end of the road

The Gallaghers gear up for the DVD of their road movie

Of course, I’d love to have been there, but since I wasn’t, here’s guest blogger Gavin Martin, on Bob Dylan’s return to Nashville. . .

Today: Jeff Buckley, 12 Bar, 1994

Trashy celebration of cars, chicks and slasher flicks

Flat real-life drama of US journalist's kidnap and killing, with Angelina Jolie

Muse, The Police and Arctic Monkeys scoop trophies from Vodaphone too

I went to see Atonement over the weekend -- and a very fine film it is, too -- and before the film started, the cinema showed trailers for Michael Winterbottom's A Mighty Heart and The Kingdom, produced by Michael Mann. These are Hollywood's latest attempts to engage with George Bush's misadventures in the Middle East and the fearsome War On Terror.

A while back, someone at Uncut pointed out to me that one of the words I overused when writing about music was “feral”. He was right, too: I’d got into a habit of using the term whenever the psychedelia and crypto-primitive folk jams that I listen to so much got a little wilder and smellier, became a bit more instinctual, or at least convincingly pretended to be instinctual.

Gross-out “coming-of-age” comedy of a certain genius

Apart from a few Beach Boys and Kosmische things I picked up in America in the early ‘90s, I’ve never been much of a bootleg collector; never had the time, I guess, with so much legitimately released music to get hooked on. As a consequence, my knowledge of Neil Young’s “Chrome Dreams” was limited to hazy memories from rush-reading Jimmy McDonough’s “Shakey” until news of “Chrome Dreams II” broke a few weeks ago.