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In praise of Richard Linklater’s Boyhood

Michael Bonner
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In praise of Richard Linklater’s Boyhood

There is a telling scene early on in Boyhood that gets to the heart of what makes Richard Linklater’s new film so remarkable. It takes place at the book launch for Harry Potter And The Half-Blood Prince, where Linklater’s main character, Mason, and his friends queue up dressed as their favourite JK Rowling characters, eager to devour the latest exploits of the boy wizard. While Linklater’s film similarly follows the life of a young boy from six to 18, there are no magical adventures accompanying this particular journey towards adulthood. Linklater has fashioned a film about the ordinary details - painting the house, getting a haircut, bowling nights with dad - and accordingly, the episodes of a boy’s life are measured not by otherworldly events but instead by a thread of small moments. Shot in 39 says across a 12 year period, Boyhood is certainly Linklater’s most accomplished experiment yet in an eclectic career that includes the freewheeling Slacker, lo-fi animations like Waking Life, School Of Rock and the Before… trilogy, which also followed a core group of characters through various points in their lives. What partly makes Boyhood such an achievement are the mind-boggling logistics of the undertaking. The time transitions are seamless, the details shift fluidly, the passing of the years marked by clothes, hair, music, mobile phone technology. And of course the principals themselves, who quite literally transform in front of us: Ellar Coltrane as Mason, Lorelei Linklater as his elder sister Samantha, Patricia Arquette as their single mother Olivia and their father Mason Sr (Ethan Hawke), who drifts in and out of their lives. http://www.youtube.com/watch?v=IiDztHS3Wos Olivia moves her children from town to town around Texas. Much of the film’s narrative is concerned with the decisions she makes - the men who begin with so much promise but who solidify over time into something else - and the impact these have on Mason and Samantha. But Linklater avoids making judgments and steers clear from dramatic set pieces, while characters that play prominent roles in Mason’s life vanish as we jump forward in time. Linklater’s concern is how these challenges ultimately shape Mason and his family. There are few moments that feel conspicuously plot-driven; the vibe is natural and free-flowing. Incidentally, Arquette is excellent as the determined Olivia, supporting her kids in the face of persistent setbacks. Hawke has an equally complex role, growing from arrested adolescent to respectable family man: an erratic figure who nevertheless is unequivocal in his love for his children. Lorelei Linklater - the director’s daughter - is equally watchable as Samantha, growing from the young Mason’s annoying elder kid sister to good friend as the film comes to a close. Mason’s transit from boyhood to adulthood provides the film’s narrative spine. Brilliantly played by Coltrane, Mason’s life is a series of quiet moments of disillusionment that you suspect he will carry deep into adulthood. The tenets of Philip Larkin’s “This Be The Verse” are clearly delineated here. Young Mason starts off as an open-faced blank canvas - the first time we see him, he’s lying on his back staring at clouds - and he enters adulthood as an inquisitive, quietly unconventional dreamer. One of the most resonant scenes - and there are many - occurs quite early on. Mason and his father are crashed out on couches at Mason Sr’s, Hogwarts still fresh in the young boy’s mind. “Dad,” he says, “there’s no real magic in the world, right? Right this second, there's like no elves in the world?" Mason Sr replies: “No, technically. No elves.” Taken cumulatively, these moments contain the movie’s magic.

There is a telling scene early on in Boyhood that gets to the heart of what makes Richard Linklater’s new film so remarkable.

It takes place at the book launch for Harry Potter And The Half-Blood Prince, where Linklater’s main character, Mason, and his friends queue up dressed as their favourite JK Rowling characters, eager to devour the latest exploits of the boy wizard. While Linklater’s film similarly follows the life of a young boy from six to 18, there are no magical adventures accompanying this particular journey towards adulthood. Linklater has fashioned a film about the ordinary details – painting the house, getting a haircut, bowling nights with dad – and accordingly, the episodes of a boy’s life are measured not by otherworldly events but instead by a thread of small moments.

Shot in 39 says across a 12 year period, Boyhood is certainly Linklater’s most accomplished experiment yet in an eclectic career that includes the freewheeling Slacker, lo-fi animations like Waking Life, School Of Rock and the Before… trilogy, which also followed a core group of characters through various points in their lives. What partly makes Boyhood such an achievement are the mind-boggling logistics of the undertaking. The time transitions are seamless, the details shift fluidly, the passing of the years marked by clothes, hair, music, mobile phone technology. And of course the principals themselves, who quite literally transform in front of us: Ellar Coltrane as Mason, Lorelei Linklater as his elder sister Samantha, Patricia Arquette as their single mother Olivia and their father Mason Sr (Ethan Hawke), who drifts in and out of their lives.

Olivia moves her children from town to town around Texas. Much of the film’s narrative is concerned with the decisions she makes – the men who begin with so much promise but who solidify over time into something else – and the impact these have on Mason and Samantha. But Linklater avoids making judgments and steers clear from dramatic set pieces, while characters that play prominent roles in Mason’s life vanish as we jump forward in time. Linklater’s concern is how these challenges ultimately shape Mason and his family. There are few moments that feel conspicuously plot-driven; the vibe is natural and free-flowing. Incidentally, Arquette is excellent as the determined Olivia, supporting her kids in the face of persistent setbacks. Hawke has an equally complex role, growing from arrested adolescent to respectable family man: an erratic figure who nevertheless is unequivocal in his love for his children. Lorelei Linklater – the director’s daughter – is equally watchable as Samantha, growing from the young Mason’s annoying elder kid sister to good friend as the film comes to a close.

Mason’s transit from boyhood to adulthood provides the film’s narrative spine. Brilliantly played by Coltrane, Mason’s life is a series of quiet moments of disillusionment that you suspect he will carry deep into adulthood. The tenets of Philip Larkin’s “This Be The Verse” are clearly delineated here. Young Mason starts off as an open-faced blank canvas – the first time we see him, he’s lying on his back staring at clouds – and he enters adulthood as an inquisitive, quietly unconventional dreamer.

One of the most resonant scenes – and there are many – occurs quite early on. Mason and his father are crashed out on couches at Mason Sr’s, Hogwarts still fresh in the young boy’s mind. “Dad,” he says, “there’s no real magic in the world, right? Right this second, there’s like no elves in the world?” Mason Sr replies: “No, technically. No elves.”

Taken cumulatively, these moments contain the movie’s magic.

Bob Mould – Beauty And Ruin

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Bob Mould – Beauty And Ruin

Warhorse: Songs and Stories – Hüsker Dü veteran makes peace with the past... That guitar sound again: the sound of glass shattering, the sound of a hurricane howling. The sudden sandblast squall that whips up about 50 seconds into “Kid With Crooked Face” – the fastest, most furious moment on Bob Mould’s latest album – is giddily familiar. Endlessly imitated but essentially unused since Hüsker Dü split up in 1988, it’s perhaps the mightiest weapon in Mould’s armoury, and on Beauty And Ruin, it is the sound of permafrost cracking. For Mould’s 14th full-length outing post-Hüsker Dü may be the first to fully engage with that part of his musical legacy. The Minneapolis three-piece did a fairly indifferent job of following up their mind-blowing (10), (10), (10), trio of Jackson Pollock hardcore LPs – 1984’s Zen Arcade and New Day Rising, and the following year’s Flip Your Wig – with Mould, songwriting foil Grant Hart and elaborately-moustached bassist Greg Norton disbanding after two frustrating albums for Warner Brothers. Mould and Hart have done fine things since, but neither have dared to turn the distortion and chorus pedals on in the same dizzying combination until now. Inspired in part by the death of his father, Beauty And Ruin’s ruminations on mortality are hardly new territory for Mould, who sang in 1986 on Hüsker Dü’s stark “Hardly Getting Over It”: “My parents they just wonder when they both are gonna die; what do I do when they die?” However, his lyrics here seemingly derive less from a need to come to terms with his father – depicted in Mould’s autobiography See A Little Light as a controlling, violent alcoholic who never acknowledged Mould’s homosexuality – than a desire to stare down the disapproving glances of his younger self. The “tales filled with riddles and rhymes that I just don’t recognise” on the perky “I Don’t Know You Anymore” might detail a conversation with his dying father or an unwelcome encounter with the mirror, while on the frenzied “Kid With Crooked Face”, Mould squirms in front of his glowering 20-something gaze: “Look away, look away, look away.” Now 53, Mould would seem to have little to be ashamed of when he looks back, having systematically vanquished his demons since Hüsker Dü’s late-1980s demise. An ex drinker and smoker, he came out publicly while enjoying 1990s commercial success with Sugar, and then spent a decade spooking his fanbase by writing scripts for professional wrestling, DJ-ing at his “gay bear” house night, Blowoff, and releasing an unhinged hybrid electronic album – Modulate – in 2002. However, personal fulfilment has not always made for great output; the string of elegantly-whittled albums he has produced since moving to San Francisco in 2009 - District Line, Life And Times and 2012’s Sugar re-enactment, The Silver Age – have not for the first time seen Mould’s art gradually downgraded to craftsmanship. Beauty And Ruin, however, is an invigorating reconnection with a more difficult, dangerous part of himself. Glowering opener “Low Season” bemoans “chances that I wasted in my unforgiving days”, and while the Hüskers-pitched centrepiece “The War” ostensibly recounts Mould’s difficult relationship with his father, it sounds awfully like an apologia for the decades of sniping that followed his first band’s demise. “Listen to my voice it’s the only weapon I kept from the war,” Mould wails, still pleading for a ceasefire long after Armistice Day. Beauty And Ruin falls short as a masterpiece – the Wings-ish “Let The Beauty Be” is a notable lapse of taste – but it quietly lets the handbrake off on Mould’s creativity. It ends on an upbeat, “Fix It” slamming the door shut on the past. “Time to find out who you are,” Mould sings. Comfortable enough now that he knows who he was, what happens next could be incredible. Jim Wirth Q&A Did your father’s death inspire Beauty And Ruin? Parts of it. He passed away in October 2012 right after The Silver Age came out. My father and I are a lot alike in many ways. I’ve come to terms with that in different ways over the course of my life – quitting smoking, quitting drinking. I’ve always loved my parents and though my dad’s final years were pretty tough I was fortunate to get a lot of good time with him and to talk about a lot of things. “Kid With Crooked Face” is closer to ’81-style hardcore than anything else you have done since Hüsker Dü. How did that come about? It just happened – it fell out. People are going to get way more wound up about me doing those sorts of songs than I do. I used to hate pictures of myself when we did photos ‘cause I thought my face was a little crooked; not symmetrical. I am a Libra so symmetry is huge. Have you ever fancied cutting loose and doing a concept album or a musical? Like a big fictional stage thing? Yeah, someday. I fancy it but I can’t do it myself. The last thing I tried something like that we got Modulate! I always say it’s my Trans. Constructing an entire circus with invisible wires and antigravity machines – I think I need some scientists to help me with that. But I’ll do it someday. This is all building up to something big. INTERVIEW: JIM WIRTH

Warhorse: Songs and Stories – Hüsker Dü veteran makes peace with the past…

That guitar sound again: the sound of glass shattering, the sound of a hurricane howling. The sudden sandblast squall that whips up about 50 seconds into “Kid With Crooked Face” – the fastest, most furious moment on Bob Mould’s latest album – is giddily familiar. Endlessly imitated but essentially unused since Hüsker Dü split up in 1988, it’s perhaps the mightiest weapon in Mould’s armoury, and on Beauty And Ruin, it is the sound of permafrost cracking.

For Mould’s 14th full-length outing post-Hüsker Dü may be the first to fully engage with that part of his musical legacy. The Minneapolis three-piece did a fairly indifferent job of following up their mind-blowing (10), (10), (10), trio of Jackson Pollock hardcore LPs – 1984’s Zen Arcade and New Day Rising, and the following year’s Flip Your Wig – with Mould, songwriting foil Grant Hart and elaborately-moustached bassist Greg Norton disbanding after two frustrating albums for Warner Brothers. Mould and Hart have done fine things since, but neither have dared to turn the distortion and chorus pedals on in the same dizzying combination until now.

Inspired in part by the death of his father, Beauty And Ruin’s ruminations on mortality are hardly new territory for Mould, who sang in 1986 on Hüsker Dü’s stark “Hardly Getting Over It”: “My parents they just wonder when they both are gonna die; what do I do when they die?” However, his lyrics here seemingly derive less from a need to come to terms with his father – depicted in Mould’s autobiography See A Little Light as a controlling, violent alcoholic who never acknowledged Mould’s homosexuality – than a desire to stare down the disapproving glances of his younger self.

The “tales filled with riddles and rhymes that I just don’t recognise” on the perky “I Don’t Know You Anymore” might detail a conversation with his dying father or an unwelcome encounter with the mirror, while on the frenzied “Kid With Crooked Face”, Mould squirms in front of his glowering 20-something gaze: “Look away, look away, look away.”

Now 53, Mould would seem to have little to be ashamed of when he looks back, having systematically vanquished his demons since Hüsker Dü’s late-1980s demise. An ex drinker and smoker, he came out publicly while enjoying 1990s commercial success with Sugar, and then spent a decade spooking his fanbase by writing scripts for professional wrestling, DJ-ing at his “gay bear” house night, Blowoff, and releasing an unhinged hybrid electronic album – Modulate – in 2002.

However, personal fulfilment has not always made for great output; the string of elegantly-whittled albums he has produced since moving to San Francisco in 2009 – District Line, Life And Times and 2012’s Sugar re-enactment, The Silver Age – have not for the first time seen Mould’s art gradually downgraded to craftsmanship.

Beauty And Ruin, however, is an invigorating reconnection with a more difficult, dangerous part of himself. Glowering opener “Low Season” bemoans “chances that I wasted in my unforgiving days”, and while the Hüskers-pitched centrepiece “The War” ostensibly recounts Mould’s difficult relationship with his father, it sounds awfully like an apologia for the decades of sniping that followed his first band’s demise. “Listen to my voice it’s the only weapon I kept from the war,” Mould wails, still pleading for a ceasefire long after Armistice Day.

Beauty And Ruin falls short as a masterpiece – the Wings-ish “Let The Beauty Be” is a notable lapse of taste – but it quietly lets the handbrake off on Mould’s creativity. It ends on an upbeat, “Fix It” slamming the door shut on the past. “Time to find out who you are,” Mould sings. Comfortable enough now that he knows who he was, what happens next could be incredible.

Jim Wirth

Q&A

Did your father’s death inspire Beauty And Ruin?

Parts of it. He passed away in October 2012 right after The Silver Age came out. My father and I are a lot alike in many ways. I’ve come to terms with that in different ways over the course of my life – quitting smoking, quitting drinking. I’ve always loved my parents and though my dad’s final years were pretty tough I was fortunate to get a lot of good time with him and to talk about a lot of things.

“Kid With Crooked Face” is closer to ’81-style hardcore than anything else you have done since Hüsker Dü. How did that come about?

It just happened – it fell out. People are going to get way more wound up about me doing those sorts of songs than I do. I used to hate pictures of myself when we did photos ‘cause I thought my face was a little crooked; not symmetrical. I am a Libra so symmetry is huge.

Have you ever fancied cutting loose and doing a concept album or a musical?

Like a big fictional stage thing? Yeah, someday. I fancy it but I can’t do it myself. The last thing I tried something like that we got Modulate! I always say it’s my Trans. Constructing an entire circus with invisible wires and antigravity machines – I think I need some scientists to help me with that. But I’ll do it someday. This is all building up to something big.

INTERVIEW: JIM WIRTH

Radiohead to begin ‘rehearsing and recording’ new album in September

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Radiohead to begin ‘rehearsing and recording’ new album in September
Radiohead will begin rehearsing and recording again in September, guitarist Jonny Greenwood has confirmed. The band are currently pursuing solo projects and enjoying a break from official band duty following the end of touring their last album, The King Of Limbs. Speaking on Mary Anne Hobbes' BBC ...

Radiohead will begin rehearsing and recording again in September, guitarist Jonny Greenwood has confirmed.

The band are currently pursuing solo projects and enjoying a break from official band duty following the end of touring their last album, The King Of Limbs.

Speaking on Mary Anne Hobbes’ BBC 6Music show on July 12, Greenwood was asked what Radiohead are up to at the moment and said, “We’re going to start up in September, playing, rehearsing and recording and see how it’s sounding.”

These comments correlate with what Greenwood said about the band regrouping this summer to discuss their next album in different interview earlier this year. Speaking then he said that the “slow moving animal” will gain life in the coming months.

Earlier this year, Jonny’s brother Colin Greenwood said that Radiohead’s plans for a new album were “up in the air” as members of the band focus on side projects.

Quizzed on current activity in the Radiohead camp, Greenwood said: “It’s all up in the air at the minute. Thom’s just come back from touring Atoms For Peace and he’s having some quiet time. I’m sorry to be vague but we’re all just taking it easy at the moment. Just enjoying being at home and hanging out really. But at the same time, the vibe is very much Oxford and all good! It’s like that.”

Neil Young And Crazy Horse cancel Israel gig over security concerns

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Neil Young And Crazy Horse cancel Israel gig over security concerns
Neil Young And Crazy Horse have cancelled a gig in Israel due to the "current security situation" in the country. The band were due to perform in Tel Aviv's Hayarkon Park on July 17 but according to a press release, via Pitchfork, the gig will no longer take place. The statement issued claims that ...

Neil Young And Crazy Horse have cancelled a gig in Israel due to the “current security situation” in the country.

The band were due to perform in Tel Aviv’s Hayarkon Park on July 17 but according to a press release, via Pitchfork, the gig will no longer take place. The statement issued claims that Young and his band will return to Israel when the country is at peace with Palestine.

“It is with heavy hearts and deep sadness that we must cancel our one and only Israeli concert due to tensions which have rendered the event unsafe at this time,” reads the statement. “We’ll miss the opportunity to play for our fans and look forward to playing in Israel and Palestine in peace.”

In addition, Young added, “I will be making donations to both the Louise & Tillie Alpert Youth Music Centre of Israel, and Heartbeat, two organizations that teach music to Palestinian and Israeli youth simultaneously by enabling them to play music together.”

Neil Young & Crazy Horse performed in London this past weekend, playing a gig in Hyde Park as part of this year’s British Summer Time festival.

The set list for July 12, Hyde Park, London, England was:

Love And Only Love

Goin’ Home

Days That Used To Be

After The Gold Rush

Love To Burn

Separate Ways

Only Love Can Break Your Heart

Blowin’ In The Wind

Heart Of Gold

Barstool Blues

Psychedelic Pill

Cinnamon Girl

Rockin’ In The Free World

Who’s Gonna Stand Up And Save The Earth?

Encore:

Down By The River

Tommy Ramone dies aged 65

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Tommy Ramone dies aged 65
Tommy Ramone has died aged 65. His death marks the passing of the last surviving member of The Ramones. "Tom died yesterday, July 11, at 12:15 p.m. at his home in Ridgewood, Queens," Andy Schwartz, publisher of New York Rocker magazine, said on behalf of Ramone's family. "He was in hospice care fo...

Tommy Ramone has died aged 65.

His death marks the passing of the last surviving member of The Ramones.

“Tom died yesterday, July 11, at 12:15 p.m. at his home in Ridgewood, Queens,” Andy Schwartz, publisher of New York Rocker magazine, said on behalf of Ramone’s family. “He was in hospice care following treatment for cancer of the bile duct.”

Rolling Stone confirm Ramone was 65 at the time of his death.

Born Erdelyi Tamas in Budapest in 1949, Ramone was the group’s drummer from 1974 to 1978, and co-produced their first three albums.

The news of Tommy’s death was accompanied by the following 1978 quote of his on the band’s Facebook page: “It wasn’t just music in The Ramones: it was an idea. It was bringing back a whole feel that was missing in rock music – it was a whole push outwards to say something new and different. Originally it was just an artistic type of thing; finally I felt it was something that was good enough for everybody.”

Photo credit: Getty

Watch Neil Young & Crazy Horse perform new song, “Who’s Gonna Stand Up And Save The Earth?”

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Watch Neil Young & Crazy Horse perform new song, “Who’s Gonna Stand Up And Save The Earth?”
Neil Young & Crazy Horse have debuted a new song, "Who's Gonna Stand Up And Save The Earth?", on their current European tour dates. The song first emerged in the set in Reykjavík on July 7. You can watch the band perform the song live in Cork, Ireland last night [July 10]. http://www.youtube...

Neil Young & Crazy Horse have debuted a new song, “Who’s Gonna Stand Up And Save The Earth?“, on their current European tour dates.

The song first emerged in the set in Reykjavík on July 7.

You can watch the band perform the song live in Cork, Ireland last night [July 10].

http://www.youtube.com/watch?v=ynJlnGuxzEM

The set list for the July 10 show at The Docklands, Cork, Ireland:

Love And Only Love

Goin’ Home

Days That Used To Be

After The Gold Rush

Love To Burn

Separate Ways

Only Love Can Break Your Heart

Don’t Cry No Tears

Blowin’ In The Wind

Red Sun

Heart Of Gold

Powderfinger

Psychedelic Pill

Rockin’ In The Free World

Who’s Gonna Stand Up And Save The Earth?

Encore

Roll Another Number

The band play London’s Hyde Park tomorrow [July 12].

The Grateful Dead announce new Spring 1990 box set

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The Grateful Dead announce new Spring 1990 box set
The Grateful Dead have announced details of a new box set, Spring 1990 (The Other One). The release is a companion to the sold-out Spring 1990 boxed set from 2012. The 23-disc set covers eight complete shows, all previously unreleased, and will be available from September 9. The collection will b...

The Grateful Dead have announced details of a new box set, Spring 1990 (The Other One).

The release is a companion to the sold-out Spring 1990 boxed set from 2012.

The 23-disc set covers eight complete shows, all previously unreleased, and will be available from September 9.

The collection will be limited to 9,000 individually numbered copies and is currently available for pre-order exclusively from the band’s website, Dead.net.

It will also be released as an HD digital download on the same date.

In addition to its inclusion in the boxed set, a March 29, 1990 show at Nassau Coliseum with Branford Marsalis will also be released separately as a three-disc set.

“When we produced the first Spring 1990 box in 2012, there were a lot of tough choices to make about what shows to omit from that box. However, we knew we’d do this second box someday, so the choices of omission were easier to digest,” says Grateful Dead archivist David Lemieux. “Now we’re able to complete the picture the first box painted with music that’s every bit as good, and in some cases surpasses, the six shows in the original box. These are eight extremely high-level Dead shows, each and every one of which would make a terrific CD releases. It only seemed fitting that in the face of such an abundance of quality Dead, we should release it all at once.”

Eric Idle: “Monty Python never took very kindly to being told what to do”

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Eric Idle: “Monty Python never took very kindly to being told what to do”
Eric Idle discusses Monty Python’s new boxset, which compiles all their albums, in the new issue of Uncut, dated August 2014 and out now. The Python comedian and songwriter explains how the troupe’s best-selling record, 1989’s Monty Python Sings, was put together. “We found out we ‘owe...

Eric Idle discusses Monty Python’s new boxset, which compiles all their albums, in the new issue of Uncut, dated August 2014 and out now.

The Python comedian and songwriter explains how the troupe’s best-selling record, 1989’s Monty Python Sings, was put together.

“We found out we ‘owed’ Clive Davis and Arista an album,” says Idle. “Python never took very kindly to being told what they must do. So we threw a lot more songs in as an ironic gesture.

“This led to our best-selling album, Monty Python Sings, which I put together. You can listen to a funny song many more times than a sketch.”

The new Uncut, dated August 2014, is out now.

A Hard Day’s Night: 50 years on…

Michael Bonner
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A Hard Day’s Night: 50 years on…
Last week, the BFI hosted a Q&A session with director Richard Lester, as a prelude to the 50th anniversary re-release of A Hard Day’s Night. The BFI have kindly let us host the Q&A - which you can watch below. Lester, who's 82 now, is in formidable form during the session with author Ma...

Last week, the BFI hosted a Q&A session with director Richard Lester, as a prelude to the 50th anniversary re-release of A Hard Day’s Night.

The BFI have kindly let us host the Q&A – which you can watch below. Lester, who’s 82 now, is in formidable form during the session with author Mark Lewisohn. Watching the film again now – brushed up for its birthday – it’s reassuring to see how much it still sparkles. As Lester points out, much of that is to do with the way he and screenwriter simply let The Beatles be themselves, albeit in slightly exaggerated form. Perhaps most conspicuous is how funny the film is. “How did you find America?” a journalist asks Lennon: “Turn left at Greenland,” he pings back.

It’s interested to see how similar the portrayal of the band in A Hard Day’s Night is compared to the Albert and David Maysles’ documentary What’s Happening! The Beatles In The U.S.A, which offered a similarly freewheeling and candid snapshot of the band. As research for his script, Owen spent three days with the band in November 1963, three months before the Maysles’ filmed The Beatles’ first visit to America. The parity between the ‘reality’ created by Owen and director Richard Lester in A Hard Day’s Night is extraordinarily close to the band’s true lives as caught by the Maysles.

But of course, Lester’s film isn’t a documentary: part Marx Brothers slapstick, part Goons surrealism, part New Wave cinema, part satire on being The Beatles, it’s an incredibly multi-faceted piece, nowhere near as straightforward as it’s simple proposition and brisk pacing might suggest. There is some shenanigans with schoolgirls at the start, and Lennon’s ‘comedy German’ impressions in the bath (a Spike Milligan lift) inevitably appear slightly dubious in 2014. The scene where George Harrison teaches John Junkin how to shave using his reflection in the mirror is a brilliant piece of composition, predicated entirely on the location of the camera rather than what Harrison can really see of Junkin’s reflection. Fab gear, etc.


Incidentally, the interview with Richard Lester can also be watched on the BFI Player here.

A Hard Day’s Night runs at the BFI Southbank until July 17; you can find more details here. It will be released on DVD and Blu-ray on July 21

Bernard Sumner reveals details of his autobiography

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Bernard Sumner reveals details of his autobiography
Bernard Sumner has confirmed details of his autobiography. Chapter And Verse (New Order, Joy Division And Me) will be published by Transworld on September 25. It had been announced in June 2013 that Sumner had signed a deal to publish his memoirs. The accompanying press release states that the boo...

Bernard Sumner has confirmed details of his autobiography.

Chapter And Verse (New Order, Joy Division And Me) will be published by Transworld on September 25. It had been announced in June 2013 that Sumner had signed a deal to publish his memoirs.

The accompanying press release states that the book will offer “a vivid and illuminating” account of Sumner’s childhood in Salford, before detailing his thoughts on Joy Division, New Order and the Hacienda nightclub. It continues: “Sometimes moving, often hilarious and occasionally completely out of control, this is a tale populated by some of the most colourful and creative characters in music history.”

The book is Sumner’s first.

New Order are currently on a North American tour which finishes on Sunday (July 13) at Los Angeles’ Greek Theater. They have previewed one new song, “Singularity”, a video of which can be seen below. A new album is provisionally due out next spring. The Chemical Brothers’ Tom Rowlands was working with the band in 2013, but it isn’t known who the final producers are on the album.

http://www.youtube.com/watch?v=rJ5idkbbSno

Brazil fans blame Mick Jagger for World Cup defeat

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Brazil fans blame Mick Jagger for World Cup defeat
Mick Jagger has been blamed by a Brazilian TV station for Brazil’s record-breaking 7-1 World Cup semi-final defeat by Germany yesterday (July 8). Jagger has endured a six-game losing streak at the World Cup since 2010, by publicly endorsing countries who promptly lose. It even led to Brazil fans ...

Mick Jagger has been blamed by a Brazilian TV station for Brazil’s record-breaking 7-1 World Cup semi-final defeat by Germany yesterday (July 8).

Jagger has endured a six-game losing streak at the World Cup since 2010, by publicly endorsing countries who promptly lose. It even led to Brazil fans dressing cut-outs of Jagger in the colours of Chile and Colombia before their victories over those countries. But they lost when Jagger and his son Lucas attended the Germany game in Belo Horizonte.

Jagger has been dubbed “The Angel Of Doom” by upset Brazilians, while TV station R7 called him “The biggest jinx in history” following the 7-1 thrashing, which was both Brazil’s biggest-ever defeat and the heaviest loss in a World Cup semi-final in the tournament’s 84-year history.

The run of bad luck began at the World Cup in South Africa in 2010, when Jagger watched England’s 4-1 second round defeat by Germany. He went with Bill Clinton to see the USA lose 2-1 to Ghana in the same round, before wearing a Brazil shirt during their 2-1 loss to the Netherlands in the quarter-final.

At the current World Cup, Jagger tweeted the England team a good luck message before they lost 2-1 to Italy, then announced during a Rolling Stones gig in Lisbon that Portugal would win the tournament. Portugal failed to reach the second round, as did Italy after Jagger said at a Stones show in Rome that Italy would win their vital group game against Uruguay. Italy lost 1-0.

Although Jagger wore a neutral’s England baseball cap during the semi-final, his 15-year-old son Lucas is Brazilian. Fans had carried a cut-out of Jagger in a Germany kit with a speech bubble saying “Let’s go, Germany!” outside the stadium.

Lucas’ mother, Brazilian model Luciana Giminez, defended Jagger, saying: “He’s suffering cyber-bullying, and I’d ask people to think before doing it. He’s been successful for 50 years and is a good friend and father to my son.”

AC/DC reveal new album details

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AC/DC reveal new album details
AC/DC have revealed that they have completed work on their new album. Brian Johnson, who collected an honorary doctorate from Northumbria University today, has said that the band have finished work on the LP, which they have been working on in Vancouver. It is likely to be released later this year...

AC/DC have revealed that they have completed work on their new album.

Brian Johnson, who collected an honorary doctorate from Northumbria University today, has said that the band have finished work on the LP, which they have been working on in Vancouver. It is likely to be released later this year or early next year.

“It was brilliant over there. We’re done. I’m very excited and we’ve got some great songs,” he told Metal Hammer.

Speaking about the current absence from the band due to health reasons of Malcolm Young, Johnson said: “We miss Malcolm obviously. He’s a fighter. He’s in hospital but he’s a fighter. We’ve got our fingers crossed that he’ll get strong again.”

His nephew, Stevie, has been filling in for his ill uncle during sessions.

“Stevie was magnificent,” said Johnson. “But when you’re recording with this thing hanging over you and your work mate isn’t well, it’s difficult.

“But I’m sure he [Malcolm] was rooting for us. He’s such a strong man. He’s a small guy but he’s very strong. He’s proud and he’s very private so we can’t say too much. But fingers crossed he’ll be back.”

Johnson admitted the band had discussed a number of album titles with the new release due to hit stores later this year or early 2015.

And he added: “I wanted to call the album Man Down. But it’s a bit negative and it was probably just straight from the heart. I like that.”

Johnson received his honorary degree from Northumbria University’s vice chancellor Prof Andrew Wathey, who says: “Brian has been an inspiration to the people of the North East and rock fans the world over.”

Bruce Springsteen debuts short film for “Hunter Of Invisible Game”

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Bruce Springsteen debuts short film for “Hunter Of Invisible Game”
Bruce Springsteen has debuted a 10-minute short film for his track "Hunter Of Invisible Game" on his website. The video for the song, which was included on the singer's last studio album High Hopes, was directed by Thom Zimny and stars Springsteen himself as he journeys through the wilderness. Wr...

Bruce Springsteen has debuted a 10-minute short film for his track “Hunter Of Invisible Game” on his website.

The video for the song, which was included on the singer’s last studio album High Hopes, was directed by Thom Zimny and stars Springsteen himself as he journeys through the wilderness.

Writing on his website, Springsteen said: “The past 2 plus years and nearly 170 shows have been a life changer. Thanks to you, we have dwelled deep within the transformative power of rock n’ roll. You’ve helped us bring a new and revitalized E St. Band into being. We take this break with a sense of joy, renewed purpose and filled with the spirit to bring you our best in the future. We’ve still got a few surprises for you.

“For a long part of the year, Thom Zimny and I have been talking about shooting a short film for ‘Hunter Of Invisible Game’. We’ve finally got the job done, and we think it’s one of our best. Thanks Thom for the hard work and brotherly collaboration. You and your crew bring it all. And to all of you out there in E St. Nation, we hope you enjoy! See ya up the road.”

High Hopes was Springsteen’s 18th studio album and was released in January of this year.

Nick Cave announces Q&A and live performance

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Nick Cave announces Q&A and live performance
Nick Cave will participate in a Q&A and a live performance at London's Barbican Hall on September 17. The event will include a gala preview of the Nick Cave film, 20,000 Days On Earth. The screening will be followed by a unique 60-minute live experience that includes a live performance with Ni...

Nick Cave will participate in a Q&A and a live performance at London’s Barbican Hall on September 17.

The event will include a gala preview of the Nick Cave film, 20,000 Days On Earth.

The screening will be followed by a unique 60-minute live experience that includes a live performance with Nick Cave, Warren Ellis and Barry Adamson and a Q&A with the creative team behind the film including directors Iain Forsyth & Jane Pollard and special guests.

The event will be broadcast live by satellite to 150 UK cinemas.

Following this exclusive event, Picturehouse Entertainment will release 20,000 Days On Earth on September 19 in cinemas across the UK and Ireland.

Tickets will go on sale on Thursday, July 10 at 10am to Barbican members. They go on general sale on Friday, July 11 at 10am. Tickets are priced £60/£50/£40.

You can find more details here.

Read our first look preview of 20,000 Days On Earth here

Dave Alvin and Phil Alvin – Common Ground: Dave Alvin and Phil Alvin Play And Sing The Songs Of Big Bill Broonzy

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Dave Alvin and Phil Alvin – Common Ground: Dave Alvin and Phil Alvin Play And Sing The Songs Of Big Bill Broonzy

One of the highlights of Dave Alvin’s last solo album, 2011’s Eleven Eleven, was a track called “What’s Up With Your Brother?”, a droll blues about Dave’s famously fractious relationship with his brother, Phil, that ended hilariously with them having the kind of argument that put paid to The Blasters, the band they were in together before fraternal tensions drove them into a ditch. They split in 1985, after just five albums. While Dave became dedicated to life as a hard travelling road dog, Phil completed a master’s degree in mathematics and artificial intelligence. His own musical career has in the circumstances been restricted over the last 30 years to a couple of fine solo albums and a brief 2003 reunion tour with The Blasters that produced the Trouble Bound live album. The session for “What’s Up With Your Brother?” was the first time they’d been in the studio together since 1985, an occasion made even more memorable for Blasters fans by the additional presence of the band’s great piano player, Gene Taylor. Encouraged by Dave’s label to turn an EP project they had been discussing into a full album, their mutual regard for the music of Big Bill Broonzy provided them with an opportunity to work together without undue conflict. The results are spectacular. Broonzy‘s a towering figure in blues history, linking the acoustic rural blues of the Mississippi Delta and the electric blues forged in the urban crucible of Chicago’s South Side, where he was an early influence on the young Muddy Waters and other wild and rising stars of that legendary scene. He was also one of the first great American bluesmen to bring his music across the Atlantic, first touring Europe in 1951. He was especially revered in the UK, where his smitten fans included a generation of young musicians in thrall to the blues who would soon be forming bands themselves, including Keith Richards, Ray Davies, Ronnie Wood, Eric Clapton and Pete Townshend. “Back before it all caught fire,” Townshend later wrote, “we heard Big Bill and we knew that music could tell the truth as well as entertain.” Broonzy was one of the most prolific blues songwriters of his era, with more than 300 published titles that spanned acoustic Delta blues, the plugged-in Chicago version and also songs of social protest, like “Just A Dream”, that daringly for its time put Bill in the White House, having a conversation with the president. It’s the kind of thing you might expect to find on a recent Ry Cooder album, and is revived here by the Alvins in a hard-driving version. Common Ground on the whole gives a fabulous account of Bill’s versatile songbook, whose warmth, wit, generosity of spirit and chin-up good humour in the face of what must have been a lot of awfulness is brilliantly delivered here on an exuberant opening versions of two of Broonzy’s signature songs, “All By Myself” and “I Feel So Good”. The former is a boisterous tumble of acoustic guitars and raw harmonies, like something you might have heard on a plantation porch, bottles of moonshine being passed around, the song’s self-mockery and droll narrative bringing laughter to lives that needed it. “I Feel So Good” is even more raucous, driven by Dave’s stinging lead guitar and Gene Taylor’s barrel-house piano and topped off by Phil’s good-hearted holler, still strong and handsome even after a near-fatal health scare in 2012. There can’t be many professors of mathematical semantics who have sounded this hip. He brings a bracing gusto to unabashedly bawdy Broonzy songs like “How You Want It Done?” - kin to Muddy Waters’ fiercely carnal “Rollin’ And Tumblin’” – and the even more lubricious “Trucking Little Woman”, whose rockabilly twang and show-stopping guitar solos recall similarly steamy Blasters cuts like “Hollywood Bed”. The version, meanwhile, of another Broonzy standard, “Key To The Highway”, made famous in several version by Eric Clapton, is altogether more stately, the prominence given to Phil’s wailing harmonica part maybe a nod to the version of the song recorded as a tribute just after Big Bill’s death in 1958 by Little Walter and a gathering of Chicago blues nobility, including Muddy, Willie Dixon and Otis Spann. Best of all though is probably “Southern Flood Blues”, originally recorded as a country blues in 1937, something of a lamentation, but now recast as a hugely ominous rocker on the apocalyptic scale of Dylan’s “High Water (For Charley Patton)”, which is suitably drenched by torrential guitar, thunderous drums and spine-tingling harmonica. Allan Jones

One of the highlights of Dave Alvin’s last solo album, 2011’s Eleven Eleven, was a track called “What’s Up With Your Brother?”, a droll blues about Dave’s famously fractious relationship with his brother, Phil, that ended hilariously with them having the kind of argument that put paid to The Blasters, the band they were in together before fraternal tensions drove them into a ditch. They split in 1985, after just five albums. While Dave became dedicated to life as a hard travelling road dog, Phil completed a master’s degree in mathematics and artificial intelligence. His own musical career has in the circumstances been restricted over the last 30 years to a couple of fine solo albums and a brief 2003 reunion tour with The Blasters that produced the Trouble Bound live album.

The session for “What’s Up With Your Brother?” was the first time they’d been in the studio together since 1985, an occasion made even more memorable for Blasters fans by the additional presence of the band’s great piano player, Gene Taylor. Encouraged by Dave’s label to turn an EP project they had been discussing into a full album, their mutual regard for the music of Big Bill Broonzy provided them with an opportunity to work together without undue conflict. The results are spectacular.

Broonzy‘s a towering figure in blues history, linking the acoustic rural blues of the Mississippi Delta and the electric blues forged in the urban crucible of Chicago’s South Side, where he was an early influence on the young Muddy Waters and other wild and rising stars of that legendary scene. He was also one of the first great American bluesmen to bring his music across the Atlantic, first touring Europe in 1951. He was especially revered in the UK, where his smitten fans included a generation of young musicians in thrall to the blues who would soon be forming bands themselves, including Keith Richards, Ray Davies, Ronnie Wood, Eric Clapton and Pete Townshend. “Back before it all caught fire,” Townshend later wrote, “we heard Big Bill and we knew that music could tell the truth as well as entertain.”

Broonzy was one of the most prolific blues songwriters of his era, with more than 300 published titles that spanned acoustic Delta blues, the plugged-in Chicago version and also songs of social protest, like “Just A Dream”, that daringly for its time put Bill in the White House, having a conversation with the president. It’s the kind of thing you might expect to find on a recent Ry Cooder album, and is revived here by the Alvins in a hard-driving version.

Common Ground on the whole gives a fabulous account of Bill’s versatile songbook, whose warmth, wit, generosity of spirit and chin-up good humour in the face of what must have been a lot of awfulness is brilliantly delivered here on an exuberant opening versions of two of Broonzy’s signature songs, “All By Myself” and “I Feel So Good”. The former is a boisterous tumble of acoustic guitars and raw harmonies, like something you might have heard on a plantation porch, bottles of moonshine being passed around, the song’s self-mockery and droll narrative bringing laughter to lives that needed it. “I Feel So Good” is even more raucous, driven by Dave’s stinging lead guitar and Gene Taylor’s barrel-house piano and topped off by Phil’s good-hearted holler, still strong and handsome even after a near-fatal health scare in 2012. There can’t be many professors of mathematical semantics who have sounded this hip.

He brings a bracing gusto to unabashedly bawdy Broonzy songs like “How You Want It Done?” – kin to Muddy Waters’ fiercely carnal “Rollin’ And Tumblin’” – and the even more lubricious “Trucking Little Woman”, whose rockabilly twang and show-stopping guitar solos recall similarly steamy Blasters cuts like “Hollywood Bed”. The version, meanwhile, of another Broonzy standard, “Key To The Highway”, made famous in several version by Eric Clapton, is altogether more stately, the prominence given to Phil’s wailing harmonica part maybe a nod to the version of the song recorded as a tribute just after Big Bill’s death in 1958 by Little Walter and a gathering of Chicago blues nobility, including Muddy, Willie Dixon and Otis Spann. Best of all though is probably “Southern Flood Blues”, originally recorded as a country blues in 1937, something of a lamentation, but now recast as a hugely ominous rocker on the apocalyptic scale of Dylan’s “High Water (For Charley Patton)”, which is suitably drenched by torrential guitar, thunderous drums and spine-tingling harmonica.

Allan Jones

Neil Young: new solo acoustic shows announced

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Neil Young: new solo acoustic shows announced
Neil Young has announced two new solo acoustic shows. These take place at the Wang Theatre, Boston, on Sunday October 5 and Monday October 6. Tickets are available here. Pre-sale on the tickets starts today, July 9. These follow on from previous solo acoustic earlier this year in Chicago, Dallas...

Neil Young has announced two new solo acoustic shows.

These take place at the Wang Theatre, Boston, on Sunday October 5 and Monday October 6.

Tickets are available here.

Pre-sale on the tickets starts today, July 9.

These follow on from previous solo acoustic earlier this year in Chicago, Dallas, Los Angeles and New York, as well as four shows in Canada.

Young is currently on tour in Europe with Crazy Horse. They debuted a new song, reportedly called “Who’s Gonna Stand Up And Save The Earth?“, at the Reykjavík show on July 7.

Beck to release Song Reader album featuring Jack White, Jeff Tweedy, Laura Marling and Jarvis Cocker

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Beck to release Song Reader album featuring Jack White, Jeff Tweedy, Laura Marling and Jarvis Cocker
Beck is set to release a recorded version of his Song Reader project with an all-star cast including Jack White, Jeff Tweedy, Laura Marling and Jarvis Cocker. Two years ago, in 2012, Beck released the album in sheet music form, leaving it up to individual musicians around the world to interpret his...

Beck is set to release a recorded version of his Song Reader project with an all-star cast including Jack White, Jeff Tweedy, Laura Marling and Jarvis Cocker.

Two years ago, in 2012, Beck released the album in sheet music form, leaving it up to individual musicians around the world to interpret his compositions in their own style. Three live shows have been staged since that release and later this month, on July 28, the first Song Reader album will be officially released.

Beck himself contributes one song, titled Heaven’s Ladder.

The Song Reader tracklisting is:

Moses Sumney – ‘Title of this Song’

Fun – ‘Please Leave A Light On When You Go’

Tweedy – ‘The Wolf is on the Hill’

Norah Jones – ‘Just Noise’

Lord Huron – ‘Last Night You Were A Dream’

Bob Forrest – ‘Saint Dude’

Jack White – ‘I’m Down’

Beck – ‘Heaven’s Ladder’

Juanes – ‘Don’t Act Like Your Heart Isn’t Hard’

Laura Marling – ‘Sorry’

Jarvis Cocker – ‘Eyes That Say ‘I Love You”

David Johansen – ‘Rough On Rats’

Jason Isbell – ‘Now That Your Dollar Bills Have Sprouted Wings’

The Last Polka – ‘Marc Ribot’

Eleanor Friedberger – ‘Old Shanghai’

Sparks – ‘Why Did You Make Me Care?’

Swamp Dogg – ‘America, Here’s My Boy’

Jack Black – ‘We All Wear Cloaks’

Loudon Wainwright III – ‘Do We? We Do’

Gabriel Kahane with Ymusic – ‘Mutilation Rag’

Beck released his latest album, Morning Phase, in February of this year.

The 26th Uncut Playlist Of 2014

John Mulvey
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The 26th Uncut Playlist Of 2014

Last week, just as I was finishing off the 25th playlist of the year, the new Steve Gunn album arrived. This week, the last-minute radical guitar hero is Chris Forsyth, whose first studio album with the Solar Motel Band is absolutely killing it as I type. It reminds me that one of the most enjoyable things I did on my blog last year was compile - with a lot of help - this "Marquee Moon"/"Sailor's Life" Youtube playlist: a bunch of clips inspired by musicians currently operating in that elevated zone. Forsyth was one of the key inspirations for the list, and also one of the contributors, along with the other musicians like Cian Nugent, Tom Carter and Nathaniel Bowles. If you haven't heard it before, I can't recommend it enough. Other great stuff this week includes the new album by the amazing bluegrass vet Alice Gerrard, produced by MC Taylor of Hiss Golden Messenger, which comes strongly recommended. A quick reminder, too, that our new address for letters to the mag is uncut_feedback@ipcmedia.com: we'd love to hear from you. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 [REDACTED] 2 Steve Gunn – Way Out Weather (Paradise Of Bachelors) 3 Wand - Ganglion Reef (God/Drag City) 4 Syl Johnson – Diamond In The Rough (Fat Possum) 5 Spider Bags - Frozen Letter (Merge) 6 USA Out Of Vietnam - Crashing Diseases And Incurable Airplanes (Aurora Borealis) 7 Van Dyke Parks - Super Chief: Music For The Silver Screen (Bella Union) 8 Vashti Bunyan – Heartleap (FatCat) 9 Orlando Julius With The Heliocentrics - Jaiyede Afro (Strut) 10 Morrissey - World Peace Is None Of Your Business (Harvest) 11 Tweedy - Sukierae (dBpm) http://www.youtube.com/watch?v=iyO2EY38YcA 12 Alice Gerrard - Follow The Music (Tompkins Square) 13 A Winged Victory For The Sullen – Atomos (Erased Tapes) 14 Karen O - Crush Songs (Kobalt) 15 Blonde Redhead – Barragán (Kobalt) http://www.youtube.com/watch?v=dPmd2CXGpXQ 16 Sinoia Caves - Forever Dilating Eye (Jagjaguwar) 17 Sterling Roswell - The Call Of The Cosmos (Fire) 18 Mark Fry - South Wind, Clear Sky (Second Language) 19 King Tuff - Eyes Of The Muse (Sub Pop) 20 Various Artists – Night Walker: The Jack Nitzsche Story Volume 3 (Ace) 21 Chris Forysth & The Solar Motel Band - Intensity Ghost (No Quarter)

Last week, just as I was finishing off the 25th playlist of the year, the new Steve Gunn album arrived. This week, the last-minute radical guitar hero is Chris Forsyth, whose first studio album with the Solar Motel Band is absolutely killing it as I type.

It reminds me that one of the most enjoyable things I did on my blog last year was compile – with a lot of help – this “Marquee Moon”/”Sailor’s Life” Youtube playlist: a bunch of clips inspired by musicians currently operating in that elevated zone. Forsyth was one of the key inspirations for the list, and also one of the contributors, along with the other musicians like Cian Nugent, Tom Carter and Nathaniel Bowles. If you haven’t heard it before, I can’t recommend it enough.

Other great stuff this week includes the new album by the amazing bluegrass vet Alice Gerrard, produced by MC Taylor of Hiss Golden Messenger, which comes strongly recommended. A quick reminder, too, that our new address for letters to the mag is uncut_feedback@ipcmedia.com: we’d love to hear from you.

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

1 [REDACTED]

2 Steve Gunn – Way Out Weather (Paradise Of Bachelors)

3 Wand – Ganglion Reef (God/Drag City)

4 Syl Johnson – Diamond In The Rough (Fat Possum)

5 Spider Bags – Frozen Letter (Merge)

6 USA Out Of Vietnam – Crashing Diseases And Incurable Airplanes (Aurora Borealis)

7 Van Dyke Parks – Super Chief: Music For The Silver Screen (Bella Union)

8 Vashti Bunyan – Heartleap (FatCat)

9 Orlando Julius With The Heliocentrics – Jaiyede Afro (Strut)

10 Morrissey – World Peace Is None Of Your Business (Harvest)

11 Tweedy – Sukierae (dBpm)

12 Alice Gerrard – Follow The Music (Tompkins Square)

13 A Winged Victory For The Sullen – Atomos (Erased Tapes)

14 Karen O – Crush Songs (Kobalt)

15 Blonde Redhead – Barragán (Kobalt)

16 Sinoia Caves – Forever Dilating Eye (Jagjaguwar)

17 Sterling Roswell – The Call Of The Cosmos (Fire)

18 Mark Fry – South Wind, Clear Sky (Second Language)

19 King Tuff – Eyes Of The Muse (Sub Pop)

20 Various Artists – Night Walker: The Jack Nitzsche Story Volume 3 (Ace)

21 Chris Forysth & The Solar Motel Band – Intensity Ghost (No Quarter)

Jack White to release White Stripes live album, Live Under The Lights Of The Rising Sun

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Jack White to release White Stripes live album, Live Under The Lights Of The Rising Sun

A new live album from The White Stripes will be released through Jack White's Third Man subscription service later this year. Live Under The Lights Of The Rising Sun was recorded during the duo's first visit to Japan in October 2000 and will feature 31 tracks including covers of "I'm Bored" by Iggy Pop and Screaming Lord Sutch's "Jack The Ripper" plus an early version of "Dead Leaves And The Dirty Ground". The album will be the 21st release from The Vault subscription service offered by White's Nashville-based label. The White Stripes Japan gigs marked their first ever trip out of America as a band and saw them supporting The 5.6.7.8's at Tokyo venues Jam and Urga over two consecutive nights. The live LP will include both performances in full plus unseen photos taken during one of the shows and a die-cut, gatefold jacket. A snippet of "Hello Operator" from the album can be heard below. As previously reported , subscribers to The Vault service will also receive a new single by White's band The Dead Weather as part of the next release. The seven-inch gold-coloured vinyl single 'Buzzkill(er)' will be backed with 'It's Just Too Bad'. The songs follow the release of 'Rough Detective' and 'Open Up (That's Enough)' which were revealed at the start of the year. A new Dead Weather album is mooted for release in 2015. Their last LP, Sea Of Cowards, was released in 2010.

A new live album from The White Stripes will be released through Jack White’s Third Man subscription service later this year.

Live Under The Lights Of The Rising Sun was recorded during the duo’s first visit to Japan in October 2000 and will feature 31 tracks including covers of “I’m Bored” by Iggy Pop and Screaming Lord Sutch’s “Jack The Ripper” plus an early version of “Dead Leaves And The Dirty Ground”. The album will be the 21st release from The Vault subscription service offered by White’s Nashville-based label.

The White Stripes Japan gigs marked their first ever trip out of America as a band and saw them supporting The 5.6.7.8’s at Tokyo venues Jam and Urga over two consecutive nights.

The live LP will include both performances in full plus unseen photos taken during one of the shows and a die-cut, gatefold jacket. A snippet of “Hello Operator” from the album can be heard below.

As previously reported , subscribers to The Vault service will also receive a new single by White’s band The Dead Weather as part of the next release. The seven-inch gold-coloured vinyl single ‘Buzzkill(er)’ will be backed with ‘It’s Just Too Bad’.

The songs follow the release of ‘Rough Detective’ and ‘Open Up (That’s Enough)’ which were revealed at the start of the year. A new Dead Weather album is mooted for release in 2015. Their last LP, Sea Of Cowards, was released in 2010.

Watch Crosby, Stills & Nash cover Iggy Azalea’s “Fancy” with Jimmy Fallon’s ‘Neil Young’

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Watch Crosby, Stills & Nash cover Iggy Azalea’s “Fancy” with Jimmy Fallon’s ‘Neil Young’
Crosby, Stills & Nash performed a cover of Iggy Azalea's "Fancy" on Late Night With Jimmy Fallon last night. Click below to watch it now. They teamed up with the host (doing his impersonation of Young) to perform "Fancy", which has been top of the Billboard chart for the last six weeks. This...

Crosby, Stills & Nash performed a cover of Iggy Azalea’s “Fancy” on Late Night With Jimmy Fallon last night. Click below to watch it now.

They teamed up with the host (doing his impersonation of Young) to perform “Fancy”, which has been top of the Billboard chart for the last six weeks.

This isn’t the first time that Fallon has taken on the persona of Neil Young. Back in 2012, he joined the trio to perform Miley Cyrus’ ‘Party In The USA’. Additionally, Fallon impersonated Neil Young to cover LMFAO’s track ‘Sexy And I Know It’ alongside Bruce Springsteen back in 2011.

Later on in the show, Crosby, Stills and Nash performed two original compositions, “Teach Your Children” and “So Begins The Task”.

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