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Paul Revere of The Raiders dies, aged 76

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Paul Revere of The Raiders dies, aged 76
Paul Revere of The Raiders has died, aged 76. The Guardian reports that the organ player's death was confirmed by his manager, Roger Hart. Revere died at home in Idaho on Saturday (October 4). Hart stated that his client was battling cancer at the time of his death. "He’d been quiet about it f...

Paul Revere of The Raiders has died, aged 76.

The Guardian reports that the organ player’s death was confirmed by his manager, Roger Hart. Revere died at home in Idaho on Saturday (October 4). Hart stated that his client was battling cancer at the time of his death.

“He’d been quiet about it for some time,” Hart said. “Treated at the Mayo Clinic, Paul stayed on the road as long as he could, then retired recently back to Idaho, where he and his wife, Sydney, always kept a home.”

Meanwhile, a long letter posted on the official Paul Revere website, remembers him from a fan’s point of view.

Earlier this year Revere remained upbeat about his battle with the illness, posting a message on Facebook. “Even though I’ve had some health issues, nothing can stop the old man. I’m like the Energizer Bunny!”

The Raiders formed in 1963 and are perhaps best known for their 1971 hit, ‘Indian Reservation’. They also had hits with the singles ‘Good Thing’, ‘Hungry’ and anti-drugs song ‘Kicks’. Revere remained a constant in the band despite a large number of line-up changes. He performed live as part of The Raiders as recently as this year.

David Bowie and The Who both covered ‘Louie Go Home’, The Raiders quasi-sequel to Richard Berry’s ‘Louie, Louie’.

Shovels & Rope – Swimmin’ Time

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Shovels & Rope – Swimmin’ Time

Confident confirmation that “O’ Be Joyful†was no fluke... Confronted with the bewildering heritage of country music, there’s always a temptation to pretend that there was a cut-off point, by which everything worth singing had been sung, beyond which little worth being influenced by was produced. The artwork of Swimmin’ Time places Shovels & Rope’s end times precisely. The lyric sheet is wrapped in sepia stills of flooded American cities and towns in Shovels & Rope’s native Carolinas, one captioned April 1963. The inner sleeve shows Shovels & Rope’s Michael Trent and Cary Ann Hearst adrift in a rowboat, again in black and white, looking like refugees from some mythical shipwreck, soon to be immortalised in a seventy-verse ballad by Henry Clay Work – as well as from any trappings of modernity. Another datestamp appears in the closing track, “Thresherâ€, a bleak, stately hymn to the US Navy submarine of the same name, which sank with all aboard in what was clearly the bad month of April 1963 (and was previously commemorated in song by Phil Ochs). Shovels & Rope, it seems safe to assume, recorded Swimmin’ Time utterly unconcerned by the prospect of suggestions that the album is something of a period piece. The only question, then, is whether or not Swimmin’ Time – the apostrophe, we may be sure, is intended as another harbinger of down-home authenticity – is a convincing and beguiling period piece. The answer is – a qualified – yes. Shovels & Rope largely manage that rare and difficult balancing feat of honouring the heritage to which they’ve subscribed without becoming piously curatorial. At its best, Swimmin’ Time is a warm, giddy, rumbustious hoot, whose relative disdain for the last half century or so sounds much more like correct aesthetic judgement than any fear of the present. It all gets very Old Testament as early as the opening track. “The Devil Is All Around†presents initially as a solemn hymn over a portentous organ drone – which, deliberately or otherwise, cannot but evoke the beginning of The Louvin Brothers’ 1958 gothic classic Satan Is Real. Shovels & Rope, however, swiftly shift up a couple of gears from the Louvins’ abject pleading into something strangely celebratory, an incongruous frolic bequeathing an image of subjection that might have fallen from the pen of “Surfer Rosaâ€-era Black Francis (“When the Devil is all around/And got you crawling on the ground/On your hands and your knees with an apple in your mouthâ€). This early statement that Shovels & Rope see little need to budge from the template established on last year’s splendid breakthrough album “O’ Be Joyfulâ€. Swimmin’ Time is largely comprised of similar stomping country gospel, from the insistent “Bridge On Fireâ€, which glories in that Gram/Emmylou trick of turning up the female harmony just a little louder than the male lead, to the bitterly hilarious devotional duet “Pinnedâ€, to the finger-snapping, singalong silliness of “Fish Assassinâ€, which recalls White Stripes at their more whimsical. The signature combination of upbeat music and somewhat gruesome lyrical themes works so well for Shovels & Rope that a few leaks spring when they commit themselves to a dive to the depths. The Louisiana funeral dirge of “Ohio†doesn’t quite come off – a shame, as the couplet “When I lined up to talk to God/I kinda didn’t like the looks of the firing squad†deserved better. The oblique murder ballad “Evil†has commendable ambitions of resembling Tom Waits backed by Sixteen Horsepower, but would have benefited from the counter-intuitive light touch that Shovels & Rope bring so deftly to bear on similarly themed material elsewhere. At their best, though, Shovels & Rope are a joy, a treasurable combination of DIY musical virtuosity and a rare gift for wry storytelling. When someone starts a song - and they do – with the lines “Mary Ann was a waitress at the circus/Dan was a writer for the Delaware Locale Observerâ€, you’d be a fool not to be interested in what happens next. ANDREW MUELLER Q&A SHOVELS & ROPE Give or take the horns on a few tracks, how important is it to you to keep the music down to what the two of you can play? “Neither of us are virtuosos at any of the instruments we play. When we record it’s more about the personality than technique. In the studio we give ourselves the freedom to include whatever sound we hear that suits the song even if we have to bring someone in to do something we can’t (like play brass). In a live setting we pretty much have to depend on what we can play to get the job done.†How difficult is to separate the creative relationship from the personal one? “It’s all we’ve known so it’s really not a big deal for us. We like each other and communicate well. Plenty of married folks run mom-and-pop businesses. Ours just happens to be a little more fun.†It’s hard to miss a certain aquatic motif recurring throughout “Swimmin’ Time†- was that deliberate? “It became clear that there were variations of the underlying theme as we assembled the song lists for possible record cuts. We just surrendered to the damn thing. ‘Oh, look dear! They are mostly all about water somehow! Well, that will do I suppose. How ‘bout we call it ‘Swimmin’ Time’?!†INTERVIEW: ANDREW MUELLER

Confident confirmation that “O’ Be Joyful†was no fluke…

Confronted with the bewildering heritage of country music, there’s always a temptation to pretend that there was a cut-off point, by which everything worth singing had been sung, beyond which little worth being influenced by was produced. The artwork of Swimmin’ Time places Shovels & Rope’s end times precisely. The lyric sheet is wrapped in sepia stills of flooded American cities and towns in Shovels & Rope’s native Carolinas, one captioned April 1963.

The inner sleeve shows Shovels & Rope’s Michael Trent and Cary Ann Hearst adrift in a rowboat, again in black and white, looking like refugees from some mythical shipwreck, soon to be immortalised in a seventy-verse ballad by Henry Clay Work – as well as from any trappings of modernity. Another datestamp appears in the closing track, “Thresherâ€, a bleak, stately hymn to the US Navy submarine of the same name, which sank with all aboard in what was clearly the bad month of April 1963 (and was previously commemorated in song by Phil Ochs).

Shovels & Rope, it seems safe to assume, recorded Swimmin’ Time utterly unconcerned by the prospect of suggestions that the album is something of a period piece. The only question, then, is whether or not Swimmin’ Time – the apostrophe, we may be sure, is intended as another harbinger of down-home authenticity – is a convincing and beguiling period piece. The answer is – a qualified – yes. Shovels & Rope largely manage that rare and difficult balancing feat of honouring the heritage to which they’ve subscribed without becoming piously curatorial. At its best, Swimmin’ Time is a warm, giddy, rumbustious hoot, whose relative disdain for the last half century or so sounds much more like correct aesthetic judgement than any fear of the present.

It all gets very Old Testament as early as the opening track. “The Devil Is All Around†presents initially as a solemn hymn over a portentous organ drone – which, deliberately or otherwise, cannot but evoke the beginning of The Louvin Brothers’ 1958 gothic classic Satan Is Real. Shovels & Rope, however, swiftly shift up a couple of gears from the Louvins’ abject pleading into something strangely celebratory, an incongruous frolic bequeathing an image of subjection that might have fallen from the pen of “Surfer Rosaâ€-era Black Francis (“When the Devil is all around/And got you crawling on the ground/On your hands and your knees with an apple in your mouthâ€).

This early statement that Shovels & Rope see little need to budge from the template established on last year’s splendid breakthrough album “O’ Be Joyfulâ€. Swimmin’ Time is largely comprised of similar stomping country gospel, from the insistent “Bridge On Fireâ€, which glories in that Gram/Emmylou trick of turning up the female harmony just a little louder than the male lead, to the bitterly hilarious devotional duet “Pinnedâ€, to the finger-snapping, singalong silliness of “Fish Assassinâ€, which recalls White Stripes at their more whimsical.

The signature combination of upbeat music and somewhat gruesome lyrical themes works so well for Shovels & Rope that a few leaks spring when they commit themselves to a dive to the depths. The Louisiana funeral dirge of “Ohio†doesn’t quite come off – a shame, as the couplet “When I lined up to talk to God/I kinda didn’t like the looks of the firing squad†deserved better. The oblique murder ballad “Evil†has commendable ambitions of resembling Tom Waits backed by Sixteen Horsepower, but would have benefited from the counter-intuitive light touch that Shovels & Rope bring so deftly to bear on similarly themed material elsewhere.

At their best, though, Shovels & Rope are a joy, a treasurable combination of DIY musical virtuosity and a rare gift for wry storytelling. When someone starts a song – and they do – with the lines “Mary Ann was a waitress at the circus/Dan was a writer for the Delaware Locale Observerâ€, you’d be a fool not to be interested in what happens next.

ANDREW MUELLER

Q&A

SHOVELS & ROPE

Give or take the horns on a few tracks, how important is it to you to keep the music down to what the two of you can play?

“Neither of us are virtuosos at any of the instruments we play. When we record it’s more about the personality than technique. In the studio we give ourselves the freedom to include whatever sound we hear that suits the song even if we have to bring someone in to do something we can’t (like play brass). In a live setting we pretty much have to depend on what we can play to get the job done.â€

How difficult is to separate the creative relationship from the personal one?

“It’s all we’ve known so it’s really not a big deal for us. We like each other and communicate well. Plenty of married folks run mom-and-pop businesses. Ours just happens to be a little more fun.â€

It’s hard to miss a certain aquatic motif recurring throughout “Swimmin’ Time†– was that deliberate?

“It became clear that there were variations of the underlying theme as we assembled the song lists for possible record cuts. We just surrendered to the damn thing. ‘Oh, look dear! They are mostly all about water somehow! Well, that will do I suppose. How ‘bout we call it ‘Swimmin’ Time’?!â€

INTERVIEW: ANDREW MUELLER

Ryan Adams – Ryan Adams

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Ryan Adams – Ryan Adams

Self-titled, self-produced, and pretty well self-realised... The three years that have elapsed between 2011’s Ashes & Fire and the arrival of this offering are an eternity by Ryan Adams’ extraordinary standards. Including his 2000 solo debut Heartbreaker, the former Whiskeytown singer released thirteen albums in the first decade-and-change of this century – and, incredibly, maintained a quality that almost matched the quantity, give or take the cobbled-together Demolition and the spitefully tossed-off Rock’n’Roll. When any artist returns from hiatus with a self-titled album, they are hustling the listener towards a subtext of “And this, at last, is me.†Ryan Adams radiates precisely this image of first principles being re-embraced. There is none of the (admittedly deftly executed) stylistic tourism of, say, his honky-tonk weeper Jacksonville City Nights, or his conceptual metal opus Orion. Ryan Adams is very much Ryan Adams being Ryan Adams. Which, lest we have forgotten, is a good thing. On song, Adams remains probably the most plausible heir to Bruce Springsteen and Tom Petty – who, possibly not coincidentally, are the two most obvious influences on Ryan Adams. “Gimme Something Good†is pure Petty – a snarling rocker embroidered with sparkling lead guitar and underpinned by Benmont Tench-ish organ. It’s an appropriate tone-setter – the album is largely comprised of similar breezy, mildly belligerent mid-tempo chuggers: “Feels Like Fireâ€, “Stay With Meâ€, “Troubleâ€. Poised as these are, Adams is always at his best when he permits and/or admits vulnerability. “Let Go†is an acoustic trill with a middle eight that reminds of Adams’ gift for finding the deadpan in the prettiest pop melody. “My Wrecking Ball†is simply one of the best things he’s ever recorded – a frail acoustic ballad in the manner of “Why Do They Leave?†or “How Do You Keep Aliveâ€, built on Springstonian automotive metaphor (“Nothing much left in the tank/Somehow this thing still drivesâ€) and shrouded in a “Tunnel Of Love†keyboard (another recurring motif). Adams is still not (quite) 40, and middle age is likely to suit a writer with his gifts for wry reflection: another prodigious golden era is not beyond him. ANDREW MUELLER

Self-titled, self-produced, and pretty well self-realised…

The three years that have elapsed between 2011’s Ashes & Fire and the arrival of this offering are an eternity by Ryan Adams’ extraordinary standards. Including his 2000 solo debut Heartbreaker, the former Whiskeytown singer released thirteen albums in the first decade-and-change of this century – and, incredibly, maintained a quality that almost matched the quantity, give or take the cobbled-together Demolition and the spitefully tossed-off Rock’n’Roll.

When any artist returns from hiatus with a self-titled album, they are hustling the listener towards a subtext of “And this, at last, is me.†Ryan Adams radiates precisely this image of first principles being re-embraced. There is none of the (admittedly deftly executed) stylistic tourism of, say, his honky-tonk weeper Jacksonville City Nights, or his conceptual metal opus Orion. Ryan Adams is very much Ryan Adams being Ryan Adams.

Which, lest we have forgotten, is a good thing. On song, Adams remains probably the most plausible heir to Bruce Springsteen and Tom Petty – who, possibly not coincidentally, are the two most obvious influences on Ryan Adams. “Gimme Something Good†is pure Petty – a snarling rocker embroidered with sparkling lead guitar and underpinned by Benmont Tench-ish organ. It’s an appropriate tone-setter – the album is largely comprised of similar breezy, mildly belligerent mid-tempo chuggers: “Feels Like Fireâ€, “Stay With Meâ€, “Troubleâ€.

Poised as these are, Adams is always at his best when he permits and/or admits vulnerability. “Let Go†is an acoustic trill with a middle eight that reminds of Adams’ gift for finding the deadpan in the prettiest pop melody. “My Wrecking Ball†is simply one of the best things he’s ever recorded – a frail acoustic ballad in the manner of “Why Do They Leave?†or “How Do You Keep Aliveâ€, built on Springstonian automotive metaphor (“Nothing much left in the tank/Somehow this thing still drivesâ€) and shrouded in a “Tunnel Of Love†keyboard (another recurring motif). Adams is still not (quite) 40, and middle age is likely to suit a writer with his gifts for wry reflection: another prodigious golden era is not beyond him.

ANDREW MUELLER

Mogwai announce new EP, ‘Music Industry 3 Fitness Industry 1’

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Mogwai announce new EP, ‘Music Industry 3 Fitness Industry 1’
Mogwai have announced the details of a new EP 'Music Industry 3 Fitness Industry 1', which will be released on December 1 through Rock Action. The EP will be comprised of three new tracks taken from the sessions for this year's 'Rave Tapes' LP alongside three remixes of tracks from the LP by Blan...

Mogwai have announced the details of a new EP ‘Music Industry 3 Fitness Industry 1’, which will be released on December 1 through Rock Action.

The EP will be comprised of three new tracks taken from the sessions for this year’s ‘Rave Tapes’ LP alongside three remixes of tracks from the LP by Blanck Mass, Nils Frahm and Pye Corner Audio.

The EP was recorded at the band’s Castle Of Doom studio in Glasgow with Paul Savage and will be available in digital, CD and limited edition 12-inch vinyl formats.

The tracklist for ‘Music Industry 3 Fitness Industry 1’ is as follows:

‘Teenage Exorcists’

‘History Day’

‘HMP Shaun William Ryder’

‘Re-Remurdered (Blanck Mass Remix)’

‘No Medicine For Regret (Pye Corner Audio Remix)’

‘The Lord Is Out Of Control (Nils Frahm Remix)’

Mogwai are also due to start a European tour this month, taking in five dates across the UK as well as a number of shows across the continent.

Mogwai will play:

Aberdeen Music Hall (October 21)

Rotherham Magna (23)

Liverpool Camp and Furnace (24)

Bristol Simple Things Festival (25)

Brighton Dome (26)

Peter Hook labels Bernard Sumner autobiography ‘cruel and spiteful’

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Peter Hook labels Bernard Sumner autobiography ‘cruel and spiteful’
Peter Hook has spoken out about former Joy Division and New Order band mate Bernard Sumner's recently released autobiography Chapter and Verse, labeling it "cruel and spiteful". Sumner recently described working with Hook as "unbearable in the end" and has also gone into lengthy detail about the ...

Peter Hook has spoken out about former Joy Division and New Order band mate Bernard Sumner’s recently released autobiography Chapter and Verse, labeling it “cruel and spiteful”.

Sumner recently described working with Hook as “unbearable in the end” and has also gone into lengthy detail about the pair’s relationship in the book.

Hook has now responded with a review of the book in which he calls Sumner a “very, very unreliable witness” and stating that, “book stores won’t know whether to file it under fantasy or tragedy.”

Writing for Billboard, the bass player states: “I found Bernard often very contradictory and his narration towards me is cruel and spiteful. We all have different memories and we all remember things differently. However Bernard only ever seems to remember the things that suit his purpose.”

Referring to an incident where Sumner reports that Hook called long-term collaborator Peter Saville “a parasite”, Hook also claimed that the event is entirely fictionalised. “When I read this I had no recollection so I phoned Peter. ‘Pete, I’m really sorry if I did this but I can’t remember,’ and he said ‘No, I don’t remember it either. It didn’t happen and I’ll tell you why I think that. If we had fallen out we would have had to make up and that I would definitely have remembered’,” he said. “From then on, for me, Bernard became a very, very unreliable witness.”

Hook also talked about the pair’s well-documented fight over the New Order “brand”: “To me, the problem with his recollections is that they are solely aimed at justifying the taking of the New Order brand name and goodwill in 2011 – an action I view as illegal and am still fighting. It’s like a vehicle to convince himself, the fans or even me that he was right to do so.”

Meanwhile, Sumner talks in detail about the book and his intentions for writing it in this month’s Uncut, which is available on newsstands and digitally now.

‘Chapter and Verse – New Order, Joy Division and Me’ was published last month.

Nick Cave adds second London date to 2015 UK tour

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Nick Cave adds second London date to 2015 UK tour
Nick Cave has added a second London date to his forthcoming UK tour. The Australian will now play London's Hammersmith Eventim Apollo on May 2 as well as the previously confirmed May 3 date at the Royal Albert Hall. The rest of the tour, which is billed as a solo performance but will also featur...

Nick Cave has added a second London date to his forthcoming UK tour.

The Australian will now play London’s Hammersmith Eventim Apollo on May 2 as well as the previously confirmed May 3 date at the Royal Albert Hall.

The rest of the tour, which is billed as a solo performance but will also feature a backing band comprised of long-term Bad Seeds collaborator Warren Ellis and fellow Bad Seeds members Martyn Casey, Thomas Wydler and Barry Adamson, will see Cave perform four other UK dates as well as a number of shows in the rest of Europe.

Cave has stated that the aim is to “try to create a unique show – something special and out of the ordinary”.

Nick Cave’s UK dates are as follows:

Glasgow Royal Concert Hall (April 26)

Edinburgh Playhouse (28)

Gateshead Sage (29)

Nottingham Royal Concert Hall (30)

London Hammersmith Eventim Apollo (May 2)

London Royal Albert Hall (May 3)

Tickets are available now, click here to buy.

Meanwhile, 20,000 Days On Earth, a film documenting a day in the life of the singer is now screening in cinemas across the country.

Photo: Sam Jones

Kate Bush concludes live shows, suggesting it will be “a while” before she plays again

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Kate Bush concludes live shows, suggesting it will be “a while” before she plays again
Kate Bush concluded her run of sold-out 'Before The Dawn' shows at Hammersmith Apollo last night (October 1), with speculation that it will be "a while" before she plays live again. The singer played a total of 22 shows at the venue between August 26 and October 1, combining elaborate theatrical ...

Kate Bush concluded her run of sold-out ‘Before The Dawn’ shows at Hammersmith Apollo last night (October 1), with speculation that it will be “a while” before she plays live again.

The singer played a total of 22 shows at the venue between August 26 and October 1, combining elaborate theatrical devices and stage sets with tracks from throughout her career and an intricate section entitled ‘The Ninth Wave’, detailing Bush’s song cycle about a woman stranded at sea.

As reported by BBC News, Bush addressed the audience at the end of the show, saying “We’re all really sad as it’s the last night. I’m going to miss everyone so much.”

Audience members have also reported that the singer then briefly nodded to speculation regarding the possibility of future live shows, saying “This is our last night… for a while anyway”.

Bush also thanked members of the cast, including performer Charlotte Williams, who played a wooden puppet who comes to life. Bush described Williams as “our secret weapon”, while her son Bertie McIntosh was labelled “wonderful”.

In the audience on the final night were a host of celebrities including Pink Floyd’s Dave Gilmour, singer Grace Jones, comedian Noel Fielding and TV host Graham Norton.

78,000 tickets were sold for the run of shows, with tickets selling out in 15 minutes. The shows were the singer’s first live dates for 35 years.

The National soundtrack latest trailer for Stephen Hawking biopic ‘The Theory of Everything’ – watch

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The National soundtrack latest trailer for Stephen Hawking biopic ‘The Theory of Everything’ – watch

The latest trailer for Stephen Hawking biopic The Theory of Everything is soundtracked by The National's 'Heavenfaced'. The film follows the life story of the renowned astrophysicist who is played by Eddie Redmayne (Les Miserables). Directed by Oscar-winning documentary filmmaker James Marsh (Man on Wire) the film is based on the memoir 'Travelling to Infinity: My Life with Stephen', by Jane Hawking. The film follows "the extraordinary story of one of the world’s greatest living minds" meeting the young genius when he falls deeply in love with fellow Cambridge student Jane Wilde played by Felicity Jones (The Amazing Spiderman 2). The film's synopis has revealed: "Little was expected from Stephen Hawking, a bright but shiftless student of cosmology, given just two years to live following the diagnosis of a fatal illness at 21 years of age. "He became galvanized, however, by the love of fellow Cambridge student, Jane Wilde, and he went on to be called the successor to Einstein, as well as a husband and father to their three children. "Over the course of their marriage as Stephen’s body collapsed and his academic renown soared, fault lines were exposed that tested the lineaments of their relationship and dramatically altered the course of both of their lives. With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of – time. Together, they defy impossible odds, breaking new ground in medicine and science, and achieving more than they could ever have dreamed." Hawking is the best selling author of 'A Brief History of Time' and has previously been played on screen by Benedict Cumberbatch in the 2004 BBC2 film Hawking. The Theory of Everything is in cinemas January 1. Watch the latest trailer below. http://www.youtube.com/watch?v=8RHU0X5CYpU

The latest trailer for Stephen Hawking biopic The Theory of Everything is soundtracked by The National‘s ‘Heavenfaced’. The film follows the life story of the renowned astrophysicist who is played by Eddie Redmayne (Les Miserables).

Directed by Oscar-winning documentary filmmaker James Marsh (Man on Wire) the film is based on the memoir ‘Travelling to Infinity: My Life with Stephen’, by Jane Hawking.

The film follows “the extraordinary story of one of the world’s greatest living minds” meeting the young genius when he falls deeply in love with fellow Cambridge student Jane Wilde played by Felicity Jones (The Amazing Spiderman 2).

The film’s synopis has revealed: “Little was expected from Stephen Hawking, a bright but shiftless student of cosmology, given just two years to live following the diagnosis of a fatal illness at 21 years of age.

“He became galvanized, however, by the love of fellow Cambridge student, Jane Wilde, and he went on to be called the successor to Einstein, as well as a husband and father to their three children.

“Over the course of their marriage as Stephen’s body collapsed and his academic renown soared, fault lines were exposed that tested the lineaments of their relationship and dramatically altered the course of both of their lives.

With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of – time. Together, they defy impossible odds, breaking new ground in medicine and science, and achieving more than they could ever have dreamed.”

Hawking is the best selling author of ‘A Brief History of Time’ and has previously been played on screen by Benedict Cumberbatch in the 2004 BBC2 film Hawking.

The Theory of Everything is in cinemas January 1. Watch the latest trailer below.

The Go-Betweens to release early work in newly remastered box set

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The Go-Betweens to release early work in newly remastered box set
The Go-Betweens are to release a lush new anthology that compiles their work from 1978 to 1984. Released by Domino Records, 'G Stands For Go-Betweens Volume One' will include both vinyl and CD editions of the band's first three studio albums 'Send Me A Lullaby', 'Before Hollywood' and 'Spring Hil...

The Go-Betweens are to release a lush new anthology that compiles their work from 1978 to 1984.

Released by Domino Records, ‘G Stands For Go-Betweens Volume One’ will include both vinyl and CD editions of the band’s first three studio albums ‘Send Me A Lullaby’, ‘Before Hollywood’ and ‘Spring Hill Fair’, all remastered from original analogue tapes. A new LP that compiles their early singles will also be included.

Additionally, the set – due for release on January 19, 2015 – will feature a 112-page book, four CDs of rarities, liner notes from founding member Robert Forster, plus various other collectibles.

The Go-Betweens were formed by Forster and co-frontman Grant McLennan while attending university in Brisbane during the 1970s. They released six records in the eighties, before splitting up in 1989. However, they went on to release three more LPs in the noughties before McLennan’s death in 2006.

Domino are currently offering a randomly selected book from McLennan’s personal libarary along with a specially-printed bookmark signed by Forster to the first 600 people who pre-order ‘G Stands For Go-Betweens Volume One’. Many of the books were also signed by McLennan.

The 37th Uncut Playlist Of 2014

John Mulvey
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The 37th Uncut Playlist Of 2014

A bit frustrating this week, since I can't really talk about a couple of the most significant musical arrivals here, due to record label embargoes and so forth. Sorry, as ever, about the teasing: I'll reveal more as soon as I can. In the meantime, I'm indebted to my wife for pointing me in the direction of the fantastic Hailu Mergia record on Awesome Tapes From Africa; fluent, intoxicating '70s Ethiopian funk. If you've dug any of the "Éthiopiques" comps, this is very much recommended; if not, and the concept of '70s Ethiopian funk seems a bit obtuse, have a listen to the track below and see what you think. Another Cool Ghouls track to check out this week, and further love for the D.D Dumbo EP, which reminds me of Jeff Buckley, Grizzly Bear, desert blues and the wonderful EP by Highlife, aka Sleepy Doug Shaw, that should've had a lot more fuss made about it a few years ago. Dave Shuford's new Rhyton album is great, too, deeper into that underexploited psych/Greek folk jamspace. As you were… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Thom Yorke - Tomorrow's Modern Boxes (Bittorrent!) Read my review of " Tomorrow's Modern Boxes" here… 2 Steve Reich - Radio Rewrite (Nonesuch) 3 D.D Dumbo - Tropical Oceans (4AD) http://www.youtube.com/watch?v=VgtO9mCAIHo 4 Highlife - Best Bless (Social Registry) 5 Bryan Ferry - Avonmore (BMG) http://www.youtube.com/watch?v=TiicVWYh_v4 6 Rhyton - Kykeon (Thrill Jockey) 7 The Who - Be Lucky (Universal) 8 Olivia Jean - Bathtub Love Killings (Third Man) 9 [REDACTED] 10 Various Artists - New Orleans Soul: The Original Sound of New Orleans Soul 1960-76 (Soul Jazz) 11 Cool Ghouls - A Swirling Fire Burning Through The Rye (Empty Cellar) 12 Robert Lester Folsom -Music And Dreams (Anthology) 13 [REDACTED] 14 Tobias Jesso Jr - Bad Words (True Panther Sounds) 15 Various Artists - I'm Just Like You: Sly's Stone Flower 1969-70 (Light In The Attic) http://www.youtube.com/watch?v=JrAc04Nh6M4 16 Nathan Bowles - Nansemond (Paradise Of Bachelors) 17 Loscil - Sea Island (Kranky) 18 Frazey Ford - Indian Ocean (Nettwerk) 19 Prince Rupert's Drops - Climbing Light (Beyond Beyond Is Beyond) 20 Hailu Mergia & The Walias - Tche Belew (Awesome Tapes From Africa) 21 The Supreme Jubilees - It'll All Be Over (Light In The Attiic)

A bit frustrating this week, since I can’t really talk about a couple of the most significant musical arrivals here, due to record label embargoes and so forth. Sorry, as ever, about the teasing: I’ll reveal more as soon as I can.

In the meantime, I’m indebted to my wife for pointing me in the direction of the fantastic Hailu Mergia record on Awesome Tapes From Africa; fluent, intoxicating ’70s Ethiopian funk. If you’ve dug any of the “Éthiopiques” comps, this is very much recommended; if not, and the concept of ’70s Ethiopian funk seems a bit obtuse, have a listen to the track below and see what you think.

Another Cool Ghouls track to check out this week, and further love for the D.D Dumbo EP, which reminds me of Jeff Buckley, Grizzly Bear, desert blues and the wonderful EP by Highlife, aka Sleepy Doug Shaw, that should’ve had a lot more fuss made about it a few years ago. Dave Shuford’s new Rhyton album is great, too, deeper into that underexploited psych/Greek folk jamspace. As you were…

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1 Thom Yorke – Tomorrow’s Modern Boxes (Bittorrent!)

Read my review of ” Tomorrow’s Modern Boxes” here…

2 Steve Reich – Radio Rewrite (Nonesuch)

3 D.D Dumbo – Tropical Oceans (4AD)

4 Highlife – Best Bless (Social Registry)

5 Bryan Ferry – Avonmore (BMG)

6 Rhyton – Kykeon (Thrill Jockey)

7 The Who – Be Lucky (Universal)

8 Olivia Jean – Bathtub Love Killings (Third Man)

9 [REDACTED]

10 Various Artists – New Orleans Soul: The Original Sound of New Orleans Soul 1960-76 (Soul Jazz)

11 Cool Ghouls – A Swirling Fire Burning Through The Rye (Empty Cellar)

12 Robert Lester Folsom -Music And Dreams (Anthology)

13 [REDACTED]

14 Tobias Jesso Jr – Bad Words (True Panther Sounds)

15 Various Artists – I’m Just Like You: Sly’s Stone Flower 1969-70 (Light In The Attic)

16 Nathan Bowles – Nansemond (Paradise Of Bachelors)

17 Loscil – Sea Island (Kranky)

18 Frazey Ford – Indian Ocean (Nettwerk)

19 Prince Rupert’s Drops – Climbing Light (Beyond Beyond Is Beyond)

20 Hailu Mergia & The Walias – Tche Belew (Awesome Tapes From Africa)

21 The Supreme Jubilees – It’ll All Be Over (Light In The Attiic)

Joe Strummer “was a bit bonkers… but even early on he had this charismaâ€

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Joe Strummer “was a bit bonkers… but even early on he had this charismaâ€
Joe Strummer's bandmates in pre-Clash pub rockers The 101'ers remember the singer and guitarist in the new issue of Uncut, dated November 2014 and out now. Strummer, then known as Woody, played with the group from the mid-'70s until being persuaded by manager Bernie Rhodes to front The Clash. â€...

Joe Strummer‘s bandmates in pre-Clash pub rockers The 101’ers remember the singer and guitarist in the new issue of Uncut, dated November 2014 and out now.

Strummer, then known as Woody, played with the group from the mid-’70s until being persuaded by manager Bernie Rhodes to front The Clash.

“Woody was a bit bonkers, a bit off his head,†says 101’er Clive Timperley. “But he was funny and even then he had this charisma, if you like. He’d come into a room, sit down and there’d be people gathered around him. People wanted to talk to him. He was an interesting guy.

“[Early on] he didn’t know how to play guitar but he had so much energy, it was amazing just watching him. Later, he became a relentless rhythm player… the more blood on the guitar, the better the gig had usually been.â€

The new issue of Uncut is out now.

Some thoughts on David Fincher’s Gone Girl

Michael Bonner
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Some thoughts on David Fincher’s Gone Girl

At the conclusion of Se7en, his second film as director, David Fincher memorably gave us Gwyneth Paltrow’s severed head in a box. In many respects, he has been producing heads from boxes ever since. Fincher’s best films are dominated by queasy third-act revelations, bracing plot twists or convulsive violence. Like Hitchcock, Polanski and De Palma in his prime, Fincher is interested in the anxieties of people who have had the rug pulled out from underneath them – whether that be Homicide Detective Mills in Se7en, investment banker Nicholas Van Orton in The Game, the unnamed protagonist of Fight Club, Panic Room’s besieged single mother Meg Altman or obsessed newspaper cartoonist Robert Graysmith in Zodiac. Each of them has disappeared down the rabbit hole in a Fincher film and endured the director’s various puzzles, traps and tricks. Critically, though, Fincher is very good at drawing us into the lives of unlikable protagonists. You might cheer at the humiliations foisted upon the toxic Van Orton, but you find yourself rooting for him in the end. Equally, what is it that eventually endears us to Tyler Durden and his terrorist outrages in Fight Club, or the egotistical, sullen Mark Zuckerberg in The Social Network? As it transpires, Fincher does sympathy for the devil particularly well. That is very much in evidence in his latest film, Gone Girl – his tenth film as director, and his sixth literary adaptation. As with Fight Club and The Girl With The Dragon Tattoo, the material is pulpy and sensational.. Ostensibly, it is a thriller, about a husband – Nick Dunne, played by Ben Affleck – who discovers on the day of his fifth wedding anniversary that his wife, Amy (Rosamund Pike), has vanished; possibly kidnapped. As things progress, we discover their marriage is not as perfect as it may at first have seemed. After Amy’s disappearance from her home, the police discover small traces of blood; doubt falls on Nick and as with Cary Grant is Suspicion, it becomes apparent that Nick’s foursquare charm may conceal a darker aspect to his character. Indeed, there is a lot of work done here to present Affleck in his now-familiar guise as a likeable everyman, only to watch that unravel: is there any greater cinematic past-time than watching Affleck getting debagged? The first hour effectively runs two narratives in tandem. Initially, it’s a police procedural as the local police investigate Amy’s disappearance; a Greek chorus of tabloid television presenters offer their own theories. Meanwhile, Fincher uses flashbacks and voiceover from Amy’s diary to document the trajectory of her and Nick’s relationship. What emerges here is instructive. We discover Nick was a successful writer living in New York while “Amazing Amy†was the inspiration for a series of best-selling children’s novels; they marry, but move back to Nick’s hometown in Missouri to look after his dying mother; the recession hits; they endure a series of unfortunate setbacks until their marriage has become entirely toxic. By the time they reach their fifth wedding anniversary, neither of them is the person they hoped to be, and their disappointment in themselves and their partner manifests itself in surprisingly unpredictable ways. Nick becomes unfaithful; he is prone to violence. In the first instance, then, Fincher invites us to root for Amy and regard Nick as the bad guy; but, of course, how much of this itself is just Fincher playing yet more games with his audience? The second hour, however, finds the story developing in an unexpectedly volatile direction, as Fincher delights in pulling the rug not only from underneath his characters – but the audience as well. Both Nick and Amy are unreliable narrators, and both are highly adept at deception. As events progress, the plot takes on a feverish quality – Gillian Flynn’s source novel and screenplay are essentially soap opera on a grand scale – but as his adaptation of The Girl With The Dragon Tattoo proved, Fincher is skilled at elevating this kind of yarn and, more importantly, he keeps a firm hand on the plot as it segues from one outlandish moment to the next. If Affleck is the focus of the first half, Pike takes centre stage for the second. It is a surprising performance; demanding a lot of the actress, as she is required to shift from “Amazing Amy†to the increasingly angry and disappointed woman stuck in Missouri; and how she manages those frustrations. Elsewhere, there is good work from Carrie Coon as Affleck’s twin sister Margo, Neil Patrick Harris as Amy’s former boyfriend and Kim Dickens and Patrick Fugit as the two police officers assigned to investigate Amy’s disappearance. Fincher regulars Trent Reznor and Atticus Ross provide a suitably unnerving, though discreet, electronic score. But as Gone Girl reveals its secrets, it becomes open to different interpretations. Is it a film about marriage? Or how people become hemmed in by circumstance and the wrong choices? Or perhaps it’s a study of violent revenge, or trial-by-television culture? Admittedly, it’s not Fincher’s best – and I wish he’d step away from the airport thrillers now – but if nothing else, Gone Girl is at least a superior diversion. And, critically, at least there are no surprise Nazis in this one.

At the conclusion of Se7en, his second film as director, David Fincher memorably gave us Gwyneth Paltrow’s severed head in a box. In many respects, he has been producing heads from boxes ever since.

Fincher’s best films are dominated by queasy third-act revelations, bracing plot twists or convulsive violence. Like Hitchcock, Polanski and De Palma in his prime, Fincher is interested in the anxieties of people who have had the rug pulled out from underneath them – whether that be Homicide Detective Mills in Se7en, investment banker Nicholas Van Orton in The Game, the unnamed protagonist of Fight Club, Panic Room’s besieged single mother Meg Altman or obsessed newspaper cartoonist Robert Graysmith in Zodiac. Each of them has disappeared down the rabbit hole in a Fincher film and endured the director’s various puzzles, traps and tricks.

Critically, though, Fincher is very good at drawing us into the lives of unlikable protagonists. You might cheer at the humiliations foisted upon the toxic Van Orton, but you find yourself rooting for him in the end. Equally, what is it that eventually endears us to Tyler Durden and his terrorist outrages in Fight Club, or the egotistical, sullen Mark Zuckerberg in The Social Network? As it transpires, Fincher does sympathy for the devil particularly well. That is very much in evidence in his latest film, Gone Girl – his tenth film as director, and his sixth literary adaptation.

As with Fight Club and The Girl With The Dragon Tattoo, the material is pulpy and sensational.. Ostensibly, it is a thriller, about a husband – Nick Dunne, played by Ben Affleck – who discovers on the day of his fifth wedding anniversary that his wife, Amy (Rosamund Pike), has vanished; possibly kidnapped. As things progress, we discover their marriage is not as perfect as it may at first have seemed. After Amy’s disappearance from her home, the police discover small traces of blood; doubt falls on Nick and as with Cary Grant is Suspicion, it becomes apparent that Nick’s foursquare charm may conceal a darker aspect to his character. Indeed, there is a lot of work done here to present Affleck in his now-familiar guise as a likeable everyman, only to watch that unravel: is there any greater cinematic past-time than watching Affleck getting debagged? The first hour effectively runs two narratives in tandem. Initially, it’s a police procedural as the local police investigate Amy’s disappearance; a Greek chorus of tabloid television presenters offer their own theories.

Meanwhile, Fincher uses flashbacks and voiceover from Amy’s diary to document the trajectory of her and Nick’s relationship. What emerges here is instructive. We discover Nick was a successful writer living in New York while “Amazing Amy†was the inspiration for a series of best-selling children’s novels; they marry, but move back to Nick’s hometown in Missouri to look after his dying mother; the recession hits; they endure a series of unfortunate setbacks until their marriage has become entirely toxic. By the time they reach their fifth wedding anniversary, neither of them is the person they hoped to be, and their disappointment in themselves and their partner manifests itself in surprisingly unpredictable ways. Nick becomes unfaithful; he is prone to violence. In the first instance, then, Fincher invites us to root for Amy and regard Nick as the bad guy; but, of course, how much of this itself is just Fincher playing yet more games with his audience?

The second hour, however, finds the story developing in an unexpectedly volatile direction, as Fincher delights in pulling the rug not only from underneath his characters – but the audience as well. Both Nick and Amy are unreliable narrators, and both are highly adept at deception. As events progress, the plot takes on a feverish quality – Gillian Flynn’s source novel and screenplay are essentially soap opera on a grand scale – but as his adaptation of The Girl With The Dragon Tattoo proved, Fincher is skilled at elevating this kind of yarn and, more importantly, he keeps a firm hand on the plot as it segues from one outlandish moment to the next.

If Affleck is the focus of the first half, Pike takes centre stage for the second. It is a surprising performance; demanding a lot of the actress, as she is required to shift from “Amazing Amy†to the increasingly angry and disappointed woman stuck in Missouri; and how she manages those frustrations. Elsewhere, there is good work from Carrie Coon as Affleck’s twin sister Margo, Neil Patrick Harris as Amy’s former boyfriend and Kim Dickens and Patrick Fugit as the two police officers assigned to investigate Amy’s disappearance. Fincher regulars Trent Reznor and Atticus Ross provide a suitably unnerving, though discreet, electronic score.

But as Gone Girl reveals its secrets, it becomes open to different interpretations. Is it a film about marriage? Or how people become hemmed in by circumstance and the wrong choices? Or perhaps it’s a study of violent revenge, or trial-by-television culture? Admittedly, it’s not Fincher’s best – and I wish he’d step away from the airport thrillers now – but if nothing else, Gone Girl is at least a superior diversion. And, critically, at least there are no surprise Nazis in this one.

Belle And Sebastian – Album By Album

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Belle And Sebastian – Album By Album
Following Belle & Sebastian’s recent announcement that their ninth album, ‘Girls In Peacetime Want To Dance’, is due for release on January 20, 2015 through Matador Records, here’s a piece from the Uncut archives (January 2011, Take 164) in which singer-songwriter Stuart Murdoch, keyboar...

Following Belle & Sebastian’s recent announcement that their ninth album, ‘Girls In Peacetime Want To Dance’, is due for release on January 20, 2015 through Matador Records, here’s a piece from the Uncut archives (January 2011, Take 164) in which singer-songwriter Stuart Murdoch, keyboardist Chris Geddes and former B&S singer Isobel Campbell explain how each of their records came to be. “We were like Fleetwood Mac without the drugs,†recalls Campbell…
Words: Garry Mulholland

_________________

TIGERMILK
(Electric Honey, 1996)
Recorded and mixed at Glasgow’s CaVa Studios in just five days, the 10 songs were written in a fever of inspiration following Murdoch’s recovery from Chronic Fatigue Syndrome, a debilitating illness that had wiped out most of his twenties. The band were recruited over cups of tea at the local Grosvenor Café.

Isobel Campbell: I remember everything about working on Tigermilk because I loved it so much. It was like the first flushes of romance. I thought that bands were something that my boyfriends did. We were like a little club and nobody else gave a shit.

Chris Geddes: Everyone in the band was blown away by Stuart’s songs. He’d worked with other people who told him his songs had too many chords or didn’t have choruses. So he was almost scraping the barrel by the time he found us.

Stuart Murdoch: We gelled very quickly on The Left Banke, The Zombies and, probably mostly, Arthur Lee and Love. Those three are key because that’s where we found our shared influences. The engineer Gregor Reid was a really good, steady guiding force and I was a naïve youth. If the songs were about unhappy boys and crazy girls, that was because I was an unhappy boy who would have done anything to be with a crazy girl. I’d got my act together a bit by the time we made the record. But in the period that the songs were percolating, I’d really plumbed the depths. I had plenty of things to get out of my system.

_________________

IF YOU’RE FEELING SINISTER
(Jeepster, 1996)
Despite an initial pressing of just 1000 copies, Tigermilk was hailed as the antidote to Britpop laddism and Belle And Sebastian signed to London indie label Jeepster. Before their debut was completed Murdoch had already written the follow-up – a quietly ferocious set of poetic tales about bookish boys and bohemian girls at odds with the modern world. But the stormy relationship between Campbell and Murdoch was beginning to imitate art…

Geddes: It’s an album about feeling out of step with the world and authority figures, and looking for answers. It’s about uncertainty. It’s probably the strongest set of songs that Stuart – or Stuart and any combination of other bandmembers – ever came up with. But straight after making it we didn’t feel we’d done as good a job as we had with Tigermilk.

Murdoch: The reason it has a cohesion is that the songs were red hot and written in such a short period… the start of 1996 while we were doing Tigermilk. And then we went straight in to CaVa to record them with a group of people who had just come together, and then recorded them, again, in a short period of time. The tracklisting was written before a note was recorded and I knew what the shape of the record was. The trick, then, is that it’s a cohesive thing that adds up to more than the sum of its flimsy parts. I had high ambitions for …Sinister at the time. I was listening to a lot of Carole King and mid-period Joni Mitchell – things like The Hissing Of Summer Lawns and Court And Spark – and I wanted to make a record that approached that level of sound and musicianship. I think we were quite far off. But Tony Doogan was our engineer extraordinaire. He’s one of the heroes of the Belle And Sebastian story.

Geddes: I was more satisfied with the live (If You’re Feeling Sinister: Live At The Barbican, Rough Trade, 2005) record. It’s a better version of that album. We’d played live a lot and learned how to do the songs justice.

Murdoch: It’s wrong to think Isobel was ‘Belle’ and I was ‘Sebastian’. The group was called Belle And Sebastian before I met Isobel. But I sort of played up to that ever so slightly.

Campbell: Lots of people have boyfriends when they’re young and it doesn’t work out. The problem was that it was slightly played out in public. If I could go back I’d just have Stuart as a best friend. But he was my soulmate for a long time.

Murdoch: It was the start of the unravelling period of Belle And Sebastian. The golden period was the first couple of months.

Campbell: The honeymoon period was really short and then we became a dysfunctional family. Like Fleetwood Mac without the drugs.

_________________

THE BOY WITH THE ARAB STRAP
(Jeepster, 1998)
With a Brit award for Best New Artist under their belts, B&S sought to step up their game. Cue orchestral arrangements and Murdoch’s decision to record with Doogan in the cavernous church hall above CaVa, their friends Arab Strap were not amused by the title…

Murdoch: We had more of a notion of what we wanted to sound like. Key to it was recording in the church hall above CaVa. We’d been disappointed by Sinister, and I thought if we recorded in the same room without separation we’d get closer to the sound we were after. And there was success and failure there. On a song like “Seymour Stein†you can feel the sound of the hall. Not everyone got it. [Former basssist] Stuart David turned up on day one and said, “This strikes me as fucking stupid.†It was the first record with one of Isobel’s songs (“Is It Wicked Not To Care?â€), the first record with Stevie [Jackson, guitarist]’s songs (“Chickfactor†and “Seymour Steinâ€).

Campbell: I was very nervous singing “Is It Wicked Not To Care?†Some people in the band felt that Stuart should come out as bandleader and stop saying it’s a democracy. There were a few of us he should’ve told to fuck off. Including myself, probably.

Geddes: Maybe this was when we became a fully functioning band. But it was also when we became a fully dysfunctional band. People wanted to express themselves and ultimately they had to do it outside the band.

_________________

FOLD YOUR HANDS CHILD, YOU WALK LIKE A PEASANT
(Jeepster, 2000)
Named after a surreal bit of toilet graffiti, the fourth B&S set became a trial by torture as relationships within the band hit a low. One member left. Another probably should have…

Murdoch: This is the grinding to a halt where everything really unravelled. I’d just been hitting the band with song after song for a few years now – and they were just bored with it. So Stuart [David] left after the first round of Fold Your Hands… recordings, and Isobel was just sort of holding on there.

Geddes: It dragged on and on. Someone decided it would be a good idea to get through a bottle of Jack Daniel’s before recording a song, and it’s garbage. It was classic rock dinosaur behaviour.

Campbell: By that record we really should have had a producer. I just got fed up with everyone’s whingeing. I stopped going to the studio a lot for that one. I got a boyfriend and became more interested in that.

Murdoch: “I Fought In A War†isn’t a protest song. It was a personal song inspired by the atmosphere of the short story, For Esmé – With Love And Squalor by JD Salinger. “The Chalet Lines†is not about male rape – it’s from a female perspective. I knew I was on shaky ground talking about something so brutal and personal. The only thing I recall anyone saying about Fold Your Hands… was Steve Lamacq, saying on the radio: “It’s a very sad album.â€

_________________

STORYTELLING
(Jeepster, 2002)
A requested soundtrack for Todd Solondz’s 2001 movie finds the director using snippets of four songs totalling six minutes. But the resulting mish-mash of songs, instrumentals and dialogue brings the band back together, even as Isobel Campbell finally leaves, stung by the kiss-off lyrics of 2001 single-only tracks “I’m Waking Up To Us†and “Take Your Carriage Clock And Shove Itâ€.

Geddes: We wanted to do a soundtrack like The Graduate or Superfly. We got carried away with ourselves so there was no rancour or resentment. Isobel was there for some of it. But according to Stuart, they didn’t speak for the last two years she was in the band. It was probably easier when they weren’t talking.

Campbell: It’s true! Fleetwood Mac! I was barely on Storytelling. My heart wasn’t in it. It was sad I was told to take my carriage clock and shove it. But I’m proud of what we did.

Geddes: We learned a lot from Storytelling. The initial sessions were in New York and New Jersey. It was the first LP we recorded away from Glasgow, even though we finished it at CaVa. And that was such a good experience that we’ve carried that on ever since.

Murdoch: We wrote three songs for the closing credits, and “Big John Shaft†was one of them. Memorably, when Todd first heard that song in the studio, he sat there looking down, rubbing his temples, shaking his head. Very funny. I’d love to bump into him again and have a drink and a chat.

_________________

DEAR CATASTROPHE WAITRESS
(Rough Trade, 2003)
The lost members and the collapse of the Jeepster label inspires a brand new start, as B&S sign to Rough Trade. In a sublime-to-ridiculous move, the group go from rejecting producers entirely to hiring big-production maestro Trevor Horn.

Murdoch: Bobby Kildea [bass and guitar] came into the group and was a breath of fresh air. He was this no-nonsense Irish guy going, ‘Just fuckin’ do it! It’s fuckin’ great! Why’s everybody looking so pissed off?’ As for Trevor Horn, it was more like he hired us. We recorded it in Hook End in Trevor’s manor, and then finished up in Sarm West. We were living the life. It felt a bit surreal. I’d been a big Yes fan as a kid and Trevor was in Yes. Steve Howe came to dinner one night. Metal was my choice in my formative years. My first choice was AC/DC. But my second choice was Thin Lizzy, which explains “I’m A Cuckooâ€.

Geddes: It didn’t really feel like Trevor was taking the lead. He didn’t treat us like Frankie Goes To Hollywood. It wasn’t how I expected.

Murdoch: If I ever listen to our records for pleasure, it’s …Catastrophe Waitress. When we did it, I wrote a list of favourite tracks on this board that I loved and aspired to. It just felt we could be part of this… rock’n’roll dynasty.

_________________

THE LIFE PURSUIT
(Rough Trade, 2005)
The revitalised band decamp to Sunset Sound in Los Angeles to record with Beck/Air/Fratellis producer Tony Hoffer.

Murdoch: I wanted to drift seamlessly onto US radio. The Life Pursuit is our American FM radio tribute LP. The interesting thing with bands trying something like that is when they fail. Tony Hoffer finished the job that Trevor Horn had started. He fully realised the songs.

Geddes: It’s one of our best records. Tony Hoffer’s approach was so different to Trevor’s. We’d play the songs to him and he’d go, “Right. Where’s the chorus? And why do you have these five chords that don’t lead anywhere?†And we’d be, “I can’t believe he’s saying that! Doesn’t he realise the songs are sacred?â€

Murdoch: Recording in LA doesn’t make as much difference as you might imagine. But what travelling somewhere to record does is make you focus so that you can completely disappear into the world of the record. And the world of these last two records does include LA and that experience of doing yoga in the morning in a canyon before going in to do your vocal. There’s a faction in the band who would maybe go off and explore the darker side of Los Angeles. But I was up in the hills walking with the rattlesnakes.

_________________

GOD HELP THE GIRL
(Rough Trade, 2009)
B&S take their first ever extended break, but everyone plays on Murdoch’s study of teenage womanhood featuring seven different female vocalists, and Neil Hannon of The Divine Comedy.

Murdoch: Doing God Help The Girl kept me sane, because I was writing and orchestrating music for other voices. I’m older now and you find yourself less interesting. It was made in the small studio in CaVa. I produced it, but we had an extremely capable engineer, Brian McNeil, handling all the sounds. I’d worked out what a producer does by now so I made the tea. That’s pretty much all you do. There was a big difference between working with B&S and using them as musicians for God Help The Girl. It was great guiding people through a process rather than being at the centre of it… stepping back from the canvas. I’ve always liked writing from a female perspective. I’m not sure I want to examine that too closely. I mean… I like women. Is that weird? So stage one got finished and now I’m planning to make a God Help The Girl film. If it ever gets made then another record would naturally happen. Doing this big project about a young girl coming of age is me finally seeing it off… bringing this muse of mine to a natural conclusion.

_________________

BELLE AND SEBASTIAN WRITE ABOUT LOVE
(Rough Trade, 2010)
After three years of working on solo projects, depping with bands as disparate as Snow Patrol and The Vaselines, getting married and having babies, B&S reunite with Hoffer in LA for a more mature and introspective LP.

Murdoch: It’s the longest break the band’s taken and we were all quite different when we got back together. Seven people in their mid-’30s who’d finally decided what to do when they grew up. The understanding between Tony Hoffer and the band has got even better, which allowed us to work with Norah Jones and Carey Mulligan and do the record quickly. This time, Sarah [Martin] sings lead on the opener and the penultimate track – key points on an album, in a Sgt Pepper kind of way. Geoff Travis and I concluded this should be more personal. I’ve pinned down my religious beliefs now. And it might turn off your readers, but it is the major force in my life just now. Hopefully there’s nothing fanatical about it, but it’s affected the songs I write. People into pop music will think, ‘Bloody hell, Christian rock!’ I’ve got a feeling God is as embarrassed about Christian rock as you and me. I suspect He’s an Echo And The Bunnymen fan.

Ryan Adams covers Foreigner’s ‘I Want To Know What Love Is’ – listen

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Ryan Adams covers Foreigner’s ‘I Want To Know What Love Is’ – listen
Ryan Adams has covered Foreigner's 'I Want To Know What Love Is'. Click below to listen to Adams' version of the 1984 power ballad, which was recorded for NPR's World Cafe radio show. Meanwhile, Adams recently said he was considering giving an official release to his 'lost' album 'Blackhole', whi...

Ryan Adams has covered Foreigner‘s ‘I Want To Know What Love Is’.

Click below to listen to Adams’ version of the 1984 power ballad, which was recorded for NPR’s World Cafe radio show. Meanwhile, Adams recently said he was considering giving an official release to his ‘lost’ album ‘Blackhole’, which the singer made when he says he was “really on the edge”.

‘Blackhole’ was made around 2007 when Adams was battling drink and drug addiction and has gained cult status among his fans, as it has been widely bootlegged. Adams played its track ‘The Door’ on his current UK tour and told NME he is now considering giving ‘Blackhole’ an official release for Record Store Day in 2015.

“I think I’m going to release ‘Blackhole’ next year, maybe on Record Store Day,” Adams told NME. “It’s mastered and the artwork is done, so it’s there. It’s just a matter of whether it’s the right time.”

Adams, whose current self-titled album reached Number Six in the UK chart in September, explained that there are two different recordings of ‘Blackhole’. “There’s two versions of that record. There’s one where the vocals and the performances are really fucked-up. Then there’s a second version, which was the last thing I did when I was still messed up. Bits and pieces of that had to be stitched together to make the final product like a patchwork quilt, because some of its vocal takes are too fucked-up to release. But it’s really cool and the end result made me very happy.”

Adams toured the UK last month, and was joined by Johnny Depp at O2 Shepherd’s Bush Empire, where they performed ‘Kim’ from Adams’ current album and a cover of Danzig’s ‘Mother’.

Roger Waters issues angry statement to confirm he does not appear on new Pink Floyd album

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Roger Waters issues angry statement to confirm he does not appear on new Pink Floyd album
Roger Waters has issued an angry statement about his lack of involvement in the new Pink Floyd album. Waters, who left the band in 1985, issued the message to fans via Facebook after receiving inquiries as to his role in the band's new album 'Endless River'. Explaining that he has nothing to do w...

Roger Waters has issued an angry statement about his lack of involvement in the new Pink Floyd album.

Waters, who left the band in 1985, issued the message to fans via Facebook after receiving inquiries as to his role in the band’s new album ‘Endless River’. Explaining that he has nothing to do with the album and that he is no longer a member of the band, Waters signed off the message by telling people to “get a grip.”

The full message from Waters’ Facebook is as follows: “Some people have been asking Laurie, my wife, about a new album I have coming out in November. Errhh? I don’t have an album coming out, they are probably confused. David Gilmour and Nick Mason have an album coming out. It’s called ‘Endless River’. David and Nick constitute the group Pink Floyd. I on the other hand, am not part of Pink Floyd. I left Pink Floyd in 1985, that’s 29 years ago. I had nothing to do with either of the Pink Floyd studio albums, ‘Momentary Lapse Of Reason’ and ‘The Division Bell’, nor the Pink Floyd tours of 1987 and 1994, and I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip.”

Speaking last year, drummer Nick Mason revealed that he would be interested in a full band reunion with Waters, but was not certain it will ever materialise.

‘The Endless River’ will include music recorded with multi-instrumentalist Richard Wright, who died in 2008 aged 65.

‘The Endless River’ tracklisting is:

‘Things Left Unsaid’

‘It’s What We Do’

‘Ebb And Flow’

‘Sum’

‘Skins’

‘Unsung’

‘Anisina’

‘The Lost Art Of Conversation’

‘On Noodle Street’

‘Night Light’

‘Allons-y (1)’

‘Autumn’68’

‘Allons-y (2)’

‘Talkin’ Hawkin”

‘Calling’

‘Eyes To Pearls’

‘Surfacing’

‘Louder Than Words’

Aphex Twin says he believes in the Illuminati and that September 11 was an ‘inside job’

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Aphex Twin says he believes in the Illuminati and that September 11 was an ‘inside job’
Aphex Twin has revealed his political beliefs are informed by watching YouTube documentaries, stating that he thinks the world is "totally fucked" and revealing a belief in numerous conspiracy theories. The electronic artist, real name Richard D James, released his new album 'Syro' last month and...

Aphex Twin has revealed his political beliefs are informed by watching YouTube documentaries, stating that he thinks the world is “totally fucked” and revealing a belief in numerous conspiracy theories.

The electronic artist, real name Richard D James, released his new album ‘Syro’ last month and has a reputation for attempting to deceive interviewers. ‘Syro’ is the first album to be released under the Aphex Twin name since 2001’s ‘Drukqs’ and was announced on the deep web.

Speaking in a new interview in Q, James is asked to define his politics, to which he says: “Ooh, where do you start? The whole world is totally fucked, basically.”

He then goes on to explain that, after watching documentaries on YouTube, he thinks the September 11 attacks on New York in 2001 were “absolutely” an inside job. “When you follow stuff on the internet about Illuminati, New World Order, aliens, even if none of it’s true, it’s just a thousand times better than any science fiction film that’s ever been written,” he said.

Pushed as to whether he actually believes the many online conspiracy theories circulating online, he continued: “I do believe pretty much all of it. You can’t only believe things which can be proven. It’s boring. Loads of things are unproven, but it doesn’t stop you believing them.”

Fleetwood Mac play full gig with Christine McVie for first time since 1997

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Fleetwood Mac play full gig with Christine McVie for first time since 1997
Fleetwood Mac have played their first full show with original band member Christine McVie since 1997. The show took place at the Target Centre in Minneapolis, Minnesota this week (September 30) and comprised a career-spanning, 24-song set including 'The Chain' and 'Gold Dust Woman'. McVie was in...

Fleetwood Mac have played their first full show with original band member Christine McVie since 1997.

The show took place at the Target Centre in Minneapolis, Minnesota this week (September 30) and comprised a career-spanning, 24-song set including ‘The Chain’ and ‘Gold Dust Woman’.

McVie was introduced by the band, saying “our songbird has returned”, while the keyboard player also took lead vocals on ‘You Make Loving Fun’ and a closing ‘Songbird’ among others.

Fleetwood Mac previously reunited without McVie, who left the band in 1998, for a large-scale tour including several dates at London’s O2 Arena in September 2013. At one O2 performance, however, McVie joined the band on stage for a rendition of ‘Don’t Stop’.

The show kicks off Fleetwood Mac’s On With The Show tour, which will travel across the US and Canada throughout the remainder of 2014.

No UK tour dates have been announced yet, however the group lead the bookies’ favourites to headline Glastonbury festival next year. Fleetwood Mac are tipped at 4/1, while other favourites to take the Pyramid Stage top billing include Muse, AC/DC and Kate Bush.

Allah-Las – Worship The Sun

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Allah-Las – Worship The Sun

Sounds of the '60s on blissed-out second... One of three instrumentals which snake their way through Allah-Las second album, “Ferus Gallery†takes its name from the Los Angeles centre for contemporary art which, it transpires via a little light Googling, closed its doors in 1966. The date of its demise might be coincidence, but the evidence suggests otherwise. Culturally speaking, 1966 represents the line beyond which this LA quartet dare not tread. Their highly-regarded 2012 debut drew obsessively from a wellspring of mid-60s sources. Mostly it was in thrall to fuzzy US garage-rock, but it also added surf-pop, incipient psychedelia, primitive beat music and The Byrds’ trebly jangle to the mix. There were overt echoes of The Seeds, The Ventures and The Animals, but also the occasional Hispanic flourish and bossa nova rhythm. Little of any great significance has changed on the follow-up. Two years may have passed, but the “voices carrying through the Canyon†on opener “De Vida Voz†– a Love-esque mix of halting minor chords and rattlesnake rhythm – are still calling from a very specific musical and geographical location. The closest Allah-Las come to sounding contemporary here is, ironically, on a cover of The Frantics’ obscure early 60s instrumental “No Werewolfâ€, which in their hands becomes a pioneering foray into what can only be described as kraut-surf, the spindly guitar licks welded to a tough, undeviating rhythm. But really, from its title on down, Worship The Sun is a second slice of impeccable Californian retro-fetishism which subverts ridicule by achieving so spectacularly what it sets out to do. The production, once again overseen by Jonathan Wilson producer and Beachwood Sparks member Dan Horne and Ty Segall cohort Nick Waterhouse, is immaculately imperfect. The performances are raw and just the right side of sloppy, while the drawled vocals – shared between all four – are appropriately offhand and faintly malevolent when required, notably during the call and response of “Had It Allâ€. There is some evidence of creative evolution. Piano, pedal steel and vibraphone are sparingly utilised, and while Allah-Las sometimes felt like a live set hastily brought into the studio, this time as much emphasis is placed on the songs as on the painstakingly reproduced sound. “Nothing To Hide†is a deliciously sun-warped filigree which takes its compass reading from The Turtles “You Showed Meâ€, the vocals as fey and feather light as Bobby Gillespie in his pre-“Loaded†days. The title track is a master class in stoner indolence – “Don’t worry about the time†– while the sweetly clacking bossa nova rhythm and fluid guitar lines evoke the listless loveliness of The Byrds’ “Dolphin Smileâ€. The tremendous “Better Than Mine†injects a welcome lick of pace, a country-rock gem which hurtles along on glistening waves of pedal steel. Nothing on Worship The Sun is as obviously pretty as the limpid C86 jingle-jangle of “Vis A Vis†from their debut, although “Yemeni Jade†is blissfully beautiful, a meandering instrumental featuring pedal steel, tom-toms and a palpable aura of loss. More typical is the perceptible hardening of Allah-Las’ resolve. “Every Girl†is thuggish early Stones with a hint of the New York Dolls, while the chirpy “ba-bas†on “Buffalo Nickel†might evoke the west coast idyll of The Beach Boys and The Mamas & The Papas, but the riff is pure ’66 Velvets, awkward and snagging. Elsewhere “501-415†nods to the dawn of British psychedelia, evoking the shadowy sing-song style of early Pink Floyd. If there’s a faint veil of disappointment hanging over all this excellence, it’s that Allah-Las haven’t built more adventurously on the foundations of their debut. Lyrically there’s few advances on the unreconstructed sexual politics, bravado and blissed-out reveries of the first album, while these short songs (the 14 tracks run to barely 40 minutes) rarely challenge the orthodoxies of their obvious influences. There’s not, in truth, much evidence of vaulting ambition here, but then sun-worshippers don’t need the sun to evolve. They simply ask that it keeps on shining. Graeme Thomson Q&A MILES MICHAUD How would you describe the record? A natural progression. We were listening less to abrasive garage rock and a little bit more to late 60s progressive rock, and that possibly came out naturally in the way the album sounds, but it still has all the same elements and still sounds very much Allah-Las. We’re pleased with the way it changed, and the way it stayed the same as well. It seems more unified than the first one. This time we arranged and worked out songs in the studio, which was new to us, and enabled us to be experimental. But it’s certainly not polished. There are flubs all over the record! Does the retro tag get on your nerves? It goes both ways. You can be relegated to being knock-offs or revivalists, but all art draws influence from the past. It’s a good thing to be able to bring elements of the past into the future. I don’t have a problem with people thinking about that when they’re listening, but I wouldn’t want them to think it’s something that’s been done or can’t be done anymore. It’s just an aesthetic choice – all rock and roll is basically derived from the 50s. The only real guiding light we have is that we make music that we like. INTERVIEW: GRAEME THOMSON

Sounds of the ’60s on blissed-out second…

One of three instrumentals which snake their way through Allah-Las second album, “Ferus Gallery†takes its name from the Los Angeles centre for contemporary art which, it transpires via a little light Googling, closed its doors in 1966.

The date of its demise might be coincidence, but the evidence suggests otherwise. Culturally speaking, 1966 represents the line beyond which this LA quartet dare not tread. Their highly-regarded 2012 debut drew obsessively from a wellspring of mid-60s sources. Mostly it was in thrall to fuzzy US garage-rock, but it also added surf-pop, incipient psychedelia, primitive beat music and The Byrds’ trebly jangle to the mix. There were overt echoes of The Seeds, The Ventures and The Animals, but also the occasional Hispanic flourish and bossa nova rhythm.

Little of any great significance has changed on the follow-up. Two years may have passed, but the “voices carrying through the Canyon†on opener “De Vida Voz†– a Love-esque mix of halting minor chords and rattlesnake rhythm – are still calling from a very specific musical and geographical location. The closest Allah-Las come to sounding contemporary here is, ironically, on a cover of The Frantics’ obscure early 60s instrumental “No Werewolfâ€, which in their hands becomes a pioneering foray into what can only be described as kraut-surf, the spindly guitar licks welded to a tough, undeviating rhythm.

But really, from its title on down, Worship The Sun is a second slice of impeccable Californian retro-fetishism which subverts ridicule by achieving so spectacularly what it sets out to do. The production, once again overseen by Jonathan Wilson producer and Beachwood Sparks member Dan Horne and Ty Segall cohort Nick Waterhouse, is immaculately imperfect. The performances are raw and just the right side of sloppy, while the drawled vocals – shared between all four – are appropriately offhand and faintly malevolent when required, notably during the call and response of “Had It Allâ€.

There is some evidence of creative evolution. Piano, pedal steel and vibraphone are sparingly utilised, and while Allah-Las sometimes felt like a live set hastily brought into the studio, this time as much emphasis is placed on the songs as on the painstakingly reproduced sound.

“Nothing To Hide†is a deliciously sun-warped filigree which takes its compass reading from The Turtles “You Showed Meâ€, the vocals as fey and feather light as Bobby Gillespie in his pre-“Loaded†days. The title track is a master class in stoner indolence – “Don’t worry about the time†– while the sweetly clacking bossa nova rhythm and fluid guitar lines evoke the listless loveliness of The Byrds’ “Dolphin Smileâ€. The tremendous “Better Than Mine†injects a welcome lick of pace, a country-rock gem which hurtles along on glistening waves of pedal steel.

Nothing on Worship The Sun is as obviously pretty as the limpid C86 jingle-jangle of “Vis A Vis†from their debut, although “Yemeni Jade†is blissfully beautiful, a meandering instrumental featuring pedal steel, tom-toms and a palpable aura of loss. More typical is the perceptible hardening of Allah-Las’ resolve. “Every Girl†is thuggish early Stones with a hint of the New York Dolls, while the chirpy “ba-bas†on “Buffalo Nickel†might evoke the west coast idyll of The Beach Boys and The Mamas & The Papas, but the riff is pure ’66 Velvets, awkward and snagging. Elsewhere “501-415†nods to the dawn of British psychedelia, evoking the shadowy sing-song style of early Pink Floyd.

If there’s a faint veil of disappointment hanging over all this excellence, it’s that Allah-Las haven’t built more adventurously on the foundations of their debut. Lyrically there’s few advances on the unreconstructed sexual politics, bravado and blissed-out reveries of the first album, while these short songs (the 14 tracks run to barely 40 minutes) rarely challenge the orthodoxies of their obvious influences. There’s not, in truth, much evidence of vaulting ambition here, but then sun-worshippers don’t need the sun to evolve. They simply ask that it keeps on shining.

Graeme Thomson

Q&A

MILES MICHAUD

How would you describe the record?

A natural progression. We were listening less to abrasive garage rock and a little bit more to late 60s progressive rock, and that possibly came out naturally in the way the album sounds, but it still has all the same elements and still sounds very much Allah-Las. We’re pleased with the way it changed, and the way it stayed the same as well.

It seems more unified than the first one.

This time we arranged and worked out songs in the studio, which was new to us, and enabled us to be experimental. But it’s certainly not polished. There are flubs all over the record!

Does the retro tag get on your nerves?

It goes both ways. You can be relegated to being knock-offs or revivalists, but all art draws influence from the past. It’s a good thing to be able to bring elements of the past into the future. I don’t have a problem with people thinking about that when they’re listening, but I wouldn’t want them to think it’s something that’s been done or can’t be done anymore. It’s just an aesthetic choice – all rock and roll is basically derived from the 50s. The only real guiding light we have is that we make music that we like. INTERVIEW: GRAEME THOMSON

Tricky says he wouldn’t work with ‘arrogant’ Damon Albarn again

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Tricky says he wouldn’t work with ‘arrogant’ Damon Albarn again
Tricky has said that he wouldn't work with Blur's Damon Albarn again, branding the frontman and solo artist "arrogant". In a new documentary for FACT TV the Bristol musician discussed working with Albarn, when the pair collaborated for his 1996 LP 'Nearly God', however the song they made together...

Tricky has said that he wouldn’t work with Blur‘s Damon Albarn again, branding the frontman and solo artist “arrogant”.

In a new documentary for FACT TV the Bristol musician discussed working with Albarn, when the pair collaborated for his 1996 LP ‘Nearly God’, however the song they made together was not included on the final release.

“I wouldn’t work with Damon Albarn again,” commented Tricky. “We were walking through Leeds and we were in this fucked up area and I looked around and I said ‘these kids got nothing’, and he said to me ‘they’ve got us’ and I just thought ‘these kids are going in and out of jail they ain’t go no money, how are we, especially, you… maybe you could say that about me, but I haven’t got that arrogance to say… these kids they’ve got nothing, they’re out hustling, but they got me’ – I wouldn’t be that arrogant.”

Tricky recently released his tenth studio album ‘Adrian Thaws’. The follow-up to 2013’s ‘False Idols’, the self-produced album is the second on Tricky’s own record label, also called False Idols. Self-produced at Tricky’s London home studio, guests include Nneka, Mykki Blanco, Oh Land, Bella Gotti, Blue Daisy and Tirzah.

During the new interview, as well as saying “I don’t really give a fuck about Massive Attack”, he laid into musicians who associate with politicians. “Now you’ve got Bono hanging out with the Pope and Obama. As a musician to hang out with a politician, I think it’s disgusting. David Cameron? Obama? I wouldn’t shake their hand for £1,000,000.”

Swedish scientists cram references to Bob Dylan into research papers as part of long-standing bet

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Swedish scientists cram references to Bob Dylan into research papers as part of long-standing bet

A group of scientists in Sweden have been exposed for indulging in a long-running joke of fitting Bob Dylan lyrics into research articles and academic papers. Swedish newspaper The Local, via Spin, revealed that the group of five scientists have been attempting to get the most Dylan references into their work, with the winner getting a free lunch at a Stockholm restaurant. The wager began in 1997 when two professors from the group, who are based at the Karolinska Institute published an article about flatulence in humans titled, 'Nitric Oxide and inflammation: The answer is blowing in the Wind', a reference to Dylan's song 'Blowin' In The Wind' from 1962. Subsequent research articles were then titled 'The times they are a-changing' and 'Blood on the tracks: a simple twist of fate.' The Local goes on to report that as the joke continued, the group grew bigger and that Kenneth Chien, Professor of Cardiovascular Research, joined after writing a paper titled 'Tangled up in blue: Molecular cardiology in the post molecular era'.

A group of scientists in Sweden have been exposed for indulging in a long-running joke of fitting Bob Dylan lyrics into research articles and academic papers.

Swedish newspaper The Local, via Spin, revealed that the group of five scientists have been attempting to get the most Dylan references into their work, with the winner getting a free lunch at a Stockholm restaurant.

The wager began in 1997 when two professors from the group, who are based at the Karolinska Institute published an article about flatulence in humans titled, ‘Nitric Oxide and inflammation: The answer is blowing in the Wind’, a reference to Dylan’s song ‘Blowin’ In The Wind’ from 1962.

Subsequent research articles were then titled ‘The times they are a-changing’ and ‘Blood on the tracks: a simple twist of fate.’

The Local goes on to report that as the joke continued, the group grew bigger and that Kenneth Chien, Professor of Cardiovascular Research, joined after writing a paper titled ‘Tangled up in blue: Molecular cardiology in the post molecular era’.

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