Marking a further progression in the overall
Durutti sound,
Without Mercy both an expanded lineup and sense of what could be done with
Reilly's compositions. Consisting of a two-part full-album instrumental piece,
Without Mercy integrates the slight hints of
classical orchestration and accompaniment from
Another Setting more fully via a slew of additional players. Besides the indefatigable
Mitchell on percussion and
Reilly on guitar, bass, and keyboards, performers on everything from viola to cor anglais and trumpet flesh out
Without Mercy's sound to newly striking heights.
Reilly's work on piano sets the initial mood for the song, a sound by now as intrinsic to
Durutti's approach as his guitar work, capturing both tender beauty and deep melancholy just so.
Manaugh Fleming's oboe and
Tim Kellet's trumpet start to step in as well as
Reilly's guitar, adding in here and there as needed while the track unfolds further to another typically brilliant
Reilly guitar solo. From such a striking start, the song continues to unfold over the album's full length. It's very self-consciously romantic (track and album are in fact named for
Keats' noted poem
La Belle Dame Sans Merci), but the combination of new and old instruments, plus the continuation of the unique
Durutti sheen and shine in the recording quality, results in quietly touching heights.
Blaine Reininger's viola and violin and
Caroline Lavelle's cello add even more
classical atmosphere, while the restraint they exercise as well as all the other performers prevent things from becoming a bloated
prog-rock monstrosity. Then again, the funky horns and beats about eight minutes into the second part don't hurt either. Even at its busiest, reflection and subdued but not inactive performing are the key, with clear echoes of
Erik Satie's work at many points, while
Reilly is almost always, either via keyboards or his guitar, front and center. The 1998 reissue matches a slightly earlier CD version with the inclusion of the
Say What You Mean, Mean What You Say EP. Also appearing are two separate, very stripped-down pieces recorded around the same time, one of which, the wonderful
"All That Love and Maths Can Do," features violist
John Metcalfe in his first recorded effort with
Durutti. ~ Ned Raggett
![Let It Bleed [50th Anniversary Edition]](http://prodimage.images-bn.com/pimages/0018771858522_p0_v2_s90x140.jpg "Let It Bleed [50th Anniversary Edition]")
