24 Sep 2004
The best guitarist in the world 
City Life #553 [16-22 September 2004] features an interview with The Durutti Column.

Vini Reilly explains how he developed his style: "My father wouldn't let us have a television and we weren't allowed to listen to pop music on the radio, so I didn't actually hear anything until I'd left home, by which time I'd already developed my own approach to writing tunes. So it's just evolved into a strange, peculiar style".

On his relationship with Morrissey: "Viva Hate is now on sale in the shops and my name doesn't appear anywhere on it - that's very impolite. If there's been an injustice then Morrissey knows about it and he's got the rest of his life to live with it. I've behaved correctly. I was never credited or paid - it's not the money, it's the morality.

On playing The Bridgewater Hall: "I'm a bit scared because it's such an auspicious place for this serious classical music - I'm not sure we warrant that. I'm very comfortable playing sweaty, beer-swilled venues. As soon as you move into a formal concert atmosphere it all becomes a bit more difficult." He continues: "And we're not gonna rehearse. It's just whatever happens."

Keir Stewart chips in at the end: "When I started playing I was getting a bit worried because there appeared to be absolutely no arrangements. But once you get over [this] you can get on with it and enjoy it."

Bruce concludes with: "Actually, there's too many secrets being revealed here".



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A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column