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Jack White’s keyboard player Isaiah ‘Ikey’ Owens dies aged 38

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Jack White’s keyboard player Isaiah ‘Ikey’ Owens dies aged 38
Isaiah 'Ikey' Owens, best known as keyboard player in Jack White's band, has died aged 38. News of Isaiah 'Ikey' Owens' passing was announced on Jack White's official website, via a statement which read: "It is with great sadness that we tell the world of the passing of the incredible musician Isai...

Isaiah ‘Ikey’ Owens, best known as keyboard player in Jack White’s band, has died aged 38.

News of Isaiah ‘Ikey’ Owens’ passing was announced on Jack White‘s official website, via a statement which read: “It is with great sadness that we tell the world of the passing of the incredible musician Isaiah ‘Ikey’ Owens. He will be missed and loved forever by his family, friends, bandmates and fans.”

It continued: “Ikey Owens was an astounding keyboard player in Jack White’s backing band. He also played with Mars Volta, Free Moral Agents, and many other projects. Out of respect for Ikey, the remaining shows of the Jack White Tour in Mexico have been cancelled. We will all miss you Ikey. You were and are an incredible artist.”

Isaiah Randolph “Ikey” Owens began his career playing in bands in his native Long Beach, California, including his own, Free Moral Agents. He played with the Mars Volta from 2001 to 2009, and began playing with White in 2012. He played on White’s Blunderbuss and Lazaretto albums, as well as on the accompanying tours.

Owens many other credits included live or session work for TV On The Radio’s Dave Sitek, Shuggie Otis, Mastodon and Crystal Antlers.

The Los Angeles Times reports that Owens had recently moved to Nashville, citing a June 2014 interview published in the Orange County Register, where the musician said that trips from Long Beach to Nashville, to work with White, had been hugely rewarding.

“(I learned) new ways to approach everything,” Owens explained. “Just similarities of country Americana with reggae and funk and hip-hop. A lot of the principles and a lot of the methodologies are all kind of easy to do in Long Beach. It all kind of translates.”

“Now that I’m getting older, it’s really hard to try and professionally make records in Long Beach,” Owens told the Orange County Register. “I don’t want to live in L.A.; I’m not really interested in New York. Nashville has been really good to me and kind of developing my career more in the studio.”

Owens was found dead in his hotel room in Puebla, Mexico on Tuesday, October 14. Authorities say the cause of death is currently unknown, according to the Spanish-language Periodico Digital.

Photo credit: David James Swanson

Leonard Cohen announces Live In Dublin CD and DVD

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Leonard Cohen announces Live In Dublin CD and DVD

Full-length concert recording and film, to be released in December... Leonard Cohen will release Leonard Cohen - Live In Dublin, an full-length concert recording and film, on Monday, December 1. The first - and only - release of a complete Leonard Cohen concert to be shot in high definition, Live In Dublin will be available in 3CD/DVD, 3CD/Blu-ray and digital configurations. It can be pre-ordered here: 3CD/DVD 3CD/Blu-ray 3CD iTunes The show was recorded at Dublin's 02 Arena on September 12, 2013 during Cohen's Old Ideas tour. Leonard Cohen - Live In Dublin includes an 11-song first set, a 10-song second set and an 8-song encore. The DVD features bonus live tracks recorded in Canada in 2013. The tracklisting for Leonard Cohen - Live In Dublin is: Set 1 Dance Me To The End Of Love The Future Bird on the Wire Everybody Knows Who By Fire The Gypsy's Wife Darkness Amen Come Healing Lover Lover Lover Anthem Set 2 Tower Of Song Suzanne Chelsea Hotel #2 Waiting For The Miracle The Partisan In My Secret Life Alexandra Leaving (Sharon Robinson) I'm Your Man Recitation w/ N.L. Hallelujah Take this Waltz Encore So Long, Marianne Going Home First We Take Manhattan Famous Blue Raincoat If It Be Your Will (Webb Sisters) Closing Time I Tried to Leave You Save the Last Dance for Me DVD Bonus songs Show Me The Place – Halifax, NS, Canada – April 13, 2013 – Halifax Metro Centre Anyhow – St. John's, NL, Canada – April 20, 2013 – Mile One Centre Different Sides – St. John, NB, Canada – April 15, 2013 – Harbour Station

Full-length concert recording and film, to be released in December…

Leonard Cohen will release Leonard Cohen – Live In Dublin, an full-length concert recording and film, on Monday, December 1.

The first – and only – release of a complete Leonard Cohen concert to be shot in high definition, Live In Dublin will be available in 3CD/DVD, 3CD/Blu-ray and digital configurations.

It can be pre-ordered here:

3CD/DVD

3CD/Blu-ray

3CD

iTunes

The show was recorded at Dublin’s 02 Arena on September 12, 2013 during Cohen’s Old Ideas tour.

Leonard Cohen – Live In Dublin includes an 11-song first set, a 10-song second set and an 8-song encore. The DVD features bonus live tracks recorded in Canada in 2013.

The tracklisting for Leonard Cohen – Live In Dublin is:

Set 1

Dance Me To The End Of Love

The Future

Bird on the Wire

Everybody Knows

Who By Fire

The Gypsy’s Wife

Darkness

Amen

Come Healing

Lover Lover Lover

Anthem

Set 2

Tower Of Song

Suzanne

Chelsea Hotel #2

Waiting For The Miracle

The Partisan

In My Secret Life

Alexandra Leaving (Sharon Robinson)

I’m Your Man

Recitation w/ N.L.

Hallelujah

Take this Waltz

Encore

So Long, Marianne

Going Home

First We Take Manhattan

Famous Blue Raincoat

If It Be Your Will (Webb Sisters)

Closing Time

I Tried to Leave You

Save the Last Dance for Me

DVD Bonus songs

Show Me The Place – Halifax, NS, Canada – April 13, 2013 – Halifax Metro Centre

Anyhow – St. John’s, NL, Canada – April 20, 2013 – Mile One Centre

Different Sides – St. John, NB, Canada – April 15, 2013 – Harbour Station

The Waterboys share first track from new album, Modern Blues

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The Waterboys share first track from new album, Modern Blues

Launch concerts in Feb 2015 announced... The Waterboys have announced details of their new album, Modern Blues. The album is to be released on Harlequin And Clown, via Kobalt Label Services on January 19, 2015. It was recorded in Nashville and produced by Waterboys leader Mike Scott and mixed by Bob Clearmountain. Modern Blues features Ralph Salmins, a mainstay on drums for the past four years, alongside Scott and regular Waterboy Steve Wickham, as well as Memphis keyboard player “Brother” Paul Brown and Muscle Shoals bassist David Hood. Modern Blues will be released on CD and also double vinyl. The vinyl features an extra track, an acoustic demo of "Long Strange Golden Road". The album can be pre-ordered here. The tracklisting for Modern Blues is: Destinies Entwined November Tale Still A Freak I Can See Elvis The Girl Who Slept For Scotland Rosalind (You Married The Wrong Girl) Beautiful Now Nearest Thing To Hip Long Strange Golden Road The band have previewed a track from the album, "Destinies Entwined", which you can hear below. http://www.youtube.com/watch?v=7_4EhpohXNQ Meanwhile, the band have announced they will launch the album with two concerts: Mon Feb 2, 2015: Coventry, Warwick Arts Centre Tues Feb 3, 2015: London Roundhouse Tickets for these shows go on on sale Friday, October 10.

Launch concerts in Feb 2015 announced…

The Waterboys have announced details of their new album, Modern Blues.

The album is to be released on Harlequin And Clown, via Kobalt Label Services on January 19, 2015. It was recorded in Nashville and produced by Waterboys leader Mike Scott and mixed by Bob Clearmountain.

Modern Blues features Ralph Salmins, a mainstay on drums for the past four years, alongside Scott and regular Waterboy Steve Wickham, as well as Memphis keyboard player “Brother” Paul Brown and Muscle Shoals bassist David Hood.

Modern Blues will be released on CD and also double vinyl. The vinyl features an extra track, an acoustic demo of “Long Strange Golden Road”. The album can be pre-ordered here.

The tracklisting for Modern Blues is:

Destinies Entwined

November Tale

Still A Freak

I Can See Elvis

The Girl Who Slept For Scotland

Rosalind (You Married The Wrong Girl)

Beautiful Now

Nearest Thing To Hip

Long Strange Golden Road

The band have previewed a track from the album, “Destinies Entwined“, which you can hear below.

Meanwhile, the band have announced they will launch the album with two concerts:

Mon Feb 2, 2015: Coventry, Warwick Arts Centre

Tues Feb 3, 2015: London Roundhouse

Tickets for these shows go on on sale Friday, October 10.

Steve Gunn, “Way Out Weather”/Nathan Bowles, “Nansemond”

John Mulvey
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Steve Gunn, “Way Out Weather”/Nathan Bowles, “Nansemond”

How does a questing psychedelic guitarist transform themselves into a classic singer-songwriter? By compromising, in many cases. Steve Gunn, however, is managing the transition with uncanny elegance. Maybe you've already heard the latest album from this languidly prolific Brooklyn guitarist: it's called "Way Out Weather", and it's just out on the Paradise Of Bachelors label. http://www.youtube.com/watch?v=vNfd1nilhI0 Gunn is one of those musicians I've written a lot about these past few years, thanks not just to the sheer weight of records he's made, but to their striking consistency. Consistency in terms of quality, I should stress, rather than of homogeneous sound: Gunn has been scrupulous in plotting a zigzagging course between roots music and the avant-garde, visiting all kinds of intersections along the way. That journey has taken in solo acoustic records like "Boerum Palace", Higgins/Bull-style duets with the drummer John Truczynski, a JJ Cale homage with Hiss Golden Messenger (Golden Gunn), a psychedelic jam band with the Irish guitarist Cian Nugent (Desert Heat), a stint in Kurt Vile's Violators and, most recently, a collaboration with the British guitarist Mike Cooper, a kindred spirit in his investigations of how he can stretch, splinter and transcend folk guitar playing. http://www.youtube.com/watch?v=I-KEFMFF47E&list=PLGLGDT-9ZI4KlbI8L3exrSMO4DkKcRs_r Beginning with last year's "Time Off", however, Gunn has channelled at least part of his energies into becoming a more orthodox singer-songwriter, with one foot in the vicinity of the rock world. "Way Out Weather" is a beautifully-constructed set of songs, and one in which Gunn has worked out exactly how to fit his six-string explorations into more orderly environs. Take the opening title track, and how Gunn's engagingly husky voice discreetly leaves space for the woozy, cycling guitar dynamic - a narrative of eco-fear played out with a sun-damaged languor. As Gunn embarks on a kind of ambulatory but unfussy solo, his time with Kurt Vile seems to have had a subtle impact on his playing (reports are circulating, incidentally, of a Vile/Gunn joint LP being in the works). http://www.youtube.com/watch?v=ckSY12Dmw8Q&list=PLGLGDT-9ZI4Jxy3xTypg3umwxsJ2cmofM In contrast with its predecessor, "Way Out Weather" is full of inventive new tangents, so that "Atmosphere", for instance, plants Gunn's introverted work into a kind of hazy ambient setting. "Milly's Garden", meanwhile, is an elegant, muted boogie that calls to mind Little Feat, or even a surreally undemonstrative Stones. For a guitarist who made his name as a solo performer, it's also a measure of how well Gunn's music now fits into a band environment; fuller, more expansive, for sure, but still retaining the critical intimacy, the understated virtuosity that is at the heart of his work. One of those players involved on "Way Out Weather", and indeed in Gunn's current live band, is Nathan Bowles, who's long moved in a similar shadowy interzone to that of Gunn. Bowles' CV includes being a core member of the rustic Piedmont ensemble, The Black Twig Pickers, and their more cosmic twin band, Pelt, as well as shifts with, again, Hiss Golden Messenger. In Gunn's band, Bowles mans the drumkit, but on many of these jobs he's focused on playing banjo, and it's this instrument that dominates his tremendous second solo album, Nansemond, also on Paradise Of Bachelors. If 2012's A Bottle, A Buckeye played it relatively straight as banjo folk, Bowles' second solo set is a rich realisation of his complete range. So Nansemond evokes Bowles' swampy Virginia homeland with nuanced picking, waterlogged drones, rowdy vocals (a first) and an inspired duel with the electric guitar of Tom Carter, from Charalambides on "Chuckatuck". Best of all, there's "Sleepy Lake Tire Swing", a culmination of Bowles' downhome and transcendent adventures, that captures the same spirit as his mentor, Jack Rose. http://www.youtube.com/watch?v=2E3ZXnlNnCw Great records both, I think, and a sign that perhaps this music, played by many artists who lurked in the background during the curious acid-folk (or whatever you need to call it) upsurge of a few years back, is now having its moment. These are productive and endlessly busy musicians, but ones who've followed a discreet path of experimentation and arrived at more accessible music in their own gracious time. As the emails start arriving in my inbox, pushing hordes of wet-behind-the-ears performers straight into the limelight as putative stars of 2015, it's a strategy that many bigger labels might do well to follow. Even in today's fraught climate, a little long-termism might eventually pay dividends… Follow me on Twitter: www.twitter.com/JohnRMulvey Picture: Constance Mensh

How does a questing psychedelic guitarist transform themselves into a classic singer-songwriter? By compromising, in many cases. Steve Gunn, however, is managing the transition with uncanny elegance. Maybe you’ve already heard the latest album from this languidly prolific Brooklyn guitarist: it’s called “Way Out Weather”, and it’s just out on the Paradise Of Bachelors label.

Gunn is one of those musicians I’ve written a lot about these past few years, thanks not just to the sheer weight of records he’s made, but to their striking consistency. Consistency in terms of quality, I should stress, rather than of homogeneous sound: Gunn has been scrupulous in plotting a zigzagging course between roots music and the avant-garde, visiting all kinds of intersections along the way.

That journey has taken in solo acoustic records like “Boerum Palace”, Higgins/Bull-style duets with the drummer John Truczynski, a JJ Cale homage with Hiss Golden Messenger (Golden Gunn), a psychedelic jam band with the Irish guitarist Cian Nugent (Desert Heat), a stint in Kurt Vile’s Violators and, most recently, a collaboration with the British guitarist Mike Cooper, a kindred spirit in his investigations of how he can stretch, splinter and transcend folk guitar playing.

Beginning with last year’s “Time Off”, however, Gunn has channelled at least part of his energies into becoming a more orthodox singer-songwriter, with one foot in the vicinity of the rock world. “Way Out Weather” is a beautifully-constructed set of songs, and one in which Gunn has worked out exactly how to fit his six-string explorations into more orderly environs. Take the opening title track, and how Gunn’s engagingly husky voice discreetly leaves space for the woozy, cycling guitar dynamic – a narrative of eco-fear played out with a sun-damaged languor. As Gunn embarks on a kind of ambulatory but unfussy solo, his time with Kurt Vile seems to have had a subtle impact on his playing (reports are circulating, incidentally, of a Vile/Gunn joint LP being in the works).

In contrast with its predecessor, “Way Out Weather” is full of inventive new tangents, so that “Atmosphere”, for instance, plants Gunn’s introverted work into a kind of hazy ambient setting. “Milly’s Garden”, meanwhile, is an elegant, muted boogie that calls to mind Little Feat, or even a surreally undemonstrative Stones. For a guitarist who made his name as a solo performer, it’s also a measure of how well Gunn’s music now fits into a band environment; fuller, more expansive, for sure, but still retaining the critical intimacy, the understated virtuosity that is at the heart of his work.

One of those players involved on “Way Out Weather”, and indeed in Gunn’s current live band, is Nathan Bowles, who’s long moved in a similar shadowy interzone to that of Gunn. Bowles’ CV includes being a core member of the rustic Piedmont ensemble, The Black Twig Pickers, and their more cosmic twin band, Pelt, as well as shifts with, again, Hiss Golden Messenger.

In Gunn’s band, Bowles mans the drumkit, but on many of these jobs he’s focused on playing banjo, and it’s this instrument that dominates his tremendous second solo album, Nansemond, also on Paradise Of Bachelors. If 2012’s A Bottle, A Buckeye played it relatively straight as banjo folk, Bowles’ second solo set is a rich realisation of his complete range. So Nansemond evokes Bowles’ swampy Virginia homeland with nuanced picking, waterlogged drones, rowdy vocals (a first) and an inspired duel with the electric guitar of Tom Carter, from Charalambides on “Chuckatuck”. Best of all, there’s “Sleepy Lake Tire Swing”, a culmination of Bowles’ downhome and transcendent adventures, that captures the same spirit as his mentor, Jack Rose.

Great records both, I think, and a sign that perhaps this music, played by many artists who lurked in the background during the curious acid-folk (or whatever you need to call it) upsurge of a few years back, is now having its moment. These are productive and endlessly busy musicians, but ones who’ve followed a discreet path of experimentation and arrived at more accessible music in their own gracious time. As the emails start arriving in my inbox, pushing hordes of wet-behind-the-ears performers straight into the limelight as putative stars of 2015, it’s a strategy that many bigger labels might do well to follow. Even in today’s fraught climate, a little long-termism might eventually pay dividends…

Follow me on Twitter: www.twitter.com/JohnRMulvey

Picture: Constance Mensh

Ozzy Osbourne to be honoured at MTV EMAs in Glasgow

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Ozzy Osbourne to be honoured at MTV EMAs in Glasgow

This year's ceremony will take place at the SSE Hydro in Glasgow on November 9... Ozzy Osbourne is set to be receive the Global Icon award at this year's MTV EMAs. The ceremony, which is now in its 20th year, will take place at the SSE Hydro in Glasgow on Sunday, November 9 and will be broadcast live from 9pm. Osbourne, who was recently forced to explain comments he made about the September 11 attacks on New York in 2001, will receive the Global Icon award in recognition of his work as both a member of Black Sabbath and a solo artist. "Ozzy's impact on music and pop culture has been tremendous," said Bruce Gillmer, executive vice president of talent and music programming and events for Viacom. "For over four decades (and counting!) he’s entertained, influenced, inspired and sometimes shocked legions of die-hard fans around the globe. We’re thrilled and honoured to announce that this year’s MTV Global Icon will be Ozzy Osbourne!" Earlier this month it was confirmed that Ed Sheeran and Ariana Grande will perform at the EMAs. Sheeran is a double nominee with nods in the Best British Male and Best UK & Ireland Act categories. Host Minaj has been nominated in four categories – Best Female, Best Hip-Hop, Best Fans and Best Look – at the awards show, while Katy Perry, Ariana Grande and Pharrell Williams lead the nominations across the categories.

This year’s ceremony will take place at the SSE Hydro in Glasgow on November 9…

Ozzy Osbourne is set to be receive the Global Icon award at this year’s MTV EMAs.

The ceremony, which is now in its 20th year, will take place at the SSE Hydro in Glasgow on Sunday, November 9 and will be broadcast live from 9pm.

Osbourne, who was recently forced to explain comments he made about the September 11 attacks on New York in 2001, will receive the Global Icon award in recognition of his work as both a member of Black Sabbath and a solo artist.

“Ozzy’s impact on music and pop culture has been tremendous,” said Bruce Gillmer, executive vice president of talent and music programming and events for Viacom. “For over four decades (and counting!) he’s entertained, influenced, inspired and sometimes shocked legions of die-hard fans around the globe. We’re thrilled and honoured to announce that this year’s MTV Global Icon will be Ozzy Osbourne!”

Earlier this month it was confirmed that Ed Sheeran and Ariana Grande will perform at the EMAs.

Sheeran is a double nominee with nods in the Best British Male and Best UK & Ireland Act categories. Host Minaj has been nominated in four categories – Best Female, Best Hip-Hop, Best Fans and Best Look – at the awards show, while Katy Perry, Ariana Grande and Pharrell Williams lead the nominations across the categories.

Noel Gallagher: “Morrissey is the funniest man I’ve ever met”

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Noel Gallagher: “Morrissey is the funniest man I’ve ever met”

And confirms new album Chasing Yesterday for March 2, 2015 release date... Noel Gallagher has said that Morrissey is the funniest man he's ever met. Speaking to Jo Whiley on BBC Radio 2 earlier this evening (October 13), Gallagher spoke about a night out in Los Angeles which he shared with Morrissey and Russell Brand. "He's the funniest man I've ever met in my entire life. Absolutely side splitting." He added: "He's not got a good word to say about anyone – he's very cutting. He bullied Russell!" Following the announcement of Noel Gallagher's new album, Chasing Yesterday, the frontman also revealed that he is yet to have a record deal. The album will be released on March 2, 2015 under the Noel Gallagher & The High Flying Birds name. However, speaking to Whiley, Gallagher commented: "I don't have a record deal – my management have to put it in a suitcase and hawk it around the world." Gallagher went on to discuss the current state of the music industry, saying: "I don't think the music business has a clue whats going on at the moment… I sat in a meeting recently, of how we're gonna release it ['Chasing Yesterday']... I got so frustrated… there's too much time devoted to how we're gonna release the record, just get it out and get on the road!" Discussing the record, Gallagher said he had only just decided on the title. "I dithered on the title for the album up until about two days ago when I had to submit it… I must have changed it 12 times!" He added that he now 'hates' his choice. "As soon as it went I thought 'I hate it!" A UK arena tour will take place next year, with dates in London, Manchester, Glasgow, Nottingham and Belfast. Scroll down for full details. Noel Gallagher will play: Belfast, Odyssey Arena (March 3, 2015) Dublin, 3 Arena (4) Nottingham, Capital FM Arena (6) Glasgow, The SSE Hydro (7) Manchester, Arena, (9) London, O2 Arena (10)

And confirms new album Chasing Yesterday for March 2, 2015 release date…

Noel Gallagher has said that Morrissey is the funniest man he’s ever met.

Speaking to Jo Whiley on BBC Radio 2 earlier this evening (October 13), Gallagher spoke about a night out in Los Angeles which he shared with Morrissey and Russell Brand. “He’s the funniest man I’ve ever met in my entire life. Absolutely side splitting.” He added: “He’s not got a good word to say about anyone – he’s very cutting. He bullied Russell!”

Following the announcement of Noel Gallagher’s new album, Chasing Yesterday, the frontman also revealed that he is yet to have a record deal. The album will be released on March 2, 2015 under the Noel Gallagher & The High Flying Birds name. However, speaking to Whiley, Gallagher commented: “I don’t have a record deal – my management have to put it in a suitcase and hawk it around the world.”

Gallagher went on to discuss the current state of the music industry, saying: “I don’t think the music business has a clue whats going on at the moment… I sat in a meeting recently, of how we’re gonna release it [‘Chasing Yesterday’]… I got so frustrated… there’s too much time devoted to how we’re gonna release the record, just get it out and get on the road!”

Discussing the record, Gallagher said he had only just decided on the title. “I dithered on the title for the album up until about two days ago when I had to submit it… I must have changed it 12 times!” He added that he now ‘hates’ his choice. “As soon as it went I thought ‘I hate it!”

A UK arena tour will take place next year, with dates in London, Manchester, Glasgow, Nottingham and Belfast. Scroll down for full details.

Noel Gallagher will play:

Belfast, Odyssey Arena (March 3, 2015)

Dublin, 3 Arena (4)

Nottingham, Capital FM Arena (6)

Glasgow, The SSE Hydro (7)

Manchester, Arena, (9)

London, O2 Arena (10)

Warp Records confirm the death of LFO’s Mark Bell

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Warp Records confirm the death of LFO’s Mark Bell

The producer and techno artist passed away last week from complications after an operation... Mark Bell of LFO has died. The news was confirmed by Warp Records, who wrote: "It's with great sadness that we announce the untimely passing of Mark Bell of LFO who died last week from complications after an operation. Mark's family & friends request privacy at this difficult time." LFO formed in the late 1980s in Yorkshire and were considered to be pioneers of electronic dance music and techno. The duo was made up of Bell and Gez Varley, until Varley left in the mid-1990s. LFO released three albums, 1991's Frequencies, 1996's Advance and 2003's Sheath. Bell worked closely with Bjork, co-producing a number of her albums, starting in 1997 with Homogenic. He also released music under the name Clark. Bjork paid tribute by sharing 1991's 'Love Is The Message' on her Facebook page - which you can listen to below - while Friendly Fires's Jack Savidge wrote: "RIP Mark Bell- an absolute don". http://www.youtube.com/watch?v=2247wlH38ks

The producer and techno artist passed away last week from complications after an operation…

Mark Bell of LFO has died.

The news was confirmed by Warp Records, who wrote: “It’s with great sadness that we announce the untimely passing of Mark Bell of LFO who died last week from complications after an operation. Mark’s family & friends request privacy at this difficult time.”

LFO formed in the late 1980s in Yorkshire and were considered to be pioneers of electronic dance music and techno. The duo was made up of Bell and Gez Varley, until Varley left in the mid-1990s. LFO released three albums, 1991’s Frequencies, 1996’s Advance and 2003’s Sheath.

Bell worked closely with Bjork, co-producing a number of her albums, starting in 1997 with Homogenic. He also released music under the name Clark.

Bjork paid tribute by sharing 1991’s ‘Love Is The Message’ on her Facebook page – which you can listen to below – while Friendly Fires’s Jack Savidge wrote: “RIP Mark Bell- an absolute don”.

Watch Neil Young perform with 92-piece orchestra in new video for “Who’s Gonna Stand Up”

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Watch Neil Young perform with 92-piece orchestra in new video for “Who’s Gonna Stand Up”

Taken from new album, Storytone... Neil Young performs new song "Who's Gonna Stand Up" backed by a 92-piece orchestra in the song's official video. Scroll down to watch the clip at the bottom of this story. "Who's Gonna Stand Up" will feature on Young's new solo album, Storytone. The LP, his second of the year following A Letter Home, was recorded in the vintage vinyl booth at Jack White's Third Man Records store in Nashville and will come out on November 3. The release will be a double album with a second disc seeing Young performing the same songs but backed by a 92-piece orchestra. The video shows a behind the scenes look at the recording of these songs. "Who's Gonna Stand Up?" was first released to coincide with the People's Climate Marches around the world. Meanwhile, Neil Young recently said that he will never tour as part of Crosby, Stills, Nash & Young again. David Crosby subsequently replied to his to former bandmate and said "I hear Neil said 'there will never be any more CSNY shows' that's like saying there are mountains in Tibet we know Neil ….we already knew." He later replied to a fan's question as to why there will not be any more CSNY shows with, "He is very angry with me…" http://www.youtube.com/watch?v=NkiRR3T_3NY

Taken from new album, Storytone…

Neil Young performs new song “Who’s Gonna Stand Up” backed by a 92-piece orchestra in the song’s official video. Scroll down to watch the clip at the bottom of this story.

“Who’s Gonna Stand Up” will feature on Young’s new solo album, Storytone. The LP, his second of the year following A Letter Home, was recorded in the vintage vinyl booth at Jack White’s Third Man Records store in Nashville and will come out on November 3.

The release will be a double album with a second disc seeing Young performing the same songs but backed by a 92-piece orchestra. The video shows a behind the scenes look at the recording of these songs. “Who’s Gonna Stand Up?” was first released to coincide with the People’s Climate Marches around the world.

Meanwhile, Neil Young recently said that he will never tour as part of Crosby, Stills, Nash & Young again. David Crosby subsequently replied to his to former bandmate and said “I hear Neil said ‘there will never be any more CSNY shows’ that’s like saying there are mountains in Tibet we know Neil ….we already knew.”

He later replied to a fan’s question as to why there will not be any more CSNY shows with, “He is very angry with me…”

Goat – Commune

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Goat – Commune

Afro-noise jams, via Germany, the Sahara and Sweden. Masked festival favourites continue their worldwide masquerade... Psychedelic, revolutionary music has often gone hand-in-hand with communal living. Take what seem like Goat’s two main poles of influence: from Nigeria, Fela Kuti and his Kalakuta Republic, out of which the Afrika 70 collective would regularly pump their 15-minute Afrobeat monoliths railing against government corruption and army brutality; and from West Germany, the Amon Düül commune, a group of radicals who indulged in far-out experimentation – politically, pharmaceutically and musically. Churning out boundary-breaking jams from a cult-like compound isn’t a recipe for success in our era of cultural commodification, though. Still, Goat, reputed commune-dwellers from a village in northern Sweden that they claim has never relinquished its centuries-old pagan beliefs, have done a surprisingly good job of crossing over. After releasing their debut album, World Music, in 2012, the group now draw large crowds at major festivals, are signed to Sub Pop in the US, and headline London’s 1,700-capacity Roundhouse later this year. That they sport fantastic and outlandish tribal masks and robes straight from some mythical Nubian bazaar, and have managed to retain a haze of mystery – we still don’t know the names of most of their members, or how many they number, a rarity in this age of hyper-connectivity – can only have increased their notoriety. But really, none of this would matter if Goat’s music wasn’t so eminently appealing. The formula here on Commune, their second full-length, is similar to their debut, where they skilfully took the spiralling, sinuous jams of Kuti or Düül, and recast them in a more accessible mould. Each of the nine songs is highly listenable, streamlined (the longest track is just under seven minutes), and loaded with classic-rock vibes (wah-wah pedals take a real kicking throughout) and simple, chanted hooks from their two vocalists. At times, the masks slip to reveal not much underneath – while their forebears sang of revolution, liberation and very real political issues, Goat are content to spoon the listener beige, quasi-mystical pronouncements. “There is only one true meaning with life, and that is to be a positive force in the constant creation of evolution,” goes “To Travel The Path Unknown”’s prologue. You can hardly imagine soldiers murderously storming the Swedes’ compound as they did Fela’s, after hearing these lyrics. These missteps serve to make Goat seem like a post-modern, cartoon version of a ritualistic jam band, trawling shallow waters instead of unknown depths. And yet, forgetting the masks and the mystical gubbins, the songs are such thrilling journeys that it barely matters. As the listener sinks into the grooves, more diverse influences appear – Saharan guitar curlicues are still present throughout, but there’s a taste of Peruvian folk music on “The Light Within”, while a new purchase, a Turkish electric saz, is fed through a wah-wah on the excellent “Hide From The Sun”, perhaps the most compellingly ‘Eastern’ Goat have yet sounded. And in more of a departure, the pulsing, jagged “Words” channels Silver Apples by way of Portishead’s Apples-aping “We Carry On”. The album peaks near the end of its relatively short, 38-minute run with the heat-freckled drone-rock of “Bondye”, and “Gathering Of Ancient Tribes”, which comes on like Tinariwen armed with Marshall stacks and Big Muffs. It’s an onslaught that suggests if Goat plan to wander further in the future, they could successfully explore the realms of stoner-metal. The album ends, Möbius strip-like, with the same Tibetan singing bowl chimes that open it. Because we now know the nature of the beast, Commune is less immediately striking than World Music. But if Goat seem unlikely to lead you to liberation or spiritual transcendence, their compact jams, the vivid ingredients cherry-picked from disparate corners of the globe, are still as groovy and downright joyous as they ever were – devotional music for the feet. And they’ll sound just as mighty on those festival stages. Tom Pinnock Q&A “Funkmaster Goat” Could you tell us a little more about your hometown, Korpilombolo? It was founded in the 16th Century by Samish travellers. Later they were joined by travellers from Western Africa and together they created a spiritual commune based around openness towards the different cultures and people of the world. Through travelling and collectivism we have always managed to preserve and develop this commune and its beliefs. What is living in a commune really like? We all live in various collectives or communes. Society is nothing but a big collective. Your job, your family, your friends are others. So you tell me. What is important is that you recognise this and try to take a positive role in your collectives. How do you think Commune differs from World Music? Both albums were mainly created in our own studio, but this time we could use the studio better. So we have experimented more with sounds. We have also brought in a wider range of influences and instruments – some new flutes, a saz and a lot more percussion instruments. INTERVIEW: TOM PINNOCK

Afro-noise jams, via Germany, the Sahara and Sweden. Masked festival favourites continue their worldwide masquerade…

Psychedelic, revolutionary music has often gone hand-in-hand with communal living. Take what seem like Goat’s two main poles of influence: from Nigeria, Fela Kuti and his Kalakuta Republic, out of which the Afrika 70 collective would regularly pump their 15-minute Afrobeat monoliths railing against government corruption and army brutality; and from West Germany, the Amon Düül commune, a group of radicals who indulged in far-out experimentation – politically, pharmaceutically and musically.

Churning out boundary-breaking jams from a cult-like compound isn’t a recipe for success in our era of cultural commodification, though. Still, Goat, reputed commune-dwellers from a village in northern Sweden that they claim has never relinquished its centuries-old pagan beliefs, have done a surprisingly good job of crossing over. After releasing their debut album, World Music, in 2012, the group now draw large crowds at major festivals, are signed to Sub Pop in the US, and headline London’s 1,700-capacity Roundhouse later this year.

That they sport fantastic and outlandish tribal masks and robes straight from some mythical Nubian bazaar, and have managed to retain a haze of mystery – we still don’t know the names of most of their members, or how many they number, a rarity in this age of hyper-connectivity – can only have increased their notoriety. But really, none of this would matter if Goat’s music wasn’t so eminently appealing.

The formula here on Commune, their second full-length, is similar to their debut, where they skilfully took the spiralling, sinuous jams of Kuti or Düül, and recast them in a more accessible mould. Each of the nine songs is highly listenable, streamlined (the longest track is just under seven minutes), and loaded with classic-rock vibes (wah-wah pedals take a real kicking throughout) and simple, chanted hooks from their two vocalists.

At times, the masks slip to reveal not much underneath – while their forebears sang of revolution, liberation and very real political issues, Goat are content to spoon the listener beige, quasi-mystical pronouncements. “There is only one true meaning with life, and that is to be a positive force in the constant creation of evolution,” goes “To Travel The Path Unknown”’s prologue. You can hardly imagine soldiers murderously storming the Swedes’ compound as they did Fela’s, after hearing these lyrics. These missteps serve to make Goat seem like a post-modern, cartoon version of a ritualistic jam band, trawling shallow waters instead of unknown depths.

And yet, forgetting the masks and the mystical gubbins, the songs are such thrilling journeys that it barely matters. As the listener sinks into the grooves, more diverse influences appear – Saharan guitar curlicues are still present throughout, but there’s a taste of Peruvian folk music on “The Light Within”, while a new purchase, a Turkish electric saz, is fed through a wah-wah on the excellent “Hide From The Sun”, perhaps the most compellingly ‘Eastern’ Goat have yet sounded. And in more of a departure, the pulsing, jagged “Words” channels Silver Apples by way of Portishead’s Apples-aping “We Carry On”.

The album peaks near the end of its relatively short, 38-minute run with the heat-freckled drone-rock of “Bondye”, and “Gathering Of Ancient Tribes”, which comes on like Tinariwen armed with Marshall stacks and Big Muffs. It’s an onslaught that suggests if Goat plan to wander further in the future, they could successfully explore the realms of stoner-metal. The album ends, Möbius strip-like, with the same Tibetan singing bowl chimes that open it.

Because we now know the nature of the beast, Commune is less immediately striking than World Music. But if Goat seem unlikely to lead you to liberation or spiritual transcendence, their compact jams, the vivid ingredients cherry-picked from disparate corners of the globe, are still as groovy and downright joyous as they ever were – devotional music for the feet. And they’ll sound just as mighty on those festival stages.

Tom Pinnock

Q&A

“Funkmaster Goat”

Could you tell us a little more about your hometown, Korpilombolo?

It was founded in the 16th Century by Samish travellers. Later they were joined by travellers from Western Africa and together they created a spiritual commune based around openness towards the different cultures and people of the world. Through travelling and collectivism we have always managed to preserve and develop this commune and its beliefs.

What is living in a commune really like?

We all live in various collectives or communes. Society is nothing but a big collective. Your job, your family, your friends are others. So you tell me. What is important is that you recognise this and try to take a positive role in your collectives.

How do you think Commune differs from World Music?

Both albums were mainly created in our own studio, but this time we could use the studio better. So we have experimented more with sounds. We have also brought in a wider range of influences and instruments – some new flutes, a saz and a lot more percussion instruments.

INTERVIEW: TOM PINNOCK

Hear David Bowie’s new track, “Sue (Or In A Season Of Crime)”

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Hear David Bowie’s new track, “Sue (Or In A Season Of Crime)”

Song received its first play on BBC Radio 6... David Bowie has premiered new song "Sue (Or In A Season Of Crime)" on BBC Radio 6 show Guy Garvey’s Finest Hour. Bowie had previously announced that Garvey would play the track – which features on forthcoming compilation Nothing Has Changed – during his Sunday afternoon slot. Listen to a radio rip of the song below, as discovered by Consequence of Sound. "Sue (Or In A Season Of Crime)" is due to be released on 10-inch vinyl and digital download on November 17. Bowie recorded the song during the summer in New York with producer Tony Visconti and the Maria Schneider Orchestra. Following the song's debut, lyrics were posted via the singer's Facebook page. Nothing Has Changed is also due to be released on November 17. The tracklist for the 3CD edition of Nothing Has Changed is as follows: CD 1: 'Sue (Or In A Season Of Crime)' 'Where Are We Now?' 'Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA Edit)' 'The Stars (Are Out Tonight)' 'New Killer Star (Radio Edit)' 'Everyone Says ‘Hi’ (Edit)' 'Slow Burn (Radio Edit)' 'Let Me Sleep Beside You' 'Your Turn To Drive' 'Shadow Man' 'Seven (Marius De Vries Mix)' 'Survive (Marius De Vries Mix)' 'Thursday’s Child (Radio Edit)' 'I'm Afraid Of Americans (V1) (Clean Edit)' 'Little Wonder (Edit)' 'Hallo Spaceboy (PSB Remix)’ (with Pet Shop Boys) 'The Heart’s Filthy Lesson (Radio Edit)' 'Strangers When We Meet (Single Version)' CD 2: 'Buddha Of Suburbia' 'Jump They Say (Radio Edit)' 'Time Will Crawl (MM Remix)' 'Absolute Beginners (Single Version)’ 'Dancing In The Street' (with Mick Jagger) 'Loving The Alien (Single Remix)' 'This Is Not America' (with Pat Metheny Group) 'Blue Jean' 'Modern Love (Single Version)' 'China Girl (Single Version)' 'Let's Dance (Single Version)' 'Fashion (Single Version)' 'Scary Monsters (And Super Creeps) (Single Version)' 'Ashes To Ashes (Single Version)' 'Under Pressure’ (with Queen) 'Boys Keep Swinging' '“Heroes” (Single Version)’ 'Sound And Vision' 'Golden Years (Single Version)' 'Wild Is The Wind (2010 Harry Maslin Mix)' CD 3: 'Fame' 'Young Americans (2007 Tony Visconti Mix Single Edit)' 'Diamond Dogs' 'Rebel Rebel' 'Sorrow' 'Drive-In Saturday' 'All The Young Dudes' 'The Jean Genie (Original Single Mix)' 'Moonage Daydream' 'Ziggy Stardust' 'Starman (Original Single Mix)' 'Life On Mars? (2003 Ken Scott Mix)' 'Oh! You Pretty Things' 'Changes' 'The Man Who Sold The World' 'Space Oddity' 'In The Heat Of The Morning' 'Silly Boy Blue' 'Can’t Help Thinking About Me' 'You’ve Got A Habit Of Leaving' 'Liza Jane'

Song received its first play on BBC Radio 6…

David Bowie has premiered new song “Sue (Or In A Season Of Crime)” on BBC Radio 6 show Guy Garvey’s Finest Hour.

Bowie had previously announced that Garvey would play the track – which features on forthcoming compilation Nothing Has Changed – during his Sunday afternoon slot. Listen to a radio rip of the song below, as discovered by Consequence of Sound.

“Sue (Or In A Season Of Crime)” is due to be released on 10-inch vinyl and digital download on November 17. Bowie recorded the song during the summer in New York with producer Tony Visconti and the Maria Schneider Orchestra. Following the song’s debut, lyrics were posted via the singer’s Facebook page.

Nothing Has Changed is also due to be released on November 17. The tracklist for the 3CD edition of Nothing Has Changed is as follows:

CD 1:

‘Sue (Or In A Season Of Crime)’

‘Where Are We Now?’

‘Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA Edit)’

‘The Stars (Are Out Tonight)’

‘New Killer Star (Radio Edit)’

‘Everyone Says ‘Hi’ (Edit)’

‘Slow Burn (Radio Edit)’

‘Let Me Sleep Beside You’

‘Your Turn To Drive’

‘Shadow Man’

‘Seven (Marius De Vries Mix)’

‘Survive (Marius De Vries Mix)’

‘Thursday’s Child (Radio Edit)’

‘I’m Afraid Of Americans (V1) (Clean Edit)’

‘Little Wonder (Edit)’

‘Hallo Spaceboy (PSB Remix)’ (with Pet Shop Boys)

‘The Heart’s Filthy Lesson (Radio Edit)’

‘Strangers When We Meet (Single Version)’

CD 2:

‘Buddha Of Suburbia’

‘Jump They Say (Radio Edit)’

‘Time Will Crawl (MM Remix)’

‘Absolute Beginners (Single Version)’

‘Dancing In The Street’ (with Mick Jagger)

‘Loving The Alien (Single Remix)’

‘This Is Not America’ (with Pat Metheny Group)

‘Blue Jean’

‘Modern Love (Single Version)’

‘China Girl (Single Version)’

‘Let’s Dance (Single Version)’

‘Fashion (Single Version)’

‘Scary Monsters (And Super Creeps) (Single Version)’

‘Ashes To Ashes (Single Version)’

‘Under Pressure’ (with Queen)

‘Boys Keep Swinging’

‘“Heroes” (Single Version)’

‘Sound And Vision’

‘Golden Years (Single Version)’

‘Wild Is The Wind (2010 Harry Maslin Mix)’

CD 3:

‘Fame’

‘Young Americans (2007 Tony Visconti Mix Single Edit)’

‘Diamond Dogs’

‘Rebel Rebel’

‘Sorrow’

‘Drive-In Saturday’

‘All The Young Dudes’

‘The Jean Genie (Original Single Mix)’

‘Moonage Daydream’

‘Ziggy Stardust’

‘Starman (Original Single Mix)’

‘Life On Mars? (2003 Ken Scott Mix)’

‘Oh! You Pretty Things’

‘Changes’

‘The Man Who Sold The World’

‘Space Oddity’

‘In The Heat Of The Morning’

‘Silly Boy Blue’

‘Can’t Help Thinking About Me’

‘You’ve Got A Habit Of Leaving’

‘Liza Jane’

U2 on controversial tax arrangements: “Was it totally fair? Probably not”

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U2 on controversial tax arrangements: “Was it totally fair? Probably not”

Band have previously been accused of tax evasion... U2 have discussed their controversial tax arrangements with the band asserting they have acted with full transparency. In 2006, the company that handles U2's publishing royalties was moved from their home country, Ireland, to the Netherlands in a switch many believed was made so the group could receive tax breaks. The decision has attracted much criticism, including a demonstration at their 2011 Glastonbury set that saw scuffles break out between protestors and security guards. In a new interview with The Observer, the band have spoken about the controversy, with The Edge admitting the decision might not have been "totally fair". "Was it totally fair? Probably not," said the guitarist. "The perception is a gross distortion. We do pay a lot of tax. But if I was [the Glastonbury protestors] I probably would have done the same, so it goes with the territory.” Bono affirmed that the band's financial dealings have been forthright: "All of our stuff is out in the open. How did people find out about it? Because it’s published. The sneakiness is when you don’t even know what’s going on." In 2011, The Edge defended the band after comments made by US federal worker Simon Moroney. In a letter published by The Baltimore Sun, Moroney said the band "exemplifies the worst characteristics of Wall Street, both for excess and tax evasion". Writing to the newspaper in response, The Edge said that suggesting U2 are involved in tax evasion is "possibly libellous". "For the record, U2 and the individual band members have a totally clean record with every jurisdiction to which they are required to pay tax and have never been and will never be involved in tax evasion," wrote The Edge. In their interview with The Observer, the band also spoke about new album Songs Of Innocence. The LP was released last month to coincide with the launch of the new iPhone 6 and iWatch in California. It was immediately made available on iTunes and free digital copies were delivered to all users. "I absolutely had my doubts about it before we did it, and after, but it was the right thing to do," said The Edge. "It was an opportunity that will only ever come around once for anybody. I don’t think anyone would want to do it again."

Band have previously been accused of tax evasion…

U2 have discussed their controversial tax arrangements with the band asserting they have acted with full transparency.

In 2006, the company that handles U2’s publishing royalties was moved from their home country, Ireland, to the Netherlands in a switch many believed was made so the group could receive tax breaks. The decision has attracted much criticism, including a demonstration at their 2011 Glastonbury set that saw scuffles break out between protestors and security guards.

In a new interview with The Observer, the band have spoken about the controversy, with The Edge admitting the decision might not have been “totally fair”.

“Was it totally fair? Probably not,” said the guitarist. “The perception is a gross distortion. We do pay a lot of tax. But if I was [the Glastonbury protestors] I probably would have done the same, so it goes with the territory.”

Bono affirmed that the band’s financial dealings have been forthright: “All of our stuff is out in the open. How did people find out about it? Because it’s published. The sneakiness is when you don’t even know what’s going on.”

In 2011, The Edge defended the band after comments made by US federal worker Simon Moroney. In a letter published by The Baltimore Sun, Moroney said the band “exemplifies the worst characteristics of Wall Street, both for excess and tax evasion”.

Writing to the newspaper in response, The Edge said that suggesting U2 are involved in tax evasion is “possibly libellous”.

“For the record, U2 and the individual band members have a totally clean record with every jurisdiction to which they are required to pay tax and have never been and will never be involved in tax evasion,” wrote The Edge.

In their interview with The Observer, the band also spoke about new album Songs Of Innocence. The LP was released last month to coincide with the launch of the new iPhone 6 and iWatch in California. It was immediately made available on iTunes and free digital copies were delivered to all users.

“I absolutely had my doubts about it before we did it, and after, but it was the right thing to do,” said The Edge. “It was an opportunity that will only ever come around once for anybody. I don’t think anyone would want to do it again.”

Watch Led Zeppelin preview ‘Houses Of The Holy’ boxset in new video

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Watch Led Zeppelin preview ‘Houses Of The Holy’ boxset in new video

Reissue is due for release October 28... Led Zeppelin have released an 'unboxing video' for the upcoming Super Deluxe Edition of their 1973 album Houses Of The Holy. Click below to watch. New reissues of Led Zeppelin IV and Houses Of The Holy are due to be released on October 28 and will include the original albums remastered by guitarist Jimmy Page, as well as previously unheard audio from the band's archives. The new trailer, as reported by RTÉ, features a clip of a previously unreleased mix of "The Rain Song" and previews the boxset's contents. A similar video for Led Zeppelin IV was released on September 25. The Super Deluxe editions will feature CD and vinyl versions of each album, as well as a download card and a special 80-page hardbound book. Both will also be available to purchase as a single album or vinyl LP, a deluxe double LP, or as a digital download. Comparable reissues of the band's first three studio albums were released in June. http://www.youtube.com/watch?v=I7ySe_22xk0

Reissue is due for release October 28…

Led Zeppelin have released an ‘unboxing video’ for the upcoming Super Deluxe Edition of their 1973 album Houses Of The Holy. Click below to watch.

New reissues of Led Zeppelin IV and Houses Of The Holy are due to be released on October 28 and will include the original albums remastered by guitarist Jimmy Page, as well as previously unheard audio from the band’s archives.

The new trailer, as reported by RTÉ, features a clip of a previously unreleased mix of “The Rain Song” and previews the boxset’s contents. A similar video for Led Zeppelin IV was released on September 25.

The Super Deluxe editions will feature CD and vinyl versions of each album, as well as a download card and a special 80-page hardbound book. Both will also be available to purchase as a single album or vinyl LP, a deluxe double LP, or as a digital download. Comparable reissues of the band’s first three studio albums were released in June.

David Crosby on Neil Young: “He is very angry with me”

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David Crosby on Neil Young: “He is very angry with me”

Young had told fans he will never again tour as part of Crosby, Stills, Nash and Young... David Crosby has taken to Twitter to respond to Neil Young's assertion that he will never again tour as part of Crosby, Stills, Nash and Young. Young spoke about the future of the group at a solo gig at Philadelphia's Academy of Music last week (October 8). "CSNY will never tour again, ever … but I love those guys," said Young in response to a fan's question. The last time Young played with Crosby, Stephen Stills and Graham Nash was in 2013. Posting in response to Young's comments, Crosby, as Rolling Stone, posted a Tweet saying, "I hear Neil said 'there will never be any more CSNY shows' that's like saying there are mountains in Tibet we know Neil ….we already knew." He later replied to a fan's question as to why there will not be any more CSNY shows with, "He is very angry with me…" Young recently details of his new solo album, Storytone. It is due for release on November 3.

Young had told fans he will never again tour as part of Crosby, Stills, Nash and Young…

David Crosby has taken to Twitter to respond to Neil Young‘s assertion that he will never again tour as part of Crosby, Stills, Nash and Young.

Young spoke about the future of the group at a solo gig at Philadelphia’s Academy of Music last week (October 8).

“CSNY will never tour again, ever … but I love those guys,” said Young in response to a fan’s question. The last time Young played with Crosby, Stephen Stills and Graham Nash was in 2013.

Posting in response to Young’s comments, Crosby, as Rolling Stone, posted a Tweet saying, “I hear Neil said ‘there will never be any more CSNY shows’ that’s like saying there are mountains in Tibet we know Neil ….we already knew.” He later replied to a fan’s question as to why there will not be any more CSNY shows with, “He is very angry with me…”

Young recently details of his new solo album, Storytone. It is due for release on November 3.

An Audience With… John Lydon

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An Audience With… John Lydon
John Lydon has just published his second autobiography, Anger Is An Energy, and Public Image Ltd are set to perform at London’s O2 Indigo on December 13 – here, in this piece from Uncut’s December 2007 issue (Take 127), the former Sex Pistol answers questions from fans and famous admirers, inc...

John Lydon has just published his second autobiography, Anger Is An Energy, and Public Image Ltd are set to perform at London’s O2 Indigo on December 13 – here, in this piece from Uncut’s December 2007 issue (Take 127), the former Sex Pistol answers questions from fans and famous admirers, including Thurston Moore, Jarvis Cocker and Julian Clary, on topics such as his record collection, Sid Vicious’ skin worries, his waistline and the song he wrote for Kate Bush… Words: John Lewis

________________

John Lydon is sitting on the sofa in his Hollywood home, cradling the phone between chin and shoulder as he watches extended highlights of the week’s Champions’ League games on ESPN2. He’s sitting patiently as Chelsea beat Valencia 2-1, waiting to watch Robin Van Persie snatch a win for his beloved Arsenal at Steaua Bucharest.

“Absolutely spiffing!” says Lydon who, this month, heads back out on the road with the Sex Pistols. In fact, so happy is he by this turn of events that he’s almost shockingly cheery for the duration of our 90-minute call. A few random names find themselves on the end of a Johnny Rotten roasting (including the “spiteful and bitchy” Vivienne Westwood, a few old PiL bandmates and, of course, his bête noir, Malcolm McLaren), but otherwise Lydon is the very milkman of human kindness, dishing out loving tributes to Kate Bush, Peter Andre, Ginger Baker and Pink Floyd throughout a wide-ranging conversation.

“I’m full of love today,” says the man voted the 87th Greatest Briton of all time. “In fact, I’m always open and friendly to everyone. It’s only when they try and fuck me over I let ’em have it. So, what have your readers got to say, then?”

________________

Do you know what happened to Keith Levene? It’s rare for someone to fall off the radar like that. Are you still in contact with him?
Jarvis Cocker
Ah, Jarvis, what’s that saucy sausage got to say for himself? I’ve got no idea what happened to dear old Keith. What a waste of talent. He used to be a great guitarist. But he made the mistake of over-grandiosing his own position in PiL, and then he complicated his life with various substances. And he ended up doing fuck all. Which is a shame, because there’d be no U2 without Keith’s guitar style.

Is there any truth in the rumour that Chris Spedding played all the instruments on Never Mind The Bollocks?
Steve McDermott, Dublin
That’s so unfair to Chris Spedding, isn’t it? I mean, how can you blame all that talentlessness on someone else? Ha ha! As it happens, Chris Spedding did us the world’s best favour when we were starting out. We were facing an almost weekly barrage in the music papers: “Oh they can’t play, they can’t do this, they can’t do that.” He took us to the studio and simply let us play. And he was enormously encouraging to us. So gawd bless him.

Hello mate. Do you still follow the Arsenal these days?
Charlie George
Ah Charlie, Charlie, Charlie George, King Of Highbury! He’s from Holloway, just round the corner from where I grew up. You don’t follow the Arsenal, it’s a life experience, mate. I’m long-term Arsenal. Always will be. We used all of last year to practise in the Premiership, and we still came fourth. Not bad, huh? I think [Arsène] Wenger’s got the right idea, get ’em when they’re young and then raise them as a team. They’re wonderful to watch. I think it’s great that Henry’s moved on and I’m really pleased that he’s doing well at Barcelona [er, not really – Ed], but he was lopsiding us as a team. You can’t be bigger than the team. ’Fraid not. Same with music…

Is it true you wrote a song for Kate Bush?
Justin Lewis, Newark
Oh yes. Years ago, I sent her a song I’d written. I don’t think she understood it. It was called “Bird In Hand”. It was about the illegal exportation of parrots from South America. No, don’t laugh! It’s a serious subject. It’s cruel. But I think she thought it was a reference to her, which it certainly wasn’t! But she’s a wonderful, wonderful woman, stunningly innovative and creative. One of our finest.

Did you ever imagine that the clothes you were wearing in the Sex Pistols – specifically Vivienne Westwood – would become so significant that they would ultimately be exhibited in museums as iconic symbols of 20th-century fashion and culture? And how do you feel when you see that look watered down and adopted by the mainstream who have no concept of punk?
Róisín Murphy
If we get the money for it, that’s fine. But imitation is not the sincerest form of flattery. And unfortunately the fashion industry absolutely thrives off our reputation, our imagery and our work. And what they’re trying to do is steal our wings without earning them. Thievery is the order of the day there. And as for Vivienne – she’s spiteful, opinionated, bitchy, self-indulgent… And that’s the nicest thing I can say about her.

What are your memories of [Magazine, Banshees and PiL guitarist] John McGeoch?
Tom Lawrence
Oh, he shall be missed. But he went weird towards the end, for the last few years. He created so much turmoil in his life that his death was almost like a relief. He wouldn’t stop drinking, and when you’ve got a dodgy liver, it’s not a wise move. So, self-inflicted, but easily understood, because the pressures of this industry are enormous. Very few of us have the staying power. I’m only here out of sheer spite!

Lydon is an absolute hero of mine – when are we going to record something together?
Thurston Moore
Ah, Sonic Youth, what a great band, I love ’em. Remind me a lot of PiL, the spontaneity, the fact that they seem to rehearse on stage, take chances, never play the same way twice. I dunno Thurston, there was a time, maybe a few years back, when I might have been up for it. Maybe I will be soon. It’s got to be the right time, right song, right attitude, right vibe, and it’s the planning that goes on in this industry that kills off all those things. All my collaborations have been incredibly spontaneous – the work with Afrika Bambaataa and Leftfield were just right for the moment.

Is it true that both you and Malcolm McLaren both had trials for Arsenal when you were teenagers?
Bazza
Well I certainly did. I was 14, a scout came to our school and got me to try out. I got to wear the shirt, but I wasn’t good enough. But Malcolm? Ha ha! Someone showed me an interview [Uncut, Take 112] where he claimed he had trials. I found that hilarious. The man is robbing my bleeding life story because he doesn’t have one of his own! Can you imagine Little Lord Fauntleroy Malcolm in football shorts? I suppose he’d need lace cuffs and Elizabethan tights…

What’s the best Sex Pistols film?
Pete, Herne Hill
The Filth And The Fury, period, the end. The Great Rock’N’Roll Swindle is Malcolm’s pamphlet to thievery. Sid & Nancy was a ridiculous cartoon. I think that it led to the nonsense we had with Courtney Love years later, where heroin became something sacred. It’s not, love. I lost Sid, my best and dearest friend, to heroin, and it’s not nice. You’ve got to get away from drugs as escapism. There’s nothing you need to run away from yourself as a human being. Quite the opposite. Learn to love thyself and all will be fine.

I love your sense of humour – the grumpy old auntie demeanour never fails to raise a smile. Ever thought of stand-up?
Nige Cain, Manchester
Is that what it is? Ha ha! I’ve always thought that everything I do has a dose of comedy in it. All the way through my life. The Sex Pistols, we never really thought of ourselves as some dead serious load of old nonsense, it was always more to do with humanity and humour. There was no vicious undertone in us, no nasty edge. And certainly none of the deadpan, dreary political opinions like The Clash wallowed in. We lived in the real world. We actually did come from council flats. We knew the consequences of socialism.

Have you ever thought about retiring?
Julian Clary
Ah, dear old Julian. Listen, I’d give it all up in a flying fart second if I wanted to. But I’m only doing this because I love it. I’m now 51, and I feel quite happy about that. And if you don’t, then fuck off, ’cos this is my life, mate, not yours. As for the old Pete Townsend lyric, “I hope I die before I get old” – well, no! No! Every time I meet Pete I tell him the same thing: “Aren’t you sorry you said that?”

Any chance of a Public Image Limited reunion?
James McConnon
Which variety? There have been so many! There’s only two people I truly respect out of the PiL era – one is [Jah] Wobble, the other one is Lu Edmonds. Those two are diamonds. The others, well… PiL is a very difficult operation to run. It requires vast amounts of money. It’s what’s kept me bankrupt most of my life. But the music was always excellent. It’s my favourite time of life, because there were no limits on creativity. We experimented with every single aspect of music. And we wrote great, great pop singles.

What do you think Sid Vicious would’ve said about you going on I’m A Celebrity?
David Murphy, Bow, London
He’d have loved it! In fact he’d have come with me. And he’d have had the hammock. I loved Celebrity. Loved it. The bugs, the ostriches, even Peter Andre! Lovely, happy fellow, pity he’s gotta spend his life with Jordan, ha ha! Yes, I did storm out, but for a distinct reason, which was never reported. My wife was flying in to Australia a few days after I started, and I’d asked the producers to tell me if she’d landed safely. And they didn’t. Now, me and my wife were booked to go on the Lockerbie flight in 1988 – we missed it because she didn’t pack in time – so I think it’s reasonable to want to know that she hasn’t been blown into outer space by some religious fanatic. And I was outraged that they wouldn’t. So I threatened to leave and they called my bluff, and I was out.

What would I find in your record collection?
Sid Drib, Maidstone, Kent
Lots of dust. It’s pretty huge. I’m getting a bit short-sighted now, so I just file everything according to colour, and pick up random CDs. You’ll find everything there – jungle, Chris Isaak, Abba, Miles Davis, Sun Ra, the lot. Oh, and Mozart. Always Mozart. That crept into me from the soundtrack to that wonderful film, Barry Lyndon. Some elements of country music annoy me, so you won’t find much of that. Same with New Orleans trad jazz, those silly banjos and soprano saxes really bug me. It sounds like a French traffic jam. Otherwise, anything goes.

How does it feel to you, performing songs that you wrote over 30 years ago?
Ryan Borkala, Leeds
I’m very, very proud that I can stand by every word I said 30 years ago as well as I can today. I got it right, and that’s a difficult thing to say in this industry. And I fought off a lot of conceit and arrogance and grandiose opinions to get that right. We faced some serious traumas with our songs. For people to turn round 30 years on and say, “Well, it don’t seem so threatening now.” You try it then, mate! Any freedoms you have now, we fought for them for you. So don’t turn around and sneer at us!

In 1981, when PiL were on their fifth drummer in 18 months, the NME ran an April Fool news story about Ginger Baker joining the band. Was that why you hired him five years later?
Chris Cowan
Ha ha! Actually, I’m not keen on these spoof stories. I hear at least two about me every year. They might start out as some drunk arse having a wheeze, but it ends up being disruptive, like all gossip. The worst thing is that people often believe them! Anyway, Ginger Baker was an absolutely smashing bloke, as was everyone on Album. Steve Vai, Ravi Shankar, Ryuichi Sakamoto – we came together as friends. There was more talk than there was actual play, which was very important. And the late, great Tony Williams [legendary Miles Davis drummer] – what a fantastic, wonderful human being. It’s a shame that his music still isn’t really appreciated. People don’t know how to listen to humanity.

Are you really mates with Dave Gilmour?
Steve McDermott, Dublin
Great bloke. They asked me last year to sing something off Dark Side Of The Moon with them for a gig in LA. And I would have done it, too, except I was off doing a documentary on bugs for the Discovery Channel. The whole “I Hate Pink Floyd Thing” was hilarious. Anyone who took that seriously needs a new head. As it happens, I love early Pink Floyd with Syd Barrett – the original Sid Vicious, by the way – and even some of the ’70s stuff. I just hated the assumption that they were holier than God and you couldn’t give them a knock. What was even more hilarious is that my brother went to Tollington Park school, and the art teacher there was Roger Waters’ wife! So it’s a small world. Unless she was lying, of course… them fake hippies!

When you see old footage of the Pistols, what do you think now, apart from the rather slimmer waistlines?
Andy Ruff, Horsham
The waistlines don’t worry me. It’s the pimples. To be a pop star at an early age is a terrible thing, because all you’re really worried about is acne. Poor Sid was so worried about his pimples. That boy would go into such deep, deep traumas about it. But always with the greatest possible humour, bless him.

Is there an unreleased studio version, without vocals, of the Pistols’ “Belsen Was A Gas” out there?
Carlos “Cake” Nunez, California
Oh, for Christ’s sake, why would people care? We released what we released and that’s it. I don’t think there’s bugger-all left in the can. As it happens, the only reason we came back together this year was to re-record “Anarchy…” and “Pretty Vacant” for the Guitar Hero computer game – we’d agreed to do it but then found out that Virgin had lost the master tapes. Can you imagine that? They lost the masters for the album that made them famous! Hilarious.

Photo: Davis Factor ©Drrmgmt

Iggy Pop to play a serial killer in Dario Argento horror ‘The Sandman’

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Iggy Pop to play a serial killer in Dario Argento horror ‘The Sandman’
Iggy Pop has revealed he will play a serial killer in the next film from legendary Italian horror director Dario Argento. The filmmaker behind shockers like Suspiria and Tenebrae is aiming to raise $250,000 towards the cost of shooting the film through an IndieGogo crowdfunding campaign. In a vi...

Iggy Pop has revealed he will play a serial killer in the next film from legendary Italian horror director Dario Argento.

The filmmaker behind shockers like Suspiria and Tenebrae is aiming to raise $250,000 towards the cost of shooting the film through an IndieGogo crowdfunding campaign.

In a video posted on Youtube to raise awareness of their project Pop said: “To make a Christmas movie with the master, with Dario Argento… That would be a dream come true. The master of Italian horror… The man whose strange, beautiful and terrifying films have always fascinated and thrilled me.”

He added: “If I could play the Sandman for Dario, it would make my life complete. And I hope I haven’t just written my own epitaph.”

Argento has said the film was written for him as a tribute to his movies. It is not to be confused with a forthcoming adaptation of the Neil Gaiman graphic novel. “It begins on Christmas Day,” he said. “On this Christmas when a child witnesses his mother murdered by a serial killer.”

He added: “I am tired of these Christmas movies showing goodness, beauty, snowflakes, sleds pulled by reindeer… I’d rather have a Christmas movie where there is also strength, violence, horror.”

The film’s synopsis has revealed: “The Sandman tells the story of Nathan, a young student in the city who struggles to forget his childhood trauma at the hands of the serial killer dubbed ‘The Sandman’.

“Nathan killed The Sandman (Iggy Pop) years ago, on Christmas Eve, after he witnessed the murder of his mother… until he sees the beautiful woman who lives in the apartment across the way dying at the hands of that same masked killer.

“This brutal murder plunges Nathan into an odyssey into the night country of his past, his dreams… and the buried secrets of The Sandman. Christmas is coming, and so is The Sandman.”

The soundtrack will feature an exclusive song by former Stone Temple Pilots and Velvet Revolver singer Scott Weiland, reports Rolling Stone. The other music in the film will be performed by Claudio Simonetti’s Goblin, the band that provided music for Argento’s Suspiria, Profondo Rosso and Phenomena.

Watch Iggy Pop and Dario Argento discuss their plans for the film in the video below.

Neil Young says there will be “no more Crosby, Stills, Nash & Young shows – ever”

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Neil Young says there will be “no more Crosby, Stills, Nash & Young shows – ever”
Neil Young has announced there will be "no more CSNY shows – ever". The singer-songwriter made the statement onstage at Philadelphia's Academy Of Music on Wednesday night (October 8), reportedly adding, "but I love those guys". Many have speculated that Young's decision stems from the recent c...

Neil Young has announced there will be “no more CSNY shows – ever”.

The singer-songwriter made the statement onstage at Philadelphia’s Academy Of Music on Wednesday night (October 8), reportedly adding, “but I love those guys”.

Many have speculated that Young’s decision stems from the recent comments that David Crosby made to the Idaho Statesman about Young’s new partner, Daryl Hannah.

“Thirty-seven years! That’s a freakin’ miracle,” Crosby said of Young’s marriage. “And I just don’t feel the urge to go try something new. And I happen to know that he’s hanging out with somebody that’s a purely poisonous predator now. And that’s karma. He’s gonna get hurt. But I understand why it happened. I’m just sad about it. I’m always sad when I see love get tossed in the gutter.”

Young’s new album Storytone is released on November 4.

John McLaughlin: “A lot of jazz today is pathetic – I want blood on the floor!”

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John McLaughlin: “A lot of jazz today is pathetic – I want blood on the floor!”
John McLaughlin discusses his long, exploratory career in the new issue of Uncut, dated November 2014 and out now. The pioneering jazz guitarist recalls his time playing with Miles Davis, Jack Bruce, Carlos Santana, Paco De Lucia and his own Mahavishnu Orchestra, as well as his jam with Jimi Hend...

John McLaughlin discusses his long, exploratory career in the new issue of Uncut, dated November 2014 and out now.

The pioneering jazz guitarist recalls his time playing with Miles Davis, Jack Bruce, Carlos Santana, Paco De Lucia and his own Mahavishnu Orchestra, as well as his jam with Jimi Hendrix at Electric Lady Studios.

“A lot of the music they call jazz [today], I wouldn’t give it the time of day,” McLaughlin tells Uncut.

“It’s as shallow as a teacup. Or a saucer! It’s pathetic, it’s really a shame. I want blood on the floor.”

The new issue of Uncut is out now.

An interview with Paul Weller: “When I was younger, I was much more set in my ways…”

Michael Bonner
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An interview with Paul Weller: “When I was younger, I was much more set in my ways…”
In the last issue of Uncut, I reviewed Paul Weller's Classic Album Selection Volume 1; the first five solo albums in one handy box, in other words. It occurred to me, it might be a nice idea to subsequently post the full transcript of my interview with Weller, which formed the basis of our July 2014...

In the last issue of Uncut, I reviewed Paul Weller’s Classic Album Selection Volume 1; the first five solo albums in one handy box, in other words. It occurred to me, it might be a nice idea to subsequently post the full transcript of my interview with Weller, which formed the basis of our July 2014 cover story. The interview mostly took place in Weller’s favoured Maida Vale cafe, but we ended up sitting in his Mini Cooper Clubman next to Regent’s Canal, where he gave me a taster of his forthcoming projects. Anyway, the interview was ostensibly to tie-in with a compilation, More Modern Classics. Which is where the conversation begins…

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Uncut, July 2014 issue
Uncut, July 2014 issue

Why this compilation now? Does it represent a particular chapter of your career?
I realised it had been 15 years since the last Modern Classics. Does it define a chapter? I’m not sure really, because it’s got the new song on it as well. I just thought there was so much material, I forgot how many songs there were. That’s a good enough reason, I suppose.

Do you find it easy to go back and select tracks for a compilation?
We just did it chronologically, so it wasn’t too difficult. It’s pretty much just all the A-sides. I don’t know if it’s all of them, because there’s been some one-off limited edition things as well. So it wasn’t too difficult.

The track listing is weighted towards the last three albums. Is there a reason for that?
Only because there’s more records in the last few years though, really. There’s been three albums in, what, five years or something like that? Which is probably more than I did in the whole ten years before that. There’s a lot of music, a lot of songs. It’s a good enough reason for me, anyway.

Do you think the earlier records featured here are undervalued?
Maybe, in press terms, I suppose. We got glowing reviews for the last three records, really, pretty much across the board. I can’t remember how the others were received.

But what did you think of them?
Well, there’s always good songs. There’s some albums I like better than others, but even the ones I don’t particularly care for, there’s always going to be a couple of good songs on there for me. But I did think probably from As Is Now up to Sonik Kicks there’s more of a richer stream of music. It just feels like its re-energised to me. But there was some good songs on Heliocentric. I have mixed feelings about records, because I also think about how I felt when I was making it. Heliocentric was like pulling teeth, a difficult record to make. I don’t know why. But there was always good bits on it. We had Robert Kirby arranging strings and orchestrations and stuff on it. It was great to work with him. Illumination? I can’t even remember it too well, really. But in the last few years, I’ve felt a lot more creative. There’s been a lot more music coming out of me. I suppose working with different people, different producers, different musicians, I think it’s a good place I’ve arrived at where I don’t really feel any constraints or shackles about what I should do with my music. I follow wherever it goes. I think with Heliocentric, it was almost like it was tacked onto the Nineties, so it was still following on from Heavy Soul and Stanley Road a little bit. I don’t really listen to the old records too much. I’ve had to, putting this compilation together, but I don’t generally go back and listen to them.

Why is that?
It’s just a general disappointment with a lot of it really. I always think it could be better. Not just the bass level and those fiddly little things, but just generally. It’s a good thing and a bad thing. It always leaves you slightly unsatisfied but is also the thing that drives you forward.

How important was Simon Dine in this part of your career?
My renaissance, you mean? [laughs] Yeah, it was good working with him. It was a different way of working. I always like working with people, definitely. I’m also not clever enough to do it all myself. But that isn’t just it. I like working with a band, I like working with people. I’m always open and receptive to other people’s ideas. I’ve got very set ideas about what we should be doing. But it’s not so tied in that I won’t listen to someone else’s ideas.

Do you have an example?
When I write a song, I can hear how I think it should be – how the drums could be or the instrumentation – but it’s not set in stone. Maybe it would have been at one time. But if it goes off and changes and becomes something else, then that’s fine as well.

The Smiths, Lou Reed and Kraftwerk nominated for induction into Rock And Roll Hall Of Fame in 2015

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The Smiths, Lou Reed and Kraftwerk nominated for induction into Rock And Roll Hall Of Fame in 2015
The Smiths, Lou Reed and Kraftwerk are among the nominees for induction into the Rock And Roll Hall Of Fame in 2015. Also nominated are Nine Inch Nails, Green Day, NWA, Joan Jett And The Blackhearts, Chic and Sting, alongsie The Paul Butterfield Blues Band, The Marvelettes, The Spinners, Stevie R...

The Smiths, Lou Reed and Kraftwerk are among the nominees for induction into the Rock And Roll Hall Of Fame in 2015.

Also nominated are Nine Inch Nails, Green Day, NWA, Joan Jett And The Blackhearts, Chic and Sting, alongsie The Paul Butterfield Blues Band, The Marvelettes, The Spinners, Stevie Ray Vaughan, War and Bill Withers.

2015 marks the first year that both Green Day and Nine Inch Nails are eligible for entry into the Hall Of Fame, as an artist has to have released an album a minimum of 25 years prior to their inclusion. The 1989 release of Nine Inch Nails’ debut album ‘Pretty Hate Machine’, and ‘1,000 Hours’, Green Day’s first EP, will make them eligible from next year.

Earlier this year, Gene Simmons of rockers Kiss spoke out about his frustration with rap and hip-hop artists being inducted into the Rock And Roll Hall Of Fame. The singer/bassist argued that the likes of Run-DMC have no place in the Hall Of Fame, believing that all they do is “sample and they talk. Not even sing”.

Meanwhile, Nirvana were inducted into the Hall of Fame this year (2014) and recruited Lorde, St Vincent and Kim Gordon to perform their songs live at the induction ceremony with them in the absence of late frontman, Kurt Cobain.

Kim Gordon to publish ‘Girl In A Band’ memoir in February

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Kim Gordon to publish ‘Girl In A Band’ memoir in February
Kim Gordon will publish her autobiography, Girl In A Band, in February 2015. The memoir will be published by HarperCollins imprint Dey Street Books and will "chronicle her choice to leave Los Angeles in the early '80s for the post-punk scene in New York City, where she formed Sonic Youth". "Ofte...

Kim Gordon will publish her autobiography, Girl In A Band, in February 2015.

The memoir will be published by HarperCollins imprint Dey Street Books and will “chronicle her choice to leave Los Angeles in the early ’80s for the post-punk scene in New York City, where she formed Sonic Youth”.

“Often described as aloof, Kim Gordon truly opens up in Girl In A Band,” a synopsis reads. “Telling the story of her childhood, her life in art, her move to New York City, her love affairs, her marriage, her relationship with her daughter, and her band, this is a rich and beautifully written memoir.

“An atmospheric look at the New York of the ’80s and ’90s that gave rise to Sonic Youth, as well as the alternative revolution in popular music that Sonic Youth helped usher in, paving the way for Nirvana, Hole, Smashing Pumpkins and many other acts. One of the most revered people in modern rock and roll, Kim Gordon is also a highly regarded fashion icon, visual artist, and the source of much fascination.”

The book will also take a look at “the examination of what partnership means – and what happens when it dissolves,” a reference Gordon’s 2011 split and from Thurston Moore, her husband and Sonic Youth frontman.

The memoir’s title refers to the lyric “What’s it like to be a girl in a band?/ I don’t quite understand” from 2009 Sonic Youth track “Sacred Trickster”.

Gordon was a member of the iconic group from their foundation in 1981 until 2011, when the band went on hiatus after her separation from Moore. She has since formed a new band, Body/Head, with Vampire Belt member Bill Nace. In April of this year she joined vocalists including St. Vincent, Lorde and Joan Jett in fronting Nirvana during the band’s reformation during their Rock And Roll Hall Of Fame induction.

Photo: Pieter M Van Hattem

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