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See Dylan Play Tambourine With The Byrds

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See Dylan Play Tambourine With The Byrds

Every day, we bring you the best thing we've seen on YouTube - a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows. Today: See live archive footage from the Roy Orbison Tribute concert in February 1990. Bob Dylan joins Roger McGuinn, Chris Hillman and David Crosby of The Byrds for a collaborative version of the 1965 hit “Mr Tambourine Man.” The song, written by Dylan for his album “Bringing It All Back Home” was a Billboard number 1 single for The Byrds in January 1965, prior to Dylan’s own single release the same year. You can hear McGuinn and Hillman talk about their 1965 LP “Mr Tambourine Man” and five other albums from The Byrds’ back catalogue in the latest issue of Uncut, available now. See the brilliant live footage by clicking here now

Every day, we bring you the best thing we’ve seen on YouTube – a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows.

Today: See live archive footage from the Roy Orbison Tribute concert in February 1990.

Bob Dylan joins Roger McGuinn, Chris Hillman and David Crosby of The Byrds for a collaborative version of the 1965 hit “Mr Tambourine Man.”

The song, written by Dylan for his album “Bringing It All Back Home” was a Billboard number 1 single for The Byrds in January 1965, prior to Dylan’s own single release the same year.

You can hear McGuinn and Hillman talk about their 1965 LP “Mr Tambourine Man” and five other albums from The Byrds’ back catalogue in the latest issue of Uncut, available now.

See the brilliant live footage by clicking here now

The Style Council – Our Favourite Shop: Deluxe Edition

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The Style Council – Our Favourite Shop: Deluxe Edition

Through the 1980s Paul Weller lived out the paradox at the heart of Mod, between being one of the lads and being a dandy. Having deserted the green parka ranks of the Jam Army, by 1985 you could find him alongside Mick Talbot on the cover of Our Favourite Shop, the second Style Council record proper, spiffed up in a suit and scally wedge, languidly browsing in a vintage gentlemen’s outfitters. But even here, at his most posed and pretentious, seemingly trying to instigate a revolt into style through French menswear, Italian coffee and the Isley Brothers’ Greatest Hits, he was calling, on the most politically forceful record of his career, for class solidarity in the face of Thatcherism. It was an issue that was close to home. After all, the audience with which Weller had such a love-hate affair – southern, suburban blokes with aspirations – was also the constituency courted most assiduously by the Tories. Our Favourite Shop is so riven by the contradictions of its times – between the shop floor and the shopping centre - that it’s fascinating even when it’s terrible. And frankly it doesn’t get much worse than “The Comedian’s Instructions”, a piece of spoken word Britfunk performed by Lenny Henry, skewering the profound political menace of Bernard Manning. Or the sledgehammer sarcasm of “All Gone Away”, a bitterly breezy bossa nova answer to “Club Tropicana”. The extra disc, incidentally, includes among sundry b-sides, the Miners’ benefit single, “Soul Deep”, credited to the Council Collective, which inadvertently makes “Wham! Rap” seem convincing. But when Our Favourite Shop dramatises rather than simply delivers slogans, it can be a powerful and even moving record. The slow-burning opener, “Homebreakers”, subtly inverts mod mythology, describing a family torn apart by the on-your-bike imperatives of the time, while “A Man of Great Promise” and “With Everything to Lose” are elegant, eloquent testaments to doomed youth. The Rigbyish strings of “A Stone’s Throw”, meanwhile, draw a pretty astute line between the anti-union police in South Yorkshire and the monetarist laboratory of Pinochet’s Chile. And on “Walls Come Tumbling Down”, Weller wrote a supreme piece of protest pop, finally making good on his Curtis Mayfield ambitions. The attempt to chart a third way between agit-prop and sleek New Pop was ultimately doomed to wind up in Red Wedge, the laboured attempt to deliver the youth vote to Kinnock in ‘87. But for a moment or two at least, The Style Council caught a rare balance. STEPHEN TROUSSÉ

Through the 1980s Paul Weller lived out the paradox at the heart of Mod, between being one of the lads and being a dandy. Having deserted the green parka ranks of the Jam Army, by 1985 you could find him alongside Mick Talbot on the cover of Our Favourite Shop, the second Style Council record proper, spiffed up in a suit and scally wedge, languidly browsing in a vintage gentlemen’s outfitters.

But even here, at his most posed and pretentious, seemingly trying to instigate a revolt into style through French menswear, Italian coffee and the Isley Brothers’ Greatest Hits, he was calling, on the most politically forceful record of his career, for class solidarity in the face of Thatcherism. It was an issue that was close to home. After all, the audience with which Weller had such a love-hate affair – southern, suburban blokes with aspirations – was also the constituency courted most assiduously by the Tories.

Our Favourite Shop is so riven by the contradictions of its times – between the shop floor and the shopping centre – that it’s fascinating even when it’s terrible. And frankly it doesn’t get much worse than “The Comedian’s Instructions”, a piece of spoken word Britfunk performed by Lenny Henry, skewering the profound political menace of Bernard Manning. Or the sledgehammer sarcasm of “All Gone Away”, a bitterly breezy bossa nova answer to “Club Tropicana”. The extra disc, incidentally, includes among sundry b-sides, the Miners’ benefit single, “Soul Deep”, credited to the Council Collective, which inadvertently makes “Wham! Rap” seem convincing.

But when Our Favourite Shop dramatises rather than simply delivers slogans, it can be a powerful and even moving record. The slow-burning opener, “Homebreakers”, subtly inverts mod mythology, describing a family torn apart by the on-your-bike imperatives of the time, while “A Man of Great Promise” and “With Everything to Lose” are elegant, eloquent testaments to doomed youth. The Rigbyish strings of “A Stone’s Throw”, meanwhile, draw a pretty astute line between the anti-union police in South Yorkshire and the monetarist laboratory of Pinochet’s Chile. And on “Walls Come Tumbling Down”, Weller wrote a supreme piece of protest pop, finally making good on his Curtis Mayfield ambitions.

The attempt to chart a third way between agit-prop and sleek New Pop was ultimately doomed to wind up in Red Wedge, the laboured attempt to deliver the youth vote to Kinnock in ‘87. But for a moment or two at least, The Style Council caught a rare balance.

STEPHEN TROUSSÉ

Lucinda Williams – West

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Lucinda Williams – West

Much is made of Lucinda Williams the writer, the poet of southern aches and pains. Time magazine called her “America’s Best Songwriter”, while The New Yorker devoted thousands of words to the testy perfectionism that delayed the release of 1998’s galvanising Car Wheels On a Gravel Road. The fact that Williams is the daughter of a (relatively) famous poet, Miller Williams, has always distinguished her from other Americana types on the Lost Highway of credible country rock. But the real key to Williams’ singularity is surely her singing. Or rather her phrasing, which is always close to conversational, and the way she shapes her vowel sounds, which suggest a redneck Chrissie Hynde or perhaps Bonnie Raitt with a wad of tobacco in her mouth. By turns righteously sexual and biliously bitter, Williams gives rich voice to the complexities of middle-aged femininity. If we hadn’t known it already, the performances on last year’s terrific Live @ The Fillmore made clear that Williams is way more than a well-read fiftysomething rock chick: she’s a great singer, with a searingly bluesy edge to her voice. For West, originally titled Knowing until the song of that name was dropped from the tracklist, Williams wanted to make a record that might stand next to Marianne Faithfull’s Strange Weather as a statement of mature womanliness. As a consequence she hired that album’s producer Hal Willner to refashion a number of tracks she’d recorded in LA with her band. Willner, who may be carving out a niche for himself as a new Daniel Lanois or even Rick Rubin after years of assembling highbrow “tribute” albums (to Disney, Mingus, Kurt Weill et al), stripped the existing tracks back to Williams’ voice and long-time sideman Doug Pettibone’s guitar. Then they were fleshed out again using such seasoned heavyweights as Jim Keltner (drums), Tony Garnier (bass), Bill Frisell (guitar), and Jenny Scheinman, who not only plays violin on select songs but provides string arrangements that – on “Unsuffer Me”, at any rate – tip the hat to David Campbell’s work on his son Beck’s Mutations or Sea Change. “Mature but hip” (Williams’ words) West certainly is. The album sifts through themes that have dominated Lucinda’s life for the past three years. Most markedly, the end of another combustive relationship prompts moods that are variously stoical (“Learning How To Live”), tortured (“Unsuffer Me”), and forgivingly concerned (“Are You Alright?”) The same pain may or may not have inspired the snarling Courtney Love emasculation of “Come On” (as in “You didn’t even make me…”) and the nine snide minutes of “Wrap My Head Around That”. Hell hath no fury like that of a spurned co-dependent. The death of Williams’ mother in March 2004 triggered the tenderly sensual “Mama You Sweet” and by implication the austere, Emmylou-ish “Fancy Funeral” – the latter the album’s closest brush with conventional country, or country conventions. Emmylou’s ‘90s work with Lanois is brought to mind by the coolly gliding “Rescue”, with its swooshing organ and flinty Frisell guitar fills. Another reference point – on such spartan wood-and-steel outings as the neo-Appalachian “Everything Has Changed” – would be Williams’ good friends Gillian Welch and David Rawlings. In some ways, West bears the same relation to World Without Tears, an album of considerable variety and experimentation, as the back-porchy Essence did to the rocking, Grammy-grabbing Car Wheels. . . The Neil Young influence that marked World’s “Real Live Bleeding Fingers And Broken Guitar Strings” is apparent here on the anguished grind of “Unsuffer Me”, the intemperate yowl of “Come On”, and the utopian dreaming of “What If” – the latter a clear nod both lyrically and melodically to “Cortez The Killer”, and West’s only follow-up to World’s despairing “American Dream”. Nevertheless, the feel on West is more Stray Gators than Crazy Horse. Williams devotees will feel quite at home with the place names on the droopily pining “Where Is My Love?”, which namechecks Helena, Tupelo, Birmingham and Gainesville if not, sadly, “Joy”’s Slidell (aka Slaahdayel). They’ll also like the sleepy ease of songs such as “Words” and “West”. “West”, as it happens, is the happy note on which West ends. For it transpires that Williams has met another “love of my life” – for once not a relapsing bass player but an A&R man at Mercury Records subsidiary Fontana – and on the album’s title track he’s waiting for Luce to wing her way back to Cali from her adopted Nashville. After the venomous put-down that is “Come On” and the sour, sub-Prairie Wind plod of “Learning How To Live” – surely the blandest song Williams has ever written – “West” is a pleasantly upbeat way to sign off. What’s missing on West is the sultry bayou sway of Car Wheels and Essence and the Drive-By Truckers feistiness of southern rockers like “Pineola” and “Changed The Locks”. If Williams has always put a certain literary distance between her feelings and their expression, there’s a soulful warmth on her earlier albums that’s oddly absent here. Perhaps it’s Willner who’s responsible for a sound that’s a little too parched and cerebral. An album of sometimes stark simplicity, West is in many places rather drab and charmless. Go wrap your head round that if you can. BARNEY HOSKYNS

Much is made of Lucinda Williams the writer, the poet of southern aches and pains. Time magazine called her “America’s Best Songwriter”, while The New Yorker devoted thousands of words to the testy perfectionism that delayed the release of 1998’s galvanising Car Wheels On a Gravel Road. The fact that Williams is the daughter of a (relatively) famous poet, Miller Williams, has always distinguished her from other Americana types on the Lost Highway of credible country rock.

But the real key to Williams’ singularity is surely her singing. Or rather her phrasing, which is always close to conversational, and the way she shapes her vowel sounds, which suggest a redneck Chrissie Hynde or perhaps Bonnie Raitt with a wad of tobacco in her mouth. By turns righteously sexual and biliously bitter, Williams gives rich voice to the complexities of middle-aged femininity. If we hadn’t known it already, the performances on last year’s terrific Live @ The Fillmore made clear that Williams is way more than a well-read fiftysomething rock chick: she’s a great singer, with a searingly bluesy edge to her voice.

For West, originally titled Knowing until the song of that name was dropped from the tracklist, Williams wanted to make a record that might stand next to Marianne Faithfull’s Strange Weather as a statement of mature womanliness. As a consequence she hired that album’s producer Hal Willner to refashion a number of tracks she’d recorded in LA with her band.

Willner, who may be carving out a niche for himself as a new Daniel Lanois or even Rick Rubin after years of assembling highbrow “tribute” albums (to Disney, Mingus, Kurt Weill et al), stripped the existing tracks back to Williams’ voice and long-time sideman Doug Pettibone’s guitar. Then they were fleshed out again using such seasoned heavyweights as Jim Keltner (drums), Tony Garnier (bass), Bill Frisell (guitar), and Jenny Scheinman, who not only plays violin on select songs but provides string arrangements that – on “Unsuffer Me”, at any rate – tip the hat to David Campbell’s work on his son Beck’s Mutations or Sea Change.

“Mature but hip” (Williams’ words) West certainly is. The album sifts through themes that have dominated Lucinda’s life for the past three years. Most markedly, the end of another combustive relationship prompts moods that are variously stoical (“Learning How To Live”), tortured (“Unsuffer Me”), and forgivingly concerned (“Are You Alright?”) The same pain may or may not have inspired the snarling Courtney Love emasculation of “Come On” (as in “You didn’t even make me…”) and the nine snide minutes of “Wrap My Head Around That”. Hell hath no fury like that of a spurned co-dependent.

The death of Williams’ mother in March 2004 triggered the tenderly sensual “Mama You Sweet” and by implication the austere, Emmylou-ish “Fancy Funeral” – the latter the album’s closest brush with conventional country, or country conventions. Emmylou’s ‘90s work with Lanois is brought to mind by the coolly gliding “Rescue”, with its swooshing organ and flinty Frisell guitar fills. Another reference point – on such spartan wood-and-steel outings as the neo-Appalachian “Everything Has Changed” – would be Williams’ good friends Gillian Welch and David Rawlings.

In some ways, West bears the same relation to World Without Tears, an album of considerable variety and experimentation, as the back-porchy Essence did to the rocking, Grammy-grabbing Car Wheels. . . The Neil Young influence that marked World’s “Real Live Bleeding Fingers And Broken Guitar Strings” is apparent here on the anguished grind of “Unsuffer Me”, the intemperate yowl of “Come On”, and the utopian dreaming of “What If” – the latter a clear nod both lyrically and melodically to “Cortez The Killer”, and West’s only follow-up to World’s despairing “American Dream”. Nevertheless, the feel on West is more Stray Gators than Crazy Horse.

Williams devotees will feel quite at home with the place names on the droopily pining “Where Is My Love?”, which namechecks Helena, Tupelo, Birmingham and Gainesville if not, sadly, “Joy”’s Slidell (aka Slaahdayel). They’ll also like the sleepy ease of songs such as “Words” and “West”.

“West”, as it happens, is the happy note on which West ends. For it transpires that Williams has met another “love of my life” – for once not a relapsing bass player but an A&R man at Mercury Records subsidiary Fontana – and on the album’s title track he’s waiting for Luce to wing her way back to Cali from her adopted Nashville. After the venomous put-down that is “Come On” and the sour, sub-Prairie Wind plod of “Learning How To Live” – surely the blandest song Williams has ever written – “West” is a pleasantly upbeat way to sign off.

What’s missing on West is the sultry bayou sway of Car Wheels and Essence and the Drive-By Truckers feistiness of southern rockers like “Pineola” and “Changed The Locks”. If Williams has always put a certain literary distance between her feelings and their expression, there’s a soulful warmth on her earlier albums that’s oddly absent here. Perhaps it’s Willner who’s responsible for a sound that’s a little too parched and cerebral. An album of sometimes stark simplicity, West is in many places rather drab and charmless. Go wrap your head round that if you can.

BARNEY HOSKYNS

The Fall – Reformation Post TLC

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The Fall – Reformation Post TLC

Never predictable, The Fall’s story took another twist in May 2006 when their guitarist, bassist and drummer quit during a US tour, citing intolerable behaviour by Mark E. Smith. Smith and his wife Eleni Poulou (keyboards) finished the tour with a makeshift line-up from LA, an arrangement that blossomed into something more durable in the months afterwards. The three Americans now comprise – alongside some Brits – the pool of musicians currently operating as The Fall. Seemingly relishing its chance to start afresh (as did previous Fall albums Extricate (1990) and Levitate (1997)), Reformation Post TLC is themed loosely around new relationships and clean slates, and represents a genuine departure from 2005’s guitar-driven, listener-friendly Fall Heads Roll. Recording in what is clearly a fluid and spontaneous environment, Smith sounds revitalised (and often very amused), delivering his most emphatic vocals in years. The present line-up contains two bassists, so the album sounds muddy at first, but once we get acclimatised to lengthy pieces like “Reformation!” and “Systematic Abuse”, what comes across is a hypnotic post-punk Hawkwind with latent flashes of Joy Division and Michael Karoli. “I have woken up,” snarls Smith at his critics. “This is Fall sound!” Poulou’s synthesiser plays a subtle role in this darkly-lit psychedelia, while the album’s undisputed stars are guitarist Tim Presley and propulsive bassists Rob Barbato and Dave ‘The Eagle’ Spurr. Liberated, Smith either free-associates over the top (“Scenario”, “Insult Song”) or times his words like punches (“Fall Sound”). There are some brilliant lines to savour. “You’ve just split up with your long-leg rat chick,” is an immediate favourite. At 61 minutes, Reformation Post TLC does feel diffuse – but it can’t be accused of lacking variety. Poulou lends her German accent to “The Wright Stuff”, a chirpy tale about a pair of “plastic women’s bosoms” and a strange train journey. Steel yourself, meanwhile, for “Das Boat” – eight minutes of submarine sonar buzzes. This madness is indicative of an abundantly confident Fall, and (gulp) long may it last. DAVID CAVANAGH

Never predictable, The Fall’s story took another twist in May 2006 when their guitarist, bassist and drummer quit during a US tour, citing intolerable behaviour by Mark E. Smith. Smith and his wife Eleni Poulou (keyboards) finished the tour with a makeshift line-up from LA, an arrangement that blossomed into something more durable in the months afterwards. The three Americans now comprise – alongside some Brits – the pool of musicians currently operating as The Fall.

Seemingly relishing its chance to start afresh (as did previous Fall albums Extricate (1990) and Levitate (1997)), Reformation Post TLC is themed loosely around new relationships and clean slates, and represents a genuine departure from 2005’s guitar-driven, listener-friendly Fall Heads Roll. Recording in what is clearly a fluid and spontaneous environment, Smith sounds revitalised (and often very amused), delivering his most emphatic vocals in years.

The present line-up contains two bassists, so the album sounds muddy at first, but once we get acclimatised to lengthy pieces like “Reformation!” and “Systematic Abuse”, what comes across is a hypnotic post-punk Hawkwind with latent flashes of Joy Division and Michael Karoli. “I have woken up,” snarls Smith at his critics. “This is Fall sound!”

Poulou’s synthesiser plays a subtle role in this darkly-lit psychedelia, while the album’s undisputed stars are guitarist Tim Presley and propulsive bassists Rob Barbato and Dave ‘The Eagle’ Spurr. Liberated, Smith either free-associates over the top (“Scenario”, “Insult Song”) or times his words like punches (“Fall Sound”). There are some brilliant lines to savour. “You’ve just split up with your long-leg rat chick,” is an immediate favourite.

At 61 minutes, Reformation Post TLC does feel diffuse – but it can’t be accused of lacking variety. Poulou lends her German accent to “The Wright Stuff”, a chirpy tale about a pair of “plastic women’s bosoms” and a strange train journey. Steel yourself, meanwhile, for “Das Boat” – eight minutes of submarine sonar buzzes. This madness is indicative of an abundantly confident Fall, and (gulp) long may it last.

DAVID CAVANAGH

PG Six – Slightly Sorry

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PG Six – Slightly Sorry

While the acid folk and new psych militia are operating all over America right now, many of the major strategists seem to be based in California. Devendra Banhart currently squats in LA, the extended Comets On Fire fraternity are based in San Francisco, and various dignitaries like Joanna Newsom and Brightblack Morning Light loiter in northern backwaters of the state. As a consequence, the folk noise emanating from the North-Eastern side of America has a lower profile, even if the whole New Weird America schtick was probably birthed somewhere in New England or upstate New York in the mid-‘90s. A key band, back then, was the dazed and sprawling Tower Recordings, who made some hard-to-find albums (2001’s Folk Scene is the one to hunt down) before fragmenting into countless below-the-radar projects. The best of these is PG Six, essentially a singer-songwriter called Pat Gubler who’s based in New York. Gubler has made three solo albums for the Amish label thus far. Mostly, he deals in delicate, slightly Celtic-inflected folk, interspersed with brackish psychedelic passages that privilege his wire-strung harp. It sounds rather esoteric, but 2004’s The Well Of Memory is as pretty and affecting, in an understated way, as any album from the current folk glut. Slightly Sorry, as previewed on Uncut’s recent New Psychedelic Outlaws CD, is quite a different beast. Bert Jansch is often cited as being Neil Young’s favourite guitarist, but precious few records try and embrace their dual influence. This is what Gubler does on Slightly Sorry, a warm and beguiling mix of classic Laurel Canyon songwriting and the woodier vibes of the old world. Consequently, the album opens with “Untitled Micro Mini”, all deft Jansch/Davy Graham fingerpicking, before “The Dance” arrives with distinct echoes of Young circa After The Goldrush. “I’ve Been Travelling”, sung by Helen Rush (another Tower Recordings alumnus) has the pastoral simplicity of Vashti Bunyan. But by the closing “Sweet Music”, Gubler is esconced at the Hammond, tapping into the rustic soul of The Band. There’s a danger here that Gubler could be something of a bloodless gadfly, flitting between hip styles without ever finding a focus. Fortunately, his gentle, enunciated voice (reminiscent of his labelmate, Scottish folk singer Alasdair Roberts) provides a calm heart to Slightly Sorry. Gubler will never have the starchild flamboyance to match West Coast minstrels like Banhart. But on the quiet, he’s every bit as good a songwriter. JOHN MULVEY

While the acid folk and new psych militia are operating all over America right now, many of the major strategists seem to be based in California. Devendra Banhart currently squats in LA, the extended Comets On Fire fraternity are based in San Francisco, and various dignitaries like Joanna Newsom and Brightblack Morning Light loiter in northern backwaters of the state.

As a consequence, the folk noise emanating from the North-Eastern side of America has a lower profile, even if the whole New Weird America schtick was probably birthed somewhere in New England or upstate New York in the mid-‘90s. A key band, back then, was the dazed and sprawling Tower Recordings, who made some hard-to-find albums (2001’s Folk Scene is the one to hunt down) before fragmenting into countless below-the-radar projects.

The best of these is PG Six, essentially a singer-songwriter called Pat Gubler who’s based in New York. Gubler has made three solo albums for the Amish label thus far. Mostly, he deals in delicate, slightly Celtic-inflected folk, interspersed with brackish psychedelic passages that privilege his wire-strung harp. It sounds rather esoteric, but 2004’s The Well Of Memory is as pretty and affecting, in an understated way, as any album from the current folk glut.

Slightly Sorry, as previewed on Uncut’s recent New Psychedelic Outlaws CD, is quite a different beast. Bert Jansch is often cited as being Neil Young’s favourite guitarist, but precious few records try and embrace their dual influence. This is what Gubler does on Slightly Sorry, a warm and beguiling mix of classic Laurel Canyon songwriting and the woodier vibes of the old world.

Consequently, the album opens with “Untitled Micro Mini”, all deft Jansch/Davy Graham fingerpicking, before “The Dance” arrives with distinct echoes of Young circa After The Goldrush. “I’ve Been Travelling”, sung by Helen Rush (another Tower Recordings alumnus) has the pastoral simplicity of Vashti Bunyan. But by the closing “Sweet Music”, Gubler is esconced at the Hammond, tapping into the rustic soul of The Band.

There’s a danger here that Gubler could be something of a bloodless gadfly, flitting between hip styles without ever finding a focus. Fortunately, his gentle, enunciated voice (reminiscent of his labelmate, Scottish folk singer Alasdair Roberts) provides a calm heart to Slightly Sorry. Gubler will never have the starchild flamboyance to match West Coast minstrels like Banhart. But on the quiet, he’s every bit as good a songwriter.

JOHN MULVEY

Joy Division’s Shadowplay Tackled By The Killers

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Joy Division’s Shadowplay Tackled By The Killers

The Killers have covered the 1979 Joy Division song “Shadowplay” for the soundtrack to the forthcoming biopic, “Control”, about the life of the band's front man Ian Curtis. Based on the biography, “Touching From A Distance”, by Curtis' widow Deborah, the film has been directed by renowned photographer and music-video maker Anton Corbijn. Deborah Curtis has also co-produced “Control”, her character in the film is portrayed by Samantha Morton. As previously reported, New Order have recorded the incidental music for the movie, and are also thought to be re-recording a number of Joy Division tracks. The biopic is set for a September 2007 release. Watch a classic archive pub perfomance of “Shadowplay” by Joy Division, by clicking here now

The Killers have covered the 1979 Joy Division song “Shadowplay” for the soundtrack to the forthcoming biopic, “Control”, about the life of the band’s front man Ian Curtis.

Based on the biography, “Touching From A Distance”, by Curtis’ widow Deborah, the film has been directed by renowned photographer and music-video maker Anton Corbijn.

Deborah Curtis has also co-produced “Control”, her character in the film is portrayed by Samantha Morton.

As previously reported, New Order have recorded the incidental music for the movie, and are also thought to be re-recording a number of Joy Division tracks.

The biopic is set for a September 2007 release.

Watch a classic archive pub perfomance of “Shadowplay” by Joy Division, by clicking here now

Beyond!

John Mulvey
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We're often a bit sceptical about reunions, so when the new Dinosaur Jr album turned up at the end of last week, I guess many of us at Uncut feared the worst. "Beyond", we figured, might be a fairly cynical exigency: something to ensure Mascis, Barlow and Murph could have another lucrative season on the festival circuit after their jaunt in 2005. But "Beyond" is actually very good indeed, not least because it seems to start up right where this Dinosaur line-up left off, at the end of 1988's "Bug". All the classic ingredients are in place: that weird mix of hardcore speed and classic rock lethargy; dopey shrugs in lieu of lyrics (has anyone written more unmemorable song titles than J Mascis?); some absolutely shredding solos. Best of all, there's an amazing Lou Barlow song here called "Back To Your Heart". Since the trio split up in '88, Barlow's work fronting Sebadoh and The Folk Implosion proved that he was a much better songwriter than Mascis. But "Back To Your Heart" is a tantalising glimpse of what might have been, had Barlow's tremulous confessionals been backed up by the pure slob energy of Mascis' guitar playing. Kind of sad, in a way. Incidentally, I'm going to try and post here daily about forthcoming releases that've turned up recently at Uncut. Any questions, opinions, constructive abuse etc, please leave a comment and we can talk.

We’re often a bit sceptical about reunions, so when the new Dinosaur Jr album turned up at the end of last week, I guess many of us at Uncut feared the worst.

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Trent Reznor Confirms Year Zero

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Trent Reznor Confirms Year Zero

Nine Inch Nails have confirmed that new studio album, “Year Zero” will be released worldwide on April 17. The industrial band’s website tantalizingly dark and devoid of information about the new record, with only the line “the beginning of the end” written on an empty track listing, surrounded by keyboard strokes. “Year Zero” is NIN’s seventh studio album and is the anticipated follow up to 2005’s “With Teeth.” Trent Reznor and co will also play a string of UK Arena concerts prior to the album’s release, hopefully giving fans a chance to hear a preview of what darkness “Year Zero” contains. NIN have added a new date at London’s Brixton Academy on March 11 – after selling out three nights at the venue. The full UK tour dates are as follows: Manchester, Apollo (February 25/ 26) Glasgow, Academy (28/ March 1) Nottingham, Arena (3) – tickets available Birmingham, Academy (4/5) London, Brixton Academy (7/8/10/11) Wolverhampton, Civic Hall (12) Support on all dates comes from Ladytron All dates except Nottingham, London and Wolverhampton are sold-out. Explore NIN’s creative artist website by clicking here

Nine Inch Nails have confirmed that new studio album, “Year Zero” will be released worldwide on April 17.

The industrial band’s website tantalizingly dark and devoid of information about the new record, with only the line “the beginning of the end” written on an empty track listing, surrounded by keyboard strokes.

“Year Zero” is NIN’s seventh studio album and is the anticipated follow up to 2005’s “With Teeth.”

Trent Reznor and co will also play a string of UK Arena concerts prior to the album’s release, hopefully giving fans a chance to hear a preview of what darkness “Year Zero” contains.

NIN have added a new date at London’s Brixton Academy on March 11 – after selling out three nights at the venue.

The full UK tour dates are as follows:

Manchester, Apollo (February 25/ 26)

Glasgow, Academy (28/ March 1)

Nottingham, Arena (3) – tickets available

Birmingham, Academy (4/5)

London, Brixton Academy (7/8/10/11)

Wolverhampton, Civic Hall (12)

Support on all dates comes from Ladytron

All dates except Nottingham, London and Wolverhampton are sold-out.

Explore NIN’s creative artist website by clicking here

Manic Street Preachers To Play Extensive Tour

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Manic Street Preachers To Play Extensive Tour

Welsh rockers Manic Street Preachers confirmed details of an extensive UK tour, starting in May, to promote their new studio album, “Send Away The Tigers.” The tours kicks off at Cambridge Corn Exchange on May 8 and the group will be playing their new material to fans for the first time. Speaking to Uncut about the follow-up to 2004’s “Life Blood”, bassist Nicky Wire has told us that we can expect the new songs to be more ambitious than ever before. Wire said: “It’s a real glossy punk album. It’s more Guns N Roses than McCarthy. They’re too hard to copy. It’s the best bits of Everything Must Go and Generation Terrorists. It’s the youthful idealism of Generation Terrorists, the kind of ambition we couldn’t pull off back then, and the song writing of Everything Must Go. [There’s] a vague sense of euphoria you can hear on Everything Must Go, which isn’t easy for us to get; there’s an uplifting feel to that album, and I think we wanted to get that again.” You can see James Dean Bradfield and co play their new glossy euphoria at the following venues throughout May and June: Cambridge Corn Exchange (May 8) Leeds University (9) Cardiff University Great Hall (11, 12) Glasgow Barrowlands (14) Newcastle Academy (15) Sheffield Octagon (17) Carlisle Sands Centre (18) Preston Guildhall (20) Wolverhampton Civic Hall (21) Norwich UEA (23) Nottingham Rock City (24) Llandudno Venue Cymru (26) Manchester Apollo (27) London Forum (29) London Astoria (30) London Shepherds Bush Empire (31) Bristol Colston Hall (June 2) Truro Hall (3) Southampton Guildhall (5) Brighton Dome (6) Leicester De Montfort Hall (8) Reading Hexagon (9) Tickets go on sale this Friday (February 9). Click here to read the full Uncut.co.uk album preview special with MSP's Nicky Wire

Welsh rockers Manic Street Preachers confirmed details of an extensive UK tour, starting in May, to promote their new studio album, “Send Away The Tigers.”

The tours kicks off at Cambridge Corn Exchange on May 8 and the group will be playing their new material to fans for the first time.

Speaking to Uncut about the follow-up to 2004’s “Life Blood”, bassist Nicky Wire has told us that we can expect the new songs to be more ambitious than ever before.

Wire said: “It’s a real glossy punk album. It’s more Guns N Roses than McCarthy. They’re too hard to copy. It’s the best bits of Everything Must Go and Generation Terrorists. It’s the youthful idealism of Generation Terrorists, the kind of ambition we couldn’t pull off back then, and the song writing of Everything Must Go. [There’s] a vague sense of euphoria you can hear on Everything Must Go, which isn’t easy for us to get; there’s an uplifting feel to that album, and I think we wanted to get that again.”

You can see James Dean Bradfield and co play their new glossy euphoria at the following venues throughout May and June:

Cambridge Corn Exchange (May 8)

Leeds University (9)

Cardiff University Great Hall (11, 12)

Glasgow Barrowlands (14)

Newcastle Academy (15)

Sheffield Octagon (17)

Carlisle Sands Centre (18)

Preston Guildhall (20)

Wolverhampton Civic Hall (21)

Norwich UEA (23)

Nottingham Rock City (24)

Llandudno Venue Cymru (26)

Manchester Apollo (27)

London Forum (29)

London Astoria (30)

London Shepherds Bush Empire (31)

Bristol Colston Hall (June 2)

Truro Hall (3)

Southampton Guildhall (5)

Brighton Dome (6)

Leicester De Montfort Hall (8)

Reading Hexagon (9)

Tickets go on sale this Friday (February 9).

Click here to read the full Uncut.co.uk album preview special with MSP’s Nicky Wire

Bob Dylan Contributes Song To Fighting Film

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Bob Dylan Contributes Song To Fighting Film

Bob Dylan is one of several artists to personally choose and approve a track for inclusion in new film by Stevan Riley, Blue Blood. He has contributed “Tangled Up In Blue”, originally a top 40 hit, from his 1975 album “Blood On The Tracks.” The films follows five Oxford Univeristy students who prepare for the annual bloody varsity Boxing Match against rivals at Cambridge University. Other tracks that have been artistically chosen to appear include the Rolling Stones’ “Shine A Light,” “Radiohead’s “Karma Police” and “Disposable Heroes” by Metallica. Blue Blood will premiere in the UK on February 21, before running for two weeks at London’s Institute of Contemporary Arts (ICA). The film is due to air on BBC2 this Spring, with a DVD release planned for later in 2007.

Bob Dylan is one of several artists to personally choose and approve a track for inclusion in new film by Stevan Riley, Blue Blood.

He has contributed “Tangled Up In Blue”, originally a top 40 hit, from his 1975 album “Blood On The Tracks.”

The films follows five Oxford Univeristy students who prepare for the annual bloody varsity Boxing Match against rivals at Cambridge University.

Other tracks that have been artistically chosen to appear include the Rolling Stones’ “Shine A Light,” “Radiohead’s “Karma Police” and “Disposable Heroes” by Metallica.

Blue Blood will premiere in the UK on February 21, before running for two weeks at London’s Institute of Contemporary Arts (ICA).

The film is due to air on BBC2 this Spring, with a DVD release planned for later in 2007.

Apple vs Apple Is Resolved

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Apple vs Apple Is Resolved

Apple Computer today announced that the long-running dispute with The Beatles over the use of the Apple trademark has been settled, bringing the possibility of Beatles downloads closer. The Beatles’ company, which uses a green Granny Smith apple as its trademark, has previously – and unsuccessfully – sued the computer group over the use of the Apple Corps name and logo. Today’s agreement between Apple Computer and Apple Corps replaces a 1991 agreement that gave Apple Computer ownership of all trademarks related to "Apple". Now Apple Computer will now license specific trademarks back to the Beatles' Apple Corps for the music company’s use. "We love the Beatles,” said Apple’ Computer’s CEO Steve Jobs said. “It has been painful being at odds with them over these trademarks." Manager of Apple Corps Neil Aspinall is also pleased that the dispute is over: “The years ahead are going to be very exciting times for us. We wish Apple Inc. every success and look forward to many years of peaceful co-operation with them.” The settlement raises the tantalising possibility that the Fab Four’s songs may soon be made available for users to download on Apple’s iTunes store – the biggest music download site in the world. Currently, the Beatles’ peerless back catalogue is not available in mp3 form on any download site. But nothing is confirmed yet: despite the fact that an Apple spokeswoman was keen to stress the new-found “co-operation” between the two companies, no statement regarding the digitisation of the Fabs songs has been issued. But if the Beatles catalogue does end up on iTunes, the band could become chart-toppers once more. The Fabs racked up a mammoth 17 No 1 singles between 1962 and 1969. Who would bet against them getting another?

Apple Computer today announced that the long-running dispute with The Beatles over the use of the Apple trademark has been settled, bringing the possibility of Beatles downloads closer.

The Beatles’ company, which uses a green Granny Smith apple as its trademark, has previously – and unsuccessfully – sued the computer group over the use of the Apple Corps name and logo.

Today’s agreement between Apple Computer and Apple Corps replaces a 1991 agreement that gave Apple Computer ownership of all trademarks related to “Apple”. Now Apple Computer will now license specific trademarks back to the Beatles’ Apple Corps for the music company’s use.

“We love the Beatles,” said Apple’ Computer’s CEO Steve Jobs said. “It has been painful being at odds with them over these trademarks.”

Manager of Apple Corps Neil Aspinall is also pleased that the dispute is over: “The years ahead are going to be very exciting times for us. We wish Apple Inc. every success and look forward to many years of peaceful co-operation with them.”

The settlement raises the tantalising possibility that the Fab Four’s songs may soon be made available for users to download on Apple’s iTunes store – the biggest music download site in the world. Currently, the Beatles’ peerless back catalogue is not available in mp3 form on any download site.

But nothing is confirmed yet: despite the fact that an Apple spokeswoman was keen to stress the new-found “co-operation” between the two companies, no statement regarding the digitisation of the Fabs songs has been issued.

But if the Beatles catalogue does end up on iTunes, the band could become chart-toppers once more. The Fabs racked up a mammoth 17 No 1 singles between 1962 and 1969. Who would bet against them getting another?

Download Unheard Velvet Underground Tracks Here

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Download Unheard Velvet Underground Tracks Here

The acetate of the legendary debut album from the Velvet Underground, the one with the banana on the sleeve, that caused a furore on trading site eBay last year, has been made available to listen to on the web. As previously reported on www.uncut.co.uk, this acetate copy of "The Velvet Underground & Nico" was originally purchased for a bargain 75 cents in 2002, by Warren Hill at a Montreal flea market, and is thought to be one of only two in existence. A ‘friend’ mistakenly put in a successful bid of $155,401 for the record, but admitted he couldn’t afford to pay up! Now, thanks to an anonymous source, the acetate has been converted into MP3 files, so everyone can hear what musical gems the rare disc contains. The revelatory tracks now available for download are: European Sun (Different Take) Black Angel's Death (Different Mix) All Tomorrow's Parties (Different Mix) I'll Be Your Mirror (Different Mix) Heroin (Different Take) Femme Fatale (Different Mix) Venus In Furs (Different Take) I'm Waiting For The Man (Different Take) Run Run Run (Different Mix) Listen to brilliant unheard Velvets by clicking here now

The acetate of the legendary debut album from the Velvet Underground, the one with the banana on the sleeve, that caused a furore on trading site eBay last year, has been made available to listen to on the web.

As previously reported on www.uncut.co.uk, this acetate copy of “The Velvet Underground & Nico” was originally purchased for a bargain 75 cents in 2002, by Warren Hill at a Montreal flea market, and is thought to be one of only two in existence.

A ‘friend’ mistakenly put in a successful bid of $155,401 for the record, but admitted he couldn’t afford to pay up!

Now, thanks to an anonymous source, the acetate has been converted into MP3 files, so everyone can hear what musical gems the rare disc contains.

The revelatory tracks now available for download are:

European Sun (Different Take)

Black Angel’s Death (Different Mix)

All Tomorrow’s Parties (Different Mix)

I’ll Be Your Mirror (Different Mix)

Heroin (Different Take)

Femme Fatale (Different Mix)

Venus In Furs (Different Take)

I’m Waiting For The Man (Different Take)

Run Run Run (Different Mix)

Listen to brilliant unheard Velvets by clicking here now

Spiritualized Mainline Again

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Spiritualized Mainline Again
Jason Pierce has announced that he will be performing more of his Spiritualized – “Acoustic Mainline” shows, this April. The dates follow on from last autumn’s sold-out tour, when the front man first played a combination of his musical back catalogue, reworked. Spiritualized-Acoustic M...

Jason Pierce has announced that he will be performing more of his Spiritualized – “Acoustic Mainline” shows, this April.

The dates follow on from last autumn’s sold-out tour, when the front man first played a combination of his musical back catalogue, reworked.

Spiritualized-Acoustic Mainlines feature songs from Spaceman 3, Spiritualized as well as other artists. Pierce is accompanied by Spiritualized guitarist Doggen as well as a string quartet and gospel singers.

Jason Pierce has also resumed work mixing the follow-up to the hugely successful Top 5 album, ‘Amazing Grace’, which was postponed last year due to serious illness.

The new album, now due for release in 2007, is described by J Spaceman as being “the work of the devil……with a little guidance from me.”

Pierce’s acoustic ensemble will also be appearing as special guests to Massive Attack on their sold out shows on February 6, 7 and 8. These shows are in support of the Hoping Foundation for Palestinian children.

You can catch Pierce and friends, at the following headline venues in April:

Glasgow, Academy (April 23)
Leeds, City Varieties (24)
Wolverhampton, Wulfrun Hall (25)
London, Shepherd’s Bush Empire (26)
Minehead Butlins, All Tomorrow’s Parties (28)

For more information about the new album and tour, click here to go to Spiritualized.com

Plus, click here to find out more about the Hoping Foundation

See REM Get Down And Furry On Sesame Street

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See REM Get Down And Furry On Sesame Street

Every day, we bring you the best thing we've seen on YouTube - a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows. Today: Get yourself some glee by watching an infectiously happy rendition of R.E.M’s 1989 hit single, “Shiny Happy People.” See Stipe, Mills and Buck bounce around in this performance from the 1998/99 season of Sesame Street, The female vocal is performed by Stephanie D'Abruzzo of Avenue Q fame. The puppet on the show is dressed up to look like original vocalist Kate Pierson of the B-52s. Christopher Cerf, Sesame Street writer, wrote new lyrics for this version of the song, entitled “Furry Happy Monsters. Lyrics include: "Monsters having fun, happy, happy, See them jump and run, happy, happy, Laughing all the while, cheerful, cheerful, Flashing a big smile, that's a perfect sign That they're feelin' fine! Furry happy monsters feeling glad!" See the little monsters, by clicking here now

Every day, we bring you the best thing we’ve seen on YouTube – a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows.

Today: Get yourself some glee by watching an infectiously happy rendition of R.E.M’s 1989 hit single, “Shiny Happy People.”

See Stipe, Mills and Buck bounce around in this performance from the 1998/99 season of Sesame Street,

The female vocal is performed by Stephanie D’Abruzzo of Avenue Q fame. The puppet on the show is dressed up to look like original vocalist Kate Pierson of the B-52s.

Christopher Cerf, Sesame Street writer, wrote new lyrics for this version of the song, entitled “Furry Happy Monsters.

Lyrics include: “Monsters having fun, happy, happy, See them jump and run, happy, happy, Laughing all the while, cheerful, cheerful, Flashing a big smile, that’s a perfect sign That they’re feelin’ fine! Furry happy monsters feeling glad!”

See the little monsters, by clicking here now

Lou Reed Speaks Out Against War

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Lou Reed Speaks Out Against War

Lou Reed was one of several musicians who spoke out against the war in Iraq, at a tribute concert for the United Nation’s new secretary general, Ban Ki-Moon. The founder of the Velvet Underground, said it was impossible to “be silent” about the current war situation, and called for “US troops to be pulled out of Iraq.” Lou Reed is long-term supporter of human rights group Amnesty International, and took part in the 1986 'Conspiracy of Hope' rock concert with U2 and Peter Gabriel. Pat Methany, Grammy-winning guitarist also appeared at the concert in the General Assembly hall on Friday (February 2). He too, read a statement about the difficulty of dealing with current worldwide problems including the “cosmic shifts of global warming” and the “microscopic HIV virus.”

Lou Reed was one of several musicians who spoke out against the war in Iraq, at a tribute concert for the United Nation’s new secretary general, Ban Ki-Moon.

The founder of the Velvet Underground, said it was impossible to “be silent” about the current war situation, and called for “US troops to be pulled out of Iraq.”

Lou Reed is long-term supporter of human rights group Amnesty International, and took part in the 1986 ‘Conspiracy of Hope’ rock concert with U2 and Peter Gabriel.

Pat Methany, Grammy-winning guitarist also appeared at the concert in the General Assembly hall on Friday (February 2). He too, read a statement about the difficulty of dealing with current worldwide problems including the “cosmic shifts of global warming” and the “microscopic HIV virus.”

Ringo Starr To Present Brit Award To Oasis

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Ringo Starr To Present Brit Award To Oasis

Former Beatle Ringo Starr will reportedly be the guest presenter of the Brit Award for “Outstanding Achievement” to Oasis, at the ceremony taking place next week. As previously reported, Oasis are due to close the Brit Awards ceremony on February 14, although Oasis’ Noel Gallagher has already stated that their performance will be “nothing special". Rumours have it that Johnny Depp was due to present Oasis with their award, but the choice of Starr is much more logical, considering The Beatles’ influence on Oasis. Plus, their drummer, Zak Starkey is Ringo’s son, making it a truly family affair! Noel Gallgher, meanwhile, has announced that he will headline two concerts at the Royal Albert Hall as part of The Teenage Cancer Trust series. He plays acoustic and ‘with friends’ on March 26 and 27. For more details about this years Teenage Cancer Trust concerts, click here

Former Beatle Ringo Starr will reportedly be the guest presenter of the Brit Award for “Outstanding Achievement” to Oasis, at the ceremony taking place next week.

As previously reported, Oasis are due to close the Brit Awards ceremony on February 14, although Oasis’ Noel Gallagher has already stated that their performance will be “nothing special”.

Rumours have it that Johnny Depp was due to present Oasis with their award, but the choice of Starr is much more logical, considering The Beatles’ influence on Oasis. Plus, their drummer, Zak Starkey is Ringo’s son, making it a truly family affair!

Noel Gallgher, meanwhile, has announced that he will headline two concerts at the Royal Albert Hall as part of The Teenage Cancer Trust series.

He plays acoustic and ‘with friends’ on March 26 and 27.

For more details about this years Teenage Cancer Trust concerts, click here

Dexys man rocks the decks

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Dexys man rocks the decks

Kevin Rowland’s debut DJ set went down a storm at celebrated indie-pop club How Does It Feel To Be Loved? at the Canterbury Arms, Brixton, on Friday night. (February 2). The Dexys Midnight Runners frontman served up a superb set of ’70s rock soul and reggae, including tracks by the Rolling Stones, T Rex, David Bowie, Serge Gainsbourg, and Toots And The Maytals. Click here to check out Rowland’s HDIF set list Rowland also sang – karaoke-style – over the end of a couple of songs, to rapturous response from the sold-out crowd. HDIF’s main man, Ian Watson, said that Rowland’s star turntable turn was full of memorable moments. His personal highlight was soundchecking with Kevin: “He's set "Young Americans" by David Bowie playing, and is singing into the mic I borrowed from Brixton boy Fruitbat. And he sounds spectacular. That voice you know so well from any number of classic Dexys songs, belting out "Alright! Young Americans, Young Americans..." Rowland ended his set with The Stooges “No Fun,” by which point everybody was dancing – even Uncut! Rowland's appearance marks the start of a hectic month for HDIF. This Friday (February 9) the club features Butcher Boy, the first band signed to the HDIF label. The Scottish seven piece, who have been compared to The Smiths by The Guardian and Belle & Sebastian by Pitchfork, will be promoting their debut single, "Girls Make Me Sick". It’s out on February 12 – just in time for Valentine's Day. Butcher Boy's debut album, "Profit In Your Poetry", follows on March 5. See next month's Uncut for a review. As previously reported, Kevin Rowland is keeping busy, too. A new Dexys Midnight Runners album is due to be completed this year. Watch this space for details. Pic credit: Ian Watson

Kevin Rowland’s debut DJ set went down a storm at celebrated indie-pop club How Does It Feel To Be Loved? at the Canterbury Arms, Brixton, on Friday night. (February 2).

The Dexys Midnight Runners frontman served up a superb set of ’70s rock soul and reggae, including tracks by the Rolling Stones, T Rex, David Bowie, Serge Gainsbourg, and Toots And The Maytals.

Click here to check out Rowland’s HDIF set list

Rowland also sang – karaoke-style – over the end of a couple of songs, to rapturous response from the sold-out crowd.

HDIF’s main man, Ian Watson, said that Rowland’s star turntable turn was full of memorable moments. His personal highlight was soundchecking with Kevin: “He’s set “Young Americans” by David Bowie playing, and is singing into the mic I borrowed from Brixton boy Fruitbat. And he sounds spectacular. That voice you know so well from any number of classic Dexys songs, belting out “Alright! Young Americans, Young Americans…”

Rowland ended his set with The Stooges “No Fun,” by which point everybody was dancing – even Uncut!

Rowland’s appearance marks the start of a hectic month for HDIF. This Friday (February 9) the club features Butcher Boy, the first band signed to the HDIF label.

The Scottish seven piece, who have been compared to The Smiths by The Guardian and Belle & Sebastian by Pitchfork, will be promoting their debut single, “Girls Make Me Sick”. It’s out on February 12 – just in time for Valentine’s Day. Butcher Boy’s debut album, “Profit In Your Poetry”, follows on March 5. See next month’s Uncut for a review.

As previously reported, Kevin Rowland is keeping busy, too. A new Dexys Midnight Runners album is due to be completed this year. Watch this space for details.

Pic credit: Ian Watson

Van Halen Confirm Reunion

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Van Halen Confirm Reunion

US rock veterans Van Halen have announced that they will regroup for a 40-date North American tour this summer. Even the group’s original singer David Lee Roth has returned to the band, for the first time officially since 1984. In a statement on van-halen.com, the group have promised a greatest hits tour, “featuring a set list of the most iconic hits ever produced by America’s premiere rock band”. Guitarist and founder Eddie Van Halen has also stated his joy at the band’s official reunion, saying, "I am very excited to get back to the core of what made Van Halen." The band are notorious for changing their vocalist. They have recorded studio albums with three different singers since 1978 – Roth, Sammy Hagar and Gary Cherone – and each of them have left the group under murky circumstances only to return, at least once, over the last two decades. Van Halen had their most successful era between 1978 and 1984, with the vocal talents of Roth. Monster hits include the anthemic “Jump”, “Why Can’t This Be Love?” and “Runnin With The Devil.” The group also pioneered several new techniques in playing and recording guitar sounds. Van Halen himself has also confirmed that Wolfgang, his 15-year old son, is now the band’s bassist, replacing the departing Michael Anthony. Details for the extensive tour will be made available soon. Currently it is unclear if Van Halen will play any dates in Europe. Their reunion tour is anticipated to be one of the most in-demand of the year, alongside tours from Genesis and The Police. Van Halen are due to be inducted into the Rock and Roll Hall of Fame on March 12. To go to Van Halen's official website, click here

US rock veterans Van Halen have announced that they will regroup for a 40-date North American tour this summer.

Even the group’s original singer David Lee Roth has returned to the band, for the first time officially since 1984.

In a statement on van-halen.com, the group have promised a greatest hits tour, “featuring a set list of the most iconic hits ever produced by America’s premiere rock band”.

Guitarist and founder Eddie Van Halen has also stated his joy at the band’s official reunion, saying, “I am very excited to get back to the core of what made Van Halen.”

The band are notorious for changing their vocalist. They have recorded studio albums with three different singers since 1978 – Roth, Sammy Hagar and Gary Cherone – and each of them have left the group under murky circumstances only to return, at least once, over the last two decades.

Van Halen had their most successful era between 1978 and 1984, with the vocal talents of Roth. Monster hits include the anthemic “Jump”, “Why Can’t This Be Love?” and “Runnin With The Devil.” The group also pioneered several new techniques in playing and recording guitar sounds.

Van Halen himself has also confirmed that Wolfgang, his 15-year old son, is now the band’s bassist, replacing the departing Michael Anthony.

Details for the extensive tour will be made available soon. Currently it is unclear if Van Halen will play any dates in Europe.

Their reunion tour is anticipated to be one of the most in-demand of the year, alongside tours from Genesis and The Police.

Van Halen are due to be inducted into the Rock and Roll Hall of Fame on March 12.

To go to Van Halen’s official website, click here

Humanitarian award to make Clint’s day

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Humanitarian award to make Clint’s day

Iconic actor and Oscar-winning director Clint Eastwood is to be honoured with the Jack Valenti Humanitarian Award from the Motion Picture Association of America (MPAA) next Tuesday (February 6). The director of modern classics “Mystic River” and “Million Dollar Baby” is the first individual to receive the award, which aims to honour “work that has reached out in a positive and respectful approach to all countries”. MPAA chairman Dan Glickman said that the 76-year old has “for decades” exemplified "decency and goodness of spirit in his moviemaking". Glickman also praised Eastwood’s two 2006 releases, “Flags of Our Fathers” and the Oscar-nominated “Letters from Iwo Jima”, Uncut’s Film Of The Month for January. “These [two] films exemplify the true power of movies to tell human stories and inspire national conversation,” said Glickman. Eastwood will receive the accolade during a private dinner, which will conclude with a first-of-its-kind industry symposium, The Business of Show Business. The Jack Valenti Humanitarian Award is named after the Jack Valenti, chief of the MPAA for 38 years until his retirement in 2004. Valenti also helped to choose Eastwood as the inaugural recipient.

Iconic actor and Oscar-winning director Clint Eastwood is to be honoured with the Jack Valenti Humanitarian Award from the Motion Picture Association of America (MPAA) next Tuesday (February 6).

The director of modern classics “Mystic River” and “Million Dollar Baby” is the first individual to receive the award, which aims to honour “work that has reached out in a positive and respectful approach to all countries”.

MPAA chairman Dan Glickman said that the 76-year old has “for decades” exemplified “decency and goodness of spirit in his moviemaking”.

Glickman also praised Eastwood’s two 2006 releases, “Flags of Our Fathers” and the Oscar-nominated “Letters from Iwo Jima”, Uncut’s Film Of The Month for January.

“These [two] films exemplify the true power of movies to tell human stories and inspire national conversation,” said Glickman.

Eastwood will receive the accolade during a private dinner, which will conclude with a first-of-its-kind industry symposium, The Business of Show Business.

The Jack Valenti Humanitarian Award is named after the Jack Valenti, chief of the MPAA for 38 years until his retirement in 2004. Valenti also helped to choose Eastwood as the inaugural recipient.

Switch on to Sir Bob TV

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Switch on to Sir Bob TV

Sir Bob Geldof – campaigner, humanitarian, human rights activist and occasional rock star – is set to launch a TV channel to promote world peace. Geldof’s Ten Alps production company, which Geldof founded with Alex Connack and Des Shaw, is putting together a business plan for the proposed channel. The project will be funded Point of Peace, a Norwegian human rights organisation. Ten Alps has stated that its production team is planning to launch the channel in 2008. It is hoped the service will include video, user-generated content and “social networking”. While being listed on the Alternative Investment Market, Ten Alps is testing its website for public television at www.public.tv. Click here to check it out

Sir Bob Geldof – campaigner, humanitarian, human rights activist and occasional rock star – is set to launch a TV channel to promote world peace.

Geldof’s Ten Alps production company, which Geldof founded with Alex Connack and Des Shaw, is putting together a business plan for the proposed channel. The project will be funded Point of Peace, a Norwegian human rights organisation.

Ten Alps has stated that its production team is planning to launch the channel in 2008. It is hoped the service will include video, user-generated content and “social networking”.

While being listed on the Alternative Investment Market, Ten Alps is testing its website for public television at www.public.tv.

Click here to check it out

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