The Guitar and Other Machines (Factory Once, 1996)

The Guitar and Other Machines (Factory Once, 1996)

CD: UK 02.12.96 (Factory Once FACDO 204 /London 828 828-2)

Tracklisting

Arpeggiator
What Is It to Me (Woman)
Red Shoes
Jongleur Grey
When the World
U.S.P.
Bordeaux Sequence
Pol in B
English Landscape Tradition
Miss Haymes
Don't Think You're Funny

Related Works

LFO Mod
Dream Topping
28 Oldham Place

Live at WOMAD

Otis
English Landscape Tradition
Finding the Sea
Bordeaux

Credits

The Guitar and Other Machines written and arranged by Vini Reilly. 'Arpeggiator' by Reilly and Mitchell. 'English Landscape Tradition' by Reilly and Metcalfe. Produced by Stephen Street.

Related Works

LFO Mod, written by Vini Reilly. Published by The Movement of the 24th January Publishing/ Zomba Publishing. A Factory Communications Record 1988. Dream Topping, written by Vini Reilly, Simon Topping, Jeremy Kerr and Stuart James. Published by The Movement of the 24th January Publishing / Zomba Publishing and Copyright Control. A Factory Communications Record 1988. 28 Oldham Street, written by Vini Reilly. Produced by Stuart James and Nick Garside.

Published by The Movement of the 24th January Publishing/ Zomba Publishing. A Factory Communications Record 1988.

Vini Reilly: Guitar, Keyboards, Machine Programs and Vocals. Bruce Mitchell: Drum Kit, Xylophone and DX Machine. John Metcalfe: Viola and Percussion on 'When the World'. Stephen Street: Bass Guitar on 'English Landscape Tradition'. Rob Gray: Mouth Organ on 'What Is It to Me' and 'Jongleur Grey'. Stanton Miranda: Vocals on 'When the World' and 'Red Shoes'. Pol: Vocals on'When the World', 'Red Shoes' and 'Bordeaux Sequence'.

Special thanks to Simply Red/ Elektra for Tim Kellet's trumpet on 'When the World'.

Live at WOMAD

Otis, English Landscape Tradition, Finding the Sea and Bordeaux, written by Vini Reilly. Live Mix by Stuart James. Andy Connell: Piano. Liu Sola: Vocals. Published by The Movement of 24th January Publishing/ Copyright Control. A Factory Communications Record 1989.

Recorded at Suite Sixteen, Rochdale; Strawberry Studios, Stockport; and Island Studios, Hammersmith. Mixed at Island Studios. Engineers: Chris Nagle, Lee Hamblin and CJ.

Published by the Movement of 24th January Publishing/ Copyright Control.

Liner notes

Not that yellow, Vincent

Things were changing aqain. The incredible four-piece which added Cor Anglais and Viola to Vini and Bruce had seen it's most perfect expression in the Japanese gigs ('Domo Arigato') and three memorable nights at the Electric Cinema in London's Notting Hill Gate.

Another crossroads. Tim Kellett went off to join Simply Red and young Metcalfe got buried in his two classical projects, the Duke Quartet and the Kreisler Orchestra.

And then Vini had some new technology thrust upon him. Bruce sometimes describes the way Vini's other manager treats Vin as being like watching someone peering over Van Gogh's shoulder and shouting, no not that yellow, you click... this yellow". Now Vini was no stranger to tech stuff - so much of his sound comes from the harmonic sex between his guitar and his delay machine.

But the world of machines that Martin Hannett had introduced Vini to in 1979 had moved on apace. In our family, New Order were in the forefront of the Sequencer Revolution; it somehow seemed really important what was it, the first instrument that truly played melody and rhythm in the same notation fuck knows.

Anyway Vini was handed a Yamaha Sequencer and a DMX Drum Machine. And told to do something with it.

Actually it wasn't quite like that. He was asked if he fancied it, and just to hang out with the equipment in case he found something flowing from it. Admittedly the tragic genius kept like a battery hen and fed shit and instructions makes better reading. But the kid does go his own way. Whatever, the cardboard boxes arrived with the goodies and it was duck to water; as in things really flowing.

On tracks like 'Arpeggiator' and ii was clear the Durutti Column had found another exhilarating avenue. And for all the technology, Metcalfe's viola and Bruce's drums were still on the most moving form.

'LFO Mod'. a rare piece which was done specially for Valuable Passages' a US release on Relativity and not put on the European version, is one of Vini's favourite pieces from this period and displays the 'sequencer revolution' at its most advanced stage prior to 'Vini Reilly' the next work.

And Simon came back from Brooklyn where he was either teaching or learning timbales, can't quite remember which. A couple of days at 'Out of the Blue' with Stuart James and Nick Garside brought the gang together, with ACR Jes on vocals and audio-scratching. 'Dream Topping' says it all.

This period also saw the Durutti Column at WOMAD, exquisite performances which we couldn't leave off this CD. Our favourite pianist, Swing out Andy Connell is on Keyboards and Liu Sola a chinese lady opera writer is the vocalist on the WOMAD stage, and has never actually explained what she was singing.

With thanks to Tony, Bruce. With love to Rachel.

Graphic Magicians: 8vo, London

LC [Factory Once, 1996]

LC [Factory Once, 1996]

CD: UK 11.96 (Factory Once FACDO 44 / London 828 827-2)

Tracklisting

Sketch for Dawn 1 (5:14)
Portrait for Frazer (3:29)
Jacqueline (2:16)
Messidor (2:30)
Sketch for Dawn 2 (4:34)
Never Known (6:47)
The Act Committed (5:03)
Detail for Paul (1:57)
The Missing Boy (6:36)
The Sweet Cheat Gone (2:49)
For Mimi * (4:35)
Belgian Friends * (5:24)
Self Portrait * (4:41)
One Christmas For Your Thoughts ** (4:26)
Danny *** (3:39
Enigma *** (3:01)

* From FACT 24
** From Ghosts of Christmas Past / Remake compilation - BL: Crepuscule TWI 058/158/658
*** From Enigma - FR: Sordide Sentimental SS 45005

Notes

Production: Vini Reilly and Stewart Pickering
Design: 8vo

All other tracks from original Factory FACD 44 release (as part of FACD 224 The First Four Albums).

The Return of The Durutti Column [Factory Once, 1996]

The Return of The Durutti Column [Factory Once, 1996]

CD: UK 11.96 (Factory Once
FACDO 14)

Tracklisting

Sketch For Summer
Requiem For A Father
Katharine
Conduct
Beginning
Jazz
Sketch For Winter
Collette
In "D"

Related works

Lips That Would Kiss
Madeleine
First Aspect of the Same Thing
Second Aspect of the Same Thing
Sleep Will Come
Experiment in Fifth

Credits

All tracks written by Vini Reilly. Produced by Martin Hannett
Vini Reilly: Guitar
Martin Hannett: Switches
Peter Crooks: Bass
Toby: Drums
Thanks to Gammer for the melody
Recorded at Cargo, Rochdale
Mixed at Strawberry, Stockport
Engineers: Chris Nagle and John Brierley
Published by The Movement of 24th January Publishing / Zomba Publishing

Related Works

Lips that Would Kiss and Madeleine, written by Vini Reilly. Produced by Martin Hannett. Published by The Movement of the 24th January Publishing / Zomba Publishing. A Factory / Benelux Record 1980.

First Aspect of the Same Thing and Second Aspect of the Same Thing, written and produced by Martin Hannett. Published by Copyright Control. A Factory Communications Record 1979.

Sleep Will Come, written and produced by Vini Reilly. Vocals by Jeremy Kerr. Published by The Movement of the 24th January Publishing / Zomba Publishing and Copyright Control. A Les Disques Du Crepuscule Record 1980.

Experiment in Fifth, written and produced by Vini Reilly. Published by The Movement of the 24th January Publishing / Zomba Publishing. A Les Disques Du Crepuscule Record 1980.

Vini Reilly [Factory Once, 1996]

Vini Reilly [Factory Once, 1996]

CD: UK 11.96 (Factory Once FACDO 244 / London 828 826-2)

Tracklisting

Love No More
Pol in G
Opera I
People's Pleasure Park
Red Square
Finding the Sea
Otis
William B
They Work Every Day
Opera II
Homage to Catalonea
Requiem Again
My Country

Related Works

Paradise Passage Road
Les Preger's Tune

Sporadic Recordings

Buddhist Prayer
Misere
Real Drums - Real Drummer
Pathway
Rob Grey's Elegy
Shirt No. 7

Credits

All tracks written by Vini Reilly. Produced by Vini Reilly with Stephen Street.

Bruce Mitchell: Drums.
Andy Connell: Keyboard on 'Requiem Again', 'Otis' and 'Red Square'
John Metcalfe: Viola on 'Finding The Sea'
Rob Gray: Vocals on 'They Work Every Day'
Liu Sola: Vocals on 'People's Pleasure Park' and 'Finding The Sea'
Pol: Vocals on 'Otis'

Recorded at Sam Therapy, Kensal; Island Studios, Hammersmith; Out Of The Blue, Manchester. Engineers: Stephen Street and Nick Garside. Thanks to Sounds Great, Stuart James and Piccadilly Records. Published by The Movement of the 24th January Publishing / Zomba Publishing.

Related Works

Paradise Passage Road, written by Stanton Miranda and Vini Reilly. Produced by Vini Reilly and Stephen Street. Published by The Movement of the 24th January Publishing / Zomba Publishing and Copyright Control. A Factory Communications Record 1989. Les Preger's Tune, written and produced by Vini Reilly. Published by The Movement of the 24th January Publishing / Zomba Publishing. A Materiali Sonori Record 1992.

Sporadic Recordings

Buddhist Prayer, Misere, Real Drums - Real Drummer, Pathway, Rob Grey's Elegy and Shirt No.7, written and produced by Vini Reilly. Published by The Movement of the 24th January Publishing / Zomba Publishing. A Sporadic Productions Record 1989.

Liner notes

He was in his Morrissey phase... there you go

The story of a sleeve: Vini wanted a photo on the cover for a change. He even had his hair done by Andrew Berry for the shoot. The print went off to Mark and the usual ground breaking 8vo sleeve was created. It's the sleeve you see on the cover of this CD: but it's the only time this sleeve has ever existed.

Vin didn't like the sleeve, didn't like it one bit.

Mark Holt, Vini's graphics magician, founder of the legendary 8vo, thinks today that three weeks at the Woolhall working with the two Stephens on 'Viva Hate' had messed him up; "He was in his Morrissey phase, wanted the picture bigger... there you go."

It was one of Vin's legendary outbursts. Potential muggers have ended up in hospital after encounters with our Vin - he just loses it and the result is frightening for the mugger manqu&ecacute;. Anyway, the Mark Holt sleeve was out, "Here's Bob Dylan, do it like that", said Vini. So we did. Mark was very understanding. And now for all of us, in particular, Vin, there is real pleasure that the wonderful rejected creation finally gets out ten vears later.

And then there's the story of how the sequencers of 'The Guitar and other Machines' grew Lip and got a baby brother, the Akai S500 sampler.

Back in 80/81 we seemed to spend all our time trying to get Simon Topping of ACR to get back to singing, which was what he was great at, and trying to get Vini to stop singing, which is what he was not great at.

Complete failure.

Simon pursued the role of instrumentalist, be it trumplet or timbales. And Vini, the great instrumentalist, just kept singing -whenever your back was turned. Life.

To be scrupulously fair, we know it's kind of hellish to stand there in front of a thousand people and just play the guitar. When there are things you just have to say.

It's expression and you can't forbid it; it's his dance.

And there are even Durutti fans who like Vini's singing. But they're off their heads. And there are things you can do, like get him a sampler and stand back.

Which is what we did, and we stood back in amazement.

On pieces like 'Otis' and 'Opera', Vini explored the new equipment in his own extremely individual fashion. 'Otis' was later used for a Pacific Bell TV ad in Northern Calfornia. Great, eh.?

For Vini, the ability to sample out the vocal tones from things he adored and then play them back into a piece of music via a keyboard was like letting a kid loose in FAO Schwarz.

Of course we didn't not have real singers now and again. Dear Miranda from New York worked on 'Paradise Passage Road', and it's worth expaining that Les Preger was next door neighbour to Bruce and one of the first members of the International Brigade to arrive in Spain back in the 30's.

Shortly after 'Vini Reilly', there was more stuff churning out of Vini's brain / sampler than Factory could ever release, So Vin gave a bunch of tracks to his mate Paul Miller who put them out as a the 'Sporadic Recordings' the 6 tracks here are Vini's favourites from that release. 'Shirt No.7, incidentally, was written for the Durutti's friend Pat Nevin, in the good old days before football was hip. Ths one's still for you, Pat.

With thanks to Tony, Bruce. With love to Rachel.

Graphic Magicians: 8vo, London

Fidelity

Fidelity

CD: BE 04.96 (Les Disques du Crépuscule TWI 976-2)
CD: UK 12.07 (LTM LTMCD 2512) *

Tracklisting

Fidelity
For Suzanne
Future Perfect
Abstract of Expression
G & T
Remember Me
Sanko
Grace
Guitar For Mother
Storm For Steve
My Only Love *

Credits

Written and played by Vini Reilly
Produced & programmed by Laurie Lexicon
Elli R. Rudge - Vocals
Front cover photograph by Pamela Kay

With thanks to: Michel, Joelle, Anthony, Bridget, Bruce + Mitchell posse, Suzanne - Without whom..., Stu, Hammock by Alchemy, Stevie, Lee, Kia, Dean and all Wardley Crew, Salford Crew, Elli Rudge for wonderful vocals, Rudge Family, Rosalind (for Egyptian postcard), Atlas Bar, Michel Pitrik (for hair), Hadgett, Pamela Kay for wild photography (+ Joseph assistant cameraman), Ollie Harris (guitar technician), Penny and Pete (for the introduction to Laurie) and Johnny too!

© Crépuscule, 1996
Published by Movement of the 24th January Publishing.

LTM reissue notes

First released by Les Disques du Crepuscule in April 1996, Fidelity features ten tracks written and performed by Vini Reilly, with occasional guest vocals by Elli Rudge. In addition to Vini's trademark guitar style, the album also features sleek programmed beats and synth textures. The CD also features one bonus track, My Only Love, originally issued in 1995 on a free CD with Total Guitar magazine. The booklet includes background notes, and the text of the original press release. 11 tracks. 65 minutes of music.