14 Jul 2005
In the time of the saundcheka 
From OrganicNickLoud's Livejournal site (in Russian) here translated by the remarkable Babelfish and unedited for your edification:

"Reilly's Vinni aka Durutti Column - living legend. It from that tusovki itself Factory Records, about which Maykl Uinterbottom removed its 'twenty-four hour party-goers'. Certainly, it is not so known as New Order or Happy Mondays, but its surrounding halo of 'that m3d- chesire cheese itself' attracts as strong magnet. For his fifty with the small, Reilly appears very well, especially in comparison with his drummer, to whom to the form all seventy. Grey-haired old man in the dark glasses and the white suit, however, to silushku has Herculean - in the time of saundcheka he without the shadow of stress dragged on the scene his installation, where one barrel was from it size. It drummed also, it is necessary to say that - a good school of expensive stands for ten young. However, Reilly played on his guitar some strange passages, as a result the music was more similar to progressiv the fate and of belonging with the 'new wave' reminded one only the history."

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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