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Crowded House drummer Peter Jones dies

Tom Goodwyn
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Crowded House drummer Peter Jones dies

Peter Jones, the drummer of Australian rock band Crowded House, has died aged 45. The Liverpool-born musician, who joined the band after original drummer Paul Hester quit in 1994, lost his battle for brain cancer on Friday (May 18). A statement, published on the Crowded House website paid tribute to the drummer and described him as a "warm-hearted, funny and talented man". It read: "We are in mourning today for the death of Peter Jones. We remember his as a warm-hearted, funny and talented man, who was a valuable member of Crowded House. He played with style and spirit. We salute him and send out love and best thoughts to his family and friends." Leading the tributes from his friends was bandmate Neil Finn, who marked his respect by posting an eulogy on his Twitter. He tweeted:

Peter Jones, the drummer of Australian rock band Crowded House, has died aged 45.

The Liverpool-born musician, who joined the band after original drummer Paul Hester quit in 1994, lost his battle for brain cancer on Friday (May 18).

A statement, published on the Crowded House website paid tribute to the drummer and described him as a “warm-hearted, funny and talented man”.

It read: “We are in mourning today for the death of Peter Jones. We remember his as a warm-hearted, funny and talented man, who was a valuable member of Crowded House. He played with style and spirit. We salute him and send out love and best thoughts to his family and friends.”

Leading the tributes from his friends was bandmate Neil Finn, who marked his respect by posting an eulogy on his Twitter. He tweeted:

Jones is the group’s second drummer to pass away, after founding drummer Paul Hester committed suicide in 2005 following depression.

Crowded House were founded in 1985 by singer-songwriter Neil Finn. The group went on to achieve global success with hits such as ‘Don’t Dream Its Over’ and, most notably, ‘Weather With You’.

Charalambides, Michael Flower Band, Dean McPhee: Cafe Oto, London, May 19, 2012

John Mulvey
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Charalambides, Michael Flower Band, Dean McPhee: Cafe Oto, London, May 19, 2012

To Café Oto, where a guy who goes by the name of Hitodama is making the sort of brutal avant-noise that a colleague is inspired to describe as “entropic deathwank”. It’s a jarring start to the evening, though Hitodama (“Wigan-reared, Tokyo-dwelling drone obsessive Dave McMahon,” promoters Miles Of Smiles reveal) will make further contributions later: at key moments when the other, in most ways more serene, artists are playing, McMahon adds piratical roars of pleasure from the audience. Dean McPhee, much admired and written about on this blog (here’s a link to my last piece), is up next, with a set of as-yet unreleased songs bookended by a couple he premiered at that linked Michael Chapman show, “Rolling Stream” and the especially fine “Evil Eye”. There are odd moments – McPhee breaks off one piece to move his flight case into the toilet, presumably distracted by minute vibrations. And, as is usually the case when an artist prefaces a song by saying they wrote it only a few days before, it’s hard not to prejudge that work as a little tentative, incomplete in some way. Nevertheless, McPhee’s tone, resolve, measure and concentrated, courtly playing (I found myself thinking of John Renbourn again) remains beguiling, and a pleasing movement on from the Takoma thing practised by so many of his guitar soli contemporaries. Unexpectedly, Michael Flower also touches on the edges of that tradition in his set – a solo outing for the Vibracathedral Orchestra/Flower-Corsano Duo player, even though he’s billed as the Michael Flower Band. The Band turns out to be a bunch of kit arrayed on an ironing board behind Flower and his electric guitar, including a rudimentary drum machine that makes Flower’s first moves resemble that recent Sandy Bull & His Rhythm Ace release. Soon enough, though, Flower is moving on, revealing an orthodox virtuosity that’s not always apparent in the skrees he unleashes in more avant-garde manifestations. At times, the tone of his guitar matches that high-end fizz of the Japan-banjo he uses in tandem with Chris Corsano. At others, amid the various loops and delays, he tries on various styles for size: from the expansive strafe of Michael Rother and Robert Fripp, to fluid Southern Rock jams. There is a brief burst of crude arpeggiated ‘90s techno, too. Quite a set. While Flower roams far and wide, the Charalambides duo of Tom and Christina Carter concentrate on methodically ploughing a straight, assiduously-measured furrow. Rarely seen in the UK, the pair have been making music for two decades now, on and off (I found this in my archives on “Likeness”), and though I’ve seen them about a decade ago, the strength of Christina Carter’s voice still comes as something of a shock when it arrives, unmediated, between Tom’s stark desert blues. Stentorian, mantric and resonant, she sounds a little like a cross between Nico and one of the sterner English folk singers; June Tabor, perhaps. The minimalism is exposing, and not all of her lyrics are entirely successful. But the cumulative effect is tremendous, especially when she takes up guitar, and the duo gracefully switch up from blasted, spacious passages to a denser and more frictional sound; a sit-down Sonic Youth, might be a fairly superficial reading of these sparingly-deployed, maximum-impact peaks. “Charalambides wailing freakout mode tonight,” says Tom Carter later, on Twitter. “Shed blood on white guitar.” Wonder how he managed for their solo sets on Sunday? Follow me on Twitter: www.twitter.com/JohnRMulvey

To Café Oto, where a guy who goes by the name of Hitodama is making the sort of brutal avant-noise that a colleague is inspired to describe as “entropic deathwank”.

It’s a jarring start to the evening, though Hitodama (“Wigan-reared, Tokyo-dwelling drone obsessive Dave McMahon,” promoters Miles Of Smiles reveal) will make further contributions later: at key moments when the other, in most ways more serene, artists are playing, McMahon adds piratical roars of pleasure from the audience.

Dean McPhee, much admired and written about on this blog (here’s a link to my last piece), is up next, with a set of as-yet unreleased songs bookended by a couple he premiered at that linked Michael Chapman show, “Rolling Stream” and the especially fine “Evil Eye”. There are odd moments – McPhee breaks off one piece to move his flight case into the toilet, presumably distracted by minute vibrations. And, as is usually the case when an artist prefaces a song by saying they wrote it only a few days before, it’s hard not to prejudge that work as a little tentative, incomplete in some way.

Nevertheless, McPhee’s tone, resolve, measure and concentrated, courtly playing (I found myself thinking of John Renbourn again) remains beguiling, and a pleasing movement on from the Takoma thing practised by so many of his guitar soli contemporaries.

Unexpectedly, Michael Flower also touches on the edges of that tradition in his set – a solo outing for the Vibracathedral Orchestra/Flower-Corsano Duo player, even though he’s billed as the Michael Flower Band. The Band turns out to be a bunch of kit arrayed on an ironing board behind Flower and his electric guitar, including a rudimentary drum machine that makes Flower’s first moves resemble that recent Sandy Bull & His Rhythm Ace release.

Soon enough, though, Flower is moving on, revealing an orthodox virtuosity that’s not always apparent in the skrees he unleashes in more avant-garde manifestations. At times, the tone of his guitar matches that high-end fizz of the Japan-banjo he uses in tandem with Chris Corsano. At others, amid the various loops and delays, he tries on various styles for size: from the expansive strafe of Michael Rother and Robert Fripp, to fluid Southern Rock jams. There is a brief burst of crude arpeggiated ‘90s techno, too. Quite a set.

While Flower roams far and wide, the Charalambides duo of Tom and Christina Carter concentrate on methodically ploughing a straight, assiduously-measured furrow. Rarely seen in the UK, the pair have been making music for two decades now, on and off (I found this in my archives on “Likeness”), and though I’ve seen them about a decade ago, the strength of Christina Carter’s voice still comes as something of a shock when it arrives, unmediated, between Tom’s stark desert blues. Stentorian, mantric and resonant, she sounds a little like a cross between Nico and one of the sterner English folk singers; June Tabor, perhaps.

The minimalism is exposing, and not all of her lyrics are entirely successful. But the cumulative effect is tremendous, especially when she takes up guitar, and the duo gracefully switch up from blasted, spacious passages to a denser and more frictional sound; a sit-down Sonic Youth, might be a fairly superficial reading of these sparingly-deployed, maximum-impact peaks. “Charalambides wailing freakout mode tonight,” says Tom Carter later, on Twitter. “Shed blood on white guitar.” Wonder how he managed for their solo sets on Sunday?

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

Paul Buchanan – Mid Air

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Paul Buchanan – Mid Air

Moving epitaph for The Blue Nile’s melancholic grace... Talking to Graeme Thomson in 2006, Paul Buchanan discussed the ordinary miracle of music: “Being able to listen to music and being able to talk to each other through music is like being able to walk on air. It saddens me that music has just turned into a loss-leader in a supermarket. It’s like a miracle that has been turned into a marketing factor. I’m dumbfounded. Every record should be compared to silence – silence is perfect, what are you going to put on it?” For his first record in eight years, the first solo record of his career – that is, if you discount the suggestion that The Blue Nile effectively became a solo project some time in the mid-’90s – Buchanan pushes the pop song to the very brink of that perfect silence. Mid Air is a collection of 13 ballads and an instrumental, recorded at some 3am of the soul, in the cell in the tower of song a few storeys above where Leonard Cohen is eternally recording Songs From A Room, Sinatra is composing “Where Are You?” and Tom Waits is working on Small Change. It barely rises above murmur and sigh, the clang of the night-train, the chime of the city clock, the foghorn from the docks. It’s also, it almost goes without saying, magnificent. Even the most devout Nileists had to concede that Peace At Last (1996) and High (2004) had their longueurs. But here is a record that in its determinedly modest way – Buchanan describes it as a “record-ette” and apparently toyed with titling it “Minor Poets Of The Seventeenth Century” – matches their immaculate ’80s albums A Walk Across The Rooftops and Hats. It’s no great departure; it’s more like a refinement or elaboration of latent possibilities in the earlier music. In a way, Mid Air revisits the deep, still pool of Rooftops’ “Easter Parade” and explores the musical and emotional space as though it were a new ocean. “Easter Parade”, in fact, always felt like the first draft of an ideal Blue Nile torch song, one that Buchanan pursued keenly down the years, across the classic early B-side “Regret” (“It’s 3.30 and I’m thinking of you…”) , Hats’ “From A Late Night Train” and Peace At Last’s “Family Life”. Mid Air amounts to 14 enigmatic variations on this mood, just piano, voice, the occasional pale moonbeam of orchestration, which miraculously never feels monotonous or morose. This is partly due to the songs’ brevity (none lasts more than three minutes) and the spare neon-haiku imagism of Buchanan’s words. The title track lists “the buttons on your collar, the colour of your hair”, like the ingredients in a spell to conjure someone’s presence, while “Wedding Party” is not much more than a handful of snapshots – “tears in the carpark”, “a long walk in the wrong dress”, “I was drunk when I danced with the bride” – that seem to condense lifetimes of regret. But it’s also down to Buchanan’s peerlessly evocative croon. From a country known for its bluster and bravado (from the sublime – Billy Mackenzie – to the ridiculous – Jim Kerr), Buchanan signifies heartsick soul-storms with little more than the muttered, broken “yeah…” that closes the final song, “After Dark”. Indeed you’d suggest that he’s Scotland’s greatest living singer, except, as he avers on “My True Country”, he’s really a patriot of that dream nation “far beyond the chimney tops... where the bus don’t stop”. There’s a conscious echo there of the tinseltown rooftops of his debut, and though it’s been suggested that this album is in part a work of mourning for a friend, you can’t help but hear it is a dirge for his old band. If you’ve read Allan Brown’s touching 2010 biography, Nileism, you’ll be familiar with the baffling way in which the band, schoolmates, university friends, all still living in the same square mile of Glasgow, have gradually grown inexplicably estranged. Though you pray that it’s proved to be premature, the band couldn’t hope for a better epitaph than Mid Air. Stephen Troussé Q&A Paul Buchanan Are you pursuing some ideal song on Mid Air? Are you getting closer? That’s a good question. Partly yes, partly no. “Easter Parade” got very close. But part of what was relaxing about this record was not thinking. You’re always playing with the same circle and trying different things. I was re-reading George Martin’s Summer Of Love… recently and I came across that Lennon quote again – that he only wrote two real songs, “Help!” and “Strawberry Fields Forever”. You might disagree, but you understand what he meant. You said a few years ago that you aspired to write songs of ludicrous optimism. Are you saving them for the next album? Very good! I am saving them for the next album, yeah! Our first single, “I Love This Life”, was the starting point. Without sounding like The Odyssey, it’d be nice to conclude with the same ludicrous optimism. The only difference being, you have idealism and maybe you lose it, but it doesnt mean you can’t weigh up experience and decide to be ludicrously optimistic, despite all the evidence to the contrary. I don’t know if we’ll make another record, but that’d be a good place to go to. There’s a wilful innocence to Mid Air that’s at least some of the way back to that. INTERVIEW: STEPHEN TROUSSÉ

Moving epitaph for The Blue Nile’s melancholic grace…

Talking to Graeme Thomson in 2006, Paul Buchanan discussed the ordinary miracle of music: “Being able to listen to music and being able to talk to each other through music is like being able to walk on air. It saddens me that music has just turned into a loss-leader in a supermarket. It’s like a miracle that has been turned into a marketing factor. I’m dumbfounded. Every record should be compared to silence – silence is perfect, what are you going to put on it?”

For his first record in eight years, the first solo record of his career – that is, if you discount the suggestion that The Blue Nile effectively became a solo project some time in the mid-’90s – Buchanan pushes the pop song to the very brink of that perfect silence.

Mid Air is a collection of 13 ballads and an instrumental, recorded at some 3am of the soul, in the cell in the tower of song a few storeys above where Leonard Cohen is eternally recording Songs From A Room, Sinatra is composing “Where Are You?” and Tom Waits is working on Small Change. It barely rises above murmur and sigh, the clang of the night-train, the chime of the city clock, the foghorn from the docks.

It’s also, it almost goes without saying, magnificent. Even the most devout Nileists had to concede that Peace At Last (1996) and High (2004) had their longueurs. But here is a record that in its determinedly modest way – Buchanan describes it as a “record-ette” and apparently toyed with titling it “Minor Poets Of The Seventeenth Century” – matches their immaculate ’80s albums A Walk Across The Rooftops and Hats. It’s no great departure; it’s more like a refinement or elaboration of latent possibilities in the earlier music. In a way, Mid Air revisits the deep, still pool of Rooftops’ “Easter Parade” and explores the musical and emotional space as though it were a new ocean.

“Easter Parade”, in fact, always felt like the first draft of an ideal Blue Nile torch song, one that Buchanan pursued keenly down the years, across the classic early B-side “Regret” (“It’s 3.30 and I’m thinking of you…”) , Hats’ “From A Late Night Train” and Peace At Last’s “Family Life”.

Mid Air amounts to 14 enigmatic variations on this mood, just piano, voice, the occasional pale moonbeam of orchestration, which miraculously never feels monotonous or morose. This is partly due to the songs’ brevity (none lasts more than three minutes) and the spare neon-haiku imagism of Buchanan’s words. The title track lists “the buttons on your collar, the colour of your hair”, like the ingredients in a spell to conjure someone’s presence, while “Wedding Party” is not much more than a handful of snapshots – “tears in the carpark”, “a long walk in the wrong dress”, “I was drunk when I danced with the bride” – that seem to condense lifetimes of regret. But it’s also down to Buchanan’s peerlessly evocative croon. From a country known for its bluster and bravado (from the sublime – Billy Mackenzie – to the ridiculous – Jim Kerr), Buchanan signifies heartsick soul-storms with little more than the muttered, broken “yeah…” that closes the final song, “After Dark”.

Indeed you’d suggest that he’s Scotland’s greatest living singer, except, as he avers on “My True Country”, he’s really a patriot of that dream nation “far beyond the chimney tops… where the bus don’t stop”. There’s a conscious echo there of the tinseltown rooftops of his debut, and though it’s been suggested that this album is in part a work of mourning for a friend, you can’t help but hear it is a dirge for his old band. If you’ve read Allan Brown’s touching 2010 biography, Nileism, you’ll be familiar with the baffling way in which the band, schoolmates, university friends, all still living in the same square mile of Glasgow, have gradually grown inexplicably estranged. Though you pray that it’s proved to be premature, the band couldn’t hope for a better epitaph than Mid Air.

Stephen Troussé

Q&A

Paul Buchanan

Are you pursuing some ideal song on Mid Air? Are you getting closer?

That’s a good question. Partly yes, partly no. “Easter Parade” got very close. But part of what was relaxing about this record was not thinking. You’re always playing with the same circle and trying different things. I was re-reading George Martin’s Summer Of Love… recently and I came across that Lennon quote again – that he only wrote two real songs, “Help!” and “Strawberry Fields Forever”. You might disagree, but you understand what he meant.

You said a few years ago that you aspired to write songs of ludicrous optimism. Are you saving them for the next album?

Very good! I am saving them for the next album, yeah! Our first single, “I Love This Life”, was the starting point. Without sounding like The Odyssey, it’d be nice to conclude with the same ludicrous optimism. The only difference being, you have idealism and maybe you lose it, but it doesnt mean you can’t weigh up experience and decide to be ludicrously optimistic, despite all the evidence to the contrary. I don’t know if we’ll make another record, but that’d be a good place to go to. There’s a wilful innocence to Mid Air that’s at least some of the way back to that.

INTERVIEW: STEPHEN TROUSSÉ

Garth Hudson: “Levon Helm is a true hero”

Tom Pinnock
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0
Garth Hudson: “Levon Helm is a true hero”
Garth Hudson has paid tribute to his late collaborator in The Band, Levon Helm, in the new issue of Uncut, out Tuesday (May 22), calling him “a true hero”. Hudson speaks in our special feature remembering the legendary drummer and singer, who passed away in April, aged 71. “He is a true he...

Garth Hudson has paid tribute to his late collaborator in The Band, Levon Helm, in the new issue of Uncut, out Tuesday (May 22), calling him “a true hero”.

Hudson speaks in our special feature remembering the legendary drummer and singer, who passed away in April, aged 71.

“He is a true hero and has left us grieving,” says Hudson. “The things that Levon has made us think about are dignity, loyalty, friendship, friendship, family.”

Many of Helm’s varied collaborators also pay tribute to the musician in the piece, and there’s a comprehensive guide on how to buy the drummer’s solo work.

Read more on Helm’s extraordinary life and work in the new issue of Uncut, out Tuesday (May 22).

Robin Gibb 1949-2012

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Robin Gibb 1949-2012

The Bee Gees' Robin Gibb has died after a lengthy battle with cancer, his family have confirmed. The legendary singer, who was 62, had been battling liver and colon cancer in recent years. After making what he had described as a "spectacular recovery", a secondary tumour had recently developed. Last month, Gibb fell into a coma when he contracted pneumonia due to complications arising from the cancer. He later woke and was reportedly able to communicate with his family. A statement from Gibb's family confirmed his death: "The family of Robin Gibb, of the Bee Gees, announce with great sadness that Robin passed away today following his long battle with cancer and intestinal surgery. The family have asked that their privacy is respected at this very difficult time." Robin Gibb's career in music began when he formed The Bee Gees with his brothers Barry and Maurice in 1958. The group went onto to enjoy success spanning six decades, with hits including 'Stayin' Alive' and 'I've Gotta Get A Message To You'. Gibb had recently composed his classical debut, 'The Titanic Requiem', to mark the 100th anniversary of the nautical disaster. The score, which he worked on with son Robin-John, was premiered at an event in central London on April 12. However, Robin was too ill to attend. Picture: Randee St Nicholas

The Bee Gees’ Robin Gibb has died after a lengthy battle with cancer, his family have confirmed.

The legendary singer, who was 62, had been battling liver and colon cancer in recent years. After making what he had described as a “spectacular recovery”, a secondary tumour had recently developed.

Last month, Gibb fell into a coma when he contracted pneumonia due to complications arising from the cancer. He later woke and was reportedly able to communicate with his family.

A statement from Gibb’s family confirmed his death: “The family of Robin Gibb, of the Bee Gees, announce with great sadness that Robin passed away today following his long battle with cancer and intestinal surgery. The family have asked that their privacy is respected at this very difficult time.”

Robin Gibb’s career in music began when he formed The Bee Gees with his brothers Barry and Maurice in 1958. The group went onto to enjoy success spanning six decades, with hits including ‘Stayin’ Alive’ and ‘I’ve Gotta Get A Message To You’.

Gibb had recently composed his classical debut, ‘The Titanic Requiem’, to mark the 100th anniversary of the nautical disaster. The score, which he worked on with son Robin-John, was premiered at an event in central London on April 12. However, Robin was too ill to attend.

Picture: Randee St Nicholas

Dr John: “There’s only two kinds of music – good and bad”

Tom Pinnock
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0
Dr John: “There’s only two kinds of music – good and bad”
Dr John answers your questions in the new issue of Uncut, out on Tuesday (May 22). In the piece, the singer, pianist and songwriter touches on subjects as varied as New Orleans voodoo, Methadone and biting off chickens’ heads. The Night Tripper also tackles questions from famous fans, includin...

Dr John answers your questions in the new issue of Uncut, out on Tuesday (May 22).

In the piece, the singer, pianist and songwriter touches on subjects as varied as New Orleans voodoo, Methadone and biting off chickens’ heads.

The Night Tripper also tackles questions from famous fans, including Paul Weller, Dan Auerbach, Randy Newman and Mike Mills, on getting shot, his iconic stick and ‘gris-gris’ blessings.

Check out An Audience With… Dr John in the new issue of Uncut, out on Tuesday (May 22).

Dr John recently released a new album, Locked Out, produced by The Black Keys’ Dan Auerbach.

Patti Smith: “I wanted to understand the full human experience”

Tom Pinnock
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0
Patti Smith: “I wanted to understand the full human experience”
Patti Smith looks back over her whole career, and reveals the inspiration behind her new album Banga, in an unprecedentedly frank interview in the new issue of Uncut, out on Tuesday (May 22). In the 13-page feature, Smith and her bandmates tell her whole story, from the Chelsea Hotel – via CBGB...

Patti Smith looks back over her whole career, and reveals the inspiration behind her new album Banga, in an unprecedentedly frank interview in the new issue of Uncut, out on Tuesday (May 22).

In the 13-page feature, Smith and her bandmates tell her whole story, from the Chelsea Hotel – via CBGB’s, streams of consciousness, spinal injury, love, retreat, loss and the good advice of Bob Dylan – to the creative rebirth of her new album.

Throughout the piece, the venerated songwriter and poet references an eclectic variety of figures that have influenced her work, such as Amy Winehouse, Christopher Columbus, Patty Hearst, The Byrds and controversial psychiatrist Wilhelm Reich.

Read about her remarkable 40-year quest in the new July issue of Uncut, out on Tuesday (May 22).

Watch Neil Young’s third video from his new album

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Watch Neil Young’s third video from his new album
Neil Young has released a third video from his forthcoming album, Americana. The video for "Clementine" follows "Jesus' Chariot (She'll Be Coming Round The Mountain") and "Oh Susannah". Americana, Young's first album with Crazy Horse since Greendale in 2003, is set for release on June 5. Young ...

Neil Young has released a third video from his forthcoming album, Americana.

The video for “Clementine” follows “Jesus’ Chariot (She’ll Be Coming Round The Mountain”) and “Oh Susannah”.

Americana, Young’s first album with Crazy Horse since Greendale in 2003, is set for release on June 5.

Young has also revealed further live dates alongside the already announced Outside Lands Music & Arts Festival, in San Francisco’s Golden Gate Park from August 10-12.

Neil Young is scheduled to play at Red Rocks Amphitheatre in Morrison, Colorado on Sunday, August 5 and Monday, August 6. At this point, interestingly, the show is billed as Neil Young – not Neil Young & Crazy Horse.

Neil Young & Crazy Horse will, however, headline the 2012 Voodoo Fest in New Orleans on Halloween weekend, October 26-28.

U2’s Bono becomes the world’s richest musician

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U2’s Bono becomes the world’s richest musician
U2 frontman Bono has become the richest musician in the world [May 19], overtaking Paul McCartney, thanks to the floatation on the stock market of social media site, Facebook. The U2 singer owns 2.3 per cent of the shares in Facebook through his private equity firm, Elevation Partners. Bono's shar...

U2 frontman Bono has become the richest musician in the world [May 19], overtaking Paul McCartney, thanks to the floatation on the stock market of social media site, Facebook.

The U2 singer owns 2.3 per cent of the shares in Facebook through his private equity firm, Elevation Partners.

Bono’s share is worth over $1.5 billion (£940 million) and puts him well above Paul McCartney, who was the world’s richest rock star with a fortune of £665 million.

U2 are rumoured to be working on new material with One Direction’s songwriters, according to reports, with Swedish pop svengali Carl Falk, who penned the boyband’s ‘What Makes You Beautiful’ reportedly on board.

A source said of this: “The band are back in the studio getting a feel for new material after the last album ‘No Line On The Horizon‘. Will.i.am had a credit on that and they are looking to explore that direction further. They have been working with Danger Mouse and RedOne. They are excited about getting to work with Carl Falk.”

New Order, Happy Mondays and Anna Calvi headlined Titanic Lockdown Festival cancelled

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New Order, Happy Mondays and Anna Calvi headlined Titanic Lockdown Festival cancelled

Belfast festival Titanic Lockdown has been cancelled due to poor ticket sales. Organisers said in a statement that ticket sales had been "significantly slower than forecast" and as a result it was "not possible" to go ahead with the two-day festival, the Belfast Telegraph reports. Anyone who has bought tickets for the event, which was due to take place on June 1 and 2, will be refunded. The event, which was due to take place at a former shipyard hangar in the Titanic Quarter of the city was set to be headlined by Happy Mondays and New Order, with Ghostpoet, Factory Floor, Lee Scratch Perry and Anna Calvi also scheduled to appear. A statement on Titanic Lockdown's website read: "Due to poor ticket sales in a challenging economic climate, it is with great regret and disappointment that we must announce the cancellation of the 2012 Titanic Lockdown summer festival." It added: Despite a huge wave of goodwill, ticket sales have been significantly slower than forecast for an event featuring such high profile acts. As a result, it will not be possible to deliver the event. Titanic Lockdown is the latest festival to be cancelled in what has been a tough year for organisers. Earlier this month, Rough Beats festival was cancelled due to "financial pressures", while Sonisphere pulled the plug on the Knebworth festival in March citing a "very challenging year" for organisers.

Belfast festival Titanic Lockdown has been cancelled due to poor ticket sales.

Organisers said in a statement that ticket sales had been “significantly slower than forecast” and as a result it was “not possible” to go ahead with the two-day festival, the Belfast Telegraph reports.

Anyone who has bought tickets for the event, which was due to take place on June 1 and 2, will be refunded.

The event, which was due to take place at a former shipyard hangar in the Titanic Quarter of the city was set to be headlined by Happy Mondays and New Order, with Ghostpoet, Factory Floor, Lee Scratch Perry and Anna Calvi also scheduled to appear.

A statement on Titanic Lockdown’s website read: “Due to poor ticket sales in a challenging economic climate, it is with great regret and disappointment that we must announce the cancellation of the 2012 Titanic Lockdown summer festival.” It added:

Despite a huge wave of goodwill, ticket sales have been significantly slower than forecast for an event featuring such high profile acts. As a result, it will not be possible to deliver the event.

Titanic Lockdown is the latest festival to be cancelled in what has been a tough year for organisers. Earlier this month, Rough Beats festival was cancelled due to “financial pressures”, while Sonisphere pulled the plug on the Knebworth festival in March citing a “very challenging year” for organisers.

Axl Rose thanks crowd for “not throwing shit” at opening night of Guns N’ Roses’ UK and Ireland tour

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Axl Rose thanks crowd for “not throwing shit” at opening night of Guns N’ Roses’ UK and Ireland tour
Guns N' Roses kicked off their UK and Ireland tour at The O2 in Dublin last night [May 17] with a near three-hour set that did not conclude until just after 1:15am. Pyrotechnics, six costume changes, a cover of the Pink Panther theme tune and the band's now traditional late arrival on stage marked ...

Guns N’ Roses kicked off their UK and Ireland tour at The O2 in Dublin last night [May 17] with a near three-hour set that did not conclude until just after 1:15am.

Pyrotechnics, six costume changes, a cover of the Pink Panther theme tune and the band’s now traditional late arrival on stage marked the 21-song set that got underway at 10:25pm – nearly an hour and a half after the band’s expected stage time.

Returning to the venue of their now infamous 2010 gig, at which the band were bottled off stage after three songs, Axl Rose ended set-closer ‘Paradise City’ by thanking the Irish crowd for “not throwing shit” at him. The frontman told the crowd: Thanks for coming out, thanks for putting up with my lame ass and thanks for not throwing shit.

Earlier the singer had acknowledged the leg injury he suffered at a party in Russia last weekend telling his Irish fans: “As you may have heard I had a little accident. I’m learning what I can and can’t do. I hope you don’t mind me moving less than usual,” before quipping “although I’m probably moving a whole lot more than I was the last time I was here.”

Despite his comments, Rose showed little sign of the injury on-stage, moving freely as the band dipped into a set that included their greatest hits, a number of cover versions and songs from their 2008 album, Chinese Democracy.

Arriving on stage to Massive Attack’s “Splitting The Atom” and a cascade of pyrotechnics, the band opened with Chinese Democracy before launching into “Welcome To The Jungle” and “It’s So Easy”.

Over the near three-hour set Rose frequently retreated to a tent to the right of the stage – reported to contain an oxygen tank – as his bandmates took turns to take centre stage with solo instrumental cover versions which included The Who‘s ‘Baba O’Riley’ and the Pink Panther theme tune.

Rose himself played a brief cover of Pink Floyd‘s “Another Brick In The Wall” before ‘November Rain’.

Earlier the Dublin crowd had been warmed up by the current incarnation of Thin Lizzy, who took to the stage for a homecoming of sorts and a set of familiar hits including “Jailbreak”, “Dancing In The Moonlight” and “The Boys Are Back In Town”.

Guns N’ Roses played:

‘Chinese Democracy’

‘Welcome to the Jungle’

‘It’s So Easy’

‘Mr Brownstone’

‘Sorry’

‘Rocket Queen’

‘Live And Let Die’

‘This I Love’

‘Motivation’

‘Street Of Dreams’

‘You Could Be Mine’

‘Sweet Child O’ Mine’

‘Another Brick In The Wall’/’November Rain’

‘Don’t Cry’

‘Whole Lotta Rosie’

‘Estranged’

‘Knockin’ On Heaven’s Door’

‘Nightrain’

‘Better’

‘Civil War’

‘Paradise City’

Thin Lizzy will continue to provide support for Guns N’ Roses UK tour, which gets underway at Nottingham Capital FM Arena tomorrow night [May 19].

Guns N’ Roses will then play:

Liverpool Echo Arena (May 20)

Newcastle Metro Radio Arena (23)

Glasgow SECC (25)

Birmingham LG Arena (26)

Manchester Evening News Arena (29)

London O2 Arena (31, June 1)

Black Sabbath: “We have engaged a substitute drummer for our forthcoming shows”

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Black Sabbath: “We have engaged a substitute drummer for our forthcoming shows”
Black Sabbath have posted a message on their Facebook page, in which they say they will not comment in full on the statement released on Wednesday [May 16] by estranged drummer Bill Ward, though the band have pointedly said "there are two sides to every story". Ward wrote that he will not be taking...

Black Sabbath have posted a message on their Facebook page, in which they say they will not comment in full on the statement released on Wednesday [May 16] by estranged drummer Bill Ward, though the band have pointedly said “there are two sides to every story”.

Ward wrote that he will not be taking part in any of the Black Sabbath shows set for this summer, releasing a statement on his website, Billward.com, saying that he will not be playing with the band at their Birmingham show on May 19, nor with them at Download Festival on June 10 or at Lollapalooza in Chicago on August 3.

In response, Black Sabbath have said that they have enlisted a substitute drummer, writing:

“We have decided not to make any detailed comment on Bill’s latest statement. There are two sides to every story. We have been working hard at rehearsals making excellent progress after Tony’s treatments and we have engaged a substitute drummer for the forthcoming shows. See you at Download.”

Ward previously revealed he was unhappy with the contract for the band’s new album and tour and claimed he would not take part in the new album sessions and shows if a ‘fair agreement’ was not met. As a result of this, the remaining members of the band vowed to carry on without him.

In his new statement, Ward wrote that last month he was offered the chance to play just three songs with the band at Download. He wrote: “I was not willing to participate in that offer. I was not prepared to watch another drummer play a Sabbath set, while I was to play only three songs.”

Ward then said that he was invited to take part in the band’s show in Birmingham this Saturday at the O2 Academy, but that there would be no guarantee that he could play the following two festival shows. He explained: “Again, for me, it’s all or nothing. I had to say ‘no’ to Birmingham on the principle of wanting to play all the shows. Saying no to Birmingham is very difficult for me. My family grew up in Birmingham. Black Sabbath grew up in Birmingham.”

Read Ward’s statement in full at Billward.com.

Beastie Boys’ Adam Yauch honoured by New York State Senate

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Beastie Boys’ Adam Yauch honoured by New York State Senate
Beastie Boys' Adam Yauch has been honoured by the local government in his home state of New York. Yauch, who was also known as MCA, was diagnosed with cancer in 2009 and succumbed to the disease earlier this month, aged 47. The rapper, who grew up in New York and lived there throughout his life, w...

Beastie Boys‘ Adam Yauch has been honoured by the local government in his home state of New York.

Yauch, who was also known as MCA, was diagnosed with cancer in 2009 and succumbed to the disease earlier this month, aged 47.

The rapper, who grew up in New York and lived there throughout his life, was honoured by the city’s state senate on Tuesday [May 15].

The state senate passed a resolution which declared that it was “mourning the death of famed rapper and activist Adam ‘MCA’ Yauch”, writing that he “exemplified New York” and helped rejuvenate the city during the band’s influential early years.

The senate also praised Yauch’s work outside of the band, which included his pro-Tibet Milarepa Fund and the film distribution company Oscilloscope Laboratories. In the resolution, they described him as “a man of colossal talent and charisma”.

Red Hot Chili Peppers, Coldplay, Jay-Z, Green Day, Eminem, Weezer, Tom Morello and Slash are among the bands and musicians who have paid tribute to Yauch, who died on May 4.

Paul McCartney on The Beatles and Wings: “I felt like I needed to get back to ‘me'”

Tom Pinnock
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Paul McCartney on The Beatles and Wings: “I felt like I needed to get back to ‘me'”
In this exclusive interview from Uncut’s June 2007 issue, the Beatles legend recalls his controversial time as leader of Wings. “It was a strange period,” he admits… Interview by David Cavanagh ____________________ March 15, 2007. Soho Square is bathed in buoyant sunshine as a few lunchtim...

In this exclusive interview from Uncut’s June 2007 issue, the Beatles legend recalls his controversial time as leader of Wings. “It was a strange period,” he admits… Interview by David Cavanagh

____________________

March 15, 2007. Soho Square is bathed in buoyant sunshine as a few lunchtime stragglers drain their lattes and wander back to work. Between azure sky and coffee aroma, the only affront to the senses comes from workmen entrenched behind fencing, cacophonously digging up the road. “Replacing London’s Victorian Water Mains”, read the signs around the square.

Sir Paul McCartney emerges from his second-floor office overlooking the road works and steps into a cluttered reception area. He’s wearing a white shirt and grey trousers with pin-sharp creases. His hair is a discreet older gentleman’s brown – his stylist would know the exact shade – and his manner is quizzical. He squints at his young publicist, pretending not to recognise him. Then he turns to me, gesturing towards his office with a thumb. “Are you comin’ in here, then?”

Bright and airy, the office contains an executive desk on one side, and some chairs and a chaise longue on the other. There’s a table where an interviewer from Uncut can rest his coffee-mug and tape recorder. A piece of abstract expressionism by Willem de Kooning adorns the far wall. In a corner stands a beautifully preserved Wurlitzer jukebox, all sleek contours and strawberry-pineapple fluorescence. The workmen’s drilling intrudes through an open window. McCartney presses a button and Presley’s “Hound Dog” drowns it out.

At this moment, his estranged wife, Heather Mills, is somewhere across London, engaged in a hectic itinerary of TV and radio appearances that will dominate tomorrow’s newspapers. Teams of highly trained showbiz correspondents will dissect her cryptic claims regarding the McCartney divorce. (“There are huge powers. I don’t have that powerful system he has. There is a huge agenda about trying to destroy me.”) As if oblivious to her activities, McCartney seems presidentially calm this afternoon. But not even presidents can stop the passing of time. He’ll be 65 on June 18. You’re struck by the facial gauntness and the husky cracks in his voice.

We’re here to talk about Wings, the band he led from ignominy to record-breaking glory in the 1970s with his intrepid but musically L-plated wife Linda. However, he also slips in a mention of an imminent new album, his follow-up to the well-received Chaos And Creation In The Backyard (2005).

“I bought a mandolin,” he explains. “It isn’t tuned like a guitar, so I didn’t know my way around it. But the feeling of picking my way through, and finding chords, was magic. It was like I was 17 again. I remembered – this is what it’s all about. It was like me and John [Lennon] learning piano. You play, and then you hit a wrong note, and you go [in amazement, delight] ‘Ooohh!’ And you write a whole song on that chord. The excitement of getting the mandolin, finding new chords – that’s really lifted me, that has. That’s the opening track to my new album.”

Great. Can you tell me the title?

“I don’t think so, actually,” he hesitates. “I’m never sure with that… I want to tell you the title, definitely, but…”

July 2012

Ipclee
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July 2012
The best I can say in pitiful mitigation of my frequently poor behaviour at the time is that in those days I was not easily embarrassed and usually up for anything, a sorry mix. Anyway, it's October 1976. Patti Smith's just released her new album, Radio Ethiopia. Because her relationship with the B...

The best I can say in pitiful mitigation of my frequently poor behaviour at the time is that in those days I was not easily embarrassed and usually up for anything, a sorry mix. Anyway, it’s October 1976. Patti Smith’s just released her new album, Radio Ethiopia.

Because her relationship with the British music press has deteriorated badly since Horses, she’s not doing any interviews but will instead be holding a press conference at the Intercontinental Hotel, near Hyde Park. At Melody Maker’s weekly editorial meeting some wag comes up with the fateful wheeze of sending me along with the intention of being as rowdily disruptive as possible, to see what kind of reaction such impoliteness might provoke. Seems like a plan to me. So off I go, getting there early and hitting the bar.

She arrives late, looking like she’s been dragged backwards by the heels through a hedge, her hand bandaged, the result of an accident the previous night at a gig in Paris. Said injury is evidence in her opinion that being in a rock band is like being in the army, which seems fairly preposterous to me. For reasons I can’t recall, we are soon arguing about Blue Öyster Cult, the very mention of whose name has me rolling my eyeballs theatrically and muttering loudly enough for her to hear vague obscenities about poodle-haired short-arses. “My boyfriend’s in Blue Öyster Cult,” she snaps. “So don’t start saying bad shit or I’ll throw my food at you. Except for my boyfriend, they ain’t the best-looking band in the world,” she concedes reluctantly. “But they got the most stamina and heart, and they’ve lived like dogs.”

This makes me laugh derisively and leads to a lot of fractious banter between us including some disparaging remarks about her guitar playing, my description of which as inept she takes raucous exception to. Seething, she picks up the plate of sandwiches in front of her and true to her earlier promise flings it at me. I duck and the plate bounces with an audible clang off the head of the guy sitting behind me, leaving a piece of lettuce on his forehead that he doesn’t notice until I peel it off and slap him with it when he threatens to have me thrown out.

Patti, meanwhile, is loudly defending her new LP. “What do you want from me?” she screeches. “Tell me who you write for and I’ll review the record. ‘Radio Ethiopia’, the cut itself, is a very sensitive, heartfelt and courageous voyage. It’s us improvising alone in a dark studio with a hurricane coming, with the moon shitting on us.”

This is colourful stuff… what else made her such a unique performer?
“Everything I have inside me, whether it’s cosmic or telepathic or my knowledge about Egyptology or having a baby or being raped or beaten up, everything wonderful or horrible that’s ever happened to me. The temple of my experience is my body, and that’s what I use onstage.” She then announces she’s declaring war, presumably on the music press, or that part of it that’s been recently so unkind to her, which makes us all sit up. “Call me the Field Marshall if it makes you feel better,” she shouts. “I’m the Field Marshall of rock’n’roll. And I’m fucking declaring war! My guitar is my machine gun.” And with this, she storms out, faithful retainers scampering in her turbulent slipstream. I’m back at the bar before she gets to the door.

As ever, enjoy the issue and if you want to get in touch you can email me at the usual address: allan_jones@ipcmedia.com

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Donna Summer dies

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Donna Summer dies
Donna Summer, who was best known for a string of hit singles including "I Feel Love" and "Hot Stuff", died today aged 63. Born in Boston, Massachusetts, she released seventeen studio albums during a career which lasted over 30 years. Reports claim that she had been working on a new LP shortly befo...

Donna Summer, who was best known for a string of hit singles including “I Feel Love” and “Hot Stuff”, died today aged 63.

Born in Boston, Massachusetts, she released seventeen studio albums during a career which lasted over 30 years. Reports claim that she had been working on a new LP shortly before she passed away in Florida following a lengthy battle with cancer.

Inspired in her early teens by Motown girl groups such as The Supremes and later by the likes of Janis Joplin, Summer pursued a career in entertainment and landed roles in several musical productions in Europe as well as work as a studio session singer.

Although her debut single “Sally Go Round The Roses” – released under her birth name Donna Gaines in 1971 – wasn’t a hit, her solo career began to take shape after she met producers Giorgo Mordoer and Pete Bellote, the latter of whom produced her 1974 debut LP, Lady Of The Night.

She found chart success the following year with her single “Love To Love You Baby” – famed for its racy intro which featured her moaning suggestively – which was a Top 5 hit in the UK. It also paved the way for her US breakthrough when an extended version of the single reached No 2 in the US charts while the 1976 album of the same name sold over a million copies.

Summer released a slew of albums in quick succession throughout the ’70s and became one of disco’s most successful artists following the success of albums such as 1977’s “I Remember Yesterday” which included the iconic single “I Feel Love“, but she grew disillusioned with both the genre and her old record label Casablanca. In 1980 she signed a deal with Geffen Records with her first album for the label, ‘The Wanted’, embracing new sounds and movements such as new wave. She would go on to release several albums with the label before they parted ways in 1988.

Summer’s musical output became less frequent after the ’80s. Despite a series of compilations, her 2008 album Crayons was her first album of entirely original material since her 1991 effort Mistaken Identity. She married twice – firstly, to Austrian actor Helmuth Sommer, whose surname she kept and anglicized after their divorce, and later to Brooklyn Dreams singer Bruce Sadano.

Summer, who became a born-again Christian in 1979 – a decision which prompted to stop performing “Love To Love You Baby” for 25 years – had one daughter, Mimi, from her first marriage and two further children, Brooklyn and Amanda, from her marriage to Sadano.

Photo credit: Fin Costello/Redferns/Getty Images

My Bloody Valentine schedule live dates

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My Bloody Valentine schedule live dates
My Bloody Valentine have announced three live dates in Japan. According to Time Out Japan (via Pitchfork), the band will play three shows in February next year. The dates are: 02-06 Osaka, Japan - The Hatch 02-07 Tokyo, Japan - Studio Coast 02-08 Tokyo, Japan - Studio Coast Apart from an appea...

My Bloody Valentine have announced three live dates in Japan.

According to Time Out Japan (via Pitchfork), the band will play three shows in February next year.

The dates are:

02-06 Osaka, Japan – The Hatch

02-07 Tokyo, Japan – Studio Coast

02-08 Tokyo, Japan – Studio Coast

Apart from an appearance at 2008’s Fuji Rock Festival, this will be the first time My Bloody Valentine have played Japan in two decades.

The Band recently reissued remastered CDs of 1988’s Isn’t Anything and 1991’s Loveless, along with a compilation of the band’s early material, EP’s 1988-1991, and are reportedly working on new material.

PJ Harvey to premier two new songs

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PJ Harvey to premier two new songs
PJ Harvey has contributed two new songs to a forthcoming documentary, What Is This Film Called Love? The songs are called "Horses" and "Bobby Don't Steal", and are the singer/songwriter's first new material since her 2011 album, Let England Shake. Described as a "poetic documentary about the natur...

PJ Harvey has contributed two new songs to a forthcoming documentary, What Is This Film Called Love?

The songs are called “Horses” and “Bobby Don’t Steal”, and are the singer/songwriter’s first new material since her 2011 album, Let England Shake.

Described as a “poetic documentary about the nature of happiness”, What Is This Film Called Love? is the debut feature by critic Mark Cousins.

An unfinished version of What Is This Film Called Love? will be shown on May 27 at this month’s ATP I’ll Be Your Mirror festival in London.

Meanwhile, Harvey has been awarded an Ivor Novello award for Album Of The Year at a ceremony this afternoon [May 17] in London.

Among the other nominees were Adele and Kate Bush.

Slash unveils video for new single, “You’re A Lie”

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Slash unveils video for new single, “You’re A Lie”
Slash has unveiled the video to his brand new single, "You're A Lie". Scroll down to watch. Vocalist Myles Kennedy features on the track, which is the first single to be taken from Slash's forthcoming solo album, Apocalyptic Love, which is set for release on May 21. The tracklisting for Apocalyp...

Slash has unveiled the video to his brand new single, “You’re A Lie”. Scroll down to watch.

Vocalist Myles Kennedy features on the track, which is the first single to be taken from Slash’s forthcoming solo album, Apocalyptic Love, which is set for release on May 21.

The tracklisting for Apocalyptic Love is:

‘Apocalyptic Love’

‘One Last Thrill’

‘Standing in the Sun’

‘You’re a Lie’

‘No More Heroes’

‘Halo’

‘We Will Roam’

‘Anastasia’

‘Not for Me’

‘Bad Rain’

‘Hard & Fast’

‘Far and Away’

‘Shots Fired’

Yesterday Slash denied claims by former Velvet Revolver frontman Scott Weiland that he was set to re-join Velvet Revolver. Appearing on Minneapolis radio station 93x, the guitarist hit back at comments Weiland’s made at the weekend stating that the original band were getting back together.

“He’s out of his mind,” Slash said of Weiland’s claims. “There’s been a common rumour going around, I know that he’s been positive on that subject. Maybe they know something I don’t know.” He added: “I have absolutely no intention of going back to that… We have no intention of going backwards.”

The band, which includes former Guns N’ Roses members Slash, Matt Sorum, and Duff McKagan has been on the search for a new frontman since Weiland was kicked out of the band in 2008.

Uncut launches Bruce Springsteen iPad app

Tom Pinnock
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Uncut launches Bruce Springsteen iPad app

Uncut have launched a new iPad app which tells the complete story of one of the greatest rock’n’roll icons of all time, Bruce Springsteen. 'Bruce Springsteen: The Ultimate Music Guide' gives an in-depth overview of The Boss’ entire career, including the release of this year's Wrecking Ball, through a host of fascinating archive features taken from classic issues of NME and Melody Maker, and new reviews of all of his studio albums. Uncut Springsteen iPad App Also included in the app are a bunch of classic photo galleries, video links and playable MP3 samples of every track on his studio albums. Uncut Springsteen iPad AppUncut Springsteen iPad App Other highlights include 'Introducing The E Street Band', a fully interactive guide to each member of one of the greatest rock groups ever, and a masterclass in Springsteen collectables and rarities. Uncut Springsteen iPad App The first chapter of 'Bruce Springsteen: The Ultimate Music Guide' is available now for free from iTunes – the other four chapters are available for 69p each. http://www.youtube.com/watch?v=2FWzN_jVA2M Uncut Springsteen App

The full contents of the app, available now on iTunes, is: CHAPTER 1 (FREE) WECOME TO E STREET (ARCHIVE FEATURE) Introducing Springsteen's players: greatest rock'n'roll band in the world! 1974 (ARCHIVE FEATURE) Britain meets rock's "next superstar" GREETINGS FROM ASBURY PARK (ALBUM BY ALBUM) A battle-hardened singer-songwriter emerges fromthe shoreline clubs. THE WILD, THE INNOCENT & THE E STREET SHUFFLE (ALBUM BY ALBUM) Sprinsteen hones his vision as the E Street band takes shape

CHAPTER 2: 1975-1978 1975 (ARCHIVE FEATURE) The Boss learns to deal with the hype as things get out of hand 1978 (ARCHIVE FEATURE) The NME's Tony Parsons is granted and audience with The Boss... BORN TO RUN (GALLERY) An exclusive look at Eric Meola's iconic photographic session for the cover of Springsteen's classic BORN TO RUN (ALBUM BY ALBUM) The runaway American dream begins in earnest DARKNESS ON THE EDGE OF TOWN (ALBUM BY ALBUM) Springsteen heads for gloomier territory on his fourth LP, tackling blue-collar troubles with resignation not rage

CHAPTER 3: 1980-1984 1981 (ARCHIVE FEATURE) Paolo Hewitt meets the man backstage to learn about growing up without selling out 1985 (ARCHIVE FEATURE) It's 1985, and Springsteen returns to Europe for the first time in four years for his biggest shows yet, at Slane Castle THE RIVER (ALBUM BY ALBUM) From joyous rock'n'roll to introspective bedsitter blues, Bruce's 20-track epic displays colossal ambition NEBRASKA (ALBUM BY ALBUM) Back to basics and then some: the sparse 1982 classic, recorded at home in Bruce's garage BORN IN THE USA (ALBUM BY ALBUM) The album that took over the world: 30 millions sales later, a fresh look at Springsteen's biggest-selling work

CHAPTER 4: 1987-2002 1996 (ARCHIVE FEATURE) Mid-life crisis? Springsteen - playing solo for the first time - gives NME one of his frankest interviews ever in 1996 2002 (ARCHIVE FEATURE) Uncut meets The Boss on his farm in New Jersey to talk terrorism, The Rising and the E Street reunion TUNNEL OF LOVE (ALBUM BY ALBUM) 1987: a deconstructed E Street Band and Springsteen's most personal album so far THE GHOST OF TOM JOAD (ALBUM BY ALBUM) Speed freaks, bank robbers, rent boys: Springsteen's '95 classic HUMAN TOUCH/LUCKY TOWN (ALBUM BY ALBUM) Following a long lay-off, The Boss returns, older and wiser, with two LPs THE RISING (ALBUM BY ALBUM) A passionate, affecting, intelligent response to 9/11

CHAPTER 5: 2005-2012 2008 (ARCHIVE FEATURE) Uncut follows the E Street Band on tour in their Mid-Western heartland, The Boss back at the peak of his powers DEVILS & DUST (ALBUM BY ALBUM) 2005: Dubya returns tp the White House, and Springsteen files an unflinching study of a nation on its knees WE SHALL OVERCOME (ALBUM BY ALBUM) The Seeger Sessions, 2006: one radical US patriot honours another MAGIC (ALBUM BY ALBUM) Bruce re-engaged with the world on the second of his three Noughties albums with the E Street Band WORKING ON A DREAM (ALBUM BY ALBUM) Springsteen celebrates the dawning of the age of Obama The Wrecking Ball (ALBUM BY ALBUM) An angry Boss attacks big business on his grim but brilliant 17th studio album The power and the glory! From live 1975-85 to Live in Dublin (THE LIVE ALBUMS) STOP ME... (ARCHIVE FEATURE) ...If you've heard the one about Uncut, Bruce Springsteen and Phil Spector...

Uncut have launched a new iPad app which tells the complete story of one of the greatest rock’n’roll icons of all time, Bruce Springsteen.

‘Bruce Springsteen: The Ultimate Music Guide’ gives an in-depth overview of The Boss’ entire career, including the release of this year’s Wrecking Ball, through a host of fascinating archive features taken from classic issues of NME and Melody Maker, and new reviews of all of his studio albums.

Uncut Springsteen iPad App

Also included in the app are a bunch of classic photo galleries, video links and playable MP3 samples of every track on his studio albums.

Uncut Springsteen iPad AppUncut Springsteen iPad App

Other highlights include ‘Introducing The E Street Band’, a fully interactive guide to each member of one of the greatest rock groups ever, and a masterclass in Springsteen collectables and rarities.

Uncut Springsteen iPad App

The first chapter of ‘Bruce Springsteen: The Ultimate Music Guide’ is available now for free from iTunes – the other four chapters are available for 69p each.

Uncut Springsteen App


The full contents of the app, available now on iTunes, is:

CHAPTER 1 (FREE)

WECOME TO E STREET (ARCHIVE FEATURE)

Introducing Springsteen’s players: greatest rock’n’roll band in the world!

1974 (ARCHIVE FEATURE)

Britain meets rock’s “next superstar”

GREETINGS FROM ASBURY PARK (ALBUM BY ALBUM)

A battle-hardened singer-songwriter emerges fromthe shoreline clubs.

THE WILD, THE INNOCENT & THE E STREET SHUFFLE (ALBUM BY ALBUM)

Sprinsteen hones his vision as the E Street band takes shape


CHAPTER 2: 1975-1978

1975 (ARCHIVE FEATURE)

The Boss learns to deal with the hype as things get out of hand

1978 (ARCHIVE FEATURE)

The NME’s Tony Parsons is granted and audience with The Boss…

BORN TO RUN (GALLERY)

An exclusive look at Eric Meola’s iconic photographic session for the cover of Springsteen’s classic

BORN TO RUN (ALBUM BY ALBUM)

The runaway American dream begins in earnest

DARKNESS ON THE EDGE OF TOWN (ALBUM BY ALBUM)

Springsteen heads for gloomier territory on his fourth LP, tackling blue-collar troubles with resignation not rage


CHAPTER 3: 1980-1984

1981 (ARCHIVE FEATURE)

Paolo Hewitt meets the man backstage to learn about growing up without selling out

1985 (ARCHIVE FEATURE)

It’s 1985, and Springsteen returns to Europe for the first time in four years for his biggest shows yet, at Slane Castle

THE RIVER (ALBUM BY ALBUM)

From joyous rock’n’roll to introspective bedsitter blues, Bruce’s 20-track epic displays colossal ambition

NEBRASKA (ALBUM BY ALBUM)

Back to basics and then some: the sparse 1982 classic, recorded at home in Bruce’s garage

BORN IN THE USA (ALBUM BY ALBUM)

The album that took over the world: 30 millions sales later, a fresh look at Springsteen’s biggest-selling work


CHAPTER 4: 1987-2002

1996 (ARCHIVE FEATURE)

Mid-life crisis? Springsteen – playing solo for the first time – gives NME one of his frankest interviews ever in 1996

2002 (ARCHIVE FEATURE)

Uncut meets The Boss on his farm in New Jersey to talk terrorism, The Rising and the E Street reunion

TUNNEL OF LOVE (ALBUM BY ALBUM)

1987: a deconstructed E Street Band and Springsteen’s most personal album so far

THE GHOST OF TOM JOAD (ALBUM BY ALBUM)

Speed freaks, bank robbers, rent boys: Springsteen’s ’95 classic

HUMAN TOUCH/LUCKY TOWN (ALBUM BY ALBUM)

Following a long lay-off, The Boss returns, older and wiser, with two LPs

THE RISING (ALBUM BY ALBUM)

A passionate, affecting, intelligent response to 9/11


CHAPTER 5: 2005-2012

2008 (ARCHIVE FEATURE)

Uncut follows the E Street Band on tour in their Mid-Western heartland, The Boss back at the peak of his powers

DEVILS & DUST (ALBUM BY ALBUM)

2005: Dubya returns tp the White House, and Springsteen files an unflinching study of a nation on its knees

WE SHALL OVERCOME (ALBUM BY ALBUM)

The Seeger Sessions, 2006: one radical US patriot honours another

MAGIC (ALBUM BY ALBUM)

Bruce re-engaged with the world on the second of his three Noughties albums with the E Street Band

WORKING ON A DREAM (ALBUM BY ALBUM)

Springsteen celebrates the dawning of the age of Obama

The Wrecking Ball (ALBUM BY ALBUM)

An angry Boss attacks big business on his grim but brilliant 17th studio album

The power and the glory! From live 1975-85 to Live in Dublin (THE LIVE ALBUMS)

STOP ME… (ARCHIVE FEATURE)

…If you’ve heard the one about Uncut, Bruce Springsteen and Phil Spector…

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