Domo Arigato [Factory Once, 1998]

Domo Arigato [Factory Once, 1998]

CD: UK 05.10.98 (Factory Once Facdo 144 / London 556 038-2)

Tracklisting

Sketch For Summer
Sketch For Dawn
Mercy Theme
Little Mercy
Jacqueline
Dream Of A Child
Mercy Dance
The Room
E.E.
Blind Elevator Girl
Tomorrow
For Belgian Friends
Missing Boy
Self Portrait
Audience Noise

Related Works

Our Lady Of The Angels
White Rabbit
When The World (Newson Mix)

Credits

All tracks written by Vini Reilly. Produced by Durutti Column and Anthony Wilson.

Vini Reilly: Vocals, Guitar, Piano and DX7
Bruce Mitchell: Percussion, Xylophone and DMX
Tim Kellett: Trumpet
John Metcalfe: Viola

Recorded by G.Y.N.E. Mobile Recording at Gotanda Kanihoken Hall, Tokyo; 25th April 1985; Remixed at G.Y.N.E. Mobile Recording and Nippon Columbia Studio No. 4; PCM Editing Engineer: Hideki Kukizaki; Engineers: Anthony Wilson and Norio Okada; Concert Organisation: UPU and Moon Office

Related Works

Our Lady of The Angels, written by Vini Reilly. Recorded by Stuart James at Amigos Studio, North Hollywood and mixed by Stephen Street at Strawberry Studios, Stockport, England. A Factory Communications Record 1987. [From Fac 184]

White Rabbit, originally written by Grace Slick. Recorded and mixed by Stephen Street at Strawberry Studios, Stockport, England. A Factory Communications Record 1987. [From Fac 184]

When The World (Newson Mix), written by Vini Reilly. Recorded and mixed by Stephen Street at Strawberry Studios, Stockport, England. A Factory Communications Record 1987. [From Facd 194]

With thanks to Tony, Bruce.Graphic Magicians: 8vo, London

Liner notes by Anthony H. Wilson

Home from home in a Tokyo car park

Why was it so hard to get served in this bloody Japanese restaurant somewhere in a far flung suburb of Tokyo.

We'd been waiting twenty minutes since ordering. Finally the manager came over, very apologetic as only the Japanese can be; our two waitresses were giggling and in shock in the kitchen because 'Vini Reilly' was actually in their restaurant and were so excited they were unable to come out and serve us.

Yeah. Vini isn't exactly an international celebrity, but when he's loved, he's very very loved.

It was a fun / strange tour, that trip to Tokyo. Bruce Mitchell explaining to me how to deal with our Japanese partners, just keep explaining your point, again and again and finally someone will say "Hai" and you're on your way.

I was trying to get two 35mm cameras instead of 6 video cameras to film the Durutti Column gig and it only took me two and a half hours of repeating this to get a "Hai". I preferred waiting for the food.

The DC entourage that had built up for the 'Without Mercy' album had slimmed down to a wonderful core of Vini, Bruce, John Metcalfe on viola and Tim Kellett on trumpet. They'd done three definitive gigs at the Electric Cinema on London's Portobello Road and I was praying that we could capture that once more in Japan, with tape and camera. We did.

Thank you. Or Domo as they say out there.

Mixing down was fun; we were on a flight out next morning so the wonderful Takao Homma at Nippon Columbia hired a mobile studio recording truck. We mixed from midnight till 6 a.m. And it was another of those warming technological experiences; brought the strangest of foods throughout the night in those lacquered lunch boxes that seem to dominate Japanese working life, while we worked with the most familiar of equipment -- the desk was emblazoned 'Amek, Salford, England' and the outboard was all 'AMS, Burnley, Lancashire'. Home from home in a Tokyo car park.

And by the way this is a CD; and has only ever been a CD; we reckoned it was the first CD only release in the UK when it came out the following year. And it was the note on which that whole trip had started; arriving late at night off the plane and taken by Takao to plug in the first CD player I'd ever seen and listen to ...... 'Power, Corruption and Lies' a test sample straight from the Denon pressing plant. Wow.

And then there was the trip to LA; getting Vini and Bruce a limo from the Hyatt to the Whiskey; 600 yards. We thought we'd go into a studio while were were there; I think it was Milo who sorted it.

There was this cool LA lady -- I'd met her at a New Order gig the previous summer and played Pac-woman with her and fancied her and failed miserably and Peter S. even asked me if, as I was doing so badly he could try instead and she was in a bunch of bands, and we got her to come and sing with Vini and her name is Debi Diamond and that's about it.

And 'Our Lady of the Angels' is Vini's tribute to that wonderful wonderful town. I didn't know my Franciscan history I'm afraid and the whole thing was only explained by reading Reyner Banham (thanks Mr Savage for yet another one), and discovering that the City of the Angels is in fact "El Ciuidad della Nostra Senora de Los Angeles de Porciuncula". LA for short. And the track is indeed a short cut to Mulholland Drive.

Another Setting [Factory Once, 1998]

Another Setting [Factory Once, 1998]

CD: UK 05.10.98 (Factory Once Facdo 74 / London 556 041-2)

Tracklisting

Prayer
Response
Bordeaux
For A Western
The Beggar
Francesca
Smile In The Crowd
You've Heard It Before
Dream Of A Child
Second Family
Spent Time

Related Works

Amigos em Portugal:

Amigos em Portugal
Menina ao pe duma Piscina
Lisboa
Sara e Tristana
Estoril a Noite

Dedications for Jacqueline:

Favourite Descending Intervals
To End With

Credits

All tracks written by Vini Reilly

Related Works

Amigos em Portugal: Amigos em Portugal, Menina ao pe duma Piscina, Lisboa, Sara e Tristana and Estoril a Noite, written by Vini Reilly. Recorded and mixed in the Valentim de Carvalho Studios by To Pinheiro da Silva and Jose Valverde. A Factory Communications Record 1983.

Dedications for Jacqueline: Favourite Descending Intervals and To End With, written by Vini Reilly. Recorded and mixed in the Valentim de Carvalho Studios by To Pinheiro da Silva and Jose Valverde. A Factory Communications Record 1983.

With thanks to Tony, Bruce.

Graphic Magicians: 8vo, London

Notes

The official credits are strangely scarce in this reisssue. Here are additional credits from Facd 74.

Recorded and mixed at Strawberry Studios, Stockport
Engineered by Chris Nagle
Published by the Movement of 24th January

Obey The Time [Factory Once, 1998]

Obey The Time [Factory Once, 1998]

CD: UK 10.98 (Factory Once FACDO 274 / London 556 040-2)

Tracklisting

Vino Della Casa Bianco
Hotel Of The Lake 1990
Fridays
Home
Art And Freight
Spanish Reggae
Neon
The Warmest Rain
Contra-indications
Vino Della Casa Rosso

Related Works

The Together Mix
Fridays (Up-Person Mix)
Kiss Of Def (Trade 2 Singles Club)

Credits

A Factory Communications Record 1998.
With thanks to Tony, Bruce, Graphic Magicians: 8vo, London
Graphic Magicians: 8vo, London

Obey the Time

All tracks written by Vini Reilly.

Drums on 'Art and Freight' by Bruce Mitchell.

Computed and Engineered by Paul Miller at Home, except 'Contra-indications' computed and engineered by Andy Robinson at Spirit Studios. Hypnosis and medication by Sydney Gottlieb. Food and relaxation by Dry.

The Together Mix

The Together Mix, written by Vini Reilly. Remixed by Together. A Factory Communications Record 1990.

Fridays, written by Vini Reilly. Recorded and mixed by Vini Reilly and Paul Miller. A Factory Communications Record 1990.

Trade 2 Singles Club

Kiss of Def, written by Vini Reilly. Remixed by Keir Stewart at Inch.

Liner notes

Absolutely in the middle of it

"I have but an hour of love, of worldly matters and direction to spend with thee: we must obey the time."

The titles of Vini's albums and even the tracks themselves come from tne oddest places. There's the easy way out: the female first name of the muse of the moment, from Katharine to Pol in G (sorry Pol, you were more than a moment), and all the rest.

Other times Vin would have something in mind and other times, I, as one third of his management would flirt around with my latest obsessions looking for a connection with Vini's pieces.

Part of this aesthetic derives from Italian directors in general and Pasolini in particular who loved having different actors dub the voices on his movies and almost intentionally doing the dubbing badly so there was a creative tension between the physical performance and the vocal performance; for the Durutti Column, there's usually some interesting stuff in the space between the title and the piece.

The title of this album came screaming off the TV screen in somebody's version of Othello' and captured exactly the feel of the work in progress. We were in the middle of the Aceeed explosion: if you lived in Manchester, you were absolutely in the middle of it. Vini, like the rest of us, has lost the ability to age or atrophy, and enjoyed the party.

He even explained why house made keyboards sound so fresh something to do with a chord being played with three or four notes into the sampler but then different chords being triggered by a single key stroke; creating mathematical harmonic relationships "which Schoenberg had searched for but never found".

In experimenting with certain beats and ideas, Vini was indeed obeying the time.

We're including as a bonus track here something that comes from the late 90's. But we submit it as a most recent example of Vini 'obeying' the time and as such connecting to the music of this period and taking us up to where the ripples of 88 still make interesting patterns on the shore.

The producer of his 1998 album, Kier, (another full-blown genius who also tried to get Vini to stop singing and met the same fate as everybody else) did this remix of My Last Kiss: sorta post-trance, sub-jungle, retro-ambient, or something. It's called 'Kiss of Def' which is partly taking the piss out of Barney's HIV lyric and partly just a cool title.

We were going to give it to Glenn and Jeff at Trade Two who were looking forward to putting it on their club label, but it got snared up with the lawyers on both sides.

And then, going back to 1990, there was Together, the 'Hardeore Uproar' cultish and soon-to-be massive dance duo who did the 'Together' remix; two fantastic kids, one with the ability to sing nasally out of the side of his mouth and the other, another young Kier, brightest eyes of any engineer you'd meet back in 1990. He died that Summer in Ibiza. Bicycle accident. Fucking tragic.

That Summer I was in Varenna, a small village on the banks of Lake Como, and Vini was short on titles for the pieces on this album, many of them emerging from mathematical / harmonic or technological inspiration rather than lovers he could name them after. So Vin let me take some of the titles from my experiences in Varenna. 'The Warmest Rain', indeed.

Without Mercy [Factory Once, 1998]

Without Mercy [Factory Once, 1998]

CD: UK 14.09.98 (Factory Once FACDO 84 / London 556 039-2)

Tracklisting

Without Mercy I
Without Mercy II

Say What You Mean, Mean What You Say

Goodbye
The Room
Little Mercy
Silence
E.E.
Hello

From FBN 51

All That Love And Maths Can Do *

From Hommage a Duras compilation on Interior Music

The Sea Wall

Credits

All tracks written by Vini Reilly. Produced by Anthony Wilson and Michael Johnson.

Vini Reilly: Guitar, Bass Guitar, Piano and DMX. Bruce Mitchell: Percussion, Congas and DMX. Richard Henry: Trombone. Maunagh Flaming: Cor-Anglais and Oboe. Blaine Reininger: Violin and Viola. Mervyn Fletcher: Saxophone. Caroline Lavelle: Cello. Tim Kellett: Trumpet.

All songs written by Vini Reilly. Produced by Anthony Wilson and Michael Johnson. Recorded at Strawberry Studios, Stockport. Engineered by Michael Johnson, assisted by Tim Dewey and Nigel Beverley. Mixed at Britannia Row, London. Published by the Movement of the 24th January.

Say What You Mean, Mean What You Say

Say What You Mean, Mean What You Say. Goodbye, The Room, A Little Mercy, Silence, E.E and Hello(w). All tracks written by Vini Reilly. Vini Reilly: DMX drum machine, DX7 Synth and Guitars. Mervyn Fletcher: Saxophone. RIchard Henry: Trombone. Tim Kellett: Trumpet. Bruce Mitchell: Percussion A Factory Communcatons Record 1984.

Related Works

All That Love and Maths Can Do, written and produced by Vini Reilly. Vini Reilly: Guitar. John Metcalfe: Viola, A Factory Communications Record 1984. Sea Wall, written and produced by Vini Rally. Vini Reilly: Guitar. Blaine Reininger: Violin. A

Factory Communications Record 1984.

Liner notes

If in doubt, repeat yourself

It was the fascist architecture that proved to be the final straw. My temper had been rising throughout the evening, a sell out gig, two thousand fanatical Portuguese Vini fans at some Lisbon College theatre, obviously built in the good old days of the Portuguese Generals.

What had got me going was the fact that Vini and Bruce were doodling along on stage the same way they had been doing for at least two and a half years. Same bloody stuff; like John Cooper Clarke doing a college gig in 1990. If in doubt, repeat yourself. It was too bloody easy.

And when the entire audience came to its feet on Bruce's 'drum solo' in 'Jacqueline', well, I mean, a fucking drum solo. When you're pissed off and everyone else is loving it, you get really pissed off. Shakespeare used to do that with filthy jokes just before a coming tragic death scene to wind up the part of the audience that wasn't pissing itself with laughter. The applause for the drum solo certainly wound me up.

It was the same with recording. Vini's third album, 'Another Setting', while strangely providing some of the DC standards that Vin would be playing a decade later, merely trod the same ground as 'LC' and took nothing forward. It was time for a change.

A few months earlier we'd been approached by three classical musicians, kids from the Royal Northern College of Music and Manchester University. A trumpeter, a saxophonist and a ...... "Has Factory got any work for us?" - "Who knows, maybe ......"

Factory had also struck up a relationship with the wonderful Pete Hadfield acting for statuesque cello player, Caroline Lavelle. (Where's the bloody tape, Pete?) An idea formed; a group of musicians for Vini to create for. Add to the mix Blaine Reininger from the Belgian connection - always on hand with his Michel Duval impersonations and electrifying violin work. The first meeting was at Alan and Annie's farm in Cheshire. "Actually we get more people at the farm than at the Hacienda", said Mr Erasmus for the Channel Four documentary while riding round a nearby field on the back of Hooky's trial bike.

And the final ingredient turned up on the first day at Strawberry when the brass section brought along their 'arranger', the diminutive but 'taking no shit' Mr Metcalfe whose viola playing became such a part of the next cycle of Durutti work.

Since this was pop it had to be 'boy meets girl, boy loses girl' so we took Keats's 'La Belle Dame Sans Merci' as the narrative - boy meets girl, boy loses girl and no birds sing.

Central to the whole project was trying to get Vini to spend more than three days recording an album, to try and slow down the process. It took five days which has to be counted as an abject failure.

Plus getting to hear Vini and Blaine do an ultra heavy 'Sweet Jane' a couple of times at soundchecks was worth the admission.

Worth the admission to the reissue is the inclusion of the tracks from the 'Say What You Mean...' EP, released as a 12" vinyl single. The session for this collection took place at Revolution in Cheadle a few months after the 'Mercy' sessions and already show the slimming down process and the core musicians of the mid 80's Durutti Column coming of age. Basically it was the Manc kids. What's new.

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