The silver lining to this dark cloud was that SS 45005 brought Reilly together with a compatible drummer in the shape of Bruce Mitchell. "I spoke to Alan Erasmus," Vini recalls, "very unhappy about the drummers I worked with in the past because I knew they weren't right. Alan immediately said, 'What about Bruce Mitchell?' I'd seen Bruce around but I'd never really spoken to him properly. I was somewhat in awe of Bruce as a local character. He was very well known. I'd seen him play with the Albertos a few years previously, but I didn't know him." Of course, the debut is instrumental, and mostly consists of just Vini's guitar with the occasional drum machine or sound effects (and real drums on one song). It's really good, though. The cover art retains the original design by 8vo. The remastered vinyl set is housed in gatefold sleeve, with liner notes and rare band images.

Ruiz, Julius (2014). The 'Red Terror' and the Spanish Civil War. Cambridge: Cambridge University Press. ISBN 9781107054547. Durruti and his companions returned to Spain and Barcelona, becoming an influential militant group within two of the largest anarchist organizations in Spain at the time, the Federación Anarquista Ibérica (FAI), and of the anarcho-syndicalist trade union Confederación Nacional del Trabajo (CNT). The influence Durruti's group gained inside the CNT caused a split, with a reformist faction under Ángel Pestaña leaving in 1931 and subsequently forming the Syndicalist Party. Former member Dave Rowbotham was killed by an unknown assailant in 1991. [3] He was later memorialised by the Happy Mondays in the song "Cowboy Dave".Vin was very easy to play with, no problem at all," agrees Mitchell. "The way he would play, the sequences would have an unusual logic. It wouldn't be strict in 4 or 8 bar formations, and his chord changes would just seem to happen in a different way. Plus he was running a lot of echoes, so my drums had to be about meter more than beat. And it had to go down very fast as Vini has a certain intolerance in the studio." While Reilly can’t be drawn on the greatness of his own music, Mitchell is happily forthcoming on his behalf. “I’m in awe of him,” he tells me. “When we would play For Belgian Friends live, I never wanted to play on it because it was like taking a spade to a souffle. I just wanted to watch it in the audience. It was such an astonishing thing. When he played it on his own – a whole room would hold its breath.” Talking about it today, though, it’s clear Saville still has a complex relationship with FACT 14. “When Tony mentioned to me the Dadaist proposition of a book with a sandpaper cover that violently damaged your other books, I thought, ‘Yes, that’s a powerful, iconoclastic gesture.’ And I also saw how it could be transposed or transported to the format of a record cover. But I did feel, even just instinctively, that there were some aspects of it that were incompatible with itself.” He laughs. “Sandpaper and vinyl records… it’s not the most comfortable partnership.” INSPIRATION

When he played on his own, a whole room would hold its breath’ … Bruce Mitchell, drummer in the Durutti Column, with Reilly. Photograph: Christopher Thomond/The Guardian

It was Tony Wilson who had the idea for the cover, following Situationist Guy Debord's book "Mémoires" also wrapped in sandpaper to destroy the adjacent books. Gammer refers to N.H. Gammer, founder of Gammer And His Familiars, Reilly's first band. Rowbotham refers to Dave Rowbotham, the former DC founder and guitarist. Reid refers to Jamie Reid, who apparently wanted to title the first Sex Pistols album "Where's the Durutti Column?" Come 1967’s Society of the Spectacle, Debord’s critical theory hardened into a road-map for action. The book called for the state’s power to be devolved to collectivised worker’s councils. A year later, the Situationist International’s ideas and slogans were fuel for the May 1968 uprisings in Paris, where institutions were immobilised by wildcat strikes, barricades were erected in the streets, and Situationist-inspired slogans (“Drive the cop out of your head,” “Never work”) were spray-painted on the walls. Some of the new material presented at that late-’86 show wound up being recorded for The Guitar and Other Machines, which also relies on Mitchell and Metcalfe (plus others to a lesser degree) for studio support. The eleven pieces (three with guest vocals) are as sonically adventurous as anything Reilly has ever attempted. While remaining inside the group’s traditional parameters, this ambitious record increases his emotional reach. The covers were assembled by Joy Division, A Certain Ratio and others. While Ian Curtis did the glueing, the other members of Joy Division watched a porn movie in the same room.