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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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