Home Blog Page 598

Damien Hirst calls the Stone Roses “more important than Picasso”

0
Damien Hirst has said he believes The Stone Roses are more important than Picasso. Hirst, who is Britain's richest living artist with a fortune estimated at £215 million, is one of a host of celebrities to have contributed their memories of The Stone Roses ahead of their hugely anticipated shows ...

Damien Hirst has said he believes The Stone Roses are more important than Picasso.

Hirst, who is Britain’s richest living artist with a fortune estimated at £215 million, is one of a host of celebrities to have contributed their memories of The Stone Roses ahead of their hugely anticipated shows at Manchester’s Heaton Park this weekend.

Writing in the gigs’ official programme, which will be onsale at all three of the shows, Hirst simply writes: “The Stone Roses are more important than Picasso.”

As well as Hirst, former Manchester United midfielder and England captain David Beckham has also contributed his memories of the band, saying that their music “brings back memories of the most happiest time in my football career”.

He writes: “The Stone Roses was part of my upbringing in Manchester. And being an East End boy, that’s saying something. Their music has inspired so many people but for me it brings back memories of the most happiest time in my football career, when I started my career at Manchester United. The fact that they are back is incredible to see.”

Noel Gallagher, Take That’s Mark Owen and Beckham’s former teammate Ryan Giggs are among some of the other celebrities to have contributed to the programme, reports The Sun.

The weather forecast for the Roses’ Heaton Park shows is looking decidedly mixed.

According to the Met Office, heavy rain will hit the site all day today (June 28), meaning the ground will be pretty damp and the rain will continue to fall throughout tomorrow.

Rain is predicted to start to fall in late morning tomorrow and will continue to do so until mid-afternoon. After that, it should be dry, with temperatures hitting a high of 17 degrees.

Prospects for Saturday (June 30) and Sunday (July 1) don’t look much better, with heavy rain forecast for throughout Saturday and for early morning on Sunday, although the sun is expected to come out for band’s closing performance on Sunday night.

Van Morrison to release new album

0
Van Morrison is to release a new studio album in October, his first since 2008's Keep It Simple. The album, called Born To Sing: No Plan B, is to be released on October 1. It marks his return to Blue Note Records, who previously released Morrison's Grammy nominated What’s Wrong With This Picture?...

Van Morrison is to release a new studio album in October, his first since 2008’s Keep It Simple.

The album, called Born To Sing: No Plan B, is to be released on October 1. It marks his return to Blue Note Records, who previously released Morrison’s Grammy nominated What’s Wrong With This Picture? on Blue Note in 2003.

Van Morrison says: “With most record companies being so corporate I am happy to be working with Don Was and the team at Blue Note. To have such a creative music person as the head of my recording label assures me that all the effort taken to write and record this new album will be rewarded with a music based focus and marketing approach. I look forward to many recording projects with Don and Blue Note.”

Don Was adds: “Over a career that spans 4 decades, Van Morrison has developed a body of work that is unparalleled in its consistent excellence. He is one of the greatest singer/songwriter/musicians of all time. We are incredibly honored that he has chosen to record for the Blue Note label and look forward to many fruitful years together.”

The tracklist for Born To Sing: No Plan B is:

1. Open The Door (To Your Heart)

2. Going Down To Monte Carlo

3. Born To Sing

4. End Of The Rainbow

5. Close Enough For Jazz

6. Mystic Of The East

7. Retreat And View

8. If In Money We Trust

9. Pagan Heart

10. Educating Archie

Van Morrison has also announced a slew of new dates. He’ll play:

August 3, Newmarket Racecourse

August 18, Greenman Festival

August 25, Dublin, Marlay Park,

September 8, East Belfast Arts Festival

September 21, Glasgow Royal Concert Hall

October 14 & 15, London, Grosvenor House Hotel

October 23 & 24, Canterbury Festival @ Marlowe Theatre

October 28, Sligo, Ireland Knocknarea Arena

November 27, Liverpool Philharmonic Hall

November 28, Manchester Bridgewater Hall

Bobby Womack – The Bravest Man In The Universe

0

Heroic comeback album from soul giant... Damon Albarn certainly makes things happen. Having lured Bobby Womack from semi-retirement to add his soulful rasp to the Gorillaz’ “Stylo” (and persuading him to tour with the group), Albarn then fired up the singer and XL’s Richard Russell to make an album, Womack’s first offering in 14 years. The results are startling, setting Womack’s distinctive voice against stark electro backings and thunderous beats. A few wisps of synthetic strings and a couple of gospel stomps evoke Womack in his prime years in the Seventies and early Eighties, when albums like Communication, Across 110th Street and The Poet were among the finest (and most successful) creations to emerge from black America, yet The Bravest Man unmistakeably belongs to the 21st century – 21st century London at that. There is surprisingly little of Womack’s guitar playing in evidence – odd, given the prowess that made him a sought after session player in his early years, when he helped Janis Joplin, Aretha Franklin and Sly Stone among others. Instead comes Albarn’s piano – minimal, even spectral at times – plus samples, synths and beats, plus somewhere in the background is Womack’s longtime co-writer Harold Payne. It’s tempting to draw analogies with Russell’s resurrection of another soul veteran, Gil Scott Heron, on I’m New Here, but the downbeat feel of Heron’s album is in contrast to the emotional outbursts of The Bravest Man. Most often it’s anguish and regret that are its driving force. “Please Forgive My Heart” finds Womack in the grip of a pain that “won’t let up – it feels like the sky is falling”. He delivers a terrific heartfelt vocal, and though the melodic background coda hints at resolution, the song offers no way out of the pain. A sense of stoical endurance is the trademark of the album, whose opening line “The bravest man in the universe is he who has forgiven birth” seems to acknowledge that, in the Buddha’s words, ‘all life is suffering’ (because of human imperfection). “Sweet Baby Mine” offers more heartache, as Womack tortures himself with the questions that haunts all forlorn lovers – “What happened to those good times?” – amid a swirling, echoing production. “If There Wasn’t Something There” is another contemplative piece – a scrap really, not much more than the title phrase - but set to a taut, edgy rhythm, it works well. The title of “Nothing Can Save Ya” tells its own story, with Womack’s wracked, distorted performance offset by the warm, melodic vocals of Fatoumata Diawara as his answering ‘ex’. There’s another female guest, Lana del Rey, on “Dayglo Reflection”, which includes a somewhat superfluous quote from Womack’s original mentor, Sam Cooke, about becoming a better singer over time. Again, Womack’s bluesy approach – “waiting for the day to bring me life” – is set against de Rey’s dreamy, haunting vocals. Less successful is “Stupid”, which opens with a droll observation on TV evangelism from Scott Heron before Womack rails against the media “poisoning your mind”. The upful stuff arrives in the shape of a couple of r-animated gospel pieces. “Deep River”, with Womack accompanying himself on acoustic guitar, is an antique spiritual that he would have sung as a boy in church in Cleveland, and again with his brothers in The Valentinos when they were signed to Sam Cooke’s label (Cooke himself sang the number). Now, at 68, when Womack delivers the line “You know I ain’t got that much longer to stay here“ it has a more pressing and affecting meaning. “Jubilee (Don’t Let Nobody Turn You Round)” is another song whose origins reach back into black American history – there are numerous versions, including one by Blind Willie Mctell. Here Womack and co take the gospel message at speed, set to a hammering synthetic rhythm. Musically it’s not altogether convincing although as the closing two minutes to an often harrowing album, it works well enough, a defiant shout against the suffering, and a reminder that, as Albarn says, ‘a world with Bobby Womack in it is a richer place”. Neil Spencer Q&A BOBBY WOMACK It must feel good to be back… I had given up on music to be honest, I thought I didn’t have the necessary spark any longer. I’d lost my confidence. I credit Damon for giving it back to me and believing in me. When he first called me I’d never heard of any Gorillaz group! It was my daughter who told me they were cool and that working with them could be a way back. This is a very different Bobby Womack album… I just needed the chance to experiment. It’s daring, and I hadn’t used so many electronics before, but the voice is still what carries the spirit. I made a lot of albums in my career when I was pleasing recod companies instead of pleasing myself. I had to fight like hell to make a country album for example [BW Sings C&W]. This was an altogether different experience, these were some of the easiest sessions I’ve ever done. Even though the head of the record company was in the studio? I thought Richard [Russell] was just another musician, I couldn’t believe it when they told me he was the president of the company! He understands sound, though, and we became a tight team. And a painful record at times... OK. It’s just about telling the truth, really. INTERVIEW: NEIL SPENCER

Heroic comeback album from soul giant…

Damon Albarn certainly makes things happen. Having lured Bobby Womack from semi-retirement to add his soulful rasp to the Gorillaz’ “Stylo” (and persuading him to tour with the group), Albarn then fired up the singer and XL’s Richard Russell to make an album, Womack’s first offering in 14 years.

The results are startling, setting Womack’s distinctive voice against stark electro backings and thunderous beats. A few wisps of synthetic strings and a couple of gospel stomps evoke Womack in his prime years in the Seventies and early Eighties, when albums like Communication, Across 110th Street and The Poet were among the finest (and most successful) creations to emerge from black America, yet The Bravest Man unmistakeably belongs to the 21st century – 21st century London at that.

There is surprisingly little of Womack’s guitar playing in evidence – odd, given the prowess that made him a sought after session player in his early years, when he helped Janis Joplin, Aretha Franklin and Sly Stone among others. Instead comes Albarn’s piano – minimal, even spectral at times – plus samples, synths and beats, plus somewhere in the background is Womack’s longtime co-writer Harold Payne.

It’s tempting to draw analogies with Russell’s resurrection of another soul veteran, Gil Scott Heron, on I’m New Here, but the downbeat feel of Heron’s album is in contrast to the emotional outbursts of The Bravest Man. Most often it’s anguish and regret that are its driving force. “Please Forgive My Heart” finds Womack in the grip of a pain that “won’t let up – it feels like the sky is falling”. He delivers a terrific heartfelt vocal, and though the melodic background coda hints at resolution, the song offers no way out of the pain.

A sense of stoical endurance is the trademark of the album, whose opening line “The bravest man in the universe is he who has forgiven birth” seems to acknowledge that, in the Buddha’s words, ‘all life is suffering’ (because of human imperfection). “Sweet Baby Mine” offers more heartache, as Womack tortures himself with the questions that haunts all forlorn lovers – “What happened to those good times?” – amid a swirling, echoing production.

If There Wasn’t Something There” is another contemplative piece – a scrap really, not much more than the title phrase – but set to a taut, edgy rhythm, it works well. The title of “Nothing Can Save Ya” tells its own story, with Womack’s wracked, distorted performance offset by the warm, melodic vocals of Fatoumata Diawara as his answering ‘ex’.

There’s another female guest, Lana del Rey, on “Dayglo Reflection”, which includes a somewhat superfluous quote from Womack’s original mentor, Sam Cooke, about becoming a better singer over time. Again, Womack’s bluesy approach – “waiting for the day to bring me life” – is set against de Rey’s dreamy, haunting vocals. Less successful is “Stupid”, which opens with a droll observation on TV evangelism from Scott Heron before Womack rails against the media “poisoning your mind”.

The upful stuff arrives in the shape of a couple of r-animated gospel pieces. “Deep River”, with Womack accompanying himself on acoustic guitar, is an antique spiritual that he would have sung as a boy in church in Cleveland, and again with his brothers in The Valentinos when they were signed to Sam Cooke’s label (Cooke himself sang the number). Now, at 68, when Womack delivers the line “You know I ain’t got that much longer to stay here“ it has a more pressing and affecting meaning.

“Jubilee (Don’t Let Nobody Turn You Round)” is another song whose origins reach back into black American history – there are numerous versions, including one by Blind Willie Mctell. Here Womack and co take the gospel message at speed, set to a hammering synthetic rhythm. Musically it’s not altogether convincing although as the closing two minutes to an often harrowing album, it works well enough, a defiant shout against the suffering, and a reminder that, as Albarn says, ‘a world with Bobby Womack in it is a richer place”.

Neil Spencer

Q&A

BOBBY WOMACK

It must feel good to be back…

I had given up on music to be honest, I thought I didn’t have the necessary spark any longer. I’d lost my confidence. I credit Damon for giving it back to me and believing in me. When he first called me I’d never heard of any Gorillaz group! It was my daughter who told me they were cool and that working with them could be a way back.

This is a very different Bobby Womack album…

I just needed the chance to experiment. It’s daring, and I hadn’t used so many electronics before, but the voice is still what carries the spirit. I made a lot of albums in my career when I was pleasing recod companies instead of pleasing myself. I had to fight like hell to make a country album for example [BW Sings C&W]. This was an altogether different experience, these were some of the easiest sessions I’ve ever done.

Even though the head of the record company was in the studio?

I thought Richard [Russell] was just another musician, I couldn’t believe it when they told me he was the president of the company! He understands sound, though, and we became a tight team.

And a painful record at times…

OK. It’s just about telling the truth, really.

INTERVIEW: NEIL SPENCER

Ringo Starr rules out The Beatles’ sons forming a band

0
Ringo Starr has shot down reports that the sons of The Beatles are set to form a band together. Earlier this year, Paul McCartney's son James said he and the rest of the Fab Four's offspring could pay tribute to their dads by creating a second-generation incarnation of the group. James, who has re...

Ringo Starr has shot down reports that the sons of The Beatles are set to form a band together.

Earlier this year, Paul McCartney‘s son James said he and the rest of the Fab Four’s offspring could pay tribute to their dads by creating a second-generation incarnation of the group.

James, who has released two EPs titled Available Light and Close At Hand, admitted that he had discussed working with Sean Lennon and Dhani Harrison, although he did that it seemed as if Ringo Starr’s son, Zak Starkey, isn’t keen on the idea.

When asked if he had ever thought about forming a band with the rest of the Beatles’ children, he replied: “I don’t think it’s something that Zak wants to do. Maybe Jason [drummer and one of Starr’s other sons] would want to do it. I’d be up for it. Sean seemed to be into it, Dhani seemed to be into it. I’d be happy to do it.”

It turns out he was right, as Ringo himself confirmed that neither his son Zak Starkey (who previously played with both Oasis and The Who) or Jason Starkey are onboard.

Speaking to W.E.N.N, he said: “Both my sons tell me they are not going to do it.”

Recently, Paul McCartney revealed that he and his former bandmates had often discussed reforming the band, but had ultimately decided against it in case they tarnished their legacy. He released his latest solo album, Kisses On The Bottom, earlier this year.

Ringo Starr himself released his 16th solo album Ringo 2012 in January of this year.

Mick Jones to headline Strummer Of Love festival

0
The Clash's Mick Jones and his Justice Band have been confirmed to headline this summer's Strummer Of Love Festival. The festival, which takes place over the weekend of August 17 – 19, will be held at a secret location in Somerset and will mark the 10th anniversary of the death of The Clash front...

The Clash‘s Mick Jones and his Justice Band have been confirmed to headline this summer’s Strummer Of Love Festival.

The festival, which takes place over the weekend of August 17 – 19, will be held at a secret location in Somerset and will mark the 10th anniversary of the death of The Clash frontman Joe Strummer.

Jones toured the UK earlier this year as part of a tour for the Hillsborough Justice Campaign and performed a swathe of classic Clash songs as part of his set. He and his band will headline the festival’s final night (August 19).

Also confirmed to play the event are Seasick Steve, Frank Turner, The Pogues, Badly Drawn Boy, Alabama 3, Roots Manuva, Billy Bragg, KT Tunstall, Emmy The Great, Reverend And The Makers, Slow Club and a host of others.

For more information about the event and for full ticket details, visit Strummeroflove.com.

Photo: Andy Willsher/NME

Radiohead confirm rescheduled show dates following Toronto stage collapse

0
Radiohead have rescheduled seven shows following last week's stage collapse in Toronto, which killed crew member Scott Johnson and injured three others. The shows, which were due to take place in Italy, Germany and Switzerland, have all been moved to late September, following their postponement las...

Radiohead have rescheduled seven shows following last week’s stage collapse in Toronto, which killed crew member Scott Johnson and injured three others.

The shows, which were due to take place in Italy, Germany and Switzerland, have all been moved to late September, following their postponement last week.

The band’s show Rome Hippodrome Capanelle has been moved from June 30 to September 22, with their date at Florence Parco delle Cascine moving from July 1 to Septembe 23.

The band’s gig in Bologna Arena Parco Nord has moved from July 3 to September 25, their gig at Codroipo Villa Manin from July 4 to September 26 and their two dates at Berlin Wuhlheide from July 6-7 to September 29 and 30. Finally, the band’s show at St Triphon Carriere des Andonces has moved from July 9 to September 20.

The band have had to postpone the shows, as the accident also destroyed the band’s ‘unique’ lightshow and parts of their backline setup, all of which now needs to be replaced in order for the tour to continue.

The statement reads: “Whilst we all are dealing with the grief and shock ensuing from this terrible accident there are also many practical considerations to deal with.”

The band will now pick up the tour in France at Les Arenes Nimes (July 10) and will go on to play the Bilbao BBK and Lisbon Optimus Alive festivals.

Earlier this month, it was revealed that four companies, including one run by the members of Radiohead, have been asked to comply with an investigation by the Canadian government into the stage collapse. Ticker Tape Touring LLP, which lists Johnny Greenwood, Philip Selway, Colin Greenwood, Ed O’Brien and Thom Yorke as board members has been identified by the Canadian Ministry of Labour as one of at least four companies involved in the collapse, the Toronto Star reported.

Toronto-based Optex Staging and Services, Nasco Staffing Solutions and concert promoter Live Nation have all been asked to comply with the investigation into the tragedy at Downsview Park.

The stage collapsed an hour before the gates opened to the public and queues were already forming outside the 40,000 capacity venue. Emergency crews were quick on the scene and the area was evacuated. The victims were all part of the team setting up equipment.

Both Radiohead and Keane, with whom Johnson also worked, have paid tribute to him.

Muse’s new single “Survival” to be London 2012 Olympics official song

0
Muse have revealed that they have been chosen to provide the official song of the London 2012 Olympics. The track, which is titled "Survival", will be played when athletes enter the stadium, in the lead up to the medal ceremony and also as the theme for all international TV coverage. The track, w...

Muse have revealed that they have been chosen to provide the official song of the London 2012 Olympics.

The track, which is titled “Survival“, will be played when athletes enter the stadium, in the lead up to the medal ceremony and also as the theme for all international TV coverage.

The track, which the band have said is inspired by “total conviction and pure determination to win”, will be debuted on Radio 1 tonight [June 27] at 7.30pm (GMT).

Writing about “Survival“, the band said: “We are very excited to announce that a Muse song, Survival, has been selected by the London Olympic committee to be the main official song for the London 2012 Olympic Games. Matt wrote the song with the Olympics in mind. It’s about total conviction and pure determination to win.”

They continued: “The song will be played throughout the Games including when athletes enter the stadium, in the lead up to the medal ceremony and also as the theme for all international TV coverage. The worldwide radio exclusive will be tonight on BBC Radio 1 around 19:30 and will be available to buy on iTunes and in the muse.mu store immediately afterwards.”

They continued further: “We are honoured that the Olympics have chosen our song to officially represent the London 2012 Olympic Games across the globe.”

Hear new Joanna Newsom track

0
Joanna Newsom has debuted a new song, "The Diver's Wife". On performed the song on Monday [June 25], when she appeared with Philip Glass at San Francisco's Warfield Theater as part of a benefit for Big Sur's Henry Miller Memorial Library. This is Newsom's first new material since 2010's Have One O...

Joanna Newsom has debuted a new song, “The Diver’s Wife”.

On performed the song on Monday [June 25], when she appeared with Philip Glass at San Francisco’s Warfield Theater as part of a benefit for Big Sur’s Henry Miller Memorial Library.

This is Newsom’s first new material since 2010’s Have One On Me, Uncut’s Album Of The Year.

You can hear the song here.

Mike Love plans Beach Boys shows without Brian Wilson

0
Mike Love has apparently booked Autumn dates with his touring version of the Beach Boys, without the group's other principal founding members. The reunited Beach Boys are currently in the middle of a 50th anniversary tour. But, according to Rolling Stone, Love is already planning his own shows, inc...

Mike Love has apparently booked Autumn dates with his touring version of the Beach Boys, without the group’s other principal founding members.

The reunited Beach Boys are currently in the middle of a 50th anniversary tour. But, according to Rolling Stone, Love is already planning his own shows, including South America in October.

When asked by Rolling Stone whether he was aware of Love’s plans, Brian Wilson said: “I wasn’t aware that Mike had some shows in South America. News to me.”

The various former members of the Beach Boys have all toured under different names, with their own bands. Mike Love has licensed the Beach Boys name since 1998, Al Jardine has performed with his Endless Summer Band and Wilson with his own band.

The band – Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks – will play London’s Royal Albert Hall on September 27 and Wembley Arena on September 28.

“Dr Dee” by Damon Albarn & Rufus Norris, London Coliseum, June 27, 2012

0

Do opera-goers have low boredom thresholds? It certainly seems that way watching the production of Damon Albarn’s “Dr Dee” at the English National Opera – or at least that director Rufus Norris assumes they do. There are beds in perpetual motion, levitating queens, dazzling projected screes of Enochian code, spymasters on stilts, rapidly shifting tableaux between rustling walls of paper, hydraulics, winches, fire, balloons, planets in orbit, revolving spiral staircases, and, at the climax, three live crows, one of which goes rogue for a few orbits of the Coliseum, while the other two get into a fight above the heads of Albarn’s band. I can’t pretend to know whether all this visual hyperactivity is the norm for opera, this neurotic obligation to provide a spectacle every couple of minutes or so (an almost parodically sniffy review in The Independent suggests not, while also chastising Albarn for his “dour little voice”). Couple of things, though: opera critics clearly have a lot more to write about than rock reviewers, mostly; and it all makes you wonder whether Norris felt he had to overcompensate for Albarn’s music. I’ve already written at length about Albarn’s “Dr Dee”, or at least the recorded version of it, in this review. Live, much of it still sounds terrific, in spite of the distractions presented by Norris’ tricksy theatricals: a cavalcade of British stereotypes accompany the opening “Apple Carts”, scrolling backwards through time from the unpromising start of a pantomime punk. After that, however, the action restricts itself to the Elizabethan period, leaving Albarn’s lyrics and quixotic band set-up (the masterful Tony Allen is barely employed for two hours, in what must be one of the odder and less physically demanding gigs of his career) to draw the occasional historical parallel. There was a lot of talk after the performance – echoed by that Independent review – about the story being hard to follow, even though Albarn recently told me that the narrative had been substantially tightened up since “Dr Dee” was performed in Manchester last summer. Again, out of ignorance, I’m unsure how much opera-goers can typically divine of an opera’s plot without prior knowledge. A close listen to Albarn’s record and a decent grasp of Dee’s biography made it seem reasonably straightforward to me – it is tantalising to imagine quite how obtuse “Dr Dee” might have been had the original plan of using Alan Moore as librettist come to fruition. What ultimately emerges is a sense that the trappings of notionally ‘high’ culture, the exaggerated theatricality and technical stunts, can be substantially crasser and more pandering than those of rock. Albarn is onstage throughout, mostly sat dangling on the edge of the band platform as a sort of self-effacing MC. The way he threads his subtle little songs, often beautifully underpinned by kora and lute, into a broader tapestry of operatic voices and full orchestrations, is, I think, really successful. A lot of the music in the production – especially in the second half - that doesn’t appear on the album tends toward full-blooded flurries in the vein of Phillip Glass, or the way Michael Nyman (an old Albarn collaborator, of course) turbocharged Purcell circa “The Draughtsman’s Contract”. Some of the operatic narrations can be a little awkward, though the female singers, especially Victoria Couper and Melanie Pappenheim (who spends plenty of the first half dangling above the action as Queen Elizabeth) provide a surprisingly smooth complement to Albarn’s less tutored tones. The highlight, as on the record, comes in the most harmonious blending of the folkish and operatic sides, “The Moon Exalted”. Suitably enough, it soundtracks the coupling of Dee and his wife – and recurs, less serendipitously, for a fraught threesome incorporating the scryer Kelley in the second half. An interesting evening, I guess, with some lovely music, but I’m floundering a bit to manage my “dour little” prejudices and rate this as a theatrical experience rather than as a concert with visuals. If anyone else sees the production, please let me know your thoughts. As an ambitious statement, does it beat bawling out “Park Life” to the nostalgists in Hyde Park? Follow me on Twitter: www.twitter.com/JohnRMulvey

Do opera-goers have low boredom thresholds? It certainly seems that way watching the production of Damon Albarn’s “Dr Dee” at the English National Opera – or at least that director Rufus Norris assumes they do.

There are beds in perpetual motion, levitating queens, dazzling projected screes of Enochian code, spymasters on stilts, rapidly shifting tableaux between rustling walls of paper, hydraulics, winches, fire, balloons, planets in orbit, revolving spiral staircases, and, at the climax, three live crows, one of which goes rogue for a few orbits of the Coliseum, while the other two get into a fight above the heads of Albarn’s band.

I can’t pretend to know whether all this visual hyperactivity is the norm for opera, this neurotic obligation to provide a spectacle every couple of minutes or so (an almost parodically sniffy review in The Independent suggests not, while also chastising Albarn for his “dour little voice”). Couple of things, though: opera critics clearly have a lot more to write about than rock reviewers, mostly; and it all makes you wonder whether Norris felt he had to overcompensate for Albarn’s music.

I’ve already written at length about Albarn’s “Dr Dee”, or at least the recorded version of it, in this review. Live, much of it still sounds terrific, in spite of the distractions presented by Norris’ tricksy theatricals: a cavalcade of British stereotypes accompany the opening “Apple Carts”, scrolling backwards through time from the unpromising start of a pantomime punk.

After that, however, the action restricts itself to the Elizabethan period, leaving Albarn’s lyrics and quixotic band set-up (the masterful Tony Allen is barely employed for two hours, in what must be one of the odder and less physically demanding gigs of his career) to draw the occasional historical parallel. There was a lot of talk after the performance – echoed by that Independent review – about the story being hard to follow, even though Albarn recently told me that the narrative had been substantially tightened up since “Dr Dee” was performed in Manchester last summer.

Again, out of ignorance, I’m unsure how much opera-goers can typically divine of an opera’s plot without prior knowledge. A close listen to Albarn’s record and a decent grasp of Dee’s biography made it seem reasonably straightforward to me – it is tantalising to imagine quite how obtuse “Dr Dee” might have been had the original plan of using Alan Moore as librettist come to fruition.

What ultimately emerges is a sense that the trappings of notionally ‘high’ culture, the exaggerated theatricality and technical stunts, can be substantially crasser and more pandering than those of rock. Albarn is onstage throughout, mostly sat dangling on the edge of the band platform as a sort of self-effacing MC. The way he threads his subtle little songs, often beautifully underpinned by kora and lute, into a broader tapestry of operatic voices and full orchestrations, is, I think, really successful. A lot of the music in the production – especially in the second half – that doesn’t appear on the album tends toward full-blooded flurries in the vein of Phillip Glass, or the way Michael Nyman (an old Albarn collaborator, of course) turbocharged Purcell circa “The Draughtsman’s Contract”.

Some of the operatic narrations can be a little awkward, though the female singers, especially Victoria Couper and Melanie Pappenheim (who spends plenty of the first half dangling above the action as Queen Elizabeth) provide a surprisingly smooth complement to Albarn’s less tutored tones. The highlight, as on the record, comes in the most harmonious blending of the folkish and operatic sides, “The Moon Exalted”. Suitably enough, it soundtracks the coupling of Dee and his wife – and recurs, less serendipitously, for a fraught threesome incorporating the scryer Kelley in the second half.

An interesting evening, I guess, with some lovely music, but I’m floundering a bit to manage my “dour little” prejudices and rate this as a theatrical experience rather than as a concert with visuals. If anyone else sees the production, please let me know your thoughts. As an ambitious statement, does it beat bawling out “Park Life” to the nostalgists in Hyde Park?

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

Elbow – “It’s a massive thing to be asked to write a song for the Olympics”

0
Elbow have said it was a "massive thing" to be asked to write a song for the Olympics in an exclusive interview taken backstage at Isle of Wight festival last weekend. Speaking of their track "First Steps", which will soundtrack the BBC's coverage of the momentous sporting event, keyboardist Craig ...

Elbow have said it was a “massive thing” to be asked to write a song for the Olympics in an exclusive interview taken backstage at Isle of Wight festival last weekend.

Speaking of their track “First Steps“, which will soundtrack the BBC’s coverage of the momentous sporting event, keyboardist Craig Potter said: “The closer the Olympics get, the more exciting it is and the more we realise what a massive thing it is to be asked to do that. So many people are gonna hear it and it’s going to be in the background of some momentous events, so we’re really proud of it.”

Bassist Pete Turner updated fans about the progress of their follow-up to Mercury Prize-nominated LP Build A Rocket, Boys!: “With the next album, we’re a little bit in there,” he said. “We’ve got about ten ideas we’re gonna work on and they’re sounding pretty good.” he added:

“There’s no title or release date yet, we’re just knocking around idea and seeing where it’s going. It’s quite groove-based initially and there are more guitars than we would usually do, but things always change.”

Elbow are playing at this year’s T In The Park, which is taking place July 6-8 in Balado Park, Kinross.

Iggy Pop and Best Coast join forces for True Blood soundtrack

0
Iggy Pop and Best Coast's Bethany Cosentino have teamed up to record a song for the TV show True Blood. The pair have apparently recorded a track called "Let's Boot And Rally", which will appear in the episode which airs in the US on July 8. Pitchfork reports that the song will receive its radio de...

Iggy Pop and Best Coast’s Bethany Cosentino have teamed up to record a song for the TV show True Blood.

The pair have apparently recorded a track called “Let’s Boot And Rally”, which will appear in the episode which airs in the US on July 8. Pitchfork reports that the song will receive its radio debut a few days before the television broadcast date, on July 5.

Of the collaboration Iggy Pop said: “I’ve always liked to bite. I guess this makes me a singing vampire, does this mean I have a license to suck? Hi Bethany…”

Last year Nick Cave and Neko Case also duetted for True Blood, recording a version of The Zombies’ classic track ‘She’s Not There’.

Meanwhile, in other Iggy Pop news, Foo Fighters drummer Taylor Hawkins has signed on to play The Stooges’ frontman in CBGB, a new film about the legendary New York venue.

The movie will be directed by Randal Miller – who has co-written the script with Jody Savin – and is set to start shooting in Savannah, Georgia, before moving to New York. The pair are also currently putting together a biopic about Dennis Wilson, the late solo musician and drummer with The Beach Boys.

The Jon Spencer Blues Explosion to release first new album in eight years

0
The Jon Spencer Blues Explosion are set to release their first new album in eight years. The 12 track Meat And Bone will be released on September 17 and follows 2004's Damage – which was released under the shortened name of Blues Explosion. It features 12 tracks, and will be the band's ninth LP. ...

The Jon Spencer Blues Explosion are set to release their first new album in eight years.

The 12 track Meat And Bone will be released on September 17 and follows 2004’s Damage – which was released under the shortened name of Blues Explosion. It features 12 tracks, and will be the band’s ninth LP. Scroll down to listen to the album’s opening track “Black Mold”.

Recorded at the Key Club Recording Studio in Benton Harbor, Michigan, the album was then mixed in New York. Of the album and the band, made up of Jon Spencer, Judah Bauer and Russell Simins, Spencer says:

“We still have that psychic glue that allows us to create music together. Over the course of a year touring and writing new songs and recording, we rediscovered our shared history as a band. We circled the wagons, and went back to our roots. In a way this is almost like another first album.”

The band released their debut, self-titled record in 1992.

The Meat And Bone tracklisting is:

‘Black Mold’

‘Bag Of Bones’

‘Boot Cut’

‘Get Your Pants Off’

‘Ice Cream Killer’

‘Strange Baby’

‘Bottle Baby’

‘Danger’

‘Black Thoughts’

‘Unclear’

‘Bear Trap’

‘Zimgar’

Jack White: “A White Stripes reunion could never happen”

0
Jack White has said that The White Stripes will never get back together. When asked if a reunion would ever be on the cards, the Nashville singer told Dutch news station Newsuur, "No. I don't think that could ever happen; it's all done. But the lord works in mysterious ways so there'll probably be ...

Jack White has said that The White Stripes will never get back together.

When asked if a reunion would ever be on the cards, the Nashville singer told Dutch news station Newsuur, “No. I don’t think that could ever happen; it’s all done. But the lord works in mysterious ways so there’ll probably be something better come out of me one day. I hope so, I’ve got nothing better to do.”

White also opened up about his views on being an artist, elaborating that he’d only had three holidays in his life which were all “very short” and that he had never had any desire to spend time at parties or doing drugs. He said:

“I feel a responsibility to the music; I’ve given myself away a long time ago. That’s what I do and that’s what consumes me every day. I can have a house and a car and have children, and I can go out to eat and do that stuff too, but it’s all second and third place to what I’ve already given myself away to. I can’t help myself.”

The multi-instrumentalist, who also runs vinyl-only label Third Man Records, recently spoke about his feelings regarding the lack of romance involved in modern music technology, explaining that “digital and invisible things make you feel like some other being is in charge of this somewhere else”.

White also played at UK at London’s O2 Academy Brixton and BBC Radio One’s Hackney Weekend last week, following the release of his debut solo LP Blunderbuss. He will headline London’s Roundhouse on September 8 as part of the iTunes festival.

The Black Keys hit out at ‘partial’ Black Sabbath and Van Halen reunions

0
The Black Keys' drummer Patrick Carney has hit out at the recent reunions of Black Sabbath and Van Halen and their failure to include all their original members. The full original line-up of Sabbath reunited last year, but have subsequently parted ways with drummer Bill Ward over a contract disput...

The Black Keys‘ drummer Patrick Carney has hit out at the recent reunions of Black Sabbath and Van Halen and their failure to include all their original members.

The full original line-up of Sabbath reunited last year, but have subsequently parted ways with drummer Bill Ward over a contract dispute. Van Halen released their first album for 14 years earlier this year, but recorded it without long-time bass player Michael Anthony, with mainman Eddie Van Halen’s son Wolfgang Van Halen taking the role.

Speaking to Rolling Stone, Carney said he had no interest in “a partial reunion” and that the experience of watching Van Halen had been “a fucking bummer”.

He said of this: “I love Black Sabbath, but I don’t know if I’d want to watch Black Sabbath without Bill Ward. The band is Geezer Butler, Tony Iommi, Bill Ward and Ozzy. I have no interest in seeing bands with partial line-ups. I just saw Van Halen without Michael Anthony. I’m not a very big Van Halen fan but it was such a fucking bummer. Like, what the hell is the point?”

Then asked what he thought of the new Van Halen line-up, he added: “I mean, sure, Eddie Van Halen’s son is a pretty good bass player and he’s a 20-year-old kid and that’s cool, but like, what the fuck is that? That’s fucking retarded. If someone is able to be in a band for 30 years and then people are okay with replacing him with a 17-year-old, they’re obviously motherfucking assholes, right?”

Last week, it was reported that The Black Keys are suing both Pizza Hut and DIY store Home Depot for allegedly using songs from El Camino without permission.

The band are also set to release their own documentary. Noah Abrams, the director behind the yet-untitled film, has said he had no plans to shoot a straight band documentary and revealed that the movie is a “buddy movie with perhaps the greatest soundtrack of all time”.

Alabama Shakes announce November UK tour

0
Alabama Shakes have announced a short UK tour for this November. The band, who released their critically acclaimed debut album Boys & Girls earlier this year, will play four shows in November, including two in London. The run of shows begins at Manchester Academy on November 12, before moving ...

Alabama Shakes have announced a short UK tour for this November.

The band, who released their critically acclaimed debut album Boys & Girls earlier this year, will play four shows in November, including two in London.

The run of shows begins at Manchester Academy on November 12, before moving onto Glasgow Barrowlands on November 13, the band will then play two dates in the UK capital, first day at the Coronet on November 16 and then at the HMV Forum on November 17.

The band are also booked to play two further dates in September in Oxford and Brighton as well as festival slots at Latitude, Bestival, End Of The Road Festival and Secret Garden Party.

Peter Hook helps launch university master’s course inspired by the Haçienda

0

Former New Order bassist Peter Hook has announced that Factory251, the music venue inside the former Factory Records office, will help launch a master's degree in Music Industry Management and Promotion alongside the University of Central Lancashire, reports The Guardian. Hook, bassist in Joy Division and New Order, will also be a mentor on the course, offering advice based on his experiences of co-running notoriously financially-crippling Manchester venue, The Haçienda. Speaking of his involvement, he said, "I am excited to be involved in a project that's going to offer genuine opportunities to help support the future of the British music industry." In 2009, Hook published a memoir on his time running the space entitled The Hacienda: How Not To Run A Club. He has previously been quoted as saying that it would have been cheaper for New Order to have handed everyone in the queue a tenner each and turned them away than to keep financing the venue. Last week, the bassist also spoke about Joy Division's single "Love Will Tear Us Apart", after it was named NME's greatest track of the last 60 years. He revealed: "It still sends a shiver down my spine. Especially because I know the people involved. It masquerades as this cute little pop song, which is one of its delightful ironies. I would've hated it to be about me."

Former New Order bassist Peter Hook has announced that Factory251, the music venue inside the former Factory Records office, will help launch a master’s degree in Music Industry Management and Promotion alongside the University of Central Lancashire, reports The Guardian.

Hook, bassist in Joy Division and New Order, will also be a mentor on the course, offering advice based on his experiences of co-running notoriously financially-crippling Manchester venue, The Haçienda. Speaking of his involvement, he said, “I am excited to be involved in a project that’s going to offer genuine opportunities to help support the future of the British music industry.”

In 2009, Hook published a memoir on his time running the space entitled The Hacienda: How Not To Run A Club. He has previously been quoted as saying that it would have been cheaper for New Order to have handed everyone in the queue a tenner each and turned them away than to keep financing the venue.

Last week, the bassist also spoke about Joy Division’s single “Love Will Tear Us Apart“, after it was named NME’s greatest track of the last 60 years. He revealed:

“It still sends a shiver down my spine. Especially because I know the people involved. It masquerades as this cute little pop song, which is one of its delightful ironies. I would’ve hated it to be about me.”

Jarvis Cocker opens up about Pulp’s future plans

0
Jarvis Cocker has spoken about Pulp's future plans and says that he and his bandmates haven't ruled out recording new material. The band reunited in late 2010 and played a number of festivals and well-received gigs last summer, but have not as yet indicated if they will be writing or recording any...

Jarvis Cocker has spoken about Pulp’s future plans and says that he and his bandmates haven’t ruled out recording new material.

The band reunited in late 2010 and played a number of festivals and well-received gigs last summer, but have not as yet indicated if they will be writing or recording any new material.

Speaking in an interview which you can read in the new issue of NME, the singer refused to be definitely drawn either way on the prospect of new material, but also ruled out the band breaking up once again.

Asked about the prospect of new material, he said: “I don’t know about that. I mean, I’ve enjoyed doing these shows because the idea was, could we manage to do it again, to make it feel like it was worth doing and to make it sound right? And I think we managed to do that.” He added:

I suppose once you’ve done that, the next thing is; would you make some new music? I’ve enjoyed the fact that we haven’t been doing any new stuff, because I feel that’s kept it quite simple. It’s hard one. We haven’t been in the studio or anything. I don’t know what will happen in the future.

To read the rest of the interview with the Pulp singer, in which he discusses his solo plans and the new album he’s producing, pick up the new issue of NME, which is on newsstands today (June 26) or available digitally.

Keith Richards reveals he and Jack White have recorded tracks together

0

The Rolling Stones' guitarist Keith Richards has revealed that he and Jack White have "recorded a couple of tracks" together and could release them in the coming months. Speaking to Rolling Stone, the legendary guitarist said that he and White had worked together and he'd up for releasing the songs as long as White was also onboard with the idea. He said of this: "I enjoy working with Jack. We've done a couple of tracks. I don't know if [Jack] ever considered that it was actually, like, master cuts. But at the same time if Jack wanted to do it, I'd probably say, 'Yeah.'' I know Jack pretty well. He's a lovely player." Richards also spoke about the possibility of recording new material with the Rolling Stones and said that the band would be meeting up in July to talk about their plans. Speaking about this, Richards added: "We're going to talk about that in July and see," he said. "I mean, I'd love to get some tracks down and see what songs we've got. And that goes along with part of getting the band back together and getting things moving. So I'd love to cut some tracks, yeah." The guitarist also said he was open to the possibility of White producing the Rolling Stones, replying to a question about this by saying: "That's always a possibility. The door is wide open." The Rolling Stones recently denied reports they will retire next year with a headline slot at Glastonbury. It was reported "sources" close to the band had indicated that their Glastonbury appearance will be their final date in a "handful" of shows in the UK and USA. It was also suggested that, as it is part of the group's 50-year anniversary, it will be seen as a good time to call it a day on live performances. However, representatives for the band have insisted there is no truth in the claim.

The Rolling Stones’ guitarist Keith Richards has revealed that he and Jack White have “recorded a couple of tracks” together and could release them in the coming months.

Speaking to Rolling Stone, the legendary guitarist said that he and White had worked together and he’d up for releasing the songs as long as White was also onboard with the idea.

He said of this: “I enjoy working with Jack. We’ve done a couple of tracks. I don’t know if [Jack] ever considered that it was actually, like, master cuts. But at the same time if Jack wanted to do it, I’d probably say, ‘Yeah.” I know Jack pretty well. He’s a lovely player.”

Richards also spoke about the possibility of recording new material with the Rolling Stones and said that the band would be meeting up in July to talk about their plans.

Speaking about this, Richards added: “We’re going to talk about that in July and see,” he said. “I mean, I’d love to get some tracks down and see what songs we’ve got. And that goes along with part of getting the band back together and getting things moving. So I’d love to cut some tracks, yeah.”

The guitarist also said he was open to the possibility of White producing the Rolling Stones, replying to a question about this by saying: “That’s always a possibility. The door is wide open.”

The Rolling Stones recently denied reports they will retire next year with a headline slot at Glastonbury.

It was reported “sources” close to the band had indicated that their Glastonbury appearance will be their final date in a “handful” of shows in the UK and USA. It was also suggested that, as it is part of the group’s 50-year anniversary, it will be seen as a good time to call it a day on live performances. However, representatives for the band have insisted there is no truth in the claim.

The 26th Uncut Playlist Of 2012

Plenty of gold in this week’s haul, and not much better than the Duane Pitre album whose sleeve is posted above – a truly excellent record that I must admit I missed when it was released a few months back. Elsewhere, another plug/link to that Frank Ocean track, and a prompt to download the first track from the new Thurston Moore/Keith Wood/John Moloney/Samara Lubelski configuration, Chelsea Light Moving. There’s an amazing archival find in the shape of a big Laurie Spiegel retrospective: a new name to me, but one I’d vigorously recommend for those of you interested in that whole electronic composition/kosmische process. And while I keep hyping the forthcoming Six Organs album in tandem with Comets On Fire (check this track leaked at NPR: http://www.npr.org/2012/06/26/155705361/summer-music-preview-premieres-from-cat-power-avett-brothers-grizzly-bear-and-mo), Ben Chasny has made a very different and very good jam record with Lisbon’s Gala Drop. Plenty more goodness here, too, as you can probably work out. I’ll try and blog about Damon Albarn’s “Dr Dee” show tomorrow: my first opera, I think, since the Gavin Bryars/Atom Egoyan show that must be 15 years ago now… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Blues Control – Valley Tangents (Drag City) 2 Lynyrd Skynyrd - Last Of A Dyin' Breed (Roadrunner) 3 Chelsea Light Moving – Burroughs (http://www.matadorrecords.com/matablog/2012/06/22/tell-us-about-your-new-band-thurston-moore/) 4 5 Frank Ocean – Pyramids (https://www.uncut.co.uk/blog/wild-mercury-sound/the-24th-uncut-playlist-of-2012) 6 Dinosaur Jr – Bet On Sky (PIAS) 7 Six Organs Of Admittance – Ascent (Drag City) 8 Dan Deacon – America (Domino) 9 Rhyton – The Emerald Tablet (Three- Lobed) 10 Laurie Spiegel – The Expanding Universe (Unseen Worlds) 11 Mark Knopfler – Privateering (Mercury) 12 The Fresh & Onlys – Long Slow Dance (Souterrain Transmissions) 13 Ben Chasny/Gala Drop – Broda (Gala Drop) 14 Andre Popp – Le Coeur En Fête (Wah Wah) 15 Duane Pitre – Feel Free (Important) 16 John Cale – Shifty Adventures In Nookie Wood (Double Six)

Plenty of gold in this week’s haul, and not much better than the Duane Pitre album whose sleeve is posted above – a truly excellent record that I must admit I missed when it was released a few months back.

Elsewhere, another plug/link to that Frank Ocean track, and a prompt to download the first track from the new Thurston Moore/Keith Wood/John Moloney/Samara Lubelski configuration, Chelsea Light Moving. There’s an amazing archival find in the shape of a big Laurie Spiegel retrospective: a new name to me, but one I’d vigorously recommend for those of you interested in that whole electronic composition/kosmische process.

And while I keep hyping the forthcoming Six Organs album in tandem with Comets On Fire (check this track leaked at NPR: http://www.npr.org/2012/06/26/155705361/summer-music-preview-premieres-from-cat-power-avett-brothers-grizzly-bear-and-mo), Ben Chasny has made a very different and very good jam record with Lisbon’s Gala Drop.

Plenty more goodness here, too, as you can probably work out. I’ll try and blog about Damon Albarn’s “Dr Dee” show tomorrow: my first opera, I think, since the Gavin Bryars/Atom Egoyan show that must be 15 years ago now…

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

1 Blues Control – Valley Tangents (Drag City)

2 Lynyrd Skynyrd – Last Of A Dyin’ Breed (Roadrunner)

3 Chelsea Light Moving – Burroughs (http://www.matadorrecords.com/matablog/2012/06/22/tell-us-about-your-new-band-thurston-moore/)

4

5 Frank Ocean – Pyramids (https://www.uncut.co.uk/blog/wild-mercury-sound/the-24th-uncut-playlist-of-2012)

6 Dinosaur Jr – Bet On Sky (PIAS)

7 Six Organs Of Admittance – Ascent (Drag City)

8 Dan Deacon – America (Domino)

9 Rhyton – The Emerald Tablet (Three- Lobed)

10 Laurie Spiegel – The Expanding Universe (Unseen Worlds)

11 Mark Knopfler – Privateering (Mercury)

12 The Fresh & Onlys – Long Slow Dance (Souterrain Transmissions)

13 Ben Chasny/Gala Drop – Broda (Gala Drop)

14 Andre Popp – Le Coeur En Fête (Wah Wah)

15 Duane Pitre – Feel Free (Important)

16 John Cale – Shifty Adventures In Nookie Wood (Double Six)