6 Apr 2004
To coincide with this Thursday's gig by The Durutti Column at the Islington Academy, the 7-14 April issue of Time Out (the London listings magazine) has a Q&A with Vini Reilly by John Lewis. Highlights include:

Favourite city in the world? Manchester, of course. It's such a vibrant, creative place - the centre of the cultural universe! But I also like Finland, Norway, Japan, and much of the West Coast of America.

What's the best thing you can cook? Bread. My brother-in-law bought me and my girlfriend a breadmaker for Christmas. We've been making lots of space cakes.

How many pairs of shoes do you own? One pair of shoes, about ten pairs of trainers, most of them Converse.

Best thing about your job? There's a moment when you play live when you're taken out of yourself, you're floating about. And sometimes when you're recording you can get so absorbed in a piece of music - the cerebral stuff goes out of the window, it becomes instinctive, almost primitive. The nearest thing to it is making love to someone you love.

Worst thing about your job? Record companies who owe you money and don't pay you in royalties. Out of the 20 labels or so I've worked with, all owe me money. Except Factory.

Ever sung karaoke? Yes, in a Thai restaurant where the owner, a Thai lady dressed as Elvis, makes everyone sing an Elvis song. I did 'It's Now Or Never'.



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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

Factory Records

The Durutti Column