Anyway, with the release of Bob Dylan’s Tempest looming, I was thinking the other morning about a time when albums just, you know, came out. What seemed to happen was pretty straightforward. There’d be a story in Melody Maker announcing a new album by one of your favourite bands that usually gave the record a title, track listing and release date. The week the album came out, there’d be a review, maybe an interview and perhaps a full-page ad somewhere in MM, often with tour dates attached.
On the day the album came out, you went to your local record shop – in my case, Derek’s in Water Street in Port Talbot – and you bought it. How simple it all seemed.
Of course, when I actually started working for Melody Maker in 1974, I found there was a bit more to it, although not much more usually than a launch party. This was basically an excuse for the band, their mates and assorted journalists to have a bit of a piss-up and could hardly be described as an integral part of a carefully-plotted promotional campaign, unless you were Led Zeppelin and the party was a debauched affair in Chislehurst Caves involving naked nuns and the like, in which case the event would get a bit of a write-up in the red tops.
Paul McCartney joined Damon Albarn on stage at the Africa Express show in London on Saturday night [September 8].
Appearing as a surprise special guest, the former Beatle first appeared playing bass on Rokia Traore's "Dounia", with former Led Zeppelin bassist John Paul Jones on mandolin, before playing Wings' "Coming Up" and "Goodnight Tonight" with the Blur front man, Tony Allen and Gruff Rhys of Super Furry Animals among others.
Alabama Shakes made their UK live debut last night (February 22) at an NME Awards Show, where they were watched by Hollywood A-lister Russell Crowe.
The first of three nights at north London's intimate Boston Arms saw the Athens, Alabama four-piece play a mixture of songs from their forthcoming first album 'Boys And Girls', newer songs and a thunderous encore of Led Zeppelin's 'How Many More Times'.
Citay’s first self-titled album, from 2006, posited Ezra Feinberg’s Bay Area collective as a fractionally heavier wing of the acid-folk movement, filled as it was with a kind of mellow, medieval-tinged rock that seemed indebted to the acoustic dalliances of Led Zeppelin and Black Sabbath.
You might remember that last week’s playlist contained a Mystery Record, sternly embargoed and so on by the record company, thoroughly underwhelming to listen to. A few of you had a decent stab at guessing the high-security identity of the artist(s), suggesting I was sat on new MP3s by The Verve, Bob Dylan produced by Rick Rubin, Paul McCartney, David Bowie, The Wu-Tang Clan, Blur, Oasis, Ride, Guns N’ Roses, Prince, Pink Floyd, Led Zeppelin, Kraftwerk or Rage Against The Machine.
