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Ex-Beatles manager reveals his dismay over selling the band for £9

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Ex-Beatles manager reveals his dismay over selling the band for £9
The Beatles' former manager has revealed how he sold the band for £9 before their career took off. Allan Williams was the boss of the Fab Four for three years before he handed them over to Brian Epstein in 1962, who took them onto to score their first chart within a year. The 81-year-old said he ...

The Beatles‘ former manager has revealed how he sold the band for £9 before their career took off.

Allan Williams was the boss of the Fab Four for three years before he handed them over to Brian Epstein in 1962, who took them onto to score their first chart within a year.

The 81-year-old said he fell out with the band after they failed to pay him back £9 – the equivalent of £250 today – as part of a 15 per cent commission payment for their early Hamburg gigs where they first made their name, reports The Daily Record.

Williams said: “I still lose sleep over it 50 years later. No-one could have guessed The Beatles would become so famous.”

He added: “At that time there were 300 groups in Liverpool, who were as good or better than The Beatles. And I didn’t even get my £9.”

Their former manager said he turned to drink after he saw the four-piece rise to global stardom. “I remember watching them doing a performance before the Queen about a year later and throwing a cushion at the TV,” he explained.

“But I no longer have regrets. I am glad to have been there in the 60s at the start of it all.”

A handwritten letter written by Paul McCartney inviting a mystery drummer to audition for the band is set to be auctioned off next month.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Sly Stone enters rehab to seek treatment for drug addiction

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Sly Stone enters rehab to seek treatment for drug addiction
Sly Stone, founder of Sly And The Family Stone, has entered rehab to seek treatment for drug addiction. The singer, who recently revealed that he now lives out of a van in rough Los Angeles neigbourhood Crenshaw, will spend at least three months being treated. According to Perezhilton.com, a sou...

Sly Stone, founder of Sly And The Family Stone, has entered rehab to seek treatment for drug addiction.

The singer, who recently revealed that he now lives out of a van in rough Los Angeles neigbourhood Crenshaw, will spend at least three months being treated.

According to Perezhilton.com, a source close to Stone said of the singer’s decision: “Sly wants to get clean, and stay sober. Sly has fallen on very hard times in the past few years. Sly will be in rehab for at least the next 90 days, and he is committed to getting sober.”

Stone, who is in the midst of suing his former manager Jerry Goldstein for $50 million (£32.4 million), had also recently spoken of his desire to work with Lady Gaga and has said he has hundreds of new tracks available for use.

He said of this: “I see all the guys playing those old songs. Let these guys know, like Lady Gaga, let me come in, just let me come in and pay me if you like it.”

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

WE NEED TO TALK ABOUT KEVIN

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WE NEED TO TALK ABOUT KEVIN
Directed by Lynne Ramsay Starring Tilda Swinton, John C Reilly Any filmmaker takes a risk adapting a bestseller, but Lynne Ramsay (Ratcatcher, Morvern Callar) is more audacious than most. Fans of Lionel Shriver’s 2003 novel – about dysfunctional parenting and Columbine-style school killings â...

Directed by Lynne Ramsay

Starring Tilda Swinton, John C Reilly

Any filmmaker takes a risk adapting a bestseller, but Lynne Ramsay (Ratcatcher, Morvern Callar) is more audacious than most.

Fans of Lionel Shriver’s 2003 novel – about dysfunctional parenting and Columbine-style school killings – may be surprised to see the book’s analytical coolness replaced by an impressionistic approach.

Tilda Swinton plays Eva, who puts her career on hold for motherhood, only to find that her progeny is a problem child in excelsis.

Is Kevin a monster, and has Eva made him that? Ramsay’s …Kevin is an intense film, powered by sublime photography, and Jonny Greenwood’s score.

Swinton is as mesmerising as ever, although the show is stolen by the two Kevins – teenager Ezra Miller and youngster Jasper Newell.

The only sour note is a sometimes overstated take on middle-American crassness, but otherwise this is a powerful comeback from an individual Brit director.

Jonathan Romney

RADIOHEAD – TKOL RMX 1234567

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RADIOHEAD – TKOL RMX 1234567

Perhaps the most surprising thing about the arrival of a Radiohead remix album is that one hasn’t turned up before now. Not just because they have long displayed a collective interest in the possibilities of electronic dance music, but because there have been points within Radiohead’s lifespan when the idea of existing as a conventional band appears to have been considered by them to be rather limiting. While Radiohead’s first excursion into more abstract realms, 2000’s Kid A, bewildered critics and the public on its release, in retrospect its integration of electronica tropes – gauzy Eno ambience here, crunchy Aphex Twin beats there – actually sounds fairly straightforward. In more recent years, this melding of rock music and electronica has appeared more holistic, and more difficult to untangle. Drummer Phil Selway, in particular, has become adept at a style of percussion – clipped, airless beats, played in mechanistic time signatures – that appears to shun the world of flesh and blood. Hear his skittering handwork on the studio recording of The King Of Limbs’ “Feralâ€, and it is difficult to conceive of it played by human hands. Selway himself recently told 6Music that The King Of Limbs – released on February 18 this year – suited the remix treatment more than any of their prior albums, and you can see what he means. Wispy and abstracted, part inspired by ancient forests and European fairytales, it felt like a record holding something back. Announced just five days before its release, many critics approached it with a confused optimism, opining it would be “a growerâ€. But it didn’t really grow; of all Radiohead’s albums, it leaves the impression of an enigma with secrets held intact – secrets, perhaps, there for others to unlock. Following The King Of Limbs, Radiohead began issuing a series of remixes on limited 12â€s, collected here. The notion of a remix record may bring notions of ceding control, but the lineup here has been chosen with a curatorial eye. Surprising nobody will be the absence of chart remixers du jour like David Guetta or Swedish House Mafia, with their euphoric trance synths and walloping crescendos. But neither does TKOL RMX 1234567 invite obviously auteurish remixers or those with a strong signature sound, ruling out band favourites like Burial and Flying Lotus. Instead, these 19 tracks feel designed to float in a space between clear genre boundaries, somewhere purposefully undefined. Caribou’s take on “Little By Little†adopts a loosely folktronic tone, Thom’s voice cut up and looped over twinkling harp melodies and pitter-pattering toms. Four Tet’s “Separator†overhauls the original in cosmic jazz fashion, propelled by slappy, live-sounding hi-hats and swirling synth. SBTRKT’s “Lotus Flower†matches swinging UK garage drums to decayed bass hum, while Berlin duo Modeselektor provide a characteristically driving cut, steamrolling the delicate syncopations of “Morning Mr Magpie†with muscular, hypnotic techno. Similarly propulsive is a remix of “Feral†by Nottingham producer Lone, which sets Thom’s plaintive cries to blurry, VHS-quality synths and intricate layers of tribal percussion. More often than not, though, a sort of spectral dislocation seems to be the key. The collection’s highlight is Thriller’s “Give Up The Ghost Houseghost Rmxâ€, angelic techno doused in 4am euphoria, the vocal spun out like silk and left to shimmer wordlessly. Jamie xx turns in “Bloom Reworkâ€, a wisp of chiming keys, sparse percussion and a haunted, Burial-like soul vocal that resembles an apparition of ’90s piano house. Harmonic 313’s “Bloom Rmx†sets foggy synths and Thom’s liturgical vocal to a dub bounce, like a John Carpenter score recorded at Lee “Scratch†Perry’s Black Ark. TKOL RMX 1234567 clocks in at just over 100 minutes, so it would be strange if there were no chaff. Pearson Sound, Blawan and Shed fail to do anything especially memorable with their source material. But if many such documents are scuppered by their lack of continuity or cohesion, TKOL RMX 1234567 seems to possesses a strange internal logic. Perhaps it is a symptom of their far-reaching influence, perhaps that they have chosen remixers in their own image, but here, Radiohead appear to have commissioned a remix record that sounds, in tone and mood at least, rather a lot like Radiohead. Narcissism? Perhaps, but one doubts their many admirers will have a problem with that. Louis Pattison

Perhaps the most surprising thing about the arrival of a Radiohead remix album is that one hasn’t turned up before now. Not just because they have long displayed a collective interest in the possibilities of electronic dance music, but because there have been points within Radiohead’s lifespan when the idea of existing as a conventional band appears to have been considered by them to be rather limiting.

While Radiohead’s first excursion into more abstract realms, 2000’s Kid A, bewildered critics and the public on its release, in retrospect its integration of electronica tropes – gauzy Eno ambience here, crunchy Aphex Twin beats there – actually sounds fairly straightforward. In more recent years, this melding of rock music and electronica has appeared more holistic, and more difficult to untangle. Drummer Phil Selway, in particular, has become adept at a style of percussion – clipped, airless beats, played in mechanistic time signatures – that appears to shun the world of flesh and blood. Hear his skittering handwork on the studio recording of The King Of Limbs’ “Feralâ€, and it is difficult to conceive of it played by human hands.

Selway himself recently told 6Music that The King Of Limbs – released on February 18 this year – suited the remix treatment more than any of their prior albums, and you can see what he means. Wispy and abstracted, part inspired by ancient forests and European fairytales, it felt like a record holding something back. Announced just five days before its release, many critics approached it with a confused optimism, opining it would be “a growerâ€. But it didn’t really grow; of all Radiohead’s albums, it leaves the impression of an enigma with secrets held intact – secrets, perhaps, there for others to unlock.

Following The King Of Limbs, Radiohead began issuing a series of remixes on limited 12â€s, collected here. The notion of a remix record may bring notions of ceding control, but the lineup here has been chosen with a curatorial eye. Surprising nobody will be the absence of chart remixers du jour like David Guetta or Swedish House Mafia, with their euphoric trance synths and walloping crescendos. But neither does TKOL RMX 1234567 invite obviously auteurish remixers or those with a strong signature sound, ruling out band favourites like Burial and Flying Lotus.

Instead, these 19 tracks feel designed to float in a space between clear genre boundaries, somewhere purposefully undefined. Caribou’s take on “Little By Little†adopts a loosely folktronic tone, Thom’s voice cut up and looped over twinkling harp melodies and pitter-pattering toms. Four Tet’s “Separator†overhauls the original in cosmic jazz fashion, propelled by slappy, live-sounding hi-hats and swirling synth. SBTRKT’s “Lotus Flower†matches swinging UK garage drums to decayed bass hum, while Berlin duo Modeselektor provide a characteristically driving cut, steamrolling the delicate syncopations of “Morning Mr Magpie†with muscular, hypnotic techno. Similarly propulsive is a remix of “Feral†by Nottingham producer Lone, which sets Thom’s plaintive cries to blurry, VHS-quality synths and intricate layers of tribal percussion.

More often than not, though, a sort of spectral dislocation seems to be the key. The collection’s highlight is Thriller’s “Give Up The Ghost Houseghost Rmxâ€, angelic techno doused in 4am euphoria, the vocal spun out like silk and left to shimmer wordlessly. Jamie xx turns in “Bloom Reworkâ€, a wisp of chiming keys, sparse percussion and a haunted, Burial-like soul vocal that resembles an apparition of ’90s piano house. Harmonic 313’s “Bloom Rmx†sets foggy synths and Thom’s liturgical vocal to a dub bounce, like a John Carpenter score recorded at Lee “Scratch†Perry’s Black Ark.

TKOL RMX 1234567 clocks in at just over 100 minutes, so it would be strange if there were no chaff. Pearson Sound, Blawan and Shed fail to do anything especially memorable with their source material. But if many such documents are scuppered by their lack of continuity or cohesion, TKOL RMX 1234567 seems to possesses a strange internal logic. Perhaps it is a symptom of their far-reaching influence, perhaps that they have chosen remixers in their own image, but here, Radiohead appear to have commissioned a remix record that sounds, in tone and mood at least, rather a lot like Radiohead. Narcissism? Perhaps, but one doubts their many admirers will have a problem with that.

Louis Pattison

TOM WAITS – BAD AS ME

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TOM WAITS – BAD AS ME
Tom Waits keeps his audience on the edge of their seats. Which sector of his fanbase is going to be more pleased by his new work? The avant-gardists who enjoy Waits’ irregular dabbles in the legacies of Frank Zappa and Captain Beefheart? Or the traditionalists who prefer it when he writes songs, w...

Tom Waits keeps his audience on the edge of their seats. Which sector of his fanbase is going to be more pleased by his new work? The avant-gardists who enjoy Waits’ irregular dabbles in the legacies of Frank Zappa and Captain Beefheart? Or the traditionalists who prefer it when he writes songs, with tunes and choruses and so forth?

Waits even appeared to acknowledge this factionalism on a recent album, 2006’s Orphans: Brawlers, Bawlers & Bastards. This was nearly 60 songs corralled onto three discs, split between the old-school rock songs (“Brawlersâ€), the closing-time laments (“Bawlersâ€) and the experimental meanderings (“Bastardsâ€) which can sound, to the unappreciative, akin to an inebriate attempting to navigate a dark alley full of dustbins.

Bad As Me contains a more modest 13 tracks – the deluxe edition has three bonus tunes, none of them quite up to the stellar standards of the rest of the album – and sounds like an attempt to reconcile Waits’ governing contradictions. Nothing here would frighten off those who have swooned to “Jersey Girlâ€, and nothing here would strike those who thrilled to Bone Machine as compromised, meek or anodyne. Bad As Me has something of the aspect of a Tom Waits best-of, yet comprised of new material.

Proceedings commence at an urgent pace, with the fevered pulse of “Chicago†– a peculiarly and definitively Waitsian stew of simmering jazz underpinned by a banjo and the duelling guitars of long-serving sideman Marc Ribot – his strings, as ever, sound somehow tauter than anyone else’s – and Keith Richards, previously a guest on Rain Dogs and Bone Machine. “Chicago†is brief, bracing and ends with a whoop of “All aboard!â€. “Chicago†has what was doubtless the desired effect, of informing the listener that they’d be well-advised to keep a firm hand on their hat, for a wild ride beckons.

There’s a barrel-chested, big-hearted swagger about Bad As Me, Waits determined to subsume every one of his personas in a lusty embrace – he has never before sung in so many distinct voices on one album. For the fabulous old-school quiff-bobbing rockabilly of “Get Lostâ€, Waits conjures a strained, lurching croak, evocative of an adolescent’s ungovernable larynx. The words, which refer to ’60s disc jockey Wolfman Jack and quote Elvis Presley in their homage to the effects of being kissed by a girl in a “real tight sweaterâ€, summon the first heady flushes of rock’n’roll, set to the guitars of Ribot and Los Lobos’ David Hidalgo.

The title track finds Waits in yelping street preacher mode, as if someone has set light to his cassock mid-way through the sermon. On “Raised Right Menâ€, to which Red Hot Chili Pepper Flea contributes frenetic bass, a clatter of detective series theme music brass plays off a monotonous tock of guitar, while Waits declaims and hollers like Nick Cave (although, of course, to no greater extent than that which Nick Cave declaims and hollers like Tom Waits). Most extraordinary is “Talking At The Same Time†on which Waits unleashes an uncharacteristic but effective high-pitched croon which suggests Smokey Robinson with a hangover. This funereal shuffle also boasts one of Waits’ better zingers in its opening couplet – “Everybody knows umbrellas will cost more in the rain.â€

Bad As Me is an almost anti-modern record, little in its musical or lyrical vernacular dating from much later than the 1970s. This is no problem at all – it’s a language that the sixtysomething singer speaks like the native he is. A couple of tracks, indeed, flaunt the nigh absurd period detail of artificial vinyl crackle. “Kiss Meâ€, which wouldn’t have sounded askance on such late-’70s Waits albums as Foreign Affairs or Blue Valentine is a typically cock-eyed Waits devotional, a plea to a long-suffering paramour to “Kiss me, like a stranger, once again.†The stumbling waltz “New Year’s Eve†shares with “Tom Traubert’s Blues†the appropriation of a hoary standard in the coda – “Auld Lang Syneâ€, in this case, rather than “Waltzing Matilda†– and is an exquisitely wrought drunk-tank dispatch which reminds how much The Pogues in their prime owed to Waits (“The stars looked like diamonds/Then came the sirens.â€)

The formidable peaks of Bad As Me are the moments at which Waits weeps most abjectly and struts most imperiously. The best of the former tendency is the accordion-laced “Pay Meâ€, an endearingly snivelling soliloquy reminiscent of “Saving All My Love For Youâ€, starting with the declaration “They pay me not to come home,†and becoming actually more gloriously maudlin. Of the latter variety, the astonishing “Hell Broke Luce†casts Waits as a vengeful veteran of a recent conflict (“A Humvee mechanic put his Kevlar on wrongâ€), intoning his grievances in a call-and-response martial marching drill with percussion provided by stamping boots and automatic gunfire.

It was always likely that growing older would suit Tom Waits. His have always been songs of experience, and they command ever greater authority as his growl grows more guttural and he eases further past the point of having to care what anybody thinks. On the gleeful Dr John swing of “Satisfiedâ€, Waits effectively announces that he no longer has the time or inclination to concern himself with a lesser calling than his own amusement: “Now Mr Jagger and Mr Richards,†he cautions, and one of them is close enough to hear him, “I will scratch where I’ve been itching.â€

Bad As Me is the sound of a supremely confident artist convening a raucous celebration of his own myth, and is multifariously marvellous.

Andrew Mueller

Tori Amos’ National Theatre musical put on hold

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Tori Amos’ National Theatre musical put on hold

The musical written by Tori Amos that was set to debut at London's National Theatre next year has been ‘postponed indefintely’. The singer was working on a theatre adaptation of The Light Princess, an 1864 fairy tale by George MacDonald, which was due to open at the London Southbank venue's Lyttelton auditorium in April 2012. However, the show has now been put on ice over ‘fears it would not be ready in time’, reports the Guardian. A spokeswoman for the National Theatre said: "Development is continuing on The Light Princess and we'll announce a new date for the production in due course." Tori Amos released her new classical inspired album 'Night Of Hunters' last month. On her website, Toriamos.com, she described the album as a "21st-century song cycle inspired by classical music themes spanning over 400 years". She plays a handful of UK shows this November. Tori Amos will play: London Royal Albert Hall (November 2) Manchester Apollo (4) Glasgow Royal Concert Hall (6) Belfast Waterfront (8) Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The musical written by Tori Amos that was set to debut at London‘s National Theatre next year has been ‘postponed indefintely’.

The singer was working on a theatre adaptation of The Light Princess, an 1864 fairy tale by George MacDonald, which was due to open at the London Southbank venue’s Lyttelton auditorium in April 2012.

However, the show has now been put on ice over ‘fears it would not be ready in time’, reports the Guardian. A spokeswoman for the National Theatre said: “Development is continuing on The Light Princess and we’ll announce a new date for the production in due course.”

Tori Amos released her new classical inspired album ‘Night Of Hunters’ last month. On her website, Toriamos.com, she described the album as a “21st-century song cycle inspired by classical music themes spanning over 400 years”.

She plays a handful of UK shows this November.

Tori Amos will play:

London Royal Albert Hall (November 2)

Manchester Apollo (4)

Glasgow Royal Concert Hall (6)

Belfast Waterfront (8)

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Kate Bush denies she is wearing fur in ’50 Words For Snow’ photos

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Kate Bush denies she is wearing fur in ’50 Words For Snow’ photos
Kate Bush has issued a statement assuring fans that she isn't wearing animal fur in a series of pictures promoting her forthcoming album '50 Words For Snow'. The record, which is her second LP this year, features just seven tracks and is due out on November 21. The singer wrote on her official webs...

Kate Bush has issued a statement assuring fans that she isn’t wearing animal fur in a series of pictures promoting her forthcoming album ’50 Words For Snow’.

The record, which is her second LP this year, features just seven tracks and is due out on November 21. The singer wrote on her official website Katebush.com: “We have recently taken some photos and I just want to pre-empt any concerns there might be as I’m sure most of you will feel the same way as I do about wearing real fur. All the fur in these photos is synthetic. Best wishes, Kate.”

Bush is a vegetarian and in the past she has been outspoken about fur coats. She previously told Johnrussell.name: “I don’t wear fur coats. I haven’t got one. I don’t own one and I don’t believe in wearing them.”

The singer recently unveiled the first single – ‘Wild Man’ – from her forthcoming 10th studio album. The LP is 65 minutes long with each song set against the background of constant falling snow.

The tracklisting for ’50 Words For Snow’ is as follows:

‘Snowflake’

‘Lake Tahoe’

‘Misty’

‘Wildman’

‘Snowed In At Wheeler Street’

’50 Words For Snow’

‘Among Angels’

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Stone Roses tickets for Heaton Park shows sell out in 68 minutes

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The Stone Roses tickets for Heaton Park shows sell out in 68 minutes

Tickets for The Stone Roses' trio of Manchester Heaton Park shows have completely sold out. The first two gigs set for June 29-30 sold out within 14 minutes of going on sale this morning (October 21) with 150,000 tickets being snapped up. The band then added a third date on July 1, which sold out less than an hour later. Frontman Ian Brown said: "We plan on spending the rest of the day jumping up and down with our hands in the air". Overall, 220,000 tickets were snapped up within 68 minutes for all three shows. Rumours are now circulating that they will also play T In The Park next year along V Festival and the newly resurrected Phoenix Festival. The original line-up - frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni announced their reunion on Tuesday (October 18) for their first gig in 15 years. Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Tickets for The Stone Roses‘ trio of Manchester Heaton Park shows have completely sold out.

The first two gigs set for June 29-30 sold out within 14 minutes of going on sale this morning (October 21) with 150,000 tickets being snapped up. The band then added a third date on July 1, which sold out less than an hour later.

Frontman Ian Brown said: “We plan on spending the rest of the day jumping up and down with our hands in the air”.

Overall, 220,000 tickets were snapped up within 68 minutes for all three shows. Rumours are now circulating that they will also play T In The Park next year along V Festival and the newly resurrected Phoenix Festival.

The original line-up – frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni announced their reunion on Tuesday (October 18) for their first gig in 15 years.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

The Stone Roses tickets for Heaton Park reunion gigs: Price set at £55

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The Stone Roses tickets for Heaton Park reunion gigs: Price set at £55

Promoters have announced that tickets for the Stone Roses reunion gigs in Manchester next June will cost £55 when they go onsale tomorrow (October 21) at 9.30am (BST). The band, who announced their reformation on Tuesday (October 18) at a press conference in central London, will play two homecoming gigs at Heaton Park on June 29-30 in 2012 before embarking on an extensive world tour. Tickets will be limited to four per person, with VIP packages also available, priced at £199 and £299 respectively. The Stone Roses reunion features the band's original line-up - frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni. For further information about the gigs, go to The Stone Roses newly launched official website Thestoneroses.org. To check availability of [url=http://nme.seetickets.com/Tour/THE-STONE-ROSES?affid1nmestory]The Stone Roses tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094. Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Promoters have announced that tickets for the Stone Roses reunion gigs in Manchester next June will cost £55 when they go onsale tomorrow (October 21) at 9.30am (BST).

The band, who announced their reformation on Tuesday (October 18) at a press conference in central London, will play two homecoming gigs at Heaton Park on June 29-30 in 2012 before embarking on an extensive world tour. Tickets will be limited to four per person, with VIP packages also available, priced at £199 and £299 respectively.

The Stone Roses reunion features the band’s original line-up – frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni.

For further information about the gigs, go to The Stone Roses newly launched official website Thestoneroses.org.

To check availability of [url=http://nme.seetickets.com/Tour/THE-STONE-ROSES?affid1nmestory]The Stone Roses tickets[/url] and get all the latest listings, go to [url=http://www.nme.com/gigs]NME.COM/TICKETS[/url] now, or call 0871 230 1094.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Johnny Marr teams up with Best Coast and Tom Vek on new side project

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Johnny Marr teams up with Best Coast and Tom Vek on new side project
Johnny Marr has teamed up with Best Coast, Tom Vek and Mona for a new side project. The former Smiths man has pulled three acts in to record new songs from objects which inspired him for Ray-Ban's 'Raw Sounds' project. The axeman wrote a poem, took a conceptual photo in his hometown of Manchester,...

Johnny Marr has teamed up with Best Coast, Tom Vek and Mona for a new side project.

The former Smiths man has pulled three acts in to record new songs from objects which inspired him for Ray-Ban’s ‘Raw Sounds’ project.

The axeman wrote a poem, took a conceptual photo in his hometown of Manchester, pulled a favourite quote from famous German philosopher Friedrich von Schiller, recorded a piece of music, and presented an old map of New York City’s Lower East Side to the acts.

He told Spin magazine: “I just looked around my studio and life and took the parts of my world that are of interest to me, and then rolled with it.”

Marr added: “It sounded confusing to me at first but it turned out to be amazing and it resulted in some excellent new music.”

Speaking about the Best Coast track entitled ‘In Your Sleep’, the guitarist, who recently admitted meeting up with his old bandmates from The Smiths, said he chose Bethany Cosentino‘s band because he loved “good pop songs wrapped up in a garage sound.” She added: “I was inspired by Johnny’s photo, the man and woman looking at each other through vintage cameras, because my brain goes straight to romance.”

Other new tracks included in the project were Tom Vek‘s ‘Film Your Own Television’, Mona‘s ‘Jericho’ and Au Revoir Simone‘s ‘How Long’.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Metallica and Lou Reed stream ‘Lulu’ online in its entirety

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Metallica and Lou Reed stream ‘Lulu’ online in its entirety
Metallica and Lou Reed are streaming their new collaboration album 'Lulu' online in full at their official website Loureedmetallica.com. The album, which is based around German playwright Frank Wedekind's 1913 play about the life of an abused dancer, is due for formal release on October 31, with th...

Metallica and Lou Reed are streaming their new collaboration album ‘Lulu’ online in full at their official website Loureedmetallica.com.

The album, which is based around German playwright Frank Wedekind’s 1913 play about the life of an abused dancer, is due for formal release on October 31, with the North American release following a day later on November 1, but is now available to be heard in full.

The LP, which has seen its cover art banned by Transport For London for looking “too much like graffiti”, was recently described by Metallica‘s guitarist Kirk Hammett as “one of the best things we’ve ever done” and Reed himself has been equally confident, calling ‘Lulu’: “One of the best things done by anyone, ever.”

Metallica will perform tracks from ‘Lulu’ with Reed on November 8 on Later… With Jools Holland.

Latest music and film news on Uncut.co.uk.

Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Metallica and Lou Reed post 30-second samples of entire ‘Lulu’ LP

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Metallica and Lou Reed post 30-second samples of entire ‘Lulu’ LP
Metallica and Lou Reed have posted 30-second samples of the entirety of their forthcoming collaboration album 'Lulu' online, scroll down to the bottom of the page and click to listen. 'Lulu', which is based around German playwright Frank Wedekind's 1913 play about the life of an abused dancer, is ...

Metallica and Lou Reed have posted 30-second samples of the entirety of their forthcoming collaboration album ‘Lulu’ online, scroll down to the bottom of the page and click to listen.

‘Lulu’, which is based around German playwright Frank Wedekind’s 1913 play about the life of an abused dancer, is due for release on October 31, with the North American release following a day later on November 1.

The band have so far only allowed single ‘The View’ to be streamed online thus far, but have now offered teasers of the entire LP.

The album was recently described by Metallica‘s guitarist Kirk Hammett as “one of the best things we’ve ever done” and Reed himself has been equally confident, calling ‘Lulu’: “One of the best things done by anyone, ever.”

The metal titans will make their UK debut with Reed on November 8 when they will perform tracks from ‘Lulu’ on Later… With Jools Holland.

Lulu (30-second Samples) by Lou Reed & Metallica

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Radiohead, Arctic Monkeys, Adele help vinyl album sales hit six-year high

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Radiohead, Arctic Monkeys, Adele help vinyl album sales hit six-year high

Strong sales of Radiohead, Adele and Arctic Monkeys' new albums have helped to see vinyl LPs record their best sales figures for six years. According to the Official Charts Company, sales of vinyl albums in 2011 have already outsold the total for the whole of 2010, with over 240,000 LPs shifted, compared to 234,000 in 2010. If the current sales continue, then sales of vinyl albums are likely to exceed 300,000 for the first time since 2005, when over 351,000 albums were sold. Radiohead's 'The King Of Limbs' has been the spearhead for the increase in vinyl album sales, selling over 20,000 copies alone, more than 10 times what Adele's '21' has sold, the second best selling album on vinyl of 2011. Other artists to enjoy strong vinyl sales are PJ Harvey, Beady Eye and Bon Iver. The 10 best selling vinyl albums of 2011 thus far are as follows: 1. Radiohead – 'The Kings Of Limbs' 2. Adele – '21' 3. Beady Eye – 'Different Gear, Still Speeding' 4. Arctic Monkeys – 'Suck It And See' 5. PJ Harvey – 'Let England Shake' 6. Bon Iver – 'Bon Iver' 7. Alex Turner – 'Submarine OST' 8. Kate Bush – 'Director's Cut' 9. Elbow – 'Build A Rocket Boys!' 10. Nirvana – 'Nevermind' Latest music and film news on Uncut.co.uk. Uncut have teamed up with Sonic Editions to curate a number of limited-edition framed iconic rock photographs, featuring the likes of Pink Floyd, Bob Dylan and The Clash. View the full collection here.

Strong sales of Radiohead, Adele and Arctic Monkeys‘ new albums have helped to see vinyl LPs record their best sales figures for six years.

According to the Official Charts Company, sales of vinyl albums in 2011 have already outsold the total for the whole of 2010, with over 240,000 LPs shifted, compared to 234,000 in 2010.

If the current sales continue, then sales of vinyl albums are likely to exceed 300,000 for the first time since 2005, when over 351,000 albums were sold.

Radiohead‘s ‘The King Of Limbs’ has been the spearhead for the increase in vinyl album sales, selling over 20,000 copies alone, more than 10 times what Adele‘s ’21’ has sold, the second best selling album on vinyl of 2011.

Other artists to enjoy strong vinyl sales are PJ Harvey, Beady Eye and Bon Iver.

The 10 best selling vinyl albums of 2011 thus far are as follows:

1. Radiohead – ‘The Kings Of Limbs’

2. Adele – ’21’

3. Beady Eye – ‘Different Gear, Still Speeding’

4. Arctic Monkeys – ‘Suck It And See’

5. PJ Harvey – ‘Let England Shake’

6. Bon Iver – ‘Bon Iver’

7. Alex Turner – ‘Submarine OST’

8. Kate Bush – ‘Director’s Cut’

9. Elbow – ‘Build A Rocket Boys!’

10. Nirvana – ‘Nevermind’

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Uncut Playlist 36, 2011

John Mulvey
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Been a while, but I have a selection of excuses: finishing one issue of Uncut; pondering a longish Album Of The Month review that I’ll post here asap; getting deep into the business of another Uncut Ultimate Music Guide, to follow up our Bowie edition; crunching the votes for the mag’s albums/reissues of 2011 charts; and so on. I’m taking questions, anyhow, within reason… 1 Felt – Crumbling The Antiseptic Beauty (Cherry Red) 2 Arthur Russell - 24 -> 24 Music: The Definitive Sleeping Bag Recordings (Get On Down) 3 Baloji –Kinshasa Succursale (Crammed Discs) 4 Bill Wells – Lemondale (Double Six) 5 Tom Waits – Bad Like Me (Anti-) 6 Eleanor Friedberger – Last Summer (Merge) 7 Alasdair Roberts With Karine Polwart - Captain Wedderburn’s Courtship (Drag City) 8 Thee Oh Sees – Carrion Crawler/The Dream (In The Red) 9 White Denim - Last Day Of Summer (Downtown) 10 A Mystery Album 11 Julianna Barwick - The Matrimony Remixes (Asthmatic Kitty) 12 Total Control – Henge Beat (Total Control) 13 Bitch Magnet - Bitch Magnet (Temporary Residence) 14 Sharon Van Etten – Title TBC (Jagjaguwar) 15 Moon Duo – Horror Tour (Souterrain Transmissions) 16 Chris Watson – El Tren Fantasma (Touch) 17 Tim Hecker – Dropped Pianos (Kranky) 18 Rangers – Pan Am Stories (Not Not Fun) 19 The Rolling Stones – Some Girls (Universal)

Been a while, but I have a selection of excuses: finishing one issue of Uncut; pondering a longish Album Of The Month review that I’ll post here asap; getting deep into the business of another Uncut Ultimate Music Guide, to follow up our Bowie edition; crunching the votes for the mag’s albums/reissues of 2011 charts; and so on.

Continue

The Stone Roses confirm reunion and two homecoming shows for 2012

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The Stone Roses confirm reunion and two homecoming shows for 2012
The Stone Roses have confirmed they have reunited at a press conference this afternoon (October 18). The original line-up - frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni -announced the news at the conference at London's Soho Hotel at 3pm (GMT) this afternoon where they...

The Stone Roses have confirmed they have reunited at a press conference this afternoon (October 18).

The original line-up – frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni -announced the news at the conference at London’s Soho Hotel at 3pm (GMT) this afternoon where they revealed plans for two homecoming gigs at Heaton Park on June 29-30 next year.

They also revealed they are working on new material and intend to perform some at the shows. When asked if the band were working on a new album Brown said: “We hope so. But we said that before didn’t we?”

Whispers of a Stone Roses reunion started to circulate back in 2005 after Mani joined Brown onstage during his solo gigs in Blackpool and Glastonbury. However, Mani was quick to put a lid on reports of a full band reunion, telling NME at the time they would only reform when “Manchester City win the European Cup”.

Meanwhile, on the 20th anniversary of the band’s self-titled debut album in 2009, reunion rumours began to surface again, only to be shot down by Brown and Squire. To underline his stance, the guitarist even released artwork which stated: “I have no desire whatsoever to desecrate the grave of seminal Manchester group The Stone Roses.”

However, it was in April this year that reunion rumours surrounding the group went into overdrive when Brown and Squire met at Mani’s mum’s funeral and reportedly buried the hatchet.

Mani once again angrily denied reports that the band were set to reunite, telling NME: “I’m disgusted that my personal grief has been invaded and hijacked by these nonsensical stories.” Squire added that reforming for a bumper payday would be “tragic”.

However, it seems that over the ensuing six months the band have ironed out their differences to some degree.

Reports that the band were back together surfaced on Friday (14), when a major music PR circulated an invite to a press conference for the following Tuesday, promising a “very importance announcement” but refusing to deny or confirm suggestions that the band in question were The Stone Roses.

Subsequent tabloid stories suggested that Brown had revealed details of the reunion to his friend Dynamo, a street magician who claimed he received a text from the singer confirming the band was to reunite. Meanwhile, Reni was more cryptic about his involvement, contacting NME to say: “Not before 9T will I wear the hat 4 the Roses again”.

The reformation comes some 31 years after the seeds of the band were first planted, when Brown and Squire met at Altrincham Grammar School For Boys and formed short-lived Clash-inspired band The Patrol.

After short spells in other bands, the pair teamed up with future drummer with The Fall Simon Wolstencroft and bassist Peter Garner in 1984 to form the first incarnation of The Stone Roses, with Brown now taking up vocal duties. Within months Wolstencroft quit to join Terry Hall’s band The Colourfield, paving the way for long term sticksman Reni.

In 1985 The Stone Roses recorded their first ever single, double A-side ‘So Young/Tell Me’. Four years later they released their landmark self-titled debut LP, which entered the UK album chart at Number 32 in May 1989. They later scored their first Top 40 hit with ‘She Bangs The Drums’.

That same year the band gained widespread notoriety when the power cut out during a TV performance on BBC’s The Late Show. Brown repeatedly chanted “amateurs” at TV presenter Tracy MacLeod.

Signature anthem ‘Fool’s Gold’ put the band firmly on the map with a Number Eight hit later in 1989, before the band played in front of 27,000 fans at their legendary/infamous gig at Spike Island in Widnes the following year, dubbed a “Woodstock for the baggy generation”.

It took the band more than five years to release their second album, 1994’s ‘The Second Coming’. Although it marked a departure from their baggy debut and wasn’t as warmly received by fans and critics as their debut, it still spawned the four-piece’s highest-charting single when ‘Love Spreads’ went to Number Two.

Reni left the band in March 1995 and Squire followed suit a year later, citing “gradual social and musical separation” as the official reason for his departure.

The remaining line-up eventually split after a disastrous performance at Reading Festival in August 1996 – a gig that appeared to be the band’s shambolic swansong until today’s reunion announcement.

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Pic credit: Pennie Smith

Radiohead say live set will be mostly drawn from ‘The King Of Limbs’

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Radiohead say live set will be mostly drawn from ‘The King Of Limbs’
Radiohead have confirmed that they will be touring throughout 2012, but have also revealed that their set list will mostly be comprised of material from their new album 'The King Of Limbs'. Speaking to BBC 6Music, guitarist Ed O'Brien confirmed that the band would be on the road for most of 2012, ...

Radiohead have confirmed that they will be touring throughout 2012, but have also revealed that their set list will mostly be comprised of material from their new album ‘The King Of Limbs’.

Speaking to BBC 6Music, guitarist Ed O’Brien confirmed that the band would be on the road for most of 2012, saying: “We’re finalizing dates now, we’ll be on the road from the end of February to November and we’ll be playing in both the UK and US, the usual ports of call.”

Asked what the set would consist of, O’Brien replied: “It has to be a set in itself, last time we went out it was ‘In Rainbows’ and a greatest hits. It’s not going to be like that this time. It’s going to be predominately from this record and the last one and then we’ll see which songs fit around that.”

O’Brien also said that the band’s European tour would be entirely comprised of indoor shows, adding that the band felt their new songs demanded this.

He added: “Some of the shows will be outside, but the ones in Europe will be inside and I think that’s very much a reaction to when we played last time. We played in the height of summer and compromised our production. Outdoor gigs can be great, but the sound can get diluted, you’re at the mercy of the elements and I think the record demands a space where the music is loud, strong and detailed.”

Radiohead released their new remix album ‘TKOL 1234567’ earlier this month.

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The Dark Knight actor set for biopic about The Beach Boys’ Dennis Wilson

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The Dark Knight actor set for biopic about The Beach Boys’ Dennis Wilson
Aaron Eckhart is set to play Dennis Wilson of The Beach Boys in a new film about the late musician. The Dark Knight actor will take the lead role in the The Drummer, which will focus on the final six years of Wilson’s life. Eckhart will also re-record songs from Wilson’s 1977 solo album 'Pacif...

Aaron Eckhart is set to play Dennis Wilson of The Beach Boys in a new film about the late musician.

The Dark Knight actor will take the lead role in the The Drummer, which will focus on the final six years of Wilson’s life. Eckhart will also re-record songs from Wilson’s 1977 solo album ‘Pacific Ocean Blue’ for the movie.

Director Randy Miller told Variety: “We’d been trying to figure out who the right person would be to fill this role. It’s quite a demanding role so it had to be a great actor who could sing… There’s a discovery about Dennis with this film. Everybody knows Brian, but nobody really knows Dennis‘ music.”

The movie is set to start filming next spring and Wilson‘s children, Carl and Jennifer will be co-producing.

Dennis Wilson was the drummer of The Beach Boys and, famously, the only member of the band who actually surfed. His unfinished second solo album ‘Bambu’ was released posthumously. Wilson died in 1983 at the age of 39. The end of his life was ravaged by alcohol and drug addiction.

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U2 to document record-breaking ‘360’ world tour with new book

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U2 to document record-breaking ‘360’ world tour with new book
U2 are set to release a new book which will document the events of their record-breaking '360' world tour. The tour, which began in Barcelona on June 30, 2009 and ended at Moncton's Magnetic Hill Music Festival in Canada on July 30, grossed a staggering $736,137,344 (£448 million) during its run....

U2 are set to release a new book which will document the events of their record-breaking ‘360’ world tour.

The tour, which began in Barcelona on June 30, 2009 and ended at Moncton‘s Magnetic Hill Music Festival in Canada on July 30, grossed a staggering $736,137,344 (£448 million) during its run. This smashed The Rolling Stones‘ previous record for the highest grossing tour, which had stood at $558 million.

The book, which will be titled U2360: The Official Story of the Greatest Spectacle in Stadium-Rock History, is to be written by GQ magazine editor Dylan Jones, who was given full access to the entire tour.

Jones met the band at various locations, including backstage at their headline slot at this year’s Glastonbury Festival. As well as Jones’ documentation of events, the book will also include contributions from the band themselves, their manager Paul McGuiness and a selection of never before seen photographs.

The book will not be released for another year however, with publisher Random House stating that it will be in stores for October 2012.

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The Kinks’ Dave Davies: ‘I love my brother, I just can’t stand to be with him’

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The Kinks’ Dave Davies: ‘I love my brother, I just can’t stand to be with him’
Dave Davies has played down any chance of The Kinks reuniting in the near future as his relationship with brother Ray is too fraught and difficult. Ray had said in April this year that the pair were meeting up to talk about a Kinks reunion, but Dave has now suggested that the possibility of any su...

Dave Davies has played down any chance of The Kinks reuniting in the near future as his relationship with brother Ray is too fraught and difficult.

Ray had said in April this year that the pair were meeting up to talk about a Kinks reunion, but Dave has now suggested that the possibility of any such reformation happening is pretty remote.

Asked by the Daily Telegraph about the chances of a Kinks reunion, Davies said that he loved his brother, but could not be around him for very long.

He said of this and the band’s chances of reuniting: “How could I not love my own brother? I just can’t stand to be with him. About an hour with Ray’s my limit, so it would be a very short reunion.”

Dave also said that he did his best not to dwell on his time with The Kinks as it just depressed him.

He added: “I try not to think about those days. When I hear it on the radio, I get excited, until you think about the way things really were – the bad contracts, the arguments, beating people up, getting beaten up, all the shit. But, in the end, hopefully, it will only be the music that is left.”

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Ian Brown on the Stone Roses reunion: ‘It’s happening’

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Ian Brown on the Stone Roses reunion: ‘It’s happening’
Ian Brown has reportedly confirmed that the much talked about reunion of The Stone Roses is definitely taking place. According to The Sun this morning (October 17), magician Dynamo, who is a close friend of Brown, showed the paper's journalist a text message from the singer about the reunion, whic...

Ian Brown has reportedly confirmed that the much talked about reunion of The Stone Roses is definitely taking place.

According to The Sun this morning (October 17), magician Dynamo, who is a close friend of Brown, showed the paper’s journalist a text message from the singer about the reunion, which said: “We are going to rule the world again. It’s happening.”

Rumours of a reunion flared up on Friday (October 14), with a major music publicist refusing to confirm or deny that a planned announcement on Tuesday (October 18) would indeed be declaring the band’s return. It follows news breaking last April that singer Ian Brown and guitarist John Squire had met up, for what was thought to be the first time since the band’s 1996 split.

The band’s former drummer Alan ‘Reni’ Wren became the first member of the band to break ranks on the reunion rumours on Friday (October 14), contacting NME with a cryptic message that read: “Not before 9T will I wear the hat 4 the Roses again”.

According to the tabloid’s report, Elbow‘s Guy Garvey has also confirmed the reunion, with a source telling the paper: “Guy was talking to friends about how the original line-up had been rehearsing over the summer in Manchester.”

If Friday’s rumours are to be believed, plans for The Stone Roses reunion will include a large scale show in Manchester‘s Heaton Park next summer.

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