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Win An Audience With Primal Scream’s Mani

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Win An Audience With Primal Scream’s Mani

Uncut is staging an audience with Primal Scream's legendary bassist - and former Stone Roses man - Mani next week, and we want your questions. Ever wondered how wide those Madchester flares were? What is his favourite fashion statement: the bucket hats or the white suit? Or perhaps you want to know who the ultimate frontman is: Ian Brown or Bobby Gillespie? If there's anything you want to ask, then send your questions to: uncutaudiencewith@ipcmedia.com with Mani in the subject line. We need your questions by Tuesday (March 20) and then they'll be put directly to the big man.

Uncut is staging an audience with Primal Scream’s legendary bassist – and former Stone Roses man – Mani next week, and we want your questions.

Ever wondered how wide those Madchester flares were? What is his favourite fashion statement: the bucket hats or the white suit? Or perhaps you want to know who the ultimate frontman is: Ian Brown or Bobby Gillespie?

If there’s anything you want to ask, then send your questions to:

uncutaudiencewith@ipcmedia.com with Mani in the subject line.

We need your questions by Tuesday (March 20) and then they’ll be put directly to the big man.

David Bowie – Young Americans: Special Edition

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David Bowie – Young Americans: Special Edition

What happened to David Bowie in 1974? He’d started off the year every inch the feted English pop artist – finishing off his Orwellian concept opera, producing Lulu and playing sax for Steeleye Span. He ended it releasing a cover of Eddie Floyd’s “Knock On Wood”, recording with Philly’s finest and hanging out with Lennon and Springsteen. Even by Bowie’s standards, the transformation from the cover of Diamond Dogs – flame-haired, sci-fi man-hound – to Young Americans – louche lovechild of Sinatra and Dietrich – beggared belief. Was it simply, as producer Tony Visconti suggested, that David was essentially a mod at heart, and he finally had the confidence to make the R’n’B record he always wanted to? Was it, as Bowie himself said to a BBC documentary crew that year, that he’d absorbed American culture through immersion, like a fly floating in milk? Or was it all just a cynically executed plot to seduce and conquer the country that had so far resisted his manifold charms? It’s likely that even Bowie was unsure of his exact motivation when, cracked as the Liberty Bell, he entered Philadelphia’s Sigma Studio (home of hitmakers Gamble and Huff and resident band MSFB) in August 1974 and spent 12 days creating “plastic soul” – his cocktail of gilded funk, swooning strings and heat haze saxophone, shaken and stirred by the anxieties of the post-Nixon USA and delivered as though he was finally letting his pierrot mask slip. As he swooned on the title track: “Ain’t there one damn song that make me break down and cry?” Ironically, the number one single the album yielded, “Fame”, was recorded later in New York, with the help of new pal John Lennon and guitarist Carlos Alomar, from a riff stumbled on while jamming through The Flares’ “Footstompin’”. The bookends of “Fame” and “Young Americans” are undoubtedly the high points here, but, dirgey trawl through “All Across The Universe” apart, the whole record stands up incredibly well. Above all, you realise just how influential the luxurious sound and anxiously ambitious rhetoric – of aspiration, fascination and celebrity – was on a whole generation of upwardly mobile ‘80s pop aesthetes. This latest edition appends a couple of well-known off-cuts (“John, I’m Only Dancing (Again)” and “Who Can I Be Now?”), some 5.1 audio mixes by Visconti, and an appearance on US TV, but the main draw is the previously unreleased, orchestrated “It’s Gonna Be Me”, a synthetic gospel number which suggests that even Prince might have taken a thing or two from this splendidly troubled funk confection. STEPHEN TROUSSÉ

What happened to David Bowie in 1974? He’d started off the year every inch the feted English pop artist – finishing off his Orwellian concept opera, producing Lulu and playing sax for Steeleye Span. He ended it releasing a cover of Eddie Floyd’s “Knock On Wood”, recording with Philly’s finest and hanging out with Lennon and Springsteen. Even by Bowie’s standards, the transformation from the cover of Diamond Dogs – flame-haired, sci-fi man-hound – to Young Americans – louche lovechild of Sinatra and Dietrich – beggared belief.

Was it simply, as producer Tony Visconti suggested, that David was essentially a mod at heart, and he finally had the confidence to make the R’n’B record he always wanted to? Was it, as Bowie himself said to a BBC documentary crew that year, that he’d absorbed American culture through immersion, like a fly floating in milk? Or was it all just a cynically executed plot to seduce and conquer the country that had so far resisted his manifold charms?

It’s likely that even Bowie was unsure of his exact motivation when, cracked as the Liberty Bell, he entered Philadelphia’s Sigma Studio (home of hitmakers Gamble and Huff and resident band MSFB) in August 1974 and spent 12 days creating “plastic soul” – his cocktail of gilded funk, swooning strings and heat haze saxophone, shaken and stirred by the anxieties of the post-Nixon USA and delivered as though he was finally letting his pierrot mask slip. As he swooned on the title track: “Ain’t there one damn song that make me break down and cry?”

Ironically, the number one single the album yielded, “Fame”, was recorded later in New York, with the help of new pal John Lennon and guitarist Carlos Alomar, from a riff stumbled on while jamming through The Flares’ “Footstompin’”. The bookends of “Fame” and “Young Americans” are undoubtedly the high points here, but, dirgey trawl through “All Across The Universe” apart, the whole record stands up incredibly well. Above all, you realise just how influential the luxurious sound and anxiously ambitious rhetoric – of aspiration, fascination and celebrity – was on a whole generation of upwardly mobile ‘80s pop aesthetes.

This latest edition appends a couple of well-known off-cuts (“John, I’m Only Dancing (Again)” and “Who Can I Be Now?”), some 5.1 audio mixes by Visconti, and an appearance on US TV, but the main draw is the previously unreleased, orchestrated “It’s Gonna Be Me”, a synthetic gospel number which suggests that even Prince might have taken a thing or two from this splendidly troubled funk confection.

STEPHEN TROUSSÉ

Magazine – Reissues

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Magazine – Reissues

MAGAZINE Real Life R1978 Secondhand Daylight R1979 - 5* The Correct Use Of Soap R1980 - 4* Magic, Murder And The Weather R1981- 3* *** In1978, when Magazine unleashed Real Life, the NME declared that the band’s singer, lyricist and arch-eyebrowed visionary Howard Devoto was “the most important man alive”. In a year which saw the signing of the Camp David Accords, this suggested a somewhat insular sense of priorities. But nearly two decades later, reviewing the staggering quartet of studio albums which erupted from former Buzzcock Devoto’s restless imagination in just three years, it must be conceded that the NME’s excitable correspondent wasn’t altogether mistaken. Magazine synthesised the sparse rhythms and arrangements of post-punk with the unabashed pop sense about to blossom with the New Romantics. Their most enduring singles (“Model Worker”, “Song From Under The Floorboards”) still have the capacity to invigorate, all lyrical intellect and exuberant melody. The professorial Devoto was a splendidly arch frontman, his band a troupe of virtuosi who look, when their subsequent careers are considered, like the wildest dream of a post-punk supergroup (guitarist John McGeoch later joined PiL and The Banshees, bassist Barry Adamson The Bad Seeds; Magazine’s DNA also filtered through to Visage and Swing Out Sister). There’s little in the way of stylistic progress discernible in Magazine’s catalogue, partly because they released so much so fast, more likely because they knew they’d got it right the first time. That said, if anyone is so constrained by such relatively prosaic desires as hunger that all four albums seems an indulgence, then Real Life and The Correct Use Of Soap are perfect, Secondhand Daylight slightly less so, Magic, Murder. . . flawed, but interestingly so. When Devoto snarls his way through the monumental “Shot By Both Sides” (on Real Life), his defiant rejection of the solace of organised thought, the heart leaps at this angry acuity getting another run, at the sparks these albums could reignite. Without the inspiration provided by these records, vast and treasurable realms of modern pop would never have been conjured. For bands including Radiohead, Franz Ferdinand, Pulp, The Smiths and uncountable others who’ve chosen to regard intelligence as a flauntable virtue, Magazine wrote the book. ANDREW MUELLER

MAGAZINE

Real Life R1978

Secondhand Daylight R1979 – 5*

The Correct Use Of Soap R1980 – 4*

Magic, Murder And The Weather R1981- 3*

***

In1978, when Magazine unleashed Real Life, the NME declared that the band’s singer, lyricist and arch-eyebrowed visionary Howard Devoto was “the most important man alive”. In a year which saw the signing of the Camp David Accords, this suggested a somewhat insular sense of priorities. But nearly two decades later, reviewing the staggering quartet of studio albums which erupted from former Buzzcock Devoto’s restless imagination in just three years, it must be conceded that the NME’s excitable correspondent wasn’t altogether mistaken.

Magazine synthesised the sparse rhythms and arrangements of post-punk with the unabashed pop sense about to blossom with the New Romantics.

Their most enduring singles (“Model Worker”, “Song From Under The Floorboards”) still have the capacity to invigorate, all lyrical intellect and exuberant melody. The professorial Devoto was a splendidly arch frontman, his band a troupe of virtuosi who look, when their subsequent careers are considered, like the wildest dream of a post-punk supergroup (guitarist John McGeoch later joined PiL and The Banshees, bassist Barry Adamson The Bad Seeds; Magazine’s DNA also filtered through to Visage and Swing Out Sister).

There’s little in the way of stylistic progress discernible in Magazine’s catalogue, partly because they released so much so fast, more likely because they knew they’d got it right the first time. That said, if anyone is so constrained by such relatively prosaic desires as hunger that all four albums seems an indulgence, then Real Life and The Correct Use Of Soap are perfect, Secondhand Daylight slightly less so, Magic, Murder. . . flawed, but interestingly so.

When Devoto snarls his way through the monumental “Shot By Both Sides” (on Real Life), his defiant rejection of the solace of organised thought, the heart leaps at this angry acuity getting another run, at the sparks these albums could reignite. Without the inspiration provided by these records, vast and treasurable realms of modern pop would never have been conjured. For bands including Radiohead, Franz Ferdinand, Pulp, The Smiths and uncountable others who’ve chosen to regard intelligence as a flauntable virtue, Magazine wrote the book.

ANDREW MUELLER

The Horrors – Strange House

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The Horrors – Strange House

Like If’s Mick Travis after a nasty bout of electro-shock therapy, The Horrors have waged war on indie conformity over the last 12 months with a sadistic glee. Interviews have seen articulate discourse on everything from Lord Rochester to obscurist psych-rock (the band’s fanzine, Horror Asparagus Stories, takes its name from a single by ‘60s garage types The Driving Stupid). The video for debut single “Sheena Is A Parasite” was directed by Chris “Windowlicker” Cunnigham, starred Samantha Morton and proved them to be men of both wealth (i)and(i) taste - singer Faris Badwan and bassist Tomethy Furse are former pupils of Rugby School (alumni: Rupert Brooke, Lewis Carroll). The band’s image, meanwhile, is a cartoonish gothic which wouldn’t look out of place on the starting grid of Wacky Races. So far so intriguing. But having bagged a hefty deal with Poydor offshoot Loog, the question remains: can The Horrors go the distance? Produced by a slew of heavyweights including Bad Seed Jim Sclavunos, Alan Moulder (Depeche Mode) and the Yeah Yeah Yeahs’ Nick Zinner, Strange House has the feel of a record with a troubled gestation. Tunes, heavily influenced by no-wave pioneers Mars and James Chance And The Contortions, come swathed in skeletal surf guitars and two-note organ riffs, whilst the lyrics – a bloody catalogue of death and dissection - suggest Badwan is, like Roald Dahl’s Willy Wonka, purging a childhood surrounded by medical textbooks (his father is an eminent neurosurgeon). It’s complex, uncompromising stuff, and, when Badwan howls, “Collarbone crushing/ Like a butcher/Feeling the mash of bone and sinew!” in a rage of sickness and abhorrence in “Gloves”, it’s enough to terrify passing Kooks fans. If the debt to The Velvets becomes obvious on “Excellent Choice” (a rehash of “The Gift”), the overall effect has the magnetic menace of Village Of The Damned. Whilst indie orthodoxy dictates commercial success at all costs, The Horrors are feeling their way through the cobwebs to rock’n’roll’s darkest recesses. PAUL MOODY

Like If’s Mick Travis after a nasty bout of electro-shock therapy, The Horrors have waged war on indie conformity over the last 12 months with a sadistic glee. Interviews have seen articulate discourse on everything from Lord Rochester to obscurist psych-rock (the band’s fanzine, Horror Asparagus Stories, takes its name from a single by ‘60s garage types The Driving Stupid). The video for debut single “Sheena Is A Parasite” was directed by Chris “Windowlicker” Cunnigham, starred Samantha Morton and proved them to be men of both wealth (i)and(i) taste – singer Faris Badwan and bassist Tomethy Furse are former pupils of Rugby School (alumni: Rupert Brooke, Lewis Carroll). The band’s image, meanwhile, is a cartoonish gothic which wouldn’t look out of place on the starting grid of Wacky Races.

So far so intriguing. But having bagged a hefty deal with Poydor offshoot Loog, the question remains: can The Horrors go the distance? Produced by a slew of heavyweights including Bad Seed Jim Sclavunos, Alan Moulder (Depeche Mode) and the Yeah Yeah Yeahs’ Nick Zinner, Strange House has the feel of a record with a troubled gestation. Tunes, heavily influenced by no-wave pioneers Mars and James Chance And The Contortions, come swathed in skeletal surf guitars and two-note organ riffs, whilst the lyrics – a bloody catalogue of death and dissection – suggest Badwan is, like Roald Dahl’s Willy Wonka, purging a childhood surrounded by medical textbooks (his father is an eminent neurosurgeon).

It’s complex, uncompromising stuff, and, when Badwan howls, “Collarbone crushing/ Like a butcher/Feeling the mash of bone and sinew!” in a rage of sickness and abhorrence in “Gloves”, it’s enough to terrify passing Kooks fans. If the debt to The Velvets becomes obvious on “Excellent Choice” (a rehash of “The Gift”), the overall effect has the magnetic menace of Village Of The Damned. Whilst indie orthodoxy dictates commercial success at all costs, The Horrors are feeling their way through the cobwebs to rock’n’roll’s darkest recesses.

PAUL MOODY

The Rakes – Ten New Messages

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The Rakes – Ten New Messages

With salarymen anthems “22 Grand Job” and “Work, Work, Work (Pub, Club, Sleep)”, The Rakes established themselves as succinct urban chroniclers. The dapper East Londoners were evidently taught to write about what they know, but on their second album, this realist imperative becomes tiresome. It would help if Bloc Party hadn't just delivered a far more brave and compelling study of young metropolitan angst, but The Rakes' sallow sketches of commuter trains, casual sex and post-7/7 unease would be mundane under any circumstances. Previous hook-ups with grime MC Lethal Bizzle have failed to rub off and The Rakes' wan post-punk guitars sound enervated. “We Danced Together” is the closest they come to indie-disco perfection, but largely, this one’s a case of nice threads, shame about the songs. SAM RICHARDS

With salarymen anthems “22 Grand Job” and “Work, Work, Work (Pub, Club, Sleep)”, The Rakes established themselves as succinct urban chroniclers. The dapper East Londoners were evidently taught to write about what they know, but on their second album, this realist imperative becomes tiresome. It would help if Bloc Party hadn’t just delivered a far more brave and compelling study of young metropolitan angst, but The Rakes’ sallow sketches of commuter trains, casual sex and post-7/7 unease would be mundane under any circumstances. Previous hook-ups with grime MC Lethal Bizzle have failed to rub off and The Rakes’ wan post-punk guitars sound enervated. “We Danced Together” is the closest they come to indie-disco perfection, but largely, this one’s a case of nice threads, shame about the songs.

SAM RICHARDS

Bright Eyes Says Cassadaga Is Coming

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Bright Eyes Says Cassadaga Is Coming

Uncut.co.uk yesterday attended a playback of the anticipated new studio album from Bright Eyes. Core-members Conor Oberst, Mike Mogis and Nate Walcott were on hand to talk about the influences and references on their first album since the two simultaneous album releases in January 2005- "I'm Wide Awake, It's Morning" and "Digital Ash in a Digital Urn." *** The proceeding playback of the album reflects a more at peace Oberst, shown as he and the rest of the band, including core members Mike Mogis and Nate Walcott enter in good spirits. Asked about ‘Cassadaga’ Oberst jokingly tries to play down the religious content by stating the approach as “…a new market we’re aiming for, and it’s not Christianity. It’s religious music.” It would be hard for Oberst to deny the religious sensibilities of the album - the title comes from a Florida spiritual community–especially as there is a more obvious sense of hopefulness. Some songs like “Soul Singer In A Session Band” and “Classic Cars” have a recognisable seventies feel, the latter as rumoured has something of an early Springsteen vibe to it. Bright Eyes have a lot of love for the era, guitarist/producer Mike Mogis citing John Phillips’ ‘Wolfking of LA’ and Leonard Cohen as favourites, but it is more for the period as a whole rather than to specific references. The period and style invoked at times through the record the band acknowledge is due to the “sweet tones” of keyboard and piano interplay, which is “something comfortable” and offers “a general sense of good.” This they claim was unintentional, as the sessions – recorded over a longer than usual period mostly outside of Nebraska – resulted in a more open vibe, which Mogis says came from simply “…recording a lot of songs, and we then found a common thread.” The band joke throughout the interview, with Oberst especially finding the recording process fun, admitting to having “…cluttered thoughts so when I write them down there is a lot of clarity.” A selection of underground stars including Ben Kweller, Gillian Welch, M Ward and former Sleater Kinney drummer Janet Weiss contribute, which Oberst also credits for the relaxed atmosphere. Details of the UK shows are: London, Koko, £17.50 (March 16) Oxford Brookes Uni, £16.00 (17) "Cassadaga" is released April 9 on Polydor Records, preceeded by a single, “Four Winds” April 2.

Uncut.co.uk yesterday attended a playback of the anticipated new studio album from Bright Eyes.

Core-members Conor Oberst, Mike Mogis and Nate Walcott were on hand to talk about the influences and references on their first album since the two simultaneous album releases in January 2005- “I’m Wide Awake, It’s Morning” and “Digital Ash in a Digital Urn.”

***

The proceeding playback of the album reflects a more at peace Oberst, shown as he and the rest of the band, including core members Mike Mogis and Nate Walcott enter in good spirits.

Asked about ‘Cassadaga’ Oberst jokingly tries to play down the religious

content by stating the approach as “…a new market we’re aiming for, and it’s not Christianity. It’s religious music.”

It would be hard for Oberst to deny the religious sensibilities of the album

– the title comes from a Florida spiritual community–especially as there is a more obvious sense of hopefulness.

Some songs like “Soul Singer In A Session Band” and “Classic Cars” have a

recognisable seventies feel, the latter as rumoured has something of an

early Springsteen vibe to it.

Bright Eyes have a lot of love for the era, guitarist/producer Mike Mogis

citing John Phillips’ ‘Wolfking of LA’ and Leonard Cohen as favourites, but

it is more for the period as a whole rather than to specific references.

The period and style invoked at times through the record the band

acknowledge is due to the “sweet tones” of keyboard and piano interplay,

which is “something comfortable” and offers “a general sense of good.”

This they claim was unintentional, as the sessions – recorded over a longer than usual period mostly outside of Nebraska – resulted in a more open vibe, which Mogis says came from simply “…recording a lot of songs, and we then found a common thread.”

The band joke throughout the interview, with Oberst especially finding the

recording process fun, admitting to having “…cluttered thoughts so when I

write them down there is a lot of clarity.”

A selection of underground stars including Ben Kweller, Gillian Welch, M

Ward and former Sleater Kinney drummer Janet Weiss contribute, which Oberst also credits for the relaxed atmosphere.

Details of the UK shows are:

London, Koko, £17.50 (March 16)

Oxford Brookes Uni, £16.00 (17)

“Cassadaga” is released April 9 on Polydor Records, preceeded by a single, “Four Winds” April 2.

Miles Davis Biopic Is In Full Swing

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Miles Davis Biopic Is In Full Swing

Soon to reprise his role as Basher Tarr in ‘Ocean’s 13’ Don Cheadle is in talks to play jazz visionary Miles Davis in a forthcoming biopic. While the film is still in its early stages and has yet to have a script written, Davis’ nephew Vince Wilburn, is adamant any film be respectful of his uncle’s life. Accepting the late trumpeter's award at the 21st Annual Rock And Roll Hall Of Fame induction ceremony in New York last night, he is personally looking for a particular type of film. The hope is for a script, which will “…touch on many things from the way he changed the wave of music of different decades from bee-bop to hip-hop and in between, and the personal side." Director of "Training Day," Antoine Fuqua is rumoured to be in the frame to direct, but rumours abound Cheadle himself may direct, which would be the first time the Oscar-nominated actor has stepped behind the camera.

Soon to reprise his role as Basher Tarr in ‘Ocean’s 13’ Don Cheadle is in

talks to play jazz visionary Miles Davis in a forthcoming biopic.

While the film is still in its early stages and has yet to have a script written, Davis’ nephew Vince Wilburn, is adamant any film be respectful of his uncle’s life.

Accepting the late trumpeter’s award at the 21st Annual Rock And Roll Hall

Of Fame induction ceremony in New York last night, he is personally looking for a particular type of film.

The hope is for a script, which will “…touch on many things from the way he changed the wave of music of different decades from bee-bop to hip-hop and in between, and the personal side.”

Director of “Training Day,” Antoine Fuqua is rumoured to be in the frame to direct, but rumours abound Cheadle himself may direct, which would be the first time the Oscar-nominated actor has stepped behind the camera.

Kings Of Leon Add Three Dates To July Tour

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Kings Of Leon Add Three Dates To July Tour

Tennessee rockers Kings Of Leon are to play three extra shows in the UK in July. The band made up of the Followill brothers are about to embark on a series of sold-out shows in April, promoting the release of the third album, "Because Of The Times" on April 2. The family band last played in the UK in 2005, playing a triumphant sold-out Arena tour, including six sold-out nights in London. Last year they toured North America extensively, first with U2 and then with Bob Dylan. Kings Of Leon will now also play: Bournemouth, International Centre (0870 111 3000) (July 4) Cardiff, International Arena (029 2022 4488) (5) London, Hammersmith Apollo (0870 606 3400) (12) Tickets for the July dates go on sale tomorrow (March 16) at 9am.

Tennessee rockers Kings Of Leon are to play three extra shows in the UK in July.

The band made up of the Followill brothers are about to embark on a series of sold-out shows in April, promoting the release of the third album, “Because Of The Times” on April 2.

The family band last played in the UK in 2005, playing a triumphant sold-out Arena tour, including six sold-out nights in London.

Last year they toured North America extensively, first with U2 and then with Bob Dylan.

Kings Of Leon will now also play:

Bournemouth, International Centre (0870 111 3000) (July 4)

Cardiff, International Arena (029 2022 4488) (5)

London, Hammersmith Apollo (0870 606 3400) (12)

Tickets for the July dates go on sale tomorrow (March 16) at 9am.

The Kooks Announce Club Warm-Ups

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The Kooks Announce Club Warm-Ups

Brighton band The Kooks have today announced two club-sized warm-up gigs preceeding their festival appearances at Glastonbury in June and V Festival in August. The four-times platinum selling band will play Reading Rivermead on Friday June 22 and Doncaster Dome on August 17. The band are currently working on the follow-up to last year's debut "Inside In/ Inside Out" and is expected to be completed this Autumn. For info tickets and downloads including Kooks stickers- click here for the band's website

Brighton band The Kooks have today announced two club-sized warm-up gigs preceeding their festival appearances at Glastonbury in June and V Festival in August.

The four-times platinum selling band will play Reading Rivermead on Friday June 22 and Doncaster Dome on August 17.

The band are currently working on the follow-up to last year’s debut “Inside In/ Inside Out” and is expected to be completed this Autumn.

For info tickets and downloads including Kooks stickers- click here for the band’s website

New Joni Mitchell Songs To Air

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New Joni Mitchell Songs To Air

New Joni Mitchell songs are to be aired exclusively on BBC Radio 2, six months before her first LP in ten years is released. Mitchell's "Shine" is the first album of new material in a decade, and also features the singer's setting of Kipling's poem "If." The world exclusive preview of the songs will take place over the next two weekends, as part of a two-part documentary based around an in-depth "conversation" between Mitchell and British singer-songwriter Amanda Ghost. The radio series "Come In From The Cold: The Return Of Joni Mitchell" sees Mitchell explain the reasons behind her change of mind about recording music again. Mitchell's last album of new material "Taming The Tiger" appeared in 1998 prior to the announcement of her retirement from music in 2002. The new album comes as part of a busy period of renewed activity and interest for Mitchell - "Dancing Joni", a collaboration between the singer-songwriter and Alberta Ballet opened in Canada last month and next month sees the release of "A Tribute to Joni Mitchell", a collection of her songs reinterpreted by the likes of Bjork, Annie Lennox, Prince, kd lang, James Taylor, Elvis Costello and Emmylou Harris. Come In From The Cold: The Return Of Joni Mitchell will be broadcast on BBC Radio 2 on March 20 and 27 at 8.30pm. "Shine" is expected to be released in the Autumn.

New Joni Mitchell songs are to be aired exclusively on BBC Radio 2, six months before her first LP in ten years is released.

Mitchell’s “Shine” is the first album of new material in a decade, and also features the singer’s setting of Kipling’s poem “If.”

The world exclusive preview of the songs will take place over the next two weekends, as part of a two-part documentary based around an in-depth “conversation” between Mitchell and British singer-songwriter Amanda Ghost.

The radio series “Come In From The Cold: The Return Of Joni Mitchell” sees Mitchell explain the reasons behind her change of mind about recording music again.

Mitchell’s last album of new material “Taming The Tiger” appeared in 1998

prior to the announcement of her retirement from music in 2002.

The new album comes as part of a busy period of renewed activity and interest for Mitchell – “Dancing Joni”, a collaboration between the singer-songwriter and Alberta Ballet opened in Canada last month and next month sees the release of “A Tribute to Joni Mitchell”, a collection of her songs reinterpreted by the likes of Bjork, Annie Lennox, Prince, kd lang, James Taylor, Elvis Costello and Emmylou Harris.

Come In From The Cold: The Return Of Joni Mitchell will be broadcast on BBC Radio 2 on March 20 and 27 at 8.30pm.

“Shine” is expected to be released in the Autumn.

Battles

John Mulvey
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0

It seems a long time ago now, when I thought post-rock was the most exciting music in the world. The thing with those early records by Tortoise and such was that they made anything seem possible. Post-rock was never going to supersede rock, but in the mid-'90s it still felt like a fantastically open-minded scene. The bands weren't hung up on the old signifiers of rock, they had this voracious appetite for so much music: jazz, electronica, Krautrock, endlessly obscure diversions from the well-beaten path. There were no apparent rules, which made it all the more disappointing that it became so formulaic so fast. I guess the stately post-rockers, rather than the eclectic jazzbos, were the ones to blame: Mogwai and Godspeed! You Black Emperor made frequently terrific records, but they had an assimilable schtick that could easily be copied by mundane crescendo-jockeys like Explosions In The Sky. One moment post-rock meant nothing but could mean anything, the next it was a quiet-loud-quiet-loud instrumental cliche. Battles, though, make me feel like there's life in post-rock yet. Over the past few years, they've relocated the restless, questing imperative that made the scene initially so cool. "Mirrored" is their debut album proper, and it often feels like a deluxe technological upgrade of those first couple of Tortoise albums. There's a similar sense of hardcore kids branching out into a dizzying range of styles, but still retaining a sort of punkoid attack mentality, even when they're heading into jazz terrain. Battles, of course, are not kids. Their CVs reveal apprenticeships in a bunch of bands - among them Don Caballero and Helmet - from the tougher, mathematical end of post-rock. All muscle, stamina, hard-edged theory. "Mirrored", though, is much more fun. You could argue that there's not much heart or emotion here, that many of these tracks are exercises in hybridising genres at high intensity. But that would be to ignore how exhilarating it all is, from the math-Afrobeat start of "Race: In" onwards. Yeah, there's a lot of technoflash, and a few tunes like "Ddiamondd" bear a huge debt to prog, albeit prog compressed and diced beyond recognition. Then songs like "Atlas" stomp in, riding a rhythm that owes as much to the Glitterbeat as it does to the avant-garde, and the mischievous magpie spirit of Battles really comes to the fore. "Leyendecker" even suggests they've been inspired by those chattering, capricious R&B productions by Timbaland (his early Aaliyah tunes, maybe). It feels like Battles are stretching way beyond the "approved" chinstroker references and making genuinely broad-minded, exciting music. Warp are putting it out in May, by the way. Apologies for not having blogged much this week. I'm back in the swing now, and we should also be having some reports from Uncut contributors who, unlike me, actually made it to South By Southwest. See you tomorrow.

It seems a long time ago now, when I thought post-rock was the most exciting music in the world. The thing with those early records by Tortoise and such was that they made anything seem possible. Post-rock was never going to supersede rock, but in the mid-’90s it still felt like a fantastically open-minded scene. The bands weren’t hung up on the old signifiers of rock, they had this voracious appetite for so much music: jazz, electronica, Krautrock, endlessly obscure diversions from the well-beaten path. There were no apparent rules, which made it all the more disappointing that it became so formulaic so fast.

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Steely Dan Announce Liverpool Show

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Steely Dan Announce Liverpool Show

US rock veterans Steely Dan have announced that they will headline a one-off UK show in Liverpool on July 6. The show is part of the city's Summer Pops festival, taking place at Aintree Racecourse, and which already boasts Amy Winehouse, Deacon Blue, OMD and McFly as headliners. Founding members Of Steely Dan, Walter Becker and Donald Fagen have not played in Liverpool since their 70s hey day and are looking forward to returning to revel in their four decade catalogue with a ten-piece band. Donald Fagen said: "We can't wait to visit Liverpool again, with it’s very special place in pop and rock history, it’s one of those cities that always mean that little bit extra to all musicians.” The concert will also ironically see Steely Dan perform the night after another of their biggest admirers, Liverpool favourites Deacon Blue, who take their name from a classic Steely Dan song. Promoter for Summer Pops, Chas Cole said: “The beauty of hosting the Pops in Liverpool is that we can attract legendry acts of the calibre of Steely Dan. The bill is now really starting to take shape, there’s a real buzz starting to build about this year’s event, and there’s going to be a very exciting announcement still to come this week.” Steely Dan are currently on an extensive tour of North America. No word , as yet, if further UK dates will be announced. Tickets for Steely Dan at Summer Pops will go on sale next Friday (March 23) at 9am. More information about the Summer Pops events are available here

US rock veterans Steely Dan have announced that they will headline a one-off UK show in Liverpool on July 6.

The show is part of the city’s Summer Pops festival, taking place at Aintree Racecourse, and which already boasts Amy Winehouse, Deacon Blue, OMD and McFly as headliners.

Founding members Of Steely Dan, Walter Becker and Donald Fagen have not played in Liverpool since their 70s hey day and are looking forward to returning to revel in their four decade catalogue with a ten-piece band.

Donald Fagen said: “We can’t wait to visit Liverpool again, with it’s very special place in pop and rock history, it’s one of those cities that always mean that little bit extra to all musicians.”

The concert will also ironically see Steely Dan perform the night after another of their biggest admirers, Liverpool favourites Deacon Blue, who take their name from a classic Steely Dan song.

Promoter for Summer Pops, Chas Cole said: “The beauty of hosting the Pops in Liverpool is that we can attract legendry acts of the calibre of Steely Dan. The bill is now really starting to take shape, there’s a real buzz starting to build about this year’s event, and there’s going to be a very exciting announcement still to come this week.”

Steely Dan are currently on an extensive tour of North America. No word , as yet, if further UK dates will be announced.

Tickets for Steely Dan at Summer Pops will go on sale next Friday (March 23) at 9am.

More information about the Summer Pops events are available here

Debbie Harry Shows True Colors On Tour In US

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Debbie Harry Shows True Colors On Tour In US

Blondie star Debbie Harry has joined the bill for a multi US city tour to raise awareness of gay-rights issues. The fifteen date True Colors tour which starts on June 8 in Las Vegas - will also feature Erasure, The Gossip and Dresden Dolls. Special apperances from Rufus Wainwright, the Indigo Dolls and Rosie O'Donnell will also occur. The True Colors tour was conceived by Lauper who says she wants "to give back to the community the love and support they have given her throughout her career." She also added that: "This tour was created to celebrate our differences by raising awareness for liberty, fairness and dignity for everyone -- not just some of us. Our fans can come out to celebrate a great cause while also hearing some great music." The full tour dates are as follows: Las Vegas, NV, MGM Grand Garden Arena (June 8) Salt Lake City, UT, Usana Ampitheatre (9) Denver, CO, Red Rocks Ampitheatre (10) Chicago, IL, Auditorium Theatre (12) Atlantic City, NJ, Bargata Hotel Casino (15) Boston, MA, Bank Of America Pavillion (16) Washington DC, Meriweather Post Pavillion (17) New York, NY, Radio City Music Hall (18) Toronto, ON, Molson Ampitheatre (19) Atlanta, GA, Chastian Park Ampitheatre (21) Houston, TX, Cynthia Woods Mitchell Pavillion (23) San Diego, CA, sosu Open Air Theatre (27) San Francisco, CA, Greek Theatre (29) Los Angeles, CA, Greek Theater (30) One dollar from every ticket sold will benefit the Human Rights Campaign, which aids the gay, lesbian, bisexual and transgender community. More information and tickets are available from truecolorstour.com here

Blondie star Debbie Harry has joined the bill for a multi US city tour to raise awareness of gay-rights issues.

The fifteen date True Colors tour which starts on June 8 in Las Vegas – will also feature Erasure, The Gossip and Dresden Dolls.

Special apperances from Rufus Wainwright, the Indigo Dolls and Rosie O’Donnell will also occur.

The True Colors tour was conceived by Lauper who says she wants “to give back to the community the love and support they have given her throughout her career.”

She also added that: “This tour was created to celebrate our differences by raising awareness for liberty, fairness and dignity for everyone — not just some of us. Our fans can come out to celebrate a great cause while also hearing some great music.”

The full tour dates are as follows:

Las Vegas, NV, MGM Grand Garden Arena (June 8)

Salt Lake City, UT, Usana Ampitheatre (9)

Denver, CO, Red Rocks Ampitheatre (10)

Chicago, IL, Auditorium Theatre (12)

Atlantic City, NJ, Bargata Hotel Casino (15)

Boston, MA, Bank Of America Pavillion (16)

Washington DC, Meriweather Post Pavillion (17)

New York, NY, Radio City Music Hall (18)

Toronto, ON, Molson Ampitheatre (19)

Atlanta, GA, Chastian Park Ampitheatre (21)

Houston, TX, Cynthia Woods Mitchell Pavillion (23)

San Diego, CA, sosu Open Air Theatre (27)

San Francisco, CA, Greek Theatre (29)

Los Angeles, CA, Greek Theater (30)

One dollar from every ticket sold will benefit the Human Rights Campaign, which aids the gay, lesbian, bisexual and transgender community.

More information and tickets are available from truecolorstour.com here

The Night Lou Reed Bopped David Bowie

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The news that Lou Reed is going to be playing his brilliantly grim Berlin song cycle in its entirety at London’s Hammersmith Apollo in June reminds me of when he played what was then known as Hammersmith Odeon, in April 1979, a night that ended in some mayhem, with Lou smacking the proverbial fuck out of David Bowie. Lou was in London to promote his new album, The Bells, and was in a spectacularly cantankerous mood from the off. He kept the house lights up, to the discomfort of many, and in no uncertain terms announced that he wouldn’t be playing any of his classic songs, especially “Heroin”. If anyone was waiting for him to play the songs they’d been hoping to hear, he sneered, they could leave now – because he wasn’t in the mood for revisiting his back catalogue, of which he was anyway caustically dismissive. An increasingly restive audience sat through an hour of the new album, and a 45 minute version of The Supremes’ “You Keep Me Hanging On”, sung by his bass player Ellard “Moose” Boles, which drove most of the audience screaming into the night, cursing the money they’d wasted and spitting blood at Lou’s perverse moodiness. As soon as they were out of the theatre, Lou started a greatest hits set with a magnificent version of – yup! – “Heroin”. After the show, I was invited to a dinner Lou was hosting at a restaurant in Knightsbridge, where I found him at the head of a table, deep in conversation with David Bowie. The pair had famously fallen out a few years earlier, but now seemed to have made things up and were behaving like the greatest of pals. Until, that is, David said something to Lou that Lou reacted to by blowing up like a small but incredibly livid volcano. To everyone’s sudden shock and shaken amazement, Lou grabbed Bowie by the shirt front, hauled him across the table and started slapping him somewhat fiercely around the face, Bowie’s cheeks reddening dramatically and tears very quickly streaming down his face. “Don’t you EVER say that,” Lou howled, thwacking David several times more before they were separated. The silence that followed was grave, everyone afraid to say anything, much relief rushing through the room when Lou and David then embrace, kiss and make up amid much hugging. Things appear to have returned to what passes in this sort of company for normal, when Lou is at it, again, dragging Bowie back across the table and slapping him fairly senseless. Whatever David had said to ignite the original skirmish, he has rather foolishly repeated. “I told you NEVER to say that,” Lou screamed at Bowie, getting in a few more solid-looking punches before they are again separated and Lou, bug-eyed and struggling, was escorted from the restaurant. Bowie was now alone at the table, surrounded by culinary chaos, dinner plates overturned, that sort of thing. I thought I’d go over for a consoling word and did, also asking David what he actually said to Lou. This caused more major ructions, with Bowie now taking a pop at me, the pair of us tussling roughly before Bowie’s security people march me back to my table and Bowie leaves in a huff. “Goodnight, then, Thin White Duke,” I called after him, as he disappeared up a flight of stairs. There was a moment’s ominous silence and then a flower pot smashed into the wall at the foot of the stairs, just to the right of where I was sitting. Bit of a night, all round.

The news that Lou Reed is going to be playing his brilliantly grim Berlin song cycle in its entirety at London’s Hammersmith Apollo in June reminds me of when he played what was then known as Hammersmith Odeon, in April 1979, a night that ended in some mayhem, with Lou smacking the proverbial fuck out of David Bowie.

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Roger Waters Brings The Dark Side Of The Moon To UK

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Roger Waters Brings The Dark Side Of The Moon To UK

Roger Waters is to play a series of shows in the UK this May, including two nights at London's Earls Court. The founder member of space-rock pioneers Pink Floyd, Roger Waters has toured the world since last June with a revival show playing seminal 1973 album "Dark Side Of The Moon" in it's entirety. Waters played only one UK date in 2006 in London on July 1, when he was joined by former bandmate Nick Mason on drums. The concerts feature 360° quadraphonic sound and huge lighting projections on a stage designed by Mark Fisher, whose previous credits include Floyd's own The Wall tour. His band features longterm backing musicians Andy Fairweather Low (guitar and vocals), Snowy White (guitar), Dave Kilminster (guitar and vocals), Jon Carin (keyboards and vocals), Graham Broad (drums), Harry Waters (Hammond organ) and Ian Ritchie (saxophone) with Katie Kissoon, PP Arnold and Carol Kenyon on vocals. Former Floyd drummer Nick Mason was a surprise guest drummer at many of the "Dark Side Of The Moon" shows last year, it is unknown whether he will be joining Waters on stage again this year. "The Dark Side Of The Moon" is still one of the most popular records in the world - the album famously remained in the Billboard Top 200 best-selling albums chart for a record-breaking 15 years. Pop fact! It has been estimated that 1 in every 14 Americans under the age of 50 owns a copy of "The Dark Side Of The Moon." Waters' UK dates form part of his European Tour, he will tour North America from May through July, although an apperance at Somerset's Glastonbury Festival between June 22 and 24 is likely too. As previously reported, Waters has also penned a song, "Hello (I Love You)" for Howard Shore's children's film "The Last Mimzy"- which will be available as a download-only single from March 26. The full European tour dates are as follows: Zurich, Switzerland,Hallenstadion (April 11) Prague, Czech Republic, Arena (13) Budapest, Hungary, Arena (14) Cologne, Germany, Arena (16) Leipzig, Germany, Arena (18) Hamburg, Germany, Colour Line Arena (19) Barcelona, Spain, St. Jordi (21) Milan, Italy, Forum (23) Antwerp, Belgium, Sportpaleis (25) Stockholm, Sweden, Globe (27) Bergen, Norway, Vestlandshallen (29) Soenderborg, Denmark, Augustenborg (May 1) Paris, France, Bercy (3) Arnhem, Netherlands, Gelredrome (5) Manchester, UK, MEN (7) Birmingham, UK, NEC (8) London, UK, Earl's Court (11/12) Dublin, Ireland, The Point (14) Click here for more concert information and to buy tickets online and click here for more information about Waters' download single and to watch the video

Roger Waters is to play a series of shows in the UK this May, including two nights at London’s Earls Court.

The founder member of space-rock pioneers Pink Floyd, Roger Waters has toured the world since last June with a revival show playing seminal 1973 album “Dark Side Of The Moon” in it’s entirety.

Waters played only one UK date in 2006 in London on July 1, when he was joined by former bandmate Nick Mason on drums.

The concerts feature 360° quadraphonic sound and huge lighting projections on a stage designed by Mark Fisher, whose previous credits include Floyd’s own The Wall tour.

His band features longterm backing musicians Andy Fairweather Low (guitar and vocals), Snowy White (guitar), Dave Kilminster (guitar and vocals), Jon Carin (keyboards and vocals), Graham Broad (drums), Harry Waters (Hammond organ) and Ian Ritchie (saxophone) with Katie Kissoon, PP Arnold and Carol Kenyon on vocals.

Former Floyd drummer Nick Mason was a surprise guest drummer at many of the “Dark Side Of The Moon” shows last year, it is unknown whether he will be joining Waters on stage again this year.

“The Dark Side Of The Moon” is still one of the most popular records in the world – the album famously remained in the Billboard Top 200 best-selling albums chart for a record-breaking 15 years. Pop fact! It has been estimated that 1 in every 14 Americans under the age of 50 owns a copy of “The Dark Side Of The Moon.”

Waters’ UK dates form part of his European Tour, he will tour North America from May through July, although an apperance at Somerset’s Glastonbury Festival between June 22 and 24 is likely too.

As previously reported, Waters has also penned a song, “Hello (I Love You)” for Howard Shore’s children’s film “The Last Mimzy”- which will be available as a download-only single from March 26.

The full European tour dates are as follows:

Zurich, Switzerland,Hallenstadion (April 11)

Prague, Czech Republic, Arena (13)

Budapest, Hungary, Arena (14)

Cologne, Germany, Arena (16)

Leipzig, Germany, Arena (18)

Hamburg, Germany, Colour Line Arena (19)

Barcelona, Spain, St. Jordi (21)

Milan, Italy, Forum (23)

Antwerp, Belgium, Sportpaleis (25)

Stockholm, Sweden, Globe (27)

Bergen, Norway, Vestlandshallen (29)

Soenderborg, Denmark, Augustenborg (May 1)

Paris, France, Bercy (3)

Arnhem, Netherlands, Gelredrome (5)

Manchester, UK, MEN (7)

Birmingham, UK, NEC (8)

London, UK, Earl’s Court (11/12)

Dublin, Ireland, The Point (14)

Click here for more concert information and to buy tickets online

and click here for more information about Waters’ download single and to watch the video

TEN YEARS AGO THIS WEEK

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HAPPENINGS TEN YEARS TIME AGO March 12 to 18, 1997 Jermaine Stewart, the 80s soul star whose biggest hit was "We Don't Have To Take Our Clothes Off", dies of AIDS-related liver cancer, aged 39. Initially finding fame as a dancer on the long-running TV show Soul Train, Stewart also sang backing vocals for the likes of The Temptations, Tavares, Shalamar and Culture Club. U2's Pop album is dislodged from the top of the American albums chart after just one week by rapper Scarface's Untouchable, which out-sells Bono and the boys by three copies to one. Jennifer Lopez receives rave reviews for her first top-billing movie, Selena, in which she plays Selena Quintanilla Perez, the Mexican singer known as the "Latina Madonna", who was shot dead by the president of her fan club. Home Alone star Macauley Culkin, now aged 16, wins a legal battle against his parents to get access to his estimated $17 million fortune. David Lynch boldly instructs the distributors of his slated movie Lost Highway to include negative press quotes in future advertising. A full-page ad in the New York Times declares that the film is "guaranteed to repel", while a Los Angeles Times ad boasts that renowned reviewers Siskel & Ebert have given it "two thumbs down!". Fred Zinnemann, the Austrian-born director of High Noon, From Here To Eternity and The Day Of The Jackal, dies, aged 89. The family of the late Louisiana district attorney Jim Garrison files suit against Warner Brothers and the makers of Oliver Stone's JFK over accounting discrepancies concerning the movie's profits. Stone's script was partly based on two books by Garrison, who was played by Kevin Costner in the movie. The special edition of Return Of The Jedi tops the US box office chart. The revamped versions of Star Wars and The Empire Strikes Back are still in the Top Ten. Hollywood legend Hedy Lamarr, aged 82, is honoured by the Electronic Frontier Foundation for her 1942 patent of "frequency-hopping" technology which is still used today in cellular phones. Police in Los Angeles charge Mikael Markashev with the murder of Bill Cosby's 27-year-old Ennis, who was gunned down the previous month. Michael Manley, the charismatic former Prime Miniser of Jamaica once celebrated in song by Bob Marley, dies after a long battle with cancer, aged 72. He served between 1972 and 1980, during which time he nationalised farming and other industries and was openly criticial of US policy over neighbouring Cuba. He returned to office in 1989, only to step down three years later due to ill health. Prime Minister John Major calls a general election for May 1. "I think we'll win," he tells reporters outside Downing Street. A ruling by the US Supreme Court clears the way for the State of Florida to take legal action against tobacco companies to recoup more than $800 million spent treating patients with smoking-related diseases. Levi's pay an estimated $25,000 for a pair of miner's jeans, believed to be more than 100 years old, thus making them the most vintage item in the clothing manufacturers' planned museum.

HAPPENINGS TEN YEARS TIME AGO

March 12 to 18, 1997

Jermaine Stewart, the 80s soul star whose biggest hit was “We Don’t Have To Take Our Clothes Off”, dies of AIDS-related liver cancer, aged 39. Initially finding fame as a dancer on the long-running TV show Soul Train, Stewart also sang backing vocals for the likes of The Temptations, Tavares, Shalamar and Culture Club.

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Be A Pupil At Fantasy School Of Rock

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Be A Pupil At Fantasy School Of Rock

Music fans are to get the chance to play with members of The Rolling Stones, Cream and Procul Harum at this year's Rock‘N’Roll Fantasy Camp in May. The event, at Abbey Road Studios in London, promises ‘campers’ the chance to learn from legendary musicians including former Rolling Stone Bill Wyman, Cream’s Jack Bruce, Procul Harum's Gary Brooker and Spencer Davis. The camp will prepare the music campers to perform their own special gig at the birthplace of The Beatles, The Cavern Club in Liverpool on May 28. Roger Daltrey of The Who, a previous camp counsellor, said he feels "quite passionate about anything that encourages people in music. It’s great seeing people with such enthusiasm having fun.” A forthcoming New York based event from August 31 to September 3rd promises KISS singer Paul Stanley, Ted Nugent and Scott Ian of Anthrax and Mountain. More information and tickets for the school of rock are available here from rockandrollfantasy.com

Music fans are to get the chance to play with members of The Rolling Stones, Cream and Procul Harum at this year’s Rock‘N’Roll Fantasy Camp in May.

The event, at Abbey Road Studios in London, promises ‘campers’ the chance to learn from legendary musicians including former Rolling Stone Bill Wyman, Cream’s Jack Bruce, Procul Harum’s Gary Brooker and Spencer Davis.

The camp will prepare the music campers to perform their own special gig at the birthplace of The Beatles, The Cavern Club in Liverpool on May 28.

Roger Daltrey of The Who, a previous camp counsellor, said he feels “quite passionate about anything that encourages people in music. It’s great seeing people with such enthusiasm having fun.”

A forthcoming New York based event from August 31 to September 3rd promises KISS singer Paul Stanley, Ted Nugent and Scott Ian of Anthrax and Mountain.

More information and tickets for the school of rock are available here from rockandrollfantasy.com

The White Stripes Headline Wireless Festival

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The White Stripes Headline Wireless Festival

The White Stripes have been confirmed as one of the headliners for this year's 02 Wireless Festival. Also confirmed for the two-sitre festival are Kaiser Chiefs, Daft Punk and Faithless, with support acts being announced in the coming weeks. The festival takes place in London's Hyde Park and Leeds Harewood House from June 14-17. The White Stripes headline London's first night, Thursday June 14 with Queens Of The Stone Age supporting. Faithless will play Friday June 15 with Badly Drawn Boy and Just Jack. Daft Punk headline Saturday June 16 with CSS. The final night on sunday June 17 will see Kaiser Chiefs rock with The Editors, The Cribs, The Rakes and The Twang already confirmed. The Leeds line-up starts with The White Stripes and QOTSA on Friday June 15. Saturday June 16 sees the Kaiser Chiefs, Editors, The Cribs, The Rakes and The Twang. Daft Punk and CSS headline the Sunday. Tickets for the shows go on sale this Friday (March 16) at 9am. More information and ticket details will be available here from Friday

The White Stripes have been confirmed as one of the headliners for this year’s 02 Wireless Festival.

Also confirmed for the two-sitre festival are Kaiser Chiefs, Daft Punk and Faithless, with support acts being announced in the coming weeks.

The festival takes place in London’s Hyde Park and Leeds Harewood House from June 14-17.

The White Stripes headline London’s first night, Thursday June 14 with Queens Of The Stone Age supporting.

Faithless will play Friday June 15 with Badly Drawn Boy and Just Jack.

Daft Punk headline Saturday June 16 with CSS.

The final night on sunday June 17 will see Kaiser Chiefs rock with The Editors, The Cribs, The Rakes and The Twang already confirmed.

The Leeds line-up starts with The White Stripes and QOTSA on Friday June 15.

Saturday June 16 sees the Kaiser Chiefs, Editors, The Cribs, The Rakes and The Twang.

Daft Punk and CSS headline the Sunday.

Tickets for the shows go on sale this Friday (March 16) at 9am.

More information and ticket details will be available here from Friday

Controversial Film Premieres Tonight Despite Dylan’s Attempts

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Controversial Film Premieres Tonight Despite Dylan’s Attempts

The UK premiere of new film ‘Factory Girl’ takes place in London tonight despite the alleged attempts by Bob Dylan to halt the film’s release by suing Harvey Weinstein. Much has been made of Sienna Miller in the project’s lead role which has virtually overshadowed Dylan’s accusations the character Billy Quinn is a defamatory portrayal of himself. The singer’s concerns came about due the similarities of Quinn's character to himself and the suggestions it was his rejection of Sedgwick which led to her addiction and eventual suicide in 1971, aged 28. This is something the director George Hickenlooper has denied claiming Quinn – played by Hayden Christensen is “a hybrid of Dylan, Jim Morrison, Donovan.” The success of the film in the UK is probably dependent on the column inches Miller generates rather than to do with the story of Edie Sedgwick It-girl, muse of Andy Warhol and fixture on the New York party scene in the 1960s, Critical approval however in the US has been mixed, with Variety describing Miller’s portrayal as "ultimately too whiny and narrowly focused to be a genuinely tragic figure" while the Los Angeles Times called the biopic "superficial". Of more interest to Uncut readers will be Guy Pearce’s portrayal of Andy Warhol. Tonight's premiere takes place at London's Vue Leicester Square cinema.

The UK premiere of new film ‘Factory Girl’ takes place in London tonight despite the alleged attempts by Bob Dylan to halt the film’s release by suing Harvey Weinstein.

Much has been made of Sienna Miller in the project’s lead role which has virtually overshadowed Dylan’s accusations the character Billy Quinn is a defamatory portrayal of himself.

The singer’s concerns came about due the similarities of Quinn’s character to himself and the suggestions it was his rejection of Sedgwick which led to her addiction and eventual suicide in 1971, aged 28.

This is something the director George Hickenlooper has denied claiming Quinn – played by Hayden Christensen is “a hybrid of Dylan, Jim Morrison, Donovan.”

The success of the film in the UK is probably dependent on the column inches Miller generates rather than to do with the story of Edie Sedgwick It-girl, muse of Andy Warhol and fixture on the New York party scene in the 1960s,

Critical approval however in the US has been mixed, with Variety describing Miller’s portrayal as “ultimately too whiny and narrowly focused to be a genuinely tragic figure” while the Los Angeles Times called the biopic “superficial”.

Of more interest to Uncut readers will be Guy Pearce’s portrayal of Andy Warhol.

Tonight’s premiere takes place at London’s Vue Leicester Square cinema.

Stephen Malkmus Confirms First UK Show In Three Years

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Stephen Malkmus Confirms First UK Show In Three Years

Stephen Malkmus and The Jicks have been confirmed as the Sunday night headliners for this year's Green Man Festival. The appearence at the festival in Powys, South Wales will be the former Pavement man's first UK show in over 3 years. His Group, The Jicks will play with their new drummer, Sleater Kinney and Quasi's Janet Weiss for the first time in the UK. Malkmus joins previously announced headliners Joanna Newsom and former Zeppelin Robert Plant for the festival which takes place from 17-19 August. Also on the eclectic bill are Uncut favourites Richmond Fontaine, Smog's Bill Callahan, Super Furry Animals' Griff Rhys and Euros Childs. Information and tickets for this year's event are available from the Festival website by clicking here Adult weekend tickets including camping and parking cost £98. Under 12's go free.

Stephen Malkmus and The Jicks have been confirmed as the Sunday night headliners for this year’s Green Man Festival.

The appearence at the festival in Powys, South Wales will be the former Pavement man’s first UK show in over 3 years.

His Group, The Jicks will play with their new drummer, Sleater Kinney and Quasi’s Janet Weiss for the first time in the UK.

Malkmus joins previously announced headliners Joanna Newsom and former Zeppelin Robert Plant for the festival which takes place from 17-19 August.

Also on the eclectic bill are Uncut favourites Richmond Fontaine, Smog’s Bill Callahan, Super Furry Animals’ Griff Rhys and Euros Childs.

Information and tickets for this year’s event are available from the Festival website by clicking here

Adult weekend tickets including camping and parking cost £98. Under 12’s go free.

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