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Q&A: Editor’s Tom Smith

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Q&A: Editor’s Tom Smith

UNCUT: There are a lot of songs about death on this album… Tom Smith: A few things have happened to me over the last couple of years that have made me feel closer to it than I ever have before. But it’s kind of colliding with warmth and love on this record. We tried to touch on death in a way that wasn’t totally morbid. U:What was the recording process like? TS: We had built up confidence from touring for the last 20 months, so we weren’t afraid of trying new things – be it piano, acoustic guitar, strings. It wasn’t that we had this idea to make a huge-sounding record, it just kind of happened that way. U: Any sophomore-album jitters? TS: Not really. I think we would have, had it not been a happy experience. But we never felt like we were taking the songs where they shouldn’t go. We just try to make music that gives us a buzz and makes the hairs on the back of our necks raise, and I think that as long as we’re still doing that, it’ll be all right.

UNCUT: There are a lot of songs about death on this album…

Tom Smith: A few things have happened to me over the last couple of years that have made me feel closer to it than I ever have before. But it’s kind of colliding with warmth and love on this record. We tried to touch on death in a way that wasn’t totally morbid.

U:What was the recording process like?

TS: We had built up confidence from touring for the last 20 months, so we weren’t afraid of trying new things – be it piano, acoustic guitar, strings. It wasn’t that we had this idea to make a huge-sounding record, it just kind of happened that way.

U: Any sophomore-album jitters?

TS: Not really. I think we would have, had it not been a happy experience. But we never felt like we were taking the songs where they shouldn’t go. We just try to make music that gives us a buzz and makes the hairs on the back of our necks raise, and I think that as long as we’re still doing that, it’ll be all right.

Editors – An End Has A Start

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Editors – An End Has A Start

The age-old sophomore album dilemma is perhaps most difficult for bands that have made extremely distinctive-sounding debuts: When such strong stylistic earmarks have been established, how to evolve without abandoning them? Editors defined themselves with the twitchy bass lines and lugubrious vocals of last year’s The Back Room as a band whose debt to Joy Division was no secret, but who carved out their own little corner of the gloom-rock dancefloor. They made sure that no matter how cavernous the dread they conjured up, their lyrics conveyed a certain optimistic sweetness, as if they were extending a reassuring hand in the dark. An End Has A Start is no different in that sense, but Editors’ signature clamor is notably more expansive. Avoiding the ponderous repetition that dragged down songs like “Bullets” on the first record, they concoct a gentler, dreamier atmosphere with less apparent anxiety, and create a shadowy veil of sadness, shot through with hopeful transcendence. On the lovely “Bones,” “Smokers At the Hospital Doors,” and “When Anger Shows,” it works particularly well. Here, the graveyard murk is lifted by ghostly, anthemic synths and Tom Smith’s pleading vocals (“These dreams I can’t make sense of /I just need you to tell me it’s OK”). The band’s allure is predicated to a large extent upon Smith’s sonorous voice, and on An End Has A Start he sounds both tender and vaguely bored, as if he doesn’t always entirely believe his own platitudes, but he’s still going to do his best to shepherd the rest of us into a place of comfort. At times, though - as in “Push Your Head Towards the Air” and “Well Worn Hand” - he gives in to the fear, and these piano-and-voice-based numbers, almost hymn-like in their simplicity, work particularly well. When Editors go straight for the heart, often they strike their truest, and most resonant, chord. APRIL LONG

The age-old sophomore album dilemma is perhaps most difficult for bands that have made extremely distinctive-sounding debuts: When such strong stylistic earmarks have been established, how to evolve without abandoning them?

Editors defined themselves with the twitchy bass lines and lugubrious vocals of last year’s The Back Room as a band whose debt to Joy Division was no secret, but who carved out their own little corner of the gloom-rock dancefloor. They made sure that no matter how cavernous the dread they conjured up, their lyrics conveyed a certain optimistic sweetness, as if they were extending a reassuring hand in the dark.

An End Has A Start is no different in that sense, but Editors’ signature clamor is notably more expansive. Avoiding the ponderous repetition that dragged down songs like “Bullets” on the first record, they concoct a gentler, dreamier atmosphere with less apparent anxiety, and create a shadowy veil of sadness, shot through with hopeful transcendence.

On the lovely “Bones,” “Smokers At the Hospital Doors,” and “When Anger Shows,” it works particularly well. Here, the graveyard murk is lifted by ghostly, anthemic synths and Tom Smith’s pleading vocals (“These dreams I can’t make sense of /I just need you to tell me it’s OK”).

The band’s allure is predicated to a large extent upon Smith’s sonorous voice, and on An End Has A Start he sounds both tender and vaguely bored, as if he doesn’t always entirely believe his own platitudes, but he’s still going to do his best to shepherd the rest of us into a place of comfort.

At times, though – as in “Push Your Head Towards the Air” and “Well Worn Hand” – he gives in to the fear, and these piano-and-voice-based numbers, almost hymn-like in their simplicity, work particularly well. When Editors go straight for the heart, often they strike their truest, and most resonant, chord.

APRIL LONG

Ryan Adams – Easy Tiger

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Ryan Adams – Easy Tiger

By his own prolific standards, Ryan Adams has been strangely quiet of late. Since the drowsy 29, a weak finale to the flurry that sired Cold Roses and Jacksonville City Nights in 2005, he appears to have eased down almost completely. There were clearly things that needed shaking from the system. Continuing to plant soul and hip-hop oddments on his website (under the various guises of DJ Reggie, Were Wolph and Rhoda Rho), he hasn’t exactly been kicking his heels, but it’s his interim work with others that seems to have the biggest influence on Easy Tiger. Having chummed up with the Grateful Dead’s Phil Lesh, Adams also produced Willie Nelson’s Songbird last year. And here, both influences are evident from the off. Opener "Goodnight Rose" – recently stretched to eight-and-a-half glorious minutes on US TV’s The Henry Rollins Show – could be Nelson trembling through a turn-of-the-‘70s Dead tune. The same goes for "Tears Of Gold", another beauty, set to pedal steel. And though Adams mined the Dead’s "Truckin’" on 29’s title track, he now seems to know where to take it. But the real triumph of Easy Tiger is less rooted in the sound, more in the attitude. With the unfussy production of Jamie Candiloro (engineer of Rock And Roll), the newly sober, cleaned-up Adams appears more at ease in his own skin, soothing himself into these thirteen songs rather than straining hard. "Rip Off", for instance, with its lovely mandolins and gentle guitar, is as careworn and rumpled as anything by John Prine. FM juggernaut and recent live favourite "Halloweenhead" is about as rocking as it gets. With the Cardinals back on board (drummer Brad Pemberton, bassist Chris Feinstein, steel player Jon Graboff and guitarist Neal Casal), Easy Tiger feels like a more assured follow-up to the countrified Cold Roses. All in all, a break seems to have done Ryan Adams the power of good. Shrewdly edited, filled with good judgement, this is simply great work, from a rejuvenated musician ROB HUGHES Pic credit: Neal Casal

By his own prolific standards, Ryan Adams has been strangely quiet of late. Since the drowsy 29, a weak finale to the flurry that sired Cold Roses and Jacksonville City Nights in 2005, he appears to have eased down almost completely.

There were clearly things that needed shaking from the system. Continuing to plant soul and hip-hop oddments on his website (under the various guises of DJ Reggie, Were Wolph and Rhoda Rho), he hasn’t exactly been kicking his heels, but it’s his interim work with others that seems to have the biggest influence on Easy Tiger.

Having chummed up with the Grateful Dead’s Phil Lesh, Adams also produced Willie Nelson’s Songbird last year. And here, both influences are evident from the off. Opener “Goodnight Rose” – recently stretched to eight-and-a-half glorious minutes on US TV’s The Henry Rollins Show – could be Nelson trembling through a turn-of-the-‘70s Dead tune. The same goes for “Tears Of Gold”, another beauty, set to pedal steel. And though Adams mined the Dead’s “Truckin’” on 29’s title track, he now seems to know where to take it.

But the real triumph of Easy Tiger is less rooted in the sound, more in the attitude. With the unfussy production of Jamie Candiloro (engineer of Rock And Roll), the newly sober, cleaned-up Adams appears more at ease in his own skin, soothing himself into these thirteen songs rather than straining hard.

“Rip Off”, for instance, with its lovely mandolins and gentle guitar, is as careworn and rumpled as anything by John Prine. FM juggernaut and recent live favourite “Halloweenhead” is about as rocking as it gets. With the Cardinals back on board (drummer Brad Pemberton, bassist Chris Feinstein, steel player Jon Graboff and guitarist Neal Casal), Easy Tiger feels like a more assured follow-up to the countrified Cold Roses.

All in all, a break seems to have done Ryan Adams the power of good. Shrewdly edited, filled with good judgement, this is simply great work, from a rejuvenated musician

ROB HUGHES

Pic credit: Neal Casal

Justice – †

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Justice – †

Justice are Gaspard Augé and Xavier de Rosnay, two Parisian producers who first made waves back in 2003 with a remix of Simian’s “Never Be Alone”. Comparisons with Daft Punk are not entirely lazy – not only are Justice keen students of their Parisian countrymen's muscular energy and pneumatic bounce, they also share a manager in Ed Banger owner Pedro Winter. If anything, mind, the young turks might just have the edge. “Waters Of Nazareth” yawns like a car crusher, mashing hip-hop, electro and funk into gleaming slabs of sound, while “D.A.N.C.E” displays a lighter touch, channelling Chic disco in a whirl of sugary keyboards and euphoric violin stabs. LOUIS PATTISON

Justice are Gaspard Augé and Xavier de Rosnay, two Parisian producers who first made waves back in 2003 with a remix of Simian’s “Never Be Alone”.

Comparisons with Daft Punk are not entirely lazy – not only are Justice keen students of their Parisian countrymen’s muscular energy and pneumatic bounce, they also share a manager in Ed Banger owner Pedro Winter.

If anything, mind, the young turks might just have the edge. “Waters Of Nazareth” yawns like a car crusher, mashing hip-hop, electro and funk into gleaming slabs of sound, while “D.A.N.C.E” displays a lighter touch, channelling Chic disco in a whirl of sugary keyboards and euphoric violin stabs.

LOUIS PATTISON

Sonic Youth revisited

John Mulvey
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Apologies for the lack of blogging action these past couple of days. I have a stack of excuses - perilous deadlines, aborted radio interviews, leaving the Super Furry Animals album at home, that sort of thing, as if you care. I'll try and write something about Super Furry Animals' "Hey Venus" in the next couple of days, as well as Richard Hawley, Caribou, Rilo Kiley, that Jason Isbell record I've been meaning to do something about for a month, and so on. I guess I could write something about the lovely Congolese soukous band I saw at Stokefest in North London on Sunday, while chasing my son up and down a double decker bus with a bar in it. Today, though, I've been reacquainting myself with Sonic Youth's "Daydream Nation". "Daydream Nation" was a mighty important record for me as a student, along with "Sister"; I suppose it was the music that introduced me to the possibilities of noise, of how a song can be stretched into exhilarating and fractious new shapes. Sonic Youth are one of those bands who don't just make magnificent music themselves (their last three albums prove they're still doing just that), but act as a kind of portal to so much more outre sound. The cover art also got me hooked on Gerhardt Richter, by the by. This deluxe CD reissue of "Daydream Nation" that's just turned up sounds, I'm pleased to say, just as vital as it did 19 years ago. It's one of my favourite records, but it can still surprise me: that "Teen Age Riot" remains as good an album opening as I've ever heard is no shock, but today we were all bowled over by "Rain King", not one of the tracks I've usually privileged. And there's the paciness of it all. I always think, probably lazily, of "Daydream Nation" as a luxuriant, gradually unravelling suite of songs, as the point where the downtown punk kids started jamming and drifting off. But actually, there's a fairly relentless propulsion to it all, not just in the linear precision of those meshed guitars, but in the drumming of Steve Shelley. For all his intricate little tumbles, he's still hammering away at near-hardcore pace for much of the set. And, for that matter, throughout the live versions which make up much of Disc 2. Compared with some of the previous Youth reissues, the absence of lost songs is a disappointment: a Lee Ranaldo demo of "Eric's Trip" is about it. The live versions, though, make those forthcoming live performances of the album seem incredibly tantalising. And there's also a bunch of cover versions culled from various comps and singles. I'd never heard their take on Captain Beefheart's "Electricity" before, but it illustrates one of the great secrets of Sonic Youth: if they hadn't been so busy making transcendent avant-rock, they'd have been a fucking marvellous garage band.

Apologies for the lack of blogging action these past couple of days. I have a stack of excuses – perilous deadlines, aborted radio interviews, leaving the Super Furry Animals album at home, that sort of thing, as if you care. I’ll try and write something about Super Furry Animals’ “Hey Venus” in the next couple of days, as well as Richard Hawley, Caribou, Rilo Kiley, that Jason Isbell record I’ve been meaning to do something about for a month, and so on.

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Brett Anderson To Play Special Acoustic Gig

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Brett Anderson To Play Special Acoustic Gig

Brett Anderson is to perform a special acoustic show next month, coinciding with the release of his new five track EP "Back To You." The "Acoustic evening with Brett Anderson takes place in the lush surrounds of Islington's Union Chapel on July 19, just after the release of his new Drowned In Sound label recording. The EP released just prior to the gig at the Chapel on July 9 will feature four acoustic reworkings of tracks from the former Suede frontman's recent debut solo album. The tracks are: 1. Back To You 2. Ebony 3. Infinite Kiss 4. Love Is Dead 5. Song For My Father More info available from Brett Anderson's official website here

Brett Anderson is to perform a special acoustic show next month, coinciding with the release of his new five track EP “Back To You.”

The “Acoustic evening with Brett Anderson takes place in the lush surrounds of Islington’s Union Chapel on July 19, just after the release of his new Drowned In Sound label recording.

The EP released just prior to the gig at the Chapel on July 9 will feature four acoustic reworkings of tracks from the former Suede frontman’s recent debut solo album.

The tracks are:

1. Back To You

2. Ebony

3. Infinite Kiss

4. Love Is Dead

5. Song For My Father

More info available from Brett Anderson’s official website here

Klaxons On The Road Again

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Klaxons On The Road Again

Klaxons have announced a new UK tour, to start in November, and fans will get the chance to get hold of tickets in a special pre-sale starting tomorrow (June 13). Having just completed a sell-out tour of the UK and US in the last two months, the band are currently filling up radio airwaves with imminent single "Not Over Yet" - their guitar version of the '95 Oakenfold/Grace house anthem. Tickets for the last UK your sold-out within hours, but Klaxons.net here will host a pre-sale for the Autumn tour, from tomorrow at 9am. General sale begins on Friday (June 15) at 9am through usual ticket outlets. Bring your glo-sticks to the following venues: Manchester, Apollo (November 26) Edinburgh, Corn Exchange (27) Newcastle, Academy (28) Southampton, Guildhall (30) Leeds, University (December 1) Cardiff, University (2) Birmingham, Academy (4) London, Brixton Academy (5)

Klaxons have announced a new UK tour, to start in November, and fans will get the chance to get hold of tickets in a special pre-sale starting tomorrow (June 13).

Having just completed a sell-out tour of the UK and US in the last two months, the band are currently filling up radio airwaves with imminent single “Not Over Yet” – their guitar version of the ’95 Oakenfold/Grace house anthem.

Tickets for the last UK your sold-out within hours, but Klaxons.net here will host a pre-sale for the Autumn tour, from tomorrow at 9am.

General sale begins on Friday (June 15) at 9am through usual ticket outlets.

Bring your glo-sticks to the following venues:

Manchester, Apollo (November 26)

Edinburgh, Corn Exchange (27)

Newcastle, Academy (28)

Southampton, Guildhall (30)

Leeds, University (December 1)

Cardiff, University (2)

Birmingham, Academy (4)

London, Brixton Academy (5)

The White Stripes To Blitz Canada This Month

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The White Stripes To Blitz Canada This Month

The White Stripes are to embark on a 21 date tour of Canada and the US, starting next week (June 24). The duo who have just released their sixth album "Icky Thump" to universal acclaim kick off their whirlwind tour in Burnaby, Canada on June 24 and finish up in Minnesota on July 31. Support on all dates comes from Alabama rockabily musician Dan Sartain, after Jack White personally invited him on the tour. The singer who has previously worked with White Stripes' producer Liam Watson for his "Join Dan Sartain" album, impressed Jack White at a last minute show in Nashville recently. The White Stripes play the following venues: Burnaby, Canada (June 24) Calgary, AB (29) Edmonton, AB (30) Saskatoon, SK (July 1) Winnipeg, MB (2) Thunder Bay, ONT (3) Toronto, ONT (5) Montreal, QC (6) London, ONT (7) Moncton, NB (10) Charlottetown, PEN (11) Halifax, NS (13) Glacier Bay, NS (14) St Johns, NF (16) Portland, MAINE (22) Boston, MA (23) Wallingford, CT (25) Wilmington, CT (27) North Myrtle Beach, SC (29) Birmingham, AL (30) Southaven, MS (31)

The White Stripes are to embark on a 21 date tour of Canada and the US, starting next week (June 24).

The duo who have just released their sixth album “Icky Thump” to universal acclaim kick off their whirlwind tour in Burnaby, Canada on June 24 and finish up in Minnesota on July 31.

Support on all dates comes from Alabama rockabily musician Dan Sartain, after Jack White personally invited him on the tour.

The singer who has previously worked with White Stripes’ producer Liam Watson for his “Join Dan Sartain” album, impressed Jack White at a last minute show in Nashville recently.

The White Stripes play the following venues:

Burnaby, Canada (June 24)

Calgary, AB (29)

Edmonton, AB (30)

Saskatoon, SK (July 1)

Winnipeg, MB (2)

Thunder Bay, ONT (3)

Toronto, ONT (5)

Montreal, QC (6)

London, ONT (7)

Moncton, NB (10)

Charlottetown, PEN (11)

Halifax, NS (13)

Glacier Bay, NS (14)

St Johns, NF (16)

Portland, MAINE (22)

Boston, MA (23)

Wallingford, CT (25)

Wilmington, CT (27)

North Myrtle Beach, SC (29)

Birmingham, AL (30)

Southaven, MS (31)

The Rolling Stones Live At The Isle Of Wight Festival

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The Rolling Stones Live At The Isle Of Wight Festival

The Rolling Stones Isle Of Wight Festival 10 June 2007   The last time the Rolling Stones played a UK festival – Knebworth Fair in 1976 – there were no giant TV screens, no wristbands and no corporate hospitality. 31 years later, The Rolling Stones have rekindled their festival spirit at the Isle of Wight, although the surroundings couldn’t be more different from Knebworth. Today, the 60,000 capacity crowd are treated to the full Stones experience – the huge lightshow, those ubiquitous giant TV screens, and a specially adapted telescopic walkway running into the crowd. As they hit the stage, Keith cranking out the riff for "Start Me Up", the Stones are on fantastic form, pelting pell mell through "You Got Me Rocking", "Tumbling Dice" and "Rough Justice", thrilling the crowd in Seaclose Park, Jagger even providing a bit of light relief for the occasion. "This is exciting, we haven’t done a festival in years. I like this one – it’s very clean," he tells the crowd, before deadpanning his way through the weekend’s best bit of banter. "It’s very expensive too," he winks. "Two quid for a bottle of water! Four quid for a burger! Then a dog ate my dope!" Joining the band onstage are Paolo Nutini, who duets on "Love In Vain", and Amy Winehouse. Backstage gossip suggested the Stones had been calling her "the Madam" for refusing to rehearse with them, and when she does deliver a somewhat wayward version of The Temptations' "Ain't Too Proud To Beg" you can see their point. But it certainly adds a spontaneous air to tonight’s performance that gives the show a certain frisson. "Miss You", "(I Can't Get No) Satisfaction" and "Honky Tonk Women" are played at the end of their extended catwalk in the heart of the frenzied crowd, before the band return to the big stage for a finale of "Sympathy For The Devil", "Brown Sugar" and “"Jumping Jack Flash" that makes it feel like the Stones have actually missed this kind of show. The Isle of Wight might not have boasted the usual pristine qualities of their own shows, but having walked the festival tightrope and triumphed with a dangerous and dirty rock’n’roll show, you hope – expensive burger or not – they’ll be back. PAUL STOKES  Set list:   'Start Me Up' 'You Got Me Rocking' 'Rough Justice' 'Love In Vain' (with Paolo Nutini) 'Can't You Hear Me Knocking' 'Ain't Too Proud To Beg' (with Amy Winehouse) 'Tumbling Dice' 'Wanna Hold You' 'Slipping Away' 'Miss You' '(I Can't Get No) Satisfaction' 'Honky Tonk Women' 'Sympathy For The Devil' 'Brown Sugar' 'Jumping Jack Flash' Pic credit: Rex Features

The Rolling Stones

Isle Of Wight Festival

10 June 2007

 

The last time the Rolling Stones played a UK festival – Knebworth Fair in 1976 – there were no giant TV screens, no wristbands and no corporate hospitality. 31 years later, The Rolling Stones have rekindled their festival spirit at the Isle of Wight, although the surroundings couldn’t be more different from Knebworth.

Today, the 60,000 capacity crowd are treated to the full Stones experience – the huge lightshow, those ubiquitous giant TV screens, and a specially adapted telescopic walkway running into the crowd.

As they hit the stage, Keith cranking out the riff for “Start Me Up”, the Stones are on fantastic form, pelting pell mell through “You Got Me Rocking”, “Tumbling Dice” and “Rough Justice”, thrilling the crowd in Seaclose Park, Jagger even providing a bit of light relief for the occasion.

“This is exciting, we haven’t done a festival in years. I like this one – it’s very clean,” he tells the crowd, before deadpanning his way through the weekend’s best bit of banter. “It’s very expensive too,” he winks. “Two quid for a bottle of water! Four quid for a burger! Then a dog ate my dope!”

Joining the band onstage are Paolo Nutini, who duets on “Love In Vain”, and Amy Winehouse. Backstage gossip suggested the Stones had been calling her “the Madam” for refusing to rehearse with them, and when she does deliver a somewhat wayward version of The Temptations’ “Ain’t Too Proud To Beg” you can see their point. But it certainly adds a spontaneous air to tonight’s performance that gives the show a certain frisson.

“Miss You”, “(I Can’t Get No) Satisfaction” and “Honky Tonk Women” are played at the end of their extended catwalk in the heart of the frenzied crowd, before the band return to the big stage for a finale of “Sympathy For The Devil”, “Brown Sugar” and “”Jumping Jack Flash” that makes it feel like the Stones have actually missed this kind of show.

The Isle of Wight might not have boasted the usual pristine qualities of their own shows, but having walked the festival tightrope and triumphed with a dangerous and dirty rock’n’roll show, you hope – expensive burger or not – they’ll be back.

PAUL STOKES 

Set list:

 

‘Start Me Up’

‘You Got Me Rocking’

‘Rough Justice’

‘Love In Vain’ (with Paolo Nutini)

‘Can’t You Hear Me Knocking’

‘Ain’t Too Proud To Beg’ (with Amy Winehouse)

‘Tumbling Dice’

‘Wanna Hold You’

‘Slipping Away’

‘Miss You’

‘(I Can’t Get No) Satisfaction’

‘Honky Tonk Women’

‘Sympathy For The Devil’

‘Brown Sugar’

‘Jumping Jack Flash’

Pic credit: Rex Features

Jerry Lee Lewis, King Of Rock’N’Roll

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I’ve just finished reading Nick Tosches’ Hellfire, a jaw-dropping biography of Jerry Lee Lewis that is by common agreement the best book about rock’n’roll ever written. I’m reviewing it for next month’s Uncut, and can’t recommend it highly enough. http://www.youtube.com/watch?v=ifEc-RazQlY

I’ve just finished reading Nick Tosches’ Hellfire, a jaw-dropping biography of Jerry Lee Lewis that is by common agreement the best book about rock’n’roll ever written. I’m reviewing it for next month’s Uncut, and can’t recommend it highly enough.

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Richard & Linda Thompson, and a bit more Robert Wyatt

John Mulvey
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Been a bit distracted today, as I've been engaged in a Sisyphean task to try and compile all the catalogue numbers of the Factory label, including the cat, Rob Gretton's dental work and so on. Further to my Robert Wyatt review yesterday, I now have a fraction more info to flesh out my impressions. Fairly unsurprisingly, guest players include Eno, Phil Manzanera and Paul Weller, who've all figured on the last couple of Wyatt albums, if memory serves. The other thing I've gleaned is that "Comicopera" is split into three "acts": "Lost In Noise" (vaguely romantic), "The Here And The Now" (vaguely political) and "Away With The Fairies" (largely Spanish). I haven't had a chance to play "Comicopera" today to check all this out, so I'll try and report back again on this engrossing record. I've just finished listening to a Richard & Linda Thompson live album from November 1975, never released at the time, which is set to come out in August, I think. Unsurprisingly, it's terrific, drawing on their first three duo albums for most of the material. One of my favourite Richard songs, "The Calvary Cross", stretches out to 14 minutes of wracked soloing, and it's almost matched by an 11-minute version of "Night Comes In". For the most part, though, the tone is one of nervy jauntiness: an accordian player (John Kirkpatrick, I imagine) is all over everything here - so much so, you occasionally wish he'd ease off and give Richard some space. There's also a version of "Now Be Thankful", one of Richard's last Fairport Convention songs, given a new dimension by Linda's lead. It's at times like this that I wonder whether, of all the British folk singers who emerged in the late '60s and early '70s, she might be my favourite. It's a kind of forceful economy which she has, a sense of passion which never strays into either sentimentality or folksy cliche. I saw her sing a few years ago, at a great Festival Hall show that was effectively a jam session featuring Rufus Wainwright, his sister Martha, the McGarrigles and sundry relatives, folk brats and fellow travellers, and her voice hadn't changed at all. Rumour has it she has a new solo album due later this year. I'll keep you posted when I hear more. And also, there's reportedly a deluxe (whatever that means) version of "Liege And Lief" on the way. Not sure if anything new will fetch up there, but we'll soon see, hopefully.

Been a bit distracted today, as I’ve been engaged in a Sisyphean task to try and compile all the catalogue numbers of the Factory label, including the cat, Rob Gretton’s dental work and so on. Further to my Robert Wyatt review yesterday, I now have a fraction more info to flesh out my impressions.

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Ryan Adams Premieres New Material In London

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Ryan Adams Premieres New Material In London

Supporting his forthcoming album, "Easy Tiger", Ryan Adams and his backing band The Cardinals, played in a sold out venue in Camden last night (June 7). Ryan Adams had initially planned to unveil his ninth album, out June 25, in Stonehenge, but due to the potential safety risk he rescheduled to play in Koko and at Manchester University. In a set that lasted a little over an hour, Adams sang, “Two”, “Rip-Off” and “I Taught Myself How To Grow Old” from his new album and the crowd pleasers “My Winding Wheel” and “Goodnight Hollywood Blvd”. Following his interview in the latest Uncut issue, Adams said: “I’m not interested in making solo records…I’m into being in a band,” and he certainly took on that role, playing a stripped down gig where he swapped the guitar for Ray-Ban sunglasses while he sat on level with the Cardinals. The full set list was: Games Omg Blue Hotel Sun Also Nightbirds I Taught Myself Carolina Rain Dear John Pearls Goodnight hblvd Rip Off How Do You Keep Two I See Monsters Starlite Diner Let It Ride Listen to a taster of the new tracks up on Adams' Myspace page here

Supporting his forthcoming album, “Easy Tiger”, Ryan Adams and his backing band The Cardinals, played in a sold out venue in Camden last night (June 7).

Ryan Adams had initially planned to unveil his ninth album, out June 25, in Stonehenge, but due to the potential safety risk he rescheduled to play in Koko and at Manchester University.

In a set that lasted a little over an hour, Adams sang, “Two”, “Rip-Off” and “I Taught Myself How To Grow Old” from his new album and the crowd pleasers “My Winding Wheel” and “Goodnight Hollywood Blvd”.

Following his interview in the latest Uncut issue, Adams said: “I’m not interested in making solo records…I’m into being in a band,” and he certainly took on that role, playing a stripped down gig where he swapped the guitar for Ray-Ban sunglasses while he sat on level with the Cardinals.

The full set list was:

Games

Omg

Blue Hotel

Sun Also

Nightbirds

I Taught Myself

Carolina Rain

Dear John

Pearls

Goodnight hblvd

Rip Off

How Do You Keep

Two

I See Monsters

Starlite Diner

Let It Ride

Listen to a taster of the new tracks up on Adams’ Myspace page here

Paul McCartney – Live At The Electric Ballroom

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Paul McCartney – Live At The Electric Ballroom

Paul McCartney Electric Ballroom, London Thursday, June 8, 2007 “It’s a long time we did a gig like this,” says McCartney part way through tonight’s not-so secret gig, and you’d imagine even the most devoted Beatles’ scholar would be hard pressed to recall the last time Macca played a venue with the word “Ballroom” in the title – let alone any venue with a capacity of a 1,000. Certainly, the last time Macca played the UK was when he headlined Glastonbury in 2004. Tonight, then, is clearly something of an event, and though ostensibly part of the promotion for his new album, Memory Almost Full (his first rock record since 2005’s Chaos And Creation In The Backyard), he engages enthusiastically with his bejewelled back catalogue, playing no less than 10 Beatles’ songs. The audience comprises competition winners and fan club members, though the balcony is packed with celebrities, presumably rattling their jewellery by way of appreciation. Dressed in a long-sleeved grey t-shirt and dark trousers, and flanked by a band who look like their auditioning for a reality TV show to be the next Razorlight, Macca arrives on stage at 8.30 sharp and plays for almost two hours. It’s fantastic, almost surreal, to see him playing such a small venue, performing “Drive My Car”, “The Long And Winding Road”, “Back In The USSR” (complete with aeroplane sound effects) and “Let It Be”. More than, say, Dylan and the Stones, his songs are hardwired into our genetic make-up – children are born able to sing along to “Hey Jude” – and to hear them in a venue of such relative intimacy by the standard of usual Macca gigs connects us directly to some kind of etheric record, the public consciousness. There’s no point – and, indeed, why should he? – for Macca to try to escape the shadow of The Beatles, and on “That Was Me,” he sings almost incredulously about “sweating cobwebs under contract/In the celllar/On TV/That was me… [It’s] pretty hard to take it in.” Introducing “I’ll Follow The Sun”, from Beatles For Sale, he remembers “writing this in a house… that’s now a National Heritage thing.” After a heart-stopping version of “Blackbird”, he dedicates “Here Today”, from Tug Of Love, to “John, George and Linda.” Between songs, his banter occasionally become cringe-worthy, whether it be the faux Jamaican patois into which he frequently lapses, a daft explanation of how Camden got its name, or doing bad impressions of Harry Enfield’s Scousers. The final leg features a blistering cover of Carl Perkins’ “Matchbox”, “Get Back” and “Hey Jude”, the latter becoming both the end of the main set and the start of the encore, only a heartless churl incapable of being swept along with the “Na na na na na na na” chorus. “Let It Be” is followed by “Lady Madonna,” and he closes with “I Saw Her Standing There”, indelibly and magnificently locating us back to 1963, at the birth of everything. MICHAEL BONNER Full set list: 'Drive My Car' 'Only Mama Knows' 'Dance Tonight' 'C Moon' 'The Long And Winding Road' 'I'll Follow The Sun' 'Calico Skies' 'That Was Me' 'Blackbird' 'Here Today' 'Back In The USSR' 'Nod Your Head' 'House Of Wax' 'I've Got A Feeling' 'Matchbox' 'Get Back' 'Hey Jude' 'Let It Be' 'Lady Madonna' 'I Saw Her Standing There' Pic credit: Rex Features

Paul McCartney

Electric Ballroom, London

Thursday, June 8, 2007

“It’s a long time we did a gig like this,” says McCartney part way through tonight’s not-so secret gig, and you’d imagine even the most devoted Beatles’ scholar would be hard pressed to recall the last time Macca played a venue with the word “Ballroom” in the title – let alone any venue with a capacity of a 1,000.

Certainly, the last time Macca played the UK was when he headlined Glastonbury in 2004. Tonight, then, is clearly something of an event, and though ostensibly part of the promotion for his new album, Memory Almost Full (his first rock record since 2005’s Chaos And Creation In The Backyard), he engages enthusiastically with his bejewelled back catalogue, playing no less than 10 Beatles’ songs. The audience comprises competition winners and fan club members, though the balcony is packed with celebrities, presumably rattling their jewellery by way of appreciation.

Dressed in a long-sleeved grey t-shirt and dark trousers, and flanked by a band who look like their auditioning for a reality TV show to be the next Razorlight, Macca arrives on stage at 8.30 sharp and plays for almost two hours. It’s fantastic, almost surreal, to see him playing such a small venue, performing “Drive My Car”, “The Long And Winding Road”, “Back In The USSR” (complete with aeroplane sound effects) and “Let It Be”. More than, say, Dylan and the Stones, his songs are hardwired into our genetic make-up – children are born able to sing along to “Hey Jude” – and to hear them in a venue of such relative intimacy by the standard of usual Macca gigs connects us directly to some kind of etheric record, the public consciousness.

There’s no point – and, indeed, why should he? – for Macca to try to escape the shadow of The Beatles, and on “That Was Me,” he sings almost incredulously about “sweating cobwebs under contract/In the celllar/On TV/That was me… [It’s] pretty hard to take it in.” Introducing “I’ll Follow The Sun”, from Beatles For Sale, he remembers “writing this in a house… that’s now a National Heritage thing.” After a heart-stopping version of “Blackbird”, he dedicates “Here Today”, from Tug Of Love, to “John, George and Linda.”

Between songs, his banter occasionally become cringe-worthy, whether it be the faux Jamaican patois into which he frequently lapses, a daft explanation of how Camden got its name, or doing bad impressions of Harry Enfield’s Scousers.

The final leg features a blistering cover of Carl Perkins’ “Matchbox”, “Get Back” and “Hey Jude”, the latter becoming both the end of the main set and the start of the encore, only a heartless churl incapable of being swept along with the “Na na na na na na na” chorus. “Let It Be” is followed by “Lady Madonna,” and he closes with “I Saw Her Standing There”, indelibly and magnificently locating us back to 1963, at the birth of everything.

MICHAEL BONNER

Full set list:

‘Drive My Car’

‘Only Mama Knows’

‘Dance Tonight’

‘C Moon’

‘The Long And Winding Road’

‘I’ll Follow The Sun’

‘Calico Skies’

‘That Was Me’

‘Blackbird’

‘Here Today’

‘Back In The USSR’

‘Nod Your Head’

‘House Of Wax’

‘I’ve Got A Feeling’

‘Matchbox’

‘Get Back’

‘Hey Jude’

‘Let It Be’

‘Lady Madonna’

‘I Saw Her Standing There’

Pic credit: Rex Features

Wilco Issue Defence Over VW Ad Music

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Wilco Issue Defence Over VW Ad Music

Illinois alt.rockers Wilco have responded to criticism from some of their fans over the use of material from new album "Sky Blue Sky" being used in Volkswagen commercials. Fans have said that the band have 'sold-out' to allow their music to be used in this way, but Jeff Tweedy and co have defended themselves with a lengthy letter on their official website, saying adverts are merely a way of gaining exposure. The full statement is as follows: "As many of you are aware, Volkswagen has recently begun running a series of TV commercials featuring Wilco music. Why? This is a subject we've discussed internally many times over the years regarding movies, TV shows and even the odd advertisement. With the commercial radio airplay route getting more difficult for many bands (including Wilco); we see this as another way to get the music out there. As with most of the above (with the debatable exception of radio) the band gets paid for this. And we feel okay about VWs. Several of us even drive them. If you're keeping track, this is not the first time Wilco has licensed a song to or even been involved in a commercial - most recently a TV spot for Telefonica Mobile in Spain used a Wilco song and some years prior Jeff Tweedy appeared in a campaign for Apple Computer. Wilco have licensed hundreds of songs to television shows and films worldwide... from festival-only indie films to major motion pictures and weekly TV shows. Thus far the songs in the VW campaign are 'The Thanks I Get' (a bonus track from Sky Blue Sky sessions, available for download via the Enhanced CD and via iTunes) and 'You Are My Face'. We expect to have more details re: other songs shortly. The current plan (subject to change, like everything) is for 5 or 6 songs to be used. That's it. Don't believe everything you read unless you read it here". For uptodate Wilco tour news and to hear archive sessions, go here for wilcoworld.net

Illinois alt.rockers Wilco have responded to criticism from some of their fans over the use of material from new album “Sky Blue Sky” being used in Volkswagen commercials.

Fans have said that the band have ‘sold-out’ to allow their music to be used in this way, but Jeff Tweedy and co have defended themselves with a lengthy letter on their official website, saying adverts are merely a way of gaining exposure.

The full statement is as follows:

“As many of you are aware, Volkswagen has recently begun running a series of TV commercials featuring Wilco music. Why? This is a subject we’ve discussed internally many times over the years regarding movies, TV shows and even the odd advertisement. With the commercial radio airplay route getting more difficult for many bands (including Wilco); we see this as another way to get the music out there. As with most of the above (with the debatable exception of radio) the band gets paid for this. And we feel okay about VWs. Several of us even drive them.

If you’re keeping track, this is not the first time Wilco has licensed a song to or even been involved in a commercial – most recently a TV spot for Telefonica Mobile in Spain used a Wilco song and some years prior Jeff Tweedy appeared in a campaign for Apple Computer. Wilco have licensed hundreds of songs to television shows and films worldwide… from festival-only indie films to major motion pictures and weekly TV shows.

Thus far the songs in the VW campaign are ‘The Thanks I Get’ (a bonus track from Sky Blue Sky sessions, available for download via the Enhanced CD and via iTunes) and ‘You Are My Face’. We expect to have more details re: other songs shortly. The current plan (subject to change, like everything) is for 5 or 6 songs to be used. That’s it. Don’t believe everything you read unless you read it here”.

For uptodate Wilco tour news and to hear archive sessions, go here for wilcoworld.net

Weller And Eno Guest On New Robert Wyatt LP

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Weller And Eno Guest On New Robert Wyatt LP

Details about the new Robert Wyatt album "Comicopera" have been released. The former Soft Machine member and revered musician has finished recording and self-producing the follow-up to his Mercury Music Prize nominated "Cuckooland" and it features several guest artists across it's three 'acts.' Paul Weller, Brian Eno and Roxy Music's Phil Manzanera all appear on the new record, and Wyatt says he was aiming to capture the sound of the group together. He says: "Music isn't just an abstract pleasure, it is a company, when you play a record. Why I like Duke Ellington and Charles Mingus, the Big Bands -is because every character in the band is identifiable as that person - there's this group of humans in a room." "Comicopera" is divided into three acts- 'Lost In Noise', 'The Here And The Now', and 'Away With The Fairies'. The full tracklisting is as follows: Act One: Lost In Noise 1 Stay Tunes 2 Just As You Are 3 You You 4 A.W.O.L. 5 Anachronist Act Two: The Here And The Now 6 A Beautiful Peace 7 Be Serious 8 On The Town Square 9 Mob Rule 10 A Beautiful War 11 Out of The Blue Act Three: Away With The Fairies 12 Del Mondo 13 Cancion de Julieta 14 Pastafari 15 Fragment 16 Hasta Siempre The album is released through Domino on October 8. For further details go to Domino's official label website here

Details about the new Robert Wyatt album “Comicopera” have been released.

The former Soft Machine member and revered musician has finished recording and self-producing the follow-up to his Mercury Music Prize nominated “Cuckooland” and it features several guest artists across it’s three ‘acts.’

Paul Weller, Brian Eno and Roxy Music’s Phil Manzanera all appear on the new record, and Wyatt says he was aiming to capture the sound of the group together.

He says: “Music isn’t just an abstract pleasure, it is a company, when you play a record. Why I like Duke Ellington and Charles Mingus, the Big Bands -is because every character in the band is identifiable as that person – there’s this group of humans in a room.”

“Comicopera” is divided into three acts- ‘Lost In Noise’, ‘The Here And The Now’, and ‘Away With The Fairies’.

The full tracklisting is as follows:

Act One: Lost In Noise

1 Stay Tunes

2 Just As You Are

3 You You

4 A.W.O.L.

5 Anachronist

Act Two: The Here And The Now

6 A Beautiful Peace

7 Be Serious

8 On The Town Square

9 Mob Rule

10 A Beautiful War

11 Out of The Blue

Act Three: Away With The Fairies

12 Del Mondo

13 Cancion de Julieta

14 Pastafari

15 Fragment

16 Hasta Siempre

The album is released through Domino on October 8.

For further details go to Domino’s official label website here

Jools Holland Headlines Cutty Sark Benefit

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Jools Holland Headlines Cutty Sark Benefit

Jools Holland is to headline a benefit gig to raise funds to restore the recently destroyed Cutty Sark in Greenwich. Accompanied by his Rhythm & Blues Orchestra, the musician and Greenwich local boy hopes the benefit will help towards the £25 milliion rebuild cost of the 19th century London landmark. The show on July 2 at new venue Indigo02 at the 02 Arena (formerly the Millennium Dome), will also see singers Lulu, Louise Marshall and Ruby Turner join Holland onstage. Tickets for the fundraiser are on sale now through the indigo2 website here

Jools Holland is to headline a benefit gig to raise funds to restore the recently destroyed Cutty Sark in Greenwich.

Accompanied by his Rhythm & Blues Orchestra, the musician and Greenwich local boy hopes the benefit will help towards the £25 milliion rebuild cost of the 19th century London landmark.

The show on July 2 at new venue Indigo02 at the 02 Arena (formerly the Millennium Dome), will also see singers Lulu, Louise Marshall and Ruby Turner join Holland onstage.

Tickets for the fundraiser are on sale now through the indigo2 website here

Babyshambles Confirm The View As Support

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Babyshambles Confirm The View As Support
Dundee based four piece The View have been confirmed to support Babyshambles on some of their arena dates in November. The band originally gained exposure early last year after impressing Pete Doherty with a busked set before a Babyshambles show in their hometown. The View will join Babyshambl...

Dundee based four piece The View have been confirmed to support Babyshambles on some of their arena dates in November.

The band originally gained exposure early last year after impressing Pete Doherty with a busked set before a Babyshambles show in their hometown.

The View will join Babyshambles at Birmingham NIA on November 28 and at Nottingham Arena on November 30.

More support acts for the Babyshambles tour are to be announced soon.
The tour will coincide with the release of the band’s new album, due for release in the Autumn.

The full dates are as follows:

Manchester MEN Arena (November 22)
Newcastle Metro Radio Arena (23)
Brighton Centre (25)
Bournemouth BIC (26)
Wembley Arena (27)
Birmingham NIA, with The View (28)
Nottingham Arena, with The View (30)
Glasgow SECC (December 1)

More information about the tour is available here from Babyshambles official website

Click here for more info on The View’s official website

The Chumscrubber

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The Chumscrubber

DIR: Arie Posin ST: Jamie Bell, Glenn Close, Ralph Fiennes Dean (Jamie Bell) visits his only friend in the world, Troy, but finds he's hanged himself. He doesn't tell anyone, because "nobody will care". Eventually, they do, but only because they want to force Dean to recover Troy's drugs stash. Dean's pop-psychologist father (William Fichtner) fills him to the eyeballs with medication, while his mother (Allison Janney) is herself too high to notice. In upper-class Hillside, California, both young and old are too doped-up or self-obsessed to realise there's mayhem going on in front of their chemically-numbed noses, ravaging their bland, safe "community". Somewhere between Donnie Darko and Desperate Housewives, Posin's debut is often funny and incisive, although every character is so whacked-out that it verges on the plain ludicrous. Its themes of dysfunctional families (parents as addled as teen kids) and communication breakdowns have been dealt with repeatedly before. In what you might call the school of American Beauty, The Squid And The Whale did this best and Thumbsucker did it most similarly to what's on view here. It's hard to like these cosseted narcissists. Yet an acidic script that goes to some shockingly dark corners and a who's-who of quality acting make this cynical cackle morbidly compelling. CHRIS ROBERTS You can watch the trailer for the movie here. Click on the links below: Windows Media - lo / hi

DIR: Arie Posin

ST: Jamie Bell, Glenn Close, Ralph Fiennes

Dean (Jamie Bell) visits his only friend in the world, Troy, but finds he’s hanged himself. He doesn’t tell anyone, because “nobody will care”. Eventually, they do, but only because they want to force Dean to recover Troy’s drugs stash. Dean’s pop-psychologist father (William Fichtner) fills him to the eyeballs with medication, while his mother (Allison Janney) is herself too high to notice. In upper-class Hillside, California, both young and old are too doped-up or self-obsessed to realise there’s mayhem going on in front of their chemically-numbed noses, ravaging their bland, safe “community”.

Somewhere between Donnie Darko and Desperate Housewives, Posin’s debut is often funny and incisive, although every character is so whacked-out that it verges on the plain ludicrous. Its themes of dysfunctional families (parents as addled as teen kids) and communication breakdowns have been dealt with repeatedly before.

In what you might call the school of American Beauty, The Squid And The Whale did this best and Thumbsucker did it most similarly to what’s on view here. It’s hard to like these cosseted narcissists. Yet an acidic script that goes to some shockingly dark corners and a who’s-who of quality acting make this cynical cackle morbidly compelling.

CHRIS ROBERTS

You can watch the trailer for the movie here. Click on the links below:

Windows Media –

lo / hi

The City Of Violence

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The City Of Violence

DIR: Ryoo Seung-Hwan ST: Jung Doo-Hong, Ryoo Seung-Hwan, Lee Beom-Soo With Die Bad and Crying Fist, Ryoo established himself as the Korean Tarantino - a director capable of adding artistic depth to action. If that comparison is accepted, The City of Violence is Ryoo's Kill Bill, a homage to the great Asian martial arts movies. In a film he wrote, produced, directed and stars in, Ryoo abandons plausibility in favour of style. The story concerns Tae-soo, a Seoul detective returning to his home town for the funeral of a childhood friend. Before long he's chasing shadows in the underworld, and re-examining his friendship with Jang Pil-ho (played with slimy intensity by comic actor Lee Beom-soo). But plot is nothing. With a soundtrack which flickers between Morricone-esque soundscapes and 70s funk, Ryoo's film is a ballet of gymnastic violence. It starts in top gear and thunders towards a beautifully- choreographed finale of daggers-drawn, swivelling feet and somersaults, which opens up like a Chinese box. Along the way there are split-screens and collapsing scaffolds, slow-mo hockey sticks and starbursts of sugar glass. It's kinetic and beautiful. But that's all. ALASTAIR McKAY

DIR: Ryoo Seung-Hwan

ST: Jung Doo-Hong, Ryoo Seung-Hwan, Lee Beom-Soo

With Die Bad and Crying Fist, Ryoo established himself as the Korean Tarantino – a director capable of adding artistic depth to action. If that comparison is accepted, The City of Violence is Ryoo’s Kill Bill, a homage to the great Asian martial arts movies. In a film he wrote, produced, directed and stars in, Ryoo abandons plausibility in favour of style.

The story concerns Tae-soo, a Seoul detective returning to his home town for the funeral of a childhood friend. Before long he’s chasing shadows in the underworld, and re-examining his friendship with Jang Pil-ho (played with slimy intensity by comic actor Lee Beom-soo). But plot is nothing.

With a soundtrack which flickers between Morricone-esque soundscapes and 70s funk, Ryoo’s film is a ballet of gymnastic violence. It starts in top gear and thunders towards a beautifully- choreographed finale of daggers-drawn, swivelling feet and somersaults, which opens up like a Chinese box. Along the way there are split-screens and collapsing scaffolds, slow-mo hockey sticks and starbursts of sugar glass.

It’s kinetic and beautiful. But that’s all.

ALASTAIR McKAY

Peter Gabriel Heralds Arrival Of Rock

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Peter Gabriel Heralds Arrival Of Rock

Peter Gabriel is to rock Cornwall's Eden Project this month, with a specially created concert on June 20, to unveil a giant oval stone sculpture. The 70-ton stone sculpture, called Seed, has been created by artist Peter Randall-Page and is thought to be one of the largest made from a single piece of stone. Gabriel, through his collective WOMAD has been a longtime supporter of the Eden Project, who stage shows there each year as part of the Eden Sessions, to raise money for the Eden Trust charity. Gabriel is also planning on creatively contributing to the designs of Eden's forthcoming development, The Edge. Gabriel previously performed on the Eden's stage as part of Live 8 two years ago - but this concert will be founder of Genesis' first full concert there. Tickets for the concert are now on sale now priced at £35. More information is available here from the Eden Project's official website

Peter Gabriel is to rock Cornwall’s Eden Project this month, with a specially created concert on June 20, to unveil a giant oval stone sculpture.

The 70-ton stone sculpture, called Seed, has been created by artist Peter Randall-Page and is thought to be one of the largest made from a single piece of stone.

Gabriel, through his collective WOMAD has been a longtime supporter of the Eden Project, who stage shows there each year as part of the Eden Sessions, to raise money for the Eden Trust charity.

Gabriel is also planning on creatively contributing to the designs of Eden’s forthcoming development, The Edge.

Gabriel previously performed on the Eden’s stage as part of Live 8 two years ago – but this concert will be founder of Genesis’ first full concert there.

Tickets for the concert are now on sale now priced at £35.

More information is available here from the Eden Project’s official website

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