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The Beatles, Magical Mystery Tour And The Ghosts Of Christmas Past

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Boxing Day, 1967, and The Beatles’ new film, something called Magical Mystery Tour, is about to be shown for the first time, broadcast by the BBC, fans looking forward to what surely will be a highlight of the Christmas television schedules, a welcome respite to those of a certain age from the usual seasonal fare of old movies and light entertainment, all that stuff that they usually show to keep the old folks happy over the holidays. As usual, our house has been full all day, following the boisterous afternoon arrival of relatives, an uncommonly merry throng, who are quickly knocking back every drink they can lay their hands on and thus by mid-evening are mostly pretty plastered and given therefore to much raucous playfulness and bouts of singing, a regrettable noise for the most part, led by my Uncle Ken in a party hat. He first of all commands the floor with a fearfully raucous version of Ken Dodd’s “Happiness”. When his jocular mood turns suddenly maudlin, as it usually does at such gatherings, a spectacularly tearful interpretation follows of “Have I Told You Lately That I Love You?”, that makes him sob quite uncontrollably, like someone who’s lost everything in disastrous circumstances that have left him wholly bereft, the end of the world itself unlikely to make him more distraught. Everyone shouts at him to stop what’s by now become an unearthly caterwauling, the keening wails of the recently bereaved, his wife, my Auntie Jenny, to whom his spectacularly lachrymose performance has been presumably directed, chief among those threatening him with violence if he doesn’t shape up and pull himself together. At the high point of his wretched blubbing, she fetches him what from where I’m sitting in front of the TV appears to be a rather brutal thwack between his heaving shoulder blades with her handbag, which she wields with enough force to knock down a small wall, a well-practised swing it looks like to me. In an earlier tantrum I had insisted in a fit of the foot-stamping histrionics that I was expert at that whatever else was on Boxing night TV, we had to watch this Beatles film, Magical Mystery Tour, and bugger the relatives, who would just have to sit through it, and hopefully without noisy complaint, witless comment, muttering disparagement or elsewhere any evidence of the teeth-sucking disdain in which pop music in any manifestation was held by them. It helped a little that we’d be watching The Beatles, who by virtue of a certain cheeky mop-top wholesomeness were not quite seen to be allied to the forces of an appalling darkness that most pop groups of the era were taken to be. The Rolling Stones, particularly, were, in the collective opinion of these disapproving elders, mere degenerates, obnoxious, vile and fit for not much more than a public whipping. There were people here who would probably rather set the TV on fire than watch the Stones on it, even if it meant the house burning down. So there anyway we all were, the family gathered around in what by then was something less than yuletide harmony with clucking aunts, boozy uncles, snotty wheedling cousins. From the latter’s collective disinterested slouch you could tell they’d been dragged from their own homes under the promise of unavoidable punishment if they dared misbehave. They sat therefore in sullen misery, all the woes of the world as nothing compared to their current sulking distress. When the programme starts, I make clear with a glare that, you know, I’d like the next 60 minutes or so to pass without disruptive intervention, distracting chat or, God forbid, any singing. Uncle Ken is thankfully very quickly asleep, party hat askew on his head. For about 10 minutes, everyone else assumes a stoic sort of silence, baffled by the lysergic whimsy on screen, The Beatles on their charabanc going who knows where with no great apparent purpose. The film’s fairly free form aimlessness soon becomes, however, a sore test of their patience, which you can almost hear being scraped to the bone. The longer it goes on, the more uncomfortable everyone gets, no one terribly amused, entertained or otherwise engaged by what they’re watching, which even I have to admit is beginning to feel like a bit of a let down, although torture wouldn’t have made me confess to even the most fleeting disappointment. As Magical Mystery Tour ends, though, the rest of the family, and all those uncles and aunts and cousins, are grim-faced, their own glum assessment of what they’ve sat through echoed loudly the next day when the critics rip into the film, which they all seem to think has been a disaster. I couldn’t quite muster up the enthusiasm to watch it again, when it was repeated a few nights later on BBC2, and haven’t seen it since. It’s only been shown once more on TV, in 1979, which I hadn’t realised until this morning when it was announced that on Saturday [October 6], a digitally re-mastered version will be screened on BBC2, following a new Arena documentary on its making. I’ll no doubt have another look, hopefully more hip to things I missed that Christmas, 45 years ago, when as soon as it was over, Uncle Ken, waking from his brief stupor was soon singing again, to everyone’s groaning dismay. Have a good week. Pic: (C) Apple Films Ltd

Boxing Day, 1967, and The Beatles’ new film, something called Magical Mystery Tour, is about to be shown for the first time, broadcast by the BBC, fans looking forward to what surely will be a highlight of the Christmas television schedules, a welcome respite to those of a certain age from the usual seasonal fare of old movies and light entertainment, all that stuff that they usually show to keep the old folks happy over the holidays.

As usual, our house has been full all day, following the boisterous afternoon arrival of relatives, an uncommonly merry throng, who are quickly knocking back every drink they can lay their hands on and thus by mid-evening are mostly pretty plastered and given therefore to much raucous playfulness and bouts of singing, a regrettable noise for the most part, led by my Uncle Ken in a party hat. He first of all commands the floor with a fearfully raucous version of Ken Dodd’s “Happiness”. When his jocular mood turns suddenly maudlin, as it usually does at such gatherings, a spectacularly tearful interpretation follows of “Have I Told You Lately That I Love You?”, that makes him sob quite uncontrollably, like someone who’s lost everything in disastrous circumstances that have left him wholly bereft, the end of the world itself unlikely to make him more distraught.

Everyone shouts at him to stop what’s by now become an unearthly caterwauling, the keening wails of the recently bereaved, his wife, my Auntie Jenny, to whom his spectacularly lachrymose performance has been presumably directed, chief among those threatening him with violence if he doesn’t shape up and pull himself together. At the high point of his wretched blubbing, she fetches him what from where I’m sitting in front of the TV appears to be a rather brutal thwack between his heaving shoulder blades with her handbag, which she wields with enough force to knock down a small wall, a well-practised swing it looks like to me.

In an earlier tantrum I had insisted in a fit of the foot-stamping histrionics that I was expert at that whatever else was on Boxing night TV, we had to watch this Beatles film, Magical Mystery Tour, and bugger the relatives, who would just have to sit through it, and hopefully without noisy complaint, witless comment, muttering disparagement or elsewhere any evidence of the teeth-sucking disdain in which pop music in any manifestation was held by them. It helped a little that we’d be watching The Beatles, who by virtue of a certain cheeky mop-top wholesomeness were not quite seen to be allied to the forces of an appalling darkness that most pop groups of the era were taken to be. The Rolling Stones, particularly, were, in the collective opinion of these disapproving elders, mere degenerates, obnoxious, vile and fit for not much more than a public whipping. There were people here who would probably rather set the TV on fire than watch the Stones on it, even if it meant the house burning down.

So there anyway we all were, the family gathered around in what by then was something less than yuletide harmony with clucking aunts, boozy uncles, snotty wheedling cousins. From the latter’s collective disinterested slouch you could tell they’d been dragged from their own homes under the promise of unavoidable punishment if they dared misbehave. They sat therefore in sullen misery, all the woes of the world as nothing compared to their current sulking distress.

When the programme starts, I make clear with a glare that, you know, I’d like the next 60 minutes or so to pass without disruptive intervention, distracting chat or, God forbid, any singing. Uncle Ken is thankfully very quickly asleep, party hat askew on his head. For about 10 minutes, everyone else assumes a stoic sort of silence, baffled by the lysergic whimsy on screen, The Beatles on their charabanc going who knows where with no great apparent purpose. The film’s fairly free form aimlessness soon becomes, however, a sore test of their patience, which you can almost hear being scraped to the bone. The longer it goes on, the more uncomfortable everyone gets, no one terribly amused, entertained or otherwise engaged by what they’re watching, which even I have to admit is beginning to feel like a bit of a let down, although torture wouldn’t have made me confess to even the most fleeting disappointment.

As Magical Mystery Tour ends, though, the rest of the family, and all those uncles and aunts and cousins, are grim-faced, their own glum assessment of what they’ve sat through echoed loudly the next day when the critics rip into the film, which they all seem to think has been a disaster. I couldn’t quite muster up the enthusiasm to watch it again, when it was repeated a few nights later on BBC2, and haven’t seen it since. It’s only been shown once more on TV, in 1979, which I hadn’t realised until this morning when it was announced that on Saturday [October 6], a digitally re-mastered version will be screened on BBC2, following a new Arena documentary on its making. I’ll no doubt have another look, hopefully more hip to things I missed that Christmas, 45 years ago, when as soon as it was over, Uncle Ken, waking from his brief stupor was soon singing again, to everyone’s groaning dismay.

Have a good week.

Pic: (C) Apple Films Ltd

James Murphy and Shut Up And Play The Hits

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I interviewed James Murphy in late 2006, for a preview piece about The Sound Of Silver, the second album by his band, LCD Soundsystem. What was originally intended to be a brisk, 10 minute interview ended up spilling out over the half hour mark. James was, to put it mildly, chatty. At one point, we talked about the track "All My Friends", which I mentioned we'd thought sounded rather like Steve Reich jamming with New Order, if such a thing was possible. James paused for a minute, then said, "Sure, but let's imagine what Steve Reich jamming with New Order would actually sound like..." And he was off, into another superbly entertaining digression. LCD Soundsystem have been Murphy's creative outlet for the last 10 years. A fabulous opportunity for a latecomer to work out all his theories and obsessions about music. Murphy called time on LCD Soundsystem in April last year, with a show at New York's Madison Square Garden. Shut Up And Play The Hits is partly a record of that show, but also a what happens next for a "moderately successful rocker" who suddenly finds himself with a lot of time on his hands to ponder his decision to fold his band. In the days following the Madison Square Garden show, we see Murphy shuffle around his apartment in his pyjamas, shave, make coffee, walk his dog, travel on the subway, visit his manager - Keith Wood, an expat with a Professor Yaffle-ish demeanor and a dry, English wit. There are, literally, hours to fill. Now all the chat show banter about "walking away form rock" is done and the final gigs played, this is Murphy's quiet comedown. Will Lovelace and Dylan Southern's film becomes a portrait of a man who has successfully liberated himself from his career but is without any clear plan of what to do next. Murphy displays his great ability to talk: filmed being interviewed by New York-based writer Chuck Klosterman, he is smart and self-aware. He says he called time on LCD Soundsystem because "I want to have a life." Now 42, Murphy formed the band when he was 31 - an age when many musicians are already managing a career in decline. Watching the amiably rumpled Murphy endlessly dissect the nature of fame, and his decision to walk away form it, makes me think of a hipster Larry David, mulling over his post-Seinfeld career options. A sitcom featuring Murphy and Keith Wood, it must be said, wouldn't be the worst idea anyone's ever had. You can read Stephen Trousse's interview with James Murphy in the current issue of Uncut; Shut Up And Play The Hits is released on DVD and Blu-ray on October 8 by Pulse Films

I interviewed James Murphy in late 2006, for a preview piece about The Sound Of Silver, the second album by his band, LCD Soundsystem.

What was originally intended to be a brisk, 10 minute interview ended up spilling out over the half hour mark. James was, to put it mildly, chatty. At one point, we talked about the track “All My Friends“, which I mentioned we’d thought sounded rather like Steve Reich jamming with New Order, if such a thing was possible. James paused for a minute, then said, “Sure, but let’s imagine what Steve Reich jamming with New Order would actually sound like…” And he was off, into another superbly entertaining digression.

LCD Soundsystem have been Murphy’s creative outlet for the last 10 years. A fabulous opportunity for a latecomer to work out all his theories and obsessions about music. Murphy called time on LCD Soundsystem in April last year, with a show at New York’s Madison Square Garden. Shut Up And Play The Hits is partly a record of that show, but also a what happens next for a “moderately successful rocker” who suddenly finds himself with a lot of time on his hands to ponder his decision to fold his band.

In the days following the Madison Square Garden show, we see Murphy shuffle around his apartment in his pyjamas, shave, make coffee, walk his dog, travel on the subway, visit his manager – Keith Wood, an expat with a Professor Yaffle-ish demeanor and a dry, English wit. There are, literally, hours to fill. Now all the chat show banter about “walking away form rock” is done and the final gigs played, this is Murphy’s quiet comedown. Will Lovelace and Dylan Southern’s film becomes a portrait of a man who has successfully liberated himself from his career but is without any clear plan of what to do next.

Murphy displays his great ability to talk: filmed being interviewed by New York-based writer Chuck Klosterman, he is smart and self-aware. He says he called time on LCD Soundsystem because “I want to have a life.” Now 42, Murphy formed the band when he was 31 – an age when many musicians are already managing a career in decline. Watching the amiably rumpled Murphy endlessly dissect the nature of fame, and his decision to walk away form it, makes me think of a hipster Larry David, mulling over his post-Seinfeld career options. A sitcom featuring Murphy and Keith Wood, it must be said, wouldn’t be the worst idea anyone’s ever had.

You can read Stephen Trousse’s interview with James Murphy in the current issue of Uncut; Shut Up And Play The Hits is released on DVD and Blu-ray on October 8 by Pulse Films

New footage of The Beatles making the Magical Mystery Tour film emerges

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With The Beatles set to reissue their 1967 film Magical Mystery Tour, previously unseen footage of the band making the film is being shown online. Released in the wake of the release of Sgt. Pepper's Lonely Hearts Club Band, Magical Mystery Tour was The Beatles' third film and documents a coach trip to the seaside. It was first broadcast on Boxing Day in 1967 by the BBC. It was not well received. It has only been shown once since, in 1979. A digitally remastered version of the film is due to be screened this Saturday [October 6] on BBC2, after a new documentary on the story of the film produced by the BBC's Arena documentary strand. From today [October 2], a first glimpse of previously unseen footage is available from thespace.org. The short clip shows The Beatles on a coach trip to a fish and chip shop shop en route to Newquay – the final destination of the Magical Mystery Tour. Arena Editor, Anthony Wall says, "Few people have seen Magical Mystery Tour in its entirety and the material in the chip shop has never been shown anywhere. It captures perfectly the fabulous world of The Beatles at this time." He added: "They’re happily sharing a simple meal with the other passengers on the coach as the astonished residents of Taunton gather outside and at the same time creating an extraordinarily avant garde film, which of course would soon be broadcast by the BBC to a dumbstruck nation." The fully restored edition of the film will be released on October 9 with a remixed soundtrack and special features, including other scenes that were cut from the original, as well as interviews with the band and cast. Photo credit: © Apple Films Ltd

With The Beatles set to reissue their 1967 film Magical Mystery Tour, previously unseen footage of the band making the film is being shown online.

Released in the wake of the release of Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour was The Beatles’ third film and documents a coach trip to the seaside. It was first broadcast on Boxing Day in 1967 by the BBC. It was not well received. It has only been shown once since, in 1979. A digitally remastered version of the film is due to be screened this Saturday [October 6] on BBC2, after a new documentary on the story of the film produced by the BBC’s Arena documentary strand.

From today [October 2], a first glimpse of previously unseen footage is available from thespace.org. The short clip shows The Beatles on a coach trip to a fish and chip shop shop en route to Newquay – the final destination of the Magical Mystery Tour.

Arena Editor, Anthony Wall says, “Few people have seen Magical Mystery Tour in its entirety and the material in the chip shop has never been shown anywhere. It captures perfectly the fabulous world of The Beatles at this time.”

He added: “They’re happily sharing a simple meal with the other passengers on the coach as the astonished residents of Taunton gather outside and at the same time creating an extraordinarily avant garde film, which of course would soon be broadcast by the BBC to a dumbstruck nation.”

The fully restored edition of the film will be released on October 9 with a remixed soundtrack and special features, including other scenes that were cut from the original, as well as interviews with the band and cast.

Photo credit: © Apple Films Ltd

Patterson Hood – Heat Lightning Rumbles In The Distance

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Drive-By Trucker lifts the lid on his crisis years... Seems like Patterson Hood’s been dusting down a lot of old memories of late. His last solo LP, 2009’s Murdering Oscar (And Other Love Songs), saw the Drive-By Truckers leader revisit a turbulent period in his life from the mid ‘90s. Heat Lightning Rumbles In The Distance peels the clock back a little further to around 1991, when the then 27-year-old had just left his Alabama hometown for Memphis in the wake of a messy divorce and the break-up of his pre-Truckers band, Adam’s House Cat. It was, he explains, an emotionally intense time, during which he contemplated suicide. All of this might suggest a sombre procession of self-pitying songs wracked by visions of death and apocalypse, but, thankfully, Heat Lightning… turns out to be nothing of the sort. Instead the tone is hopeful, the dark corners of Hood’s past softly lit by his current life as a successful musician, father and family man. Most of the Truckers are here, alongside father and Muscle Shoals Rhythm Section bassist David Hood, Texan band Centro-matic and singer Kelly Hogan. The latter’s co-write “Come Back Little Star” is an undoubted highlight, a piano-led requiem for late departed friend Vic Chesnutt, with John Neff’s pedal steel adding an extra shiver of longing. Many of the other tunes deal with the fallout from his early marriage, from the last goodbye in a rain-splattered parking lot – “(untold pretties”) – to winter funerals in Northern Alabama and the desperation of the title track, its protagonist holding himself together “somewhere between anguish and acceptance”. The whole thing is beautifully shaded by pianos, banjo, steel and festering guitar figures. There’s even a dash of very Southern skiffle on the wonderful “Better Than The Truth” and the closing “Fifteen Days”, which finds Hood back in the present, dreaming of returning to his family after months on the road. An affecting, lyrical record that makes you feel blessed for not having lived through it, but wiser so grateful for the ride. Rob Hughes

Drive-By Trucker lifts the lid on his crisis years…

Seems like Patterson Hood’s been dusting down a lot of old memories of late. His last solo LP, 2009’s Murdering Oscar (And Other Love Songs), saw the Drive-By Truckers leader revisit a turbulent period in his life from the mid ‘90s. Heat Lightning Rumbles In The Distance peels the clock back a little further to around 1991, when the then 27-year-old had just left his Alabama hometown for Memphis in the wake of a messy divorce and the break-up of his pre-Truckers band, Adam’s House Cat. It was, he explains, an emotionally intense time, during which he contemplated suicide.

All of this might suggest a sombre procession of self-pitying songs wracked by visions of death and apocalypse, but, thankfully, Heat Lightning… turns out to be nothing of the sort. Instead the tone is hopeful, the dark corners of Hood’s past softly lit by his current life as a successful musician, father and family man.

Most of the Truckers are here, alongside father and Muscle Shoals Rhythm Section bassist David Hood, Texan band Centro-matic and singer Kelly Hogan. The latter’s co-write “Come Back Little Star” is an undoubted highlight, a piano-led requiem for late departed friend Vic Chesnutt, with John Neff’s pedal steel adding an extra shiver of longing. Many of the other tunes deal with the fallout from his early marriage, from the last goodbye in a rain-splattered parking lot – “(untold pretties”) – to winter funerals in Northern Alabama and the desperation of the title track, its protagonist holding himself together “somewhere between anguish and acceptance”.

The whole thing is beautifully shaded by pianos, banjo, steel and festering guitar figures. There’s even a dash of very Southern skiffle on the wonderful “Better Than The Truth” and the closing “Fifteen Days”, which finds Hood back in the present, dreaming of returning to his family after months on the road. An affecting, lyrical record that makes you feel blessed for not having lived through it, but wiser so grateful for the ride.

Rob Hughes

Led Zeppelin announce ‘Celebration Day’ film premieres

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Led Zeppelin have announced four film premieres for their Celebration Day concert film. The film, which documents the band's 2007 reunion show at London's O2 Arena, will make its cinema debut at the Ziegfield Theater in New York on October 9 before similar premieres in London, Berlin and Tokyo. P...

Led Zeppelin have announced four film premieres for their Celebration Day concert film.

The film, which documents the band’s 2007 reunion show at London’s O2 Arena, will make its cinema debut at the Ziegfield Theater in New York on October 9 before similar premieres in London, Berlin and Tokyo.

Prior to the New York premiere, founding members Robert Plant, Jimmy Page, John Paul Jones will be joined by Jason Bonham, the son of the late Led Zeppelin drummer John Bonham, at a press conference at New York’s Museum of Art.

Celebration Day will then hold a premiere at London’s Hammersmith Apollo on October 12, where Jones, Page and Plant will be in attendance. Events will subsequently be held in Berlin on October 15, which Jones will attend, and Tokyo on October 16, which has confirmed Page in attendance.

Tickets for the London premiere are limited and cost £20. You can purchase tickets and read more information via this link.

Celebration Day will screen in cinemas from October 17. The film will then get a general DVD release on November 19. A deluxe edition will also include footage of the Shepperton rehearsals, as well as BBC news footage.

The tracklisting for Celebration Day is as follows:

‘Good Times Bad Times’

‘Ramble On’

‘Black Dog’

‘In My Time Of Dying’

‘For Your Life’

‘Trampled Under Foot’

‘Nobody’s Fault But Mine’

‘No Quarter’

‘Since I’ve Been Loving You’

‘Dazed And Confused’

‘Stairway To Heaven’

‘The Song Remains The Same’

‘Misty Mountain Hop’

‘Kashmir’

‘Whole Lotta Love’

‘Rock And Roll’

Black Keys: “A new album’s definitely gonna happen in 2013”

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The Black Keys have confirmed that a new album is "definitely gonna happen next year". The duo will start work on the follow up their eigth album, 2011's El Camino, early next year. In an interview with CBS Local, drummer Patrick Carney, who recently married his long-term girlfriend, said: "It [a...

The Black Keys have confirmed that a new album is “definitely gonna happen next year”.

The duo will start work on the follow up their eigth album, 2011’s El Camino, early next year.

In an interview with CBS Local, drummer Patrick Carney, who recently married his long-term girlfriend, said: “It [an album] is definitely gonna happen in 2013. It’s just a matter of how long it takes us to make the album and deciding when we want to get back on the road.”

He added: “We’re going to start making a new album in January and we’re going to tour a little more in the spring. Our plan is the have the new album done by the end of spring or earlier, then hopefully take a few months off to do normal things like go to bed early and wake up early, walk the dog, that kind of stuff. Then we’ll probably be back on the road starting next fall.”

The Black Keys will return to the UK later this year for a full arena tour. They will kick off their six-date trek at Newcastle’s Metro Radio Arena on December 7, before playing Glasgow’s SECC on November 8, Birmingham’s NIA on December 9 and the Manchester Arena on December 11. The tour will conclude at London’s O2 Arena on December 12 and 13.

Bill Wilson – Ever Changing Minstrel

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Back from the bargain bin, a lost piece of southern-soul-baring... If you want to make a great record, go to the top. That was what Bill Wilson figured anyway, which is why the 26 year old was knocking on the front door of Bob Johnston’s home in Austin. The feted producer of Bob Dylan, Simon & Garfunkel and Leonard Cohen had recently relocated to the Texan music town after falling out with Columbia records, from whom, he claimed, he had received no royalties for the stellar abums he had delivered. Wilson had been kicking around Austin since being discharged from the U.S. Airforce three years earlier. Born in small town Indiana, Wilson had served in Vietnam before completing his duty to Uncle Sam at Austin’s airbase (these days a civilian aiport). As an aspiring musician he had tasted a little success, singing on a 1970 album by local psych-bluesers Mariani, who featured a 16 year old guitarist - and future star - Eric Johnson. After that Wilson had returned to Indiana to play dobro with an outfit called Pleasant Street. Still, Wilson had never lost faith in his talent. He had a bunch of fine songs and Bob Johnston was surely the man to turn them into a record. Johnston had other ideas. “You came to the wrong house,” he snapped. “You can’t just show up and make a fucking record.” “Will you listen to one song?” wheedled Wilson. In his parlour, Johnson listened to a dozen. Impressed, he decided to cut an album that very night. He summoned a slew of top session players: guitarists Charlie Daniels and Pete Drake, pianist Bob Wilson, drummer Kenny Buttrey, steel guitarist Pete Drake – pretty much the Nashville crew he had used on Dylan’s Blonde On Blonde sessions, with singer Cissy Houston as a bonus. Then they went to work. The resulting album was released in late 1973 on Windfall Records, a label distributed by CBS, though not, it transpired, with much ardour. Its hideous packaging likely didn’t help. Ever Changing Minstrel sank without trace. Its current re-emergence is down to happenstance, after Tompkins Square founder Josh Rosenthal found a copy for 25 cents in a Berkeley record store and noticed Johnston’s credit. Both Rosenthal and Johnston had sound instincts. Ever Changing Minstrel is a collection of tough and tender pieces, the best of which bear the imprint of the early Seventies Austin scene of Guy Clark, and Townes Van Zandt. Wilson turns his rich tenor voice in various directions. “Black Cat Blues” has a southern, swampy feel akin to Tony Joe White’s “Polk Salad Annie” while “Ballad of Cody” is a cameo of a lonesome guitar picker along the rain-soaked streets of San Antone. “Rainy Day Resolution” and “To Rebecca” are brighter pieces that walk singer-songwriterdom’s well-trodden avenues, with “Ever Changing Minstrel” crossing the line into a John Denveresque world of sleepy-eyed women, dripping rainbows, and bright meadows. It’s the only track set solely to picked acoustic guitar. Elsewhere those famous session men cut their stuff. “Long Gone Lady” – testament to Wilson’s fragile marriage - has some purring steel, “Good Ship Society” builds to a Band-esque ensemble piece, and “Following My Lord” and “Father Let Your Light Shine Down” come gospel-soaked, with hammered piano and female backing vocals. Religion clearly had its hold, though when Wilson starts a line “Caught between the devil” you don’t expect him to conclude “and the galaxy”. These were still hippie times. If the album doesn’t add to more than the sum of its parts, there’s an engaging spirit to the session. Presented with his shot at the brass ring, Wilson didn’t fluff his lines or his notes. It must have hurt to see his album vanish into the corporate machinery. Vanish it did – Rosenthal could find no mention of the sessions or personnel in the archives, though Johnston recalls making it well enough. Wilson returned to Indiana and local hero status, gigging and recording until his death at 46, though Johnston never saw him again. The producer handed him a nice epitaph, though: “The fucker could really write”. Neil Spencer

Back from the bargain bin, a lost piece of southern-soul-baring…

If you want to make a great record, go to the top. That was what Bill Wilson figured anyway, which is why the 26 year old was knocking on the front door of Bob Johnston’s home in Austin. The feted producer of Bob Dylan, Simon & Garfunkel and Leonard Cohen had recently relocated to the Texan music town after falling out with Columbia records, from whom, he claimed, he had received no royalties for the stellar abums he had delivered.

Wilson had been kicking around Austin since being discharged from the U.S. Airforce three years earlier. Born in small town Indiana, Wilson had served in Vietnam before completing his duty to Uncle Sam at Austin’s airbase (these days a civilian aiport). As an aspiring musician he had tasted a little success, singing on a 1970 album by local psych-bluesers Mariani, who featured a 16 year old guitarist – and future star – Eric Johnson. After that Wilson had returned to Indiana to play dobro with an outfit called Pleasant Street.

Still, Wilson had never lost faith in his talent. He had a bunch of fine songs and Bob Johnston was surely the man to turn them into a record. Johnston had other ideas. “You came to the wrong house,” he snapped. “You can’t just show up and make a fucking record.”

“Will you listen to one song?” wheedled Wilson.

In his parlour, Johnson listened to a dozen. Impressed, he decided to cut an album that very night. He summoned a slew of top session players: guitarists Charlie Daniels and Pete Drake, pianist Bob Wilson, drummer Kenny Buttrey, steel guitarist Pete Drake – pretty much the Nashville crew he had used on Dylan’s Blonde On Blonde sessions, with singer Cissy Houston as a bonus. Then they went to work.

The resulting album was released in late 1973 on Windfall Records, a label distributed by CBS, though not, it transpired, with much ardour. Its hideous packaging likely didn’t help. Ever Changing Minstrel sank without trace. Its current re-emergence is down to happenstance, after Tompkins Square founder Josh Rosenthal found a copy for 25 cents in a Berkeley record store and noticed Johnston’s credit.

Both Rosenthal and Johnston had sound instincts. Ever Changing Minstrel is a collection of tough and tender pieces, the best of which bear the imprint of the early Seventies Austin scene of Guy Clark, and Townes Van Zandt. Wilson turns his rich tenor voice in various directions. “Black Cat Blues” has a southern, swampy feel akin to Tony Joe White’s “Polk Salad Annie” while “Ballad of Cody” is a cameo of a lonesome guitar picker along the rain-soaked streets of San Antone.

“Rainy Day Resolution” and “To Rebecca” are brighter pieces that walk singer-songwriterdom’s well-trodden avenues, with “Ever Changing Minstrel” crossing the line into a John Denveresque world of sleepy-eyed women, dripping rainbows, and bright meadows. It’s the only track set solely to picked acoustic guitar. Elsewhere those famous session men cut their stuff. “Long Gone Lady” – testament to Wilson’s fragile marriage – has some purring steel, “Good Ship Society” builds to a Band-esque ensemble piece, and “Following My Lord” and “Father Let Your Light Shine Down” come gospel-soaked, with hammered piano and female backing vocals. Religion clearly had its hold, though when Wilson starts a line “Caught between the devil” you don’t expect him to conclude “and the galaxy”. These were still hippie times.

If the album doesn’t add to more than the sum of its parts, there’s an engaging spirit to the session. Presented with his shot at the brass ring, Wilson didn’t fluff his lines or his notes. It must have hurt to see his album vanish into the corporate machinery. Vanish it did – Rosenthal could find no mention of the sessions or personnel in the archives, though Johnston recalls making it well enough. Wilson returned to Indiana and local hero status, gigging and recording until his death at 46, though Johnston never saw him again. The producer handed him a nice epitaph, though: “The fucker could really write”.

Neil Spencer

Jack White angers fans with short New York gig

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Jack White angered fans at his show at Radio City, New York last night (September 29) by ending his set after 1 hour. The former White Stripes man was playing the first of two nights at Manhattan's Radio City Music Hall when he abruptly cut his set short, walking off stage an hour before his gigs h...

Jack White angered fans at his show at Radio City, New York last night (September 29) by ending his set after 1 hour.

The former White Stripes man was playing the first of two nights at Manhattan’s Radio City Music Hall when he abruptly cut his set short, walking off stage an hour before his gigs have usually finished on his current tour.

According to Buzzfeed, once fans realised White was not just talking an extra-long break before an encore set, the scene at the venue turned “ugly” and fans took to Twitter to vent their anger towards the singer.

Hunter Walker, a politics reporter for the New York Observer, who was at the show, tweeted: “Mystery solved. Security guy @ Radio City said Jack White ‘wasn’t happy with the sound, I don’t know why he pulled that’.”

Jack White will return to the UK and Ireland next month when he brings his Blunderbuss tour back to Europe. The tour includes a show at Blackpool’s Empress Ballroom, the venue where The White Stripes recorded their first live DVD, Under Blackpool Lights.

Jack White will play:

O2 Arena Dublin (October 31)

London Alexandra Palace (November 2, 3)

Bridlington Spa (4)

Blackpool Empress Ballroom (6)

O2 Academy Birmingham (7)

Edinburgh Usher Hall (8)

Watch Foo Fighters, The Black Keys join Neil Young on stage in New York

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Foo Fighters' Dave Grohl and The Black Keys' Dan Auerbach joined Neil Young on stage on Saturday [September 29] at a free concert in New York. The Global Citizen Festival, which took place in Central Park, was a five-hour concert featuring performances from Foo Fighters, The Black Keys, Band Of Horses and K'naan, with Neil Young & Crazy Horse capping off the evening. As Neil Young's set came to a climax, Grohl and Auerbach joined Young & Crazy Horse for an extended version of "Rockin' In The Free World" – you can watch a video of the performance below. Singer-songwriter John Legend made a surprise appearance at the festival, playing John Lennon's "Imagine" just a short walk from where the former Beatle was murdered. The concert was scheduled around a meeting of the United Nations General Assembly in New York next month and organisers used an innovative approach to ticket distribution. Any fans wanting a free ticket had to sign up to globalcitizen.org and earn points by watching videos about poverty, malaria, child mortality and other global problems. Organisers said more than 71,000 people had signed up to the website, resulting in over 3.5million page views. It is reported 60,000 fans were given tickets to the free event in New York's Central Park. http://www.youtube.com/watch?v=TEdBA-wxIdY

Foo Fighters’ Dave Grohl and The Black Keys’ Dan Auerbach joined Neil Young on stage on Saturday [September 29] at a free concert in New York.

The Global Citizen Festival, which took place in Central Park, was a five-hour concert featuring performances from Foo Fighters, The Black Keys, Band Of Horses and K’naan, with Neil Young & Crazy Horse capping off the evening.

As Neil Young’s set came to a climax, Grohl and Auerbach joined Young & Crazy Horse for an extended version of “Rockin’ In The Free World” – you can watch a video of the performance below.

Singer-songwriter John Legend made a surprise appearance at the festival, playing John Lennon’s “Imagine” just a short walk from where the former Beatle was murdered.

The concert was scheduled around a meeting of the United Nations General Assembly in New York next month and organisers used an innovative approach to ticket distribution. Any fans wanting a free ticket had to sign up to globalcitizen.org and earn points by watching videos about poverty, malaria, child mortality and other global problems.

Organisers said more than 71,000 people had signed up to the website, resulting in over 3.5million page views. It is reported 60,000 fans were given tickets to the free event in New York’s Central Park.

http://www.youtube.com/watch?v=TEdBA-wxIdY

Queens Of The Stone Age’s Josh Homme debuts new track ‘ Nobody To Love’ – listen

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A new track from Queens Of The Stone Age frontman Josh Homme, titled 'Nobody To Love', has hit the internet – scroll down to the bottom of the page and click to listen. The song, which was co-written by composer and Noel Gallagher's High Flying Birds producer Dave Sardy, is featured in the new film End Of Watch featuring Jake Gyllenhaal, but has now also surfaced on YouTube. Recently, Homme has been locked in a legal dispute with members of his former band Kyuss. Singer John Garcia and drummer Brant Bjork took a reincarnated incarnation of the band called Kyuss Lives! on the road last year and spoke about the possibility of recording a new studio album. In March of this year, however, they were sued by the Queens Of The Stone Age singer and another former Kyuss member, Scott Reeder, for alleged "trademark infringement, misrepresentation [and] false designation". Josh Homme was the original guitarist in Kyuss until their split in 1995. In December last year, Homme said that Queens Of The Stone Age were "locked away in the desert" working on a new album and claimed that the new material sounded "killer". The LP, which will be their sixth studio record and the follow-up to 2007's 'Era Vulgaris', was originally expected to be released later this year. http://www.youtube.com/watch?v=VZEH1FJN6JU

A new track from Queens Of The Stone Age frontman Josh Homme, titled ‘Nobody To Love’, has hit the internet – scroll down to the bottom of the page and click to listen.

The song, which was co-written by composer and Noel Gallagher’s High Flying Birds producer Dave Sardy, is featured in the new film End Of Watch featuring Jake Gyllenhaal, but has now also surfaced on YouTube.

Recently, Homme has been locked in a legal dispute with members of his former band Kyuss. Singer John Garcia and drummer Brant Bjork took a reincarnated incarnation of the band called Kyuss Lives! on the road last year and spoke about the possibility of recording a new studio album.

In March of this year, however, they were sued by the Queens Of The Stone Age singer and another former Kyuss member, Scott Reeder, for alleged “trademark infringement, misrepresentation [and] false designation”.

Josh Homme was the original guitarist in Kyuss until their split in 1995. In December last year, Homme said that Queens Of The Stone Age were “locked away in the desert” working on a new album and claimed that the new material sounded “killer”. The LP, which will be their sixth studio record and the follow-up to 2007’s ‘Era Vulgaris’, was originally expected to be released later this year.

http://www.youtube.com/watch?v=VZEH1FJN6JU

The Rain Parade reunite for first show in 25 years

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Legendary Paisley Underground band, The Rain Parade, are to reunite for the first time in 25 years to play a benefit concert for Bobby Sutliff, singer/guitarist for ’80s contemporaries The Windbreakers, who was seriously injured in a car accident over the summer. The show will take place on January 19, 2013, at Atlanta, GA venue, The Earl. According to a post on Rain Parade singer-guitarist Matt Piucci's Facebook page, this might not be the only show for the reformed band. Piucci wrote, “Rain Parade needs a great drummer. … Not a ton of gigs planned, but cool ones.” He also suggested European concerts are in the works: “Fully intend to cross the pond in 2013.” There is no confirmation yet as to whether the reunited line-up will include original guitarist/vocalist David Roback, who went on to form Opal and Mazzy Star after leaving the band in 1983, following the release of the band's first album Emergency Third Rail Power Trip. http://www.youtube.com/watch?v=kxaky41I6xU

Legendary Paisley Underground band, The Rain Parade, are to reunite for the first time in 25 years to play a benefit concert for Bobby Sutliff, singer/guitarist for ’80s contemporaries The Windbreakers, who was seriously injured in a car accident over the summer.

The show will take place on January 19, 2013, at Atlanta, GA venue, The Earl.

According to a post on Rain Parade singer-guitarist Matt Piucci‘s Facebook page, this might not be the only show for the reformed band. Piucci wrote, “Rain Parade needs a great drummer. … Not a ton of gigs planned, but cool ones.” He also suggested European concerts are in the works: “Fully intend to cross the pond in 2013.”

There is no confirmation yet as to whether the reunited line-up will include original guitarist/vocalist David Roback, who went on to form Opal and Mazzy Star after leaving the band in 1983, following the release of the band’s first album Emergency Third Rail Power Trip.

Crosby, Stills & Nash to perform debut album in its entirety

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Crosby Stills & Nash will close their 80-date world tour next month with a gala performance of their debut album in its entirety at the Beacon Theatre in New York City. The date - October 22 - is the fifth and final date of a run of shows at the venue next month (October 16, 17, 19, 20). At the...

Crosby Stills & Nash will close their 80-date world tour next month with a gala performance of their debut album in its entirety at the Beacon Theatre in New York City.

The date – October 22 – is the fifth and final date of a run of shows at the venue next month (October 16, 17, 19, 20). At the October 22 show, CSN will perform their 1969 debut album, Crosby, Stills & Nash, in full — with songs including “Suite: Judy Blue Eyes,” “Marrakesh Express” and “Guinnevere”. This is the first time the band has ever performed an album in its entirety on stage.

“Only recently we were able to play ‘Suite: Judy Blue Eyes’ after 20 years,” David Crosby recently told MusicRadar.com. “Stephen got into a good place and started being able to do it. We tried it by ourselves, then we played it live, and people went batshit. They were literally going out of their gourds. So we thought, Hey, that’s pretty cool. If we could do that, we could certainly do all the other stuff. The suite’s the hard one.”

The group recently released CSN 2012, a 25-song set on Blu-ray and DVD, presenting CSN’s first live performance film in more than 20 years.

Neil Young: ‘Being mentioned in Kurt Cobain’s suicide note fucked with me’

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Neil Young has revealed that discovering that Kurt Cobain's suicide note contained a reference to one of his lyrics "fucked" with him. Former Nirvana frontman Cobain took his own life in 1994 and, in the final letter he left to his fans, friends and family, reprinted the phrase "It's better to bur...

Neil Young has revealed that discovering that Kurt Cobain’s suicide note contained a reference to one of his lyrics “fucked” with him.

Former Nirvana frontman Cobain took his own life in 1994 and, in the final letter he left to his fans, friends and family, reprinted the phrase “It’s better to burn out than to fade away” from Young’s track “Hey Hey, My My (Into The Black)“.

Writing in his new autobiography Waging Heavy Peace, Young admitted that reading the missive had left him scarred, writing: “When he died and left that note, it struck a deep chord inside of me. It fucked with me.”

The singer also revealed that he had tried to get in touch with Cobain before his death in an attempt to help him conquer his problems, adding: “I, coincidentally, had been trying to reach him. I wanted to talk to him. Tell him only to play when he felt like it.”

Earlier this month, Young revealed that he quit booze and drugs one year ago in order to write his memoir. Discussing his decision to give up drinking alcohol and smoking marijuana in order to write his memoir, he said: “I did it for 40 years. Now I want to see what it’s like to not do it. It’s just a different perspective.”

Neil Young And Crazy Horse release their second album of this year, Psychedelic Pill, on October 29.

Beach Boys launch petition against Mike Love’s ‘money-saving’ post-anniversary tour

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The Beach Boys' Al Jardine has asked fans to sign a petition to champion the Beach Boys' full reunited line-up, over bandmate Mike Love's version of the band without the other three members. Love has previously revealed plans to continue touring under the Beach Boys name after the band's current 5...

The Beach Boys‘ Al Jardine has asked fans to sign a petition to champion the Beach Boys’ full reunited line-up, over bandmate Mike Love’s version of the band without the other three members.

Love has previously revealed plans to continue touring under the Beach Boys name after the band’s current 50th anniversary, which ends in London tomorrow (September 28).

Al Jardine has called on fans to sign the petition against Love’s “money-saving, stripped-down version” of the band, The Guardian reports. The petition, which calls on Love to “reinstate the 3 other members to the touring group for your final years performing” has nearly 4,000 electronic signatures at present.

Meanwhile, Brian Wilson has told CNN that he is gutted Love won’t tour with the rest of the band. “I’m disappointed and can’t understand why Mike doesn’t want to tour with Al, David and me,” he said. “After all, we are the real Beach Boys.”

Wilson was previously opposed to a reunion, but the recent tour and album That’s Why God Made The Radio seems to have garnered some enthusiasm.

Wilson previously said he wants to make a new “exciting rock and roll album” to follow up the reunion record, which could be released next year. However, Love has now said he would only be interested in recording another album if he could “write some songs with Brian”. The pair only collaborated on three songs on the last LP.

Photo credit: Guy Webster

Guns N’ Roses’ Axl Rose demands that ‘defamatory’ art exhibition is closed

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Guns N' Roses frontman Axl Rose has demanded that an LA photographer closes her art exhibition as it includes a defamatory picture of him. TMZ reports that Rose is livid after learning that Laura London's 'Once Upon A Time… Axl Rose Was My Neighbour' collection includes a photo of what she claim...

Guns N’ Roses frontman Axl Rose has demanded that an LA photographer closes her art exhibition as it includes a defamatory picture of him.

TMZ reports that Rose is livid after learning that Laura London’s ‘Once Upon A Time… Axl Rose Was My Neighbour’ collection includes a photo of what she claims is Rose’s garage door spray-painted with the words ‘Sweet Child Of Die’.

London has claimed that the controversial rocker daubed the door himself with the phrase after a spat with his former wife Erin Everly but, in a statement issued through his lawyers, Rose denied that the property pictured in the snap belonged to him.

The letter from his legal representatives reads: Mr. Rose never spray-painted anything. Your salacious and inflammatory statements are plainly designed to garner attention and line your pockets with money.

TMZ also notes that while London has amended the description which originally accompanied the photograph since receiving the letter from Rose’s lawyers, the picture itself still remains on display.

Rose hasn’t enjoyed much luck with the legal system recently, however – last month, he suffered a huge blow in his bid to secure $20million (£13.3million) in damages from Activision, the makers of the Guitar Hero video games. The singer had claimed that Activision had fraudulently induced him into allowing them use of Guns N’ Roses’ ‘Welcome To The Jungle’ in Guitar Hero III, and that the game’s makers had included a character modelled on his former bandmate Slash, despite telling him that the game wouldn’t feature any reference to Slash or his band, Velvet Revolver.

On August 14, though, a judge dismissed Rose’s claim that he had been fraudulently induced, but did set a trial date of February next year to hear his claim that Activision is in breach of contract.

Meanwhile, the current line-up of Guns N’ Roses recently announced that they will be playing a 12-date residency at the Las Vegas’ Hard Rock Hotel and Casino in October.

The rockers will play a run of shows titled the ‘Appetite For Democracy’ residency and have promised to deliver a lengthy and career-spanning setlist at each of the shows. The shows begin on October 31 and then take place on November 2, 3, 7, 9, 10, 14, 17, 18, 21, 23 and 24.

Beatles remasters set for vinyl release

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The Beatles' original studio album remasters are to be released on vinyl on November 12. The albums, released on CD in 2009 and in 2010 for digital download, will now be available on 180-gram vinyl, and will include original features like the Sgt. Pepper's Lonely Heart Club Band cutouts and a repro...

The Beatles‘ original studio album remasters are to be released on vinyl on November 12.

The albums, released on CD in 2009 and in 2010 for digital download, will now be available on 180-gram vinyl, and will include original features like the Sgt. Pepper’s Lonely Heart Club Band cutouts and a reproduction of the poster that accompanied “The White Album”.

Each album will be available individually, and also as part of a boxed edition, limited to 50,000 copies, which will also include a 252-page hardbound book.

Here’s the full line-up of what’s being released:

Please Please Me

“Love Me Do” and “P.S. I Love You” are presented in mono

(North American LP debut in stereo)

With The Beatles

(North American LP debut in stereo)

A Hard Day’s Night

(North American LP debut in stereo)

Beatles For Sale

(North American LP debut in stereo)

Help!

Features George Martin’s 1986 stereo remix

Rubber Soul

Features George Martin’s 1986 stereo remix

Revolver

Original album

Sgt. Pepper’s Lonely Hearts Club Band

Packaging includes replica psychedelic inner sleeve, cardboard cutout sheet and additional insert

Magical Mystery Tour

Packaging includes 24-page colour book

The Beatles (double album)

Packaging includes double-sided photo montage/lyric sheet and 4 solo colour photos

Yellow Submarine

“Only A Northern Song” is presented in mono. Additional insert includes original American liner notes.

Abbey Road

Original album

Let It Be

Original album

Past Masters, Volumes One & Two (double album)

“Love Me Do” (original single version), “She Loves You,” “I’ll Get You,” and “You Know My Name (Look Up The Number)” are presented in mono. Packaging, notes and photographic content is based on the 2009 CD release

Brian Eno to release new album in November

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Brian Eno is set to release a new album, Lux, on Warp Records on November 12. The album is a 75-minute composition in twelve sections that evolved from a work currently housed in the Great Gallery of the Palace of Venaria in Turin, Italy. Lux is Eno's third for Warp, following Small Craft On A Mi...

Brian Eno is set to release a new album, Lux, on Warp Records on November 12.

The album is a 75-minute composition in twelve sections that evolved from a work currently housed in the Great Gallery of the Palace of Venaria in Turin, Italy.

Lux is Eno’s third for Warp, following Small Craft On A Milk Sea (with Jon Hopkins and Leo Abrahams) and Drums Between The Bells (with Rick Holland). It is his first solo album since 2005’s Another Day On Earth.

The track listing is:

1. LUX 1 (19.22)

2. LUX 2 (18.14)

3. LUX 3 (19.19)

4. LUX 4 (18.28)

Photo credit: Michiko Nakao

10cc to release 40th Anniversary box set

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10cc are to release a five-disc box set, Tenology, on November 19 to celebrate their 40th anniversary. Tenology has been compiled with the involvement of the original members – Lol Creme, Kevin Godley, Graham Gouldman and Eric Stewart –and features four CDs (the singles, selected album tracks, ...

10cc are to release a five-disc box set, Tenology, on November 19 to celebrate their 40th anniversary.

Tenology has been compiled with the involvement of the original members – Lol Creme, Kevin Godley, Graham Gouldman and Eric Stewart –and features four CDs (the singles, selected album tracks, the B-sides and rarities) and a DVD (featuring a selection of their promo videos and TV performances on Top Of The Pops, BBC In Concert, See You Sunday and Six Fifty Five Special).

The full track listing is:

Disc One

Donna (1972)

Johnny Don’t Do It (1972)

Rubber Bullets (1973)

The Dean and I (1973)

Sand in My Face (1973)

Somewhere In Hollywood (1973)

The Worst Band in the World (1974)

Headline Hustler (1974)

The Wall Street Shuffle (1974)

Silly Love (1974)

Life Is a Minestrone (1975)

I’m Not in Love (1975)

Art for Art’s Sake (1975)

I’m Mandy, Fly Me (1976)

Lazy Ways (1976)

The Things We Do For Love (1976)

Good Morning Judge (1977)

People in Love (1977)

Disc Two

Dreadlock Holiday (1978)

Reds in My Bed (1978)

For You And I (1978)

One Two Five (1980)

From Rochdale to Ocho Rios (1978)

It Doesn’t Matter At All (1980)

Les Nouveaux Riches (1981)

Don’t Turn Me Away (1981)

The Power of Love (1981)

Run Away (1981)

24 Hours (1983)

Feel the Love (1983)

Woman in Love (1992)

Welcome To Paradise (1992)

Disc Three

The Hospital Song (1973)

Fresh Air for My Momma (1973)

Clockwork Creep (1974)

Oh Effendi (1974)

The Sacro-illiac (1974)

Hotel (1974)

Old Wild Men (1974)

Une Nuit A Paris (1975)

Blackmail (1975)

Flying Junk (1975)

The Second Sitting for the Last Supper (1975)

Iceberg (1976)

I Wanna Rule the World (1976)

Rock and Roll Lullaby (1976)

Don’t Hang Up (1976)

Feel the Benefit (1977)

I Bought A Flat Guitar Tutor (1977)

Take These Chains (1978)

Disc Four – B-sides

Bee in My Bonnet (1972)

Hot Sun Rock (1972)

4% Of Something (1972)

Waterfall (1973)

18 Carat Man Of Means (1974)

Gismo My Way (1974)

Channel Swimmer (1975)

Good News (1975)

Get It While You Can (1976)

Hot To Trot (1977)

Don’t Squeeze Me Like Toothpaste (1977)

I’m So Laid Back, I’m Laid out (1977)

Nothing Can Move Me (1978)

People in Love (The Voodoo Boogie) (1976)

The Recording of the Dean And I (1973)

Disc Five – DVD

Rubber Bullets – Top Of The Pops – 25/12/1973

Life Is a Minestrone – Top Of The Pops – 10/04/1975

I’m Not in Love – Top Of The Pops – 25/12/1975

Dreadlock Holiday – Top Of The Pops – 17/08/1978

Silly Love – BBC In Concert – 21/08/1974

The Wall Street Shuffle – BBC In Concert – 21/08/1974

Baron Samendi – BBC In Concert – 21/08/1974

Old Wild Men – BBC In Concert – 21/08/1974

Oh Effendi – BBC In Concert – 21/08/1974

Fresh Air for My Momma – BBC In Concert – 21/08/1974

Rubber Bullets – BBC In Concert – 21/08/1974

Fresh Air for Momma – See You Sunday – 21/04/1974

The Wall Street Shuffle – See You Sunday – 21/04/1974

Dreadlock Holiday – Six Fifty Five Special – 27/07/1982

Run Away – Six Fifty Five Special – 27/07/1982

Promo Videos

Donna

I’m Not in Love

Art for Art’s Sake

I’m Mandy Fly Me

Good Morning Judge

People in Love

Dreadlock Holiday

One Two Five

Feel the Love

Woman in Love

Sonic Youth get stolen guitars back after 13 years

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Two guitars stolen at a Sonic Youth gig in 1999 have been returned, 13 years later. The band's rented truck full of their equipment was stolen in the middle of the night before a festival appearance in Orange County. The truck was later found in Los Angeles, empty. However, over the years, fans of the band have remained diligent to try and recover the lost gear, which had been heavily modified by the band after guitarist Lee Ranaldo issued a plea at the time. Several have already cropped up, but this month the sixth and seventh guitars both mysteriously appeared, according to Pitchfork. Ranaldo said: "It's kind of wild. After all this time, things are still surfacing thanks to the diligence of fans." A white Jazzmaster, used by Thurston Moore on songs including "Bull In The Heather" and "Dirty Boots" was picked up by a fan in Belgium on eBay. The other, Ranaldo's Jazzmaster used on A Thousand Leaves' "French Tickler" was discovered for sale in a pawn shop and discovered in a thread on guitar forum OffsettGuitars. Sonic Youth will release a new live album, recorded in August 1985 at Chicago’s Smart Bar. The album was recorded on a four-track tape recorder and will be released on November 14 via the band's label Goofin' Records. In October last year, Moore and his partner Kim Gordon announced they would be separating after 27 years of marriage. The announcement raised doubts over the future of Sonic Youth after Matador revealed that plans for the band remained "uncertain".

Two guitars stolen at a Sonic Youth gig in 1999 have been returned, 13 years later.

The band’s rented truck full of their equipment was stolen in the middle of the night before a festival appearance in Orange County. The truck was later found in Los Angeles, empty.

However, over the years, fans of the band have remained diligent to try and recover the lost gear, which had been heavily modified by the band after guitarist Lee Ranaldo issued a plea at the time. Several have already cropped up, but this month the sixth and seventh guitars both mysteriously appeared, according to Pitchfork.

Ranaldo said: “It’s kind of wild. After all this time, things are still surfacing thanks to the diligence of fans.”

A white Jazzmaster, used by Thurston Moore on songs including “Bull In The Heather” and “Dirty Boots” was picked up by a fan in Belgium on eBay. The other, Ranaldo’s Jazzmaster used on A Thousand Leaves’ “French Tickler” was discovered for sale in a pawn shop and discovered in a thread on guitar forum OffsettGuitars.

Sonic Youth will release a new live album, recorded in August 1985 at Chicago’s Smart Bar. The album was recorded on a four-track tape recorder and will be released on November 14 via the band’s label Goofin’ Records.

In October last year, Moore and his partner Kim Gordon announced they would be separating after 27 years of marriage. The announcement raised doubts over the future of Sonic Youth after Matador revealed that plans for the band remained “uncertain”.

The XX – Coexist

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Sensual second proves even better than the first... Few bands invent a sound. But The xx’s strange and beautiful blend of stark indie-pop, late-night soul and post-dubstep texture felt brand new in 2009. Non-believers pointed out the south Londoners’ sonic similarities to The Cure’s gothically ringing guitar and the chamber-punk sparseness of Young Marble Giants, but twin vocalists Romy Madley-Croft and Oliver Sim did not whine like Robert Smith nor deadpan like Alison Stratton. Their voices were proudly mid-Atlantic; pop-soul vocals cast adrift in Jamie Smith’s stripped dub production, evincing a natural clashing of styles, as all great new pop music should. But when a band takes three years to make a follow-up to a classic debut, alarm bells sound. While Smith established himself as DJ, producer and remixer – numbering Radiohead, Adele, the late Gil Scott-Heron and R&B star Drake among his clients – were his band struggling to meet the expectations of a fanbase who saw them as heroes? As it turns out… nope. The three simply bought their first flats, built their own studio, ignored the demand for more product and took their own sweet time. The result is exactly what fans of a great debut album always want but rarely get: the same again, but stronger, deeper, better. Coexist – a perfect word to encapsulate both the trio’s friendship and romantic unease – is a masterpiece. An eleven-song journey into private agonies, Coexist is, essentially, the story of a relationship broken by the protagonists’ tendency to love too much while being unable to express their need to each other. Whereas the first album’s lyrics were written by Madley-Croft and Sim swapping words by email, this time around they sat in a room together and played ping-pong with each other’s heartbreak testimonies. The result is songs that sound like mutual diary entries, scarred by repeated references to dead-end words like ‘lose’, ‘leave’ and ‘end’, summed up by the sensual croon of Madley-Croft’s key lines from “Chained”: “Did I hold you too tight?/Did I not let enough light in?”. Musically, the highlights are the stripped Phil Spectorisms of “Angels”; the tension between house beats and rock ‘n’ roll bass that underpins the repressed catharsis of “Chained”; the steel drum-flecked eroticism of “Reunion” and the subverted disco of “Sunset”, which throws a whole new crying-on-the-dancefloor spin on what US black radio DJ’s used to call ‘quiet storm’ seduction music. As for the mystery at The xx’s heart, its impossible to listen to the closing “Our Song” and not hear Romy and Oliver as former lovers, singing to the world the emotions they couldn’t say to each other. “I know all the words to take you apart”, they harmonise, quiet and deadly, as the guitar shimmers like a Cocteau Twin and the song dissolves into bristling tape hiss. But, as The xx are fond of insisting, their private lives are not the point. This is music that sounds like universal heartbreak, made all the more poignant by its refusal to descend into gender war. Sim – sounding ever more like Stuart Staples – and Madley-Croft – a kind of Sade-meets-Tracey Thorn – feel the same pain and express it in the same naked, direct and honest manner. So sultry and sensual it makes The xx sound like beginners’ luck, Coexist is going to be the midnight soundtrack to thousands of seductions over the next few decades. But all these lovers might be wise not to listen too closely to the words. Because this is an album that believes that every blissful moment of intimate pleasure is only a prelude to the end of everything. Best to leave that conversation to the morning. Garry Mullholland Q&A Jamie xx Coexist sounds supremely confident. Were there no ‘second album syndrome’ palpitations? No. The first record was made very naively. We didn’t even think about putting it out. So with this one we wanted to be in that same headspace. Now we wonder if we should have thought about it a little bit more. You’re always the first person to hear Romy and Oliver’s latest, painfully personal lyrics. Is it like reading your mates’ diaries? Ha! I guess that’s why a lot of people relate to it. But the lyrics are purposely ambiguous so people can relate to them. I mean… if I listen carefully, I do know about their lives intimately so I can guess what they’re about. But they don’t even tell each other what they’re singing about. You are all famously shy. How are you dealing with adulation? It’s been hard. But we’ve gained a lot of confidence from being forced to meet people and philosophise about our music endlessly. So although we were very reluctant to be in the limelight, it’s helped our confidence as people, in real life. Was their any temptation to change musical direction? No. We’re quite restrained people. And because we can’t separate music from our lives, that’s what we do and that’s what we are. I don’t think its possible for us to make something that’s different to how we are as people. INTERVIEW: GARRY MULHOLLAND

Sensual second proves even better than the first…

Few bands invent a sound. But The xx’s strange and beautiful blend of stark indie-pop, late-night soul and post-dubstep texture felt brand new in 2009. Non-believers pointed out the south Londoners’ sonic similarities to The Cure’s gothically ringing guitar and the chamber-punk sparseness of Young Marble Giants, but twin vocalists Romy Madley-Croft and Oliver Sim did not whine like Robert Smith nor deadpan like Alison Stratton. Their voices were proudly mid-Atlantic; pop-soul vocals cast adrift in Jamie Smith’s stripped dub production, evincing a natural clashing of styles, as all great new pop music should.

But when a band takes three years to make a follow-up to a classic debut, alarm bells sound. While Smith established himself as DJ, producer and remixer – numbering Radiohead, Adele, the late Gil Scott-Heron and R&B star Drake among his clients – were his band struggling to meet the expectations of a fanbase who saw them as heroes? As it turns out… nope. The three simply bought their first flats, built their own studio, ignored the demand for more product and took their own sweet time. The result is exactly what fans of a great debut album always want but rarely get: the same again, but stronger, deeper, better. Coexist – a perfect word to encapsulate both the trio’s friendship and romantic unease – is a masterpiece.

An eleven-song journey into private agonies, Coexist is, essentially, the story of a relationship broken by the protagonists’ tendency to love too much while being unable to express their need to each other. Whereas the first album’s lyrics were written by Madley-Croft and Sim swapping words by email, this time around they sat in a room together and played ping-pong with each other’s heartbreak testimonies. The result is songs that sound like mutual diary entries, scarred by repeated references to dead-end words like ‘lose’, ‘leave’ and ‘end’, summed up by the sensual croon of Madley-Croft’s key lines from “Chained”: “Did I hold you too tight?/Did I not let enough light in?”.

Musically, the highlights are the stripped Phil Spectorisms of “Angels”; the tension between house beats and rock ‘n’ roll bass that underpins the repressed catharsis of “Chained”; the steel drum-flecked eroticism of “Reunion” and the subverted disco of “Sunset”, which throws a whole new crying-on-the-dancefloor spin on what US black radio DJ’s used to call ‘quiet storm’ seduction music.

As for the mystery at The xx’s heart, its impossible to listen to the closing “Our Song” and not hear Romy and Oliver as former lovers, singing to the world the emotions they couldn’t say to each other. “I know all the words to take you apart”, they harmonise, quiet and deadly, as the guitar shimmers like a Cocteau Twin and the song dissolves into bristling tape hiss.

But, as The xx are fond of insisting, their private lives are not the point. This is music that sounds like universal heartbreak, made all the more poignant by its refusal to descend into gender war. Sim – sounding ever more like Stuart Staples – and Madley-Croft – a kind of Sade-meets-Tracey Thorn – feel the same pain and express it in the same naked, direct and honest manner.

So sultry and sensual it makes The xx sound like beginners’ luck, Coexist is going to be the midnight soundtrack to thousands of seductions over the next few decades. But all these lovers might be wise not to listen too closely to the words. Because this is an album that believes that every blissful moment of intimate pleasure is only a prelude to the end of everything. Best to leave that conversation to the morning.

Garry Mullholland

Q&A

Jamie xx

Coexist sounds supremely confident. Were there no ‘second album syndrome’ palpitations?

No. The first record was made very naively. We didn’t even think about putting it out. So with this one we wanted to be in that same headspace. Now we wonder if we should have thought about it a little bit more.

You’re always the first person to hear Romy and Oliver’s latest, painfully personal lyrics. Is it like reading your mates’ diaries?

Ha! I guess that’s why a lot of people relate to it. But the lyrics are purposely ambiguous so people can relate to them. I mean… if I listen carefully, I do know about their lives intimately so I can guess what they’re about. But they don’t even tell each other what they’re singing about.

You are all famously shy. How are you dealing with adulation?

It’s been hard. But we’ve gained a lot of confidence from being forced to meet people and philosophise about our music endlessly. So although we were very reluctant to be in the limelight, it’s helped our confidence as people, in real life.

Was their any temptation to change musical direction?

No. We’re quite restrained people. And because we can’t separate music from our lives, that’s what we do and that’s what we are. I don’t think its possible for us to make something that’s different to how we are as people.

INTERVIEW: GARRY MULHOLLAND