|The Durutti Column — Short Stories for Pauline (2012)|
The Durutti Column — Short Stories for Pauline
Location: Manchester, England
Formed: 1978 in Manchester, England
Album release: June 18, 2012
Record Label: Factory Benelux
Duration: 45:19 / 99:28
01. At First Sight 4:15
02. Duet 2:31
03. College 3:29
04. Invitations 3:59
05. Destroy, She Said 3:45
07. Journeys by Vespa
08. Take Some Time Out
09. A Silence
10. Mirror A
12. Telephone Call
13. Mirror B
14. A Room in Southport
• Paul Coerten Photography
• Marc François Engineer
• Annik Honoré Photography
• Alain Lefebvre Drums
• Bruce Mitchell Drums
• Vini Reilly Composer, Guitar, Producer, Vocals
• Blaine L. Reininger Viola
• Eric Sleichim Saxophone
• Anne Van Den Troost Harp
• Marcel Vanthilt Interviewer / MySpace: http://www.myspace.com/thedurutticolumnmcr#! © Vini Reilly and Poppy Morgan; Firestation, Windsor, 27 February 2009
• Even the most fervent Durutti Column completist has a Short Stories for Pauline-sized space on their record shelves. Vini Reilly’s adventurous post-punk unit have one of the long and knottiest discographies around, but their “lost fourth album” is probably their most mythologized recording. Short Stories for Pauline was originally recorded back in 1983 for Factory Benelux, Factory Records’ Belgian sister label. The album was mothballed after Factory boss Tony Wilson (also serving as the band’s manager at the time) insisted that Reilly produce a full instrumental album in the vein of stately album track ‘Duet’ instead. Reilly obliged, writing 1984′s Without Mercy and letting Short Stories For Pauline slide out of view.
• The new release will be the first time that the album has been released in its original form (note: certain tracks have previously cropped up on the occasional compilation, most notably Crépuscule’s Hommage a Marguerite Duras collection). The remastered vinyl edition will arrive with the original FBN 36 catalogue number, and will be strictly limited to 500 copies. The record will also come bundled with a digital download, not to mention fresh artwork from Crépuscule designer Benoit Henneber.
• Since their 1980 debut, the Durutti Column have released thirty-odd LPs, tilting from neo-classical composition through to intricate, plaintive indie rock. Despite Reilly recently suffering a stroke, the band continue to record new material: their last release was 2011′s Chronicle LP. Short Stories For Pauline is due on June 18.
• The long-lost Factory Benelux album by The Durutti Column, Short Stories For Pauline, is set to be released, complete with original FBN 36 catalogue number, on 18 June 2012 via LTM.
• The album was originally recorded by Vini Reilly in Brussels in 1983 but was never released. The 14 tracks include College, Take Some Time Out and Duet. The latter was recorded with Blaine L. Reininger (Tuxedomoon viola player) but at Tony Wilson's insistence was pulled from the album and developed into what became FACT 84 Without Mercy and Short Stories... fell by the wayside.
• Of course certain tracks have surfaced on official compilations including Crépuscule's Hommage à Marguerite Duras, this limited edition vinyl release will be the first time the original FBN 36 album has appeared in its entirety. New artwork has been prepared with the help of Crépuscule designer Benoit Hennebert and each one of the 1000 copies of the vinyl album will entitle the purchaser to a free digital download version.
Cerysmatic Factory — www.cerysmaticfactory.info — an unofficial blog, history & archive about Factory Records, Manchester, England Vini Reilly [photo: © Bryn Le Poidevin 2009]; Firestation, Windsor, 27 February 2009
Review by Fred Thomas
• When working toward a fourth album for his softly tumultuous post-rock predicting unit Durutti Column in 1983, Vini Reilly collaborated with Tuxedomoon viola player Blaine L. Reininger on a gorgeously sad piece called "Duet," a short and filmic song that found Reininger's restless viola swells in a lover's quarrel with Reilly's pleading piano. The song was one of many pieces under construction for an album to be titled Short Stories for Pauline, but upon hearing the song, Factory Records head honcho Anthony Wilson insisted the Durutti Column make an album based entirely around its neo-classical leanings, and "Duet" expanded into 1984's turbulent Without Mercy while the rest of the songs were put on ice. Seeing its first widescale release in 2012 (though several tracks have appeared in various forms over the years), Short Stories for Pauline sheds light on an important early phase of what would prove to be Durutti Column's extensive development over the next several decades. Recorded at the height of the Factory Records scene, the echoey drums and detached, icy emotional veil that was a trademark of many of the artists on the label saturate much of the album. Reilly's unique direct guitar tones and affinity for moody instrumental compositions set him apart from some of the more rock-rooted bands on the label, and Short Stories for Pauline sees him on a creative hot streak, melding classical underpinnings with the minimal rhythms of some of his goth rock contemporaries like Section 25 and Joy Division. The reverb-coated drums of "College" and "Invitations" blend into bleak instrumental landscapes guided by Reilly's brittle guitar tones and held in place by chorus-heavy basslines. "Take Some Time Out" has a dour vocal not unlike Genesis P-Orridge's more gentle work in Psychic TV, and along with "A Silence" and the ghostly female vocals on "Mirror A," it's one of the few songs that's not completely instrumental. Short Stories for Pauline's 14 songs don't feel like an unfinished collection of sketches as much as they do a sadly shelved lost album. While "Duet" is certainly beautiful enough to merit basing an entire album around its sound, the rest of these forgotten songs find the still young Durutti Column in a creative flourish that could have spun an album's worth of material out of any of these songs, from the sad-hearted jazz experiment of "Cocktail" to the gorgeous harp-heavy sounds of the tentative album closer, "A Room in Southport." /
Born: 4 August 1953
Origin: Higher Blackley, Manchester, England
Instruments: Guitar, piano, bass
Notable instruments: Fender Stratocaster, Jimmy Page Signature Les Paul guitar
◊ Raised in Withington, Wythenshawe and Didsbury, all also areas of Manchester. His father was an engineer who did not allow his five children to watch television. His death saddened Vini, who was 16 at the time, and laments it today because he didn't admire or know him enough. As a child, he played a lot of football, and was even offered a trial for Manchester City F.C., but he declined, opting to concentrate on music.
◊ His first recorded work was Ed Banger & The Nosebleeds' "Ain't Bin To No Music School".
◊ Reilly was Tony Wilson's first signing to Manchester's iconic label, Factory Records. Reilly's music is respected by fellow musicians and those in the music industry, with Brian Eno citing Reilly's album LC as his all-time favorite album and former Red Hot Chili Peppers' John Frusciante stating that Vini Reilly is "the best guitarist in the world".
◊ Reilly arranged music and played guitar on fellow Manchester artist Morrissey's debut album Viva Hate in 1988. Reilly has also recorded with artists including John Cooper Clarke, Pauline Murray, Anne Clark, The Wake, Richard Jobson, Quando Quango, Craig Davies, Swing Out Sister and Holly Johnson. He also attempted to produce the Happy Mondays' debut Forty Five E.P., but found that he simply could not work with the band.
◊ In September 2010, Vini suffered a "minor" stroke which made him lose "some feeling in his left hand”. Despite this, in February 2011 it was reported that he is working in a new album. The new tracks are slower because after the stroke he can't play as fast as he used to.
Biography by Jason Ankeny
• The Durutti Column was primarily the vehicle of Vini Reilly, a guitarist born in Manchester, England, in 1953. As a child, Reilly first took up the piano, drawing inspiration from greats like Art Tatum and Fats Waller, before learning to play guitar at the age of ten. Despite an early affection for folk and jazz, Reilly ultimately became swept up by the punk movement, and in 1977 he joined the group Ed Banger & the Nosebleeds. In 1978, Factory Records founder Tony Wilson invited Reilly to join a group dubbed The Durutti Column, the name inspired by the Spanish Civil War anarchist Buenaventura Durruti and a Situationists Internationale comic strip of the 1960s. Along with Reilly, the nascent band included guitarist Dave Rowbotham, drummer Chris Joyce, vocalist Phil Rainford, and bassist Tony Bowers; following a handful of performances, Rainford was fired, and after recording a pair of tracks for the EP A Factory Sampler, Rowbotham, Joyce, and Bowers broke off to form the Moth Men, leaving The Durutti Column the sole province of Vini Reilly. (Joyce and Bowers would later join the more popular Simply Red.)
• Recorded with the aid of a few session musicians and released in a sandpaper sleeve, the debut The Return of the Durutti Column, a collection of atmospheric instrumentals, appeared in 1980. With 1981's pastoral LC, recorded with drummer Bruce Mitchell (who remained a frequent collaborator), Reilly attempted vocals on a few tracks, and continued expanding his palette with a pair of explorations of chamber music, 1982's Another Setting and 1984's Without Mercy. Electronic rhythms, meanwhile, emerged as the pivotal element of 1985's Say What You Mean, Mean What You Say. After 1985's live effort Domo Arigato, Circuses and Bread marked a return to the densely constructed guitar textures of previous works, while 1987's eclectic The Guitar and Other Machines ranked among The Durutti Column's most ambitious works to date. In 1988, Reilly backed Morrissey (also an alumnus of the Nosebleeds) on his solo debut, Viva Hate, before returning to The Durutti Column for the release of a 1989 LP titled Vini Reilly, another diverse affair that incorporated vocal samples from Otis Redding, Annie Lennox, Tracy Chapman, and opera star Joan Sutherland.
Released in 1990, the aggressive Obey the Time preceded 1991's Lips That Would Kiss Form Prayers to Broken Stone, a collection of singles, rarities, and unreleased material. After a long layoff (during which Rowbotham happened to be slain by an axe murderer, inspiring the Happy Mondays' "Cowboy Dave"), The Durutti Column returned in 1995 with Sex and Death, followed a year later by Fidelity, which fused dance beats with Reilly's guitar lines. Reilly issued several albums throughout the 2000s, from archival concert recordings to such studio efforts as Treatise on the Steppenwolf, a soundtrack augmenting the experimental theater production of the same name, as well as 2009's heart-wrenching effort Love in the Time of Recession. The instrumental suite Paean to Wilson, composed in 2009, was some of Reilly's most personal work, written for his late friend and most passionate supporter, the late Tony Wilson. Initially scheduled for limited release in 2009, it was granted wider distribution early the following year. © Vini Reilly, 2007-02-06
Vini Reilly and Poppy Morgan [photo: © Bryn Le Poidevin 2009]; Firestation, Windsor, 27 February 2009
© Mark Warner © The Return of the Durutti Column
Release date: January, 1980
• John Brierley Engineer
• Pete Crooks Bass
• The Durutti Column Primary Artist
• Martin Hannett Composer, Producer, Unknown Contributor Role
• Jeremy Kerr Vocals
• Chris Nagle Engineer
• Vini Reilly Composer, Guitar, Keyboards, Producer
• Toby Tomanov Drums
• Review by Ned Raggett
• 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 Jantsch. 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 Clock DVA member Jeremy Kerr. Vini Reilly [photo: © Bryn Le Poidevin 2009]; Firestation, Windsor, 27 February 2009 © Vini's grandparents © Vini Reilly 2007
© Vini Reilly and Poppy Morgan [photo: © Simon Whitehouse 2009]; Baby Blue, Liverpool, 16.02.09/ below: Interview: Ross McGibbon with Vini Reilly: WHY I HATE MOBY — AN INTERVIEW WITH VINI REILLY http://www.vanguard-online.co.uk/archive/music/interv17.htm
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