Features

Click on the links for Part One, Part Two and Part Three of the interview. Is it fair to see the last three LPs of a piece? They seem to sit together as a sequence. Yeah I think what I found, funnily enough, is sometimes you get what you want when you stop trying to get it.

What to make of this, then? It’s a little late to expect everything Jack White records to sound like “The Big Three Killed My Baby”, of course. But still, even after the richness of the last Raconteurs album, “Another Way To Die” comes as something of a big, glossy shock.

At the tail end of 2006, I interviewed George Clooney in New York for our short-lived and sadly missed sister title, UNCUT DVD. It was around the time of Good Night, And Good Luck and Syriana, two movies that conspicuously harked back to the Seventies’ cinema of conscience. Syriana, particularly, referenced the political thrillers of the era, and during a lively, 40-minute conversation the man who in another life was the voice of Sparky the gay dog in South Park spoke enthusiastically about his love of great movies like Dr Strangelove, Network and All The President’s Men, and especially the classic alienated heroes from ‘60s and ‘70s cinema.

A lovely morning here in London, as the newly expanded version of “Kind Of Blue” makes for a perfect start to the day. I imagine you may have seen this by now, but if not, please check out Ben Kingsley doing Minor Threat. That’s Ben Kingsley doing Minor Threat, and watching it doesn’t make the concept any more assimilable.

Quite a bit of activity on yesterday’s Dylan blog, as you might expect. Interesting, though, that most of the talk seems to not be about the music, but about SonyBMG’s marketing strategy for “Tell Tale Signs” – chiefly the high price being asked for the 3CD set which, as I pointed out, is certainly worth having.

Caleb and Nathan on recording their highly anticipated fourth LP

Around the time, I think, his “Eureka” album came out, I interviewed Jim O’Rourke. It was O’Rourke’s most conventional, song-based album to date, but he still had the musical outlook of an improvising musician. He wouldn’t be touring the album, he told me, because he never wanted to play the same thing more than once. Even a radically rearranged version of a song would be in a way dishonest, he thought. The best way for an insatiable creative force like O’Rourke to make music, it transpired, was to start with a totally clean sheet every single time he picked up an instrument.

A news story in my inbox the other day reminded me that I still hadn’t blogged on the El Guincho record, the one I’ve been alluding to on playlist blogs for a while now. I say “a while”, though in truth I was heinously late hitching up to this particular bandwagon, since most go-getting bloggers were onto “Alegranza” sometime last year, when it was first released in Spain.

Saturday evening at the last and finest mini-festival of late summer, and Minnesota’s most rock’n’roll Mormons can no longer turn the other cheek. Grinding to a halt between glacially slow riffs, LOW guitarist Alan Sparhawk makes an extraordinary appeal for audience sympathy.

Turning up at the SonyBMG HQ in London last week to review the new AC/DC album for Uncut, it occurred to me: what on earth am I going to write? I’d heard and blogged already about “Rock’n’Roll Train” and – not for the first time in anticipation of a new AC/DC album – knew what to expect. The challenge would be how to spend 700 words saying little more than, “It sounds the same as all the others, and it’s great.” As it turned out, though, I rather wish now that I’d had that problem.