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Watch Neil Rock With Powderfinger

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Watch Neil Rock With Powderfinger

Everyday, we bring you the best thing we've seen on YouTube -- a great piece of archive footage, a music promo or a clip from one of our favourite movies of TV shows. Today: See “Powderfinger” performed by Neil Young & Crazy Horse at a US concert in 1979. This brilliant 5½ minute song is taken from the 1979 US Top 10 album “Rust Never Sleeps.” The album was recorded live and half-accoustic, although consisting entirely of new material. Play the concert footage by clicking here now Details emerged last week for Neil Young’s first volume of highly anticipated archives. It will cover a teasingly small part of his musical autobiography. For the full story – Click here for Archives Volume 1 news

Everyday, we bring you the best thing we’ve seen on YouTube — a great piece of archive footage, a music promo or a clip from one of our favourite movies of TV shows.

Today: See “Powderfinger” performed by Neil Young & Crazy Horse at a US concert in 1979.

This brilliant 5½ minute song is taken from the 1979 US Top 10 album “Rust Never Sleeps.”

The album was recorded live and half-accoustic, although consisting entirely of new material.

Play the concert footage by clicking here now

Details emerged last week for Neil Young’s first volume of highly anticipated archives. It will cover a teasingly small part of his musical autobiography.

For the full story – Click here for Archives Volume 1 news

Up Close And Personal With Brad Pitt

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Up Close And Personal With Brad Pitt

UNCUT: How does playing in an ensemble drama measure up against carrying a movie? PITT: First of all, being part of an ensemble is always more fun. You're not scared to film. But the real joy was knowing that I can just go in and concentrate on a particular corner, a particular part of this film. And that it wasn't just going to be about my story, it's going to be about all the stories and the cumulative effect once they're combined. And so it was great fun for me to concentrate on just our sections. Alejandro and company then went ahead and shot for the rest of the year. U: Now you've hit your 40s, are you adapting to these older, less glamorous roles? BP:There are people in this business who run from age, and you see the detritus left over from that. The denial, I guess. I don't know yet, but there is that time when you gotta let go, man. Getting older just makes me more efficient and I can get the things done that I want to get done. Before, I meandered. In my younger days, I was a drifter. U:How difficult is it shooting a movie when you've got the paparazzi on your back every minute? BP:With Babel, they left us alone because we were in this little village in Morocco where you'd have to drive an hour to get there. It was in the middle of this lunar landscape with no electricity. We had to bring it in for the film and we were able to leave it there afterwards, which I thought was nice. U:Babel seems to imply that the life of a rich American is treated as more valuable than the life of a poor Mexican or Moroccan. Do you agree? BP: I think there are many political aspects to this film beyond what you'd call America's self-entitlement. I think it's about bigger issues of misunderstanding, paranoia, protectionism. So I think it speaks beyond America on these issues, I think it speaks about the world. And that's what drew me to the film. That's what drew me to what Alejandro was after and made me want to be a part of it. U:How has family changed the way the work? BP:You do everything faster because there's no time for messing around. I still value the work I get to do but at the same time I value more getting home to the kids, so it makes you more stealthy in your attack on things. In a funny way it makes the work mean more, because I know somewhere down the road now my kids will see this and that layer now is on everything that I approach. It's definitely part of what I'll approach in the future. I'll try to be a little bit more mature about my decisions. U:Humanitarian causes have become very important to you. Do these kind of issues feed intro what you do as an actor? BP:I know it has to seep into acting in some way. Maybe not Ocean's 13! But this film Babel is trying to say that we're all the same. We need to get our arms around the idea that maybe language or distance separate us, or lack of understanding. But what I drew from the script is the idea that you can watch four very different stories woven so elegantly together, and the base issue is equality. A family living in a hut who have to walk five miles to get their water in Africa, or tend to the goats, is looking for the same kind of dignity and opportunity for their kids as we are in America. U:Films like Babel seem to suggest a more serious, mature career path for you. Is that how you see your future? BP:The direction gets clearer because new guys come along and there is not that frenzy or that heat any more. It's like the haze clears and you can focus. And I guess I focus on the work, not the game. U:So, looping back, do you remember what film made you want to start acting? BP:Saturday Night Fever. I loved it - but it wasn't the bad suits and dancing. It was the idea that I didn't know people could live like that, I guess. I'd only seen my corner of the world, Oklahoma and Missouri, so I was intrigued by the idea that there's completely other ways to attack life out there. And I also loved Butch And Sundance. I remember seeing that from when I was in kindergarten. U: Was there a moment when you thought: Damn! I must act! BP:It was more like - it was a week before I was supposed to graduate from college, and everyone had applied and were having job interviews, and I hadn't applied anywhere. I didn't have a clue, nor did I have any interest at that point. It occurred to me that I wish I'd grown up in New York or LA, because there's opportunity to go into movies. So within that week, I decided I was going to go to LA. I had no money, so I'd work for a couple of weeks just to get some pocket cash, and I'd load up the car and I'd go to LA. I didn't finish college, I didn't go back to classes that week. That's the way it went. U: The next film of yours we're looking forward to at UNCUT is The Assassination Of Jesse James By The Coward Robert Ford. It's a ways off, but what can you tell us about it? BP: It deals with the mythology celebrity, and the hunt for that kind of notoriety, what's behind that outlaw life. The film deals with the consequences of it. And of course, these issues relate to me due to my place in the tabloid magazines...! INTERVIEW: JENNY COONEY Additional reporting Stephen Dalton

UNCUT: How does playing in an ensemble drama measure up against carrying a movie?

PITT: First of all, being part of an ensemble is always more fun. You’re not scared to film. But the real joy was knowing that I can just go in and concentrate on a particular corner, a particular part of this film. And that it wasn’t just going to be about my story, it’s going to be about all the stories and the cumulative effect once they’re combined. And so it was great fun for me to concentrate on just our sections. Alejandro and company then went ahead and shot for the rest of the year.

U: Now you’ve hit your 40s, are you adapting to these older, less glamorous roles?

BP:There are people in this business who run from age, and you see the detritus left over from that. The denial, I guess. I don’t know yet, but there is that time when you gotta let go, man. Getting older just makes me more efficient and I can get the things done that I want to get done. Before, I meandered. In my younger days, I was a drifter.

U:How difficult is it shooting a movie when you’ve got the paparazzi on your back every minute?

BP:With Babel, they left us alone because we were in this little village in Morocco where you’d have to drive an hour to get there. It was in the middle of this lunar landscape with no electricity. We had to bring it in for the film and we were able to leave it there afterwards, which I thought was nice.

U:Babel seems to imply that the life of a rich American is treated as more valuable than the life of a poor Mexican or Moroccan. Do you agree?

BP: I think there are many political aspects to this film beyond what you’d call America’s self-entitlement. I think it’s about bigger issues of misunderstanding, paranoia, protectionism. So I think it speaks beyond America on these issues, I think it speaks about the world. And that’s what drew me to the film. That’s what drew me to what Alejandro was after and made me want to be a part of it.

U:How has family changed the way the work?

BP:You do everything faster because there’s no time for messing around. I still value the work I get to do but at the same time I value more getting home to the kids, so it makes you more stealthy in your attack on things. In a funny way it makes the work mean more, because I know somewhere down the road now my kids will see this and that layer now is on everything that I approach. It’s definitely part of what I’ll approach in the future. I’ll try to be a little bit more mature about my decisions.

U:Humanitarian causes have become very important to you. Do these kind of issues feed intro what you do as an actor?

BP:I know it has to seep into acting in some way. Maybe not Ocean’s 13! But this film Babel is trying to say that we’re all the same. We need to get our arms around the idea that maybe language or distance separate us, or lack of understanding. But what I drew from the script is the idea that you can watch four very different stories woven so elegantly together, and the base issue is equality. A family living in a hut who have to walk five miles to get their water in Africa, or tend to the goats, is looking for the same kind of dignity and opportunity for their kids as we are in America.

U:Films like Babel seem to suggest a more serious, mature career path for you. Is that how you see your future?

BP:The direction gets clearer because new guys come along and there is not that frenzy or that heat any more. It’s like the haze clears and you can focus. And I guess I focus on the work, not the game.

U:So, looping back, do you remember what film made you want to start acting?

BP:Saturday Night Fever. I loved it – but it wasn’t the bad suits and dancing. It was the idea that I didn’t know people could live like that, I guess. I’d only seen my corner of the world, Oklahoma and Missouri, so I was intrigued by the idea that there’s completely other ways to attack life out there. And I also loved Butch And Sundance. I remember seeing that from when I was in kindergarten.

U: Was there a moment when you thought: Damn! I must act!

BP:It was more like – it was a week before I was supposed to graduate from college, and everyone had applied and were having job interviews, and I hadn’t applied anywhere. I didn’t have a clue, nor did I have any interest at that point. It occurred to me that I wish I’d grown up in New York or LA, because there’s opportunity to go into movies. So within that week, I decided I was going to go to LA. I had no money, so I’d work for a couple of weeks just to get some pocket cash, and I’d load up the car and I’d go to LA. I didn’t finish college, I didn’t go back to classes that week. That’s the way it went.

U: The next film of yours we’re looking forward to at UNCUT is The Assassination Of Jesse James By The Coward Robert Ford. It’s a ways off, but what can you tell us about it?

BP: It deals with the mythology celebrity, and the hunt for that kind of notoriety, what’s behind that outlaw life. The film deals with the consequences of it. And of course, these issues relate to me due to my place in the tabloid magazines…!

INTERVIEW: JENNY COONEY

Additional reporting Stephen Dalton

Babel

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Babel

Plot Synopsis: As in his previous two films, Inarritu weaves in and out of several stories, all loosely linked on some profound level. An American couple struggle to survive a shooting in Morocco; the young shooters panic; a nanny illegally takes two children on a trip to Mexico; a deaf Japanese girl, in Tokyo, rebels against her father. All are striving to cross the barriers that thwart communication between contrasting "types" of people, wherever they live. THIS ambitious, confident film closes a triptych from Inarritu, a "trilogy of life" which exploded forth with 2000's Amores Perros and dug deeper with 2003's 21 Grams. Increasingly, big names are keen to work with him: Pitt and Blanchett come on board here for parts less dominant and glitzy than they'd normally expect, while Bernal returns to thank the director who made him possibly the world's hottest young star. Yet an Inarritu film is all about range, and so the less celebrated members of the cast are equally important to the impact. And Babel has impact to burn. The further Inarittu stretches, the more he impresses - his panorama is both serious and spectacular. Some studio stars may have shied clear of Inarritu's sometimes overbearing penchant for portent and gravitas. Like 21 Grams, this is generally as cheery as a rain-swept funeral: Babel (his final collaboration with co-writer Guillermo Arriaga) sees the bad in everything, the hopelessness of many human relationships. But it also sees the flickers of good, and the flecks of hope, and that duality is what makes his eye so special. We're not just talking film stocks - although the skilful way he emphasises subtle cultural differences with grain textures and colour quality is great. Babel really earns its self-regard and high opinion of itself, through risk, bravery and denial of easy compromise. It seems hilarious now that, on the basis of tripartite structure, Amores Perros was compared to the flashy Pulp Fiction, that Inarritu was tritely hailed as "the Mexican Tarantino". He's no pop-punk phenomenon; he's the real deal. Babel - playing on its Biblical title (God punishes the hubris of humans by giving them incompatible languages) - seeks to point out and combat culture clashes: so topical today in the realms of belief and religion. Inarritu's ideal would be an film made in Esperanto. We begin in sandy Morocco, where two Muslim brothers foolishly play with a gun. A shot hits a bus in which an exhausted travelling American couple, Richard and Susan (Pitt and Blanchett) sit: Susan is seriously wounded. They desperately seek help in alien terrain, and the stresses of their marriage undergo extreme pressure. Meanwhile, in California, a Mexican immigrant nanny (the magnificent Adriana Barraza, from Amores Perros) cannot leave the two children in her care but also cannot miss a family wedding back "home". Her brother (Bernal) is a charming, dangerous influence, whose resentment against the US is just waiting to boil over. Another strand unfolds amid the neon, noise, steel and glass of Tokyo (and Inarritu's smart edits maximise the contrast). Here, the deaf-mute teenager Chieko (Kikuchi) would be a suspect device if the film didn't so magically evoke her own sensory world in this most over-stimulated modern city. Chieko's confusion between affection and sexuality is electrically drawn - a scene where she "enjoys" a night-club is exhilarating. The jolt, when we cut back to the stifling desert, is visceral. Credit must go to the performers, both the marquee names and the unknowns. Pitt - wearing industrial-strength ageing make-up just to appear 49 instead of his own 43 - quickly shakes off his star presence to convey mid-life worry and doubt. Blanchett manages to find layers within a role that's basically lying on a filthy floor bleeding and pissing herself. If Bernal isn't at his most convincing, that's because Barraza's operatic angst leaves him in her tall shadow. Kikuchi's deaf-mute may be overlooked next to these bonfires, and considered merely "promising". But once the film's raw power seeps through the viewer's consciousness for a few days, it's her bewilderment, her keenness to find a ray of light, that's most unforgettable. Without any words, she expresses the reflex to communicate with tangible passion. The stories gradually gather urgency, heat and pain. Everyone suffers. Lots. The eventual revelations that offer tie-ups aren't perfect: in truth, some are vague, perfunctory even. Yet the epic's tide of emotion - set up by earlier, thorough restraint and graphic detail - is irresistible. While it mostly avoids sentimentality, it'd be a cold viewer who didn't come out of the film feeling more compassion and simpatico towards strangers than he took in. It's a tough theme to pull off, this personal/universal, we're-all-hurting-in-any-language motif. Babel brings it home. In a sound-bite century it stares tragedy in the eye, scrapes away the mindless babble. CHRIS ROBERTS DIRECTED BY ALEJANDRO GONZALES INARRITU STARRING BRAD PITT, CATE BLANCHETT, GAEL GARCIA BERNAL, RINKO KIKUCHI OPENS JANUARY 5, CERT 15, 143 MINS

Plot Synopsis:

As in his previous two films, Inarritu weaves in and out of several stories, all loosely linked on some profound level. An American couple struggle to survive a shooting in Morocco; the young shooters panic; a nanny illegally takes two children on a trip to Mexico; a deaf Japanese girl, in Tokyo, rebels against her father. All are striving to cross the barriers that thwart communication between contrasting “types” of people, wherever they live.

THIS ambitious, confident film closes a triptych from Inarritu, a “trilogy of life” which exploded forth with 2000’s Amores Perros and dug deeper with 2003’s 21 Grams. Increasingly, big names are keen to work with him: Pitt and Blanchett come on board here for parts less dominant and glitzy than they’d normally expect, while Bernal returns to thank the director who made him possibly the world’s hottest young star. Yet an Inarritu film is all about range, and so the less celebrated members of the cast are equally important to the impact. And Babel has impact to burn. The further Inarittu stretches, the more he impresses – his panorama is both serious and spectacular.

Some studio stars may have shied clear of Inarritu’s sometimes overbearing penchant for portent and gravitas. Like 21 Grams, this is generally as cheery as a rain-swept funeral: Babel (his final collaboration with co-writer Guillermo Arriaga) sees the bad in everything, the hopelessness of many human relationships. But it also sees the flickers of good, and the flecks of hope, and that duality is what makes his eye so special. We’re not just talking film stocks – although the skilful way he emphasises subtle cultural differences with grain textures and colour quality is great. Babel really earns its self-regard and high opinion of itself, through risk, bravery and denial of easy compromise.

It seems hilarious now that, on the basis of tripartite structure, Amores Perros was compared to the flashy Pulp Fiction, that Inarritu was tritely hailed as “the Mexican Tarantino”. He’s no pop-punk phenomenon; he’s the real deal.

Babel – playing on its Biblical title (God punishes the hubris of humans by giving them incompatible languages) – seeks to point out and combat culture clashes: so topical today in the realms of belief and religion.

Inarritu’s ideal would be an film made in Esperanto. We begin in sandy Morocco, where two Muslim brothers foolishly play with a gun. A shot hits a bus in which an exhausted travelling American couple, Richard and Susan (Pitt and Blanchett) sit: Susan is seriously wounded. They desperately seek help in alien terrain, and the stresses of their marriage undergo extreme pressure. Meanwhile, in California, a Mexican immigrant nanny (the magnificent Adriana Barraza, from Amores Perros) cannot leave the two children in her care but also cannot miss a family wedding back “home”. Her brother (Bernal) is a charming, dangerous influence, whose resentment against the US is just waiting to boil over.

Another strand unfolds amid the neon, noise, steel and glass of Tokyo (and Inarritu’s smart edits maximise the contrast). Here, the deaf-mute teenager Chieko (Kikuchi) would be a suspect device if the film didn’t so magically evoke her own sensory world in this most over-stimulated modern city. Chieko’s confusion between affection and sexuality is electrically drawn – a scene where she “enjoys” a night-club is exhilarating.

The jolt, when we cut back to the stifling desert, is visceral.

Credit must go to the performers, both the marquee names and the unknowns. Pitt – wearing industrial-strength ageing make-up just to appear 49 instead of his own 43 – quickly shakes off his star presence to convey mid-life worry and doubt. Blanchett manages to find layers within a role that’s basically lying on a filthy floor bleeding and pissing herself. If Bernal isn’t at his most convincing, that’s because Barraza’s operatic angst leaves him in her tall shadow. Kikuchi’s deaf-mute may be overlooked next to these bonfires, and considered merely “promising”. But once the film’s raw power seeps through the viewer’s consciousness for a few days, it’s her bewilderment, her keenness to find a ray of light, that’s most unforgettable. Without any words, she expresses the reflex to communicate with tangible passion.

The stories gradually gather urgency, heat and pain. Everyone suffers. Lots. The eventual revelations that offer tie-ups aren’t perfect: in truth, some are vague, perfunctory even. Yet the epic’s tide of emotion – set up by earlier, thorough restraint and graphic detail – is irresistible. While it mostly avoids sentimentality, it’d be a cold viewer who didn’t come out of the film feeling more compassion and simpatico towards strangers than he took in. It’s a tough theme to pull off, this personal/universal, we’re-all-hurting-in-any-language motif. Babel brings it home. In a sound-bite century it stares tragedy in the eye, scrapes away the mindless babble.

CHRIS ROBERTS

DIRECTED BY ALEJANDRO GONZALES INARRITU

STARRING BRAD PITT, CATE BLANCHETT, GAEL GARCIA BERNAL, RINKO KIKUCHI

OPENS JANUARY 5, CERT 15, 143 MINS

Denny Doherty 1940 – 2007

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Denny Doherty 1940 – 2007

Uncut is saddened to hear that former Mamas & Papas singer Denny Doherty passed away yesterday (January 19). The singer had been ill with kidney problems, and had been on dialysis following surgery last month. He was 66. Doherty was born in Halifax, Nova Scotia, and started his musical career in Montreal with The Colonials, scoring a minor hit in the early '60s with "The Man Who Wouldn't Sing Along With Mitch". Ironically, the band split in 1963 at a hotel named The Colonial. By early 1965, Doherty had met and played with songwriter John Philips in his band The New Journeymen, and had also met Cass Elliot. With the disbanding of Phillips' band, the three of them formed The Magic Circle. Signing a record deal with Dunhill Records only six months later, the group changed their name to The Mamas & The Papas and recorded debut album 'If You Can Believe Your Ears'. The group had commercial hits around the worldwide with songs like 1966's classic summer anthem "California Dreamin'" and the beautiful, Grammy-winning Number One, "Monday, Monday". Other songs made famous by one of the world's first mixed-sex groups, include "I Saw Her Again Last Night", "Go Where You Wanna Go", and "Dedicated To The One I Love". The success of the band was compromised, however, when an affair between Doherty and Phillips' wife Michelle caused her to be kicked out of the band in June 1966. Demand from fans meant that Michelle's replacement Jill Gibson only lasted in the group for two months, and Michelle Phillips was re-instated in August 1966. After the stresses, the group couldn't concentrate on their musical direction whilst attempting to make a fifth record together, and after Cass Elliot left the group, The Mamas & The Papas disbanded in 1968. The band briefly reunited in 1971 for the album 'People Like Us'. But dreams of a proper reunion ended when Cass Elliot died of a heart attack in 1964. For his briefly successful solo career, Doherty was inducted in the Canadian Rock And Roll Hall Of Fame and The Mamas & Papas were inducted into the US Rock And Roll Hall Of Fame in 1998. More recently, Doherty co-authored the off-Broadway Show 'Dream A Little Dream: The Mamas & Papas Musical' in 2003. Michelle Phillips is now the only surviving member of the group as her former husband, John Phillips died in 2001 at the age of 65. Click here for some video clips of The Mamas & The Papas to remind you how great they were: Monday Monday performed on the Hollywood Palace show in April 1966 A live version of California Dreamin on the same show The promo video for California Dreamin filmed at Monterey Pop Festival Live performance of My Heart Stood Still RIP

Uncut is saddened to hear that former Mamas & Papas singer Denny Doherty passed away yesterday (January 19).

The singer had been ill with kidney problems, and had been on dialysis following surgery last month. He was 66.

Doherty was born in Halifax, Nova Scotia, and started his musical career in Montreal with The Colonials, scoring a minor hit in the early ’60s with

“The Man Who Wouldn’t Sing Along With Mitch”. Ironically, the band split in 1963 at a hotel named The Colonial.

By early 1965, Doherty had met and played with songwriter John Philips in his band The New Journeymen, and had also met Cass Elliot. With the disbanding of Phillips’ band, the three of them formed The Magic Circle.

Signing a record deal with Dunhill Records only six months later, the group changed their name to The Mamas & The Papas and recorded debut album ‘If You Can Believe Your Ears’.

The group had commercial hits around the worldwide with songs like 1966’s classic summer anthem “California Dreamin'” and the beautiful, Grammy-winning Number One, “Monday, Monday”.

Other songs made famous by one of the world’s first mixed-sex groups, include “I Saw Her Again Last Night”, “Go Where You Wanna Go”, and “Dedicated To The One I Love”.

The success of the band was compromised, however, when an affair between Doherty and Phillips’ wife Michelle caused her to be kicked out of the band in June 1966. Demand from fans meant that Michelle’s replacement Jill Gibson only lasted in the group for two months, and Michelle Phillips was re-instated in August 1966.

After the stresses, the group couldn’t concentrate on their musical direction whilst attempting to make a fifth record together, and after Cass Elliot left the group, The Mamas & The Papas disbanded in 1968. The band briefly reunited in 1971 for the album ‘People Like Us’. But dreams of a proper reunion ended when Cass Elliot died of a heart attack in 1964.

For his briefly successful solo career, Doherty was inducted in the Canadian Rock And Roll Hall Of Fame and The Mamas & Papas were inducted into the US Rock And Roll Hall Of Fame in 1998.

More recently, Doherty co-authored the off-Broadway Show ‘Dream A Little Dream: The Mamas & Papas Musical’ in 2003.

Michelle Phillips is now the only surviving member of the group as her former husband, John Phillips died in 2001 at the age of 65.

Click here for some video clips of The Mamas & The Papas to remind you how great they were:

Monday Monday performed on the Hollywood Palace show in April 1966

A live version of California Dreamin on the same show

The promo video for California Dreamin filmed at Monterey Pop Festival

Live performance of My Heart Stood Still

RIP

The Gossip Score Single Success

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The Gossip Score Single Success

The Gossip are to re-release their single, 'In The Way Of Control' on Marth 5, due to massive popular demand. The song, taken from their debut album of the same name, has been remixed by DJs Soulwax and featured in the trailers for new Channel 4 series from the makers of Shamelss, 'Skins.' The track has seen a massive surge in download sales, two months after its original November release. Downloads alone mean that the song will likely chart in this week's Top 40. 'Jealous Girls', the single originally due to be released next month, has been postponed to make way for the oncoming frenzy. To see the trailer for Skins and The Gossip's remixed track - Click here for the show's Myspace page

The Gossip are to re-release their single, ‘In The Way Of Control’ on Marth 5, due to massive popular demand.

The song, taken from their debut album of the same name, has been remixed by DJs Soulwax and featured in the trailers for new Channel 4 series from the makers of Shamelss, ‘Skins.’

The track has seen a massive surge in download sales, two months after its original November release. Downloads alone mean that the song will likely chart in this week’s Top 40.

‘Jealous Girls’, the single originally due to be released next month, has been postponed to make way for the oncoming frenzy.

To see the trailer for Skins and The Gossip’s remixed track – Click here for the show’s Myspace page

Lennon Killer Leto To Bring Band To UK

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Lennon Killer Leto To Bring Band To UK

Hollywood star, Jared Leto, whose credits include Fight Club and Requiem For A Dream, is the frontman of MTV award winning rock band 30 Seconds To Mars. The band’s first UK single ‘Attack’ is due for release next month and is taken from their debut album ‘A Beautiful Lie’ which will follow on February 26. 30 Seconds To Mars will play only two shows in the UK just before the releases. The album has already sold in excess of a million copies stateside and due to spreading popularity the venues for the gigs have been upgraded to: Manchester Academy 2 (was Roadhouse) on January 31 London, Electric Ballroom (was Underworld) on February 1 Original tickets will remain valid at the new shows. Aside from promoting his new musical project, Leto is currently filming the role of Mark David Chapman, in new film 'Chapter 27' about the John Lennon assasination. The actor has reportedly gained 62 lbs in weight for the role of the killer by eating cocktails of Haagen Dazs ice cream with added soy sauce and olive oil!

Hollywood star, Jared Leto, whose credits include Fight Club and Requiem For A Dream, is the frontman of MTV award winning rock band 30 Seconds To Mars.

The band’s first UK single ‘Attack’ is due for release next month and is taken from their debut album ‘A Beautiful Lie’ which will follow on February 26.

30 Seconds To Mars will play only two shows in the UK just before the releases. The album has already sold in excess of a million copies stateside and due to spreading popularity the venues for the gigs have been upgraded to:

Manchester Academy 2 (was Roadhouse) on January 31

London, Electric Ballroom (was Underworld) on February 1

Original tickets will remain valid at the new shows.

Aside from promoting his new musical project, Leto is currently filming the role of Mark David Chapman, in new film ‘Chapter 27’ about the John Lennon assasination.

The actor has reportedly gained 62 lbs in weight for the role of the killer by eating cocktails of Haagen Dazs ice cream with added soy sauce and olive oil!

Spitz Festival of Blues Line-Up Announced

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Spitz Festival of Blues Line-Up Announced

Mississippi blues legend T-Model Ford and former Dr Feelgood guitarist Wilko Johnson have been announced as headliners for a blues festival at London’s Spitz venue in April. Ex Bad Seed James Johnston's Gallon Drunk will also appear and Holly Golightly will perform a solo show too. So far eight shows have been announced for the third annual Spitz Festival of Blues that will run throughout April. Wilko Johnson heads up the UK billing at this years’ festival; the ‘godfather of British punk blues’ will play alongside White Stripes’ collaborator Holly Golightly and Gallon Drunk. Legendary Mississippi blues artist T-Model Ford aka The Tail Dagger will be the finale performance of the festival on April 28. Blues artists Kenny Brown and Robert Belfour are amongst the artists who will also take part at the Spitz Festival of Blues. For more information about the show – click here to go to www.punkrockblues.co.uk Ticket booking is available through the Spitz’s website here

Mississippi blues legend T-Model Ford and former Dr Feelgood guitarist Wilko Johnson have been announced as headliners for a blues festival at London’s Spitz venue in April.

Ex Bad Seed James Johnston’s Gallon Drunk will also appear and Holly Golightly will perform a solo show too.

So far eight shows have been announced for the third annual Spitz Festival of Blues that will run throughout April.

Wilko Johnson heads up the UK billing at this years’ festival; the ‘godfather of British punk blues’ will play alongside White Stripes’ collaborator Holly Golightly and Gallon Drunk.

Legendary Mississippi blues artist T-Model Ford aka The Tail Dagger will be the finale performance of the festival on April 28.

Blues artists Kenny Brown and Robert Belfour are amongst the artists who will also take part at the Spitz Festival of Blues.

For more information about the show – click here to go to www.punkrockblues.co.uk

Ticket booking is available through the Spitz’s website here

Babyshambles Go Straight

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Babyshambles Go Straight

It was announced today that Pete Doherty's band Babyshambles have signed up for a long-term record deal with major label Parlophone. Buoyed by the success of the groups most recent single, 'The Blinding EP' on the Regal imprint, Parlophone part of EMI have said that they "are delighted Babyshambles have committed their future to the label." Parlophone's MD, Miles Leonard, said of the deal, “Babyshambles, justifiably, have a great reputation for crafting some of the most exciting music around today, and in Peter Doherty they have one of the best songwriters of his generation." He also added that he expected Pete Doherty's group to continue the Parlophone tradition of working with the countrys best artists, saying, "we have a long history of working with the best British bands, from Radiohead to Blur to Coldplay, and we see Babyshambles very much as continuing this tradition.” Babyshambles co-managers, Adrian Hunter and Andy Boyd from Lazy Eye Management commented that "Both management and the band are thrilled to have signed this deal and look forward to a long, fruitful, and creative relationship with Parlophone."

It was announced today that Pete Doherty’s band Babyshambles have signed up for a long-term record deal with major label Parlophone.

Buoyed by the success of the groups most recent single, ‘The Blinding EP’ on the Regal imprint, Parlophone part of EMI have said that they “are delighted Babyshambles have committed their future to the label.”

Parlophone’s MD, Miles Leonard, said of the deal, “Babyshambles, justifiably, have a great reputation for crafting some of the most exciting music around today, and in Peter Doherty they have one of the best songwriters of his generation.”

He also added that he expected Pete Doherty’s group to continue the Parlophone tradition of working with the countrys best artists, saying, “we have a long history of working with the best British bands, from Radiohead to Blur to Coldplay, and we see Babyshambles very much as continuing this tradition.”

Babyshambles co-managers, Adrian Hunter and Andy Boyd from Lazy Eye Management commented that “Both management and the band are thrilled to have signed this deal and look forward to a long, fruitful, and creative relationship with Parlophone.”

Traffic Tribute To Take Place This Sunday

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Traffic Tribute To Take Place This Sunday

Traffic Tribute To Take Place This Sunday Winwood and Weller amongst stars to celebrate the life of Jim Capaldi A special benefit show is to take place this Sunday (January 21) at London’s Roundhouse in celebration of the late musician and Traffic founding-member Jim Capaldi. ‘Dear Mr Fantasy’ – a special night featuring the music of Jim Capaldi and Traffic stars Steve Winwood, Pete Townshend, Bill Wyman, Gary Moore, Paul Weller, and Yusuf Islam (formerly Cat Stevens). Traffic co-founder Steve Winwood, with Capaldi, wrote the ten platinum-selling prog rock albums throughout the late 60s and early 70s that made Traffic a huge success. Capaldi also had a successful solo career after the band – even contributing ‘Love Will Keep Us Alive’ to The Eagles’ ‘Hell Freezes Over’ LP. They briefly re-united in 2004, when Traffic were inducted into the Rock ‘n’ Roll Hall of Fame. The tribute concert will raise money for the The Jubilee Action Street Children Appeal, a Brazillian charity that both Capladi and his wife Aninha supported. Signed guitars collected from the appearing artists will also be auctioned later on Ebay. For ticket availibilty check the Roundhouse website by clicking here

Traffic Tribute To Take Place This Sunday

Winwood and Weller amongst stars to celebrate the life of Jim Capaldi

A special benefit show is to take place this Sunday (January 21) at London’s Roundhouse in celebration of the late musician and Traffic founding-member Jim Capaldi.

‘Dear Mr Fantasy’ – a special night featuring the music of Jim Capaldi and Traffic stars Steve Winwood, Pete Townshend, Bill Wyman, Gary Moore, Paul Weller, and Yusuf Islam (formerly Cat Stevens).

Traffic co-founder Steve Winwood, with Capaldi, wrote the ten platinum-selling prog rock albums throughout the late 60s and early 70s that made Traffic a huge success.

Capaldi also had a successful solo career after the band – even contributing ‘Love Will Keep Us Alive’ to The Eagles’ ‘Hell Freezes Over’ LP.

They briefly re-united in 2004, when Traffic were inducted into the Rock ‘n’ Roll Hall of Fame.

The tribute concert will raise money for the The Jubilee Action Street Children Appeal, a Brazillian charity that both Capladi and his wife Aninha supported.

Signed guitars collected from the appearing artists will also be auctioned later on Ebay.

For ticket availibilty check the Roundhouse website by clicking here

Wilco Name New Album

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Wilco Name New Album

Jeff Tweedy has announced that the follow up to 2004’s acclaimed album ‘A Ghost Is Born’ is to be called ‘Sky Blue Sky’ Wilco’s front man Tweedy announced the title to the audience at the band's show in Nashville last night (January 17). On tour, the group have been giving fans an insight into the sound of the new album by previewing new songs. The titles include the title track ‘Sky Blue Sky’ and ‘We Can Make It Better.’ Other new songs that the band have played at recent shows include, ‘Is This The Thanks I Get,’ ‘Lullaby For Rafters And Dreams’ and ‘On and On and On’- although it is unclear as yet if these are also on the latest album . Sky Blue Sky will be available in the UK through Nonesuch Records on May 14. Pic credit: Michael Segal

Jeff Tweedy has announced that the follow up to 2004’s acclaimed album ‘A Ghost Is Born’ is to be called ‘Sky Blue Sky’

Wilco’s front man Tweedy announced the title to the audience at the band’s show in Nashville last night (January 17).

On tour, the group have been giving fans an insight into the sound of the new album by previewing new songs.

The titles include the title track ‘Sky Blue Sky’ and ‘We Can Make It Better.’

Other new songs that the band have played at recent shows include, ‘Is This The Thanks I Get,’ ‘Lullaby For Rafters And Dreams’ and ‘On and On and On’- although it is unclear as yet if these are also on the latest album .

Sky Blue Sky will be available in the UK through Nonesuch Records on May 14.

Pic credit: Michael Segal

Neil Young Archives Finally Ready For Release

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Neil Young Archives Finally Ready For Release

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today. The anticipated release date of 'Archives, Volume 1' is September this year. The collection will feature eight discs, including "Live At the Filmore" (released last November) and "Live At Massey Hall", a solo set from 1971 which is due out on March 26 . Thirty-eight previously unreleased songs will feature on Archives, billed as a 'musical autobiography' of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign. Allan Jones, Editor of Uncut says "This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it's s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff." We'll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them. Click here to let us know what you think about the impending release on our Archives messageboard

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today.

The anticipated release date of ‘Archives, Volume 1’ is September this year.

The collection will feature eight discs, including “Live At the Filmore” (released last November) and “Live At Massey Hall”, a solo set from 1971 which is due out on March 26 .

Thirty-eight previously unreleased songs will feature on Archives, billed as a ‘musical autobiography’ of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign.

Allan Jones, Editor of Uncut says “This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it’s s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff.”

We’ll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

Click here to let us know what you think about the impending release on our Archives messageboard

Neil Young Archives Finally Ready For Release

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Neil Young Archives Finally Ready For Release

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today. The anticipated release date of 'Archives, Volume 1' is September this year. The collection will feature eight discs, including "Live At the Filmore" (released last November) and "Live At Massey Hall", a solo set from 1971 which is due out on March 26 . Thirty-eight previously unreleased songs will feature on Archives, billed as a 'musical autobiography' of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign. Allan Jones, Editor of Uncut says "This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it's s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff." We'll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today.

The anticipated release date of ‘Archives, Volume 1’ is September this year.

The collection will feature eight discs, including “Live At the Filmore” (released last November) and “Live At Massey Hall”, a solo set from 1971 which is due out on March 26 .

Thirty-eight previously unreleased songs will feature on Archives, billed as a ‘musical autobiography’ of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign.

Allan Jones, Editor of Uncut says “This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it’s s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff.”

We’ll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

Springsteens I’m On Fire gets stripped bare

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Springsteens I’m On Fire gets stripped bare

Bat For Lashes' multi-intrumentalist Natasha Khan has recorded a piano ballad version of a classic Bruce Springsteen track. The sensual version of the Boss' 'I'm On Fire' has been an audience favourite on tour in France, where Khan has been performing as part of french music magazine, 'Les Inrocks' nationwide tour. The Sprinsteen cover version will appear as the B-side to forthcoming single, 'Prescilla' - the song, taken from her 2006 debut album, 'Fur And Gold,' has been re-worked with a horn section to bring out it's rawness. 'I'm On Fire' is a favourite of Radio One DJ Rob Da Bank, who has repeatedly played it since Bat For Lashes recorded the song live on his show. Khan's high-profile fans include Devendra Banhart, Radiohead's Thom Yorke, Bjork, Nellee Hooper, and Brett Anderson. The latter trio were in the audience for Bat For Lashes last London show. Bat For Lashes' Khan, backed by regular touring band, is also about to embark on her first full UK tour, starting in Leeds next month, the full details are as follows: Leeds Brudenell Social Club (February 18) Nottingham Rescue Rooms (19) Birmingham Glee Club (20) Manchester RNCM Concert Hall (22) Leicester Y Theatre (23) Bristol Thekla Social (26) Oxford Zodiac (27) London ULU (28) Barrow-In-Furness Canteen (March 2) Glasgow Oran Mor (3) Sheffield Memorial Hall (4) Norwich Arts Centre (5) The single ‘Prescilla’ is will be available on CD and download from February 26. For more information - Click here to go to BFL's website

Bat For Lashes’ multi-intrumentalist Natasha Khan has recorded a piano ballad version of a classic Bruce Springsteen track.

The sensual version of the Boss’ ‘I’m On Fire’ has been an audience favourite on tour in France, where Khan has been performing as part of french music magazine, ‘Les Inrocks’ nationwide tour.

The Sprinsteen cover version will appear as the B-side to forthcoming single, ‘Prescilla’ – the song, taken from her 2006 debut album, ‘Fur And Gold,’ has been re-worked with a horn section to bring out it’s rawness.

‘I’m On Fire’ is a favourite of Radio One DJ Rob Da Bank, who has repeatedly played it since Bat For Lashes recorded the song live on his show.

Khan’s high-profile fans include Devendra Banhart, Radiohead’s Thom Yorke, Bjork, Nellee Hooper, and Brett Anderson.

The latter trio were in the audience for Bat For Lashes last London show.

Bat For Lashes’ Khan, backed by regular touring band, is also about to embark on her first full UK tour, starting in Leeds next month, the full details are as follows:

Leeds Brudenell Social Club (February 18)

Nottingham Rescue Rooms (19)

Birmingham Glee Club (20)

Manchester RNCM Concert Hall (22)

Leicester Y Theatre (23)

Bristol Thekla Social (26)

Oxford Zodiac (27)

London ULU (28)

Barrow-In-Furness Canteen (March 2)

Glasgow Oran Mor (3)

Sheffield Memorial Hall (4)

Norwich Arts Centre (5)

The single ‘Prescilla’ is will be available on CD and download from February 26.

For more information – Click here to go to BFL’s website

Idlewild Announce Album Details

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Idlewild Announce Album Details

Ediburgh rock group, Idlewild have announced that their new album "Make Another World" will be released on March 5 and it will be preceeded by a new single, 'No Emotion' next month. 'Make Another World' is the follow-up to 2005's 'Warning/Promises' album, which spawned three UK Top 40 singles, including 'Love Steals Us From Loneliness.' Idlewild have gone to back to their earlier rockier sound working with producer Dave Eringa (Manics, Kubichek) for their sixth and latest album. Eringa worked with Idlewild on earlier albums, '100 Broken Windows' in 2000 and 'The Remote Part' in 2002. The promo video for 'No Emotion' has just been completed - and see's the five piece Scootish band fronted by Roddy Woomble all dress up as South Park character Kenny, and run around the streets of Glasgow with a paper mache goat! You can catch Idlewild at the following 11-dates in March: Newcastle, University (March 12) Manchester, Academy (13) Norwich, UEA (14) wolverhampton, Wulfrun Hall (16) Oxford, Brookes University (17) Leeds, Met University (18) Aberdeen, Music Hall (19) Perth, Concert Hall (20) Northampton, Roadmender (22) London, Hammersmith Palais (23) Bristol, Carling Academy (24) Tickets are available now, priced £16 except London £17.50 For more information, click here for Idlewild.com

Ediburgh rock group, Idlewild have announced that their new album “Make Another World” will be released on March 5 and it will be preceeded by a new single, ‘No Emotion’ next month.

‘Make Another World’ is the follow-up to 2005’s ‘Warning/Promises’ album, which spawned three UK Top 40 singles, including ‘Love Steals Us From Loneliness.’

Idlewild have gone to back to their earlier rockier sound working with producer Dave Eringa (Manics, Kubichek) for their sixth and latest album. Eringa worked with Idlewild on earlier albums, ‘100 Broken Windows’ in 2000 and ‘The Remote Part’ in 2002.

The promo video for ‘No Emotion’ has just been completed – and see’s the five piece Scootish band fronted by Roddy Woomble all dress up as South Park character Kenny, and run around the streets of Glasgow with a paper mache goat!

You can catch Idlewild at the following 11-dates in March:

Newcastle, University (March 12)

Manchester, Academy (13)

Norwich, UEA (14)

wolverhampton, Wulfrun Hall (16)

Oxford, Brookes University (17)

Leeds, Met University (18)

Aberdeen, Music Hall (19)

Perth, Concert Hall (20)

Northampton, Roadmender (22)

London, Hammersmith Palais (23)

Bristol, Carling Academy (24)

Tickets are available now, priced £16 except London £17.50

For more information, click here for Idlewild.com

Hot Fuzz – First Review!

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Hot Fuzz – First Review!

Last night (January 18) UNCUT attended the first screening of Hot Fuzz, the new comedy from the creators of Shaun Of The Dead. The film stars Simon Pegg as Nicholas Angel, a London police officer who’s formidable arrest record drives his superiors to “promote” him to the sleepy hamlet of Sanford, for fear that he’ll make the rest of the Met look inept. Partnered with bumbling local PC Danny Butterman (Nick Frost), the overachieving Angel is horrified to find Sanford an apparently perfect country village. A sleepy mix of church fates, Neighbourhood Watch meetings and zero crime rate, until a series of bizarre “accidents” suggest Sanford isn’t quite the picture-postcard idyll the community leaders would have Angel believe. In the next issue of UNCUT (on sale January 31), Pegg describes Hot Fuzz as “Midsomer Murders directed by Tony Scott”, a brilliant concept that the film occasionally struggles to deliver successfully. Although the initial conflict between go-getting Angel and his laid back, country colleagues works well, the film’s slip into Wicker Man/Straw Dogs pastiche is uninspiring and, for anyone who’s seen The League Of Gentlemen, way over familiar. The final, 20-minute shoot-out, an inspired take on the fast-cut, blow-shit-up of a Jerry Bruckheimer movie, is brilliantly observed. But as a director Wright isn’t quite experienced enough to pull it off. We hate to niggle, but the stream of Britcom cameos – Steve Coogan, Martin Freeman, Bill Nighy, Stephen Merchant, Bill Bailey, David Threlfall, Adam Buxton – while very impressive, becomes something of a distraction after a while. On a more positive note, the core cast around Pegg is especially solid – Paddy Considine, Big Train’s Kevin Eldon, Peep Show’s Olivia Coleman, Broadbent and Frost as Angel’s fellow officers; Timothy Dalton as the baddie. For anyone who’s seen Dead Man’s Shoes, there’s something strangely enjoyable about watching Considine running in slow-motion down a supermarket isle with a pump-action shotgun blowing seven shades out of the delicatessen counter. UNCUT’s verdict? Certainly not as quirky and outright funny as Shaun Of The Dead, but it’s going to be one of the biggest hits of the year. HOT FUZZ DIRECTED BY Edgar Wright STARRING Simon Pegg, Nick Frost, Timothy Dalton, Jim Broadbent OPENS FEBRUARY 16 CERT tbc 120 MINS You can get caught by the fuzz by clicking here now

Last night (January 18) UNCUT attended the first screening of Hot Fuzz, the new comedy from the creators of Shaun Of The Dead.

The film stars Simon Pegg as Nicholas Angel, a London police officer who’s formidable arrest record drives his superiors to “promote” him to the sleepy hamlet of Sanford, for fear that he’ll make the rest of the Met look inept.

Partnered with bumbling local PC Danny Butterman (Nick Frost), the overachieving Angel is horrified to find Sanford an apparently perfect country village. A sleepy mix of church fates, Neighbourhood Watch meetings and zero crime rate, until a series of bizarre “accidents” suggest Sanford isn’t quite the picture-postcard idyll the community leaders would have Angel believe.

In the next issue of UNCUT (on sale January 31), Pegg describes Hot Fuzz as “Midsomer Murders directed by Tony Scott”, a brilliant concept that the film occasionally struggles to deliver successfully.

Although the initial conflict between go-getting Angel and his laid back, country colleagues works well, the film’s slip into Wicker Man/Straw Dogs pastiche is uninspiring and, for anyone who’s seen The League Of Gentlemen, way over familiar. The final, 20-minute shoot-out, an inspired take on the fast-cut, blow-shit-up of a Jerry Bruckheimer movie, is brilliantly observed. But as a director Wright isn’t quite experienced enough to pull it off.

We hate to niggle, but the stream of Britcom cameos – Steve Coogan, Martin Freeman, Bill Nighy, Stephen Merchant, Bill Bailey, David Threlfall, Adam Buxton – while very impressive, becomes something of a distraction after a while.

On a more positive note, the core cast around Pegg is especially solid – Paddy Considine, Big Train’s Kevin Eldon, Peep Show’s Olivia Coleman, Broadbent and Frost as Angel’s fellow officers; Timothy Dalton as the baddie. For anyone who’s seen Dead Man’s Shoes, there’s something strangely enjoyable about watching Considine running in slow-motion down a supermarket isle with a pump-action shotgun blowing seven shades out of the delicatessen counter.

UNCUT’s verdict? Certainly not as quirky and outright funny as Shaun Of The Dead, but it’s going to be one of the biggest hits of the year.

HOT FUZZ

DIRECTED BY Edgar Wright

STARRING Simon Pegg, Nick Frost, Timothy Dalton, Jim Broadbent

OPENS FEBRUARY 16 CERT tbc 120 MINS

You can get caught by the fuzz by clicking here now

Jarvis Celebrates BRITS Shortlist With Shows

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Jarvis Celebrates BRITS Shortlist With Shows

Celebrating his Brit nomination for British Male Solo Artist yesterday, Jarvis Cocker has announced a handful of shows to take place next month. The former Pulp front-man has added three regional dates around his previously announced NME Award Show on February 17. The first gig will be a homecoming show at Sheffields' Plug venue - it will be the first time Jarvis has played his hometown in years. The full details and ticket details are as follows: Sheffield Plug (February 16) £17.50/ 0114 241 3040 or click here for the venue's website London Astoria (17) £20.60/Click here for See Tickets website Manchester Academy (19) £17.50/ 0161 832 1111 or click here for Gigs And Tour Tickets Glasgow ABC (20) £17.50/ 0870 169 0100 or click here for Gigsinscotland.com ‘Jarvis’ the album is out now on Rough Trade records

Celebrating his Brit nomination for British Male Solo Artist yesterday, Jarvis Cocker has announced a handful of shows to take place next month.

The former Pulp front-man has added three regional dates around his previously announced NME Award Show on February 17.

The first gig will be a homecoming show at Sheffields’ Plug venue – it will be the first time Jarvis has played his hometown in years.

The full details and ticket details are as follows:

Sheffield Plug (February 16)

£17.50/ 0114 241 3040 or click here for the venue’s website

London Astoria (17)

£20.60/Click here for See Tickets website

Manchester Academy (19)

£17.50/ 0161 832 1111 or click here for Gigs And Tour Tickets

Glasgow ABC (20)

£17.50/

0870 169 0100 or click here for Gigsinscotland.com

‘Jarvis’ the album is out now on Rough Trade records

Let Dusty Sing You A Song

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Let Dusty Sing You A Song

Everyday, we bring you the best thing we've seen on YouTube -- a great piece of archive footage, a music promo or a clip from one of our favourite movies of TV shows. Today: See an archive performance of ‘Spooky’ performed by Dusty Springfield. The song is taken from the 1964 US-only album ‘Dusty.’ Rather bizarrely, Dusty sings to us whilst sitting in a giant white cube frame. You have to check it out! See the spooky Springfield video by clicking here now

Everyday, we bring you the best thing we’ve seen on YouTube — a great piece of archive footage, a music promo or a clip from one of our favourite movies of TV shows.

Today: See an archive performance of ‘Spooky’ performed by Dusty Springfield.

The song is taken from the 1964 US-only album ‘Dusty.’

Rather bizarrely, Dusty sings to us whilst sitting in a giant white cube frame.

You have to check it out!

See the spooky Springfield video by clicking here now

Kurt Film Gets Courtney Approval

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Kurt Film Gets Courtney Approval

Kurt Cobain could soon be immortalised in an authorised film about his life. The former Nirvana frontman's widow Courtney Love has bought the rights to adapt Charles Cross' biography of the musician. Courtney Love is reportedly in talks with several studios to bring Heavier Than Heaven to the big screen. Love has confirmed that the film project is "in an embryonic stage." She has posted the following message on a fansite, MoonwashedRose.com, that the film "has no script and no director attached, let alone stars." But she added that "it will of course be (an) A list and high end film." If the production gets off the ground, it will be the first official film about Cobain's life, his genre-defining band Nirvana, and his relationship with Love. "Last Days", the 2005 film by Gus Van Sant is widely thought to have been an unauthorised biopic about Cobain.

Kurt Cobain could soon be immortalised in an authorised film about his life.

The former Nirvana frontman’s widow Courtney Love has bought the rights to adapt Charles Cross’ biography of the musician.

Courtney Love is reportedly in talks with several studios to bring Heavier Than Heaven to the big screen.

Love has confirmed that the film project is “in an embryonic stage.” She has posted the following message on a fansite, MoonwashedRose.com, that the film “has no script and no director attached, let alone stars.”

But she added that “it will of course be (an) A list and high end film.”

If the production gets off the ground, it will be the first official film about Cobain’s life, his genre-defining band Nirvana, and his relationship with Love.

“Last Days”, the 2005 film by Gus Van Sant is widely thought to have been an unauthorised biopic about Cobain.

Is This The Real Robert Johnson?

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Is This The Real Robert Johnson?

Uncut has found an ebay seller that purports to have found a third photograph of famous Delta bluesman Robert Leroy Johnson. The listing by SDPhan in San Diego, California claims to have found the photograph whilst "at the swap meet digging through a photo album of old south delta type photos." Johnson's history is infamously obscure, hardly anything certain is known about him apart from the fact that he recorded 29 songs and that he died young. In his introduction to Alan Greenberg's film script 'Love In Vain: A Vision Of Robert Johnson,' Martin Scorsese says, "The thing about Robert Johnson was that he only existed on his records. He was pure legend." There are only two known verified photographs of the musician, but this third one does bear some resemblance. The seller has set the starting bid on the photograph at $795,000.00 but if it turns out to be genuine - it's surely priceless. We've looked closely at the existing pictures (one of which is pictured above on the left) and this new one (above, right) - without his fingers in view it becomes more tricky - but his right ear is very similar. Also the first and alleged third picture both have the higher right eyebrow, dimple on chin and similar nose... What do you think? Is this Robert Johnson? Click here to go to the listing and see what you think- is this Robert Johnson? Bidding ends in less than 24 hours

Uncut has found an ebay seller that purports to have found a third photograph of famous Delta bluesman Robert Leroy Johnson.

The listing by SDPhan in San Diego, California claims to have found the photograph whilst “at the swap meet digging through a photo album of old south delta type photos.”

Johnson’s history is infamously obscure, hardly anything certain is known about him apart from the fact that he recorded 29 songs and that he died young.

In his introduction to Alan Greenberg’s film script ‘Love In Vain: A Vision Of Robert Johnson,’ Martin Scorsese says, “The thing about Robert Johnson was that he only existed on his records. He was pure legend.”

There are only two known verified photographs of the musician, but this third one does bear some resemblance.

The seller has set the starting bid on the photograph at $795,000.00 but if it turns out to be genuine – it’s surely priceless.

We’ve looked closely at the existing pictures (one of which is pictured above on the left) and this new one (above, right) – without his fingers in view it becomes more tricky – but his right ear is very similar.

Also the first and alleged third picture both have the higher right eyebrow, dimple on chin and similar nose…

What do you think? Is this Robert Johnson?

Click here to go to the listing and see what you think- is this Robert Johnson? Bidding ends in less than 24 hours

LDN Girl Lily Allen Up For Three BRIT Awards

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LDN Girl Lily Allen Up For Three BRIT Awards

The youngest-ever line-up of musicians have been shortlisted for this years' BRIT Awards than ever before. Once named as the awards ceremony for oldies, there's hardly an OAP in sight. The shortlisted nominees have been voted for by 1,000 Brits Academy members who work in all areas of the music industry. Lily Allen's successful breakthrough year has resulted in three nominations; for Best Female Solo Artist, Best British Album for 'Alright Still', and Best British Breakthrough Artist. She has also been shortlisted for Best Bristish Single for 'Smile.' Muse, James Morrison, Corinne Bailey Rae, Amy Winehouse, The Kooks and Kasabian are all up for awards, all are relatively new and young- the Brits Academy in the past has been accused of not paying attention to hot new music - well, they appear to have been paying attention this year. Uncut Woman of 2006, songstress Cat Power has been nominated in the Best International category. Power is up against pop queens Beyonce, Nelly Furtado and Pink, however there is a glaring omission of one of the most succesful International female artists of the past year. Harpist Joanna Newsom, whose album 'Ys' is musically brilliant and has been universally applauded, has not been shortlisted for the award. Uncut's Man of 2006, Bob Dylan has also been nominated again for Best International Male Solo Artist, he was last nominated in 2002. The singer is also shortlisted for Best International Album for the brilliant 'Modern Times' - the modern classic was voted our number one album of 2006. Beck, Damien Rice, Jack Johnson and Justin Timberlake are also nominated in the International album category. As previously reported on Uncut.co.uk, Oasis are this years' recipients of the Outstanding Contribution to Music award. The BRIT Awards, hosted by Russell Brand, is to be live broadcast on ITV1 on February 14.

The youngest-ever line-up of musicians have been shortlisted for this years’ BRIT Awards than ever before.

Once named as the awards ceremony for oldies, there’s hardly an OAP in sight. The shortlisted nominees have been voted for by 1,000 Brits Academy members who work in all areas of the music industry.

Lily Allen’s successful breakthrough year has resulted in three nominations; for Best Female Solo Artist, Best British Album for ‘Alright Still’, and Best British Breakthrough Artist. She has also been shortlisted for Best Bristish Single for ‘Smile.’

Muse, James Morrison, Corinne Bailey Rae, Amy Winehouse, The Kooks and Kasabian are all up for awards, all are relatively new and young- the Brits Academy in the past has been accused of not paying attention to hot new music – well, they appear to have been paying attention this year.

Uncut Woman of 2006, songstress Cat Power has been nominated in the Best International category. Power is up against pop queens Beyonce, Nelly Furtado and Pink, however there is a glaring omission of one of the most succesful International female artists of the past year. Harpist Joanna Newsom, whose album ‘Ys’ is musically brilliant and has been universally applauded, has not been shortlisted for the award.

Uncut’s Man of 2006, Bob Dylan has also been nominated again for Best International Male Solo Artist, he was last nominated in 2002.

The singer is also shortlisted for Best International Album for the brilliant ‘Modern Times’ – the modern classic was voted our number one album of 2006.

Beck, Damien Rice, Jack Johnson and Justin Timberlake are also nominated in the International album category.

As previously reported on Uncut.co.uk, Oasis are this years’ recipients of the Outstanding Contribution to Music award.

The BRIT Awards, hosted by Russell Brand, is to be live broadcast on ITV1 on February 14.

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