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Velvet Underground NOT Worth Fortune!

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An acetate of the legendary debut album from the Velvet Underground, the one with the banana on the sleeve, allegedly sold on eBay for a staggering $155,401 is still worth only the 75 cents its owner paid for it. The acetate copy of 'The Velvet Underground & Nico' was originally purchased at a Montreal flea market, and is thought to be one of only two in existence. The eBay auction ended last Friday with the news that a winning bid of $155,401 had been made, and unsurprisingly accepted by Warren Hill, who bought the acetate in September 2002. Saturn Records, based in Oakland, California, who were handling on the online sale, have since received an email from the apparent auction winner - who claims a fiend made the astonishing bid on his behalf "as a lark". "I'm so sorry," the email partly read. "I can barely afford gas for my car," it went on. Hill was reported to be "totally disappointed" by the news.

An acetate of the legendary debut album from the Velvet Underground, the one with the banana on the sleeve, allegedly sold on eBay for a staggering $155,401 is still worth only the 75 cents its owner paid for it.

The acetate copy of ‘The Velvet Underground & Nico’ was originally purchased at a Montreal flea market, and is thought to be one of only two in existence.

The eBay auction ended last Friday with the news that a winning bid of $155,401 had been made, and unsurprisingly accepted by Warren Hill, who bought the acetate in September 2002.

Saturn Records, based in Oakland, California, who were handling on the online sale, have since received an email from the apparent auction winner – who claims a fiend made the astonishing bid on his behalf “as a lark”.

“I’m so sorry,” the email partly read. “I can barely afford gas for my car,” it went on.

Hill was reported to be “totally disappointed” by the news.

Jarvis Cocker Makes Shock Cameo Appearance

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Jarvis Cocker made a surprise appearance in London with hot new band CSS this weekend. The Brazillian outfit, the darlings of the broadsheets and a recent Ban To Watch in Uncut magazine, were rounding off their tour with a special show at the London Forum last night (December 8). As their awesome performance was reaching a hot'n'steamy climax, including renditions of live favourites 'Alala' and 'Let's Make Love And Listen To Death From Above', singer Lovefoxx made a surprise announcement. "Sometimes we call him a friend, sometimes we call him a lover, tonight let's just call him Jarvis!" The Sheffield sex god, currently enjoying a comeback, then sauntered onstage just in time for a run-through of 'Alcohol' before the band encored with 'Pretend We're Dead' by grunge grrrls L7.

Jarvis Cocker made a surprise appearance in London with hot new band CSS this weekend.

The Brazillian outfit, the darlings of the broadsheets and a recent Ban To Watch in Uncut magazine, were rounding off their tour with a special show at the London Forum last night (December 8).

As their awesome performance was reaching a hot’n’steamy climax, including renditions of live favourites ‘Alala’ and ‘Let’s Make Love And Listen To Death From Above’, singer Lovefoxx made a surprise announcement.

“Sometimes we call him a friend, sometimes we call him a lover, tonight let’s just call him Jarvis!”

The Sheffield sex god, currently enjoying a comeback, then sauntered onstage just in time for a run-through of ‘Alcohol’ before the band encored with ‘Pretend We’re Dead’ by grunge grrrls L7.

Bob Dylan Spring Tour

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Bob Dylan returns to these shores in April for his first shows since the release of Modern Times earlier this year. Tickets go on sale this Friday (8th December) for the following venues: Glasgow, SECC (April 11) Newcastle Metro Radio Arena (12) Sheffield, Hallam FM Arena (14) London, Wembley Arena (15) Birmingham, NIA (17) ‘Modern Times’, which came out at the end of August and is Bob’s first new album in five years, has proved to be his best-selling record in over two decades - possibly since 'Desire' in 1976. In a way, Dylan is as big as he's ever been. The first volume of his memoirs, ‘Chronicles’, was one of the most acclaimed and best-selling non-fiction works of 2004, and last year's award-winning ‘No Direction Home’ film, directed by Martin Scorsese, drew rave notices and massive audiences as it charted Dylan's early career and rise to fame. As previously announced, Bob Dylan's XM Satellite Radio shows in the US, ‘Theme Time Radio Hour’, will be aired for the first time in the UK this month. Six of the shows will be broadcast on Radio 2 on consecutive evenings from Saturday December 23, before continuing on 6 Music on New Year's Eve and then on Friday nights from January 12.

Bob Dylan returns to these shores in April for his first shows since the release of Modern Times earlier this year.

Tickets go on sale this Friday (8th December) for the following venues:

Glasgow, SECC (April 11)

Newcastle Metro Radio Arena (12)

Sheffield, Hallam FM Arena (14)

London, Wembley Arena (15)

Birmingham, NIA (17)

‘Modern Times’, which came out at the end of August and is Bob’s first new album in five years, has proved to be his best-selling record in over two decades – possibly since ‘Desire’ in 1976.

In a way, Dylan is as big as he’s ever been.

The first volume of his memoirs, ‘Chronicles’, was one of the most acclaimed and best-selling non-fiction works of 2004, and last year’s award-winning ‘No Direction Home’ film, directed by Martin Scorsese, drew rave notices and massive audiences as it charted Dylan’s early career and rise to fame.

As previously announced, Bob Dylan’s XM Satellite Radio shows in the US, ‘Theme Time Radio Hour’, will be aired for the first time in the UK this month.

Six of the shows will be broadcast on Radio 2 on consecutive evenings from Saturday December 23, before continuing on 6 Music on New Year’s Eve and then on Friday nights from January 12.

The B-52s work with New Order producer

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The B-52's, the prototype Scissor Sisters with the colourful outfits and rhythmic pop music, are working with New Order's producer Steve Osbourne on their first new album since 1992. The band have described the new material as "Rock'n'Roll-Glam-Electro-Soul". The last B-52's album was 1992's 'Good Stuff' but they haven't recorded with founding member Cindy Wilson since 1989's 'Cosmic Thing'. "We took a short break which ended up lasting several years with each of us going our individual ways musically..." said guitarist Keith Strickland on Theb52s.com. "I considered doing a solo album, but in a moment of clarity I decided that I would rather put my energy into a new B-52's album." Strickland explained why they have chosen Osbourne to man the studio controls on this, their comeback project, which they actually began three years ago. "(He) produced the New Order album 'Get Ready' which I love," said Stickland. "When we were discussing producers for the album, I suggested Steve." There is a theme to The B-52's' forthcoming rock'n'roll-glam-electro-soul offering, although Strickland is reluctant to give too much away. "About halfway through these sessions we noticed a theme developing," he said. "However, I don't want to spoil the experience. You've got to hear it to believe it." A release date for the untitled album has yet to be announced.

The B-52’s, the prototype Scissor Sisters with the colourful outfits and rhythmic pop music, are working with New Order’s producer Steve Osbourne on their first new album since 1992.

The band have described the new material as “Rock’n’Roll-Glam-Electro-Soul”.

The last B-52’s album was 1992’s ‘Good Stuff’ but they haven’t recorded with founding member Cindy Wilson since 1989’s ‘Cosmic Thing’.

“We took a short break which ended up lasting several years with each of us going our individual ways musically…” said guitarist Keith Strickland on Theb52s.com. “I considered doing a solo album, but in a moment of clarity I decided that I would rather put my energy into a new B-52’s album.”

Strickland explained why they have chosen Osbourne to man the studio controls on this, their comeback project, which they actually began three years ago.

“(He) produced the New Order album ‘Get Ready’ which I love,” said Stickland. “When we were discussing producers for the album, I suggested Steve.”

There is a theme to The B-52’s’ forthcoming rock’n’roll-glam-electro-soul offering, although Strickland is reluctant to give too much away.

“About halfway through these sessions we noticed a theme developing,” he said. “However, I don’t want to spoil the experience. You’ve got to hear it to believe it.”

A release date for the untitled album has yet to be announced.

Razorlight Announce Arena Tour

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Razorlight have announced their UK tour plans for Spring 2007. The band, currently riding high in the charts with their self-titled second album, will be playing a seven-show arena tour of the UK. A total of 80,000 people will see them perform, including the final night which will be at London's Earl's Court. The tour dates are: Exeter West Point (March 30) Bournemouth BIC (April 1) Newcastle Arena (2) Manchester M.E.N (3) Glasgow SECC (5) Birmingham NEC(6) London Earl's Court (8) Tickets go on sale December 14 at 9am.

Razorlight have announced their UK tour plans for Spring 2007.

The band, currently riding high in the charts with their self-titled second album, will be playing a seven-show arena tour of the UK.

A total of 80,000 people will see them perform, including the final night which will be at London’s Earl’s Court.

The tour dates are:

Exeter West Point (March 30)

Bournemouth BIC (April 1)

Newcastle Arena (2)

Manchester M.E.N (3)

Glasgow SECC (5)

Birmingham NEC(6)

London Earl’s Court (8)

Tickets go on sale December 14 at 9am.

Mega City Four Singer Dies

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Darren 'Wiz' Brown, singer with early '90s pop-grunge/crusty leading lights Mega City Four, has died suddenly in London aged 44. Brown passed away on December 6 after suffering a blood clot on the brain. He had been taken ill at a rehearsal earlier in the week and died at St Georges Hospital in Tooting, south London. The MC4 frontman was living and working in Farnborough, having just finished writing songs for an album for his current band Ipanema. He had only recently returned from a successful tour of the States. With his guitarist brother Danny, bassist Gerry Bryant and drummer Chris Jones, the band released six studio albums between 1989 and 1996 and earned a reputation across the globe as an exciting live band. Mega City Four became UK alt.indie favourites in the late '80s and early '90s alongside peers Senseless Things, Neds Atomic Dustbin and Carter The Unstoppable Sex Machine. Their biggest hit was in 1992, when 'Shivering Sand' reached Number 35.

Darren ‘Wiz’ Brown, singer with early ’90s pop-grunge/crusty leading lights Mega City Four, has died suddenly in London aged 44.

Brown passed away on December 6 after suffering a blood clot on the brain. He had been taken ill at a rehearsal earlier in the week and died at St Georges Hospital in Tooting, south London.

The MC4 frontman was living and working in Farnborough, having just finished writing songs for an album for his current band Ipanema.

He had only recently returned from a successful tour of the States.

With his guitarist brother Danny, bassist Gerry Bryant and drummer Chris Jones, the band released six studio albums between 1989 and 1996 and earned a reputation across the globe as an exciting live band.

Mega City Four became UK alt.indie favourites in the late ’80s and early ’90s alongside peers Senseless Things, Neds Atomic Dustbin and Carter The Unstoppable Sex Machine.

Their biggest hit was in 1992, when ‘Shivering Sand’ reached Number 35.

Arcade Fire Relight The British Isles

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Arcade Fire will visit the UK in the New Year for five very special shows. The band will play three nights at St John’s Church, Smith Square with a further two nights at the Porchester Hall, West London. These dates are Arcade Fire's first UK shows since September 2005. The full list of dates is as follows: St John's, Smith Square, SW1 (January 29) St John's, Smith Square, SW1 (30) St John's, Smith Square, SW1 (31) Porchester Hall, W2 (February 1) Porchester Hall, W2 (2) Tickets for the intimate shows will go on sale this Friday(December 8)2. The band's as-yet-untitled second album will be released spring 2007. Further tour dates will be announced shortly. See www.arcadefire.com

Arcade Fire will visit the UK in the New Year for five very special shows.

The band will play three nights at St John’s Church, Smith Square with a further two nights at the Porchester Hall, West London.

These dates are Arcade Fire’s first UK shows since September 2005.

The full list of dates is as follows:

St John’s, Smith Square, SW1 (January 29)

St John’s, Smith Square, SW1 (30)

St John’s, Smith Square, SW1 (31)

Porchester Hall, W2 (February 1)

Porchester Hall, W2 (2)

Tickets for the intimate shows will go on sale this Friday(December 8)2.

The band’s as-yet-untitled second album will be released spring 2007.

Further tour dates will be announced shortly.

See www.arcadefire.com

Americana Chanteuse Back With New Album

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Tarnation, the brainchild of chanteuse Paula Frazer, are back, so wrap up warm and prepare yourselves for yet more deliciously chilly, sombre Americana-pop-with-a-'60s-sensibility. In February '07, Frazer plus Tarnation follow up the genre classic Gentle Creatures and the critically acclaimed Mirador with something sparse and beautiful. That something is Now It’s Time, by PAULA FRAZER AND TARNATION. Now It’s Time reconnects with Tarnation’s past and presents, according to the press release, "an olde tyme sound with whisping swirls of guitars and strings, wonderfully framing Paula Frazer’s signature angelic voice." More songs about memory and loss, hope and despair. Which sounds good to us. This time Tarnation comprise multi-instrumentalist Frazer, longtime collaborator Patrick Main on piano, and Jasmyn Wong on drums. Paula Frazer was born to a minister in the south and sang in his church choir at the age of four. She moved to San Francisco in the early '80s, where she played in various punk bands and even had a stint in the infamous Frightwig. The rest is history. The future? Now It's Time. Paula Frazer & Tarnation: ‘Now It’s Time’ Release Date: 26th February 2007 Catalogue No: BMR096 Label: Birdman Records

Tarnation, the brainchild of chanteuse Paula Frazer, are back, so wrap up warm and prepare yourselves for yet more deliciously chilly, sombre Americana-pop-with-a-’60s-sensibility.

In February ’07, Frazer plus Tarnation follow up the genre classic Gentle Creatures and the critically acclaimed Mirador with something sparse and beautiful.

That something is Now It’s Time, by PAULA FRAZER AND TARNATION. Now It’s Time reconnects with Tarnation’s past and presents, according to the press release, “an olde tyme sound with whisping swirls of guitars and strings, wonderfully framing Paula Frazer’s signature angelic voice.”

More songs about memory and loss, hope and despair. Which sounds good to us.

This time Tarnation comprise multi-instrumentalist Frazer, longtime collaborator Patrick Main on piano, and Jasmyn Wong on drums.

Paula Frazer was born to a minister in the south and sang in his church choir at the age of four. She moved to San Francisco in the early ’80s, where she played in various punk bands and even had a stint in the infamous Frightwig.

The rest is history. The future? Now It’s Time.

Paula Frazer & Tarnation: ‘Now It’s Time’

Release Date: 26th February 2007

Catalogue No: BMR096

Label: Birdman Records

Napalm Death Big Influence On Fine Art Shocker!

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Mark Titchner, a nominee for 2006's prestigious ‘Turner Prize’, has declared the music of Napalm Death to have been influential on his work. Titchner extols the virtues of the Death's ‘abrasive music’, praising their use of the voice as an instrument and the way they "push the boundaries of language". He also draws comparisons between the Brum rockers' unholy racket and his art. Have a look at Mark’s work, listen to expert Nicholas Bullen’s opinions on it at www.tate.org.uk/britain/turnerprize/2006/marktitchner.htm, then check out some classic Death and decide for yourselves how similar they are! In fact, look no further than Earache Records' 20-year anniversary edition of the highly influential debut Napalm Death album "Scum", due out in early 2007, complete with a recently filmed in-depth DVD documentary about the making of the album.

Mark Titchner, a nominee for 2006’s prestigious ‘Turner Prize’, has declared the music of Napalm Death to have been influential on his work.

Titchner extols the virtues of the Death’s ‘abrasive music’, praising their use of the voice as an instrument and the way they “push the boundaries of language”.

He also draws comparisons between the Brum rockers’ unholy racket and his art.

Have a look at Mark’s work, listen to expert Nicholas Bullen’s opinions

on it at www.tate.org.uk/britain/turnerprize/2006/marktitchner.htm, then check out some classic Death and decide for yourselves how similar they are!

In fact, look no further than Earache Records’ 20-year anniversary edition of the highly influential debut Napalm Death album “Scum”, due out in early 2007, complete with a recently filmed in-depth DVD documentary about the making of the album.

Beautiful South December Tour

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They've been touring the States in their Superbi bus, and now The Beautiful Southare set to play a string of dates in December. North-east's finest cap a year that has included touting their acerbic soft-rock across the globe. During the summer the band played everywhere from the Isle of Man to Dublin’s Croke Park with Robbie Williams in front of 85,000 people. The band also released their 10th Top 10 album, ‘Superbi’, in May 2006, which coincided with the 20th anniversary of Paul Heaton first entering the Top 10, with his previous band The Housemartins - whose other alumni, Norman Cook, has also carved out a pretty nifty career for himself. ‘Superbi’ was hailed as a return to form with lyricist Paul Heaton at the top of his game. Even after 17 years, the South are still masters of the deceptively mellifluous pop ditty. And live, they rock. See for yourselves on these pre-Xmas dates: 10 December Birmingham, NIA 0870 730 0196 doors 6pm 11 December Bournemouth, International Centre 0870 787 0404 doors 7pm 12 December London, Hammersmith Apollo 0870 606 3400 doors 7pm 14 December London, Hammersmith Palais 020 8600 2300 doors 7pm 15 December Manchester, MEN Arena 0870 190 8000 doors 6pm 16 December Sheffield, Hallam FM Arena 0114 256 5656 doors 6pm The Beautiful South are: Paul Heaton (vocals), Alison Wheeler (vocals), Dave Hemingway (vocals), Sean Welch (bass), Dave Rotheray (guitar) and Dave Stead (drums). www.beautifulsouth.co.uk

They’ve been touring the States in their Superbi bus, and now The Beautiful Southare set to play a string of dates in December.

North-east’s finest cap a year that has included touting their acerbic soft-rock across the globe.

During the summer the band played everywhere from the Isle of Man to Dublin’s Croke Park with Robbie Williams in front of 85,000 people.

The band also released their 10th Top 10 album, ‘Superbi’, in May 2006, which coincided with the 20th anniversary of Paul Heaton first entering the Top 10, with his previous band The Housemartins – whose other alumni, Norman Cook, has also carved out a pretty nifty career for himself.

‘Superbi’ was hailed as a return to form with lyricist Paul Heaton at the top of his game. Even after 17 years, the South are still masters of the deceptively mellifluous pop ditty.

And live, they rock. See for yourselves on these pre-Xmas dates:

10 December Birmingham, NIA 0870 730 0196 doors 6pm

11 December Bournemouth, International Centre 0870 787 0404 doors 7pm

12 December London, Hammersmith Apollo 0870 606 3400 doors 7pm

14 December London, Hammersmith Palais 020 8600 2300 doors 7pm

15 December Manchester, MEN Arena 0870 190 8000 doors 6pm

16 December Sheffield, Hallam FM Arena 0114 256 5656 doors 6pm

The Beautiful South are: Paul Heaton (vocals), Alison Wheeler (vocals), Dave Hemingway (vocals), Sean Welch (bass), Dave Rotheray (guitar) and Dave Stead (drums).

www.beautifulsouth.co.uk

Pete Townshend Tops The Bill At Tribute Gig

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Pete Townshend is to headline a special charity tribute night at London’s Roundhouse next month. Other guests at the all-star corcert will be Steve Winwood, Paul Weller and Bill Wyman, performing in hounour of former Traffic member Jim Capaldi, who died last year. The night entitled, Dear Mr. Fantasy after the Traffic album of the same name, will take place on January 21, close to the second anniversary of Capaldi’s death. The tribute show will also be a fundraiser for the Jubilee Action Street Children Appeal, a charity that Capaldi and his wife Anna supported. Other musicians scheduled for the special gig are former Deep Purple keyboardist Jon Lord, Gary Moore, Simon Kirke, Dennis Locorriere, the Storys, Andy Newmark, and Joe Walsh. Tickets go on sale on December 18.

Pete Townshend is to headline a special charity tribute night at London’s Roundhouse next month.

Other guests at the all-star corcert will be Steve Winwood, Paul Weller and Bill Wyman, performing in hounour of former Traffic member Jim Capaldi, who died last year.

The night entitled, Dear Mr. Fantasy after the Traffic album of the same name, will take place on January 21, close to the second anniversary of Capaldi’s death.

The tribute show will also be a fundraiser for the Jubilee Action Street Children Appeal, a charity that Capaldi and his wife Anna supported.

Other musicians scheduled for the special gig are former Deep Purple keyboardist Jon Lord, Gary Moore, Simon Kirke, Dennis Locorriere, the Storys, Andy Newmark, and Joe Walsh.

Tickets go on sale on December 18.

OMD Reform and Return With Aplomb

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OMD – Orchestral Manoeuvres In The Dark, namely Andy McCluskey and Paul Humphreys - are back, and working on lots of grand musical projects simultaneously. OMD are re-visiting their 1981 breakthrough album Architecture & Morality with a special European tour; during which they will play the album in its entirety for the first time ever – as well as utilising a massive 120-piece orchestra and choir as backing musicians. Architecture & Morality was one of the highest selling electronic albums of the early ‘80s, shifting over three million copies and spawning three Top 10 hits, “Souvenir,” “Joan Of Arc” and “Maid Of Orleans.” As well the comeback tour, McCluskey and Humphreys are also working on a unique audio-visual installation with award winning artist Peter Savile. The installation will be premiered at FACT in Liverpool in March as part of the city’s Capital of Culture celebrations. The installation has a working title of ‘The Energy Suite’ and is based on five electricity generating power facilities. Getting more orchestral action, OMD are also working with The London Philharmonic Orchestra for a unique concert tour incorporating their “Energy Suite” installation. The LPO will play “The Energy Suite” with giant screens carrying projections of the power station images, as well as interpretations of some of OMD’s hit records. The original 80’s band line-up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes plus the immense orchestral cast will play at the following UK venues next year: Dublin, Olympia (May 13) Glasgow Clyde Auditorium (15) Liverpool Empire (16) London Hammersmith Apollo (18)

OMD – Orchestral Manoeuvres In The Dark, namely Andy McCluskey and Paul Humphreys – are back, and working on lots of grand musical projects simultaneously.

OMD are re-visiting their 1981 breakthrough album Architecture & Morality with a special European tour; during which they will play the album in its entirety for the first time ever – as well as utilising a massive 120-piece orchestra and choir as backing musicians.

Architecture & Morality was one of the highest selling electronic albums of the early ‘80s, shifting over three million copies and spawning three Top 10 hits, “Souvenir,” “Joan Of Arc” and “Maid Of Orleans.”

As well the comeback tour, McCluskey and Humphreys are also working on a unique audio-visual installation with award winning artist Peter Savile. The installation will be premiered at FACT in Liverpool in March as part of the city’s Capital of Culture celebrations.

The installation has a working title of ‘The Energy Suite’ and is based on five electricity generating power facilities.

Getting more orchestral action, OMD are also working with The London Philharmonic Orchestra for a unique concert tour incorporating their “Energy Suite” installation. The LPO will play “The Energy Suite” with giant screens carrying projections of the power station images, as well as interpretations of some of OMD’s hit records.

The original 80’s band line-up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes plus the immense orchestral cast will play at the following UK venues next year:

Dublin, Olympia (May 13)

Glasgow Clyde Auditorium (15)

Liverpool Empire (16)

London Hammersmith Apollo (18)

Legendary Roots Singer Plans UK Tour

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Richie Havens, the legendary American roots singer-songwriter, returns to the UK next month for his most extensive tour in years. Havens famously opened the Woodstock Festival in ’69 - playing an extended a two and a half hour set because of technical difficulties on the day that prevented other acts from performing. He played “every song I ever knew!” as well closing his set with the improvised song “Freedom", which became the festival’s anthem. In recent years has collaborated with dance act Groove Armada, appearing with them at the Glastonbury Festival and on Jools Holland’s “Later” programme. You can be awe-struck by a songwriting genius at the following venues early next month: London, The Jazz Café (January 8/9/10) Manchester, The Lowry (12) Gateshead, The Sage (13) Birkenhead, Pacific Road Arts Centre (17) Glasgow, ABC (18) Sheffield, Memorial Hall (20) Coventry, Taylor Johns House (21) Milton Keynes, The Stables (23)

Richie Havens, the legendary American roots singer-songwriter, returns to the UK next month for his most extensive tour in years.

Havens famously opened the Woodstock Festival in ’69 – playing an extended a two and a half hour set because of technical difficulties on the day that prevented other acts from performing. He played “every song I ever knew!” as well closing his set with the improvised song “Freedom”, which became the festival’s anthem.

In recent years has collaborated with dance act Groove Armada, appearing with them at the Glastonbury Festival and on Jools Holland’s “Later” programme.

You can be awe-struck by a songwriting genius at the following venues early next month:

London, The Jazz Café (January 8/9/10)

Manchester, The Lowry (12)

Gateshead, The Sage (13)

Birkenhead, Pacific Road Arts Centre (17)

Glasgow, ABC (18)

Sheffield, Memorial Hall (20)

Coventry, Taylor Johns House (21)

Milton Keynes, The Stables (23)

Six Organs Headline Psyche Rock Double Bill

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Six Organs of Admittance, Ben Chasney’s other band when he’s not busy fronting Comets on Fire, are headlining a double bill of psychedelia tonight at London’s Cargo. Folk rock band Sunburned Hand Of A Man also appear tonight, though the groups ever changing line-up means their sound varies from gig to gig. The group from Massachusetts formed in 1994 out of the disbanding of psychedilic punk band Shit Spangled Banner. The gig tonight is an intimate warm-up show – before both bands head off to Butlin’s Minehead for this years’ ATP Nightmare Before Christmas – where they will play on a bill headlined by Iggy Pop & The Stooges and Dinosaur Junior to name only two. Six Organs and Sunburned also appear on the latest Uncut CD, free with the January issue. It’s a psyche special! Six Organs of Admittance contribute “The Desert Is A Circle”, Sunburned Hand Of A Man offer “Adult Costume” and Ben Chasney’s Comets On Fire also appear on the compilation with the fantastic “Sour Smoke.” For more information about tonight’s show – Click here for Cargo’s ticket shop

Six Organs of Admittance, Ben Chasney’s other band when he’s not busy fronting Comets on Fire, are headlining a double bill of psychedelia tonight at London’s Cargo.

Folk rock band Sunburned Hand Of A Man also appear tonight, though the groups ever changing line-up means their sound varies from gig to gig.

The group from Massachusetts formed in 1994 out of the disbanding of psychedilic punk band Shit Spangled Banner.

The gig tonight is an intimate warm-up show – before both bands head off to Butlin’s

Minehead for this years’ ATP Nightmare Before Christmas – where they will play on a bill headlined by Iggy Pop & The Stooges and Dinosaur Junior to name only two.

Six Organs and Sunburned also appear on the latest Uncut CD, free with the January issue. It’s a psyche special!

Six Organs of Admittance contribute “The Desert Is A Circle”, Sunburned Hand Of A Man offer “Adult Costume” and Ben Chasney’s Comets On Fire also appear on the compilation with the fantastic “Sour Smoke.”

For more information about tonight’s show – Click here for Cargo’s ticket shop

Laugh As The Fab Four Practise Hey Jude

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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: Have a giggle as The Beatles run through a rehearsal of “Hey Jude.” The footage shows Paul McCartney and John Lennon laughing and talking to George Martin at the studio controls about the sound. Hey Jude here is stripped down and simplified, played through mostly on piano. The song is almost acoustic and makes the legendary sing-along sound even more anthemic. Altogether now, na, na, na, nanana-nah! For more Beatles – get the latest issue of Uncut – out now. We get four famous fans to tell us which Beatle is best, hear Dave Grohl on Ringo, Liam and Noel Gallagher on John, Brain Wilson on Paul and Johnny Marr on George. Who is your favourite member of the Fab Four? Vote now in our Uncut vote special—Click here now Check out the Beatles practicing in today’s YouTube - 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: Have a giggle as The Beatles run through a rehearsal of “Hey Jude.”

The footage shows Paul McCartney and John Lennon laughing and talking to George Martin at the studio controls about the sound.

Hey Jude here is stripped down and simplified, played through mostly on piano. The song is almost acoustic and makes the legendary sing-along sound even more anthemic.

Altogether now, na, na, na, nanana-nah!

For more Beatles – get the latest issue of Uncut – out now.

We get four famous fans to tell us which Beatle is best, hear Dave Grohl on Ringo, Liam and Noel Gallagher on John, Brain Wilson on Paul and Johnny Marr on George.

Who is your favourite member of the Fab Four? Vote now in our Uncut vote special—Click here now

Check out the Beatles practicing in today’s YouTube – by clicking here now

Thom Yorke to preview new Radiohead songs

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A new digital music show launches this month with exclusive performances from Radiohead’s Thom Yorke and The White Stripes. From The Basement, a download only programme, will be innovative as it will have no host and no studio audience; instead the artist and their performance take centre stage. The debut episode features a performance from Thom Yorke on the piano exclusively playing songs from the forthcoming Radiohead album, “Videotape” and “Down Is The New Up.” Yorke enjoyed his solo performance, saying it “was exciting to get plugged straight into the mains. No producer director egos messing it up.” The first show also features the White Stripes performing three songs, “Blue Orchid,” “Ugly As I Seem” and “Red Rain.” Speaking about the intimate, simplicity of the show’s production, White Stripes’ Jack White says, “I don’t think a music program has recorded a performance on analog reel to reel in thirty years. It was beautifully filmed, and the sound quality makes a performance on a regular TV talk show sound like a wax cylinder recording. No host. Thank God.” From The Basement launches on iTunes on December 18, and the second episode will be available in Febrauary. Watch the trailer for the new music show – by clicking here to go to Fromthebasement.tv

A new digital music show launches this month with exclusive performances from Radiohead’s Thom Yorke and The White Stripes.

From The Basement, a download only programme, will be innovative as it will have no host and no studio audience; instead the artist and their performance take centre stage.

The debut episode features a performance from Thom Yorke on the piano exclusively playing songs from the forthcoming Radiohead album, “Videotape” and “Down Is The New Up.”

Yorke enjoyed his solo performance, saying it “was exciting to get plugged straight into the mains. No producer director egos messing it up.”

The first show also features the White Stripes performing three songs, “Blue Orchid,” “Ugly As I Seem” and “Red Rain.”

Speaking about the intimate, simplicity of the show’s production, White Stripes’ Jack White says, “I don’t think a music program has recorded a performance on analog reel to reel in thirty years. It was beautifully filmed, and the sound quality makes a performance on a regular TV talk show sound like a wax cylinder recording. No host. Thank God.”

From The Basement launches on iTunes on December 18, and the second episode will be available in Febrauary.

Watch the trailer for the new music show – by clicking here to go to Fromthebasement.tv

U2- U218 Singles

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It is soberingly difficult, when considering this collection, to imagine that there will ever be another group remotely comparable to U2. Contemplate today’s pretenders who are now roughly where U2 were when they released the earliest of these tracks. It’s not easy to picture them having a career in 30 years’ time, much less one that fills stadiums and is more than a nostalgic cabaret turn. In the commercial stratosphere inhabited by U2, everything else is, as Elvis Costello astutely observed, “Bullshit, or a trip to the circus.” It’s also tough to imagine much future for albums like this. Almost everyone in the target market will own some, if not most, of these songs already (there have already been two U2 Best Ofs). The selling points - two new tracks - can be bought online. Someone is investing heavily in the completist tendencies of fans, and the dwindling sentimental fondness for music as an artefact that can be stacked on a shelf. Beyond that, U218 serves as an interesting indication of U2’s view of U2. The tracklisting is not evenly illustrative of all phases of U2’s career, and while there’s no pleasing everyone where these things are concerned, there are intriguing omissions. Four albums are all but written off. There’s nothing from October, nothing from either of their bravest, oddest albums (Zooropa, Pop), and their debut, Boy, is only represented by “I Will Follow” as a bonus 19th track on the UK edition. What is present is heavily weighted towards their recent output: All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb account for a third of U218 between them. Little wrong with either record - “Walk On”, in particular, rivals “One” as U2’s definitive anthem for everything - but it suggests a retrospective lack of confidence in some of their boldest endeavours. Of the two new songs, both produced by Rick Rubin, the first is a curious but endearing detour: a collaboration with Green Day on a cover of The Skids’ “The Saints Are Coming”. Introduced with a croon of “House Of The Rising Sun”, it begins as a gentle lament for a sodden New Orleans before rearing up into a furious punky assault, U2’s righteous rage on one fist, Green Day’s swaggering petulance on the other. “Window In The Skies” is subtler, a fine ballad broadly congruent with U2’s recent output, distinguishing itself with an uncharacteristically folky strings riff. U218 works okay as a somewhat revisionist telling of the story so far. But it does better as a demonstration that U2 are out on their own now, the last of their kind. ANDREW MUELLER

It is soberingly difficult, when considering this collection, to imagine that there will ever be another group remotely comparable to U2. Contemplate today’s pretenders who are now roughly where U2 were when they released the earliest of these tracks. It’s not easy to picture them having a career in 30 years’ time, much less one that fills stadiums and is more than a nostalgic cabaret turn. In the commercial stratosphere inhabited by U2, everything else is, as Elvis Costello astutely observed, “Bullshit, or a trip to the circus.”

It’s also tough to imagine much future for albums like this. Almost everyone in the target market will own some, if not most, of these songs already (there have already been two U2 Best Ofs). The selling points – two new tracks – can be bought online. Someone is investing heavily in the completist tendencies of fans, and the dwindling sentimental fondness for music as an artefact that can be stacked on a shelf.

Beyond that, U218 serves as an interesting indication of U2’s view of U2. The tracklisting is not evenly illustrative of all phases of U2’s career, and while there’s no pleasing everyone where these things are concerned, there are intriguing omissions. Four albums are all but written off. There’s nothing from October, nothing from either of their bravest, oddest albums (Zooropa, Pop), and their debut, Boy, is only represented by “I Will Follow” as a bonus 19th track on the UK edition.

What is present is heavily weighted towards their recent output: All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb account for a third of U218 between them. Little wrong with either record – “Walk On”, in particular, rivals “One” as U2’s definitive anthem for everything – but it suggests a retrospective lack of confidence in some of their boldest endeavours.

Of the two new songs, both produced by Rick Rubin, the first is a curious but endearing detour: a collaboration with Green Day on a cover of The Skids’ “The Saints Are Coming”. Introduced with a croon of “House Of The Rising Sun”, it begins as a gentle lament for a sodden New Orleans before rearing up into a furious punky assault, U2’s righteous rage on one fist, Green Day’s swaggering petulance on the other. “Window In The Skies” is subtler, a fine ballad broadly congruent with U2’s recent output, distinguishing itself with an uncharacteristically folky strings riff.

U218 works okay as a somewhat revisionist telling of the story so far. But it does better as a demonstration that U2 are out on their own now, the last of their kind.

ANDREW MUELLER

Sufjan Stevens – Songs For Christmas

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As we know from his monumental 50 States project, Sufjan Stevens likes to approach things on a grand scale. So perhaps we shouldn't be too surprised when, in contrast to most singers, his Christmas album isn't the usual token recitation of seasonal carols, but a mammoth 5CD box incorporating both traditional and original compositions. The set compiles together the EPs which, emulating the fan-club gifts of such as The Beatles and REM, Stevens has recorded each Christmas since 2000 (excepting 2004, for some reason) as presents for family and friends. Several are brief piano miniatures, of traditional tunes like "Lo! How A Rose E'er Blooming" and a thumping, ingenuous "Jingle Bells"; or glockenspiel, glistening like sun on snow for "Angels We Have Heard On High". Then there are the more elaborately arranged versions of songs such as "Joy To The World!" and "Little Drummer Boy", whose modest theme offers the perfect vehicle for Stevens' diffident voice. Most interesting, though, are Stevens' own additions to the Christmas canon, like the light-hearted "Come On! Let's Boogey To The Elf Dance!" ("K-Mart is closed/So is the bakery/Everyone's home") and the bathetic "That Was The Worst Christmas Ever!", whose hushed harmonies and plunking banjo are highly reminiscent of parts of Illinoise. The tone is generally one of mild encouragement, of jollying-along the reluctant participants in this most fraught of celebrations, as indicated by titles like "Hey Guys! It's Christmas Time!" and "It's Christmas! Let's Be Glad!". The tracks which offer a slightly askance look at the festive season are most entertaining, such as the semi-apologetic account of disharmony "Did I Make You Cry On Christmas Day? (Well, You Deserved It!)", all banjo, sleigh-bells and strained falsetto harmonies, and the splendid "Get Behind Me, Santa!", where cheesy horns and organ race up and down the scale like elves bustling industriously in the toy workshop. Here, Stevens offers a less than generous assessment of Saint Nick's profession: "You move so fast/ Like a psychopathic colour TV/ With your Christmas bag and your jolly face/ And the reindeer stomping all over the place". ANDY GILL

As we know from his monumental 50 States project, Sufjan Stevens likes to approach things on a grand scale. So perhaps we shouldn’t be too surprised when, in contrast to most singers, his Christmas album isn’t the usual token recitation of seasonal carols, but a mammoth 5CD box incorporating both traditional and original compositions.

The set compiles together the EPs which, emulating the fan-club gifts of such as The Beatles and REM, Stevens has recorded each Christmas since 2000 (excepting 2004, for some reason) as presents for family and friends. Several are brief piano miniatures, of traditional tunes like “Lo! How A Rose E’er Blooming” and a thumping, ingenuous “Jingle Bells”; or glockenspiel, glistening like sun on snow for “Angels We Have Heard On High”.

Then there are the more elaborately arranged versions of songs such as “Joy To The World!” and “Little Drummer Boy”, whose modest theme offers the perfect vehicle for Stevens’ diffident voice.

Most interesting, though, are Stevens’ own additions to the Christmas canon, like the light-hearted “Come On! Let’s Boogey To The Elf Dance!” (“K-Mart is closed/So is the bakery/Everyone’s home”) and the bathetic “That Was The Worst Christmas Ever!”, whose hushed harmonies and plunking banjo are highly reminiscent of parts of Illinoise. The tone is generally one of mild encouragement, of jollying-along the reluctant participants in this most fraught of celebrations, as indicated by titles like “Hey Guys! It’s Christmas Time!” and “It’s Christmas! Let’s Be Glad!”.

The tracks which offer a slightly askance look at the festive season are most entertaining, such as the semi-apologetic account of disharmony “Did I Make You Cry On Christmas Day? (Well, You Deserved It!)”, all banjo, sleigh-bells and strained falsetto harmonies, and the splendid “Get Behind Me, Santa!”, where cheesy horns and organ race up and down the scale like elves bustling industriously in the toy workshop.

Here, Stevens offers a less than generous assessment of Saint Nick’s profession: “You move so fast/ Like a psychopathic colour TV/ With your Christmas bag and your jolly face/ And the reindeer stomping all over the place”.

ANDY GILL

The Sisters Of Mercy – Reissues

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First And Last And Always R1984 (4) Floodland R1987(5) Vision Thing R1990(4) You can’t say we weren’t warned. Way back in the 1980s, when we were all partying like it was 1999, he loitered in the shadows, a bag of bones lit only by his cigarette, barking at us until he was hoarse that we were all damned to hell. So now the world is coming to an end - the oil’s all gone, the seas are rising, the nukes are loaded and the Middle East is about to ignite the daddy of all bonfires - the very least we can do is listen. Come and meet Andrew Eldritch. It won’t take long. He was a fine man, a wise man… and he only made three albums with The Sisters Of Mercy. We used to say that was because he was a speed freak who just couldn’t recreate the horror playing in his head. But now the scenario looks a lot more scary. Now it looks like he stopped because he’d said everything there was to say. When you shake hands with Eldritch, you shake hands with Armageddon. But we have to find him first. He’s gone to ground, only occasionally resurfacing to tour what’s left of civilisation. And when he does, he’s laughing. He always did. Laughter was the thing that elevated him above the faddish Goth hordes with their adolescent crush on the dark stuff. He laughed because laughter is the only intelligent response to an atrocity you can see but can’t do anything about. Eldritch was a literary fellow. So I wonder if it’s accidental that, listening to the Sisters on the eve of the apocalypse, it makes most sense to play the catalogue in reverse order. Just as Martin Amis rewound the holocaust in his book Time’s Arrow, the smoke from the gas chambers ceding to clear blue skies, so the Sisters’ output plays out the final story back to front. 1990’s Vison Thing - ironically named after President Bush Sr’s infamous statement that he lacked the “vision thing” when it came to foreign policy – is the uncannily accurate soundtrack to today’s abomination; a rat’s nest of corrupt, self-serving ‘politicians’ living high on the hog in plush hotels on Desolation Boulevard, with their “25 whores in the room next door”. These are arms dealers, drug dealers, dealers in human traffic, cranking out the AOR in their armour-plated Hummers. They couldn’t give a fuck for your Fair Trade or your Fundamentalism – show me the money! 1987’s bombastic Floodland is when it all comes down. The geographical location may have shifted from Eldritch’s “Mother Russia” raining down on the earth, but “This Corrosion” – orchestrated by Wagnerian maestro Jim Steinman with a pomp that My Chemical Romance must surely envy – is the sonic backdrop to the dividends of sins callously sown. And finally there’s his debut, First And Last And Always, the remainder of the species left on a Black Planet to shelter from the acid rain and – oh, the irony of the human condition - still obsessed with the suspicion that she’s fucking that guy behind your back even when there’s no air left to breathe. To paraphrase what they used to say about another pop revolutionary: it’s Eldritch’s world, we just die in it. STEVE SUTHERLAND

First And Last And Always R1984 (4)

Floodland R1987(5)

Vision Thing R1990(4)

You can’t say we weren’t warned. Way back in the 1980s, when we were all partying like it was 1999, he loitered in the shadows, a bag of bones lit only by his cigarette, barking at us until he was hoarse that we were all damned to hell.

So now the world is coming to an end – the oil’s all gone, the seas are rising, the nukes are loaded and the Middle East is about to ignite the daddy of all bonfires – the very least we can do is listen. Come and meet Andrew Eldritch. It won’t take long. He was a fine man, a wise man… and he only made three albums with The Sisters Of Mercy.

We used to say that was because he was a speed freak who just couldn’t recreate the horror playing in his head. But now the scenario looks a lot more scary. Now it looks like he stopped because he’d said everything there was to say. When you shake hands with Eldritch, you shake hands with Armageddon. But we have to find him first.

He’s gone to ground, only occasionally resurfacing to tour what’s left of civilisation. And when he does, he’s laughing. He always did. Laughter was the thing that elevated him above the faddish Goth hordes with their adolescent crush on the dark stuff. He laughed because laughter is the only intelligent response to an atrocity you can see but can’t do anything about.

Eldritch was a literary fellow. So I wonder if it’s accidental that, listening to the Sisters on the eve of the apocalypse, it makes most sense to play the catalogue in reverse order. Just as Martin Amis rewound the holocaust in his book Time’s Arrow, the smoke from the gas chambers ceding to clear blue skies, so the Sisters’ output plays out the final story back to front.

1990’s Vison Thing – ironically named after President Bush Sr’s infamous statement that he lacked the “vision thing” when it came to foreign policy – is the uncannily accurate soundtrack to today’s abomination; a rat’s nest of corrupt, self-serving ‘politicians’ living high on the hog in plush hotels on Desolation Boulevard, with their “25 whores in the room next door”. These are arms dealers, drug dealers, dealers in human traffic, cranking out the AOR in their armour-plated Hummers. They couldn’t give a fuck for your Fair Trade or your Fundamentalism – show me the money!

1987’s bombastic Floodland is when it all comes down. The geographical location may have shifted from Eldritch’s “Mother Russia” raining down on the earth, but “This Corrosion” – orchestrated by Wagnerian maestro Jim Steinman with a pomp that My Chemical Romance must surely envy – is the sonic backdrop to the dividends of sins callously sown. And finally there’s his debut, First And Last And Always, the remainder of the species left on a Black Planet to shelter from the acid rain and – oh, the irony of the human condition – still obsessed with the suspicion that she’s fucking that guy behind your back even when there’s no air left to breathe.

To paraphrase what they used to say about another pop revolutionary: it’s Eldritch’s world, we just die in it.

STEVE SUTHERLAND

Jay-Z – Kingdom Come

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When Jay-Z announced his retirement on 2003’s The Black Album and sold out Madison Square Garden for his farewell party, few believed hip hop’s most skilful operator was gone for good. A new day job as president of Def Jam might have stemmed his flow, but the Jigga continued to make guest appearances on records by famous friends like Beyonce, as well as bolstering the credibility of his own young signings. A sceptic might assume that the whole retirement was a Sinatra-esque piece of self-aggrandisement. But then, with Jay-Z, we can permit a little chest-beating. With his 1996 debut, Reasonable Doubt, Shawn ‘Jay-Z’ Carter was part of a celebrated generation of New York rappers - amongst them future rival Nas - who represented a spell of extraordinary creativity in the city. Unlike his peers, though, Jay-Z refused to be limited by the doctrines of NYC hip hop. With a businessman’s nose for collaboration, he worked with a spectrum of artists and emergent producers from all over the States like Timbaland and The Neptunes. Sampling Broadway musical Annie, 1998’s “Hard Knock Life” also proved that rappers willing to compromise could open up huge markets. Then in 2001, when a lust for publishing royalties had largely banished samples from rap, he released The Blueprint. With the help of producers Kanye West and Just Blaze, the album took a passion for soul and painted it in exaggerated Technicolor. Flush with samples, The Blueprint combined a thirst for the future with an artful reconfiguration of black musical past. In the hands of an arch populist like Jay-Z, rap suddenly made sense to a host of listeners previously excluded by the music’s arcane rituals. The premise behind Kingdom Come, fairly predictably, is that he has been forced to cut short his retirement because hip hop needs him back. Whilst a gift for converting arrogance into entertainment has always been one of Jay-Z’s strongest suits, Kingdom Come skirts perilously close to the showboating that marred 2002’s bloated double album, The Blueprint 2. In places, it strains under the weight of auditions from Def Jam debutants and guests like Usher and Beyonce. Even Chris Martin joins in to produce and voice its most unlikely moment, “Beach Chair”, on which both he and Jay-Z overstretch themselves on each other’s turf. But a familiar board of creative directors save the day. Dr Dre helms five tracks, and his unusually organic productions lend charm to the likes of “30 Something”, a celebration of advancing years delivered by Jay-Z with an irrepressible glint in the eye. Just Blaze contributes a brilliant opening trio, including the title track which deftly reclaims Rick James’ “Super Freak”sample from MC Hammer’s “U Can’t Touch This”. The Martin misfire apart, there’s no attempt at reinvention here: with such dazzling wordplay and production fireworks on display, Jay-Z could keep this up ‘til Kingdom Come. Permanent retirement, you suspect, is still a long, long way away. JAMES POLETTI

When Jay-Z announced his retirement on 2003’s The Black Album and sold out Madison Square Garden for his farewell party, few believed hip hop’s most skilful operator was gone for good.

A new day job as president of Def Jam might have stemmed his flow, but the Jigga continued to make guest appearances on records by famous friends like Beyonce, as well as bolstering the credibility of his own young signings. A sceptic might assume that the whole retirement was a Sinatra-esque piece of self-aggrandisement. But then, with Jay-Z, we can permit a little chest-beating.

With his 1996 debut, Reasonable Doubt, Shawn ‘Jay-Z’ Carter was part of a celebrated generation of New York rappers – amongst them future rival Nas – who represented a spell of extraordinary creativity in the city. Unlike his peers, though, Jay-Z refused to be limited by the doctrines of NYC hip hop. With a businessman’s nose for collaboration, he worked with a spectrum of artists and emergent producers from all over the States like Timbaland and The Neptunes. Sampling Broadway musical Annie, 1998’s “Hard Knock Life” also proved that rappers willing to compromise could open up huge markets.

Then in 2001, when a lust for publishing royalties had largely banished samples from rap, he released The Blueprint. With the help of producers Kanye West and Just Blaze, the album took a passion for soul and painted it in exaggerated Technicolor. Flush with samples, The Blueprint combined a thirst for the future with an artful reconfiguration of black musical past. In the hands of an arch populist like Jay-Z, rap suddenly made sense to a host of listeners previously excluded by the music’s arcane rituals.

The premise behind Kingdom Come, fairly predictably, is that he has been forced to cut short his retirement because hip hop needs him back. Whilst a gift for converting arrogance into entertainment has always been one of Jay-Z’s strongest suits, Kingdom Come skirts perilously close to the showboating that marred 2002’s bloated double album, The Blueprint 2. In places, it strains under the weight of auditions from Def Jam debutants and guests like Usher and Beyonce. Even Chris Martin joins in to produce and voice its most unlikely moment, “Beach Chair”, on which both he and Jay-Z overstretch themselves on each other’s turf.

But a familiar board of creative directors save the day. Dr Dre helms five tracks, and his unusually organic productions lend charm to the likes of “30 Something”, a celebration of advancing years delivered by Jay-Z with an irrepressible glint in the eye. Just Blaze contributes a brilliant opening trio, including the title track which deftly reclaims Rick James’ “Super Freak”sample from MC Hammer’s “U Can’t Touch This”. The Martin misfire apart, there’s no attempt at reinvention here: with such dazzling wordplay and production fireworks on display, Jay-Z could keep this up ‘til Kingdom Come. Permanent retirement, you suspect, is still a long, long way away.

JAMES POLETTI