As such, when it was initially released in 1979, The Return of the Durutti Column defied categorization. Intimate, inventive and defiantly non-commercial, the disarming serenity and fragility of songs such as 'Sketch for Summer,' 'Katharine,' 'Sketch for Winter' and 'In D' simply had no other musical analog in 1979.

Factory founder Tony Wilson remained in post as manager of the band, but Sex and Death would be their last album with producer Stephen Street, famed for his work with Morrissey, The Smiths and Blur. Writer and master guitarist Vini Reilly remained philosophical. “People say the Durutti Column is this or that. FACT 14c The Return of The Durutti Column; sandpaper insert back detail The first album by The Durutti Column originally came in the now legendary 'sandpaper sleeve'. This was a nod to situationism whereby keeping the record in your collection would physically damage your other records. The Return download on RapidTrend.com rapidshare search engine - The Lord of the Rings The Return of the King part01, The Lord of the Rings The Return of the King part02, The Lord of the Rings The Return of the King part03. Find album reviews, stream songs, credits and award information for The Return of the Durutti.

LP: UK 1980 (Factory FACT 14) [sandpaper sleeve] */**
LP: UK 1980 (Factory FACT 14) [black sleeve] *****
LP: UK 1980 (Factory FACT 14) [white label of black sleeve edition] *****
CS: UK 1986 (Factory FACT 14C) [boxed] ***
CD: UK 1988 (Factory FACD 14) ****
7': UK 1980 (Factory FACT 14) [flexi-disc] *
LP: AU 07.80 (GAP/EMI FACOZ 1002)
CS: AU 07.80 (GAP/EMI TC-FACOZ 1002, 500 copies)
Tracklisting
Sketch For Summer (3:01)
Requiem For A Father (5:08)
Katharine (5:30)

Return Of The Durutti Column Rarest

Conduct (5:02)

Durutti Column Discography

Beginning (2:28)
Jazz (1:38)
Sketch For Winter (2:24)
Collette (2:23)
In 'D' (4:12)
Sketch For Winter (2:25) ****
Run-out groove
Stencilled

Otis The Durutti Column

~ FACT 14 4 PBG A1, Sound Clinic, EG, S-6
~ FACT 14 4 PBG B1, EG, S-3
Not stencilled
~ FACT 14 4 PBG AI, FACT 14 A1, Sound Clinic, EG, S-4
~ FACT 14 B1 14 PBG BI, EG, S-2
Factory Australasia
~ FACOZ 1002 A, Maxicut At 301, Otto ******
~ FACOZ 1002 B, Maxicut By 301, Otto
Black sleeve and white label test pressing
~ FACT 14 A3, 4 PBG, Townhouse, CR
~ FACT 14 PBG A3, CR
Tracklisting - Martin Hannett's Testcard 7' flexi*
First Aspect of the Same Thing (3:42)
Second Aspect of the Same Thing (2:59)
~ LYN 7561
Credits
The Durutti Column is Vini Reilly on guitar
and Martin Hannett on switches
Recorded at Cargo, Rochdale
Mixed at Strawberry, Stockport
Engineers Chris Nagle and John Brierley
33 1/3 rpm
Published by Movement of 24th January Music
A Factory Records Product
(P) © 1979
Notes
* Martin Hannett's 'Testcard' 7' flexidisc. (Shares the same FAC number as the album.)
** There were three editions of the sandpaper sleeve (total edition of 2,000): Some have FACT 14 sprayed on (in black or white) and the 7'; some haven't got the sprayed FACT 14 but the 7'; and some have no spray and no 7'. (The sprayed FACT 14 was official.) There are initial pressings on dark-red (see-through) vinyl. Some sleeves (a smaller subset probably) are sprayed 'THE RETURN OF THE DURUTTI COLUMN'. Though unusual in the context of the whole edition, they are official.
*** With sandpaper insert.
**** Released as part of FACD 224.
***** Black sleeve issue is an additional mix (version) with less reverb & more phasing. Variable textured sleeves.

The Durutti Column Vini Reilly

****** Otto is the name of the cutting engineer
Production: Martin Hannett
Design: Dave Rowbotham and Anthony Wilson (Sandpaper sleeve concept) / Paintings by Dufy (Black sleeve reissue)
Notes
The sandpaper sleeve is an homage to Situationists Guy Debord & Asger Jorn's Memoires (book, w/sandpaper cover; original edition published 1959).
There is a promo poster for the Factory Australasia edition, 30' x 40', designed by Andrew Penhallow.

Labels: 1980, 1986, 1988, Album, Cassette, CD, DC_album, DC_release, Factory_Australasia, Factory_Records, flexi, LP, The_First_Four_Albums, The_Return_of_The_Durutti_Column

Thirty years on since The Return Of The Durutti Column, Vini Reilly is back with his band. It’s something a family affair this time, as his girlfriend Poppy Morgan brings more of her electric piano and backing vocals to the mix.

In fact the album performs a dual function, both as reunion and elegiac tribute – the latter made to Factory Records head Tony Wilson, whose ‘In Memory’ makes up the heavy tread of the opening track – a funeral march for a rather subdued rock band, in effect. Long time band member and friend Bruce Mitchell is also a dedicatee of the simple yet extremely effective For Bruce.

That isn’t as macabre as it sounds, for the Durutti Column waste little time in achieving that sense of quiet majesty that has characterised some of their best music. For this isn’t music to energise – but you probably knew that already. Rather, it works best when played at late night, its meditative qualities drawn to the fore, Reilly’s carefully studied guitar lines working their subtle yet strangely elusive magic.

In truth the sound benefits a lot from Morgan’s piano, particularly Wild Beast Tamed, which has a nice floating feel to it, but even more from her vocals, which add an extra dimension to I’m Alive. Both songs offer an extra dimension, giving the album variety.

There are political undertones, though sometimes it’s difficult to hear exactly what Reilly is singing about when the reverb is turned up. What can be discerned, however, is a couple of references to “God bless America”, made softly but with pointed emphasis. The second, made in Check Out My Keychain, follows by asking, “what are we trying to sell”? It seems to be an observation made against material gains and the advances of technology.

The Return Of The Durutti Column Rar

Speaking of which, the final track Lock Down sounds oddly out of place, advancing the drum sound by some twenty years as the backing takes on a fully electronic make-up, a throwback to Reilly’s experimentations with dance beats. It could almost be removed, to be honest, as the preceding Loser would make a suitably majestic closing track.

The themes of tributes and love in the time of recession come together on My Poppy, whose title says it all – a softly romantic dedication, low on schmaltz but high on atmosphere.

A strong return, then, from an always-underrated outfit that has deservedly kept its cult following without any need for compromising. Now he’s in the middle of a love affair, Vini Reilly has hit a rich vein of form once again, and his band sound individual as ever.