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Inspirational Guitarist Davy Graham Has Died

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Inspirational Guitarist Davy Graham Has Died
DAVY GRAHAM (1940 – 2008) Davy Graham was so much more than just an expert guitarist. To the leading lights of the British folk revival in the ‘60s, Graham was a pioneer, a visionary who opened up whole new possibilities for acoustic music. Pentangle guitarist John Renbourn acknowledged as much...

DAVY GRAHAM (1940 – 2008)

Davy Graham was so much more than just an expert guitarist. To the leading lights of the British folk revival in the ‘60s, Graham was a pioneer, a visionary who opened up whole new possibilities for acoustic music. Pentangle guitarist John Renbourn acknowledged as much: “Back in the ‘60s he was so far ahead of just about any would-be picker that it was practically miraculous…we all owe him a huge debt.” Indeed, without Graham’s brace of early classics – Folk, Blues & Beyond (1964) and Folk Roots, New Routes (1965), with Shirley Collins – it’s likely there would have been no Pentangle and no Fairport Convention. Bert Jansch called him “my absolute hero, always will be”, John Martyn wanted to be him and a young Paul Simon asked Graham to join him pre-Garfunkel. By then though, Graham was beating his own trail.

He was born to Scottish-Guyanaese parents in Hinckley, Leicestershire. As a teenager he was seduced by the music he heard on his travels to Morocco (“He’d made the fabled journey down to Tangiers when the rest of us still had our sights set on Brighton pier,” quipped Renbourn). These nomadic flights fed directly into Graham’s own music, blending together jazz, folk and Arabic influences. His deft fingerpicking and unique DADGAD tuning, adapted from jamming with North African Oud players, lent this work its own baroque style.

Those who saw him play at Soho folk den Les Cousins at the turn of the ‘60s described Graham’s shows as revolutionary. 1962’s “Anji”, written when he was just 19, became an acoustic benchmark, soon covered by Jansch and, four years later, by Simon & Garfunkel on Sounds Of Silence. Jimmy Page was a disciple too, lifting Led Zeppelin’s “White Summer” from Graham’s raga rework of “She Moved Through The Fair”.

But Graham’s own personality was as mercurial as the music itself. It was a trait that exasperated concert promoters. One time, en route to an Australian tour, Graham left the plane during a stopover in Bombay, spending the next six months wandering through India instead. Problems with drugs, particularly cocaine, led to erratic performances later in the decade, quickening his journey into ‘70s/’80s obscurity and relative poverty.

BBC Four’s Folk Britannia series brought Graham back into the public consciousness in 2006, with a new album, Broken Biscuits, released a year later with musician Mark Pavey. As for his legacy, Roy Harper recently said: “Dave was the leader. He was the first one. He was the beginning of the style.”

ROB HUGHES

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Pic credit: Redferns

THE REAL JIMMY PAGE – PART 5!

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THE REAL JIMMY PAGE – PART 5!

In the January issue (on sale now) of Uncut , we celebrated the career of rock's greatest and most mysterious guitar hero through the first hand accounts of the people who know him best. Here at www.uncut.co.uk, we'll be posting the full and unedited transcripts from those interviews, including words from Robert Plant, Jeff Beck, Roy Harper, Steve Albini and more. Today… ROY HARPER Brilliantly ornery English singer-songwriter and long-term Page associate, celebrated by “Hats Off To (Roy) Harper” on Led Zeppelin III. Jimmy played on Harper’s Stormcock – credited as “S Flavius Mercurius” - and toured with Harper on their 1985 collaboration, Whatever Happened To Jugula? *** ROY HARPER: Did I lead Led Zep astray? Regarding the narcotics, I think we were all as bad as each other. Musically, I might have done though. I’ve always thought of Jimmy as a real gent. He might not have shown up a couple of times, but he knows I forgive him for stuff like that. I think if Jimmy and I share anything, it’s in our own sense of self-belief. You can sometimes have no confidence at all, but still have an underlying self-belief that can’t be touched. And I suspect Jimmy’s the same in that way. We were both in skiffle bands around the same time and come from the same musical root as young teenagers. After Led Zep, we started playing together again. I’d always wanted to get something together with him. But the times weren’t right. The ‘80s were just about the worst time in my whole life. It was a period in time that was just absolutely horrible. And neither Jimmy nor myself seemed to be able to dedicate enough time to it. I always take a long time to prepare before I write new stuff, but I think Jimmy was distracted as well. He’d just come out of the biggest band in the world and was kind of looking for something to do. But at the same time, he wasn’t. He didn’t have to do anything. We never really got together properly and didn’t give each other enough of a chance. And I regret that now. It was both our faults. In the ‘80s, we were both stacked with energy and we could have done something together that would have meant something. The main problem was rehearsal time. I lived in the north and Jimmy lived in the south, so it wasn’t as though we were living next door to each other. We weren’t in that position. It was always a procedure to get together, with instruments and everything. What it suffered from, his and my playing, was non-rehearsal. That was the stumbling block. We were great when we got together, the same good friends. But because we didn’t dedicate time to rehearsal, we never really got anything off the ground. [1985’s Whatever Happened To] Jugula was a good starting point, but it was mainly my songs with Jimmy’s playing attached to it. But if he’d given me some pieces to work on and we’d done it together, then we would have had a totally different album altogether. I think that was the nature of both of our lives at the time. In some ways, it was down to laziness, that ‘Oh, we’ll do it later’ attitude. But I wish I’d moved in next door, as it were. I’ve no idea how Jimmy feels about that time now, but I’d think he probably regrets not making more of it too. He’d had so many opportunities to do so many different things, but the big problem was: what do you do after Led Zeppelin? Anything you do is likely to be looked at as going downhill. And as well as the reticence on his part for not wanting to really get into anything, we do have our own idiosyncrasies too. After something as big as Led Zep, you have to find someone you specifically believe in and dedicate your career to starting again. You have to actually start again with energy. But what do you do if you’ve got the ability to actually pay to fly to the moon? [Touring in ‘84] I was down at Jimmy’s place in Windsor and I’d got naked for Sundays. I’d got my girl with me, you know, we were enjoying it. Then suddenly I’m getting bitten by gnats, as we were by the water. I didn’t think much of it, so we got dressed and everything. Two days later, Jimmy and I are doing TV up in the Lakes, for Whistle Test. By then, I’d come up in eggs all over my arms and legs. It was my first allergic reaction to some pathogen I hadn’t come across before. So at lunchtime, I went into Jimmy’s room. The previous night, we’d been pissing around with the TV crew. We had some white snuff, which they thought was cocaine. It was comical. So when I went into Jimmy’s room on the day of the shoot, I showed him these eggs and he said “Ah, I’ve got something for that”, and he gave me some antihistamines. We were due to film a couple of hours later, but just as we get up there, I decided to drink a can of Holsten. But it reacted with the antihistamine and I couldn’t play. I realized really quickly what was happening, so asked my girlfriend to run down to the stream with an empty water bottle and fill it up for me, so I could wash it all out of my system. But it didn’t wash out in time, so the TV people, of course, thought that Jimmy and I were both completely stoned. That we were being rock’n’roll crazies and were totally out of it. And they decided they weren’t going to have anything to do with us. It was a virtual write-off. I tried to say tell producer Trevor Dann that we should give it an hour, because then I’d be able to play again. It was just the antihistamines, but they didn’t believe us. They told Jimmy and I they had a dinner party to go to in London. And the dinner party won. But it was a terrible thing, a real catalogue of errors. Talk about bad luck. It’s a strange memory, but a really good memory. I have fantastic memories of playing together with Jimmy. I love playing with him. I think Jimmy’s one of the most spontaneous players I’ve ever met. He does things that are really unusual. What he likes to do is improvise. I’ve played with a lot of people, but him and Hendrix stand out. I played with Hendrix in a couple of clubs early on, but for my own taste, I think Jimmy Page has it. I’ll get castigated for that, but I think it’s true. He’s very generous too. He doesn’t try and stamp himself all over a piece of music he doesn’t know about. He’s wanting to know what it’s all about. He’s very amenable and a very sensitive player in that way. Very early on, Robert [Plant], Jimmy and myself were listening to something one of us had done. I said “Jimmy, are you out of tune there?” And Robert flew at me: “What do you mean, is he out of tune? He’s never out of tune!” I thought shit, I’ve been really told off. I told them not to worry about it and that I’d just listen again. So I listened to it again. It was out of tune, but at the same time, it wasn’t. There was an ethos about it that was completely on the ball. And it had taken Robert, just with a couple of words, to tell me that not everything is perfectly in tune, but it is if you listen to the context. He was being very protective of Jimmy, but at the same time, it was a good lesson for me to learn. I took it as an educated thing from Robert. Both he and Jimmy were in a realm were those things had ceased to be the major concern. The major concern was the feel of the music. And that is the real nature of rock’n’roll, the core of it. INTERVIEW BY ROB HUGHES

In the January issue (on sale now) of Uncut , we celebrated the career of rock’s greatest and most mysterious guitar hero through the first hand accounts of the people who know him best.

Here at www.uncut.co.uk, we’ll be posting the full and unedited transcripts from those interviews, including words from Robert Plant, Jeff Beck, Roy Harper, Steve Albini and more.

Today… ROY HARPER

Brilliantly ornery English singer-songwriter and long-term Page associate, celebrated by “Hats Off To (Roy) Harper” on Led Zeppelin III. Jimmy played on Harper’s Stormcock – credited as “S Flavius Mercurius” – and toured with Harper on their 1985 collaboration, Whatever Happened To Jugula?

***

ROY HARPER: Did I lead Led Zep astray? Regarding the narcotics, I think we were all as bad as each other. Musically, I might have done though. I’ve always thought of Jimmy as a real gent. He might not have shown up a couple of times, but he knows I forgive him for stuff like that. I think if Jimmy and I share anything, it’s in our own sense of self-belief. You can sometimes have no confidence at all, but still have an underlying self-belief that can’t be touched. And I suspect Jimmy’s the same in that way. We were both in skiffle bands around the same time and come from the same musical root as young teenagers.

After Led Zep, we started playing together again. I’d always wanted to get something together with him. But the times weren’t right. The ‘80s were just about the worst time in my whole life. It was a period in time that was just absolutely horrible. And neither Jimmy nor myself seemed to be able to dedicate enough time to it. I always take a long time to prepare before I write new stuff, but I think Jimmy was distracted as well. He’d just come out of the biggest band in the world and was kind of looking for something to do. But at the same time, he wasn’t. He didn’t have to do anything. We never really got together properly and didn’t give each other enough of a chance. And I regret that now. It was both our faults. In the ‘80s, we were both stacked with energy and we could have done something together that would have meant something.

The main problem was rehearsal time. I lived in the north and Jimmy lived in the south, so it wasn’t as though we were living next door to each other. We weren’t in that position. It was always a procedure to get together, with instruments and everything. What it suffered from, his and my playing, was non-rehearsal. That was the stumbling block. We were great when we got together, the same good friends. But because we didn’t dedicate time to rehearsal, we never really got anything off the ground. [1985’s Whatever Happened To] Jugula was a good starting point, but it was mainly my songs with Jimmy’s playing attached to it. But if he’d given me some pieces to work on and we’d done it together, then we would have had a totally different album altogether.

I think that was the nature of both of our lives at the time. In some ways, it was down to laziness, that ‘Oh, we’ll do it later’ attitude. But I wish I’d moved in next door, as it were. I’ve no idea how Jimmy feels about that time now, but I’d think he probably regrets not making more of it too. He’d had so many opportunities to do so many different things, but the big problem was: what do you do after Led Zeppelin? Anything you do is likely to be looked at as going downhill. And as well as the reticence on his part for not wanting to really get into anything, we do have our own idiosyncrasies too. After something as big as Led Zep, you have to find someone you specifically believe in and dedicate your career to starting again. You have to actually start again with energy. But what do you do if you’ve got the ability to actually pay to fly to the moon?

[Touring in ‘84] I was down at Jimmy’s place in Windsor and I’d got naked for Sundays. I’d got my girl with me, you know, we were enjoying it. Then suddenly I’m getting bitten by gnats, as we were by the water. I didn’t think much of it, so we got dressed and everything. Two days later, Jimmy and I are doing TV up in the Lakes, for Whistle Test. By then, I’d come up in eggs all over my arms and legs. It was my first allergic reaction to some pathogen I hadn’t come across before. So at lunchtime, I went into Jimmy’s room. The previous night, we’d been pissing around with the TV crew. We had some white snuff, which they thought was cocaine. It was comical. So when I went into Jimmy’s room on the day of the shoot, I showed him these eggs and he said “Ah, I’ve got something for that”, and he gave me some antihistamines. We were due to film a couple of hours later, but just as we get up there, I decided to drink a can of Holsten. But it reacted with the antihistamine and I couldn’t play.

I realized really quickly what was happening, so asked my girlfriend to run down to the stream with an empty water bottle and fill it up for me, so I could wash it all out of my system. But it didn’t wash out in time, so the TV people, of course, thought that Jimmy and I were both completely stoned. That we were being rock’n’roll crazies and were totally out of it. And they decided they weren’t going to have anything to do with us. It was a virtual write-off. I tried to say tell producer Trevor Dann that we should give it an hour, because then I’d be able to play again. It was just the antihistamines, but they didn’t believe us. They told Jimmy and I they had a dinner party to go to in London. And the dinner party won. But it was a terrible thing, a real catalogue of errors. Talk about bad luck. It’s a strange memory, but a really good memory.

I have fantastic memories of playing together with Jimmy. I love playing with him. I think Jimmy’s one of the most spontaneous players I’ve ever met. He does things that are really unusual. What he likes to do is improvise. I’ve played with a lot of people, but him and Hendrix stand out. I played with Hendrix in a couple of clubs early on, but for my own taste, I think Jimmy Page has it. I’ll get castigated for that, but I think it’s true. He’s very generous too. He doesn’t try and stamp himself all over a piece of music he doesn’t know about. He’s wanting to know what it’s all about. He’s very amenable and a very sensitive player in that way.

Very early on, Robert [Plant], Jimmy and myself were listening to something one of us had done. I said “Jimmy, are you out of tune there?” And Robert flew at me: “What do you mean, is he out of tune? He’s never out of tune!” I thought shit, I’ve been really told off. I told them not to worry about it and that I’d just listen again. So I listened to it again. It was out of tune, but at the same time, it wasn’t. There was an ethos about it that was completely on the ball. And it had taken Robert, just with a couple of words, to tell me that not everything is perfectly in tune, but it is if you listen to the context. He was being very protective of Jimmy, but at the same time, it was a good lesson for me to learn. I took it as an educated thing from Robert. Both he and Jimmy were in a realm were those things had ceased to be the major concern. The major concern was the feel of the music. And that is the real nature of rock’n’roll, the core of it.

INTERVIEW BY ROB HUGHES

The Specials Announce Coventry Show

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The Specials Announce Coventry Show
The Specials have announced another live date for their 30th anniversary reunion tour next year, to take place at Coventry's Ricoh Arena on May 15. The gig will be the finale show of their so-far fully sold out tour, the first since the band split in 1981. Tickets for the new date go on sale on...

The Specials have announced another live date for their 30th anniversary reunion tour next year, to take place at Coventry’s Ricoh Arena on May 15.

The gig will be the finale show of their so-far fully sold out tour, the first since the band split in 1981.

Tickets for the new date go on sale on Wednesday (December 17) at 9am.

The Specials live dates are now as follows:

NEWCASTLE, Academy (April 22)

SHEFFIELD, Academy (23)

BIRMINGHAM, Academy (25, 26)

GLASGOW, Academy (28, 29)

MANCHESTER, Apollo (May 3, 4)

LONDON, Brixton Academy (6, 7, 8, 11, 12)

COVENTRY, Ricoh Arena (15)

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Arcade Fire, My Morning Jacket, Sufjan Stevens For New Compilation

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Arcade Fire, My Morning Jacket, Sufjan Stevens For New Compilation
Arcade Fire, My Morning Jacket and Sufjan Stevens are amongst dozens of artists to donate tracks to a brand new charity compilation 'Dark Was The Night', due out on February 16. The two-disc album which also features contributions from the likes of Feist, David Byrne and Yo La Tengo was put togethe...

Arcade Fire, My Morning Jacket and Sufjan Stevens are amongst dozens of artists to donate tracks to a brand new charity compilation ‘Dark Was The Night’, due out on February 16.

The two-disc album which also features contributions from the likes of Feist, David Byrne and Yo La Tengo was put together by The National‘s Bryce and Aaron Dessner.

All proceeds from the album will go to AIDS charity www.redhot.org.

The full Dark Was The Night tracklisting is:

Disc One:

“Knotty Pine,” Dirty Projectors + David Byrne

“Cello Song” The Books featuring Jose Gonzalez

“Train Song” Feist and Ben Gibbard

“Deep Blue Sea” Grizzly Bear

“So Far Around the Bend” The National

“Tightrope” Yeasayer

“Feeling Good” My Brightest Diamond

“Dark Was the Night” Kronos Quartet

“I Was Young When I Left Home” Antony with Bryce Dessner

“Big Red Machine” Justin Vernon + Aaron Dessner

“Sleepless” The Decemberists

“Die” Iron & Wine

“Service Bell” Grizzly Bear + Feist

“You Are The Blood” Sufjan Stevens

Disc Two:

“Well-Alright” Spoon

“Lenin” Arcade Fire

“Mimizan” Beirut

“El Caporal” My Morning Jacket

“Inspiration Information” Sharon Jones & The Dap-Kings

“With A Girl Like You” Dave Sitek

“Blood Pt. 2” Buck 65 Remix (featuring Sufjan Stevens and Serengeti)

“Hey, Snow White” The New Pornographers

“Gentle Hour” Yo La Tengo

“Amazing Grace” Cat Power

“Happiness” Riceboy Sleeps

“Another Saturday” Stuart Murdoch

“The Giant of Illinois” Andrew Bird

“Lua” Conor Oberst with Gillian Welch

“When The Road Runs Out” Blonde Redhead & Devestations

“Love Vs. Porn” Kevin Drew

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Wild Mercury Sound’s Top 75 Of 2008

John Mulvey
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To try and express how much new music I’ve enjoyed in 2008, I’ve gone overboard and come up with a Top 75 albums. The final order is a bit arbitrary, of course, and though I’ve been fiddling on and off with the placings for about a week now, it’d be pretty silly to call this definitive. Maybe think of it best as 75 recommended albums, negotiated into some kind of order for a bit of added drama. I can say with moderate conviction, though, that my favourite – certainly my most played - reissue of the year was Suarasama’s “Fajar Di Atas Awan”, that my favourite compilation was “Love Is Overtaking Me” by Arthur Russell, and that my favourite album of the first fortnight of 2009 is that damned, elusive Animal Collective one. I’ve blogged on the vast majority of these over the past 12 months, and I’ll try and add some links to the original pieces; in the meantime they should be fairly easy to locate in the index if you’re interested in reading more. If you’ve a moment, post your 2008 favourites at the end (don’t feel obliged to come up with 75, obviously) and I’ll try and crunch them into a chart in January. Thanks. Here’s 75-51. . . 75 Stereolab - Chemical Chords (4AD) 74 The Fall - Imperial Wax Solvent (Sanctuary) 73 Greg Weeks - The Hive (Wichita) 72 Zomes – Zomes (Holy Mountain) 71 Sunn 0))) – Dømkirke (Southern Lord) 70 Amadou & Mariam - Welcome To Mali (Because) 69 Bonnie 'Prince' Billy - Lie Down In The Light (Domino) 68 Hot Chip - Made In The Dark (EMI) 67 Peter Walker – Echoes Of My Soul (Tompkins Square) 66 REM – Accelerate (Warner Bros) 65 Inara George With Van Dyke Parks - An Invitation (Everloving) 64 Lambchop – OH (Ohio) (City Slang) 63 The Heads - Dead In The Water (Rooster) 62 Jenny Lewis - Acid Tongue (Rough Trade) 61 Isobel Campbell & Mark Lanegan - Sunday At Devil Dirt (V2) 60 Philip Jeck – Sand (Touch) 59 Kieran Hebden & Steve Reid – NYC (Domino) 58 MV + EE With The Golden Road - Drone Trailer (Di Cristina) 57 Black Taj – Beyonder (Amish) 56 Bird Show - Bird Show (Kranky) 55 Neon Neon – Stainless Style (Lex) 54 Be Your Own Pet - Get Awkward (XL) 53 Chairlift - Does You Inspire You (Kanine) 52 Fucked Up - The Chemistry Of Common Life (Matador) 51 The Breeders - Mountain Battles (4AD) Click here to view 50-26

To try and express how much new music I’ve enjoyed in 2008, I’ve gone overboard and come up with a Top 75 albums.

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Bon Iver To Release Four New Tracks In New Year

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Bon Iver To Release Four New Tracks In New Year
Bon Iver is set to release a limited edition four-track EP entitled "Blood Bank" in the New Year. Available on 12" vinyl, CD and download, the EP was previously only available as a special tour edition, and will now be released on January 19. The EP's tracklisting is: "Blood Bank", "Beach Baby", "...

Bon Iver is set to release a limited edition four-track EP entitled “Blood Bank” in the New Year.

Available on 12″ vinyl, CD and download, the EP was previously only available as a special tour edition, and will now be released on January 19.

The EP’s tracklisting is: “Blood Bank”, “Beach Baby”, “Babys” and “Woods”.

Bon Iver are set to begin 2009 with an Australian tour, with the next scheduled UK gig, as special guests at The Breeders‘ curated ATP in May.

You can watch a live recording of Blood Bank here:

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Wild Mercury Sound’s Top 75 Of 2008: Part Two

John Mulvey
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Click here to view 75-51 50 Calexico - Carried To Dust (City Slang) 49 American Music Club - The Golden Age (Cooking Vinyl) 48 Fuck Buttons – Street Horrrsing (ATP Recordings) 47 Earth – The Bees Made Honey In The Lion’s Skull (Southern Lord) 46 TK Webb & The Visions – Ancestor (...

Click here to view 75-51

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Wild Mercury Sound’s Top 75 Of 2008: Part Three

John Mulvey
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Click here to view 75-51 Click here to view 50-26 25 Diskjokke – Staying In (Smalltown Supersound) 24 Fleet Foxes – Fleet Foxes (Bella Union) 23 Black Mountain - In The Future (Jagjaguwar) 22 James Yorkston - When The Haar Rolls In (Domino) 21 Matmos - Supreme Balloon (Matador) 20 El Gu...

Click here to view 75-51

Click here to view 50-26

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Portishead Announce Follow Up To Third

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Portishead Announce Follow Up To Third
Portishead have announced that they are ready to start planning their fourth album, the follow-up to Uncut's album of 2008, Third. Geoff Barrow, speaking to BBC 6 Music has said that fans won't have to wait eleven years, as was the case with Third, saying that the band have started forming plans to...

Portishead have announced that they are ready to start planning their fourth album, the follow-up to Uncut’s album of 2008, Third.

Geoff Barrow, speaking to BBC 6 Music has said that fans won’t have to wait eleven years, as was the case with Third, saying that the band have started forming plans to start recording.

Barrow said: “When everyone’s had a bit of a break, I think we’re just going to plough onto it. I think we’re kind of there now. We’ve sat down and we’ve talked about the direction and stuff like that.

“Everyone seems really positive about it. And I think everybody at some point wants to get back out on the road, because we didn’t really do an awful lot of live stuff. What’s really interesting is that we’re in this lucky position now. We haven’t got a record company; our deal ended and so did our publishing deal.

“So we pretty much own all of our own rights now, which is scary as well as exciting really, so we’re thinking of loads of different ways of doing things.”

Third was voted Uncut‘s album of 2008. Now it’s your turn to rate your favourite albums of the year in the Uncut Rate The Albums Of 2008 special feature.

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Meet Paul McCartney!

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Meet Paul McCartney!
Paul McCartney is to make a personal appearance in London this Sunday (December 21), signing copies of his latest album in collaboration with producer Youth, under the name The Fireman, Electric Arguments. The Beatles icon will be signing the five-star rated Uncut album between 10 and 11am at Londo...

Paul McCartney is to make a personal appearance in London this Sunday (December 21), signing copies of his latest album in collaboration with producer Youth, under the name The Fireman, Electric Arguments.

The Beatles icon will be signing the five-star rated Uncut album between 10 and 11am at London’s HMV on Oxford Street. To read our review, click on the link on the right.

Entry to the album signing session will be by wristband only, which are being distributed on Thursday (December 18) from 9am.

Organisers have said that McCartney will only be signing copies of ‘Electric Arguments’.

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Morrissey Adds Third Brixton Academy Show

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Morrissey Adds Third Brixton Academy Show
Morrissey has added a third date at London's O2 Brixton Academy after all previously announced dates in the capital have sold out. The singer, whose new solo album Years of Refusal is due out on February 16, will now also play the Academy venue on May 30. Tickets are on sale for the new date now. ...

Morrissey has added a third date at London’s O2 Brixton Academy after all previously announced dates in the capital have sold out.

The singer, whose new solo album Years of Refusal is due out on February 16, will now also play the Academy venue on May 30.

Tickets are on sale for the new date now.

Morrissey is set to play the following venues from next May, support on all dates is from Doll & The Kicks.

Stirling Albert Hall (May 4)

Dundee Caird Hall (5)

Glasgow Barrowland (7, 8)

Liverpool Empire (10)

London Royal Albert Hall (11)

Birmingham Symphony Hall (13)

Great Yarmouth Britannia Pier (15)

Cambridge Corn Exchange (16)

Hull Arena (19)

Hartlepool Borough Hall (20)

Manchester Apollo (22, 23)

Salisbury City Hall (25)

London Mile End Troxy Ballroom (26)

O2 Academy Brixton (28, 29, 30)

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Amadou & Mariam Announce UK Tour

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Amadou & Mariam Announce UK Tour
Amadou & Mariam have announced four new UK headline shows to take place from next February, further to their previously announced gig at London's Koko on February 25. The couple, who recently released the highly critically accliamed Welcome To Mali album will play the following venues: Concord...

Amadou & Mariam have announced four new UK headline shows to take place from next February, further to their previously announced gig at London’s Koko on February 25.

The couple, who recently released the highly critically accliamed Welcome To Mali album will play the following venues:

Concorde 2, Brighton (February 24)

Koko, London (25)

Academy, Bristol (26)

Picturehouse, Edinburgh (28)

Vicar Street, Dublin (March 1)

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Zomes and Max Ochs

John Mulvey
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Coming up to the end of the year, it occurs to me that there are a few records that have been kicking around my desk and home for a while now, getting a fair bit of play and love, but not much attention here. A quick round-up today, then, beginning with the self-titled album by Zomes on the customarily excellent Holy Mountain label. It’s a solo album by Asa Osbourne from Lungfish and, like another Lungfish alumnus Daniel Higgs, there’s something a little arcane and mystical about the short, invocatory tracks here called things like “Sentient Beings”, “Crowning Orbs”, “Black Magic Band”, “Membranous Planes”, “Immanent Songs”, “Petroglyphs” and so on. So far, so everyday psych underground. The Zomes project is quite different, though, in that it comes across as a sort of trancey, lo-fi devotional minimalism, with Osbourne constructing mantric, dirt-encrusted loops out of tiny organ, guitar and fx fragments. It’s a very subtle, degraded-sounding record, but one which has an odd and beguiling quality to it; imagine, maybe, Lou Barlow’s earliest Folk Implosion experiments taking on something of a meditative, Kraut-affiliated quality. Very good record, with similarities to the amazing Sun Araw stuff I must write about properly soon. Holy Mountain alleges, incidentally, that Osbourne plays guitar using Keith Levene’s tooth as a pick. Max Ochs’ “Hooray For Another Day” has certain meditative qualities, too, though somewhat differently pitched. Ochs is the latest guitarist from the Takoma School to be rehabilitated by the mighty Tompkins Square imprint – it was he who originally composed their de facto theme tune, “Imaginational Anthem”. Ochs is also Phil Ochs’ cousin, and he includes a ropey if touching poem in his honour among these elegant folk ragas and pensive guitar studies. According to the Tompkins Square site, he went to school with John Fahey and Robbie Basho, and the best things here – especially the tabla-spattered title track – wouldn’t sound out of place in their company.

Coming up to the end of the year, it occurs to me that there are a few records that have been kicking around my desk and home for a while now, getting a fair bit of play and love, but not much attention here.

Continue

THE REAL JIMMY PAGE – PART 4!

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THE REAL JIMMY PAGE – PART 4!

In the January issue (on sale now) of Uncut , we celebrated the career of rock's greatest and most mysterious guitar hero through the first hand accounts of the people who know him best. Here at www.uncut.co.uk, we'll be posting the full and unedited transcripts from those interviews, including words from Robert Plant, Jeff Beck, Roy Harper, Steve Albini and more. Today… STEVE ALBINI Influential alt.rock producer and engineer (Nirvana, PJ Harvey, The Pixies) he helmed the recording sessions for Page & Plant’s Walking Into Clarksdale album *** STEVE ALBINI: Oh, hell yeah, I was intimidated when I met him. Jimmy Page has a stately presence. He walks in knowing full well he’s the big shot. He’s in command of his personality, comfortable in his skin. And then you top that off with Jimmy and Robert creating most of what is rock music - as me and all my US punk rock peers appreciate. But he never treated me, or the tape op, or the ladies in the kitchen or the guys in the bar, as subordinates. Jimmy knows what he wants, and he’s perfectly willing to get it. But I never saw him do anything that wasn’t reasonable under the circumstances. When I worked with Jimmy in the studio, I recognised what made him such a commanding figure. He is an immensely perceptive listener. He can track every bird in the flock - hear through impossibly dense things to small details, and know intuitively which are important. You might think that would lead to paralysing perfectionism. But I remember one difficult guitar-part, where he didn’t sound a note cleanly. He said, “They’ll get the idea.” If you listen to the Led Zeppelin catalogue, there are bum notes and crude edits everywhere. But the scope and arc of the whole thing is fantastic. Walking to Clarksdale was much more collaborative, I think, than Jimmy and Robert had been in Led Zeppelin. Zeppelin was Jimmy’s band, he hired Robert to be the singer. And then in the intervening period, Robert had gone onto become quite successful on his own. I think Jimmy respected that. Now he was working with Robert as a peer and comrade, rather than feeling responsible for the record as its auteur. Both of them were very conscious, futilely, of not resuscitating the ghost of Zeppelin. But it was a shared experience they drew on quite naturally. Jimmy has enormously varied tastes, though. He kept talking about how much he liked the over-the-top aggression and adrenalin of The Prodigy. He admired the mayhem quality of their music, without necessarily feeling part of club culture. And the blues was on their mind a lot. Seeing him play close up, he has a really light touch. That surprised me a lot. Most guitar-players who play aggressive music have to use their whole arm. But what distinguishes him from the other guitar-players of his time is his critical faculty. Most of the others have way more records under their name. The realisation is that they didn’t really have that much good stuff. Whereas almost every note that Jimmy Page played is remarkable. He knew he didn’t need to proceed without Zeppelin. He kicked his heels up for a while and enjoyed the spoils of his war. He makes records when there’s a great one to be made - not from inertia. I consider it one of the greatest experiences I’ve ever had in the studio. I would drop everything to make another record with them. NICK HASTED

In the January issue (on sale now) of Uncut , we celebrated the career of rock’s greatest and most mysterious guitar hero through the first hand accounts of the people who know him best.

Here at www.uncut.co.uk, we’ll be posting the full and unedited transcripts from those interviews, including words from Robert Plant, Jeff Beck, Roy Harper, Steve Albini and more.

Today… STEVE ALBINI

Influential alt.rock producer and engineer (Nirvana, PJ Harvey, The Pixies) he helmed the recording sessions for Page & Plant’s Walking Into Clarksdale album

***

STEVE ALBINI: Oh, hell yeah, I was intimidated when I met him. Jimmy Page has a stately presence. He walks in knowing full well he’s the big shot. He’s in command of his personality, comfortable in his skin. And then you top that off with Jimmy and Robert creating most of what is rock music – as me and all my US punk rock peers appreciate. But he never treated me, or the tape op, or the ladies in the kitchen or the guys in the bar, as subordinates. Jimmy knows what he wants, and he’s perfectly willing to get it. But I never saw him do anything that wasn’t reasonable under the circumstances.

When I worked with Jimmy in the studio, I recognised what made him such a commanding figure. He is an immensely perceptive listener. He can track every bird in the flock – hear through impossibly dense things to small details, and know intuitively which are important. You might think that would lead to paralysing perfectionism. But I remember one difficult guitar-part, where he didn’t sound a note cleanly. He said, “They’ll get the idea.” If you listen to the Led Zeppelin catalogue, there are bum notes and crude edits everywhere. But the scope and arc of the whole thing is fantastic.

Walking to Clarksdale was much more collaborative, I think, than Jimmy and Robert had been in Led Zeppelin. Zeppelin was Jimmy’s band, he hired Robert to be the singer. And then in the intervening period, Robert had gone onto become quite successful on his own. I think Jimmy respected that. Now he was working with Robert as a peer and comrade, rather than feeling responsible for the record as its auteur. Both of them were very conscious, futilely, of not resuscitating the ghost of Zeppelin. But it was a shared experience they drew on quite naturally. Jimmy has enormously varied tastes, though. He kept talking about how much he liked the over-the-top aggression and adrenalin of The Prodigy. He admired the mayhem quality of their music, without necessarily feeling part of club culture. And the blues was on their mind a lot.

Seeing him play close up, he has a really light touch. That surprised me a lot. Most guitar-players who play aggressive music have to use their whole arm. But what distinguishes him from the other guitar-players of his time is his critical faculty. Most of the others have way more records under their name. The realisation is that they didn’t really have that much good stuff. Whereas almost every note that Jimmy Page played is remarkable. He knew he didn’t need to proceed without Zeppelin. He kicked his heels up for a while and enjoyed the spoils of his war. He makes records when there’s a great one to be made – not from inertia.

I consider it one of the greatest experiences I’ve ever had in the studio. I would drop everything to make another record with them.

NICK HASTED

Arcade Fire Release Film Online

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Arcade Fire Release Film Online
Arcade Fire are going to release a 70 minute documentary 'Miroir Noir' online on Monday (December 15). The DVD and digital release follows the band throughout the making of their Neon Bible album in 2007, as well as on the road at live shows. Directed and partly shot by themselves, the band have...

Arcade Fire are going to release a 70 minute documentary ‘Miroir Noir’ online on Monday (December 15).

The DVD and digital release follows the band throughout the making of their Neon Bible album in 2007, as well as on the road at live shows.

Directed and partly shot by themselves, the band have also enlisted the help of video director Vincent Morisset, who previously worked on the interactive video for Neon Bible.

Extras found on the deluxe edition of the DVD will include TV appearences such as Saturday Night Live and Friday Night With Jonathan Ross.

You can order the film from Miroir-noir.com from Monday.

For more music and film news click here

Unique Radiohead Remix Could Make Ultimate Gift

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Unique Radiohead Remix Could Make Ultimate Gift

A unique Radiohead remix of the In Rainbows track "Videotape" has been put up for sale on trading website eBay. The four hour remix video, which is signed by the band, was recorded by producer and musician James Rutledge, whose previous credits include remixing Bloc Party and MGMT. Money raised from the sale of the one-off VHS will go to the Missing People charity. Click here to see the listing, and place your bids! For more music and film news click here Pic credit: PA Photos

A unique Radiohead remix of the In Rainbows track “Videotape” has been put up for sale on trading website eBay.

The four hour remix video, which is signed by the band, was recorded by producer and musician James Rutledge, whose previous credits include remixing Bloc Party and MGMT.

Money raised from the sale of the one-off VHS will go to the Missing People charity.

Click here to see the listing, and place your bids!

For more music and film news click here

Pic credit: PA Photos

Gonzo- The Life & Work Of Dr Hunter S Thompson

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Gonzo- The Life & Work Of Dr Hunter S Thompson

DIRECTED BY Alex Gibney NARRATED BY Johnny Depp Somewhere near the start of this terrific biography of one of the most influential journalists of the 20th century, two pieces of prose are read aloud. One, from Hunter Thompson’s breakthrough book, 1966’s Hell’s Angels, is wonderful: an evocation of the freedom and elation of two-wheeled travel that purrs and growls absolutely like a gently revved Harley-Davidson, and ruminates, rather presciently as it turned out, on the notion of “the edge”, and how close to it one may prudently ride. The other, Thompson’s instant response to the Al-Qa’ida attacks on his native America on September 11, 2001, is rubbish: ignorant, fatuous hackery that sounds like a post by a self-righteous blogger failing, as so many do, to emulate the furious jabber of Thompson at his splenetic best. That both pieces were written by the same man is the essential tragedy of Hunter Thompson. That both pieces, and their implications, are acknowledged by this brilliant and bracingly honest film is the essence of the triumph of Gonzo: as good a documentary about Thompson as could be made, and as good a documentary about anyone as might be imagined. Director Alex Gibney was previously responsible for the equally unimpeachable Enron: The Smartest Guys In The Room and Taxi To The Dark Side. They both tackled subjects – monstrous corporate rapacity, America’s War on Terror –which should have provided the subject of Gonzo with abundant inspiration to maintain (or, really, reclaim) the standards of his late 60s/early 70s prime. Instead, Thompson shot himself dead in February 2005, aged 67. Gibney was wise to permit the gush of better-to-burn-out-than-fade-away drivel that attended Thompson’s demise some time to subside. Though none of the cast of contributors – which includes many of Thompson’s adversaries – speaks entirely ill of the dead, friends, family and foe alike unite around a consensus of flagrantly squandered talent. When Thompson was good, he was astonishing. Turned loose by Rolling Stone upon American politics in the early 1970s, he set about the fixtures and fittings with a destructive glee unrivalled since the pomp of HL Mencken (then-president Richard Nixon, Thompson jeered, was “a cheap crook and a merciless war criminal… he speaks to the werewolf in us, on nights when the Moon comes too close.”) The books resulting from that period, notably Fear & Loathing In Las Vegas and Fear & Loathing On The Campaign Trail still read as lively, angry and vicious as a boated shark (Johnny Depp, who played Thompson in the 1998 film of Fear & Loathing In Las Vegas, is an excellent narrator, investing a studied deadpan with a hint of menace). Thompson’s journalism was an enduringly hilarious riot of observation, allegation and borderline fabrication (in 1972, Thompson wrote of “rumours” that Democratic presidential hopeful Ed Muskie was addicted to the hallucinogen Ibogaine – other news agencies picked up the story, without pausing to wonder who might have started said rumours). He was a superstar. And then… “He lost it,” admits Jann Wenner, Rolling Stone’s publisher and Thompson’s chief patron. “He was a prisoner of his own fame.” Everywhere he went, Thompson became the story – a problem even for a reporter known for his freewheeling self-indulgence on the page, and one exacerbated by Thompson’s willingness to make manifest his obnoxious, drug-baked, gun-nut caricature for the gratification of his groupies. He grew bored, and his writing grew boring. In an attempt to reinvigorate him, Wenner dispatched Thompson to Kinshasa in 1974 to cover the Mohammad Ali - George Foreman title bout. While Norman Mailer returned from Zaire with notes towards an imperishable masterpiece of sports writing, Thompson didn’t even show for the Rumble In The Jungle, choosing instead to idle in the hotel pool. It was a dereliction that would – and should – have been career-ending for any other writer, even if they’d exhibited such disdain for the village dog show. But Thompson was, as he always was, forgiven: he’d become an early example of what we now call a celebrity, ie someone whose works are judged by their reputation, rather than the other way around (Thompson’s former landlord in Woody Creek, Colorado, attests, with unmistakeable and baffling affection, that Thompson “Never paid his rent, broke up my marriage and taught my children to smoke dope.”) A less sentimental but more astute testament issues from the artificial larynx of cancer-stricken Hell’s Angel icon Ralph “Sonny” Barger: “It doesn’t mean he isn’t a jerk, but he was a great writer.” It does become hard not to wonder how much more good work Thompson might have produced – and, indeed, how much longer he might have lived – had he not been quite so cossetted and indulged by those in awe of his legend. Gonzo is deftly assembled from archive footage, previously unseen family material, previously unpublished writings, and interviews with a quite startlingly array of commentators, including one former President (Jimmy Carter) and three presidential aspirants (Gary Hart, George McGovern, the appalling Pat Buchanan – the latter of whom may now at least be considered a good sport, given his precise embodiment of absolutely everything Thompson hated). The stories and memories that unfurl are giddying, provocative, hilarious. One all but weeps that no record exists of the conversation that occurred when, as Buchanan recalls, Thompson accepted a lift in the presidential limousine of Richard Nixon. And, as one considers Thompson’s substantially self-inflicted decline (some interviews filmed in his later years are accompanied by sub-titles), one marvels at America’s genius for adopting, assimilating – and, perhaps, neutralising – its dissidents. ANDREW MUELLER

DIRECTED BY Alex Gibney

NARRATED BY Johnny Depp

Somewhere near the start of this terrific biography of one of the most influential journalists of the 20th century, two pieces of prose are read aloud. One, from Hunter Thompson’s breakthrough book, 1966’s Hell’s Angels, is wonderful: an evocation of the freedom and elation of two-wheeled travel that purrs and growls absolutely like a gently revved Harley-Davidson, and ruminates, rather presciently as it turned out, on the notion of “the edge”, and how close to it one may prudently ride.

The other, Thompson’s instant response to the Al-Qa’ida attacks on his native America on September 11, 2001, is rubbish: ignorant, fatuous hackery that sounds like a post by a self-righteous blogger failing, as so many do, to emulate the furious jabber of Thompson at his splenetic best. That both pieces were written by the same man is the essential tragedy of Hunter Thompson. That both pieces, and their implications, are acknowledged by this brilliant and bracingly honest film is the essence of the triumph of Gonzo: as good a documentary about Thompson as could be made, and as good a documentary about anyone as might be imagined.

Director Alex Gibney was previously responsible for the equally unimpeachable Enron: The Smartest Guys In The Room and Taxi To The Dark Side. They both tackled subjects – monstrous corporate rapacity, America’s War on Terror –which should have provided the subject of Gonzo with abundant inspiration to maintain (or, really, reclaim) the standards of his late 60s/early 70s prime. Instead, Thompson shot himself dead in February 2005, aged 67. Gibney was wise to permit the gush of better-to-burn-out-than-fade-away drivel that attended Thompson’s demise some time to subside. Though none of the cast of contributors – which includes many of Thompson’s adversaries – speaks entirely ill of the dead, friends, family and foe alike unite around a consensus of flagrantly squandered talent.

When Thompson was good, he was astonishing. Turned loose by Rolling Stone upon American politics in the early 1970s, he set about the fixtures and fittings with a destructive glee unrivalled since the pomp of HL Mencken (then-president Richard Nixon, Thompson jeered, was “a cheap crook and a merciless war criminal… he speaks to the werewolf in us, on nights when the Moon comes too close.”) The books resulting from that period, notably Fear & Loathing In Las Vegas and Fear & Loathing On The Campaign Trail still read as lively, angry and vicious as a boated shark (Johnny Depp, who played Thompson in the 1998 film of Fear & Loathing In Las Vegas, is an excellent narrator, investing a studied deadpan with a hint of menace). Thompson’s journalism was an enduringly hilarious riot of observation, allegation and borderline fabrication (in 1972, Thompson wrote of “rumours” that Democratic presidential hopeful Ed Muskie was addicted to the hallucinogen Ibogaine – other news agencies picked up the story, without pausing to wonder who might have started said rumours). He was a superstar. And then…

“He lost it,” admits Jann Wenner, Rolling Stone’s publisher and Thompson’s chief patron. “He was a prisoner of his own fame.” Everywhere he went, Thompson became the story – a problem even for a reporter known for his freewheeling self-indulgence on the page, and one exacerbated by Thompson’s willingness to make manifest his obnoxious, drug-baked, gun-nut caricature for the gratification of his groupies. He grew bored, and his writing grew boring.

In an attempt to reinvigorate him, Wenner dispatched Thompson to Kinshasa in 1974 to cover the Mohammad Ali – George Foreman title bout. While Norman Mailer returned from Zaire with notes towards an imperishable masterpiece of sports writing, Thompson didn’t even show for the Rumble In The Jungle, choosing instead to idle in the hotel pool. It was a dereliction that would – and should – have been career-ending for any other writer, even if they’d exhibited such disdain for the village dog show. But Thompson was, as he always was, forgiven: he’d become an early example of what we now call a celebrity, ie someone whose works are judged by their reputation, rather than the other way around (Thompson’s former landlord in Woody Creek, Colorado, attests, with unmistakeable and baffling affection, that Thompson “Never paid his rent, broke up my marriage and taught my children to smoke dope.”)

A less sentimental but more astute testament issues from the artificial larynx of cancer-stricken Hell’s Angel icon Ralph “Sonny” Barger: “It doesn’t mean he isn’t a jerk, but he was a great writer.” It does become hard not to wonder how much more good work Thompson might have produced – and, indeed, how much longer he might have lived – had he not been quite so cossetted and indulged by those in awe of his legend.

Gonzo is deftly assembled from archive footage, previously unseen family material, previously unpublished writings, and interviews with a quite startlingly array of commentators, including one former President (Jimmy Carter) and three presidential aspirants (Gary Hart, George McGovern, the appalling Pat Buchanan – the latter of whom may now at least be considered a good sport, given his precise embodiment of absolutely everything Thompson hated). The stories and memories that unfurl are giddying, provocative, hilarious. One all but weeps that no record exists of the conversation that occurred when, as Buchanan recalls, Thompson accepted a lift in the presidential limousine of Richard Nixon. And, as one considers Thompson’s substantially self-inflicted decline (some interviews filmed in his later years are accompanied by sub-titles), one marvels at America’s genius for adopting, assimilating – and, perhaps, neutralising – its dissidents.

ANDREW MUELLER

Bicycle Thieves

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Bicycle Thieves

DIR Vittorio De Sica ST Lamberto Maggiorani, Enzo Stalola By the time World War 2 ended, serious film-making seems to have become the providence of the Italians. Understandably keen to distance themselves from two decades of Mussolini, they dragged their cameras and equipment onto the city streets with commendable egalitarianism, eager to record working class families, struggling to get by in the aftermath of the War. Vittorio De Sica’s Oscar winner, Bicycle Thieves, is one of the best Italian Neo-Realist films. The bicycle was the utilitarian symbol of the working class, and here – no spoilers necessary – one is stolen from its owner, long-term unemployed Antonio, on his first day in a new job. In the company of his nine-year-old son, Bruno, he sets off on a desperate hunt round Rome looking for it. This being an Italian film, there are scenes in both a brothel and a church. The grainy black and white images reinforce the idea that is a social document of sorts, but De Sica never lets socio-realism get into the way of drama: a final sequence, where Antonio stands outside a football stadium looking longingly at rows of parked bicycles – and what he does next – is heartbreaking. As re-releases go, a better bet than White Christmas. MICHAEL BONNER

DIR Vittorio De Sica

ST Lamberto Maggiorani, Enzo Stalola

By the time World War 2 ended, serious film-making seems to have become the providence of the Italians. Understandably keen to distance themselves from two decades of Mussolini, they dragged their cameras and equipment onto the city streets with commendable egalitarianism, eager to record working class families, struggling to get by in the aftermath of the War.

Vittorio De Sica’s Oscar winner, Bicycle Thieves, is one of the best Italian Neo-Realist films. The bicycle was the utilitarian symbol of the working class, and here – no spoilers necessary – one is stolen from its owner, long-term unemployed Antonio, on his first day in a new job. In the company of his nine-year-old son, Bruno, he sets off on a desperate hunt round Rome looking for it.

This being an Italian film, there are scenes in both a brothel and a church. The grainy black and white images reinforce the idea that is a social document of sorts, but De Sica never lets socio-realism get into the way of drama: a final sequence, where Antonio stands outside a football stadium looking longingly at rows of parked bicycles – and what he does next – is heartbreaking.

As re-releases go, a better bet than White Christmas.

MICHAEL BONNER

AC/DC Announce UK Stadium Gigs

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AC/DC Announce UK Stadium Gigs
AC/DC have announced two new stadium dates in the UK, as part of their upcoming Black Ice European tour. The added shows will take place at London's Wembley Stadium on June 26 and Glasgow's Hampden Park on June 30. AC/DC's arena tour which starts at London's O2 Arena on April 14 is fully sold-out....

AC/DC have announced two new stadium dates in the UK, as part of their upcoming Black Ice European tour.

The added shows will take place at London’s Wembley Stadium on June 26 and Glasgow’s Hampden Park on June 30.

AC/DC’s arena tour which starts at London’s O2 Arena on April 14 is fully sold-out.

The band’s latest album Black Ice has helped AC/DC become the biggest selling catalogue artist in the US this year.

Information on how to buy tickets for AC/DC’s stadium shows will be announced soon.

For more music and film news click here

Blur Add Second Hyde Park Live Date

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Blur Add Second Hyde Park Live Date
Blur have announced that they will play a second headlining show at London's Hyde Park on July 2, the day preceding the previously announced date of July 3. Tickets for the July 3 concert went on sale this morning at 9am, while tickets for the new show will be available from 4pm today (December 12)...

Blur have announced that they will play a second headlining show at London’s Hyde Park on July 2, the day preceding the previously announced date of July 3.

Tickets for the July 3 concert went on sale this morning at 9am, while tickets for the new show will be available from 4pm today (December 12).

For more music and film news click here

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