reilly suffered a stroke in 2011, which significantly impacted his ability to play guitar as before.
Discography
Studio Albums
The Durutti Column's extensive discography reflects a prolific and consistent artistic output, spanning several decades and showcasing a continuous evolution of their distinctive sound. Each album contributes to the rich tapestry of Vini Reilly's musical exploration, from the early atmospheric guitar instrumentals to later integrations of electronic and sampled elements.
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References
References
- Durutti Column. Trouser Press.
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