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Neil Young & Crazy Horse: “Psychedelic Pill”

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OK I’m going to try and be relatively brief with this – or at least as brief as one can hope to be when dealing with the longest studio album that Neil Young’s ever made. I’ve written what I hope is an exhaustive review of “Psychedelic Pill” for the next issue of Uncut, and don’t really want to repeat myself too much. First up; it’s great, though I’m conscious of being someone with an enormously high tolerance of Neil Young’s self-indulgences, especially when he has the bedraggled might of Crazy Horse in tow. Trying to place “Psychedelic Pill”’s excellence into some canonical ranking doesn’t make a whole deal of sense to me, in much the same way as it feels a bit pointless trying to measure up “Tempest” against “Blonde On Blonde”. Young’s 35th studio set is best understood as the next chapter in what has been an eccentric and compelling last decade of music-making, with this time (unlike on “Americana”, blogged about here) a lot of extended jams to satisfy my favourite NY cravings. If you’ve seen the revealed data about “Psychedelic Pill”, you’ll know about how extended those jams are: two over 15 minutes, and one – the extraordinary opener “Driftin’ Back” – stretching out to nearly half an hour by itself. You’ll have seen the sleeve, too and, in conjunction with the title, wondered exactly how psychedelic this record might be. The simple answer is not a great deal more than, say, “Broken Arrow”, the Young album which it most superficially resembles (“Driftin’ Back”, if it has an obvious antecedent, is possibly related to that album’s “Slip Away”). There is a fleeting reference to the Grateful Dead in “Twisted Road”, and one version of the title track (which appears in two different mixes) is crudely phased throughout to give some rough psychedelic disorientation. It doesn’t really add much to the live version some of you may have heard in the past month or so; by some distance the weakest song here. The pill, really, is a metaphor for flashbacks. “Driftin’ Back”, in particular, is concerned with what may be the substance of Young’s forthcoming “Waging Heavy Peace”, and the writing of that autobiography. It begins with a brilliant trick – which I won’t spoil just yet – and soon locks into a languorous and beautiful series of solos, erratically punctuated by random Young pensées on the subjects of MP3s, hip-hop haircuts, Picasso wallpaper and so on. It’s not related to the “Horse Back” jam (more about that here), but it has that same deep-pile pleasure. If you believe, not unreasonably, that Young simply playing the shit out of an electric guitar is about as good as music gets, I think you’ll like it. The two other big ones, “Ramada Inn” and “Walk Like A Giant”, are more conventionally formed songs, and feel like new classics, too – as you may have divined from the live versions that have been kicking around, especially the Red Rocks bootleg (I wrote about that here). Again, they’re very similar to the live takes: the whistling refrain in “Walk Like A Giant” hasn’t been replaced by, say, a keyboard line, and there’s still a clanking feedback coda, even if it’s somewhat shorter than the Red Rocks version, at least. “She’s Always Dancing” is terrific, too, appearing to start mid-stream and having a “Like A Hurricane”-style lyricism to the playing as it rolls on for eight minutes or so. What else? “Twisted Road” is a band performance rather than the acoustic version that Young’s been playing live, and sounds better for it, while “Born In Ontario” (a little like “Everybody Knows This Is Nowhere”, maybe), with its evocations of roots, family and the consolations of writing, works as a kind of conceptual heart of “Psychedelic Pill”. Much of Young’s latterday work has been preoccupied with organising and recontextualising his past, and this extraordinary record is part of that process; maybe even a culmination of it, viewed in tandem with the book. But I’ve already written more than I intended to… Follow me on Twitter: www.twitter.com/JohnRMulvey

OK I’m going to try and be relatively brief with this – or at least as brief as one can hope to be when dealing with the longest studio album that Neil Young’s ever made. I’ve written what I hope is an exhaustive review of “Psychedelic Pill” for the next issue of Uncut, and don’t really want to repeat myself too much.

First up; it’s great, though I’m conscious of being someone with an enormously high tolerance of Neil Young’s self-indulgences, especially when he has the bedraggled might of Crazy Horse in tow. Trying to place “Psychedelic Pill”’s excellence into some canonical ranking doesn’t make a whole deal of sense to me, in much the same way as it feels a bit pointless trying to measure up “Tempest” against “Blonde On Blonde”. Young’s 35th studio set is best understood as the next chapter in what has been an eccentric and compelling last decade of music-making, with this time (unlike on “Americana”, blogged about here) a lot of extended jams to satisfy my favourite NY cravings.

If you’ve seen the revealed data about “Psychedelic Pill”, you’ll know about how extended those jams are: two over 15 minutes, and one – the extraordinary opener “Driftin’ Back” – stretching out to nearly half an hour by itself. You’ll have seen the sleeve, too and, in conjunction with the title, wondered exactly how psychedelic this record might be.

The simple answer is not a great deal more than, say, “Broken Arrow”, the Young album which it most superficially resembles (“Driftin’ Back”, if it has an obvious antecedent, is possibly related to that album’s “Slip Away”). There is a fleeting reference to the Grateful Dead in “Twisted Road”, and one version of the title track (which appears in two different mixes) is crudely phased throughout to give some rough psychedelic disorientation. It doesn’t really add much to the live version some of you may have heard in the past month or so; by some distance the weakest song here.

The pill, really, is a metaphor for flashbacks. “Driftin’ Back”, in particular, is concerned with what may be the substance of Young’s forthcoming “Waging Heavy Peace”, and the writing of that autobiography. It begins with a brilliant trick – which I won’t spoil just yet – and soon locks into a languorous and beautiful series of solos, erratically punctuated by random Young pensées on the subjects of MP3s, hip-hop haircuts, Picasso wallpaper and so on. It’s not related to the “Horse Back” jam (more about that here), but it has that same deep-pile pleasure. If you believe, not unreasonably, that Young simply playing the shit out of an electric guitar is about as good as music gets, I think you’ll like it.

The two other big ones, “Ramada Inn” and “Walk Like A Giant”, are more conventionally formed songs, and feel like new classics, too – as you may have divined from the live versions that have been kicking around, especially the Red Rocks bootleg (I wrote about that here). Again, they’re very similar to the live takes: the whistling refrain in “Walk Like A Giant” hasn’t been replaced by, say, a keyboard line, and there’s still a clanking feedback coda, even if it’s somewhat shorter than the Red Rocks version, at least. “She’s Always Dancing” is terrific, too, appearing to start mid-stream and having a “Like A Hurricane”-style lyricism to the playing as it rolls on for eight minutes or so.

What else? “Twisted Road” is a band performance rather than the acoustic version that Young’s been playing live, and sounds better for it, while “Born In Ontario” (a little like “Everybody Knows This Is Nowhere”, maybe), with its evocations of roots, family and the consolations of writing, works as a kind of conceptual heart of “Psychedelic Pill”. Much of Young’s latterday work has been preoccupied with organising and recontextualising his past, and this extraordinary record is part of that process; maybe even a culmination of it, viewed in tandem with the book. But I’ve already written more than I intended to…

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

Alan McGee set to bring back Creation Records?

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Alan McGee says he is "seriously considering" bringing back his iconic Creation Records. The pioneering label, whose rosta included Oasis, Primal Scream, My Bloody Valentine, The Jesus And Mary Chain, Teenage Fanclub, Felt and Super Furry Animals, was disbanded in 1999. However, its boss Alan McGe...

Alan McGee says he is “seriously considering” bringing back his iconic Creation Records.

The pioneering label, whose rosta included Oasis, Primal Scream, My Bloody Valentine, The Jesus And Mary Chain, Teenage Fanclub, Felt and Super Furry Animals, was disbanded in 1999.

However, its boss Alan McGee says he is thinking about bringing it back: “Since spending the summer helping curate [the festival] Tokyo Rocks for next year it’s made me realise I do still love it! It was when I was flying back from Japan with the Primals that started me loving it again,” he said in a statement. He added:To be honest I am now seriously thinking about restarting Creation, or maybe Re-Creation if I can find the right people at a label to work with. Music needs a kick in the balls, and I have got the music buzz back.Creation Records was set up in 1983. McGee sold half the label to Sony in 1992, before dissolving it fully in 1999 to form his own label Poptones, which signed The Hives. Poptones wound down in 2007, with McGee citing financial reasons.

Last year. McGee said he was in talks about potential feature film about the label.

The Horrors’ Faris Badwan sets up record label with Cat’s Eyes partner Rachel Zeffira

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The Horrors frontman Faris Badwan and his Cat's Eyes collaborator Rachel Zeffira have announced that they are setting up their own record label. RAF Recordings' first release will be Zeffira's solo debut LP The Deserters, which will be released on December 10. The Deserters was written and produc...

The Horrors frontman Faris Badwan and his Cat’s Eyes collaborator Rachel Zeffira have announced that they are setting up their own record label.

RAF Recordings’ first release will be Zeffira’s solo debut LP The Deserters, which will be released on December 10.

The Deserters was written and produced entirely by the Canadian multi-instrumentalist and features an all-star east London cast including krautrockers Toy and SCUM’s drummer Mel Rigby. You can listen to the first track to be taken from the album, ‘Break the Spell’, below.

Speaking NME, abut the album Zeffira said: “I wanted to stay true to myself. It’s my own album. I’m producing it. And I wanted it to be my own stuff… I just wanted this to be my own honest thing”.

She added: “I guess the closest artist I can reference is Nick Drake. Something like ‘River Man’. I’ve always really admired those string arrangements.”

Rachel Zeffira will play her debut solo show at St Andrew Church, Holborn on October 18.

Brett Anderson: ‘The new Suede album is a cross between ‘Dog Man Star’ and ‘Coming Up”

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Suede frontman Brett Anderson has said that the album he and the band are currently recording sounds like "a cross between bits of Dog Man Star and bits of Coming Up." Speaking to The Quietus, Anderson explained that their sixth album, "doesn't sound anything like" their last LP, 2002's A New Morni...

Suede frontman Brett Anderson has said that the album he and the band are currently recording sounds like “a cross between bits of Dog Man Star and bits of Coming Up.”

Speaking to The Quietus, Anderson explained that their sixth album, “doesn’t sound anything like” their last LP, 2002’s A New Morning, but has more in common with their second album, released in 1994, and their third, which came out in 1996.

Of the record, he added: “Without wishing to be facetious, it sounds like Suede. We’re not trying to reinvent the sound of the band, that’d be a disastrous thing to do. I think that’s possibly where we went wrong on the last two albums.”

Anderson said that the band have been writing for the past year and recording “on and off”, with one session in May, and another set for this month at Sarm Studios in Notting Hill. He explained that though he’s ‘loving’ the recording process, it has been hard work. “Any album is brutally hard, and this one has been pretty hard,” he said.

He continued: “A lot of the writing process for me is throwing stuff away, because you’re finding out what you want to do. There was a lot of that, and we discarded quite a few songs. Early this year we started hitting on the sort of songs that we were aiming to write, and it’s sounding really good now.”

Suede debuted a new track called “For The Strangers” at the Hop Farm Music Festival in July. The band are working with producer Ed Buller, who worked on their first three LPs.

Neil Young & Crazy Horse reveal track listing and release date for Psychedelic Pill

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Neil Young & Crazy Horse have revealed the track listing and release date for Psychedelic Pill, their second album of 2012 following Americana. According to Rolling Stone, the album will be released on October 30 in double-CD and triple-LP formats. "It's us jamming and having lots of fun," Cra...

Neil Young & Crazy Horse have revealed the track listing and release date for Psychedelic Pill, their second album of 2012 following Americana.

According to Rolling Stone, the album will be released on October 30 in double-CD and triple-LP formats.

“It’s us jamming and having lots of fun,” Crazy Horse guitarist Frank “Poncho” Sampedro told Rolling Stone earlier this summer. “I think that [former Crazy Horse producer] David Briggs would be proud of it… Once he was gone, I felt like we lost our compass a bit. We had the sound and we had the big machine, and we could play anything and play pretty good, but we weren’t putting any great records together. I mean, Broken Arrow was OK. It wasn’t like Everybody Knows This Is Nowhere or Rust Never Sleeps or Ragged Glory.”

Speaking to Uncut earlier this year, Young said after Americana, “I realised I was in a groove. Right around the time of Americana was finished, I started writing again, so I just kept on going. Pretty soon I had enough songs for a second album.”

Track list for Psychedelic Pill:

Disc One:

1) Driftin’ Back

2) Psychedelic Pill

3) Ramada Inn

4) Born in Ontario

Disc Two:

1) Twisted Road

2) She’s Always Dancing

3) For the Love of Man

4) Walk Like a Giant

Bonus Track:

5) Psychedelic Pill (Alternate Mix)

The Velvet Underground lose copyright claim over iconic banana symbol

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A New York judge has rejected part of a lawsuit brought by the The Velvet Underground against the the Andy Warhol Foundation for the Visual Arts over the use of the iconic banana symbol from their 1967 album The Velvet Underground And Nico. In January this year, the defunct 1960s band filed a lawsuit seeking to block its iconic Andy Warhol-designed banana being used on covers for iPads and iPhones after reports that they had agreed to license the design for a series of cases, sleeves and bags. According to the lawsuit, the group claimed the banana design is synonymous with The Velvet Underground and demanded that Warhol's foundation stop licensing the image and pay them for past licensing. According to the Hollywood Reporter a judge has now ruled that the band do not have a valid copyright claim. However, they can continue pursuing the Foundation for trademark infringement – in which they would need to argue the case that the Foundation's use of the banana causes "confusion as to … affiliation, approval or sponsorship" by the group. The Warhol Foundation has responded by pointing to the fact that the Velvet Underground broke up in 1972 and that trademarks are only relevant if they are linked to an ongoing business. In July, The Velvet underground announced that they would reissue the album as part of a six-disc package on October 1 to celebrate its 45th anniversary.

A New York judge has rejected part of a lawsuit brought by the The Velvet Underground against the the Andy Warhol Foundation for the Visual Arts over the use of the iconic banana symbol from their 1967 album The Velvet Underground And Nico.

In January this year, the defunct 1960s band filed a lawsuit seeking to block its iconic Andy Warhol-designed banana being used on covers for iPads and iPhones after reports that they had agreed to license the design for a series of cases, sleeves and bags.

According to the lawsuit, the group claimed the banana design is synonymous with The Velvet Underground and demanded that Warhol’s foundation stop licensing the image and pay them for past licensing.

According to the Hollywood Reporter a judge has now ruled that the band do not have a valid copyright claim. However, they can continue pursuing the Foundation for trademark infringement – in which they would need to argue the case that the Foundation’s use of the banana causes “confusion as to … affiliation, approval or sponsorship” by the group.

The Warhol Foundation has responded by pointing to the fact that the Velvet Underground broke up in 1972 and that trademarks are only relevant if they are linked to an ongoing business.

In July, The Velvet underground announced that they would reissue the album as part of a six-disc package on October 1 to celebrate its 45th anniversary.

Long-lost Sex Pistols demo “Belsen Was A Gas” emerges online

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http://www.youtube.com/watch?v=qFPYpwztorI A long-lost demo of the Sex Pistols' controversial track "Belsen Was a Gas" has emerged online - watch it above. The track, about the Nazi concentration camp, was written by Sid Vicious prior to him joining the band. With added input from Johnny Rotten, ...

A long-lost demo of the Sex Pistols‘ controversial track “Belsen Was a Gas” has emerged online – watch it above.

The track, about the Nazi concentration camp, was written by Sid Vicious prior to him joining the band. With added input from Johnny Rotten, it became part of the band’s live set from 1977. However, only live versions and a post-Rotten 1978 recording with Ronnie Biggs on vocal had previously existed.

The band have since played the track on live shows – including at festival appearances throughout summer 2008 – where Lydon updated the track as a protest to the US and UK’s invasion of Iraq, renaming it “Baghdad Was A Blast”.

The demo was recorded at the Pistols Denmark Street rehearsal room by their soundman John ‘Boogie’ Tiberi on a TEAC four-track. “John decided to work on ‘Belsen’ with Sid, rearranging the lyrics while Steve and Paul worked on the track and I wired up Denmark Street to put it down to a four-track,” he remembers.

Tiberi added: “It really shouldn’t have to be said but that’s Sid on bass. It was very clumsy, no monitors, sound insulation was non-existent. I think they all enjoyed doing it outside of the Wessex environment, which had by then become quite oppressive. When I played it to [Pistols producer] Chris Thomas he probably thought I was barmy and couldn’t understand the reverb vocal, but that’s the way John wanted it. I thought it was good as a kind of sketch idea.”

The demo was through lost but has now been restored and will feature on the box set deluxe reissue of the band’s seminal album Never Mind The Bollocks, Here’s The Sex Pistols on September 24 to celebrate its 35th anniversary.

The 37th Uncut Playlist Of 2012

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A couple of the mystery records from recent playlists have, as you’ll see, magically revealed themselves this week. I imagine you may have questions… In the meantime, though, please let me especially recommend the lovely solo banjo album by Nathan Bowles from the Black Twig Pickers and this happy reunion of one of my favourite bands of the last 20 years, Rocket From The Crypt… http://www.youtube.com/watch?v=03WJCe6jQE8 Given that there’s one album on the list that got a stinking reception from the office yesterday*, it’s worth reiterating once again that inclusion doesn’t necessarily mean approval. The playlists are just that; a log of records we’ve worked through over the past couple of days. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 The Baird Sisters – Until You Find Your Green (Grapefruit) 2 Neil Young & Crazy Horse – Psychedelic Pill (Reprise) 3 Nathan Bowles – A Bottle, A Buckeye (Soft Abuse) 4 Angel Olsen – Half Way Home (Bathetic) 5 The People’s Temple – More For The Masses… (Hozac) 6 Rocket From The Crypt – He’s A Chef (Volcom) 7 Woo – It’s Cosy Inside (Drag City) 8 Atoms For Peace – Default (XL) 9 Bob Dylan – Tempest (Columbia) 10 Umberto – Night Has A Thousand Screams (Rock Action) 11 Gary Clark Jr – Blak & Blu (Warner Bros) 12 Chris McGregor – Sea Breezes: Solo Piano – Live In Durban 1987 (Fledg’ling) 13 Apache Dropout – Bubblegum Graveyard (Trouble In Mind) 14 Donald Fagen – Sunken Condos (Warner Bros) 15 The Datsuns – Death Rattle Boogie (Hellsquad) * No, it wasn’t Dylan

A couple of the mystery records from recent playlists have, as you’ll see, magically revealed themselves this week. I imagine you may have questions…

In the meantime, though, please let me especially recommend the lovely solo banjo album by Nathan Bowles from the Black Twig Pickers and this happy reunion of one of my favourite bands of the last 20 years, Rocket From The Crypt

Given that there’s one album on the list that got a stinking reception from the office yesterday*, it’s worth reiterating once again that inclusion doesn’t necessarily mean approval. The playlists are just that; a log of records we’ve worked through over the past couple of days.

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

1 The Baird Sisters – Until You Find Your Green (Grapefruit)

2 Neil Young & Crazy Horse – Psychedelic Pill (Reprise)

3 Nathan Bowles – A Bottle, A Buckeye (Soft Abuse)

4 Angel Olsen – Half Way Home (Bathetic)

5 The People’s Temple – More For The Masses… (Hozac)

6 Rocket From The Crypt – He’s A Chef (Volcom)

7 Woo – It’s Cosy Inside (Drag City)

8 Atoms For Peace – Default (XL)

9 Bob Dylan – Tempest (Columbia)

10 Umberto – Night Has A Thousand Screams (Rock Action)

11 Gary Clark Jr – Blak & Blu (Warner Bros)

12 Chris McGregor – Sea Breezes: Solo Piano – Live In Durban 1987 (Fledg’ling)

13 Apache Dropout – Bubblegum Graveyard (Trouble In Mind)

14 Donald Fagen – Sunken Condos (Warner Bros)

15 The Datsuns – Death Rattle Boogie (Hellsquad)

* No, it wasn’t Dylan

Led Zeppelin post video teaser ahead of expected announcement of O2 concert DVD

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Led Zeppelin have posted a video teaser ahead of the expected announcement that they will be releasing a DVD of their 2007 reunion concert at the O2 Arena. Scroll down to watch the video. The band reunited to play the Ahmet Ertegun concert in December 2007 at the O2 arena in London, but a DVD of t...

Led Zeppelin have posted a video teaser ahead of the expected announcement that they will be releasing a DVD of their 2007 reunion concert at the O2 Arena. Scroll down to watch the video.

The band reunited to play the Ahmet Ertegun concert in December 2007 at the O2 arena in London, but a DVD of the much sought after gig has never been released.

The video reveals very little and simply features the band’s four runes logo with the noise of cheering crowd in the background.

It is expected that the DVD will be out in time for Christmas, and, according to a source in today’s copy of The Sun, Jimmy Page has spent the last few months working on the DVD.

A source told the tabloid: “Jimmy Page has been in the studio making sure everything is perfect. The band want it to remain true to their exceptionally high standards. It’s coming out on November 22 as part of a simultaneous global release.”

Led Zeppelin frontman Robert Plant has previously ruled out another reunion of the band, saying in a 2011 interview with Rolling Stone: “I’ve gone so far somewhere else that I almost can’t relate to it… It’s a bit of a pain in the pisser to be honest. Who cares? I know people care, but think about it from my angle – soon, I’m going to need help crossing the street.”

http://www.youtube.com/watch?v=jXIU4nW-ZUc

Three people killed after coach returning from Bestival crashes into tree

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Three people have been killed and a number of others seriously injured after a coach returning from Bestival overturned after crashing into a tree last night (September 10). The 51-seater coach was going north on the A3 road in Surrey when the crash happened near the Hindhead Tunnel at 11.50pm (BST) last night. According to BBC News, the coach veered off the carriageway between the tunnel and the Thursley exit and hit a tree. No other vehicles were involved in the crash. Three people were declared dead at the scene, while a number of passengers have been taken to hospital for treatment. One had to be airlifted to Southampton General Hospital with "life-changing injuries", said police. Speaking about the incident, investigating officer Inspector Richard Mallett said: "I understand the road was dry. We cannot see any reason that the road conditions would have had any effect on what occurred." Surrey Police Assistant Chief Constable Jerry Kirkby added: "This has been declared a major incident and we are working with our colleagues from the other emergency services and other partner agencies to provide a co-ordinated response in line with agreed protocols. Our thoughts remain with the relatives of the dead and the injured at this time and we are working very hard to notify their next of kin." The coach was owned by Merseyside Travel, whose owner Dave Hannel said that the coach left Aintree on Wednesday to travel to Bestival on the Isle of Wight and would have been returning home. Bestival took place this weekend and featured headline sets from New Order, Florence And The Machine and Stevie Wonder.

Three people have been killed and a number of others seriously injured after a coach returning from Bestival overturned after crashing into a tree last night (September 10).

The 51-seater coach was going north on the A3 road in Surrey when the crash happened near the Hindhead Tunnel at 11.50pm (BST) last night. According to BBC News, the coach veered off the carriageway between the tunnel and the Thursley exit and hit a tree. No other vehicles were involved in the crash.

Three people were declared dead at the scene, while a number of passengers have been taken to hospital for treatment. One had to be airlifted to Southampton General Hospital with “life-changing injuries”, said police.

Speaking about the incident, investigating officer Inspector Richard Mallett said: “I understand the road was dry. We cannot see any reason that the road conditions would have had any effect on what occurred.”

Surrey Police Assistant Chief Constable Jerry Kirkby added: “This has been declared a major incident and we are working with our colleagues from the other emergency services and other partner agencies to provide a co-ordinated response in line with agreed protocols. Our thoughts remain with the relatives of the dead and the injured at this time and we are working very hard to notify their next of kin.”

The coach was owned by Merseyside Travel, whose owner Dave Hannel said that the coach left Aintree on Wednesday to travel to Bestival on the Isle of Wight and would have been returning home.

Bestival took place this weekend and featured headline sets from New Order, Florence And The Machine and Stevie Wonder.

Elbow extend their November UK arena tour

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Elbow have extended their UK arena tour, which is set to take place in November. The band have now added a gig at London's Wembley Arena to their run of shows, which already included five other UK shows. The tour kicks off at Nottingham's Capital FM Arena on November 26, the band will then play We...

Elbow have extended their UK arena tour, which is set to take place in November.

The band have now added a gig at London’s Wembley Arena to their run of shows, which already included five other UK shows.

The tour kicks off at Nottingham’s Capital FM Arena on November 26, the band will then play Wembley Arena on November 27 before they head to Birmingham NIA on November 28 and then Liverpool’s Echo Area on November 29, before heading to their Manchester hometown on December 1. They will finish up at London’s The O2 on December 2.

Last month , Elbow released a B-sides compilation titled Dead In The Boot, featuring 13 B-sides and non-album tracks which have been selected by the band as favourites from their 15-year career.

In a statement on the band’s website, singer Guy Garvey said: “None of our B-sides are album rejects. It’s a different space, usually just post finishing an album when all the members of Elbow are chiming and feeling very creative. This gives Dead In The Boot a real late night vibe.”

Elbow will play:

Nottingham Capital FM Arena (November 26)

London Wembley Arena (27)

Birmingham National Indoor Arena (28)

Liverpool Echo Arena (29)

Manchester Arena (December 1)

London O2 Arena (2)

Sigur Ros announce March 2013 UK tour

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Sigur Ros have announced a full UK tour for March next year. The Icelandic band, who released their new album Valtari in May, will play five shows on the tour. The dates begin at Glasgow SECC on March 2 and end on March 8, when the band play the second of two dates at London's O2 Academy Brixton....

Sigur Ros have announced a full UK tour for March next year.

The Icelandic band, who released their new album Valtari in May, will play five shows on the tour.

The dates begin at Glasgow SECC on March 2 and end on March 8, when the band play the second of two dates at London’s O2 Academy Brixton. They will also play gigs at Manchester’s O2 Apollo and Wolverhampton Civic Hall.

‘Valtari’ is the sixth release from the Icelandic band and the follow up to 2008’s ‘Með suð í eyrum við spilum endalaust’, marking an end to their short-lived “indefinite hiatus”.

The run of UK dates is part of a full European tour which will also see the band visit Portugal, Italy, Holland, Germany, Switzerland, Belgium and France. The band are also booked to tour Australia later this year.

Sigur Ros will play:

Glasgow SECC (March 2)

O2 Apollo Manchester (3)

Wolverhampton Civic Hall (5)

O2 Academy Brixton (7, 8)

Bible belonging to Elvis Presley sells for £59,000 at auction

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At an auction in Stockport, near Manchester on Saturday (September 8), a Bible which was given to Elvis Presley by his uncle Vester and aunt Clettes for his first Christmas at Graceland in 1957, fetched £59,000 after being sold to an unnamed American man based in the UK. The book was only expected to make £25,000. Karen Fairweather of Omega Auctions said of the selling the bible, which was annotated by Elvis: "It was a really exciting atmosphere in the room, we had 300 people and there was bidding online and on the telephone across the world. You could hear a pin drop when it sold for that price... There was a round of applause when the hammer went down. It was incredible." At the same auction, a pair of stained underpants owned and worn by Presley failed to sell. The pants, which were worn by Presley underneath one of his jumpsuits during a performance in 1977, hadn't been washed since Elvis took them off, and featured a suspicious yellow stain on the front of the crotch. Though bids for the item reached £5,000, the underwear did not sell as the reserve price of £7,000 was not reached, reports BBC News.

At an auction in Stockport, near Manchester on Saturday (September 8), a Bible which was given to Elvis Presley by his uncle Vester and aunt Clettes for his first Christmas at Graceland in 1957, fetched £59,000 after being sold to an unnamed American man based in the UK. The book was only expected to make £25,000.

Karen Fairweather of Omega Auctions said of the selling the bible, which was annotated by Elvis: “It was a really exciting atmosphere in the room, we had 300 people and there was bidding online and on the telephone across the world. You could hear a pin drop when it sold for that price… There was a round of applause when the hammer went down. It was incredible.”

At the same auction, a pair of stained underpants owned and worn by Presley failed to sell.

The pants, which were worn by Presley underneath one of his jumpsuits during a performance in 1977, hadn’t been washed since Elvis took them off, and featured a suspicious yellow stain on the front of the crotch.

Though bids for the item reached £5,000, the underwear did not sell as the reserve price of £7,000 was not reached, reports BBC News.

The London Film Festival: Big Star, the Stones and more…

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This year’s London Film Festival opens for business in October. As to be expected, the quality appears extremely high – we are to be spoilt with new films from Michael Haneke, Jaques Audiard and Michael Winterbottom, as well as documentaries on the Stones, Ginger Baker amd artist Ralph Steadman. Here, anyway, are half a dozen films I’m looking forward to seeing. The festival runs from October 10 – 21, and you can find a full programme here. Big Star: Nothing Can Hurt Me Drew DeNicola Following on from the Big Star Third shows at the Barbican in May, Drew DeNicola’s Kickstarter funded film tells the band’s story, with recollections from Jody Stephens, REM’s Mike Mills, Evan Dando and more. Seven Psychopaths Director: Martin McDonagh Great title. Unconstructed crime caper from In Bruges’ McDonagh, reunited here with Colin Farrell. Also stars Sam Rockwell, Wood Harrelson, Christopher Walken and Tom Waits. Of considerable interest. Amour Michael Haneke Austrian filmmaker Haneke’s latest intelligent and insightful drama, about a retired music teacher tending his stroke-damaged wife in their Paris apartment. Crossfire Hurricane Director: Brett Morgen It’s that 50th anniversary Stones’ doc. Director Brett Morgen – who made The Kid Stays In The Picture documentary about film producer Robert Evans – has been given full access to the Stones archive, and conducted fresh interviews with the band. Argo Director: Ben Affleck Affleck also stars as an “exfiltration” operative, charged with rescuing six Americans from revolutionary Iran in 1980. His cover? As a movie producer, scouting desert locations for a cheap Star Wars knock-off. Good Vibrations Lisa Barros D’Sa, Glenn Leyburn The story of Terri Hooley, the godfather of Belfast punk, and his Good Vibrations label and record shop, against the backdrop of, and in response to, sectarian violence. David Holmes provides the soundtrack.

This year’s London Film Festival opens for business in October.

As to be expected, the quality appears extremely high – we are to be spoilt with new films from Michael Haneke, Jaques Audiard and Michael Winterbottom, as well as documentaries on the Stones, Ginger Baker amd artist Ralph Steadman.

Here, anyway, are half a dozen films I’m looking forward to seeing. The festival runs from October 10 – 21, and you can find a full programme here.

Big Star: Nothing Can Hurt Me

Drew DeNicola

Following on from the Big Star Third shows at the Barbican in May, Drew DeNicola’s Kickstarter funded film tells the band’s story, with recollections from Jody Stephens, REM’s Mike Mills, Evan Dando and more.

Seven Psychopaths

Director: Martin McDonagh

Great title. Unconstructed crime caper from In Bruges’ McDonagh, reunited here with Colin Farrell. Also stars Sam Rockwell, Wood Harrelson, Christopher Walken and Tom Waits. Of considerable interest.

Amour

Michael Haneke

Austrian filmmaker Haneke’s latest intelligent and insightful drama, about a retired music teacher tending his stroke-damaged wife in their Paris apartment.

Crossfire Hurricane

Director: Brett Morgen

It’s that 50th anniversary Stones’ doc. Director Brett Morgen – who made The Kid Stays In The Picture documentary about film producer Robert Evans – has been given full access to the Stones archive, and conducted fresh interviews with the band.

Argo

Director: Ben Affleck

Affleck also stars as an “exfiltration” operative, charged with rescuing six Americans from revolutionary Iran in 1980. His cover? As a movie producer, scouting desert locations for a cheap Star Wars knock-off.

Good Vibrations

Lisa Barros D’Sa, Glenn Leyburn

The story of Terri Hooley, the godfather of Belfast punk, and his Good Vibrations label and record shop, against the backdrop of, and in response to, sectarian violence. David Holmes provides the soundtrack.

Jay-Z falls out with Occupy Wall Street again

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Jay-Z has hit out at the Occupy Wall Street Movement, accusing protestors of not being clear about what they want. When asked about last year's activity at Manhattan's Zuccotti Park, where activists set up camp as the campaign went global in more than 80 countries last year, he told the New York T...

Jay-Z has hit out at the Occupy Wall Street Movement, accusing protestors of not being clear about what they want.

When asked about last year’s activity at Manhattan’s Zuccotti Park, where activists set up camp as the campaign went global in more than 80 countries last year, he told the New York Times: “What’s the thing on the wall, what are you fighting for?”

He also says he told rap mogul and prominent Occupy supporter Russell Simmons the same: “I’m not going to a park and picnic, I have no idea what to do, I don’t know what the fight is about. What do we want, do you know?”

He added: “I think all those things need to really declare themselves a bit more clearly. Because when you just say that ‘the one per cent is that,’ that’s not true. Yeah, the one per cent that’s robbing people, and deceiving people, these fixed mortgages and all these things, and then taking their home away from them, that’s criminal, that’s bad. Not being an entrepreneur. This is free enterprise. This is what America is built on.”

Last year the rapper , who is worth an estimated $450m, was branded a “bloodsucker” by the Occupy Wall Street movement after his clothing company Rocawear produced a t-shirt that bears the slogan ‘Occupy Wall Street’, but did not offer to give the movement any of the profits.

Muse sued for $3.5 million after man claims they stole his ‘science fiction rock opera’

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Muse and their record label Warner Music are facing a $3.5 million (£2.2 million) lawsuit from a man who claims that they "ripped off" their 2009 track Exogenesis from his sci-fi rock opera of the same name. Charles Bolfrass filed the lawsuit in federal court in Manhattan last week and has accuse...

Muse and their record label Warner Music are facing a $3.5 million (£2.2 million) lawsuit from a man who claims that they “ripped off” their 2009 track Exogenesis from his sci-fi rock opera of the same name.

Charles Bolfrass filed the lawsuit in federal court in Manhattan last week and has accused the band of stealing his “cinematic science-fiction rock opera” called ‘Exogenesis’, reports Courthouse News.

Bolfrass alleges that he contacted the Devon trio and two other bands in 2005 with the idea to write a sci-fi rock opera about space travel after the demise of the planet Earth.

He then says that Muse rejected his idea in the following year, but then alleges that the band chose to copy his idea on three tracks on their 2009 album The Resistance’. The tracks are titled “Exogenesis I”, “Exogenesis II” and “Exogenesis III”.

Bollfrass also claims the cover of The Resistance has an image that the band stole from the storyboards of his rock opera. He is suing Warner Music for copyright infringement, unfair trade practices and unfair competition.

Muse release their new album The 2nd Law on October 1 and will undertake a short UK arena tour in the same month.

The Devon trio will tour the UK in October, playing five shows. The gigs begin at Glasgow’s SECC on October 24, before the band move onto London’s O2 Arena for two shows on October 26 and 27. They then play Birmingham LG Arena on October 30 before finishing up at Manchester Arena on November 1.

They are also confirmed for the iTunes Festival and will headline London’s Roundhouse on September 30.

Thom Yorke’s Atoms for Peace unveil new tracks in DJ set

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Thom Yorke unveiled new tracks from his Atoms For Peace project during a DJ set in Long Island, US, last night at the PS1 Warm Up summer concert series. Taking to the stage with producer Nigel Godrich, the duo performed new material, which you can watch videos for below, as well as sampling tracks...

Thom Yorke unveiled new tracks from his Atoms For Peace project during a DJ set in Long Island, US, last night at the PS1 Warm Up summer concert series.

Taking to the stage with producer Nigel Godrich, the duo performed new material, which you can watch videos for below, as well as sampling tracks including Azealia Banks’ “212” and Talking Heads’ “Once In A Lifetime”, according Consequence of Sound.

Last week, Atoms for Peace unveiled the first single to be taken from their forthcoming debut album, which is due in 2013.

Thom Yorke features in the group alongside longtime Radiohead producer Nigel Godrich and Red Hot Chili Pepper’s Flea as well as drummer Joey Waronker and percussionist Mauro Refosco.

Yorke said in a statement: “You may have heard that I have a new project called Atoms For Peace. The name comes from some shows of The Eraser that happened a couple of years ago with Mauro, Joey, Nigel and Flea.”

He added: “We got a big buzz from them and discovered loads of energy from transforming the music from electronic to live, and so afterwards, we carried on for a few days in the studio and decided to make it a loose, on-going thing. Immersed in the area between the two… electronic and live.”

Calexico – Algiers

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The desert rockers soak up some New Orleans spirit, with refreshing results... The seventh album from Joey Burns’ and John Convertino’s border band takes its title not from the Algerian capital, but the rather less storied district of New Orleans where the pair spent time recording in a converted Baptist church. At first the association seems incongruous. Calexico evoke a very different kind of America to the one commonly associated with the swampy humidity of Crescent City. Deriving their name from a town on the US-Mexico border, their music is redolent of dry heat, vast blue skies, mariachi horns and Morricone’s cinematic desert drama. As it turns out, a new location hasn’t changed these hallmarks to any significant degree. After the misfiring sound-shift of 2006’s Garden Ruin, on their last studio album Carried In Dust (2008) Calexico seemed to accept that what they do best is make widescreen frontier music created on the cusp of cultures and genres. There is no shortage of this on Algiers, not least on the twanging instrumental title track and the archetypal “Splitter”, a propulsive anthem punctuated by crisp trumpets and an eminently hummable chorus. “The Vanishing Mind”, meanwhile, is a slow, red Wild West sunset painted in lowering strings, mournful horns, pedal steel and rattlesnake drums. However, some sense of New Orleans has seeped in. Burns and Convertino aren’t marching down Bourbon Street with a sousaphone, but parts of Algiers tingle with the city’s distinctive atmosphere of mystery, superstition and voodoo vibes. On “Maybe On Monday” – a wonderful song about a love that has outlasted its usefulness – Burns sounds positively cursed as the thick, heavy music sends black sparks flying. Rising to a swirling, Doorsesque crescendo, the outstanding “Sinner In The Sea” is another dark fable located - auspiciously - “between Havana and New Orleans”. On Tucson-Habana, their 2010 collaboration with Spanish singer Amparo Sanchez, Calexico worked at Havana’s legendary EGREM studios. Algiers makes the Cuban influence more overt than ever, not only on “Sinner In The Sea” but on the title track and “Puerto”, where lithe salsa rhythms mesh with mariachi horns and the imperious voice of their long-standing collaborator, Depedro’s Jairo Zavala, who crops up again on the stately “No Te Vayas”. Set in the Dominican Republic, “Puerto” sees the protagonist heading for “the land up north”. Everyone on Algiers seems to be in motion. Burns’ characters are economic and emotional migrants, like refugees from the classic Tex-Mex border ballad “Across The Borderline”. He gives voice to their concerns – on “Better And Better” pondering, “Is it better than staying back home?” – while trying to re-establish ancient cultural connections, movingly describing the ocean floor on “Sinner In The Sea” as “a sunken bridge between you and me”. Where Carried In Dust was conceptual and utilised many additional vocalists, Algiers feels more intimate. This is a unified, closely-stitched record, leaning towards the downbeat. “Epic” makes for a disarmingly low-key opener; “Fortune Teller” is so gentle it almost floats, marrying gentle Simon & Garfunkel harmonies to the warm strum of something like Whiskytown’s “Houses On The Hill”. Quiet, spare and short, “Better And Better” recalls parts of Simone Felice’s recent solo debut while “Hush” fulfils the promise of its title, the layered atmospherics, soft whoops and evocation of “orange blossom days” combining to intoxicating effect. For a band who occasionally seem happy to work within well-worn parameters, it’s refreshing to see Calexico stretching out. “Para”, inspired by Terence Malick’s The Tree Of Life, ripples with all the tension and turmoil lurking “below the water line”. Unsettling and serpentine - think “Paranoid Android” relocated to Monument Valley - like much of the rest of this record it’s a slow-burn. The initial impact may be somewhat muted, but Calexico’s music has always crept rather than roared into the listener’s consciousness. Live with it a little and Algiers reveals itself to be a warm and compassionate affirmation of the band’s deep-rooted DNA, with enough fresh twists to keep this compelling story moving forward. Graeme Thomson Q&A JOEY BURNS Carried In Dust was broadly conceptual. Is Algiers? No, we wanted to make a personal record. It wasn’t about making a big connection to local New Orleans musicians, it was more about how far deep we could go. We’d done quite a lot of guest vocals on the last album, so we thought let’s do something different. We’d been doing soundtracks [Circo, The Guard], keeping things more sparse, and we carried that through on Algiers. What did working in New Orleans bring? We’ve always loved the city. There’s so much history there, so many ghosts, even vampires. We recorded in a studio in this unassuming area, in an beautiful, old, wooden former Baptist church with a great sense of musical and spiritual history. We were tapping into the vibe of the studio, the district, and the city, which is a portal between north and south America, and old world and new world. It totally rejuvenated us. It would be great to see this as start of a series of travelling and recording. Cuba would be fantastic, but I’d love to go even further, to Greece and around the Mediterranean. INTERVIEW: GRAEME THOMSON Pic credit: Jairo Zavala

The desert rockers soak up some New Orleans spirit, with refreshing results…

The seventh album from Joey Burns’ and John Convertino’s border band takes its title not from the Algerian capital, but the rather less storied district of New Orleans where the pair spent time recording in a converted Baptist church. At first the association seems incongruous. Calexico evoke a very different kind of America to the one commonly associated with the swampy humidity of Crescent City. Deriving their name from a town on the US-Mexico border, their music is redolent of dry heat, vast blue skies, mariachi horns and Morricone’s cinematic desert drama.

As it turns out, a new location hasn’t changed these hallmarks to any significant degree. After the misfiring sound-shift of 2006’s Garden Ruin, on their last studio album Carried In Dust (2008) Calexico seemed to accept that what they do best is make widescreen frontier music created on the cusp of cultures and genres. There is no shortage of this on Algiers, not least on the twanging instrumental title track and the archetypal “Splitter”, a propulsive anthem punctuated by crisp trumpets and an eminently hummable chorus. “The Vanishing Mind”, meanwhile, is a slow, red Wild West sunset painted in lowering strings, mournful horns, pedal steel and rattlesnake drums.

However, some sense of New Orleans has seeped in. Burns and Convertino aren’t marching down Bourbon Street with a sousaphone, but parts of Algiers tingle with the city’s distinctive atmosphere of mystery, superstition and voodoo vibes. On “Maybe On Monday” – a wonderful song about a love that has outlasted its usefulness – Burns sounds positively cursed as the thick, heavy music sends black sparks flying. Rising to a swirling, Doorsesque crescendo, the outstanding “Sinner In The Sea” is another dark fable located – auspiciously – “between Havana and New Orleans”. On Tucson-Habana, their 2010 collaboration with Spanish singer Amparo Sanchez, Calexico worked at Havana’s legendary EGREM studios. Algiers makes the Cuban influence more overt than ever, not only on “Sinner In The Sea” but on the title track and “Puerto”, where lithe salsa rhythms mesh with mariachi horns and the imperious voice of their long-standing collaborator, Depedro’s Jairo Zavala, who crops up again on the stately “No Te Vayas”.

Set in the Dominican Republic, “Puerto” sees the protagonist heading for “the land up north”. Everyone on Algiers seems to be in motion. Burns’ characters are economic and emotional migrants, like refugees from the classic Tex-Mex border ballad “Across The Borderline”. He gives voice to their concerns – on “Better And Better” pondering, “Is it better than staying back home?” – while trying to re-establish ancient cultural connections, movingly describing the ocean floor on “Sinner In The Sea” as “a sunken bridge between you and me”.

Where Carried In Dust was conceptual and utilised many additional vocalists, Algiers feels more intimate. This is a unified, closely-stitched record, leaning towards the downbeat. “Epic” makes for a disarmingly low-key opener; “Fortune Teller” is so gentle it almost floats, marrying gentle Simon & Garfunkel harmonies to the warm strum of something like Whiskytown’s “Houses On The Hill”. Quiet, spare and short, “Better And Better” recalls parts of Simone Felice’s recent solo debut while “Hush” fulfils the promise of its title, the layered atmospherics, soft whoops and evocation of “orange blossom days” combining to intoxicating effect.

For a band who occasionally seem happy to work within well-worn parameters, it’s refreshing to see Calexico stretching out. “Para”, inspired by Terence Malick’s The Tree Of Life, ripples with all the tension and turmoil lurking “below the water line”. Unsettling and serpentine – think “Paranoid Android” relocated to Monument Valley – like much of the rest of this record it’s a slow-burn. The initial impact may be somewhat muted, but Calexico’s music has always crept rather than roared into the listener’s consciousness. Live with it a little and Algiers reveals itself to be a warm and compassionate affirmation of the band’s deep-rooted DNA, with enough fresh twists to keep this compelling story moving forward.

Graeme Thomson

Q&A

JOEY BURNS

Carried In Dust was broadly conceptual. Is Algiers?

No, we wanted to make a personal record. It wasn’t about making a big connection to local New Orleans musicians, it was more about how far deep we could go. We’d done quite a lot of guest vocals on the last album, so we thought let’s do something different. We’d been doing soundtracks [Circo, The Guard], keeping things more sparse, and we carried that through on Algiers.

What did working in New Orleans bring?

We’ve always loved the city. There’s so much history there, so many ghosts, even vampires. We recorded in a studio in this unassuming area, in an beautiful, old, wooden former Baptist church with a great sense of musical and spiritual history. We were tapping into the vibe of the studio, the district, and the city, which is a portal between north and south America, and old world and new world. It totally rejuvenated us. It would be great to see this as start of a series of travelling and recording. Cuba would be fantastic, but I’d love to go even further, to Greece and around the Mediterranean.

INTERVIEW: GRAEME THOMSON

Pic credit: Jairo Zavala

Paul McCartney joins Damon Albarn for London Africa Express gig

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Paul McCartney joined Damon Albarn on stage at the Africa Express show in London on Saturday night [September 8]. Appearing as a surprise special guest, the former Beatle first appeared playing bass on Rokia Traore's "Dounia", with former Led Zeppelin bassist John Paul Jones on mandolin, before pla...

Paul McCartney joined Damon Albarn on stage at the Africa Express show in London on Saturday night [September 8].

Appearing as a surprise special guest, the former Beatle first appeared playing bass on Rokia Traore’s “Dounia”, with former Led Zeppelin bassist John Paul Jones on mandolin, before playing Wings’ “Coming Up” and “Goodnight Tonight” with the Blur front man, Tony Allen and Gruff Rhys of Super Furry Animals among others.

Other highlights of the 5-hour show included Kano and Bashy joining John Paul Jones for Led Zeppelin’s “Kashmir”, Spoek Mathambo’s reworking of Joy Division’s “She’s Lost Control” and Damon and Rokia Traore’s spellbinding duet on Gorillaz’s “On Melancholy Hill”.

The gig was the final stop for the Africa Express; a collective of musicians, including former Libertine Carl Barat and Jon McClure, who travelled to Middlesbrough, Glasgow, Manchester, Cardiff and Bristol on a chartered train to play special shows.

Earlier in the day, McCartney was awarded the French Legion of Honour – the highest public distinction a French President can bestow upon a member of the public – at a ceremony in Paris.

The singer was decorated by French President Francois Hollande during the ceremony at the Eylsse Palace, and joins actor Clint Eastwood and singer Barbara Streisand as an officer of the Legion of Honour.

After receiving his award, McCartney then boarded a Eurostar to London to perform at the gig in Granary Square. The former Beatle was greeted by Damon Albarn when he arrived at King’s Cross station.

Leonard Cohen brings ‘Old Ideas’ to London’s Wembley Arena

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Leonard Cohen played two shows at London's Wembley Arena over this last weekend [September 8 and 9]. On Saturday, the singer songwriter played an epic set of over three hours, taking to the stage just before 8pm (BST) and finishing up around 11.30pm, with a short interval in the middle of the show....

Leonard Cohen played two shows at London’s Wembley Arena over this last weekend [September 8 and 9].

On Saturday, the singer songwriter played an epic set of over three hours, taking to the stage just before 8pm (BST) and finishing up around 11.30pm, with a short interval in the middle of the show.

The 77 year old played a host of classic tracks, as well as material from his latest album, Old Ideas – which was released at the start of this year – including the tracks “Darkness”, “Going Home” and “Amen”. Cohen cut a lively figure during the gig, performing many songs on bended knee and skipping on and off the stage when he returned for two encores and for the intermission.

Cohen apologised to his fans for the late venue change for the weekend’s shows, which were initially supposed to take place at Hop Farm in Kent, site of the annual Hop Farm Festival. After the evening’s opening song, “Dance Me To The End Of Love”, he said sorry for any inconvenience caused and added: “I want you to know I learned about it [the venue switch] the same time you did. There are unseen hands that manipulate the marketplace. Hands that I never get to see…or crush.”

Accompanied by backing vocalists The Webb Sisters and Sharon Robinson as well as a global band, Cohen’s 30 song set saw him perform his 1984 track “Hallelujah”, as well as “So Long Marianne”, which started a mass singalong from the crowd that led to Cohen telling the audience: “you sing so sweet”.

From his 1967 debut album Songs of Leonard Cohen he also played “Suzanne” and “Sisters Of Mercy” and from his 1969 album Songs From A Room he performed “The Partisan” and “Bird On The Wire”. He received a number of standing ovations throughout the set.

Leonard Cohen played:

‘Dance Me To The End Of Love’

‘The Future’

‘Bird On The Wire’

‘Everybody Knows’

‘Who by Fire’

‘Darkness’

‘Sisters of Mercy’

‘Amen’

‘Come Healing’

‘In My Secret Life’

‘I Can’t Forget’

‘Going Home’

‘Waiting For The Miracle To Come’

‘Anthem’

‘Tower of Song’

‘Suzanne’

‘Night Comes On’

‘Heart With No Companion’

‘The Gypsy’s Wife’

‘The Partisan’

‘Democracy’

‘Coming Back to You’

‘Alexandra Leaving’

‘I’m Your Man’

‘Hallelujah’

‘Take This Waltz’

‘So Long, Marianne’

‘First We Take Manhattan’

‘Famous Blue Raincoat’

‘Save The Last Dance For Me’