![]() ![]() Simply put, he’s not got an incredibly versatile or strong voice, and you wouldn’t imagine him belting out pop tunes or rocking out in any measure. Entirely absent from the debut but there in patches on LC, Reilly’s vocals are a contentious issue with some. The band’s palette became more colourful on the lovely Another Setting, which brought in a wider range of emotional textures, not to mention more of Reilly’s singing voice. Hannett wasn’t around for follow-up album LC, but amazingly it was even stronger, with fuller, richer production, even stronger tunes and the welcome addition of longtime percussive collaborator Bruce Mitchell, who added strength to Reilly’s sweetness. That first album was a beautifully spare, delicate series of instrumentals, wonderfully produced by Martin Hannett who provided ethereal, ghostly atmospherics to Reilly’s light but evocative, bittersweet playing. I think Reilly’s peak was his first five or so years as the Durutti Column – more specifically, the run of albums and accompanying singles/EP releases beginning with the wryly titled 1980 debut The Return of the Durutti Column to the epic contemporary classical experimentation of 1984’s Without Mercy. For me, the DC’s latter-day music is still undeniably strong, if a bit samey – Reilly’ style of playing is unmistakable, and what began as utterly unique has now become a bit overly familiar. ![]() Manchester’s The Durutti Column were one of the key bands in Factory Records’ initial late seventies/early eighties artistic flourish, although as time went on, the ‘band’ became more a vehicle for one man – Vini Reilly, the supremely gifted guitarist who still makes and releases music under the Durutti Column title. Post-punk band finally release ‘long-lost’ album recorded in-between LP#3 and #4. ![]()
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