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Watch Paul McCartney play “Helter Skelter” with three members of Nirvana

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Paul McCartney was joined by the three surviving members of Nirvana at his gig in Seattle last night (July 19). See below for footage of McCartney and the Nirvana trio performing "Helter Skelter". McCartney was giving the first ever concert at the Safeco Field in Seattle, the city whose grunge scen...

Paul McCartney was joined by the three surviving members of Nirvana at his gig in Seattle last night (July 19). See below for footage of McCartney and the Nirvana trio performing “Helter Skelter”.

McCartney was giving the first ever concert at the Safeco Field in Seattle, the city whose grunge scene Nirvana became an integral part of. To mark the occasion, he welcomed Dave Grohl, Krist Novoselic and Pat Smear on stage during his encore to play “Cut Me Some Slack”, the track they recorded together last year (2012) for Grohl’s Sound City film project.

The Nirvana trio stayed on to play a selection of Beatles’ songs with McCartney: “Get Back”, “Long Tall Sally” [a song the The Beatles covered], “Helter Skelter”, “Golden Slumbers”, “Carry That Weight” and “The End”.

McCartney first played live with Grohl and Novoselic at a Hurricane Sandy benefit gig in New York last December. A few days later, they played ‘Cut Me Some Slack’ again on American TV show Saturday Night Live – this time joined by Smear on guitar.

However, the Seattle gig marks the first time McCartney and the Nirvana members have played multiple songs together – and the first time they’ve joined forces on Beatles material.

Pearl Jam debut two new songs at Chicago gig – watch

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Pearl Jam debuted two new songs at a concert in Chicago on Friday (July 19). Scroll down and click 'play' to watch fan footage of both songs being played live. The band were just seven songs into their gig at Chicago's Wrigley Field, Consequence of Sound reports, when torrential rain forced them of...

Pearl Jam debuted two new songs at a concert in Chicago on Friday (July 19). Scroll down and click ‘play’ to watch fan footage of both songs being played live.

The band were just seven songs into their gig at Chicago’s Wrigley Field, Consequence of Sound reports, when torrential rain forced them offstage.

After a delay of three hours, the band were finally able to return and rewarded the crowd by playing two previously unheard songs from their forthcoming album Lightning Bolt: the title track and “Future Days”. On the latter, the band were joined by producer Brendan O’Brien on keyboards.

Earlier this month (July), Pearl Jam announced that they will release Lightning Bolt, produced by O’Brien, on October 15.

Lightning Bolt will be the US band’s 10th studio album and their first since 2009’s Backspacer.

Morrissey cancels remaining South American tour dates

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Morrissey has cancelled his remaining tour dates in South America. Last week (July 13) the singer apologised for pulling a number of tour dates in Peru and Chile after being struck down with food poisoning. At the time, he said he would be well enough to return for a run of four dates in Argentina ...

Morrissey has cancelled his remaining tour dates in South America.

Last week (July 13) the singer apologised for pulling a number of tour dates in Peru and Chile after being struck down with food poisoning. At the time, he said he would be well enough to return for a run of four dates in Argentina and Brazil beginning in Buenos Aires on July 28.

However, none of these shows will now take place, Morrissey has confirmed. “I am informed today that the projected tour of South America is snuffed out, thus euthanized – due, I’m reliably advised, to lack of funding. It’s quite easy to sell tickets, yet impossible to transport band and crew from F to G,” the singer writes in a post on the True To You fansite.

“In a year when far too many disappointments have been buried this really is the last of many final straws, and I am not alone in feeling this,” the singer continues. “The future is suddenly absent, and my apologies are now so frequent as to be somewhat ridiculous, and it is I who apologize because no one else would bother.”

Later in the blog post, the singer adds: “Cancellations and illness have sucked the life out of all of us, and the only sensible solution seems to be the art of doing nothing.”

Over the past year Morrissey has postponed and cancelled a host of tour dates because of his mother’s and his own ill health. He recently revealed that he nearly died earlier this year due to medical problems.

Wadjda

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Wadjda is the first full-length feature film shot entirely inside Saudi Arabia, a conservative Islamic country where women are denied civic freedoms or any public role. It’s director is Haifaa Al-Mansour, a Saudi-born female filmmaker who now lives in Bahrain. While shooting on location in the Sau...

Wadjda is the first full-length feature film shot entirely inside Saudi Arabia, a conservative Islamic country where women are denied civic freedoms or any public role. It’s director is Haifaa Al-Mansour, a Saudi-born female filmmaker who now lives in Bahrain. While shooting on location in the Saudi capital, Riyadh, Al-Mansour had to hide in a production van, directing her actors via walkie-talkie, because she could not publicly mix with her male crew. Although her film is ostensibly an intimate story about an 11-year old girl living in Riyadh who dreams of owning a bike, nevertheless it projects a deeper message about Saudi society.

Wadjda, played by Waad Mohammed, is a precocious young Saudi girl from a lower-middle-class family in Riyadh; her spirit and tenacity are considered problematic by her school teachers, while Wadjda herself is perplexed by the Kingdom’s restrictive culture towards women. Much as women are not allowed to drive cars, girls – Wadjda leans – cannot ride bikes. Seeing no logic in this, Wadjda sets out to learn passages for the Quran for a school competition, her plan to use the prize money on offer to buy a bike.

With its simplicity and clarity, Al-Mansour’s film owes much to Italian noerealism – a plucky young child and a bicycle notwithstanding – but also Jafar Panahi’s films about the experiences of women and children in modern day Iran. Wadjda – and her mother, played by Reem Abdullah – are both struggling with the social barriers they face in Saudi society. Wadjda’s mother appears to be unable to conceive another child, so her husband is looking to take another wife. This is a country where the trappings of contemporary living are prized – high end cars, giant flat screen televisions, shopping malls –yet where an 11 year-old girl isn’t allowed under law to ride a bicycle. “Don’t leave the Quran open,†warns her mother, “in case the Devil spits inside it.†Unmissable.

Michael Bonner

Follow me on Twitter @MichaelBonner.

Steely Dan on recording new album: “We’ve been talking”

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Steely Dan's Donald Fagen and Walter Becker have been speaking about recording a new album. Interviewed separately by Rolling Stone ahead of the opening show on their 53-date Mood Swings American tour, Fagen discussed the possibility of a new Steely Dan album - which would be their first since 2003...

Steely Dan‘s Donald Fagen and Walter Becker have been speaking about recording a new album.

Interviewed separately by Rolling Stone ahead of the opening show on their 53-date Mood Swings American tour, Fagen discussed the possibility of a new Steely Dan album – which would be their first since 2003’s Everything Must Go.

Fagen said: “Yeah. We’ve been talking. We always talk about it on airplane rides. Usually we forget what we talked about before we do anything about it. But yeah, we actually had a conversation about it the other day, so who knows?”

Becker, meanwhile, when told of Fagen’s comments, replied: “Donald, Donald, Donald. Always Donald. Yeah, whatever Donald says, he’s right. Yeah.”

The interview is available online here.

Extremely rare 1986 Radiohead demo tape to be auctioned in September

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An extremely rare Radiohead demo cassette from 1986 is to be sold at auction this September. The demo cassette features six songs that have never appeared on any official Radiohead releases: "Fragile Friend", "Girl (In The Purple Dress)", "Everybody Knows", "Mountains (On The Move)", "Lemming Trail" and "Lock The Door". The nine-track demo cassette is rounded off by remixes of "Fragile Friend", "Lemming Trail" and "Lock The Door". At the time of recording, Radiohead were still known as On A Friday. Tracks from the demo cassette have appeared online in recent years and you can listen to "Lemming Trail" at the bottom of this article. The demo cassette will go to auction at 10.30am on Saturday, September 14 at Omega Auctions in Stockport. Auctioneer Paul Fairweather told NME that he expects the sale price to exceed £1,000 and also clarified the origins of the item. "It has come directly from an old friend of the band who was at school with them at Abingdon School. We have copies of his school yearbook from 85/86 showing him and all four members of the band," Fairweather explained. http://www.youtube.com/watch?v=09oGj1pPXDY

An extremely rare Radiohead demo cassette from 1986 is to be sold at auction this September.

The demo cassette features six songs that have never appeared on any official Radiohead releases: “Fragile Friend”, “Girl (In The Purple Dress)”, “Everybody Knows”, “Mountains (On The Move)”, “Lemming Trail” and “Lock The Door”.

The nine-track demo cassette is rounded off by remixes of “Fragile Friend”, “Lemming Trail” and “Lock The Door”. At the time of recording, Radiohead were still known as On A Friday. Tracks from the demo cassette have appeared online in recent years and you can listen to “Lemming Trail” at the bottom of this article.

The demo cassette will go to auction at 10.30am on Saturday, September 14 at Omega Auctions in Stockport. Auctioneer Paul Fairweather told NME that he expects the sale price to exceed £1,000 and also clarified the origins of the item.

“It has come directly from an old friend of the band who was at school with them at Abingdon School. We have copies of his school yearbook from 85/86 showing him and all four members of the band,” Fairweather explained.

John Cooper Clarke awarded honorary degree

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John Cooper Clarke has been awarded an honorary degree by the University of Salford. The honour was given to the poet yesterday (July 18) at a ceremony at The Lowry in Salford. The Salford native was awarded a doctorate of arts to pay tribute to his lengthy career. "What a thrill – who'd have th...

John Cooper Clarke has been awarded an honorary degree by the University of Salford.

The honour was given to the poet yesterday (July 18) at a ceremony at The Lowry in Salford. The Salford native was awarded a doctorate of arts to pay tribute to his lengthy career. “What a thrill – who’d have thought it? Now I’m a doctor, finally my dream of opening a cosmetic surgery business can become a reality!” he said.

“There’ve been lots of positive changes in the city since I worked at Salford Tech in the seventies, and I’m pleased to be known as Salford’s Bard and to have helped put it on the map,” he added.

Cooper Clarke features on the new Arctic Monkeys album, AM, on a track called “I Wanna Be Yours”.

John Martyn – Album By Album

From Uncut’s November 2006 issue (Take 114), the legendary singer-songwriter talks us through the cream of his crop of exceptional albums, including Solid Air, One World and Grace And Danger. “It’s about that need to be disconnected, to get somewhere else. The source of the sauce, if you likeâ...

From Uncut’s November 2006 issue (Take 114), the legendary singer-songwriter talks us through the cream of his crop of exceptional albums, including Solid Air, One World and Grace And Danger. “It’s about that need to be disconnected, to get somewhere else. The source of the sauce, if you like…â€

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“It’s not been a good morning,†growls John Martyn at home in Kilkenny. “I’ve just been done for speeding!†Just as Uncut is pondering the advisability of the pickled bard of the Echoplex tearing through the rural lanes of south-east Ireland, he grudgingly reveals that it was in fact his partner, Theresa, who has just attracted the attentions of the local Gardaí. Not that the old rascal remains averse to a little white line fever. At 58, Glasgow-born John Martyn remains the great outlaw figure of British music, architect of an unrivalled back catalogue blending blues, folk and rock, constructed with the aid of a pharmacy full of drugs and oceans of hard liquor. While pivotal albums Stormbringer! and Solid Air ensure he’s fêted by subsequent generations of musicians ranging from Paul Weller to Bright Eyes, Martyn keeps the trappings of stardom at a healthy distance. Indeed, when we first meet, he’s a little spiky, and looks at me as if he’s eyeing me up for a scrap.

As he guides us through his career, though, you realise that the abrasive bonhomie disguises a finely tuned bullshit detector. Less a slave to wanderlust since the amputation of his right leg below the knee in 2003, Martyn still plays live regularly, confessing “playing gigs is all I ever wanted to doâ€. And as an hour’s worth of ribald reminiscences comes to an end, spirits are high. The sun has crossed over the yardarm, and the great man has got more practical matters on his mind. “All this talk about drinking has made me thirsty,†he exclaims. “I’m off down the pub! Now, go forth and prosper!â€

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JOHN MARTYN – LONDON CONVERSATION

(Island, 1968)

Recorded for the princely sum of £158, London Conversation was released without fanfare in February 1968 on the fledgling Island label (later home to Fairport Convention and Nick Drake). An accurate reflection of his live set at the time, songs like “Fairytale Lullaby†highlight the influence of early heroes Bert Jansch and Davey Graham.

MARTYN: “It was a big step for me coming to London. I was from a folk background and, when I turned up, the hippy thing was in full swing. It didn’t bother me in the least. I was a hippy long before that: I used to go to school barefoot; I was already in my own little world. I was living in my stepfather’s house in Surbiton at the time, sleeping between two boilers. Not very comfortable, to say the least! I played all the established London folk clubs: Cousins… Bunjies off Charing Cross Road, but I wasn’t fussy. I’d play anywhere that would have me.

“Ten minutes away from where I lived was this club called the Kingston Folk Barge, where I’d play all the time. One night this guy called Theo Johnson came down and asked if Island could do my publishing. I said, ‘No’, but they could put an album out if they wanted. I knew that if I had a record in the shops, that it would get bums on seats. I recorded my live set in just four days flat. They’re good songs – it’s where I was at the time.â€

JOHN AND BEVERLEY MARTYN – STORMBRINGER!

(Island, 1970)

Having fallen in love with fellow folk singer Beverley Kutner, the pair headed to Woodstock in the summer of ’69. A marriage of his folk roots and cosmic notions du jour, Stormbringer! also reflected his increasing interest in guitar effects on “Would You Believe Meâ€.

“Joe Boyd at [production company] Witchseason never really liked me. I think he thought I was vulgar because I was working-class. But he sent me to New York to record Stormbringer! and that was the nicest thing he could ever have done. I was 19 and New York blew my mind. We stayed in the Chelsea Hotel for a couple of weeks before we started. It was 98°F and I had all the windows open and the air-conditioning on full blast; I didn’t have a clue. Woodstock was amazing. Dylan was living up the road, Hendrix used to arrive in a purple helicopter. Levon Helm from The Band just happened to be in the area and he ended up on the record. That was how it was in those days. Up until that point I’d been trying to be like Ray Davies or the Pet Shop Boys of folk, quintessentially British. But the American influences came through on Stormbringer!. The sleeve photo was taken by this little Japanese feller on Hampstead Heath. People say I look really young and angelic, and I suppose I was. It was all happening so fast: I’d meet Cat Stevens, Steve Winwood, and I wouldn’t think twice about it. Wonderful times. I was an innocent abroad, in every sense.â€

JOHN MARTYN – BLESS THE WEATHER

(Island, 1971)

With the newly recruited ex-Pentangle bassist Danny Thompson, and eager to distance himself from the burgeoning folk-rock movement, Bless The Weather saw Martyn display a new found maturity with simple, atmospheric songs and an increasing use of effects.

“Danny Thompson is on this one. He’s a miserable bastard, but he’s a great bass player. He really made a difference; on those sessions he was unbelievable. I hadn’t got the Echoplex yet – I was still using a WEM Copicat. I was feeling my way.

“As I remember it, the recording was pretty light-hearted. We’d put the songs down, then go out. People ask me what Bless The Weather is about, but it was just how I was feeling – there’s no specific incident I can put it down to. Like all the good ones, it just popped out of the old brainbox. I never question why they arrive – it’s a non-negotiable contract with the future. I was drinking a bit by then – I felt as though I’d be letting the side down if I didn’t – but I wasn’t what you’d call serious. For me, it goes back to the blues tradition of the 1920s and acoustic players like Robert Johnson. It’s about that need to be disconnected, to get somewhere else. The source of the sauce, if you like. The really heavy stuff came afterwards when we went on tour. Did Danny lead me down that path? No, mate. I found it myself – and I was very glad to see it.â€

JOHN MARTYN – SOLID AIR

(Island, 1973)

A musical antidote to glam, Solid Air’s woozy delivery and sombre lyrics made it a ubiquitous presence in halls of residence throughout the ’70s. The prototype for everything from ambient to trip-hop, its bleak mix of blues, jazz and rock is now universally regarded as a classic.

“We’d moved to Hastings by then and I loved the whole feel of the place. I come from a fishing family – my grandad had seven boats – and I liked the attitude of the people. You could live there for 50 years and the locals would still consider you a blow-hard. I was happy and the songs just flowed. Looking back, I knew at the time it was a good album. People would come down to visit and I’d play them ‘May You Never’.

“The stories about the drinking while I recorded Solid Air are all true. They would mostly start with bets. Danny Thompson would say something like, ‘I bet you’d like a bucket of whisky in here, wouldn’t you?’ I’d said yeah, and before I knew it I’d be sitting there drinking spirits out of a bucket. I’m not sure if I ever finished it or not. It was mostly done at night; I’d record the vocals and the guitar at the same time. It’s well documented that the song ‘Solid Air’ is about Nick Drake. I didn’t see him so much around that time, and he died the next year, but he probably heard it. It seemed apposite; he was just too delicate for this world.â€

JOHN MARTYN – ONE WORLD

(Island, 1977)

Inspired by a sabbatical at label boss Chris Blackwell’s home in Jamaica, the dub inflections of One World saw Martyn hit a chord during the height of punk. Boasting an all-star cast (Lee ‘Scratch’ Perry, Steve Winwood) and recorded in a fug of narcotics, it pleased the critics (NME called it “mean, moody and magnificent… just plain better than everything elseâ€) and inspired everyone from Jah Wobble to Massive Attack.

“This was recorded at [Island Records founder] Chris Blackwell’s house at Woolwich Green Farm in Berkshire. He’s been an incredibly influential figure for me throughout my life. I think we did it in 10 or 12 days. It was a beautiful place. There was a lovely garden and a lake you could look out onto. I was really lonely at the time, and you can tell – it’s in the music. There’s some nice chords there, though. If you listen closely, on the song ‘Small Hours’ you can hear the 2.39 to Windsor going past in the distance. It was wonderful – three o’clock in the morning, sitting outside, looking over this lake, smoking opium. That’s what I call ambient!

“I’ve always taken things in the studio to get the right atmosphere, and you can tell we were somewhere else when we made this one! One World is still one of my favourites. Musically speaking I was really pleased with it. I knew that I’d moved on.â€

JOHN MARTYN – GRACE & DANGER

(Island, 1980)

With pain and despair as the driving force – prompted by the dissolution of his marriage to Beverley – Martyn delivered an autobiographical outpouring to match Dylan’s Blood On The Tracks. Legend has it that the album’s release was delayed for a year by Chris Blackwell because he found it “too depressingâ€.

“I was in a strange position when I recorded Grace & Danger. I didn’t have to make an album, I just did. It’s terribly sad but it’s an accurate reflection of what was going on in my life at the time. I’d been on the road a long time and, as a result, me and Bev broke up. I didn’t have the intention of that happening, but when I went on the road I had intent, if you know what I mean. I was peripatetic at the time. Chris Blackwell had a flat in Basing Street he let me stay in. A very cool gaff. It had a bath the size of a swimming pool! I really like ‘Some People Are Crazy’. It’s true. There are very few people I can get along with; or can get along with me. I have no idea why. I call it Joe Boyd syndrome.

“Phil Collins played the drums on it. He was a great friend to me. Very sweet. I think he was going through the same thing at that time with his wife. I was drinking the cooking sherry, anything I could get my hands on. It’s a very heartfelt album. But then they’re all love songs, really.â€

Richard Hell: “I don’t know what Tom Verlaine does now… but there’s still a connection”

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Richard Hell answers your questions in the new issue of Uncut, dated August 2013 and out now. The co-founder of Television, the Heartbreakers and the Voidoids discusses punk, drugs, Madonna and the afterlife in the piece, and also reveals his current relationship (or lack of one) with his former ...

Richard Hell answers your questions in the new issue of Uncut, dated August 2013 and out now.

The co-founder of Television, the Heartbreakers and the Voidoids discusses punk, drugs, Madonna and the afterlife in the piece, and also reveals his current relationship (or lack of one) with his former Television bandmate, Tom Verlaine.

“What level of connection there is, is just some kind of inevitable consequence of the friendship that we once had,†Hell explains.

“I don’t even know what he does now. I never see him or talk to him, and after my book I’m sure that’s even less likely. But, yes, sure, there’s a connection in the sense that we spent so much time together in a period that was really crucial for me.

“He is just necessarily built into who I am.â€

As well as queries from readers, Hell answers questions from famous acquaintances, including Thurston Moore and Richard Lloyd.

The new issue of Uncut is out now.

The 27th Uncut Playlist Of 2013

No, unfortunately “Bright Phoebus†isn’t being reissued. But what prompted me to dig it out this week was the news of Bright Phoebus Revisited, a concert tour this autumn that promises the album recreated live by every Waterson they could find, along with various guests including Jarvis Cocker and Richard Hawley. The dates are London Barbican (11), Warwick Arts Centre (12), Liverpool Philharmonic Hall (14), Brighton Dome (15) and Bristol Colston Hall (16). Could be interesting: amazing record. Some good new arrivals at the back end of this list, as you’ll see. Fuzz, in case you don’t know, are Ty Segall’s latest alternative manifestation. Also please note new ones by Tim Hecker and Tony Joe White, and the strong Mazzy Star track. I’ll let you know when I get the album… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Chris Thile – Bach: Sonatas And Partitas, Volume One (Nonesuch) http://www.youtube.com/watch?v=wAUoI49Ndmk 2 Promised Land Sound - Promised Land Sound (Paradise Of Bachelors) 3 Moon Duo – High Over Blue (Souterrain Transmissions) 4 Desert Heat – Cat Mask At Huggie Temple (MIE Music) 5 Roy Harper – Man & Myth (Bella Union) 6 Matthew E White – Big Love (Hot Chip Remix) (Domino) 7 The Weeknd – Belong To The World (Island) 8 Ultramarine – This Time Last Year (Real Soon) 9 Nilsson – Nilsson Sings Newman (RCA) 10 Dustin Wong – Mediation Of Ecstatic Energy (Thrill Jockey) 11 Trentemoller/Low – The Dream (In My Room) 12 Fuzz – Fuzz (In The Red) http://www.youtube.com/watch?v=N1ArAo23mdo 13 Frank Ocean – Nostalgia, Ultra (Self-released) 14 Bill Evans – Symbiosis (MPS) 15 16 Mazzy Star – California (Rhymes Of An Hour) http://www.youtube.com/watch?v=oEf1Qq6upEU 17 Mountains – Mountains Mountains Mountains (Thrill Jockey) 18 Donso – Denfila (Comet) 19 Willis Earl Beal – Nobody Knows (XL) 20 Factory Floor – Factory Floor (DFA) 21 Tony Joe White – Hoodoo (Yeproc) 22 Tim Hecker – Virgins (Kranky) 23 Lal & Mike Waterson – Bright Phoebus (Trailer) 24 Bill Callahan – Dream River (Drag City) 25 Goldfrapp – Tales Of Us (Mute)

No, unfortunately “Bright Phoebus†isn’t being reissued. But what prompted me to dig it out this week was the news of Bright Phoebus Revisited, a concert tour this autumn that promises the album recreated live by every Waterson they could find, along with various guests including Jarvis Cocker and Richard Hawley. The dates are London Barbican (11), Warwick Arts Centre (12), Liverpool Philharmonic Hall (14), Brighton Dome (15) and Bristol Colston Hall (16). Could be interesting: amazing record.

Some good new arrivals at the back end of this list, as you’ll see. Fuzz, in case you don’t know, are Ty Segall’s latest alternative manifestation. Also please note new ones by Tim Hecker and Tony Joe White, and the strong Mazzy Star track. I’ll let you know when I get the album…

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

1 Chris Thile – Bach: Sonatas And Partitas, Volume One (Nonesuch)

2 Promised Land Sound – Promised Land Sound (Paradise Of Bachelors)

3 Moon Duo – High Over Blue (Souterrain Transmissions)

4 Desert Heat – Cat Mask At Huggie Temple (MIE Music)

5 Roy Harper – Man & Myth (Bella Union)

6 Matthew E White – Big Love (Hot Chip Remix) (Domino)

7 The Weeknd – Belong To The World (Island)

8 Ultramarine – This Time Last Year (Real Soon)

9 Nilsson – Nilsson Sings Newman (RCA)

10 Dustin Wong – Mediation Of Ecstatic Energy (Thrill Jockey)

11 Trentemoller/Low – The Dream (In My Room)

12 Fuzz – Fuzz (In The Red)

http://www.youtube.com/watch?v=N1ArAo23mdo

13 Frank Ocean – Nostalgia, Ultra (Self-released)

14 Bill Evans – Symbiosis (MPS)

15

16 Mazzy Star – California (Rhymes Of An Hour)

17 Mountains – Mountains Mountains Mountains (Thrill Jockey)

18 Donso – Denfila (Comet)

19 Willis Earl Beal – Nobody Knows (XL)

20 Factory Floor – Factory Floor (DFA)

21 Tony Joe White – Hoodoo (Yeproc)

22 Tim Hecker – Virgins (Kranky)

23 Lal & Mike Waterson – Bright Phoebus (Trailer)

24 Bill Callahan – Dream River (Drag City)

25 Goldfrapp – Tales Of Us (Mute)

Former HMV worker opens music store called HVM

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A former HMV worker has opened a music store in Derry called HVM. Entertainment.ie reports that Tony Cregan has opened up the replacement shop after his branch of HMV closed down earlier this year. Cregan, who ran the Derry HMV, opened the new store after he got 15,000 signatures on a petition in order to save the original branch of the high street music store and saw a gap in the market. Of the store name, he commented: "We thought what is the point calling the new show Local CDs, or whatever, we'll just call it HVM. HMV is gone." However, Cregan was contacted by Hilco, the restructuring company who bought out HMV, who asked him to change the name. A letter from Hilco stated that the "continued presence in the market of your business operating under the name HVM has caused and will continue to cause substantial damage to our client's reputation and goodwill." Cregan responded by turning the store's sign upside down and the shop is now called WAH. Cregan said: "People are saying the vibe here is great, it's really friendly. I'd love to say that was our intention all along and we're really smart, but that wasn't the plan at all." Meanwhile, HMV is reportedly looking to return to its Oxford Street flagship store in London. The retailer which went into administration earlier this year, is in negotiation to move back into the 20,000 sq ft store at 363 Oxford Street. The site is currently occupied by the US chain Footlocker. According to the Evening Standard, HMV has exchanged contracts on the shop's lease, subject to landlord approval. A relaunch of the retailer, which went into administration in January saddled with £176 million debt, is expected later this year. While no exact details have been confirmed, it is expected that a new HMV website will focus on a music and film streaming service similar to The Vault, the digital streaming platform offered by its sister company in Canada. Previously, HMV UK lost money selling CDs and DVDs from its website because of distribution and postage costs. Photo credit: PA

A former HMV worker has opened a music store in Derry called HVM.

Entertainment.ie reports that Tony Cregan has opened up the replacement shop after his branch of HMV closed down earlier this year. Cregan, who ran the Derry HMV, opened the new store after he got 15,000 signatures on a petition in order to save the original branch of the high street music store and saw a gap in the market. Of the store name, he commented: “We thought what is the point calling the new show Local CDs, or whatever, we’ll just call it HVM. HMV is gone.”

However, Cregan was contacted by Hilco, the restructuring company who bought out HMV, who asked him to change the name. A letter from Hilco stated that the “continued presence in the market of your business operating under the name HVM has caused and will continue to cause substantial damage to our client’s reputation and goodwill.” Cregan responded by turning the store’s sign upside down and the shop is now called WAH. Cregan said: “People are saying the vibe here is great, it’s really friendly. I’d love to say that was our intention all along and we’re really smart, but that wasn’t the plan at all.”

Meanwhile, HMV is reportedly looking to return to its Oxford Street flagship store in London. The retailer which went into administration earlier this year, is in negotiation to move back into the 20,000 sq ft store at 363 Oxford Street. The site is currently occupied by the US chain Footlocker. According to the Evening Standard, HMV has exchanged contracts on the shop’s lease, subject to landlord approval.

A relaunch of the retailer, which went into administration in January saddled with £176 million debt, is expected later this year. While no exact details have been confirmed, it is expected that a new HMV website will focus on a music and film streaming service similar to The Vault, the digital streaming platform offered by its sister company in Canada. Previously, HMV UK lost money selling CDs and DVDs from its website because of distribution and postage costs.

Photo credit: PA

Alice Cooper: “Calling Mumford And Sons a rock band is an offence to rock ‘n’ roll”

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Alice Cooper has claimed that branding Mumford and Sons a rock band would be an "offence to rock 'n' roll". Speaking to Fuse, the shock-rock singer said that modern musicians were "afraid to be in a rock band" and claimed that the current generation need to "quit eating vegetarian food" and "eat a...

Alice Cooper has claimed that branding Mumford and Sons a rock band would be an “offence to rock ‘n’ roll”.

Speaking to Fuse, the shock-rock singer said that modern musicians were “afraid to be in a rock band” and claimed that the current generation need to “quit eating vegetarian food” and “eat a steak” instead.

Asked for his views on current rock music, he said: “I just feel that this whole generation needs to all eat a steak. Maybe they just need to quit eating vegetarian food and get out there and get some blood pumping in their system. Rock ‘n’ roll is not about ‘Happy happy happy, everything’s okay. We’re The Lumineers, let’s clog dance.’ Hey, there’s a place for that. If I wanted to see a great clog dancing band, I’d see The Lumineers.”

Using Mumford And Sons as an example, meanwhile, he went on to add: “Mumford And Sons are great at what they do. But it’s not rock ‘n’ roll. Don’t call it rock ‘n’ roll. It’s an offence to rock ‘n’ roll.”

“I get they want to be folk rock, and I guess they want to look like everybody else,” he continued. “I’m old school when it comes to if you’re in a band, you’re an outlaw. You don’t play by those rules, you’re a rock ‘n’ roll outlaw. It doesn’t mean you have to be on drugs,, but when you get onstage you don’t play the guitar up here, and it’s not an acoustic guitar. You play the guitar down here. It doesn’t come from your brain, it comes from your guts. It comes from your groin. It’s sexual. It’s tribal.”

He finished by saying: “Finally, I just went ‘Okay – you guys don’t want to be rock bands, great. That’s better for us’. There’s more for Foo Fighters, there’s more for Green Day, more for the bands that really are rock bands. I don’t understand why everybody is so afraid to be in a rock band.”

Cooper, who recently gave fans the chance to play a round of golf with him for the sum of $10,000, released his most recent studio album Welcome 2 My Nightmare in September 2011.

John Bonham to appear as hologram in son’s tribute band?

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John Bonham could appear as a hologram in his son Jason Bonham's tribute band. Jason, who joined Led Zeppelin for their last proper show at London's O2 Arena in December 2007, told Legendary Rock Interviews that he had been speaking to special effects experts about the possibility of duetting with...

John Bonham could appear as a hologram in his son Jason Bonham’s tribute band.

Jason, who joined Led Zeppelin for their last proper show at London’s O2 Arena in December 2007, told Legendary Rock Interviews that he had been speaking to special effects experts about the possibility of duetting with his father in his group The Led Zeppelin Experience.

“When I first started doing this I was working with some of the people behind some of the biggest tribute tours like Pink Floyd Experience, The Beatles and now I’m doing it,” he said. “It’s imperative that i continue putting together the best shows and take it to the next level. I’m talking to people about holograms and my dream is to do the hologram drum solo with my dad next to me.”

Last month, John Paul Jones quashed hopes that the rock behemoths could play a series of reunion shows in the near future as he is too busy writing an opera. Singer Robert Plant had hinted in February that he would be open to the idea of Zeppelin reuniting next year, but Jones said a tour was unlikely as “2014 is full of opera for me at the moment.”

Although the band have not performed together since their London O2 Arena gig in 2007, a film of the concert titled Celebration Day was released on DVD in November 2012 following a brief run in cinemas.

Hear Kings Of Leon new single “Supersoaker”

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Kings Of Leon have debuted their new single "Supersoaker" - scroll down to the bottom of the page and click to listen. The track, which was broadcast on Zane Lowe's Radio One show yesterday evening (July 17), is the first track to be taken from the band's forthcoming new album Mechanical Bull. The...

Kings Of Leon have debuted their new single “Supersoaker” – scroll down to the bottom of the page and click to listen.

The track, which was broadcast on Zane Lowe’s Radio One show yesterday evening (July 17), is the first track to be taken from the band’s forthcoming new album Mechanical Bull. The single is also now available as a download.

Speaking on Radio One last night, singer Caleb Followill said that the band had felt under no pressure while making the highly-anticipated new LP. “I think the last one took the pressure of us,” he said. “Come Around Sundown followed-up to what was at the point the biggest record of our career [2008’s Only By The Night], so going into this record it was like, ‘The monkey’s off our back, we don’t have that pressure of whether we’re going to be able to match what the last record did.’ We changed it up a bit on this record.”

He and his bandmate Nathan Followill also hinted that they had enough material left over from the sessions to start work on another LP straight away as there was “still a lot of material at the studio waiting” and that the “next record’s halfway done, almost”.

The album is out on September 24. Bassist Jared Followill told NME in March of this year: “I thought we were going to make a really mature album but I’m amazed how youthful it sounds.”

Since then, Jared has revealed that the album is “more musically complicated” than the band’s previous efforts. In a Q&A with fans on Twitter last month (May 27), he also said the “vibe” of the record could be compared to their first two albums – 2003’s Youth And Young Manhood and 2004’s Aha Shake Heartbreak – but that the songs sounded like a “culmination” of all their previous work.

Van Morrison to release deluxe edition of Moondance

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Van Morrison is to release a deluxe edition of his 1970 album, Moondance. It will be released by Warner Bros on September 30 across various formats. A 4 CD/1 Blu-ray Deluxe Edition will feature a newly remastered version of the original album, three discs of previously unreleased music from the se...

Van Morrison is to release a deluxe edition of his 1970 album, Moondance.

It will be released by Warner Bros on September 30 across various formats.

A 4 CD/1 Blu-ray Deluxe Edition will feature a newly remastered version of the original album, three discs of previously unreleased music from the sessions, and a Blu-ray Audio disc with high-resolution 48K 24 bit PCM stereo and DTS-HD Master Audio 5.1 surround sound audio of original album. It will be presented in a linen-wrapped folio and includes a booklet with liner notes from Alan Light and original engineer Elliot Scheiner.

A 2CD Expanded Edition set that features the newly remastered version of the original album and 11 previously unreleased tracks drawn from highlights from the Deluxe Edition.

A Standard Edition of the newly remastered version of the original album.

The full track listing for Moondance Deluxe Edition is:

Disc One – Original Album Remastered

1 “And It Stoned Meâ€

2 “Moondanceâ€

3 “Crazy Loveâ€

4 “Caravanâ€

5 “Into The Mysticâ€

6 “Come Runningâ€

7 “These Dreams Of Youâ€

8 “Brand New Dayâ€

9 “Everyoneâ€

10 “Glad Tidingsâ€

Disc Two – All Previously Unreleased

1. “What do we call this Van?â€

2. “Caravan†(Take 1)

3. “Caravan†(Takes 2-3)

4. “Caravan†(Take 4)

5. “Caravan†(Takes 5-6)

6. “Caravan†(Take 7)

7. “Caravan†(Take 8)

8. “I’ve Been Working†(Early Version Take 1)

9. “I’ve Been Working†(Early Version Take 2)

10. “I’ve Been Working†(Early Version Take 5)

11. “Nobody Knows You When You’re Down And Out†(Outtake)

12. “I Shall Sing†(Take 1)

13. “I Shall Sing†(Takes 2-3)

14. “I Shall Sing†(Takes 4-6)

15. “I Shall Sing†(Take 7)

16. “I Shall Sing†(Takes 8-12)

17. “I Shall Sing†(Take 13)

Disc Three – All Previously Unreleased

1. “Into The Mystic†(Take 10)

2. “Into The Mystic†(Take 11)

3. “Into The Mystic†(Takes 12-13)

4. “Into The Mystic†(Takes 14-16)

5. “Into The Mystic†(Take 17)

6. “Brand New Day†(Take 1)

7. “Brand New Day†(Take 2)

8. “Brand New Day†(Take 3)

9. “Brand New Day†(Take 4)

10. “Brand New Day†(Takes 5-6)

11. “Brand New Day†(Take 7)

12. “Glad Tidings (Take 1)

13. “Glad Tidings (Takes 2-4)

14. “Glad Tidings (Takes 7-8)

15. “Glad Tidings (Take 9)

16. “Caravan Redo†(Takes 1-2)

17. “Caravan Redo†(Take 3)

Disc Four – All Previously Unreleased

1. “Come Running†(Take 1)

2. “Come Running†(Take 2)

3. “Come Running†(Takes 3-4)

4. “Come Running†(Take 5)

5. “Come Running†(“Rolling On 4â€)

6. “Moondance†(Take 21)

7. “Moondance†(Take 22)

8. “Glad Tidings†(Alt. Version)

9. “These Dreams Of You†(Alt Version)

10. “Crazy Love†(Remix)

11. “Glad Tidings†(Remix 1)

12. “Glad Tidings†(Remix 2)

13. “Glad Tidings†(Remix 3)

14. “Caravan†(Remix)

15. “These Dreams Of You†(Remix)

16. “I Shall Sing†(Mix)

Disc Five

Blu-Ray Audio disc with high-resolution 48K 24 bit PCM stereo and DTS-HD Master Audio 5.1 surround sound audio of original album (no video)

The track listing for Moodance Expanded Edition is:

Disc One

Original Album Remastered

Disc Two – All Previously Unreleased

1. “Caravan†(Take 4)

2. “Nobody Knows You When You’re Down And Out†(Outtake)

3. “Into The Mystic†(Take 11)

4. “Brand New Day†(Take 3)

5. “Glad Tidings†(Alt. Version)

6. “Come Runningâ€(Take 2)

7. “Crazy Love†(Mono Mix)

8. “These Dreams Of You†(Alt. Version)

9. “Moondance†(Take 22)

10. “I Shall Sing†(Take 7)

11. “I’ve Been Working†(Early Version, Take 5)

ZZ Top – The Complete Studio Albums 1970 – 1990

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100 tracks from the first twenty years of "that Little ol’ band from Texas" By Luke Torn... As high-minded concepts from low-aiming modern primitives go, ZZ Top, the blues-and-boogie trio that arose from the ashes of the Texas garage/psych scene at the dawn of the 1970s, are a wonder of nature, a genuine pop culture phenomenon. Simple to the extreme—not to say simplistic—the group (singer/guitarist Billy Gibbons, bassist Dusty Hill, drummer Frank Beard) has parlayed a penchant for amped-up John Lee Hooker rhythms, gonzo guitar, and a rare knack for reinvention into four-decades-plus of sustained, oftentimes absurd, madness and mayhem. The Complete Studio Albums conveniently collects ZZ Top’s signature work—their first 10 albums—reverting to long-unavailable original mixes for three titles (first two albums, plus 1976’s Tejas), cutting out in time to skip their sketchier, post-Warners era. Arriving just as '60s social upheaval was bisecting into ‘70s introspection and hedonism, proto-Top headed decidedly in the latter direction, greasily riffing on the popular power-trio approach of the day (cf. Cream, Jimi Hendrix Experience, Grand Funk Railroad), attaching teenage lyrics of drugs, booze, and wild, wild women to filthy electric blues templates laid out by the aforementioned Hooker, Elmore James, Slim Harpo, T-Bone Walker, Albert King, and so on. Other than Gibbons' teeth-rattling guitar, they were unflashy purists, harboring few concessions to pop ornateness. Oddly enough, ZZ Top might have been most notable—circa their ‘80s arena-rocking prime—for everything they weren’t. "Brown Sugar," a sprawling, raucous bloozer from their 1970 debut, is as accurate a Top blueprint as any: leering sexuality (see also: sexism, misogyny), Gibbons' slurred, drunk-as-a-pirate vocals, grimy guitar blasts reverberating through the song's midsection, and a roiling rhythmic undertow. Then there's "Backdoor Love Affair": See above, but string it tighter, and push the tempo a bit. Repeat when necessary. As they evolved—a relative term here—they sharpened their stubborn individualism, carving out comic portraits, as on Tres Hombres' “Waitin’ for the Bus,†of sad-sack characters beaten down by the system, just trying to get by. But mostly their protagonists, sad sacks or not, just wanted to get drunk, high, and laid. As such, ZZ Top proved the perfect elixir. You really didn't need to think, other than where the next joint and tequila shot were coming from. And in this, ZZ Top excelled: Endless sex-and-drug double entendres and catchy sing-song slogans—stretched out in exalted redundancy via boogie-til-your-eyeballs-fall-out stomps. Their sonic trademark for the next decade set, ZZ Top set about sharpening up their repertoire. 1972's Rio Grande Mud mostly repeated the first album's formula, but on 1973's Tres Hombres they hit their stride, sometimes pushing their blues into funkyland. Gibbons' stabbing riffs are sharper here, and surprising attempts at balladic moderation--like “Hot, Blue and Righteousâ€--poke through. If the crackling, metalloid "Beer Drinkers and Hell Raisers" was an idealistic statement of purpose—Gibbons machine-gunning frantic riffs in all directions—it was "La Grange," Hooker's "Boogie Chillun" retooled for white Texas kids headed to the brothel, that nudged the charts, pushing them aboveground, into pop consciousness. Fandango! was 1975’s entrée, and though it contained the prototypical ZZ Top single—“Tushâ€â€”it was weighted down by a just-ok live side. The tired-and-drained Tejas portended a kind of dead-end, especially given that white-boy blues bands, historically speaking, are hardly adept at reinvention. But three years of woodshedding—during which disco and punk whizzed by—witnessed a new trajectory. Degüello (1979) and El Loco (1981) presented new, sleek, modernized thumpa-thumpa, liberally spiked with heretofore undetected comic distance and self-deprecating humor. Signature songs, FM staples - “Dark Sunglasses,†“I’m Bad, I’m Nationwide,†“Pearl Necklace,†“Tube Snake Boogieâ€â€” were duly minted, extending their raunchy repertoire, and proving a weird theory: The more ZZ Top dumbed it down—the more beloved they became, the more their legacy grew. This revelation came in handy: Eliminator and its cheap knockoff Afterburner were stoopid taken to new heights; see, especially, "TV Dinners," "Velcro Fly," "Woke Up With Wood," for god's sake. But within their nefarious mix of bludgeoning, metronomic (headache-inducing) hi-tech beats, synth washes, machine-cut guitar licks, and hairy, cartoon videos—were irresistible, airwave-ready hooks, escapist fodder nerve for the MTV minions: "Sharp Dressed Man", "Gimme All Your Lovin'", "Legs", "Sleeping Bag", raced up the charts, monuments to '80s cheese. Ultimately, the stereotype backed them into a corner; 1990's Recycler completed the trashy trilogy, but barely registered—an afterthought—beckoning yet further new-look incarnations. Luke Torn

100 tracks from the first twenty years of “that Little ol’ band from Texas” By Luke Torn…

As high-minded concepts from low-aiming modern primitives go, ZZ Top, the blues-and-boogie trio that arose from the ashes of the Texas garage/psych scene at the dawn of the 1970s, are a wonder of nature, a genuine pop culture phenomenon. Simple to the extreme—not to say simplistic—the group (singer/guitarist Billy Gibbons, bassist Dusty Hill, drummer Frank Beard) has parlayed a penchant for amped-up John Lee Hooker rhythms, gonzo guitar, and a rare knack for reinvention into four-decades-plus of sustained, oftentimes absurd, madness and mayhem.

The Complete Studio Albums conveniently collects ZZ Top’s signature work—their first 10 albums—reverting to long-unavailable original mixes for three titles (first two albums, plus 1976’s Tejas), cutting out in time to skip their sketchier, post-Warners era.

Arriving just as ’60s social upheaval was bisecting into ‘70s introspection and hedonism, proto-Top headed decidedly in the latter direction, greasily riffing on the popular power-trio approach of the day (cf. Cream, Jimi Hendrix Experience, Grand Funk Railroad), attaching teenage lyrics of drugs, booze, and wild, wild women to filthy electric blues templates laid out by the aforementioned Hooker, Elmore James, Slim Harpo, T-Bone Walker, Albert King, and so on. Other than Gibbons’ teeth-rattling guitar, they were unflashy purists, harboring few concessions to pop ornateness. Oddly enough, ZZ Top might have been most notable—circa their ‘80s arena-rocking prime—for everything they weren’t.

“Brown Sugar,” a sprawling, raucous bloozer from their 1970 debut, is as accurate a Top blueprint as any: leering sexuality (see also: sexism, misogyny), Gibbons’ slurred, drunk-as-a-pirate vocals, grimy guitar blasts reverberating through the song’s midsection, and a roiling rhythmic undertow. Then there’s “Backdoor Love Affair”: See above, but string it tighter, and push the tempo a bit. Repeat when necessary.

As they evolved—a relative term here—they sharpened their stubborn individualism, carving out comic portraits, as on Tres Hombres‘ “Waitin’ for the Bus,†of sad-sack characters beaten down by the system, just trying to get by. But mostly their protagonists, sad sacks or not, just wanted to get drunk, high, and laid. As such, ZZ Top proved the perfect elixir. You really didn’t need to think, other than where the next joint and tequila shot were coming from. And in this, ZZ Top excelled: Endless sex-and-drug double entendres and catchy sing-song slogans—stretched out in exalted redundancy via boogie-til-your-eyeballs-fall-out stomps.

Their sonic trademark for the next decade set, ZZ Top set about sharpening up their repertoire. 1972’s Rio Grande Mud mostly repeated the first album’s formula, but on 1973’s Tres Hombres they hit their stride, sometimes pushing their blues into funkyland. Gibbons’ stabbing riffs are sharper here, and surprising attempts at balladic moderation–like “Hot, Blue and Righteous‖poke through. If the crackling, metalloid “Beer Drinkers and Hell Raisers” was an idealistic statement of purpose—Gibbons machine-gunning frantic riffs in all directions—it was “La Grange,” Hooker’s “Boogie Chillun” retooled for white Texas kids headed to the brothel, that nudged the charts, pushing them aboveground, into pop consciousness.

Fandango! was 1975’s entrée, and though it contained the prototypical ZZ Top single—“Tushâ€â€”it was weighted down by a just-ok live side. The tired-and-drained Tejas portended a kind of dead-end, especially given that white-boy blues bands, historically speaking, are hardly adept at reinvention.

But three years of woodshedding—during which disco and punk whizzed by—witnessed a new trajectory. Degüello (1979) and El Loco (1981) presented new, sleek, modernized thumpa-thumpa, liberally spiked with heretofore undetected comic distance and self-deprecating humor. Signature songs, FM staples – “Dark Sunglasses,†“I’m Bad, I’m Nationwide,†“Pearl Necklace,†“Tube Snake Boogieâ€â€” were duly minted, extending their raunchy repertoire, and proving a weird theory: The more ZZ Top dumbed it down—the more beloved they became, the more their legacy grew.

This revelation came in handy: Eliminator and its cheap knockoff Afterburner were stoopid taken to new heights; see, especially, “TV Dinners,” “Velcro Fly,” “Woke Up With Wood,” for god’s sake. But within their nefarious mix of bludgeoning, metronomic (headache-inducing) hi-tech beats, synth washes, machine-cut guitar licks, and hairy, cartoon videos—were irresistible, airwave-ready hooks, escapist fodder nerve for the MTV minions: “Sharp Dressed Man“, “Gimme All Your Lovin'”, “Legs”, “Sleeping Bag”, raced up the charts, monuments to ’80s cheese. Ultimately, the stereotype backed them into a corner; 1990’s Recycler completed the trashy trilogy, but barely registered—an afterthought—beckoning yet further new-look incarnations.

Luke Torn

Beck unveils extended version of “I Won’t Be Long”: now featuring Kim Gordon

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Beck has unveiled a new version of his recent stand-alone single "I Won't Be Long", this time featuring Kim Gordon. The track follows another new song, "Defriended", which Beck unveiled last month. The new, 15 minute long version of "I Won't Be Long" features a spoken word segment by the former Son...

Beck has unveiled a new version of his recent stand-alone single “I Won’t Be Long”, this time featuring Kim Gordon.

The track follows another new song, “Defriended”, which Beck unveiled last month. The new, 15 minute long version of “I Won’t Be Long” features a spoken word segment by the former Sonic Youth member. Listen to the track here.

.

Speaking exclusively to NME about his latest project, Beck recently said that although he’ll be releasing plenty of new material in the near future, he has no firm plans to make an album. “For 10 years I’ve been talking about putting out a series of 12-inch singles, one at a time. But I was holding them back ‘cos I wasn’t sure what I was doing with them. And I just wanted people to hear them.”

The Waterboys unveil Fisherman’s Box tracklisting

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The Waterboys have unveiled the tracklisting for their six CD Fisherman's Box set. Due to be released on October 14, the set comprises of tracks from the band's Fisherman's Blues sessions recorded between January 23, 1986 to June 2, 1988. Mike Scott will be writing the liner notes with additional ...

The Waterboys have unveiled the tracklisting for their six CD Fisherman’s Box set.

Due to be released on October 14, the set comprises of tracks from the band’s Fisherman’s Blues sessions recorded between January 23, 1986 to June 2, 1988.

Mike Scott will be writing the liner notes with additional contributions from Decemberist Colin Meloy.

Fisherman’s Box Tracklist CDs 1-6

CD 1

1. Stranger To Me

2. Girl Of The North Country

3. I’m So Lonesome I Could Cry

4. Fisherman’s Blues (Piano Version)

5. Fisherman’s Blues

6. Meet Me At The Station

7. I’ll Be Your Baby Tonight

8. Born To Be Together

9. The Wayward Wind

10. World Party (1st Version)

11. World Party / A Golden Age

12. Sleek White Schooner

13. Drunken Head Ghost Of Rimbaud Blues

14. Sweet Thing

15. Sweet Thing (Conclusion)

16. Saints And Angels

CD 2

1. We Will Not Be Lovers

2. One Step Closer

3. My Beautiful Baby

4. She Could Have Had Me Step By Step

5. When The Ship Comes In

6. The Ladder

7. Will You Ever Be My Friend?

8. Too Close To Heaven (Rolling Piano)

9. Higherbound (Prototype)

10. Happy Birthday Bp Fallon

11. The Prettiest Girl In Church

12. You Don’t Have To Be In The Army To Fight In The War

13. Dee Jay Way

14. Lonesome And A Long Way From Home

15. Thistlethwaite’s Declaration

16. Strange Boat (First Play)

17. Lost Highway

18. Higherbound Blues

19. Let Us Be Drinking And Kissing The Women

20. Will The Circle Be Unbroken

21. Tenderfootin’

22. Too Close To Heaven

23. Space Out There, Trevor

CD 3

1. Steve And Anto’s Overture

2. Ain’t Leavin, I’m Gone

3. When Will We Be Married? (1st Version)

4. When I First Said I Loved Only You, Maggie

5. Love Is Letting Go

6. On My Way To Heaven (1st Version)

7. You In The Sky (1st Version)

8. The Secret Place Of The Most High

9. Too Hot For Cleanhead

10. Wickham’s Proclamation

11. Blues For Your Baby

12. Lonesome Old Wind

13. If Jimi Was Here

14. Soon As I Get Home

15. Sgt Pepper’s Lonely Hearts Club Band

CD 4

1. Billy The Kid

2. Tonight The Bottle Let Me Down

3. Come Live With Me

4. I Miss The Road

5. Higher In Time (Two Pianos)

6. Too Hot For Cleanhead (Fast Version)

7. Higher In Time (Scottish)

8. Higherbound (3rd Tune)

9. A Golden Age

10. You In The Sky

11. I Will Meet You In Heaven Again

12. Nobody ‘Cept You

13. (He Hasn’t Been The Same Since) Jimmy Shand

14. Rattle My Bones And Shiver My Soul

15. The Scotsman’s Delight

16. Killing My Heart

17. Industrial Mr Brown

18. Custer’s Blues

19. Shall We Gather By The River

20. Higher In Time Symphony

CD 5

1. Higherbound (3rd Version)

2. The Grief Of Pan

3. World Party

4. Working On A Building

5. If I Can’t Have You

6. Killing My Heart (2nd Version)

7. Trunk Call

8. Headphone Mix Song

9. Sgt Pepper’s Lonely Hearts Club Band (Reprise)

10. When Will We Be Married? (2nd Version)

11. Bp’s Bathtub Boogie

12. We Will Not Be Lovers (Sax Solo)

13. Heading Down The Highway

14. Strange Boat

15. Fisherman’s Blues (2nd Version)

16. Has Anybody Here Seen Hank? (Bridgeman Version)

17. On My Way To Heaven

18. Let Me Feel Holy Again

19. A Home In The Meadow

20. Strange Boat (3rd Version) / The Good Ship Sirius

21. The Stolen Child (Prototype)

CD 6

1. On My Way To Tara

2. Twa Recruitin’ Sergeants

3. Incident At Puck Fair

4. And A Bang On The Ear

5. Mr Customs Man

6. Strange Boat (Acoustic)

7. Spring Comes To Spiddal

8. In Search Of A Rose (Band)

9. The Stolen Child (Piano Demo)

10. When Will We Be Married?

11. In Search Of A Rose (Duo)

12. The Good Ship Sirius (Set Of Jigs)

13. This Land Is Your Land

14. Jimmy Hickey’s Waltz

15. Live Aid And After

16. Carolan’s Welcome

17. When Ye Go Away

18. When Ye Go Away (Frankie’s Fiddle)

19. Has Anybody Here Seen Hank?

20. The Stolen Child (Vocal Demo)

21. Dunford’s Fancy

22. The Stolen Child

23. Pictish National Anthem (Comati)

24. Bo Diddley Was A Caveman

25. The Last Jam

26. Buckets Of Rain

The band will also tour the UK in December, which will reunite Scott and Steve Wickham with Fisherman’s-era members Anto Thistlethwaite and Trevor Hutchinson alongside current Waterboys drummer Ralph Salmins.

The tour dates are as follows:

December 8, Liverpool Philharmonic.

December 9, Glasgow Royal Concert Hall.

December 10, Glasgow Barrowland.

December 11, York Barbican.

December 12, Birmingham Alexandra.

December 15, Oxford New Theatre.

December 16, Guildford Glive.

December 17, Bristol Colston Hall.

December 18, Hammersmith Apollo

December 20, Drogheda Tlt.

December 21, Killarney Inec.

December 22, Galway Leisureland

December 23, Dublin Convention Centre

Full Waterboys tour dates can be found here.

Photo credit: Steve Meany

Mazzy Star to release first new album in 17 years

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Mazzy Star are set to release their first new album in 17 years, Seasons Of Your Day. The band's fourth studio album will come out on September 24 and was recorded in California and Norway. Click below to listen to the first single from the album, "California". The album follows 1990's She Hangs Br...

Mazzy Star are set to release their first new album in 17 years, Seasons Of Your Day.

The band’s fourth studio album will come out on September 24 and was recorded in California and Norway. Click below to listen to the first single from the album, “California”. The album follows 1990’s She Hangs Brightly, 1993’s So Tonight That I Might See and 1996’s Among My Swan.

Written by Hope Sandoval and David Roback, the new album follows the 2011 release of the single “Common Burn”/”Lay Myself Down”, and features a guest spot from the late guitarist Bert Jansch, on the track “Spoon”. The band will tour Europe and North America this autumn after appearances last year at the Coachella and Field Day festivals.

The tracklisting for Seasons Of Your Day is:

‘In The Kingdom’

‘California’

‘I’ve Gotta Stop’

‘Does Someone Have Your Baby Now’

‘Common Burn’

‘Seasons Of Your Day’

‘Flying Low’

‘Sparrow’

‘Spoon’

‘Lay Myself Down’

God bless Rod Stewart

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God bless Rod Stewart Not even creepy celebrity horse-whisperer Alan Yentob could wholly ruin last week’s highly entertaining BBC Arena special on Rod Stewart. His contributions were laughably witless all the same. “You look just like brothers!†he exclaimed excitedly of Rod and long-time mucker Ronnie Woods, which may have been true 40 years ago. These days they don’t even look like cousins. Ronnie was sunken-cheeked and jittery, eager to please. Rod was tanned, relaxed, confident, radiating good health and clearly couldn’t give a fuck what anyone thought about him, which has always been one of his most endearing characteristics. Ronnie and Rod together were, however, a gas – a wonderful double act that a better interviewer might have successfully pumped for even more hilarious anecdotes and colourful matey banter. The archive footage, meanwhile, was sensational, going all the way back to Steampacket and beyond. Where did they dig this stuff up? The Arena show comes at a time when Rod’s enjoying something of a critical rehabilitation, due partly to Rod: The Autobiography, by some distance the most entertaining of last year’s glut of rock star memoirs and Time, his first album of self-composed songs since about the discovery of penicillin, which is still in the Top 5 at the time of writing. He seems to be popping up at the O2 or somewhere similar every other week at the moment, but things have been so busy here, where we are as usual working like galley slaves, I haven’t had a chance to go to one of the shows. It probably still passes as unfashionable to admit to liking Rod, but I’d like to have seen him – schmaltzy bits included. When I went to see him at Twickenham Stadium in July 2007, a rotten, rainy day, it was probably only because I lived just about near enough to walk there. The show was terrific, though, and I’ve reprinted my review below. First of all, here are a couple of vintage Rod and the Faces clips. http://www.youtube.com/watch?v=lxILBWzA0J0 http://www.youtube.com/watch?v=UrOPJXrUWII Rod Stewart Twickenham Stadium, London One of the first festivals I covered not long after joining Melody Maker in 1974 was in Buxton, a bleak outpost on the Yorkshire Moors, headlined by Rod Stewart and The Faces, as they were increasingly billed after the departure of Ronnie Lane and not long before Rod himself legged it to LA and a subsequent solo career of great success if variable artistic merit. The weather then was every bit as bad as it has been recently, and a lot of bands simply pulled out – Captain Beefheart and The New York Dolls among them. Apparently Humble Pie were on the bill, but I have no memory of them, although I recall a storming set in appalling conditions by Mott The Hoople on the Saturday night. By the Sunday, the driving rain and gale force winds were so bad, it seemed unlikely The Faces would bother playing, cynics predicting a definite no show, Rod suddenly deemed too prissy to risk a soaking. In the event, they not only played – they were brilliant, rocking through a deluge of Biblical proportions, The Memphis Horns in splendid evidence, and Rod cheerfully disregarding the malevolent elements with a bravura display. Walking towards Twickenham Stadium last Saturday through an absolutely drenching downpour, I kept thinking of that earlier waterlogged fiasco. On early, the vast stadium filling slowly during their opening numbers, The Pretenders luckily avoided the worse of the rain that would quickly follow and it was great to hear Chrissie Hynde in such great voice on old favourites like “Back On The Chain Gang†(dedicated to Jimmy Honeyman-Scott and Pete Farndon), “Kidâ€, “Talk Of The Townâ€, “Day After Dayâ€, “Brass In Pocketâ€, “Mystery Achievement†and “Preciousâ€. The rain holds off during the interval that follows, but during the self-deprecating The Rodfather ‘mockumentary’ that affectionately sends up Rod’s career it’s coming down in proverbial buckets. With his tartan-suited band of slick session musos already drawing vast cheers from the crowd as they essay the beguiling opening to “You Wear It Wellâ€, Rod appears in a puff of smoke, like a panto villain, from a trap door in the small stage at the end of a steep catwalk from the main stage. By the time he’s slithered up the walkway, he’s soaked, despite a rather pretty brolly he’s picked up from somewhere and expertly twirls as he makes his way gingerly to the stage, which is covered but offers little protection from the deluge. The audience by now is in full voice, as they will be for most of the two hours that follow, Rod at times just leaving them to it. You would not in the circumstances have much blamed him for rattling through the set and splitting for somewhere out of the growing storm, but just as he did at Buxton, lo those many years ago, he just gets on with it, a trouper to the end. “Good evening my friends,†he says over great cheers at the end of “This Old Heart Of Mineâ€. “It’s raining, but it’s not cold. It’s Saturday night and we’re all in this together – so let’s make the most of it.†A raucous “Sweet Little Rock’N’Roller†follows, and as unfashionable as it might be to admit it, a lot of tonight is just brilliant. It’s unapologetically a greatest-hits set, rammed with crowd pleasers – no radical interpretations here of the Joanna Newsom songbook, for instance – and the crowd is duly pleased, Rod’s sheer chutzpah lifting their spirits and the music taking care of the rest. It’s a weird crowd, older on average I’d say than recent audiences at the same venue for the Stones – including coach parties of what appear to be alcoholic divorcees squeezed into clothes that wouldn’t fit their children who treat the entire evening as a mass karaoke session. More than a few of the men around me, meanwhile, look like dodgy lower league football managers or gangland killers with cleaned-up pasts. Things get a wee bit cheesier later on, but in the first half of the show there are great versions of “Reason To Believeâ€, Cat Stevens’ “Fathers And Sons†– just beautiful when I had expected something unilaterally mawkish – and a very moving “Dirty Old Townâ€, played against a filmed backdrop of clips from an apparently distant past of the recently-deceased Glasgow Celtic football legend Jimmy Johnstone. The first set ends with rowdy versions of “We’re Having A Party†and “Stay With Meâ€, replete with hilarious archive film of The Faces in all their misspent glory. The second half of the show is given over almost entirely to singalongs on “The First Cut is The Deepestâ€, “Tonight’s The Nightâ€, “You’re In My Heart†and a rather egrettable “Do Ya Think I’m Sexyâ€. There’s an inevitable outing for “Sailing†which might more correctly have been re-titled “Rainingâ€, or even “Drowningâ€, but the second half honours go to the much-anticipated “Maggie Mayâ€, which is a bit rushed but eventually glorious, much to the soggy delight of a wet but ecstatic Twickenham. Have a great week! Pic CEA Cache Agency

God bless Rod Stewart

Not even creepy celebrity horse-whisperer Alan Yentob could wholly ruin last week’s highly entertaining BBC Arena special on Rod Stewart. His contributions were laughably witless all the same. “You look just like brothers!†he exclaimed excitedly of Rod and long-time mucker Ronnie Woods, which may have been true 40 years ago. These days they don’t even look like cousins.

Ronnie was sunken-cheeked and jittery, eager to please. Rod was tanned, relaxed, confident, radiating good health and clearly couldn’t give a fuck what anyone thought about him, which has always been one of his most endearing characteristics.

Ronnie and Rod together were, however, a gas – a wonderful double act that a better interviewer might have successfully pumped for even more hilarious anecdotes and colourful matey banter. The archive footage, meanwhile, was sensational, going all the way back to Steampacket and beyond. Where did they dig this stuff up?

The Arena show comes at a time when Rod’s enjoying something of a critical rehabilitation, due partly to Rod: The Autobiography, by some distance the most entertaining of last year’s glut of rock star memoirs and Time, his first album of self-composed songs since about the discovery of penicillin, which is still in the Top 5 at the time of writing. He seems to be popping up at the O2 or somewhere similar every other week at the moment, but things have been so busy here, where we are as usual working like galley slaves, I haven’t had a chance to go to one of the shows.

It probably still passes as unfashionable to admit to liking Rod, but I’d like to have seen him – schmaltzy bits included. When I went to see him at Twickenham Stadium in July 2007, a rotten, rainy day, it was probably only because I lived just about near enough to walk there. The show was terrific, though, and I’ve reprinted my review below.

First of all, here are a couple of vintage Rod and the Faces clips.

Rod Stewart

Twickenham Stadium, London

One of the first festivals I covered not long after joining Melody Maker in 1974 was in Buxton, a bleak outpost on the Yorkshire Moors, headlined by Rod Stewart and The Faces, as they were increasingly billed after the departure of Ronnie Lane and not long before Rod himself legged it to LA and a subsequent solo career of great success if variable artistic merit.

The weather then was every bit as bad as it has been recently, and a lot of bands simply pulled out – Captain Beefheart and The New York Dolls among them. Apparently Humble Pie were on the bill, but I have no memory of them, although I recall a storming set in appalling conditions by Mott The Hoople on the Saturday night.

By the Sunday, the driving rain and gale force winds were so bad, it seemed unlikely The Faces would bother playing, cynics predicting a definite no show, Rod suddenly deemed too prissy to risk a soaking.

In the event, they not only played – they were brilliant, rocking through a deluge of Biblical proportions, The Memphis Horns in splendid evidence, and Rod cheerfully disregarding the malevolent elements with a bravura display.

Walking towards Twickenham Stadium last Saturday through an absolutely drenching downpour, I kept thinking of that earlier waterlogged fiasco.

On early, the vast stadium filling slowly during their opening numbers, The Pretenders luckily avoided the worse of the rain that would quickly follow and it was great to hear Chrissie Hynde in such great voice on old favourites like “Back On The Chain Gang†(dedicated to Jimmy Honeyman-Scott and Pete Farndon), “Kidâ€, “Talk Of The Townâ€, “Day After Dayâ€, “Brass In Pocketâ€, “Mystery Achievement†and “Preciousâ€.

The rain holds off during the interval that follows, but during the self-deprecating The Rodfather ‘mockumentary’ that affectionately sends up Rod’s career it’s coming down in proverbial buckets. With his tartan-suited band of slick session musos already drawing vast cheers from the crowd as they essay the beguiling opening to “You Wear It Wellâ€, Rod appears in a puff of smoke, like a panto villain, from a trap door in the small stage at the end of a steep catwalk from the main stage. By the time he’s slithered up the walkway, he’s soaked, despite a rather pretty brolly he’s picked up from somewhere and expertly twirls as he makes his way gingerly to the stage, which is covered but offers little protection from the deluge.

The audience by now is in full voice, as they will be for most of the two hours that follow, Rod at times just leaving them to it.

You would not in the circumstances have much blamed him for rattling through the set and splitting for somewhere out of the growing storm, but just as he did at Buxton, lo those many years ago, he just gets on with it, a trouper to the end.

“Good evening my friends,†he says over great cheers at the end of “This Old Heart Of Mineâ€. “It’s raining, but it’s not cold. It’s Saturday night and we’re all in this together – so let’s make the most of it.†A raucous “Sweet Little Rock’N’Roller†follows, and as unfashionable as it might be to admit it, a lot of tonight is just brilliant.

It’s unapologetically a greatest-hits set, rammed with crowd pleasers – no radical interpretations here of the Joanna Newsom songbook, for instance – and the crowd is duly pleased, Rod’s sheer chutzpah lifting their spirits and the music taking care of the rest.

It’s a weird crowd, older on average I’d say than recent audiences at the same venue for the Stones – including coach parties of what appear to be alcoholic divorcees squeezed into clothes that wouldn’t fit their children who treat the entire evening as a mass karaoke session. More than a few of the men around me, meanwhile, look like dodgy lower league football managers or gangland killers with cleaned-up pasts.

Things get a wee bit cheesier later on, but in the first half of the show there are great versions of “Reason To Believeâ€, Cat Stevens’ “Fathers And Sons†– just beautiful when I had expected something unilaterally mawkish – and a very moving “Dirty Old Townâ€, played against a filmed backdrop of clips from an apparently distant past of the recently-deceased Glasgow Celtic football legend Jimmy Johnstone. The first set ends with rowdy versions of “We’re Having A Party†and “Stay With Meâ€, replete with hilarious archive film of The Faces in all their misspent glory.

The second half of the show is given over almost entirely to singalongs on “The First Cut is The Deepestâ€, “Tonight’s The Nightâ€, “You’re In My Heart†and a rather egrettable “Do Ya Think I’m Sexyâ€. There’s an inevitable outing for “Sailing†which might more correctly have been re-titled “Rainingâ€, or even “Drowningâ€, but the second half honours go to the much-anticipated “Maggie Mayâ€, which is a bit rushed but eventually glorious, much to the soggy delight of a wet but ecstatic Twickenham.

Have a great week!

Pic CEA Cache Agency