Subscribe
Home Blog Page 1026

Crowded House To Play Coachella

Uncut
-
0
Crowded House To Play Coachella

Crowded House are set to reform - a decade after the group's 'farewell concert' at the Sydney Opera House. The band have already been confirmed as appearing at US rock festival Coachella in May, and are widely expected to undertake a world tour this year. An official announcement is expected this Thursday (January 25). Details about the reunion began to emerge when frontman Neil Finn and bassist Nick Seymour placed an advert in their local newspaper, The Dominion Post. They were seeking a replacement for original drummer Paul Hester, who committed suicide in 2005. Neil Finn's New Zealand publicist, Julia Connolly, told The Dominion Post that: "At the moment, they're just working at getting the band together." Something's formally coming out once the band is in place." We'll announce more details about the rumoured 12-month world tour on Uncut.co.uk. Check back this Thursday.

Crowded House are set to reform – a decade after the group’s ‘farewell concert’ at the Sydney Opera House.

The band have already been confirmed as appearing at US rock festival Coachella in May, and are widely expected to undertake a world tour this year. An official announcement is expected this Thursday (January 25).

Details about the reunion began to emerge when frontman Neil Finn and bassist Nick Seymour placed an advert in their local newspaper, The Dominion Post. They were seeking a replacement for original drummer Paul Hester, who committed suicide in 2005.

Neil Finn’s New Zealand publicist, Julia Connolly, told The Dominion Post that: “At the moment, they’re just working at getting the band together.” Something’s formally coming out once the band is in place.”

We’ll announce more details about the rumoured 12-month world tour on Uncut.co.uk. Check back this Thursday.

Uncut’s 2007 Album Preview Special

Uncut
-
0
Uncut’s 2007 Album Preview Special

NICKY WIRE on Send Away The Tigers – the 8th album from the Manic Street Preachers UNCUT: When did you start working on the record? WIRE: We started writing last October, about a year ago. That was more writing than demoing. We haven’t rehearsed an album for a long time, we’d just realised we’d got a bit lazy, and we wanted to be able to go in and play a record together. Since This Is My Truth we just haven’t practised together enough, so it made it much easier to go into the studio and play a lot of it live and look at each other – not so easy! How did making the solo albums affect the band’s dynamic? I think it helped. James always wanted to be Jackson Browne and I always wanted to make Metal Machine Music. I think that helped, to make a selfish record, and then get back to making a right old racket together. How would you describe it? It’s a real glossy punk album. It’s more Guns N Roses than McCarthy. They’re too hard to copy. Some bands you’ve got to leave alone. Joy Division, Sex Pistols and McCarthy, just stay away form them, they’re too good. 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. 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. Did the reissue of Everything Must Go have any impact? There’s definitely been a bit of that, especially because the press has been so good about it. I worked on that as well, because I’m the Bill Wyman archivist, so I’ve been knee-deep in that. That was enjoyable, rediscovering all the raw rehearsal tapes and little demos from my house. It reminded us that, post-Ritchey, is probably what we’re best at – trying to be intelligent and trying to be thought-provoking, and also writing huge, anthemic rock songs. But there is that overshadowing thing. But it’s always going to be there with us. Does it remind you of anything else? The things that we thought we were good at – a bit of politics, working class rage. And the sense of euphoria, which we think had been lacking on our last two records, really. As happens with all bands, you try to react against what made you popular and by the end of This Is My Truth, for all our bravado, I don’t think we ever actually thought we could get that back – and when we did, we reacted against it. We spent eight years denying who we are. When we released Lifeblood, people didn’t actually know it was us. Friends would come up to me and say: “Is that you, or the Pet Shop Boys with a rock vocalist?” Why the title? Send Away The Tigers. It’s what Tony Hancock used to say when he wanted a drink – it’s like, “the demons are coming”. It deals with Tony Hancock and the decline of Tony Blair. The liberation of the zoo in Baghdad is a central theme. It’s very similar to “All You Need Is Love” played by Guns N Roses. Is it a political record? The world we live in does hang over the album, but it’s not in your face politics as such. You can’t just avoid. I love cynicism, I love nihilism, but when we started we were idealistic beneath all that. I just tried to write a little bit as a younger person rather than a sad, cynicised older person. It’s good to break out of that. It’s more idealism that nihilism. Do you have any particular songs on it you’d like to talk about? There’s a track called “Rendition”, which is kind of based on Jack Lemmon in the film Missing, mixed with the CIA act of rendition. “Rendition rendition Oh good God I feel like a liberal/Rendition, rendition I wish we still had Jack Lemmon.” It’s a slight sense of joie de vrie about this album – I don’t want to be pious. There’s got to be a sense of fun about it. Any others? The song with Nina [from The Cardigans], “Your Love Alone Is Not Enough”, sounds very much like a single. There’s a track called “I’m Just A Patsy”, which is comparing me to Lee Harvey Oswald – the usual ridiculousness, really. There’s a “Sweet Child O Mine” song called “Autumn Song”, which is based on the same sort of ideals of “Sweet Child O Mine” – it’s falling in love with your girlfriend at the age of 16. I needed a lot of regressive therapy for that! INTERVIEW: MICHAEL BONNER

NICKY WIRE on Send Away The Tigers – the 8th album from the Manic Street Preachers

UNCUT: When did you start working on the record?

WIRE: We started writing last October, about a year ago. That was more writing than demoing. We haven’t rehearsed an album for a long time, we’d just realised we’d got a bit lazy, and we wanted to be able to go in and play a record together. Since This Is My Truth we just haven’t practised together enough, so it made it much easier to go into the studio and play a lot of it live and look at each other – not so easy!

How did making the solo albums affect the band’s dynamic?

I think it helped. James always wanted to be Jackson Browne and I always wanted to make Metal Machine Music. I think that helped, to make a selfish record, and then get back to making a right old racket together.

How would you describe it?

It’s a real glossy punk album. It’s more Guns N Roses than McCarthy. They’re too hard to copy. Some bands you’ve got to leave alone. Joy Division, Sex Pistols and McCarthy, just stay away form them, they’re too good. 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. 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.

Did the reissue of Everything Must Go have any impact?

There’s definitely been a bit of that, especially because the press has been so good about it. I worked on that as well, because I’m the Bill Wyman archivist, so I’ve been knee-deep in that. That was enjoyable, rediscovering all the raw rehearsal tapes and little demos from my house. It reminded us that, post-Ritchey, is probably what we’re best at – trying to be intelligent and trying to be thought-provoking, and also writing huge, anthemic rock songs. But there is that overshadowing thing. But it’s always going to be there with us.

Does it remind you of anything else?

The things that we thought we were good at – a bit of politics, working class rage. And the sense of euphoria, which we think had been lacking on our last two records, really. As happens with all bands, you try to react against what made you popular and by the end of This Is My Truth, for all our bravado, I don’t think we ever actually thought we could get that back – and when we did, we reacted against it. We spent eight years denying who we are. When we released Lifeblood, people didn’t actually know it was us. Friends would come up to me and say: “Is that you, or the Pet Shop Boys with a rock vocalist?”

Why the title?

Send Away The Tigers. It’s what Tony Hancock used to say when he wanted a drink – it’s like, “the demons are coming”. It deals with Tony Hancock and the decline of Tony Blair. The liberation of the zoo in Baghdad is a central theme. It’s very similar to “All You Need Is Love” played by Guns N Roses.

Is it a political record?

The world we live in does hang over the album, but it’s not in your face politics as such. You can’t just avoid. I love cynicism, I love nihilism, but when we started we were idealistic beneath all that. I just tried to write a little bit as a younger person rather than a sad, cynicised older person. It’s good to break out of that. It’s more idealism that nihilism.

Do you have any particular songs on it you’d like to talk about?

There’s a track called “Rendition”, which is kind of based on Jack Lemmon in the film Missing, mixed with the CIA act of rendition. “Rendition rendition Oh good God I feel like a liberal/Rendition, rendition I wish we still had Jack Lemmon.” It’s a slight sense of joie de vrie about this album – I don’t want to be pious. There’s got to be a sense of fun about it.

Any others?

The song with Nina [from The Cardigans], “Your Love Alone Is Not Enough”, sounds very much like a single. There’s a track called “I’m Just A Patsy”, which is comparing me to Lee Harvey Oswald – the usual ridiculousness, really. There’s a “Sweet Child O Mine” song called “Autumn Song”, which is based on the same sort of ideals of “Sweet Child O Mine” – it’s falling in love with your girlfriend at the age of 16. I needed a lot of regressive therapy for that!

INTERVIEW: MICHAEL BONNER

Uncut’s 2007 Album Preview Special

Uncut
-
0
Uncut’s 2007 Album Preview Special

WATERBOYS frontman MIKE SCOTT on Book Of Lightning – one of our most anticipated albums of 2007 UNCUT: Do you have a title yet? SCOTT: I'm still deciding on a title, I'm not absolutely certain yet. It's most likely to be called Book Of Lightning. Where did that come from? Some corner in my head. [laughs] When did you go in the studio to start work in it? Began in early September, well I say that… most of it was recorded in early September in Basing Street Studios in London, or SARM West as it's officially called. I think of it as a bit of history because it's the old Island Record studio from the 60s and 70s, but I did record a track in Vancouver in June that is on the album. How was it recording in Vancouver? That was good fun. It was a band that covered one of my old songs and I loved what they did with it and I asked if they'd back me for a track, and so that's how that happened. So this is a Waterboys album, but who's actually on there? There's me on everything. Bass player, got Mark Smith is the next most frequent contributor. Steve Wickham plays fiddle as usual. Richard Neiff plays keyboards and a couple of drummers – Brady Blade who's a top American drummer, played with Steve Earle, Emmylou Harris, lots of people. And an English drummer called Jeremy Stacey. When you're working on material, do you think “This is going to be a solo record, or this is going to be a Waterboys record?” Ah no, I think of them all as Waterboys records. It's just that I went solo for a while in the mid-nineties, basically because I'd made an album on which I played all the instruments. Then I continued solo for a little while, didn't like it, switched back to the Waterboys. So there's no decisions to be made when I make a record these days, it's just a Waterboys record the solo thing was [adopts cockney accent] just a phase, mate. So what can we expect from this record? It's a broad canvas – its part psychedelic, part protest, there's some personal songs, some relationship songs, all different. So I can't sum it up. With the protest songs, is that the world we live in at the moment? Um, they're to do with power and people becoming glamoured by power. Universal Hall was the last studio album, which in itself was pretty different from A Rock in the Weary Land… Absolutely. So where are you going with this? Well this is very different again, but as I say, it's a broad canvas, a wide range of music. Some of it is electric and psychedelic; some of it is based around acoustic guitar, fiddles, keyboards and drums – a more pure sound. Could you put it in relation to past Waterboys albums? I'm glad to say I don't think it sounds like any of the older records, although there are two songs that were written at the Fisherman's Blues period that I never recorded, so they have echoes of that sound. What made you want to go back to those songs? I've written songs for a long time and I have a book full of all the ones I've never used. Every time I make a record I go back through that book and see if there are any that fit with the mood of whatever the new style is, or the new theme is. What are they called? There's “You In The Sky” and “Everybody Takes A Tumble”…I'm like Roger the Dodger with his dodge books – do you remember in the Beano, he used to have this shelf with all his dodge books and I've got songbooks of all my old songs that I've never used [laughs] How many books are there? I've got seven or eight books up there, I'm sure there's some overlaps, but yeah loads of them. I use these big black…I suppose they're for artists or for sketchers, you buy them in art shops. Massive, black books that I use. Are you gonna be touring the record? Yeah, beginning in March when the record comes out. What's the release date? Well I'm told it's March the 6th …I've never had a release date in my life that's been held to but maybe we'll make it this time. I've delivered the album on time anyway and it's on a new label for us – (Where's 14?), which is part of Universal. INTERVIEW: MICHAEL BONNER

WATERBOYS frontman MIKE SCOTT on Book Of Lightning – one of our most anticipated albums of 2007

UNCUT: Do you have a title yet?

SCOTT: I’m still deciding on a title, I’m not absolutely certain yet. It’s most likely to be called Book Of Lightning.

Where did that come from?

Some corner in my head. [laughs]

When did you go in the studio to start work in it?

Began in early September, well I say that… most of it was recorded in early September in Basing Street Studios in London, or SARM West as it’s officially called. I think of it as a bit of history because it’s the old Island Record studio from the 60s and 70s, but I did record a track in Vancouver in June that is on the album.

How was it recording in Vancouver?

That was good fun. It was a band that covered one of my old songs and I loved what they did with it and I asked if they’d back me for a track, and so that’s how that happened.

So this is a Waterboys album, but who’s actually on there?

There’s me on everything. Bass player, got Mark Smith is the next most frequent contributor. Steve Wickham plays fiddle as usual. Richard Neiff plays keyboards and a couple of drummers – Brady Blade who’s a top American drummer, played with Steve Earle, Emmylou Harris, lots of people. And an English drummer called Jeremy Stacey.

When you’re working on material, do you think “This is going to be a solo record, or this is going to be a Waterboys record?”

Ah no, I think of them all as Waterboys records. It’s just that I went solo for a while in the mid-nineties, basically because I’d made an album on which I played all the instruments. Then I continued solo for a little while, didn’t like it, switched back to the Waterboys. So there’s no decisions to be made when I make a record these days, it’s just a Waterboys record the solo thing was [adopts cockney accent] just a phase, mate.

So what can we expect from this record?

It’s a broad canvas – its part psychedelic, part protest, there’s some personal songs, some relationship songs, all different. So I can’t sum it up.

With the protest songs, is that the world we live in at the moment?

Um, they’re to do with power and people becoming glamoured by power.

Universal Hall was the last studio album, which in itself was pretty different from A Rock in the Weary Land…

Absolutely.

So where are you going with this?

Well this is very different again, but as I say, it’s a broad canvas, a wide range of music. Some of it is electric and psychedelic; some of it is based around acoustic guitar, fiddles, keyboards and drums – a more pure sound.

Could you put it in relation to past Waterboys albums?

I’m glad to say I don’t think it sounds like any of the older records, although there are two songs that were written at the Fisherman’s Blues period that I never recorded, so they have echoes of that sound.

What made you want to go back to those songs?

I’ve written songs for a long time and I have a book full of all the ones I’ve never used. Every time I make a record I go back through that book and see if there are any that fit with the mood of whatever the new style is, or the new theme is.

What are they called?

There’s “You In The Sky” and “Everybody Takes A Tumble”…I’m like Roger the Dodger with his dodge books – do you remember in the Beano, he used to have this shelf with all his dodge books and I’ve got songbooks of all my old songs that I’ve never used [laughs]

How many books are there?

I’ve got seven or eight books up there, I’m sure there’s some overlaps, but yeah loads of them. I use these big black…I suppose they’re for artists or for sketchers, you buy them in art shops. Massive, black books that I use.

Are you gonna be touring the record?

Yeah, beginning in March when the record comes out.

What’s the release date?

Well I’m told it’s March the 6th …I’ve never had a release date in my life that’s been held to but maybe we’ll make it this time. I’ve delivered the album on time anyway and it’s on a new label for us – (Where’s 14?), which is part of Universal.

INTERVIEW: MICHAEL BONNER

Peter Gabriel Goes It Online And Alone

Uncut
-
0
Peter Gabriel Goes It Online And Alone

Former founding Genesis member and multi-instrumentalist Peter Gabriel has announced that he will release his next album in the US without the aid of a record company. First reported in The Times newspaper yesterday (January 21), Gabriel, an early pioneer of digital music distribution, has raised £2 million towards recording and 'shipping' his next as-yet-untitled album in a venture with investment boutique Ingenious Media. Gabriel is expected to earn double the money that he would get through a conventional record deal. Commercial director Duncan Reid of Ingenious explains the business savvy of the deal, saying, "If you're paying a small distribution fee and covering your own marketing costs, you enjoy the lion's share of the proceeds of the album. Gabriel is expected to outsource CD production for worldwide release through Warner Bros. Records. The new album deal covers the North America territory, where Gabriel is currently out of contract. Ingenious has previously scored chart entries with independently released albums by Mick Hucknall's Simply Red.

Former founding Genesis member and multi-instrumentalist Peter Gabriel has announced that he will release his next album in the US without the aid of a record company.

First reported in The Times newspaper yesterday (January 21), Gabriel, an early pioneer of digital music distribution, has raised £2 million towards recording and ‘shipping’ his next as-yet-untitled album in a venture with investment boutique Ingenious Media.

Gabriel is expected to earn double the money that he would get through a conventional record deal.

Commercial director Duncan Reid of Ingenious explains the business savvy of the deal, saying, “If you’re paying a small distribution fee and covering your own marketing costs, you enjoy the lion’s share of the proceeds of the album.

Gabriel is expected to outsource CD production for worldwide release through Warner Bros. Records.

The new album deal covers the North America territory, where Gabriel is currently out of contract.

Ingenious has previously scored chart entries with independently released albums by Mick Hucknall’s Simply Red.

Dexys Kevin Rowland To DJ

Uncut
-
0
Dexys Kevin Rowland To DJ

Kevin Rowland has announced that he will have 'carte blanche' as DJ at indie-pop club How Does It Feel To Be Loved next month. The Dexys Midnight Runners frontman will be picking the records on Friday February 2, at the club's first Friday of the month venue, The Canterbury Arms in Brixton, South London. Guest DJs at the the popular twice-monthly club, are usually asked to try to adhere to the club's policy of music, but HDIF-hero Rowland should have no trouble at all. Lyrics taken from Dexys' "Let's Make It Precious" are stated as the indie club's music policy, "Sing me a record/That cries pure and true/ No not those guitars/They're too noisy and crude. The kind that convinces refuses to leave/There's no need to turn it up. If it's pure I'll feel it from here." The HDIF club website translates the young soul rebel's words to playing a mixture of Tamla motown, northern soul and 60s heartbreak groups. Click here for advance tickets for HDIF from www.wegotickets.com/event/15414 For more details about HDIF - click here for the club's website and messageboard Dexy's recently released The Projected Passion Revue- To read John Mulvey's review click here

Kevin Rowland has announced that he will have ‘carte blanche’ as DJ at indie-pop club How Does It Feel To Be Loved next month.

The Dexys Midnight Runners frontman will be picking the records on Friday February 2, at the club’s first Friday of the month venue, The Canterbury Arms in Brixton, South London.

Guest DJs at the the popular twice-monthly club, are usually asked to try to adhere to the club’s policy of music, but HDIF-hero Rowland should have no trouble at all.

Lyrics taken from Dexys’ “Let’s Make It Precious” are stated as the indie club’s music policy, “Sing me a record/That cries pure and true/

No not those guitars/They’re too noisy and crude.

The kind that convinces refuses to leave/There’s no need to turn it up.

If it’s pure I’ll feel it from here.”

The HDIF club website translates the young soul rebel’s words to playing a mixture of Tamla motown, northern soul and 60s heartbreak groups.

Click here for advance tickets for HDIF from www.wegotickets.com/event/15414

For more details about HDIF – click here for the club’s website and messageboard

Dexy’s recently released The Projected Passion Revue- To read John Mulvey’s review click here

Uma Thurman Is New Face Of Virgin

Uncut
-
0
Uma Thurman Is New Face Of Virgin

Hollywood actress Uma Thurman has just been signed by Telewest as the face of a new Virgin rebranding campaign. Expected to launch on February 14, Virgin Media will be a new company comprising Virgin Mobile, land-line, broadband and TV services. MD of Virgin Media marketing has said that beauty Uma Thurman is the "perfect fit" for the new campaign. The re-branding is expected to cost £20 million, but will push Virgin Media to be the largest Virgin-branded company in the world. Past Virgin Mobile advertisements have used top-name celebrities including Busta Rhymes, Christine Aguilera, Pamela Anderson and Kate Moss.

Hollywood actress Uma Thurman has just been signed by Telewest as the face of a new Virgin rebranding campaign.

Expected to launch on February 14, Virgin Media will be a new company comprising Virgin Mobile, land-line, broadband and TV services.

MD of Virgin Media marketing has said that beauty Uma Thurman is the “perfect fit” for the new campaign.

The re-branding is expected to cost £20 million, but will push Virgin Media to be the largest Virgin-branded company in the world.

Past Virgin Mobile advertisements have used top-name celebrities including Busta Rhymes, Christine Aguilera, Pamela Anderson and Kate Moss.

Maximo Park Ready New Album Of Pleasures

Uncut
-
0
Maximo Park Ready New Album Of Pleasures

Newcastle post-punk revivalists Maximo Park have announced that their second album 'Our Earthly Pleasures' will be released on April 2. A single "Our Velocity" will precede the new album on March 19. "Our Earthly Pleasures" is the anticipated follow-up to 2005's Mercury Prize nominated "A Certain Trigger" which featured four Top 20 singles. The new 12-track studio album was produced by Gil Norton, whose previous credits include the Pixies and Foo Fighters. Paul Smith, the band's singer, says that the new album is more rock, but without cliché. "Thanks to two years of touring the world and with the contribution of Gil Norton, Our Earthly Pleasures is a heavy, eye-opening record. It's rock music without the clichés, dealing with the world on an emotional level. Ultimately we want to reach as many people as possible because we feel this record has the ability to inspire and affect people,” says Smith. The full tracklisting for the album is: 1-Girls Who Play Guitars 2-Our Velocity 3-Books From Boxes 4-Russian Literature 5-Karaoke Plays 6-Your Urge 7-The Unshockable 8-By The Monument 9-Nosebleed 10-A Fortnight’s Time 11-Sandblasted And Set Free 12-Parisian Skies Maximo Park are currently on a European Tour and are due to play Moscow this Thursday (January 25) and Istanbul on Saturday (January 27). The band will also headline a sold-out Shockwaves NME Awards show on Wednesday 21st February. More UK dates are expected to be announced soon.

Newcastle post-punk revivalists Maximo Park have announced that their second album ‘Our Earthly Pleasures’ will be released on April 2.

A single “Our Velocity” will precede the new album on March 19.

“Our Earthly Pleasures” is the anticipated follow-up to 2005’s Mercury Prize nominated “A Certain Trigger” which featured four Top 20 singles.

The new 12-track studio album was produced by Gil Norton, whose previous credits include the Pixies and Foo Fighters.

Paul Smith, the band’s singer, says that the new album is more rock, but without cliché. “Thanks to two years of touring the world and with the contribution of Gil Norton, Our Earthly Pleasures is a heavy, eye-opening record. It’s rock music without the clichés, dealing with the world on an emotional level. Ultimately we want to reach as many people as possible because we feel this record has the ability to inspire and affect people,” says Smith.

The full tracklisting for the album is:

1-Girls Who Play Guitars

2-Our Velocity

3-Books From Boxes

4-Russian Literature

5-Karaoke Plays

6-Your Urge

7-The Unshockable

8-By The Monument

9-Nosebleed

10-A Fortnight’s Time

11-Sandblasted And Set Free

12-Parisian Skies

Maximo Park are currently on a European Tour and are due to play Moscow this Thursday (January 25) and Istanbul on Saturday (January 27).

The band will also headline a sold-out Shockwaves NME Awards show on Wednesday 21st February.

More UK dates are expected to be announced soon.

The Charlatans To Frolic In Forest

Uncut
-
0
The Charlatans To Frolic In Forest

The Charlatans have announced details for special show this summer at Delamere Castle in Cheshire, as part of the The Forestry Commissions tour this summer. The band, fronted by Tim Burgess, were formed in Northwich and this show which takes place on June 15 at Delamere Forest in Linmere, is being billed as a home-coming gig. Booker for The Forestry Commission, Simon Hough, says: "We are delighted that The Charlatans are the first act to be confirmed, especially as they are local to the area." Last year, The Charlatans released "Forever-The Singles" featuring 16 of their Top 40 singles, including "The Only One I Know", "One To Another", "How High," "North Country Boy" and recent remix-single "You’re So Pretty We’re So Pretty." Tickets priced £24.00 (subject to booking fee) go on sale this Friday (January 26). Click here for more information about The Forestry Commission And click here to go to The Charlatans' homepage

The Charlatans have announced details for special show this summer at Delamere Castle in Cheshire, as part of the The Forestry Commissions tour this summer.

The band, fronted by Tim Burgess, were formed in Northwich and this show which takes place on June 15 at Delamere Forest in Linmere, is being billed as a home-coming gig.

Booker for The Forestry Commission, Simon Hough, says: “We are delighted that The Charlatans are the first act to be confirmed, especially as they are local to the area.”

Last year, The Charlatans released “Forever-The Singles” featuring 16 of their Top 40 singles, including “The Only One I Know”, “One To Another”, “How High,” “North Country Boy” and recent remix-single “You’re So Pretty We’re So Pretty.”

Tickets priced £24.00 (subject to booking fee) go on sale this

Friday (January 26).

Click here for more information about The Forestry Commission

And click here to go to The Charlatans’ homepage

Watch Neil Rock With Powderfinger

Uncut
-
0
Watch Neil Rock With Powderfinger

Everyday, 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 of TV shows. Today: See “Powderfinger” performed by Neil Young & Crazy Horse at a US concert in 1979. This brilliant 5½ minute song is taken from the 1979 US Top 10 album “Rust Never Sleeps.” The album was recorded live and half-accoustic, although consisting entirely of new material. Play the concert footage by clicking here now Details emerged last week for Neil Young’s first volume of highly anticipated archives. It will cover a teasingly small part of his musical autobiography. For the full story – Click here for Archives Volume 1 news

Everyday, 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 of TV shows.

Today: See “Powderfinger” performed by Neil Young & Crazy Horse at a US concert in 1979.

This brilliant 5½ minute song is taken from the 1979 US Top 10 album “Rust Never Sleeps.”

The album was recorded live and half-accoustic, although consisting entirely of new material.

Play the concert footage by clicking here now

Details emerged last week for Neil Young’s first volume of highly anticipated archives. It will cover a teasingly small part of his musical autobiography.

For the full story – Click here for Archives Volume 1 news

Up Close And Personal With Brad Pitt

Uncut
-
0
Up Close And Personal With Brad Pitt

UNCUT: How does playing in an ensemble drama measure up against carrying a movie? PITT: First of all, being part of an ensemble is always more fun. You're not scared to film. But the real joy was knowing that I can just go in and concentrate on a particular corner, a particular part of this film. And that it wasn't just going to be about my story, it's going to be about all the stories and the cumulative effect once they're combined. And so it was great fun for me to concentrate on just our sections. Alejandro and company then went ahead and shot for the rest of the year. U: Now you've hit your 40s, are you adapting to these older, less glamorous roles? BP:There are people in this business who run from age, and you see the detritus left over from that. The denial, I guess. I don't know yet, but there is that time when you gotta let go, man. Getting older just makes me more efficient and I can get the things done that I want to get done. Before, I meandered. In my younger days, I was a drifter. U:How difficult is it shooting a movie when you've got the paparazzi on your back every minute? BP:With Babel, they left us alone because we were in this little village in Morocco where you'd have to drive an hour to get there. It was in the middle of this lunar landscape with no electricity. We had to bring it in for the film and we were able to leave it there afterwards, which I thought was nice. U:Babel seems to imply that the life of a rich American is treated as more valuable than the life of a poor Mexican or Moroccan. Do you agree? BP: I think there are many political aspects to this film beyond what you'd call America's self-entitlement. I think it's about bigger issues of misunderstanding, paranoia, protectionism. So I think it speaks beyond America on these issues, I think it speaks about the world. And that's what drew me to the film. That's what drew me to what Alejandro was after and made me want to be a part of it. U:How has family changed the way the work? BP:You do everything faster because there's no time for messing around. I still value the work I get to do but at the same time I value more getting home to the kids, so it makes you more stealthy in your attack on things. In a funny way it makes the work mean more, because I know somewhere down the road now my kids will see this and that layer now is on everything that I approach. It's definitely part of what I'll approach in the future. I'll try to be a little bit more mature about my decisions. U:Humanitarian causes have become very important to you. Do these kind of issues feed intro what you do as an actor? BP:I know it has to seep into acting in some way. Maybe not Ocean's 13! But this film Babel is trying to say that we're all the same. We need to get our arms around the idea that maybe language or distance separate us, or lack of understanding. But what I drew from the script is the idea that you can watch four very different stories woven so elegantly together, and the base issue is equality. A family living in a hut who have to walk five miles to get their water in Africa, or tend to the goats, is looking for the same kind of dignity and opportunity for their kids as we are in America. U:Films like Babel seem to suggest a more serious, mature career path for you. Is that how you see your future? BP:The direction gets clearer because new guys come along and there is not that frenzy or that heat any more. It's like the haze clears and you can focus. And I guess I focus on the work, not the game. U:So, looping back, do you remember what film made you want to start acting? BP:Saturday Night Fever. I loved it - but it wasn't the bad suits and dancing. It was the idea that I didn't know people could live like that, I guess. I'd only seen my corner of the world, Oklahoma and Missouri, so I was intrigued by the idea that there's completely other ways to attack life out there. And I also loved Butch And Sundance. I remember seeing that from when I was in kindergarten. U: Was there a moment when you thought: Damn! I must act! BP:It was more like - it was a week before I was supposed to graduate from college, and everyone had applied and were having job interviews, and I hadn't applied anywhere. I didn't have a clue, nor did I have any interest at that point. It occurred to me that I wish I'd grown up in New York or LA, because there's opportunity to go into movies. So within that week, I decided I was going to go to LA. I had no money, so I'd work for a couple of weeks just to get some pocket cash, and I'd load up the car and I'd go to LA. I didn't finish college, I didn't go back to classes that week. That's the way it went. U: The next film of yours we're looking forward to at UNCUT is The Assassination Of Jesse James By The Coward Robert Ford. It's a ways off, but what can you tell us about it? BP: It deals with the mythology celebrity, and the hunt for that kind of notoriety, what's behind that outlaw life. The film deals with the consequences of it. And of course, these issues relate to me due to my place in the tabloid magazines...! INTERVIEW: JENNY COONEY Additional reporting Stephen Dalton

UNCUT: How does playing in an ensemble drama measure up against carrying a movie?

PITT: First of all, being part of an ensemble is always more fun. You’re not scared to film. But the real joy was knowing that I can just go in and concentrate on a particular corner, a particular part of this film. And that it wasn’t just going to be about my story, it’s going to be about all the stories and the cumulative effect once they’re combined. And so it was great fun for me to concentrate on just our sections. Alejandro and company then went ahead and shot for the rest of the year.

U: Now you’ve hit your 40s, are you adapting to these older, less glamorous roles?

BP:There are people in this business who run from age, and you see the detritus left over from that. The denial, I guess. I don’t know yet, but there is that time when you gotta let go, man. Getting older just makes me more efficient and I can get the things done that I want to get done. Before, I meandered. In my younger days, I was a drifter.

U:How difficult is it shooting a movie when you’ve got the paparazzi on your back every minute?

BP:With Babel, they left us alone because we were in this little village in Morocco where you’d have to drive an hour to get there. It was in the middle of this lunar landscape with no electricity. We had to bring it in for the film and we were able to leave it there afterwards, which I thought was nice.

U:Babel seems to imply that the life of a rich American is treated as more valuable than the life of a poor Mexican or Moroccan. Do you agree?

BP: I think there are many political aspects to this film beyond what you’d call America’s self-entitlement. I think it’s about bigger issues of misunderstanding, paranoia, protectionism. So I think it speaks beyond America on these issues, I think it speaks about the world. And that’s what drew me to the film. That’s what drew me to what Alejandro was after and made me want to be a part of it.

U:How has family changed the way the work?

BP:You do everything faster because there’s no time for messing around. I still value the work I get to do but at the same time I value more getting home to the kids, so it makes you more stealthy in your attack on things. In a funny way it makes the work mean more, because I know somewhere down the road now my kids will see this and that layer now is on everything that I approach. It’s definitely part of what I’ll approach in the future. I’ll try to be a little bit more mature about my decisions.

U:Humanitarian causes have become very important to you. Do these kind of issues feed intro what you do as an actor?

BP:I know it has to seep into acting in some way. Maybe not Ocean’s 13! But this film Babel is trying to say that we’re all the same. We need to get our arms around the idea that maybe language or distance separate us, or lack of understanding. But what I drew from the script is the idea that you can watch four very different stories woven so elegantly together, and the base issue is equality. A family living in a hut who have to walk five miles to get their water in Africa, or tend to the goats, is looking for the same kind of dignity and opportunity for their kids as we are in America.

U:Films like Babel seem to suggest a more serious, mature career path for you. Is that how you see your future?

BP:The direction gets clearer because new guys come along and there is not that frenzy or that heat any more. It’s like the haze clears and you can focus. And I guess I focus on the work, not the game.

U:So, looping back, do you remember what film made you want to start acting?

BP:Saturday Night Fever. I loved it – but it wasn’t the bad suits and dancing. It was the idea that I didn’t know people could live like that, I guess. I’d only seen my corner of the world, Oklahoma and Missouri, so I was intrigued by the idea that there’s completely other ways to attack life out there. And I also loved Butch And Sundance. I remember seeing that from when I was in kindergarten.

U: Was there a moment when you thought: Damn! I must act!

BP:It was more like – it was a week before I was supposed to graduate from college, and everyone had applied and were having job interviews, and I hadn’t applied anywhere. I didn’t have a clue, nor did I have any interest at that point. It occurred to me that I wish I’d grown up in New York or LA, because there’s opportunity to go into movies. So within that week, I decided I was going to go to LA. I had no money, so I’d work for a couple of weeks just to get some pocket cash, and I’d load up the car and I’d go to LA. I didn’t finish college, I didn’t go back to classes that week. That’s the way it went.

U: The next film of yours we’re looking forward to at UNCUT is The Assassination Of Jesse James By The Coward Robert Ford. It’s a ways off, but what can you tell us about it?

BP: It deals with the mythology celebrity, and the hunt for that kind of notoriety, what’s behind that outlaw life. The film deals with the consequences of it. And of course, these issues relate to me due to my place in the tabloid magazines…!

INTERVIEW: JENNY COONEY

Additional reporting Stephen Dalton

Babel

Uncut
-
0
Babel

Plot Synopsis: As in his previous two films, Inarritu weaves in and out of several stories, all loosely linked on some profound level. An American couple struggle to survive a shooting in Morocco; the young shooters panic; a nanny illegally takes two children on a trip to Mexico; a deaf Japanese girl, in Tokyo, rebels against her father. All are striving to cross the barriers that thwart communication between contrasting "types" of people, wherever they live. THIS ambitious, confident film closes a triptych from Inarritu, a "trilogy of life" which exploded forth with 2000's Amores Perros and dug deeper with 2003's 21 Grams. Increasingly, big names are keen to work with him: Pitt and Blanchett come on board here for parts less dominant and glitzy than they'd normally expect, while Bernal returns to thank the director who made him possibly the world's hottest young star. Yet an Inarritu film is all about range, and so the less celebrated members of the cast are equally important to the impact. And Babel has impact to burn. The further Inarittu stretches, the more he impresses - his panorama is both serious and spectacular. Some studio stars may have shied clear of Inarritu's sometimes overbearing penchant for portent and gravitas. Like 21 Grams, this is generally as cheery as a rain-swept funeral: Babel (his final collaboration with co-writer Guillermo Arriaga) sees the bad in everything, the hopelessness of many human relationships. But it also sees the flickers of good, and the flecks of hope, and that duality is what makes his eye so special. We're not just talking film stocks - although the skilful way he emphasises subtle cultural differences with grain textures and colour quality is great. Babel really earns its self-regard and high opinion of itself, through risk, bravery and denial of easy compromise. It seems hilarious now that, on the basis of tripartite structure, Amores Perros was compared to the flashy Pulp Fiction, that Inarritu was tritely hailed as "the Mexican Tarantino". He's no pop-punk phenomenon; he's the real deal. Babel - playing on its Biblical title (God punishes the hubris of humans by giving them incompatible languages) - seeks to point out and combat culture clashes: so topical today in the realms of belief and religion. Inarritu's ideal would be an film made in Esperanto. We begin in sandy Morocco, where two Muslim brothers foolishly play with a gun. A shot hits a bus in which an exhausted travelling American couple, Richard and Susan (Pitt and Blanchett) sit: Susan is seriously wounded. They desperately seek help in alien terrain, and the stresses of their marriage undergo extreme pressure. Meanwhile, in California, a Mexican immigrant nanny (the magnificent Adriana Barraza, from Amores Perros) cannot leave the two children in her care but also cannot miss a family wedding back "home". Her brother (Bernal) is a charming, dangerous influence, whose resentment against the US is just waiting to boil over. Another strand unfolds amid the neon, noise, steel and glass of Tokyo (and Inarritu's smart edits maximise the contrast). Here, the deaf-mute teenager Chieko (Kikuchi) would be a suspect device if the film didn't so magically evoke her own sensory world in this most over-stimulated modern city. Chieko's confusion between affection and sexuality is electrically drawn - a scene where she "enjoys" a night-club is exhilarating. The jolt, when we cut back to the stifling desert, is visceral. Credit must go to the performers, both the marquee names and the unknowns. Pitt - wearing industrial-strength ageing make-up just to appear 49 instead of his own 43 - quickly shakes off his star presence to convey mid-life worry and doubt. Blanchett manages to find layers within a role that's basically lying on a filthy floor bleeding and pissing herself. If Bernal isn't at his most convincing, that's because Barraza's operatic angst leaves him in her tall shadow. Kikuchi's deaf-mute may be overlooked next to these bonfires, and considered merely "promising". But once the film's raw power seeps through the viewer's consciousness for a few days, it's her bewilderment, her keenness to find a ray of light, that's most unforgettable. Without any words, she expresses the reflex to communicate with tangible passion. The stories gradually gather urgency, heat and pain. Everyone suffers. Lots. The eventual revelations that offer tie-ups aren't perfect: in truth, some are vague, perfunctory even. Yet the epic's tide of emotion - set up by earlier, thorough restraint and graphic detail - is irresistible. While it mostly avoids sentimentality, it'd be a cold viewer who didn't come out of the film feeling more compassion and simpatico towards strangers than he took in. It's a tough theme to pull off, this personal/universal, we're-all-hurting-in-any-language motif. Babel brings it home. In a sound-bite century it stares tragedy in the eye, scrapes away the mindless babble. CHRIS ROBERTS DIRECTED BY ALEJANDRO GONZALES INARRITU STARRING BRAD PITT, CATE BLANCHETT, GAEL GARCIA BERNAL, RINKO KIKUCHI OPENS JANUARY 5, CERT 15, 143 MINS

Plot Synopsis:

As in his previous two films, Inarritu weaves in and out of several stories, all loosely linked on some profound level. An American couple struggle to survive a shooting in Morocco; the young shooters panic; a nanny illegally takes two children on a trip to Mexico; a deaf Japanese girl, in Tokyo, rebels against her father. All are striving to cross the barriers that thwart communication between contrasting “types” of people, wherever they live.

THIS ambitious, confident film closes a triptych from Inarritu, a “trilogy of life” which exploded forth with 2000’s Amores Perros and dug deeper with 2003’s 21 Grams. Increasingly, big names are keen to work with him: Pitt and Blanchett come on board here for parts less dominant and glitzy than they’d normally expect, while Bernal returns to thank the director who made him possibly the world’s hottest young star. Yet an Inarritu film is all about range, and so the less celebrated members of the cast are equally important to the impact. And Babel has impact to burn. The further Inarittu stretches, the more he impresses – his panorama is both serious and spectacular.

Some studio stars may have shied clear of Inarritu’s sometimes overbearing penchant for portent and gravitas. Like 21 Grams, this is generally as cheery as a rain-swept funeral: Babel (his final collaboration with co-writer Guillermo Arriaga) sees the bad in everything, the hopelessness of many human relationships. But it also sees the flickers of good, and the flecks of hope, and that duality is what makes his eye so special. We’re not just talking film stocks – although the skilful way he emphasises subtle cultural differences with grain textures and colour quality is great. Babel really earns its self-regard and high opinion of itself, through risk, bravery and denial of easy compromise.

It seems hilarious now that, on the basis of tripartite structure, Amores Perros was compared to the flashy Pulp Fiction, that Inarritu was tritely hailed as “the Mexican Tarantino”. He’s no pop-punk phenomenon; he’s the real deal.

Babel – playing on its Biblical title (God punishes the hubris of humans by giving them incompatible languages) – seeks to point out and combat culture clashes: so topical today in the realms of belief and religion.

Inarritu’s ideal would be an film made in Esperanto. We begin in sandy Morocco, where two Muslim brothers foolishly play with a gun. A shot hits a bus in which an exhausted travelling American couple, Richard and Susan (Pitt and Blanchett) sit: Susan is seriously wounded. They desperately seek help in alien terrain, and the stresses of their marriage undergo extreme pressure. Meanwhile, in California, a Mexican immigrant nanny (the magnificent Adriana Barraza, from Amores Perros) cannot leave the two children in her care but also cannot miss a family wedding back “home”. Her brother (Bernal) is a charming, dangerous influence, whose resentment against the US is just waiting to boil over.

Another strand unfolds amid the neon, noise, steel and glass of Tokyo (and Inarritu’s smart edits maximise the contrast). Here, the deaf-mute teenager Chieko (Kikuchi) would be a suspect device if the film didn’t so magically evoke her own sensory world in this most over-stimulated modern city. Chieko’s confusion between affection and sexuality is electrically drawn – a scene where she “enjoys” a night-club is exhilarating.

The jolt, when we cut back to the stifling desert, is visceral.

Credit must go to the performers, both the marquee names and the unknowns. Pitt – wearing industrial-strength ageing make-up just to appear 49 instead of his own 43 – quickly shakes off his star presence to convey mid-life worry and doubt. Blanchett manages to find layers within a role that’s basically lying on a filthy floor bleeding and pissing herself. If Bernal isn’t at his most convincing, that’s because Barraza’s operatic angst leaves him in her tall shadow. Kikuchi’s deaf-mute may be overlooked next to these bonfires, and considered merely “promising”. But once the film’s raw power seeps through the viewer’s consciousness for a few days, it’s her bewilderment, her keenness to find a ray of light, that’s most unforgettable. Without any words, she expresses the reflex to communicate with tangible passion.

The stories gradually gather urgency, heat and pain. Everyone suffers. Lots. The eventual revelations that offer tie-ups aren’t perfect: in truth, some are vague, perfunctory even. Yet the epic’s tide of emotion – set up by earlier, thorough restraint and graphic detail – is irresistible. While it mostly avoids sentimentality, it’d be a cold viewer who didn’t come out of the film feeling more compassion and simpatico towards strangers than he took in. It’s a tough theme to pull off, this personal/universal, we’re-all-hurting-in-any-language motif. Babel brings it home. In a sound-bite century it stares tragedy in the eye, scrapes away the mindless babble.

CHRIS ROBERTS

DIRECTED BY ALEJANDRO GONZALES INARRITU

STARRING BRAD PITT, CATE BLANCHETT, GAEL GARCIA BERNAL, RINKO KIKUCHI

OPENS JANUARY 5, CERT 15, 143 MINS

Denny Doherty 1940 – 2007

Uncut
-
0
Denny Doherty 1940 – 2007

Uncut is saddened to hear that former Mamas & Papas singer Denny Doherty passed away yesterday (January 19). The singer had been ill with kidney problems, and had been on dialysis following surgery last month. He was 66. Doherty was born in Halifax, Nova Scotia, and started his musical career in Montreal with The Colonials, scoring a minor hit in the early '60s with "The Man Who Wouldn't Sing Along With Mitch". Ironically, the band split in 1963 at a hotel named The Colonial. By early 1965, Doherty had met and played with songwriter John Philips in his band The New Journeymen, and had also met Cass Elliot. With the disbanding of Phillips' band, the three of them formed The Magic Circle. Signing a record deal with Dunhill Records only six months later, the group changed their name to The Mamas & The Papas and recorded debut album 'If You Can Believe Your Ears'. The group had commercial hits around the worldwide with songs like 1966's classic summer anthem "California Dreamin'" and the beautiful, Grammy-winning Number One, "Monday, Monday". Other songs made famous by one of the world's first mixed-sex groups, include "I Saw Her Again Last Night", "Go Where You Wanna Go", and "Dedicated To The One I Love". The success of the band was compromised, however, when an affair between Doherty and Phillips' wife Michelle caused her to be kicked out of the band in June 1966. Demand from fans meant that Michelle's replacement Jill Gibson only lasted in the group for two months, and Michelle Phillips was re-instated in August 1966. After the stresses, the group couldn't concentrate on their musical direction whilst attempting to make a fifth record together, and after Cass Elliot left the group, The Mamas & The Papas disbanded in 1968. The band briefly reunited in 1971 for the album 'People Like Us'. But dreams of a proper reunion ended when Cass Elliot died of a heart attack in 1964. For his briefly successful solo career, Doherty was inducted in the Canadian Rock And Roll Hall Of Fame and The Mamas & Papas were inducted into the US Rock And Roll Hall Of Fame in 1998. More recently, Doherty co-authored the off-Broadway Show 'Dream A Little Dream: The Mamas & Papas Musical' in 2003. Michelle Phillips is now the only surviving member of the group as her former husband, John Phillips died in 2001 at the age of 65. Click here for some video clips of The Mamas & The Papas to remind you how great they were: Monday Monday performed on the Hollywood Palace show in April 1966 A live version of California Dreamin on the same show The promo video for California Dreamin filmed at Monterey Pop Festival Live performance of My Heart Stood Still RIP

Uncut is saddened to hear that former Mamas & Papas singer Denny Doherty passed away yesterday (January 19).

The singer had been ill with kidney problems, and had been on dialysis following surgery last month. He was 66.

Doherty was born in Halifax, Nova Scotia, and started his musical career in Montreal with The Colonials, scoring a minor hit in the early ’60s with

“The Man Who Wouldn’t Sing Along With Mitch”. Ironically, the band split in 1963 at a hotel named The Colonial.

By early 1965, Doherty had met and played with songwriter John Philips in his band The New Journeymen, and had also met Cass Elliot. With the disbanding of Phillips’ band, the three of them formed The Magic Circle.

Signing a record deal with Dunhill Records only six months later, the group changed their name to The Mamas & The Papas and recorded debut album ‘If You Can Believe Your Ears’.

The group had commercial hits around the worldwide with songs like 1966’s classic summer anthem “California Dreamin'” and the beautiful, Grammy-winning Number One, “Monday, Monday”.

Other songs made famous by one of the world’s first mixed-sex groups, include “I Saw Her Again Last Night”, “Go Where You Wanna Go”, and “Dedicated To The One I Love”.

The success of the band was compromised, however, when an affair between Doherty and Phillips’ wife Michelle caused her to be kicked out of the band in June 1966. Demand from fans meant that Michelle’s replacement Jill Gibson only lasted in the group for two months, and Michelle Phillips was re-instated in August 1966.

After the stresses, the group couldn’t concentrate on their musical direction whilst attempting to make a fifth record together, and after Cass Elliot left the group, The Mamas & The Papas disbanded in 1968. The band briefly reunited in 1971 for the album ‘People Like Us’. But dreams of a proper reunion ended when Cass Elliot died of a heart attack in 1964.

For his briefly successful solo career, Doherty was inducted in the Canadian Rock And Roll Hall Of Fame and The Mamas & Papas were inducted into the US Rock And Roll Hall Of Fame in 1998.

More recently, Doherty co-authored the off-Broadway Show ‘Dream A Little Dream: The Mamas & Papas Musical’ in 2003.

Michelle Phillips is now the only surviving member of the group as her former husband, John Phillips died in 2001 at the age of 65.

Click here for some video clips of The Mamas & The Papas to remind you how great they were:

Monday Monday performed on the Hollywood Palace show in April 1966

A live version of California Dreamin on the same show

The promo video for California Dreamin filmed at Monterey Pop Festival

Live performance of My Heart Stood Still

RIP

The Gossip Score Single Success

Uncut
-
0
The Gossip Score Single Success

The Gossip are to re-release their single, 'In The Way Of Control' on Marth 5, due to massive popular demand. The song, taken from their debut album of the same name, has been remixed by DJs Soulwax and featured in the trailers for new Channel 4 series from the makers of Shamelss, 'Skins.' The track has seen a massive surge in download sales, two months after its original November release. Downloads alone mean that the song will likely chart in this week's Top 40. 'Jealous Girls', the single originally due to be released next month, has been postponed to make way for the oncoming frenzy. To see the trailer for Skins and The Gossip's remixed track - Click here for the show's Myspace page

The Gossip are to re-release their single, ‘In The Way Of Control’ on Marth 5, due to massive popular demand.

The song, taken from their debut album of the same name, has been remixed by DJs Soulwax and featured in the trailers for new Channel 4 series from the makers of Shamelss, ‘Skins.’

The track has seen a massive surge in download sales, two months after its original November release. Downloads alone mean that the song will likely chart in this week’s Top 40.

‘Jealous Girls’, the single originally due to be released next month, has been postponed to make way for the oncoming frenzy.

To see the trailer for Skins and The Gossip’s remixed track – Click here for the show’s Myspace page

Lennon Killer Leto To Bring Band To UK

Uncut
-
0
Lennon Killer Leto To Bring Band To UK

Hollywood star, Jared Leto, whose credits include Fight Club and Requiem For A Dream, is the frontman of MTV award winning rock band 30 Seconds To Mars. The band’s first UK single ‘Attack’ is due for release next month and is taken from their debut album ‘A Beautiful Lie’ which will follow on February 26. 30 Seconds To Mars will play only two shows in the UK just before the releases. The album has already sold in excess of a million copies stateside and due to spreading popularity the venues for the gigs have been upgraded to: Manchester Academy 2 (was Roadhouse) on January 31 London, Electric Ballroom (was Underworld) on February 1 Original tickets will remain valid at the new shows. Aside from promoting his new musical project, Leto is currently filming the role of Mark David Chapman, in new film 'Chapter 27' about the John Lennon assasination. The actor has reportedly gained 62 lbs in weight for the role of the killer by eating cocktails of Haagen Dazs ice cream with added soy sauce and olive oil!

Hollywood star, Jared Leto, whose credits include Fight Club and Requiem For A Dream, is the frontman of MTV award winning rock band 30 Seconds To Mars.

The band’s first UK single ‘Attack’ is due for release next month and is taken from their debut album ‘A Beautiful Lie’ which will follow on February 26.

30 Seconds To Mars will play only two shows in the UK just before the releases. The album has already sold in excess of a million copies stateside and due to spreading popularity the venues for the gigs have been upgraded to:

Manchester Academy 2 (was Roadhouse) on January 31

London, Electric Ballroom (was Underworld) on February 1

Original tickets will remain valid at the new shows.

Aside from promoting his new musical project, Leto is currently filming the role of Mark David Chapman, in new film ‘Chapter 27’ about the John Lennon assasination.

The actor has reportedly gained 62 lbs in weight for the role of the killer by eating cocktails of Haagen Dazs ice cream with added soy sauce and olive oil!

Spitz Festival of Blues Line-Up Announced

Uncut
-
0
Spitz Festival of Blues Line-Up Announced

Mississippi blues legend T-Model Ford and former Dr Feelgood guitarist Wilko Johnson have been announced as headliners for a blues festival at London’s Spitz venue in April. Ex Bad Seed James Johnston's Gallon Drunk will also appear and Holly Golightly will perform a solo show too. So far eight shows have been announced for the third annual Spitz Festival of Blues that will run throughout April. Wilko Johnson heads up the UK billing at this years’ festival; the ‘godfather of British punk blues’ will play alongside White Stripes’ collaborator Holly Golightly and Gallon Drunk. Legendary Mississippi blues artist T-Model Ford aka The Tail Dagger will be the finale performance of the festival on April 28. Blues artists Kenny Brown and Robert Belfour are amongst the artists who will also take part at the Spitz Festival of Blues. For more information about the show – click here to go to www.punkrockblues.co.uk Ticket booking is available through the Spitz’s website here

Mississippi blues legend T-Model Ford and former Dr Feelgood guitarist Wilko Johnson have been announced as headliners for a blues festival at London’s Spitz venue in April.

Ex Bad Seed James Johnston’s Gallon Drunk will also appear and Holly Golightly will perform a solo show too.

So far eight shows have been announced for the third annual Spitz Festival of Blues that will run throughout April.

Wilko Johnson heads up the UK billing at this years’ festival; the ‘godfather of British punk blues’ will play alongside White Stripes’ collaborator Holly Golightly and Gallon Drunk.

Legendary Mississippi blues artist T-Model Ford aka The Tail Dagger will be the finale performance of the festival on April 28.

Blues artists Kenny Brown and Robert Belfour are amongst the artists who will also take part at the Spitz Festival of Blues.

For more information about the show – click here to go to www.punkrockblues.co.uk

Ticket booking is available through the Spitz’s website here

Babyshambles Go Straight

Uncut
-
0
Babyshambles Go Straight

It was announced today that Pete Doherty's band Babyshambles have signed up for a long-term record deal with major label Parlophone. Buoyed by the success of the groups most recent single, 'The Blinding EP' on the Regal imprint, Parlophone part of EMI have said that they "are delighted Babyshambles have committed their future to the label." Parlophone's MD, Miles Leonard, said of the deal, “Babyshambles, justifiably, have a great reputation for crafting some of the most exciting music around today, and in Peter Doherty they have one of the best songwriters of his generation." He also added that he expected Pete Doherty's group to continue the Parlophone tradition of working with the countrys best artists, saying, "we have a long history of working with the best British bands, from Radiohead to Blur to Coldplay, and we see Babyshambles very much as continuing this tradition.” Babyshambles co-managers, Adrian Hunter and Andy Boyd from Lazy Eye Management commented that "Both management and the band are thrilled to have signed this deal and look forward to a long, fruitful, and creative relationship with Parlophone."

It was announced today that Pete Doherty’s band Babyshambles have signed up for a long-term record deal with major label Parlophone.

Buoyed by the success of the groups most recent single, ‘The Blinding EP’ on the Regal imprint, Parlophone part of EMI have said that they “are delighted Babyshambles have committed their future to the label.”

Parlophone’s MD, Miles Leonard, said of the deal, “Babyshambles, justifiably, have a great reputation for crafting some of the most exciting music around today, and in Peter Doherty they have one of the best songwriters of his generation.”

He also added that he expected Pete Doherty’s group to continue the Parlophone tradition of working with the countrys best artists, saying, “we have a long history of working with the best British bands, from Radiohead to Blur to Coldplay, and we see Babyshambles very much as continuing this tradition.”

Babyshambles co-managers, Adrian Hunter and Andy Boyd from Lazy Eye Management commented that “Both management and the band are thrilled to have signed this deal and look forward to a long, fruitful, and creative relationship with Parlophone.”

Traffic Tribute To Take Place This Sunday

Uncut
-
0
Traffic Tribute To Take Place This Sunday

Traffic Tribute To Take Place This Sunday Winwood and Weller amongst stars to celebrate the life of Jim Capaldi A special benefit show is to take place this Sunday (January 21) at London’s Roundhouse in celebration of the late musician and Traffic founding-member Jim Capaldi. ‘Dear Mr Fantasy’ – a special night featuring the music of Jim Capaldi and Traffic stars Steve Winwood, Pete Townshend, Bill Wyman, Gary Moore, Paul Weller, and Yusuf Islam (formerly Cat Stevens). Traffic co-founder Steve Winwood, with Capaldi, wrote the ten platinum-selling prog rock albums throughout the late 60s and early 70s that made Traffic a huge success. Capaldi also had a successful solo career after the band – even contributing ‘Love Will Keep Us Alive’ to The Eagles’ ‘Hell Freezes Over’ LP. They briefly re-united in 2004, when Traffic were inducted into the Rock ‘n’ Roll Hall of Fame. The tribute concert will raise money for the The Jubilee Action Street Children Appeal, a Brazillian charity that both Capladi and his wife Aninha supported. Signed guitars collected from the appearing artists will also be auctioned later on Ebay. For ticket availibilty check the Roundhouse website by clicking here

Traffic Tribute To Take Place This Sunday

Winwood and Weller amongst stars to celebrate the life of Jim Capaldi

A special benefit show is to take place this Sunday (January 21) at London’s Roundhouse in celebration of the late musician and Traffic founding-member Jim Capaldi.

‘Dear Mr Fantasy’ – a special night featuring the music of Jim Capaldi and Traffic stars Steve Winwood, Pete Townshend, Bill Wyman, Gary Moore, Paul Weller, and Yusuf Islam (formerly Cat Stevens).

Traffic co-founder Steve Winwood, with Capaldi, wrote the ten platinum-selling prog rock albums throughout the late 60s and early 70s that made Traffic a huge success.

Capaldi also had a successful solo career after the band – even contributing ‘Love Will Keep Us Alive’ to The Eagles’ ‘Hell Freezes Over’ LP.

They briefly re-united in 2004, when Traffic were inducted into the Rock ‘n’ Roll Hall of Fame.

The tribute concert will raise money for the The Jubilee Action Street Children Appeal, a Brazillian charity that both Capladi and his wife Aninha supported.

Signed guitars collected from the appearing artists will also be auctioned later on Ebay.

For ticket availibilty check the Roundhouse website by clicking here

Wilco Name New Album

Uncut
-
0
Wilco Name New Album

Jeff Tweedy has announced that the follow up to 2004’s acclaimed album ‘A Ghost Is Born’ is to be called ‘Sky Blue Sky’ Wilco’s front man Tweedy announced the title to the audience at the band's show in Nashville last night (January 17). On tour, the group have been giving fans an insight into the sound of the new album by previewing new songs. The titles include the title track ‘Sky Blue Sky’ and ‘We Can Make It Better.’ Other new songs that the band have played at recent shows include, ‘Is This The Thanks I Get,’ ‘Lullaby For Rafters And Dreams’ and ‘On and On and On’- although it is unclear as yet if these are also on the latest album . Sky Blue Sky will be available in the UK through Nonesuch Records on May 14. Pic credit: Michael Segal

Jeff Tweedy has announced that the follow up to 2004’s acclaimed album ‘A Ghost Is Born’ is to be called ‘Sky Blue Sky’

Wilco’s front man Tweedy announced the title to the audience at the band’s show in Nashville last night (January 17).

On tour, the group have been giving fans an insight into the sound of the new album by previewing new songs.

The titles include the title track ‘Sky Blue Sky’ and ‘We Can Make It Better.’

Other new songs that the band have played at recent shows include, ‘Is This The Thanks I Get,’ ‘Lullaby For Rafters And Dreams’ and ‘On and On and On’- although it is unclear as yet if these are also on the latest album .

Sky Blue Sky will be available in the UK through Nonesuch Records on May 14.

Pic credit: Michael Segal

Neil Young Archives Finally Ready For Release

Uncut
-
0
Neil Young Archives Finally Ready For Release

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today. The anticipated release date of 'Archives, Volume 1' is September this year. The collection will feature eight discs, including "Live At the Filmore" (released last November) and "Live At Massey Hall", a solo set from 1971 which is due out on March 26 . Thirty-eight previously unreleased songs will feature on Archives, billed as a 'musical autobiography' of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign. Allan Jones, Editor of Uncut says "This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it's s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff." We'll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them. Click here to let us know what you think about the impending release on our Archives messageboard

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today.

The anticipated release date of ‘Archives, Volume 1’ is September this year.

The collection will feature eight discs, including “Live At the Filmore” (released last November) and “Live At Massey Hall”, a solo set from 1971 which is due out on March 26 .

Thirty-eight previously unreleased songs will feature on Archives, billed as a ‘musical autobiography’ of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign.

Allan Jones, Editor of Uncut says “This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it’s s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff.”

We’ll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

Click here to let us know what you think about the impending release on our Archives messageboard

Neil Young Archives Finally Ready For Release

Uncut
-
0
Neil Young Archives Finally Ready For Release

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today. The anticipated release date of 'Archives, Volume 1' is September this year. The collection will feature eight discs, including "Live At the Filmore" (released last November) and "Live At Massey Hall", a solo set from 1971 which is due out on March 26 . Thirty-eight previously unreleased songs will feature on Archives, billed as a 'musical autobiography' of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign. Allan Jones, Editor of Uncut says "This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it's s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff." We'll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

Long-awaited details about the forthcoming Neil Young Archives box-set have surfaced today.

The anticipated release date of ‘Archives, Volume 1’ is September this year.

The collection will feature eight discs, including “Live At the Filmore” (released last November) and “Live At Massey Hall”, a solo set from 1971 which is due out on March 26 .

Thirty-eight previously unreleased songs will feature on Archives, billed as a ‘musical autobiography’ of Neil Young. Tantalisingly, the eight CDs only cover the period from 1964 to 1971, suggesting it is only the beginning of a vast release campaign.

Allan Jones, Editor of Uncut says “This is incredible news for Neil Young fans, like myself, who seem to have been waiting the best part of our adult lives for the release of this archive material. Neil has been talking about it for years.When I interviewed him in 1989, he told me it was coming together and to expect it soon. Which is also what he told me when I interviewed him in 1993. It looks finally like it’s s happening at last, though, incrediblly enough. On the evidence of the Live at The Filmore CD, it should be mind-blowing stuff.”

We’ll announce more details about Archives, Volume 1 on Uncut.co.uk as we get them.

1...1,0251,0261,027...1,270Page 1,026 of 1,270

SHOP UNCUT