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Shine A Light

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Shine A Light

DIR: MARTIN SCORSESE ST: THE ROLLING STONES, JACK WHITE, CHRISTINE AGUILERA, MARTIN SCORSESE Mick Jagger’s first inclination, we now know, was to hire Martin Scorsese to film the Rolling Stones when they played Rio in February 2006. This would have provided spectacle, for sure - 2 million people on the Copacabana Beach, the largest crowd ever assembled for a rock concert, all that - and the music would no doubt have been great. But what, I’m sure, you’d remember most if Scorsese had taken his cameras to Brazil would have been the sheer size of the event. This for Jagger, you suspect, would have been something like the point and says much, I think, about how he sees the Stones and how he expects them to be remembered. It’s as if he doesn’t in a way trust posterity and its shifty henchmen to properly honour the Stones simply for their music, as it might, more easily, for instance, honour Dylan or The Beatles. He has therefore contrived on behalf of the Stones to make sure that when, as far into the future as you can imagine, history looks back at the rock’n’roll landscape as we know it, they will loom larger than legend, the biggest band of all time, authors of the largest-grossing tours the world will ever know, vast juggernauts that have brought them before more people than will be reached again by anyone. Good reason and Scorsese’s eventual persuasiveness eventually prevailed, I’m glad to say, and he filmed them finally at New York’s Beacon Theater, a venue that to them must have been the equivalent of playing a garden shed in a derelict allotment. What follows in Shine A Light speaks for itself as an eloquent articulation of their astonishingly enduring excellence - simply put, no one plays this shit better than them - but has also offered Scorsese, in these comparatively intimate surroundings, the opportunity to craft in unsparing detail an extraordinary portrait of the band and what they have become, which by the end seems something akin to grizzled heroism. There will be inevitable comparisons with The Last Waltz. But that was about a band - The Band, in fact - who had decided to call it a day and hence had an elegiac feel, the group’s final performance interspersed with interviews in which the hardened road-warriors reflected sometimes ruefully on their past. There’s no element of that misty introspection here, no sense of a coming end, a winding down. The Stones’ power as a live band is undiminished by age, amazingly so, and Shine A Light consequently is a celebration of both their longevity and their irrepressible vitality, at which you can only sit and marvel and several times want to cheer, in every case loudly. To get all this on film, Scorsese deployed something like 18 cameras, manned by some of Hollywood’s leading cinematographers, led by Director Of photography Robert Richardson - who has worked previously with Scorsese on Casino, Bringing Out The Dead and The Aviator and also done outstanding work with Oliver Stone on, among other films, Platoon, JFK and Natural Born Killers. His crew don’t miss anything - the detail of the film is often breathtaking. Scorsese and his editor David Tedeschi, with whom he collaborated on the Dylan documentary No Direction Home, cut away time and time again from the main action time to something that has caught the eye of his cameramen, which more often than not seems to involve Keith, and the little bits of business he forever gets up to. There’s one indelible image of him spitting out a fag, cigarette sparks flying in a series of slow motion frames like something you might have seen in Casino, whose mainly slouching presence is upstaged not a whit by Jagger’s cavorting athleticism. The film is also very, very funny and in the opening scenes Scorsese has a lot of fun with Jagger’s fussing over the details of stage design, set lists, general organisation and where during the show the cameras will be and how they might get in the way of the band and the audience, about which he frets incessantly. Scorsese threatens to rather overplay the pantomime he has to go through to get the Beacon set list out of Jagger - “Can we know what they’re going to play?” the director at one point mugs histrionically. “It doesn’t have to be in order” - but his choice, with Jagger, of the archive footage is endlessly hilarious, mostly Mick and Keith being interviewed down the years, and a series of hapless hacks being treated with supercilious disdain by Jagger and by Richards with wicked mockery. You’ll also laugh out loud at a meet-and-greet with Bill Clinton, Jagger observing the handshakes and backslapping with a cold eye and Keith buggering about (“I told him I was bushed,” he cackles). Funnier still is Keith’s solo spot in the concert, when he appears suddenly in a long black overcoat that makes him look like a deranged German general at the walls of far off Stalingrad. “Good to see you all,” he announces with a throaty chuckle, fag in hand, like a legend of vaudeville. “Good to see anyone, actually.” You almost expect Charlie to follow up with a drum roll and cymbal splash. A comprehensive description of the film’s highlights would keep us here until the next issue or the one after - but mention should be made of the show-stealing appearance on a version of Muddy Waters’ “Champagne And Reefer” by Buddy Guy, which finds Keith stirring like a big cat after an afternoon in lolling sunshine, and prowling then inquisitively around the veteran bluesman, who Scorsese simultaneously captures in a long, loving close-up, before Keith, at the song’s end, unstraps his guitar and offers it to Buddy as a token of a genuinely touching awe-struck respect. Shine A Light brilliantly captures the Stones in all their ecstatic rapture, bacchic and sublime, but equally effectively it’s a kind of hymn to the often fraught history that Jagger and Richards share - how their friendship has survived frequently seismic upheavals, everything they’ve been through, which is more than can easily be imagined, etched large in Scorsese’s relentless close-ups of their lined and crevassed features, with their music the undying bond between them, rock’n’roll as the sweetest amnesty. When they sing together, head to head, and embrace at the end of “Faraway Eyes”, you get a wholly moving glimpse of what they mean to each other and, of course, to us. ALLAN JONES

DIR: MARTIN SCORSESE

ST: THE ROLLING STONES, JACK WHITE, CHRISTINE AGUILERA, MARTIN SCORSESE

Mick Jagger’s first inclination, we now know, was to hire Martin Scorsese to film the Rolling Stones when they played Rio in February 2006. This would have provided spectacle, for sure – 2 million people on the Copacabana Beach, the largest crowd ever assembled for a rock concert, all that – and the music would no doubt have been great. But what, I’m sure, you’d remember most if Scorsese had taken his cameras to Brazil would have been the sheer size of the event.

This for Jagger, you suspect, would have been something like the point and says much, I think, about how he sees the Stones and how he expects them to be remembered. It’s as if he doesn’t in a way trust posterity and its shifty henchmen to properly honour the Stones simply for their music, as it might, more easily, for instance, honour Dylan or The Beatles. He has therefore contrived on behalf of the Stones to make sure that when, as far into the future as you can imagine, history looks back at the rock’n’roll landscape as we know it, they will loom larger than legend, the biggest band of all time, authors of the largest-grossing tours the world will ever know, vast juggernauts that have brought them before more people than will be reached again by anyone.

Good reason and Scorsese’s eventual persuasiveness eventually prevailed, I’m glad to say, and he filmed them finally at New York’s Beacon Theater, a venue that to them must have been the equivalent of playing a garden shed in a derelict allotment. What follows in Shine A Light speaks for itself as an eloquent articulation of their astonishingly enduring excellence – simply put, no one plays this shit better than them – but has also offered Scorsese, in these comparatively intimate surroundings, the opportunity to craft in unsparing detail an extraordinary portrait of the band and what they have become, which by the end seems something akin to grizzled heroism.

There will be inevitable comparisons with The Last Waltz. But that was about a band – The Band, in fact – who had decided to call it a day and hence had an elegiac feel, the group’s final performance interspersed with interviews in which the hardened road-warriors reflected sometimes ruefully on their past. There’s no element of that misty introspection here, no sense of a coming end, a winding down. The Stones’ power as a live band is undiminished by age, amazingly so, and Shine A Light consequently is a celebration of both their longevity and their irrepressible vitality, at which you can only sit and marvel and several times want to cheer, in every case loudly.

To get all this on film, Scorsese deployed something like 18 cameras, manned by some of Hollywood’s leading cinematographers, led by Director Of photography Robert Richardson – who has worked previously with Scorsese on Casino, Bringing Out The Dead and The Aviator and also done outstanding work with Oliver Stone on, among other films, Platoon, JFK and Natural Born Killers. His crew don’t miss anything – the detail of the film is often breathtaking. Scorsese and his editor David Tedeschi, with whom he collaborated on the Dylan documentary No Direction Home, cut away time and time again from the main action time to something that has caught the eye of his cameramen, which more often than not seems to involve Keith, and the little bits of business he forever gets up to. There’s one indelible image of him spitting out a fag, cigarette sparks flying in a series of slow motion frames like something you might have seen in Casino, whose mainly slouching presence is upstaged not a whit by Jagger’s cavorting athleticism.

The film is also very, very funny and in the opening scenes Scorsese has a lot of fun with Jagger’s fussing over the details of stage design, set lists, general organisation and where during the show the cameras will be and how they might get in the way of the band and the audience, about which he frets incessantly. Scorsese threatens to rather overplay the pantomime he has to go through to get the Beacon set list out of Jagger – “Can we know what they’re going to play?” the director at one point mugs histrionically. “It doesn’t have to be in order” – but his choice, with Jagger, of the archive footage is endlessly hilarious, mostly Mick and Keith being interviewed down the years, and a series of hapless hacks being treated with supercilious disdain by Jagger and by Richards with wicked mockery.

You’ll also laugh out loud at a meet-and-greet with Bill Clinton, Jagger observing the handshakes and backslapping with a cold eye and Keith buggering about (“I told him I was bushed,” he cackles). Funnier still is Keith’s solo spot in the concert, when he appears suddenly in a long black overcoat that makes him look like a deranged German general at the walls of far off Stalingrad. “Good to see you all,” he announces with a throaty chuckle, fag in hand, like a legend of vaudeville. “Good to see anyone, actually.” You almost expect Charlie to follow up with a drum roll and cymbal splash.

A comprehensive description of the film’s highlights would keep us here until the next issue or the one after – but mention should be made of the show-stealing appearance on a version of Muddy Waters’ “Champagne And Reefer” by Buddy Guy, which finds Keith stirring like a big cat after an afternoon in lolling sunshine, and prowling then inquisitively around the veteran bluesman, who Scorsese simultaneously captures in a long, loving close-up, before Keith, at the song’s end, unstraps his guitar and offers it to Buddy as a token of a genuinely touching awe-struck respect.

Shine A Light brilliantly captures the Stones in all their ecstatic rapture, bacchic and sublime, but equally effectively it’s a kind of hymn to the often fraught history that Jagger and Richards share – how their friendship has survived frequently seismic upheavals, everything they’ve been through, which is more than can easily be imagined, etched large in Scorsese’s relentless close-ups of their lined and crevassed features, with their music the undying bond between them, rock’n’roll as the sweetest amnesty. When they sing together, head to head, and embrace at the end of “Faraway Eyes”, you get a wholly moving glimpse of what they mean to each other and, of course, to us.

ALLAN JONES

Lonesome Jim

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Lonesome Jim

Dir: Steve Buscemi Stars: Casey Affleck, Liv Tyler, Mary Kay Place Casey Affleck's Best Supporting Actor nomination in the recent Oscars is most likely the driving force behind the belated release for this 2005 film. But although he made his mark in last year's Assassination Of Jesse James..., Affleck is still a dark horse. Like his brother Ben, he's an unlikely star, and, aside from the similarly lost-in-limbo Gone, Baby Gone, he's an untested leading man. If Lonesome Jim were a standard romcom, then, Affleck would certainly come a cropper: it appears he's just not regulation Hollywood. But as one might expect from Buscemi, an actor whose films as director are as mixed as his character parts, this is not a standard film, as the dishevelled Jim (Affleck) returns to live with his dysfunctional family after his attempts to make it as a writer have failed. A local nurse (Tyler) offers a hope of salvation, but though it does comply with the near-fairytale ending demanded by the set-up, Buscemi's film is, ultimately, a square peg in a round genre: affectingly romantic in the most wistful sense but - its chief disappointment - comic only in the dryest. DAMON WISE

Dir: Steve Buscemi

Stars: Casey Affleck, Liv Tyler, Mary Kay Place

Casey Affleck‘s Best Supporting Actor nomination in the recent Oscars is most likely the driving force behind the belated release for this 2005 film. But although he made his mark in last year’s Assassination Of Jesse James…, Affleck is still a dark horse.

Like his brother Ben, he’s an unlikely star, and, aside from the similarly lost-in-limbo Gone, Baby Gone, he’s an untested leading man. If Lonesome Jim were a standard romcom, then, Affleck would certainly come a cropper: it appears he’s just not regulation Hollywood. But as one might expect from Buscemi, an actor whose films as director are as mixed as his character parts, this is not a standard film, as the dishevelled Jim (Affleck) returns to live with his dysfunctional family after his attempts to make it as a writer have failed.

A local nurse (Tyler) offers a hope of salvation, but though it does comply with the near-fairytale ending demanded by the set-up, Buscemi’s film is, ultimately, a square peg in a round genre: affectingly romantic in the most wistful sense but – its chief disappointment – comic only in the dryest.

DAMON WISE

Martin Scorsese Exclusive Uncut Interview!

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Martin Scorsese Exclusive Uncut Interview!

"THEIR MUSIC IS PART OF MY LIFE...” With Shine A Light released next week (April 11), MARTIN SCORSESE talks exclusively to UNCUT about the Rolling Stones... So why did you want to make a documentary about The Rolling Stones? SCORSESE: The idea wasn’t to make a documentary film, it was to capture the performance. I’ve always said, from when I first heard their music, “I’m gonna get that on film some day.” It only took 40 years or so, but what can I say? And suddenly it happens. The process of making the film was actually what I enjoyed about it, because every time we started shooting it or editing it, it was a constant reaffirmation of a kind of passion or inspiration for me. So I guess it rejuvenated me in a way. It keeps the energy going for me, creatively. You also made The Last Waltz, another performance movie. Are you as interested in that as you are the music itself? Music and performance are a primal form of communication, even more so than many other kinds of visual media. It’s about a performer, him or herself, in relationship to the audience. There’s something about that that crosses all barriers of cultures. So why the Stones? For me, their music is part of my life, particularly during the ’60s. I’d never seen the band perform until maybe the early-’70s. I experienced this music by seeing it in my head, by listening to the records. I saw a few clips, maybe, on The Ed Sullivan Show, but that was different. Anyway, the chords, the vocals, the entire feel of their music inspired me greatly. It became a basis for most of the work I’ve done in my movies, going from Mean Streets on through Raging Bull, all the way up through Casino to The Departed. Why did you decide to call it Shine A Light? It was the first one we thought of. It can mean “Shine A Light”, the song – I love that song, and, actually, it was in the first night’s concert – but it also refers to the Beacon Theater, shining a light in New York and just the magic that happens there on that one night. Was it easier to direct than The Last Waltz? We were actually able to capture some of the images in The Last Waltz in a more controlled way, because the movement of the performers was so limited. Here, I knew the basic five or six cameras that were giving us the core of the work. The other cameras were back-up for focus and also in very difficult positions, for getting reverse shots and angles, that sort of things – the shots of Charlie Watts. So we knew our positions, and we also knew the songs, so when I was looking at 16 pictures on the monitor, with two headsets, I knew somebody had to be on Charlie, somebody had to be on Ronnie Wood. You miss some of it, obviously. The amazing thing is, the show starts and within two seconds it’s over. It’s over. It’s like “What happened?” They’re out. Ohmigod, we got it on film, but what happened? Did you really get the setlists at the last minute? Well, it felt like the last minute. Actually it may have been about an hour or so before the shows. But after the first night, we kinda knew. Kinda knew. But that’s the enjoyment – that’s the tension of it. I would think – I don’t know, because I didn’t go backstage, I didn’t see what was happening – those guys get together and see what they’re feeling like at that moment, and get a sense of what the audience feels like, and what the temperature the concert’s going to be. They can tell better than we can, and they might change the first song at the last minute. So they weren’t able to tell me until maybe a couple of hours before when, through some chicanery, somebody got a setlist, somehow. But it felt like I got it at the last second. But by that point we had our cameras in position, we were ready and that was part of the excitement of it. We heightened it in the film a bit. How important is music to your films? You use quite a lot of it... It’s rooted in the music I’ve been listening to throughout my life. Different types of music create an atmosphere in my mind. It translates to images and camera movements that invariably find themselves in some of my films. Often I choose a certain type of music to listen to while I’m thinking about the film. Usually I go away to a hotel somewhere, for about five or six days, and just play music and spend time alone with the script, drawing pictures and coming up with ideas based on the music. The music can be as varied as classical music, some jazz, rock’n’roll – in the case of Mean Streets, Casino and GoodFellas. But also, it’s much more complicated than that, because sometimes I play the music on the set so that the camera movement moves perfectly with the time, the beat, the rhythm of the music. Can you give me some examples? In the case of Casino I listened to a great deal of Bach. In the case of Kundun, Messiaen, the composer. It goes on like that. Different types of music inspire different ideas, or create an atmosphere. INTERVIEW: DAMON WISE Pic credit: PA Photos

“THEIR MUSIC IS PART OF MY LIFE…”

With Shine A Light released next week (April 11), MARTIN SCORSESE talks exclusively to UNCUT about the Rolling Stones…

So why did you want to make a documentary about The Rolling Stones?

SCORSESE: The idea wasn’t to make a documentary film, it was to capture the performance. I’ve always said, from when I first heard their music, “I’m gonna get that on film some day.” It only took 40 years or so, but what can I say? And suddenly it happens. The process of making the film was actually what I enjoyed about it, because every time we started shooting it or editing it, it was a constant reaffirmation of a kind of passion or inspiration for me. So I guess it rejuvenated me in a way. It keeps the energy going for me, creatively.

You also made The Last Waltz, another performance movie. Are you as interested in that as you are the music itself?

Music and performance are a primal form of communication, even more so than many other kinds of visual media. It’s about a performer, him or herself, in relationship to the audience. There’s something about that that crosses all barriers of cultures.

So why the Stones?

For me, their music is part of my life, particularly during the ’60s. I’d never seen the band perform until maybe the early-’70s. I experienced this music by seeing it in my head, by listening to the records. I saw a few clips, maybe, on The Ed Sullivan Show, but that was different. Anyway, the chords, the vocals, the entire feel of their music inspired me greatly. It became a basis for most of the work I’ve done in my movies, going from Mean Streets on through Raging Bull, all the way up through Casino to The Departed.

Why did you decide to call it Shine A Light?

It was the first one we thought of. It can mean “Shine A Light”, the song – I love that song, and, actually, it was in the first night’s concert – but it also refers to the Beacon Theater, shining a light in New York and just the magic that happens there on that one night.

Was it easier to direct than The Last Waltz?

We were actually able to capture some of the images in The Last Waltz in a more controlled way, because the movement of the performers was so limited. Here, I knew the basic five or six cameras that were giving us the core of the work. The other cameras were back-up for focus and also in very difficult positions, for getting reverse shots and angles, that sort of things – the shots of Charlie Watts. So we knew our positions, and we also knew the songs, so when I was looking at 16 pictures on the monitor, with two headsets, I knew somebody had to be on Charlie, somebody had to be on Ronnie Wood. You miss some of it, obviously. The amazing thing is, the show starts and within two seconds it’s over. It’s over. It’s like “What happened?” They’re out. Ohmigod, we got it on film, but what happened?

Did you really get the setlists at the last minute?

Well, it felt like the last minute. Actually it may have been about an hour or so before the shows. But after the first night, we kinda knew. Kinda knew. But that’s the enjoyment – that’s the tension of it. I would think – I don’t know, because I didn’t go backstage, I didn’t see what was happening – those guys get together and see what they’re feeling like at that moment, and get a sense of what the audience feels like, and what the temperature the concert’s going to be. They can tell better than we can, and they might change the first song at the last minute. So they weren’t able to tell me until maybe a couple of hours before when, through some chicanery, somebody got a setlist, somehow. But it felt like I got it at the last second. But by that point we had our cameras in position, we were ready and that was part of the excitement of it. We heightened it in the film a bit.

How important is music to your films? You use quite a lot of it…

It’s rooted in the music I’ve been listening to throughout my life. Different types of music create an atmosphere in my mind. It translates to images and camera movements that invariably find themselves in some of my films. Often I choose a certain type of music to listen to while I’m thinking about the film. Usually I go away to a hotel somewhere, for about five or six days, and just play music and spend time alone with the script, drawing pictures and coming up with ideas based on the music. The music can be as varied as classical music, some jazz, rock’n’roll – in the case of Mean Streets, Casino and GoodFellas. But also, it’s much more complicated than that, because sometimes I play the music on the set so that the camera movement moves perfectly with the time, the beat, the rhythm of the music.

Can you give me some examples?

In the case of Casino I listened to a great deal of Bach. In the case of Kundun, Messiaen, the composer. It goes on like that. Different types of music inspire different ideas, or create an atmosphere.

INTERVIEW: DAMON WISE

Pic credit: PA Photos

Procol Harum Singer Wins Back Royalties For A Whiter Shade of Pale

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Procol Harum Singer Wins Back Royalties For A Whiter Shade of Pale
Procol Harum’s lead singer, Gary Brooker, and lyricist Keith Reid have won back full royalty rights for “A Whiter Shade of Pale”. The pair had been forced to share the songwriting credits with organist Matthew Fisher, after a 2006 legal ruling. But this morning, London’s Court of Appeal rev...

Procol Harum’s lead singer, Gary Brooker, and lyricist Keith Reid have won back full royalty rights for “A Whiter Shade of Pale”. The pair had been forced to share the songwriting credits with organist Matthew Fisher, after a 2006 legal ruling. But this morning, London’s Court of Appeal reversed the decision in favour of Brooker and Reid, ruling that there had been an “excessive delay” in Fisher’s original claim.

In October, Brooker’s barrister, John Baldwin QC, told the Court of Appeal that Mr Fisher had failed to take the case to court earlier because “he wanted to stay in the band and live the life of a pop star”.

Fisher had filed a lawsuit against Brooker in 2005, nearly 40 years after the hit was recorded, claiming his distinctive organ melody was integral to the song and he should be acknowledged as one of the song’s creators.

“It was entirely my idea to compose a set solo, and give the last two bars a satisfying ‘shape’,” Fisher told Uncut late last year. “What I added was the tune. You don’t sell 10 million records without a tune.”

But today’s ruling by Lord Justice Mummery overturns the 2006 decision to credit Fisher with co-writing the ’60s classic and awarding him 40 per cent of past and future royalties.

Speaking to Uncut last year, Brooker played down Fisher’s contribution.

“Of course it has improvisation on it, from the rehearsals. But it was based on my ideas, my music and playing,” said Brooker. “If there was any question over credits then that should have been sorted on the day.”

With its haunting, Bach-inspired organ line and enigmatic lyrics, “A Whiter Shade of Pale” became one of the most successful songs of all time: in 2004, the Performing Rights Group certified it the most played song of the last 70 years, clocking up almost 1000 cover versions and 10 million sales.

Jesse Malin Announces UK Tour Dates

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Jesse Malin Announces UK Tour Dates

Americana stalwart, Jesse Malin, has announced that he will play eight live shows in the UK starting next month. Malin’s new album, “On Your Sleeve”, includes covers of songs by Tom Waits and Neil Young, The Clash, Lou Reed, Sam Cooke and "all those songs that hit me at certain points in my life and never stopped". The dates are: Oxford Academy (May 8) Birmingham Academy 2 (9) Nottingham Rescue Rooms (10) Liverpool Barfly (11) Leicester Charlotte (12) York Fibbers (13) Manchester Academy 3 (14) London ULU (15)

Americana stalwart, Jesse Malin, has announced that he will play eight live shows in the UK starting next month.

Malin’s new album, “On Your Sleeve”, includes covers of songs by Tom Waits and Neil Young, The Clash, Lou Reed, Sam Cooke and “all those songs that hit me at certain points in my life and never stopped”.

The dates are:

Oxford Academy (May 8)

Birmingham Academy 2 (9)

Nottingham Rescue Rooms (10)

Liverpool Barfly (11)

Leicester Charlotte (12)

York Fibbers (13)

Manchester Academy 3 (14)

London ULU (15)

Grinderman Added To Latitude Festival Line-Up

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Grinderman Added To Latitude Festival Line-Up

Nick Cave’s badass side project, Grinderman have been confirmed to play this year’s Latitude Festival, sponsored by Uncut. Mars Volta and Tindersticks are the first confirmed acts for the Uncut stage and The Go! Team and Seasick Steve have been added to the line-up for the Obelisk stage. They will join headliners Sigur Ros, Interpol and Franz Ferdinand. Other artists already confirmed for Latitude so far are The Breeders, Elbow, Death Cab For Cutie, M.I.A and Amadou and Mariam. This year's Latitude Festival will also see UNCUT hosting our own stage, for the third year running. Last year saw some of the festival's biggest crowdpleasers take place in the UNCUT arena, including Rodrigo Y Gabriela, Seasick Steve, Tinariwen and Rickie Lee Jones. Of course, Latitude Festival is not just about music, but will also be putting on the best in comedy, films, books, theatre, poetry and cabaret over the three days. The Pimm's Comedy Arena has so far already confirmed great acts such as Bill Bailey, Ross Noble, Simon Amstell, Tim Minchin, Phill Jupitus and Marcus Brigstocke and his Early Edition. The Music and Film Club Arena will see performances from the Buzzcocks and Barry Adamson as well as involving BAFTA again organising film Q&A's with directors and special film screenings. Iain Banks, Hanif Kureishi, Irvine Welsh, Mike Gayle, John Burnside, Simon Armitage and even New Order's Peter Hook will all be performing in the Literary Arena. Hook will be reading from his How Not To Run A Club, while Iain Banks will be dipping into The Steep Approach To Garbadale. There's theatre, too, from the Royal Court Theatre, Paines Plough Theatre and the Nabokov new writers theatre company, plus 50 Ways To Leave Your Lover, a series of plays from the Bush Theatre based on the personal experiences of Latitude festivalgoers and UNCUT readers. Tickets for this year's event are £130 for the four day event, with day tickets costing £55. Information and tickets are available from the official Latitude Festival website here: www.latitudefestival.co.uk. Latitude Festival takes place July 17-20 at Henham Park Estate, Southwold, Suffolk. We'll see you there!

Nick Cave’s badass side project, Grinderman have been confirmed to play this year’s Latitude Festival, sponsored by Uncut.

Mars Volta and Tindersticks are the first confirmed acts for the Uncut stage and The Go! Team and Seasick Steve have been added to the line-up for the Obelisk stage.

They will join headliners Sigur Ros, Interpol and Franz Ferdinand.

Other artists already confirmed for Latitude so far are The Breeders, Elbow, Death Cab For Cutie, M.I.A and Amadou and Mariam.

This year’s Latitude Festival will also see UNCUT hosting our own stage, for the third year running.

Last year saw some of the festival’s biggest crowdpleasers take place in the UNCUT arena, including Rodrigo Y Gabriela, Seasick Steve, Tinariwen and Rickie Lee Jones.

Of course, Latitude Festival is not just about music, but will also be putting on the best in comedy, films, books, theatre, poetry and cabaret over the three days.

The Pimm’s Comedy Arena has so far already confirmed great acts such as Bill Bailey, Ross Noble, Simon Amstell, Tim Minchin, Phill Jupitus and Marcus Brigstocke and his Early Edition.

The Music and Film Club Arena will see performances from the Buzzcocks and Barry Adamson as well as involving BAFTA again organising film Q&A’s with directors and special film screenings.

Iain Banks, Hanif Kureishi, Irvine Welsh, Mike Gayle, John Burnside, Simon Armitage and even New Order’s Peter Hook will all be performing in the Literary Arena. Hook will be reading from his How Not To Run A Club, while Iain Banks will be dipping into The Steep Approach To Garbadale.

There’s theatre, too, from the Royal Court Theatre, Paines Plough Theatre and the Nabokov new writers theatre company, plus 50 Ways To Leave Your Lover, a series of plays from the Bush Theatre based on the personal experiences of Latitude festivalgoers and UNCUT readers.

Tickets for this year’s event are £130 for the four day event, with day tickets costing £55.

Information and tickets are available from the official Latitude Festival website here: www.latitudefestival.co.uk.

Latitude Festival takes place July 17-20 at Henham Park Estate, Southwold, Suffolk.

We’ll see you there!

Elvis Costello Gets His Own TV Show

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Elvis Costello Gets His Own TV Show
Elvis Costello is to host his own show called “Spectacle: Elvis Costello With...”. Sir Elton John, whose Rocket Pictures is co-producing the series, will also appear in an episode but the full line-up has not yet been revealed. The show will feature interviews and performances with other well-...

Elvis Costello is to host his own show called “Spectacle: Elvis Costello With…”.

Sir Elton John, whose Rocket Pictures is co-producing the series, will also appear in an episode but the full line-up has not yet been revealed.

The show will feature interviews and performances with other well-known musicians and discussions with celebrity guests. But Costello said he would not be digging for salacious gossip: “I’d rather hear about a deep love or a curiosity that might be obscured by fame.”

“This is a wonderful opportunity to talk in complete thoughts about music, movies, art or even vaudeville, then frame it with unique and illustrative performances,” he added.

The series was originally conceived for the Canadian channel CTV but will be broadcast in the UK on Channel 4.

Tarantino Double Bill To Tour The UK

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Tarantino Double Bill To Tour The UK
Quentin Tarantino and Robert Rodriquez’s Grindhouse double bill will tour the UK, starting tomorrow (April 4) in London. The films – Tarantino’s Death Proof and Rodriguez’ Planet Terror – were originally released separately in the UK after their joint American release failed at the box of...

Quentin Tarantino and Robert Rodriquez’s Grindhouse double bill will tour the UK, starting tomorrow (April 4) in London.

The films – Tarantino’s Death Proof and Rodriguez’ Planet Terror – were originally released separately in the UK after their joint American release failed at the box office.

This marks the first time the two films can be seen as the directors originally intended, including fake trailers running between each movie.

For details of all the Grindhouse tour dates, visit the website:

www.myspace.com/ukgrindhousetour

Major New Exhibition of Unseen Bob Dylan Portraits

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Major New Exhibition of Unseen Bob Dylan Portraits

The first UK exhibition of previously unseen photographs of Bob Dylan will open in May. “Bob Dylan: Real Moments” at Birmingham's Snap Gallery contains some of the most memorable and important photographs of Dylan ever created including the famous portrait of him surrounded by street kids in a Liverpool doorway. The portraits, on show from May 3, were taken by legendary rock photographer, Barry Feinstein, who followed Dylan on the European leg of his incendiary 1966 tour. “I don’t feel that much needs explaining as my photographs speak for themselves,” said Feinstein. “I don’t really like stand-up portraits, there’s nothing there, no life, no feeling. I was much more interested in capturing real moments.” The iconic cover shot on “Times They Are A Changin’” and Dylan waiting at the Aust Ferry terminal, during his trip from Bristol to Cardiff, which was used on the cover of Martin Scorcese’s “No Direction Home”, are also part of the exhibition. For more information see www.snapgalleries.com

The first UK exhibition of previously unseen photographs of Bob Dylan will open in May.

“Bob Dylan: Real Moments” at Birmingham’s Snap Gallery contains some of the most memorable and important photographs of Dylan ever created including the famous portrait of him surrounded by street kids in a Liverpool doorway.

The portraits, on show from May 3, were taken by legendary rock photographer, Barry Feinstein, who followed Dylan on the European leg of his incendiary 1966 tour.

“I don’t feel that much needs explaining as my photographs speak for themselves,” said Feinstein. “I don’t really like stand-up portraits, there’s nothing there, no life, no feeling. I was much more interested in capturing real moments.”

The iconic cover shot on “Times They Are A Changin’” and Dylan waiting at the Aust Ferry terminal, during his trip from Bristol to Cardiff, which was used on the cover of Martin Scorcese’s “No Direction Home”, are also part of the exhibition.

For more information see www.snapgalleries.com

Franz Ferdinand and Kasabian To Headline Hydro Connect Festival

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Franz Ferdinand and Kasabian To Headline Hydro Connect Festival
Franz Ferdinand and Kasabian will headline the second Hydro-Connect festival in Scotland. Franz Ferdinand will play tracks from their highly anticipated third album, which they described to Rolling Stone as “more of a dance record than a rock record.” Joining them will be the recently crowned ...

Franz Ferdinand and Kasabian will headline the second Hydro-Connect festival in Scotland.

Franz Ferdinand will play tracks from their highly anticipated third album, which they described to Rolling Stone as “more of a dance record than a rock record.”

Joining them will be the recently crowned ‘NME Godlike Geniuses’, Manic Street Preachers, a rare acoustic set by The Coral, Grinderman, The Breeders and Icelandic post-rock pioneers, Sigur Ros, who will also be playing at this year’s Uncut-sponsored Latitude Festival.

The festival will take place at Inveraray Castle in Argyll from August 29 to 31. Tickets for the bash go on sale this Friday (April 4) and start from £120 see www.connectmusicfestival.com for more information.

Metallica Headlined Reading and Leeds Festival Sells Out!

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Metallica Headlined Reading and Leeds Festival Sells Out!

Tickets for the 2008 Reading and Leeds Festivals have sold out in record time this year. 200, 000 weeekend tickets the two site and six stage event were sold within two hours of going on sale earlier this week. Metallica, Rage Against The Machine and The Killers are all set to headline at the festivals which this year both celebrate anniversaries, the festival has taken place at Reading for 20 years and at the Leeds site for ten. Melvin Benn, Managing Director of Festival Republic who run the festival said, “'I am over the moon! Absolutely thrilled. 20th year since we took over Reading after it had been bankrupt. 10th year since we created Leeds. The UK's biggest selling festival with the best bill on the planet this year sells out in less than 2 hours. Whoever is talking about a slump in festival popularity is talking rubbish. Long live Reading and Leeds!'”

Tickets for the 2008 Reading and Leeds Festivals have sold out in record time this year.

200, 000 weeekend tickets the two site and six stage event were sold within two hours of going on sale earlier this week.

Metallica, Rage Against The Machine and The Killers are all set to headline at the festivals which this year both celebrate anniversaries, the festival has taken place at Reading for 20 years and at the Leeds site for ten.

Melvin Benn, Managing Director of Festival Republic who run the festival said, “’I am over the moon! Absolutely thrilled. 20th year since we took over Reading after it had been bankrupt. 10th year since we created Leeds. The UK’s biggest selling festival with the best bill on the planet this year sells out in less than 2 hours. Whoever is talking about a slump in festival popularity is talking rubbish. Long live Reading and Leeds!’”

Mariah Carey Beats Elvis Chart Record

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Mariah Carey Beats Elvis Chart Record

Five time Grmmy winning singer Mariah Carey has just broken Elvis Presley chart record of 17 US number one singles, with her latest single "Touch My Body". Her 18th number one taken from her new album E=MC2 is currently number one in the Billboard Hot 100 and download chart. Only The Beatles have achieved more US number ones, with a score of 20. Speaking to AP News Carey said she didn't see herself as being fairly compared to artists such as Presley or the Fabs. She said: "I really can never put myself in the category of people who have not only revolutionised music but also changed the world, that's a completely different era and time." She also said that trying to set sales records was not a priority, saying: "I've gone through enough of my life worrying about that kind of thing".

Five time Grmmy winning singer Mariah Carey has just broken Elvis Presley chart record of 17 US number one singles, with her latest single “Touch My Body”.

Her 18th number one taken from her new album E=MC2 is currently number one in the Billboard Hot 100 and download chart.

Only The Beatles have achieved more US number ones, with a score of 20.

Speaking to AP News Carey said she didn’t see herself as being fairly compared to artists such as Presley or the Fabs. She said: “I really can never put myself in the category of people who have not only revolutionised music but also changed the world, that’s a completely different era and time.”

She also said that trying to set sales records was not a priority, saying: “I’ve gone through enough of my life worrying about that kind of thing”.

Soulwax Remix Rolling Stones Classic

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Soulwax Remix Rolling Stones Classic

Electro duo, Soulwax have remixed the Rolling Stones’ classic “You Can’t Always Get What You Want” for the soundtrack to the new film, “21”. The Belgian brothers behind Soulwax, David and Stephen Dewaele, had the original masters tapes delivered to them by armed guard for the remix, which begins with the infamous choral intro before skipping into a heavy electronic beat. Initially, David Sardy, the score composer, used the original Stones’ version on the pivotal fade-to-black moment at the film’s close but felt that it didn’t quite fit with the rest of the soundtrack’s electro feel, which also features LCD Soundsystem, and Rihanna. Despite receiving mixed reactions from fans and critics, Sardy insists the remix is in keeping with the spirit of the original track. "It's definitely a dividing-line song," Sardy told the Hollywood Reporter. "If you're offended, you're of a certain age -- and if you're not, you're definitely of a certain age. But when you think of how offensive the Stones were when they arrived on the scene, it's full circle. It's rock 'n' roll." What do you think? Listen to the track here.

Electro duo, Soulwax have remixed the Rolling Stones’ classic “You Can’t Always Get What You Want” for the soundtrack to the new film, “21”.

The Belgian brothers behind Soulwax, David and Stephen Dewaele, had the original masters tapes delivered to them by armed guard for the remix, which begins with the infamous choral intro before skipping into a heavy electronic beat.

Initially, David Sardy, the score composer, used the original Stones’ version on the pivotal fade-to-black moment at the film’s close but felt that it didn’t quite fit with the rest of the soundtrack’s electro feel, which also features LCD Soundsystem, and Rihanna.

Despite receiving mixed reactions from fans and critics, Sardy insists the remix is in keeping with the spirit of the original track.

“It’s definitely a dividing-line song,” Sardy told the Hollywood Reporter. “If you’re offended, you’re of a certain age — and if you’re not, you’re definitely of a certain age. But when you think of how offensive the Stones were when they arrived on the scene, it’s full circle. It’s rock ‘n’ roll.”

What do you think? Listen to the track here.

MAPS To Headline 11th Annual Truck Festival

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MAPS To Headline 11th Annual Truck Festival

Tickets for the small but perfectly formed Truck Festival have gone on sale. Now in its 11th year, Truck has gained a following for being rammed with new bands and its wholesome, independent approach. This year there are six stages hosting the likes of Small Faces keyboardist, Ian McLagan and The Bump Band, MAPS, These New Puritans, Lovvers, Noah and the Whale, The Television Personalities, Emmy the Great with more to be revealed on arrival at the festival. According to the Truck website: “We will not be making a full line-up announcement.” “TRUCK is about discovering your new favourite band, and rediscovering those resident eccentrics on the fringes, whilst chewing a burger from the Rotary Club or an ice cream from the Vicar, before buying a few pints from those cross-dressing bar staff!” Tickets cost £60 and are available from the Truck website.

Tickets for the small but perfectly formed Truck Festival have gone on sale.

Now in its 11th year, Truck has gained a following for being rammed with new bands and its wholesome, independent approach.

This year there are six stages hosting the likes of Small Faces keyboardist, Ian McLagan and The Bump Band, MAPS, These New Puritans, Lovvers, Noah and the Whale, The Television Personalities, Emmy the Great with more to be revealed on arrival at the festival.

According to the Truck website: “We will not be making a full line-up announcement.”

“TRUCK is about discovering your new favourite band, and rediscovering those resident eccentrics on the fringes, whilst chewing a burger from the Rotary Club or an ice cream from the Vicar, before buying a few pints from those cross-dressing bar staff!”

Tickets cost £60 and are available from the Truck website.

Viva Klaus Dinger!

John Mulvey
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I wonder if, when Klaus Dinger identified “Gigantic possibilities” in the middle of “Cha Cha 2000”, he had any idea of the gigantic possibilities his music would offer to thousands of artists in the future? By the time “Cha Cha 2000” came out on “Viva” in 1978, David Bowie had already drawn heavily on the music made by Dinger in La Dusseldorf, Neu! and, for a brief time, Kraftwerk. By the time I got round to hearing these records in the early ‘90s, though, they had become touchstones for avant-rockers, techno musicians, even, discreetly, pop bands. Sonic Youth had created “Two Cool Rock Chicks Listening To Neu!” on the Ciccone Youth album. Orbital’s publicist was compiling me cassettes from his bootleg collection. And Stereolab were sending out advance tapes of an album – “Transient Random Noise Burst”, possibly – where the tracks were listed by their working titles: “Neu! One”, “Neu! Two” and so on. This is all coming back to me this morning as I play “Viva”. Late yesterday afternoon, David Cavanagh emailed me to say he’d heard that Dinger had died last month. I called someone in Berlin, and within an hour the story was breaking: Dinger, protean drummer, maverick yelper, architect of motorik and a man described yesterday in an official German press release as a “challenging personality”, had died. Dinger’s music means a lot to me, not least because Krautrock – and especially the motorik strain that ran through Neu! and beyond – was one of the first pseudo-esoteric old scenes that I started collecting, once I was established as a music journalist and started getting all my new records for free. Still, I hear that heart beat everywhere. Over the past few months, though, it seems that we’ve focused a lot more on Michael Rother than Dinger, thanks to that Harmonia live album, the new Harmonia live shows and the reissue of Rother’s immaculate first four solo albums. Consequently, a return visit to “Viva” is quite a revelation. Dinger might not have quite had Rother’s calm consistency, but his quixotic and vivid music was much more varied – with peaks that caught a wild euphoria that Rother would never dream of chasing on his own. So “Viva” runs through beautiful ambient passages, that trademark motorik, the howling ur-punk that Dinger introduced on “Neu! 75” and which so inspired John Lydon, and even a dysfunctional kind of glam, an ecstatic mutant strain of Glitterbeat. I met Dinger once, at the turn of the century. Neu! had tentatively reconvened to promote the official reissues of their three albums; the reissues that replaced, for many of us, those Japanese bootlegs (but not the La Dusseldorf bootlegs, sadly). Rother and Dinger did a handful of interviews together, including one with me which I never managed to get published anywhere. In fact, I never even got round to transcribing the tape; I have a plan to go hunting for it in the attic this weekend – if I find it and have time to write it up, I’ll post it on the site sometime in the next week or two. What I remember of the interview, though, is two men who could barely tolerate each other’s company, who clearly weren’t going to be reunited for long, and who had grown into middle age in radically different ways. Rother was a suave European technocrat, dressed discreetly in black, every inch the calm paterfamilias of ambience. Dinger, on the other hand, was immensely warm and unpredictable. He had wild eyes, the hair and beard of Catweazle, and photographs of his girlfriend sellotaped and pinned to the front of his shirt. I can’t remember the details of the interview, but I remember its pattern. I’d ask a question about the ‘70s, Dinger would immediately respond with a torrent of stories. There’d be a pause, Rother would say something like “I remember it slightly differently,” then completely contradict his old partner. It was very funny, but also hugely disappointing. At the time, there seemed a chance that Neu! would reform to play gigs again, but an hour in their company immediately proved how impossible that would be. Since then, I’ve no idea what Dinger has been up to, and it’s always been a source of huge disappointment that, for whatever reasons, he never chose or was able to capitalise on the massive affection that existed for him and his music. With Rother and Harmonia reactivated, now would seem to have been the ideal time for Dinger to emerge, triumphant and uncompromised, from the underground. That’s not going to happen, obviously. But as that valid cliché goes, we still have the music, and this morning, it sounds as fresh and exhilarating as ever.

I wonder if, when Klaus Dinger identified “Gigantic possibilities” in the middle of “Cha Cha 2000”, he had any idea of the gigantic possibilities his music would offer to thousands of artists in the future?

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Madness Announce Christmas Show

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Madness Announce Christmas Show
Madness have announced that their annual festive bash will take place at London's O2 Arena this December. Following the success of last year's sold out show at the same venue, the North London boys will this year perform on December 19. They plan to play tracks from their as-yet-untitled forthcomi...

Madness have announced that their annual festive bash will take place at London’s O2 Arena this December.

Following the success of last year’s sold out show at the same venue, the North London boys will this year perform on December 19.

They plan to play tracks from their as-yet-untitled forthcoming new studio album as well as from their huge catalogue of hits.

Tickets for the one-off show will go on sale this Friday (April 4).

Klaus Dinger 1946-2008

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Klaus Dinger 1946-2008

News has just reached Uncut that the great Klaus Dinger has died, aged 61. The German drummer was best known as half of Neu! alongside Michael Rother. Dinger was a provocative and inspirational figure in the German music scene of the 1970s. He first surfaced, briefly, as drummer in a very early line-up of Kraftwerk, before he and Rother (another fleeting Kraftwerk member) broke off to form Neu! Neu! went on to record three extraordinary albums that epitomised the motorik strain of Krautrock, thanks to Dinger’s pattering, insistent drums. He also began to contribute wild and vivid vocals, so that tracks like “Hero” and “After Eight” from Neu! 75 were an acknowledged influence on an impressionable John Lydon. After his partnership with Rother dissolved, Dinger formed La Dusseldorf with his brother Thomas and Hans Lampe. Between 1976 and 1980, they released three excellent albums which privileged Neu!’s punkier, more ecstatic side. Dinger’s later career was more erratic, and he sometimes worked under the name of La Neu! A projected reunion with Rother, around the time of official Neu! CD reissues, got no further than a handful of fraught joint interviews. On his website, Michael Rother posted this memorial: “Together with many friends of his music I will remember Klaus for his creativity as an artist and I will think about him with gratitude for his wonderful contributions to our project NEU!” For more on Dinger, click here for John Mulvey's Wild Mercury Sound blog.

News has just reached Uncut that the great Klaus Dinger has died, aged 61. The German drummer was best known as half of Neu! alongside Michael Rother.

Dinger was a provocative and inspirational figure in the German music scene of the 1970s. He first surfaced, briefly, as drummer in a very early line-up of Kraftwerk, before he and Rother (another fleeting Kraftwerk member) broke off to form Neu!

Neu! went on to record three extraordinary albums that epitomised the motorik strain of Krautrock, thanks to Dinger’s pattering, insistent drums. He also began to contribute wild and vivid vocals, so that tracks like “Hero” and “After Eight” from Neu! 75 were an acknowledged influence on an impressionable John Lydon.

After his partnership with Rother dissolved, Dinger formed La Dusseldorf with his brother Thomas and Hans Lampe. Between 1976 and 1980, they released three excellent albums which privileged Neu!’s punkier, more ecstatic side.

Dinger’s later career was more erratic, and he sometimes worked under the name of La Neu! A projected reunion with Rother, around the time of official Neu! CD reissues, got no further than a handful of fraught joint interviews.

On his website, Michael Rother posted this memorial: “Together with many friends of his music I will remember Klaus for his creativity as an artist and I will think about him with gratitude for his wonderful contributions to our project NEU!”

For more on Dinger, click here for John Mulvey’s Wild Mercury Sound blog.

Beatlemania Returns To Liverpool

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Beatlemania Returns To Liverpool

An exhibition documenting the early impact of The Beatles in America will open on April 4 at Liverpool’s historic Albert Dock. Titled "The Beatles! Backstage and Behind the Scenes", the images were taken by award-winning CBS and Life photographer, Bill Eppridge. The exhibition uses pictures from around the time of The Beatles’ first North American appearance on the Ed Sullivan Show; a milestone in American pop culture and a performance which marked the beginning of the so called 'British Invasion'. “I shot photographs, they shot quips, and history shot us all into the record books,” recalls Eppridge. The exhibition has previously been shown in Washington’s world famous Smithsonian Institute, where it attracted over 3 million visitors. The exhibition runs from April 4 to August 15. For more information see www.beatlesstory.com

An exhibition documenting the early impact of The Beatles in America will open on April 4 at Liverpool’s historic Albert Dock.

Titled “The Beatles! Backstage and Behind the Scenes”, the images were taken by award-winning CBS and Life photographer, Bill Eppridge.

The exhibition uses pictures from around the time of The Beatles’ first North American appearance on the Ed Sullivan Show; a milestone in American pop culture and a performance which marked the beginning of the so called ‘British Invasion’.

“I shot photographs, they shot quips, and history shot us all into the record books,” recalls Eppridge.

The exhibition has previously been shown in Washington’s world famous Smithsonian Institute, where it attracted over 3 million visitors.

The exhibition runs from April 4 to August 15.

For more information see www.beatlesstory.com

Grinderman and Hot Chip Set To Play Roskilde Festival

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Grinderman and Hot Chip Set To Play Roskilde Festival
Grinderman and Hot Chip are the latest additions to be confirmed for this year’s Roskilde Festival in Denmark. Grinderman, the rock group formed by Nick Cave with Bad Seeds members Martyn Casey, Warren Ellis and Jim Sclavunos will be appearing, despite the recent release and forthcoming tour by C...

Grinderman and Hot Chip are the latest additions to be confirmed for this year’s Roskilde Festival in Denmark.

Grinderman, the rock group formed by Nick Cave with Bad Seeds members Martyn Casey, Warren Ellis and Jim Sclavunos will be appearing, despite the recent release and forthcoming tour by Cave and the Bad Seeds supporting recent album release Dig Lazurus Dig.

British electropop band Hot Chip are also set to play the Danish Festival from July 3-6, with the famous Roskilde campsites opening from June 29.

The new additions join Neil Young, Radiohead, My Bloody Valentine and Band Of Horses on the festival bill.

More line-up and ticket details are available from: www.roskilde-festival.dk

www.roskilde-festival.dk

Joan As Police Woman: “To Survive”

John Mulvey
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Joan Wasser has, for a long time, been in the periphery of my vision: I remember catching The Dambuilders by chance at CBGB’s on a bill with Teenage Fanclub and Madder Rose; a presence with violin in both The Johnsons and in Rufus Wainwright’s band; a member of Dave Shouse’s excellent post-Gri...

Joan Wasser has, for a long time, been in the periphery of my vision: I remember catching The Dambuilders by chance at CBGB’s on a bill with Teenage Fanclub and Madder Rose; a presence with violin in both The Johnsons and in Rufus Wainwright’s band; a member of Dave Shouse’s excellent post-Grifters project, Those Bastard Souls.

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