The Durutti Column – A Life of Reilly
by James Nice
Burning Shed 2024 (hardback 272 Pages, ISBN: 978-0993303647)

Reviewed by John Earls

The guitar playing of Vini Reilly has been described as understated (which is not to say that it is not hugely influential and affecting). One could say the same of the man himself. So, the arrival of this authorised biography of the musician and his band The Durutti Column is both timely and welcome.

Written by James Nice, author of Shadowplayers: The Rise and Fall of Factory Records, it is a well-researched and compelling account of the band and one of the most unique guitarists ever. It is particularly gripping if you are interested in the Manchester and Factory music scene in the 1980s.

The book is also beautifully produced and presented in hardback with quarter bound cloth spine reminiscent of much of Factory Records’ own output (however, it’s a shame there wasn’t a bit more diligent proof-reading).

It opens with Reilly’s early years growing up in Manchester, with him cocking an ear to his engineer Dad listening to jazz and classical music, tinkering on the piano and switching to guitar under the tutelage of Miriam ‘Mimi’ Fletcher, a German expatriate who escaped Nazi persecution before the war and was to become Reilly’s first significant creative mentor.

Already exposed to classical composers such as Tchaikovsky through his father’s musical listening, ‘Mimi’ broadened Reilly’s exposure to include others such as Bach and Bohuslav Martinů (who Reilly cites as a favourite). It is after discussing Tchaikovsky’s Pathétique Symphony that Reilly goes on to outline his own thoughts in respect of responses to music:

“For me there are three main responses to music: the physical response, which is the most basic, where you dance about to it; an intellectual response, where you listen to the construction, evolution and development of the piece; and third, and most important to me, the emotive response, and this really is the greatest expression of emotion anyone has ever managed to write”.

The music of Vini Reilly and The Durutti Column certainly hits those spots.

We then get taken through Reilly’s playing with punk band Ed Banger and the Nosebleeds, coming into contact with then local TV personality Tony Wilson, the formation of Durutti Column and the release of their first album The Return of the Durutti Column in 1980, also Factory Records’ debut album.

Needless to say the presence of Factory supremo and Durutti Column manager Wilson looms large. The, at times difficult, relationship between him and Reilly is revealingly and sensitively handled, sometimes movingly so with Reilly reporting “I owe him my career…I loved him, really. He was almost like a father figure to me. He was also really generous spirited”.

There are some great reminiscences. I particularly liked the story about former Chelsea and Everton winger Pat Nevin (who had a Durutti tune Shirt No.7 dedicated to him) and Reilly (apparently no mean footballer himself in his youth) visiting one Steven Patrick Morrissey of The Smiths and having a kick about in Morrissey’s back garden. Reilly played guitar (along with Stephen Street) on Morrissey’s first solo album Viva Hate and the book delves into its writing, recording and records the reflections of involved parties (not always harmonious).

As well as Reilly’s guitar playing, we are also reminded of his musical innovation, such as the use of sampling on the album Vini Reilly (1989) which preceded Moby’s Play (1999) of which Reilly is still scornful.

The concentration on the 1980s – nearly each year from 1979-1990 gets a dedicated chapter – is where the book goes deepest. There is a chapter on 1991-1999 (‘A Turbulent Decade’) and 2000+ (‘Requiem’, all of two pages). The final ‘Interlude’ (there are several interspersed between chapters) is 2009: ‘A Paean to Wilson’ featuring a 2010 interview by Wilson Neate.

The omission of the latter years which include the Chronicle album and performance, Chronicle XL and Reilly’s deteriorating health is noticeable and unexplained.  

Finally, the other significant and consistent presence in the book is Bruce Mitchell, stalwart Durutti Column drummer and latterly also Reilly’s manager and organiser.

Reilly has long been self-critical often openly so in the music press to the detriment of the albums he was supposed to be promoting. Mitchell comes across as not only a loyal friend (“the best friend I’ve ever had” says Reilly) and simpatico musical colleague, but one of Reilly’s best advocates:

‘Vini doesn’t really listen to his old stuff,’ jokes Bruce, making light of the maestro’s chronic and enduring lack of insight. I just wanted to say that I’m proud of them for him’.

Amen to that.

John Earls is Director of Research at Unite the Union. He tweets / updates his ‘X’ content at @john_earls

For more information on the book and to explore purchase options, visit the Burning Shed website