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Pete Doherty Found Guilty of Assault

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Pete Doherty Found Guilty of Assault

Babyshambles and ex-Libertines singer Pete Doherty has been found guilty of assaulting a BBC reporter last March. Doherty pleaded guilty and was fined £750 at Thames Magistrates' Court for the attack. In a statement, the 27-year-old slightly repented by saying, "If I hurt this lady I'm sorry." However despite the apology, Doherty also added that the hurt Radio 1 reporter, Trudi Barber is a member of “harassing scrum press.” Magistrate Helen Skinner at the court responded to Doherty’s comments by saying, "Referring to the press as scum does no one any favours. You were obviously courting publicity judging by your somewhat extravagant behaviour outside the court. She concluded "People in public life have a responsibility to behave and be a good role model to others." The singer, who was recently being treated at the Priory for drug addiction, was also ordered to pay £250 compensation and another £200 in court costs, reported BBC News. Doherty told the court that he was unable to pay the fine on the day as he only had 27p on him. He has been given seven days to pay up.

Babyshambles and ex-Libertines singer Pete Doherty has been found guilty of assaulting a BBC reporter last March.

Doherty pleaded guilty and was fined £750 at Thames Magistrates’ Court for the attack.

In a statement, the 27-year-old slightly repented by saying, “If I hurt this lady I’m sorry.”

However despite the apology, Doherty also added that the hurt Radio 1 reporter, Trudi Barber is a member of “harassing scrum press.”

Magistrate Helen Skinner at the court responded to Doherty’s comments by saying, “Referring to the press as scum does no one any favours.

You were obviously courting publicity judging by your somewhat extravagant behaviour outside the court.

She concluded “People in public life have a responsibility to behave and be a good role model to others.”

The singer, who was recently being treated at the Priory for drug addiction, was also ordered to pay £250 compensation and another £200 in court costs, reported BBC News.

Doherty told the court that he was unable to pay the fine on the day as he only had 27p on him.

He has been given seven days to pay up.

Watch The Beatles in the studio in Today’s vintage clip

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Watch The Beatles in the studio in Today’s vintage clip

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: Watch The Beatles in the studio performing the Lennon-McCartney track “Hey Bulldog” – originally from the 1969 “Yellow Submarine” album. This entertaining promo clip is worth watching because it’s the first time the correct song has been played over the visuals of the band. Originally the promo made by the band had no audio, as film recording equipment was banned from the studio. The song was recorded for inclusion on the soundtrack for “Yellow Submarine” but was not included in the original version of the film. Watch The Beatles in action in the studio by clicking here

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: Watch The Beatles in the studio performing the Lennon-McCartney track “Hey Bulldog” – originally from the 1969 “Yellow Submarine” album.

This entertaining promo clip is worth watching because it’s the first time the correct song has been played over the visuals of the band.

Originally the promo made by the band had no audio, as film recording equipment was banned from the studio.

The song was recorded for inclusion on the soundtrack for “Yellow Submarine” but was not included in the original version of the film.

Watch The Beatles in action in the studio by clicking here

Christopher Walken To Play Ozzy Osbourne

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Christopher Walken To Play Ozzy Osbourne

Christopher Walken is to take on the role of the dark rock lord Ozzy Osborne in the forthcoming Larry Charles directed film “The Dirt” about excessive LA rock group Motley Crue. Vince Neil, front man of Motley Crue announced that Oscar-winning actor Walken would play the cameo role of Ozzy on US radio show ABC News. Neil thinks having Walken on board will be perfect casting, saying "How funny is that going to be?!" In the book of “The Dirt”, tales of Osbourne on the road with Motley Crue, include snorting a line of live ants poolside and taking LSD every day for a year 'just to see what would happen.' Neil also said that other stars are planned to appear in the film as rock stars, including former Batman, Val Kilmer as Van Halen’s ‘Diamond Dave’ - David Lee Roth. Kilmer is experienced at playing famously excessive rock stars. He has previously played the roles of Elvis Presley in 1993’s “True Romance” and Jim Morrison in the Oliver Stone 1991 biopic “The Doors.” The actors chosen to play Motley Crue themselves will be unknowns. "The Dirt: Confessions of the World's Most Notorious Rock Band" had no limits with it’s gritty confessionals, describing in dirty detail - the drink, the drugs and the sex-fuelled rock star behaviour of Vince Neil and Crue band mates Tommy Lee, Mick Mars and Nikki Sixx. The film made by Paramount and MTV is now in preproduction and is expected to be completed in 2008.

Christopher Walken is to take on the role of the dark rock lord Ozzy Osborne in the forthcoming Larry Charles directed film “The Dirt” about excessive LA rock group Motley Crue.

Vince Neil, front man of Motley Crue announced that Oscar-winning actor Walken would play the cameo role of Ozzy on US radio show ABC News.

Neil thinks having Walken on board will be perfect casting, saying “How funny is that going to be?!”

In the book of “The Dirt”, tales of Osbourne on the road with Motley Crue, include snorting a line of live ants poolside and taking LSD every day for a year ‘just to see what would happen.’

Neil also said that other stars are planned to appear in the film as rock stars, including former Batman, Val Kilmer as Van Halen’s ‘Diamond Dave’ – David Lee Roth.

Kilmer is experienced at playing famously excessive rock stars. He has previously played the roles of Elvis Presley in 1993’s “True Romance” and Jim Morrison in the Oliver Stone 1991 biopic “The Doors.”

The actors chosen to play Motley Crue themselves will be unknowns.

“The Dirt: Confessions of the World’s Most Notorious Rock Band” had no

limits with it’s gritty confessionals, describing in dirty detail – the drink, the drugs and the sex-fuelled rock star behaviour of Vince Neil and Crue band mates Tommy Lee, Mick Mars and Nikki Sixx.

The film made by Paramount and MTV is now in preproduction and is expected to be completed in 2008.

Oasis Road Movie World Premiere

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Oasis Road Movie World Premiere

“Lord Don’t Slow Me Down” the new Oasis documentary made it’s world premiere at the CMJ festival in New York on Saturday (November 4). Noel Gallagher made a special appearance at the screening to take questions in a special session after the film. Around 400 fans queued from as early 3am to make sure they could attend the screening. Film director Bailie Walsh captures Oasis on their “Don’t Believe The Truth” world tour, with a collection of intimate band interviews and backstage footage. Walsh previously worked with the band when he directed the Oasis promo video for the single “Let There Be Love” in 2005. At the Q&A session, Noel Gallagher answered questions on subjects varying from The Beatles, his relationship with sibling Liam Gallagher and the group's forthcoming best of collection 'Stop The Clocks'. When asked by a fan why he claims Oasis are ‘the greatest band in the world’ Noel responded by saying, "I only go by what's on the charts, I'm not interested in what's hip to music critics”. He added that he’d been misinterpreted saying Oasis were the “greatest thing since Elvis Presley” he was actually saying, 'I think I'm the best thing in the Top 40 and I think anybody whose from England would probably agree with that!." Oasis release “Stop The Clocks” on November 20, whilst “Lord Don't Slow Me Down” will be screened in the UK later this month. To watch the Bailie Walsh directed Oasis video “Let There Be Love – Click here

“Lord Don’t Slow Me Down” the new Oasis documentary made it’s world premiere at the CMJ festival in New York on Saturday (November 4).

Noel Gallagher made a special appearance at the screening to take questions in a special session after the film. Around 400 fans queued from as early 3am to make sure they could attend the screening.

Film director Bailie Walsh captures Oasis on their “Don’t Believe The Truth” world tour, with a collection of intimate band interviews and backstage footage.

Walsh previously worked with the band when he directed the Oasis promo video for the single “Let There Be Love” in 2005.

At the Q&A session, Noel Gallagher answered questions on subjects varying from The Beatles, his relationship with sibling Liam Gallagher and the group’s forthcoming best of collection ‘Stop The Clocks’.

When asked by a fan why he claims Oasis are ‘the greatest band in the world’ Noel responded by saying, “I only go by what’s on the charts, I’m not interested in what’s hip to music critics”.

He added that he’d been misinterpreted saying Oasis were the “greatest thing since Elvis Presley” he was actually saying, ‘I think I’m the best thing in the Top 40 and I think anybody whose from England would probably agree with that!.”

Oasis release “Stop The Clocks” on November 20, whilst “Lord Don’t Slow Me Down” will be screened in the UK later this month.

To watch the Bailie Walsh directed Oasis video “Let There Be Love – Click here

Genesis Reform To Play The World

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Genesis Reform To Play The World

As previously reported on Uncut.co.uk Phil Collins is to re-join Tony Banks and Mike Rutherford in a reformed Genesis. Collins is to re-join the prog-rock giants for an international tour, announced officially this morning at a press conference. The “Turn It On Again” tour will begin a decade after the singing drummer left the group to pursue a successful solo career. The mammoth tour will see the band play a series of stadium concerts in Europe next summer kicking off in the Olympic Stadium, Helsinki on 11 June, ending in Rome on 14 July after playing 12 countries in between. The full tour dates are as follows: Helsinki, Finland Olympic Stadium (June 11) Herning, Denmark Messecenter (14) Hamburg, Germany AOL Arena (15) Berne, Switzerland Stade de Suisse (17) Linz, Austria Gugglestadium (18) Budapest, Hungary Puskas Ferenc Stadium (20) Katowice, Poland Slaski Stadium (21) Hannover, Germany AWD Arena (23) Dusseldorf, Germany LTU Arena (26) Stuttgart, Germany Gottlieb-Daimler Stadium (29) Paris, France Parc Des Princes (30) Amsterdam, Holland Arena (July 1) Berlin, Germany Olympiastadion (3) Leipzig, Germany Zentralstadion (4) Frankfurt, Germany Commerzbankarena (5) London, UK Twickenham Stadium (7) Manchester, UK Old Trafford (8) Munich, Germany Olympiastadion (10) Monaco Louis II Stadium (12) Rome, Italy Telecomcerto at Colosseo (14) Tickets for the UK dates go onsale on November 24. Other onsale dates are yet to be announced. Collins became lead singer of Genesis when Peter Gabriel, the original front man, left in 1975 to go solo. Collins had previously been the group’s drummer and backing singer. The group had several immensely successful albums in the late '70s and '80s, selling upwards of 150 million longplayers. To coincide with the Genesis tour, EMI Records will be re-issuing all 14 Genesis studio albums throughout 2007. All the releases will be SACD/DVD double disc sets featuring newly re-mastered 5.1 surround sound and stereo mixes. Phil Collins' return to Genesis for an international tour has been speculated about for some time. Original Genesis guitarist Steve Hackett has congratulated his former band mates, saying, “I would like to congratulate Tony, Mike and Phil for flying the flag once again. Good luck to them and I really hope they have a very successful tour." Hackett also further speculates that Peter Gabriel was indeed asked to be part of the reunion. The guitarist told Uncut that he “was originally approached to discuss the possibility of a five piece which would have included Peter Gabriel, but since Peter’s schedule precludes this, it makes sense for the other three to celebrate the band in their ‘own special way’ ." Hackett recently released a new solo record, 'Wild Orchids', and is planning a series of UK shows early in 2007. For previous Genesis reunion news – Click here

As previously reported on Uncut.co.uk Phil Collins is to re-join Tony Banks and Mike Rutherford in a reformed Genesis.

Collins is to re-join the prog-rock giants for an international tour, announced officially this morning at a press conference.

The “Turn It On Again” tour will begin a decade after the singing drummer left the group to pursue a successful solo career.

The mammoth tour will see the band play a series of stadium concerts in Europe next summer kicking off in the Olympic Stadium, Helsinki on 11 June, ending in Rome on 14 July after playing 12 countries in between.

The full tour dates are as follows:

Helsinki, Finland Olympic Stadium (June 11)

Herning, Denmark Messecenter (14)

Hamburg, Germany AOL Arena (15)

Berne, Switzerland Stade de Suisse (17)

Linz, Austria Gugglestadium (18)

Budapest, Hungary Puskas Ferenc Stadium (20)

Katowice, Poland Slaski Stadium (21)

Hannover, Germany AWD Arena (23)

Dusseldorf, Germany LTU Arena (26)

Stuttgart, Germany Gottlieb-Daimler Stadium (29)

Paris, France Parc Des Princes (30)

Amsterdam, Holland Arena (July 1)

Berlin, Germany Olympiastadion (3)

Leipzig, Germany Zentralstadion (4)

Frankfurt, Germany Commerzbankarena (5)

London, UK Twickenham Stadium (7)

Manchester, UK Old Trafford (8)

Munich, Germany Olympiastadion (10)

Monaco Louis II Stadium (12)

Rome, Italy Telecomcerto at Colosseo (14)

Tickets for the UK dates go onsale on November 24. Other onsale dates are yet to be announced.

Collins became lead singer of Genesis when Peter Gabriel, the original front man, left in 1975 to go solo.

Collins had previously been the group’s drummer and backing singer.

The group had several immensely successful albums in the late ’70s and ’80s, selling upwards of 150 million longplayers.

To coincide with the Genesis tour, EMI Records will be re-issuing all 14 Genesis studio albums throughout 2007.

All the releases will be SACD/DVD double disc sets featuring newly re-mastered 5.1 surround sound and stereo mixes.

Phil Collins’ return to Genesis for an international tour has been speculated about for some time.

Original Genesis guitarist Steve Hackett has congratulated his former band mates, saying, “I would like to congratulate Tony, Mike and Phil for flying the flag once again. Good luck to them and I really hope they have a very successful tour.”

Hackett also further speculates that Peter Gabriel was indeed asked to be part of the reunion.

The guitarist told Uncut that he “was originally approached to discuss the possibility of a five piece which would have included Peter Gabriel, but since Peter’s schedule precludes this, it makes sense for the other three to celebrate the band in their ‘own special way’ .”

Hackett recently released a new solo record, ‘Wild Orchids’, and is planning a series of UK shows early in 2007.

For previous Genesis reunion news – Click here

Brian Jones In Action – Today’s Classic Youtube Video

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Brian Jones In Action – Today’s Classic Youtube Video

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: It has been announced that the ‘mysterious’ death of Rolling Stone Brian Jones is to be the subject of an inquest. Jones' body is to be exhumed for thorough post-mortem tests on the grounds that his cause of death was not properly verified at the time of his death. A founding member of The Rolling Stones, Jones is said to have drowned in 1969, during a midnight swim at his mansion in Hartfield, East Sussex. Many people, including his former girlfriend Anna Wohlin, claim that Jones was murdered. Evidence will be presented to the Attorney-General in the coming months. In the meantime, our YouTube video choice of the day is this seven-minute live Rolling Stones performance from the 1964 NME Pollwinners Awards, held at the Empire Pool, Wembley. The group are in exhuberant form in this clip, playing three songs to a baying crowd. Check out Brian’s fine harmonica playing here

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: It has been announced that the ‘mysterious’ death of Rolling Stone Brian Jones is to be the subject of an inquest.

Jones’ body is to be exhumed for thorough post-mortem tests on the grounds that his cause of death was not properly verified at the time of his death.

A founding member of The Rolling Stones, Jones is said to have drowned in 1969, during a midnight swim at his mansion in Hartfield, East Sussex.

Many people, including his former girlfriend Anna Wohlin, claim that Jones was murdered.

Evidence will be presented to the Attorney-General in the coming months.

In the meantime, our YouTube video choice of the day is this seven-minute live Rolling Stones performance from the 1964 NME Pollwinners Awards, held at the Empire Pool, Wembley.

The group are in exhuberant form in this clip, playing three songs to a baying crowd.

Check out Brian’s fine harmonica playing here

The Waterboys Are Back

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The Waterboys Are Back

The Waterboys are currently in the studio and a new album is in the final stages of production, Uncut has learned. The new material is expected to be released next spring, 25 years since Mike Scott first formed The Waterboys. Insiders say that the new songs “promise to be his finest work to date.” To support the launch of the album The Waterboys will perform dates all across Europe, starting in Holland on March 7 2007, then going onto Ireland and Scandinavia. The Waterboys will then play a full UK tour including a special performance at London’s Royal Albert Hall on May 11. The Waterboys’ current line-up features Steve Wickham (violin) whose first involvement in the band dates back to 1985, Richard Naiff (keyboards), Brady Blade and Jeremy Stacey (drums), Mark Smith (bass), Leo Abrahams (guitar) and long-time Waterboys alumni Roddy Lorimer (trumpet) and Chris Bruce (guitar). The Waterboys have signed a record deal with W14 Music – the new Universal Music Group imprint headed by MD John Williams. Mike Scott is upbeat about the new record deal, saying: “It's great to be back on a major label, and doubly great to be with John Williams, a true music man, and the guy who produced a few of The Waterboys' best-ever recordings.” Mike Scott formed The Waterboys in 1982 and has been the driving force of the group throughout its various incarnations, exploring a variety of musical styles. Mike Scott won a prestigious Ivor Novello Award in 1991 for writing his most well-known song to date, ‘The Whole of the Moon’.          For more information about the new Waterboys album and forthcoming shows – Click here

The Waterboys are currently in the studio and a new album is in the final stages of production, Uncut has learned.

The new material is expected to be released next spring, 25 years since Mike Scott first formed The Waterboys.

Insiders say that the new songs “promise to be his finest work to date.”

To support the launch of the album The Waterboys will perform dates all across Europe, starting in Holland on March 7 2007, then going onto Ireland and Scandinavia.

The Waterboys will then play a full UK tour including a special performance at London’s Royal Albert Hall on May 11.

The Waterboys’ current line-up features Steve Wickham (violin) whose first involvement in the band dates back to 1985, Richard Naiff (keyboards), Brady Blade and Jeremy Stacey (drums), Mark Smith (bass), Leo Abrahams (guitar) and long-time Waterboys alumni Roddy Lorimer (trumpet) and Chris Bruce (guitar).

The Waterboys have signed a record deal with W14 Music – the new Universal Music Group imprint headed by MD John Williams.

Mike Scott is upbeat about the new record deal, saying: “It’s great to be back on a major label, and doubly great to be with John Williams, a true music man, and the guy who produced a few of The Waterboys’ best-ever recordings.”

Mike Scott formed The Waterboys in 1982 and has been the driving force of the group throughout its various incarnations, exploring a variety of musical styles.

Mike Scott won a prestigious Ivor Novello Award in 1991 for writing his most well-known song to date, ‘The Whole of the Moon’. 

  

  

  For more information about the new Waterboys album and forthcoming shows – Click here

Ronnie Wood’s Brother Dies

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Ronnie Wood’s Brother Dies

There are murmurs that The Rolling Stones’ “Bigger Bang” world tour is cursed after another devastating blow. Ronnie Wood’s brother Art has sadly died after fighting a six-month battle with cancer aged 69. The Rolling Stones’ world tour has been fraught with problems throughout the year. Keith Richards suffered brain injuries after falling from a tree in Fiji and singer Mick Jagger had laryngitis forcing dates to be cancelled in Spain in July. The tour previously scheduled to be taking place this month in the US is also temporarily on hold while Jagger’s throat condition improves. Ronnie Wood has flown back to the UK to be with family at this sad time. It is expected that he will rejoin the group soon.

There are murmurs that The Rolling Stones’ “Bigger Bang” world tour is cursed after another devastating blow.

Ronnie Wood’s brother Art has sadly died after fighting a six-month battle with cancer aged 69.

The Rolling Stones’ world tour has been fraught with problems throughout the year.

Keith Richards suffered brain injuries after falling from a tree in Fiji and singer Mick Jagger had laryngitis forcing dates to be cancelled in Spain in July.

The tour previously scheduled to be taking place this month in the US is also temporarily on hold while Jagger’s throat condition improves.

Ronnie Wood has flown back to the UK to be with family at this sad time.

It is expected that he will rejoin the group soon.

Yusuf Islam – An Other Cup

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Yusuf Islam’s first batch of new songs in nearly 30 years sounds astoundingly like an album from his ‘70s heyday. As Cat Stevens, he was always melodic and philosophical, characteristics in abundance here. Having been hauled off an aeroplane as a terrorist suspect, Islam needs no reminding of the fraught state of the world, and most of these songs are gentle pleas for tolerance, harmony and divine guidance. In "Maybe There‘s A World" he dreams of a peaceful Utopia without borders, while "Whispers From A Spiritual Garden" was inspired by a 13th century Sufi mystic. Can’t see the jihadists queuing up to download it, though . By Adam Sweeting

Yusuf Islam’s first batch of new songs in nearly 30 years sounds astoundingly like an album from his ‘70s heyday. As Cat Stevens, he was always melodic and philosophical, characteristics in abundance here. Having been hauled off an aeroplane as a terrorist suspect, Islam needs no reminding of the fraught state of the world, and most of these songs are gentle pleas for tolerance, harmony and divine guidance. In “Maybe There‘s A World” he dreams of a peaceful Utopia without borders, while “Whispers From A Spiritual Garden” was inspired by a 13th century Sufi mystic. Can’t see the jihadists queuing up to download it, though .

By Adam Sweeting

Neil Young – Live At The Fillmore East

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Neil Young – Live At The Fillmore East

In the continuing absence of Neil Young’s "Archives", we clutch at any morsels dispensed from the great man’s table. Long a live bootleg classic – as well as being the source of "Tonight’s The Night"’s "Come On Baby Let’s Go Downtown" – Neil’s March 1970 sets at the Fillmore East showcased the rising star of grungy country rock in the company of the band that helped him find his musical feet on 1969’s cracklingly great "Everybody Knows This Is Nowhere". The title track of "Everybody Knows" is the opening one here and immediately sets the tone for "Live at the Fillmore East": the loosely funky 4/4 groove patented by drummer Ralph Molina and bassist Billy Talbot, the wiry guitar interplay between Young and junkie henchman Danny Whitten, the half-assed barrelhouse piano contributed by the curmudgeonly Jack Nitzsche (introduced by Young as hailing from New Mexico rather than his native Michigan). "Fillmore East" is most famous for the long jams on two "Everybody Knows" epics. "Down By The River" consists pretty much of two chords in the service of heads-down trance – imagine Hendrix’s "Hey Joe" fused with the horns-locked CSNY intensity of "Long Time Gone". The difference here is that Whitten simply complements Young’s livid, splayed extemporizations rather than (a la Steve Stills) attempting to upstage and drown them out. "Cowgirl In The Sand" can also be whittled down to two lopingly grungy chords and similarly offers a vehicle for long, needly guitar lines that wind their way round Whitten’s rhythm strumming. If you love Young’s playing, you could listen to his intense sustain and sputtering attack all night. "Come On Baby Let’s Go Downtown", sung by its co-author Whitten with a blue-eyed-soul larynx that could be Stephen Stills fronting Moby Grape, is a smack classic that prefigures the unfortunate demise of the former Rocket. Young and Billy Talbot yelp along in a manner more akin to Flo & Eddie than Danny & the Memories. Young included it on "Tonight’s The Night" as a kind of memorial plaque to the guitarist he’d axed on the eve of the "Time Fades Away" tour. That leaves "Winterlong", unreleased in its studio incarnation until 1976’s "Decade", and "Wonderin’", introduced by Young as a track from "our new album" but unreleased in studio form until 1983’s "Everybody’s Rockin'". The former is a cult favourite among Neilheads but to these ears remains melodically banal; the latter has a clipped country feel that did not survive its metamorphosis into a Shocking Pinks track. Nevertheless, live ‘70s rock doesn’t come much better than NY in NYC. An album of rough beauty and electric density, "Fillmore East" captures the formerly frail troubadour at his most fired up. By Barney Hoskyns

In the continuing absence of Neil Young’s “Archives”, we clutch at any morsels dispensed from the great man’s table. Long a live bootleg classic – as well as being the source of “Tonight’s The Night”’s “Come On Baby Let’s Go Downtown” – Neil’s March 1970 sets at the Fillmore East showcased the rising star of grungy country rock in the company of the band that helped him find his musical feet on 1969’s cracklingly great “Everybody Knows This Is Nowhere”.

The title track of “Everybody Knows” is the opening one here and immediately sets the tone for “Live at the Fillmore East”: the loosely funky 4/4 groove patented by drummer Ralph Molina and bassist Billy Talbot, the wiry guitar interplay between Young and junkie henchman Danny Whitten, the half-assed barrelhouse piano contributed by the curmudgeonly Jack Nitzsche (introduced by Young as hailing from New Mexico rather than his native Michigan).

“Fillmore East” is most famous for the long jams on two “Everybody Knows” epics. “Down By The River” consists pretty much of two chords in the service of heads-down trance – imagine Hendrix’s “Hey Joe” fused with the horns-locked CSNY intensity of “Long Time Gone”. The difference here is that Whitten simply complements Young’s livid, splayed extemporizations rather than (a la Steve Stills) attempting to upstage and drown them out. “Cowgirl In The Sand” can also be whittled down to two lopingly grungy chords and similarly offers a vehicle for long, needly guitar lines that wind their way round Whitten’s rhythm strumming. If you love Young’s playing, you could listen to his intense sustain and sputtering attack all night.

“Come On Baby Let’s Go Downtown”, sung by its co-author Whitten with a blue-eyed-soul larynx that could be Stephen Stills fronting Moby Grape, is a smack classic that prefigures the unfortunate demise of the former Rocket. Young and Billy Talbot yelp along in a manner more akin to Flo & Eddie than Danny & the Memories. Young included it on “Tonight’s The Night” as a kind of memorial plaque to the guitarist he’d axed on the eve of the “Time Fades Away” tour.

That leaves “Winterlong”, unreleased in its studio incarnation until 1976’s “Decade”, and “Wonderin’”, introduced by Young as a track from “our new album” but unreleased in studio form until 1983’s “Everybody’s Rockin'”. The former is a cult favourite among Neilheads but to these ears remains melodically banal; the latter has a clipped country feel that did not survive its metamorphosis into a Shocking Pinks track. Nevertheless, live ‘70s rock doesn’t come much better than NY in NYC. An album of rough beauty and electric density, “Fillmore East” captures the formerly frail troubadour at his most fired up.

By Barney Hoskyns

Jarvis – Jarvis

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Jarvis – Jarvis

Jarvis Cocker’s solo debut is not so much a curate’s egg as a game of two halves. The first "side" triggers a sinking sensation reminiscent of hearing Morrissey’s "Kill Uncle" for the first time in 1991: has our hero truly lost his touch? From the cursory intro-instrumental "Loss Adjuster", through the '70s plod-rock of "Don’t Let Him Waste Your Time" to the clumsy corn of "Heavy Weather" (Jarvis in "timeless power of cliché" mode) and "I Will Kill Again" (Jarvis in "MOR with a heart of darkness" mode), it’s all dismayingly unconvincing and lacklustre in execution – even though the band features Pulp’s Steve Mackey on bass and Richard Hawley on guitar. Aiming for third Big Star-style wrecked majesty but ending up closer to half-finished Nilsson, "Black Magic" does at least feature some clever production touches. Whereas the plinky, glockenspiely arrangement of "Baby’s Coming Back To Me" is worthy of, ooh, Side Two of "'Til The Band Comes In". Then something changes. "Fat Children" is the pivot. Unpromising at first, with its club-footed indie stomp-rock and opaque lyric about psycho youth (redolent again of shite-period Moz), the song blossoms with the dreamy coda’s wordless wails and incandescent guitars. A hilariously mordant whinge at humanity’s worthlessness, "From A To I" predicts the fall of Western civilization and points the finger at every last one of us: "Evil comes from I know not where/But if you take a look/Inside yourself/ Maybe you’ll find some in there." Its shimmery epic-ness not a million miles from the Verve’s "The Drugs Don’t Work", "Tonite" also argues that change starts with the individual: "You cannot set the world to rights/But you could stop being wrong/Oooh, tonight" - this wracked "oooh", mingling contempt and compassion, anguish and hope, being something of a Cocker trademark. "Disney Time" recalls Milan Kundera’s contention that kitsch is "the refusal to admit shit exists". It’s the shittiness of the world, Cocker notes, that makes us take shelter in feelgood movies and infantile happy endings. "Julie" is prefaced by the opening sentences of Carson McCullers’ The Member of the Wedding, a novel about a 12-year-old girl undergoing an existential-sexual crisis triggered by the wedding of her elder brother (who just happens to be named Jarvis, an unlikely moniker for the 1940s South). In Cocker’s "remix", a troubled teenager with a developing body fends off sweaty lads and lecherous adults, protected by the feeling of invincibility granted her by pop music. The best comes last, with "Quantum Theory", which sounds exactly how everyone, deep down, wishes "The Drift" did: "Scott IV - the Sequel". A lambent ambient-orchestral arrangement, teeming with tingling sublimimals, frames Cocker’s dream of a parallel-dimension paradise where "Everyone is happy… fish do not have bones… gravity can not reach us anymore… you are not alone." When he croaks the closing refrain, "Everything is gonna be alright", Jarvis sounds broken but a believer despite himself; the cynicism and misanthropy, tinged with shame and self-loathing, that’s belched forth elsewhere on the record evaporated clean away. There’s such a distance, such a journey, between the first song and this luminous closer, it’s almost like two different albums, two different artists even. By Simon Reynolds

Jarvis Cocker’s solo debut is not so much a curate’s egg as a game of two halves. The first “side” triggers a sinking sensation reminiscent of hearing Morrissey’s “Kill Uncle” for the first time in 1991: has our hero truly lost his touch?

From the cursory intro-instrumental “Loss Adjuster”, through the ’70s plod-rock of “Don’t Let Him Waste Your Time” to the clumsy corn of “Heavy Weather” (Jarvis in “timeless power of cliché” mode) and “I Will Kill Again” (Jarvis in “MOR with a heart of darkness” mode), it’s all dismayingly unconvincing and lacklustre in execution – even though the band features Pulp’s Steve Mackey on bass and Richard Hawley on guitar.

Aiming for third Big Star-style wrecked majesty but ending up closer to half-finished Nilsson, “Black Magic” does at least feature some clever production touches. Whereas the plinky, glockenspiely arrangement of “Baby’s Coming Back To Me” is worthy of, ooh, Side Two of “‘Til The Band Comes In”.

Then something changes. “Fat Children” is the pivot. Unpromising at first, with its club-footed indie stomp-rock and opaque lyric about psycho youth (redolent again of shite-period Moz), the song blossoms with the dreamy coda’s wordless wails and incandescent guitars. A hilariously mordant whinge at humanity’s worthlessness, “From A To I” predicts the fall of Western civilization and points the finger at every last one of us: “Evil comes from I know not where/But if you take a look/Inside yourself/ Maybe you’ll find some in there.”

Its shimmery epic-ness not a million miles from the Verve’s “The Drugs Don’t Work”, “Tonite” also argues that change starts with the individual: “You cannot set the world to rights/But you could stop being wrong/Oooh, tonight” – this wracked “oooh”, mingling contempt and compassion, anguish and hope, being something of a Cocker trademark. “Disney Time” recalls Milan Kundera’s contention that kitsch is “the refusal to admit shit exists”. It’s the shittiness of the world, Cocker notes, that makes us take shelter in feelgood movies and infantile happy endings.

“Julie” is prefaced by the opening sentences of Carson McCullers’ The Member of the Wedding, a novel about a 12-year-old girl undergoing an existential-sexual crisis triggered by the wedding of her elder brother (who just happens to be named Jarvis, an unlikely moniker for the 1940s South). In Cocker’s “remix”, a troubled teenager with a developing body fends off sweaty lads and lecherous adults, protected by the feeling of invincibility granted her by pop music.

The best comes last, with “Quantum Theory”, which sounds exactly how everyone, deep down, wishes “The Drift” did: “Scott IV – the Sequel”. A lambent ambient-orchestral arrangement, teeming with tingling sublimimals, frames Cocker’s dream of a parallel-dimension paradise where “Everyone is happy… fish do not have bones… gravity can not reach us anymore… you are not alone.”

When he croaks the closing refrain, “Everything is gonna be alright”, Jarvis sounds broken but a believer despite himself; the cynicism and misanthropy, tinged with shame and self-loathing, that’s belched forth elsewhere on the record evaporated clean away. There’s such a distance, such a journey, between the first song and this luminous closer, it’s almost like two different albums, two different artists even.

By Simon Reynolds

Depeche Mode – The Best Of – Volume One

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Depeche Mode – The Best Of – Volume One

Of the bands to emerge at the dawn of the ‘80s, Depeche Mode are matched only by New Order and U2 in chart terms, with an astonishing strikerate of 42 Top 30 hits in 25 years. This "Best Of" includes 18 of them, ranging from 1981’s "Just Can’t Get Enough" to "Martyr" (left off last year’s "Playing The Angel"), and presents them in non-chronological order, a job effectively done by the previous The "Singles 81-85" and "86-98" sets. Occasionally, they’re lyrically banal, with a tendency towards platitudes and/or predictable quasi-religious love-as-redemption/salvation imagery. They offer, too, a sort of easily digestible Top Shop techno - albeit one that exerted an influence on Detroit’s Juan Atkins and Derrick May. Nevertheless, a rearranged Playlist of these tracks provides an impressive narrative, as they morph from frilly-shirted synthpop kids to S&M-flirting industrial-lite merchants to debauched purveyors of stadium electro-rock. By Paul Lester

Of the bands to emerge at the dawn of the ‘80s, Depeche Mode are matched only by New Order and U2 in chart terms, with an astonishing strikerate of 42 Top 30 hits in 25 years. This “Best Of” includes 18 of them, ranging from 1981’s “Just Can’t Get Enough” to “Martyr” (left off last year’s “Playing The Angel”), and presents them in non-chronological order, a job effectively done by the previous The “Singles 81-85” and “86-98” sets. Occasionally, they’re lyrically banal, with a tendency towards platitudes and/or predictable quasi-religious love-as-redemption/salvation imagery. They offer, too, a sort of easily digestible Top Shop techno – albeit one that exerted an influence on Detroit’s Juan Atkins and Derrick May. Nevertheless, a rearranged Playlist of these tracks provides an impressive narrative, as they morph from frilly-shirted synthpop kids to S&M-flirting industrial-lite merchants to debauched purveyors of stadium electro-rock.

By Paul Lester

Graham Coxon gets arty with new track

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Graham Coxon gets arty with new track

Graham Coxon has unveiled an exclusive new track, “Meryon”, at London’s Tate Modern art gallery. “Meryon” is inspired by Franz Klines’ 1960 painting by the same name. The track will only be available to listen to for one month on a listening post in front of the artwork. After that, the track will also be made available for a further month on December 1, exclusively through the www.tatetracks.org.uk website. Coxon’s “Meryon” is part of the 12-month Tate Tracks project launched by Tate Modern to match inspirational visual art with inspirational new music. The project has previously hosted exclusive tracks inspired by art with The Chemical Brothers’ interpretation of Jacob Epstein’s “Torso in Metal from The Rock Drill” and Anish Kapoor-inspired “Searching” by East London grime collective Roll Deep. Graham, commenting on why he chose to undertake this project, said, “It was Kline and de Kooning that made me want to explore why I had such a dramatic response to abstract art....these painters made me see and wish to enter through a door that was quite hidden to me when it came to painting... a different type of seeing, a more internal journey... they spark responses from the depths...I love them very much indeed.” “Meryon” is on display at Tate Modern on Level 3 Material Gestures in Room 2. Visitors to the gallery will be able to listen to the track from now until November 30. Future Tate Tracks on the cards include the Klaxons and The Long Blondes.

Graham Coxon has unveiled an exclusive new track, “Meryon”, at London’s Tate Modern art gallery.

“Meryon” is inspired by Franz Klines’ 1960 painting by the same name.

The track will only be available to listen to for one month on a listening post in front of the artwork.

After that, the track will also be made available for a further month on December 1, exclusively through the www.tatetracks.org.uk website.

Coxon’s “Meryon” is part of the 12-month Tate Tracks project launched by Tate Modern to match inspirational visual art with inspirational new music.

The project has previously hosted exclusive tracks inspired by art with The Chemical Brothers’ interpretation of Jacob Epstein’s “Torso in Metal from The Rock Drill” and Anish Kapoor-inspired “Searching” by East London grime collective Roll Deep.

Graham, commenting on why he chose to undertake this project, said, “It was Kline and de Kooning that made me want to explore why I had such a dramatic response to abstract art….these painters made me see and wish to enter through a door that was quite hidden to me when it came to painting… a different type of seeing, a more internal journey… they spark responses from the depths…I love them very much indeed.”

“Meryon” is on display at Tate Modern on Level 3 Material Gestures in Room 2.

Visitors to the gallery will be able to listen to the track from now until November 30.

Future Tate Tracks on the cards include the Klaxons and The Long Blondes.

Joanna Newsom To Play Special Show

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Joanna Newsom To Play Special Show

Classical harpist and singer-songwriter Joanna Newsom is to play a special show in London in January. The spellbinding performer’s classic storytelling on current Uncut album of the month “Ys” will be brought to life at London’s Barbican Hall on January 19. Newsom will be backed by a full London Symphony Orchestra to try and re-create the ethereal feel of the album. As on her album, Van Dyke Parks will arrange the music. For more information about the Barbican show – Click here

Classical harpist and singer-songwriter Joanna Newsom is to play a special show in London in January.

The spellbinding performer’s classic storytelling on current Uncut album of the month “Ys” will be brought to life at London’s Barbican Hall on January 19.

Newsom will be backed by a full London Symphony Orchestra to try and re-create the ethereal feel of the album.

As on her album, Van Dyke Parks will arrange the music.

For more information about the Barbican show – Click here

The Police To Reform

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The Police To Reform

Andy Summers, guitarist with The Police, has talked about the possibility of a reunion on the web. In a recent podcast for Culturecatch, he has said that there have been rumblings about a band reunion, over 20 years after they split. He says of the mooted reunion: “There are always rumblings, kind of like this ongoing tremor.” He goes on to say that it is only frontman Sting who is holding up a reunion happening. “It’s Sting’s decision. He’s gotta do it when he feels ready, if he wants to do it.” Summers has published an autobiography, “One Train Later", and group drummer Stewart Copeland has made a documentary, “Everyone Stares: The Police Inside Out”, based on his time in The Police. Both came out this year. Meanwhile, Sting has just released a 16th century-styled classical album of lute music, “Songs From The Labyrinth”, to great acclaim. Summers believes that if The Police reformed today, “I think we’d sell out every stadium in the world!” To listen to Andy Summer’s Podcast – Click here

Andy Summers, guitarist with The Police, has talked about the possibility of a reunion on the web.

In a recent podcast for Culturecatch, he has said that there have been rumblings about a band reunion, over 20 years after they split.

He says of the mooted reunion: “There are always rumblings, kind of like this ongoing tremor.”

He goes on to say that it is only frontman Sting who is holding up a reunion happening. “It’s Sting’s decision. He’s gotta do it when he feels ready, if he wants to do it.”

Summers has published an autobiography, “One Train Later”, and group drummer Stewart Copeland has made a documentary, “Everyone Stares: The Police Inside Out”, based on his time in The Police.

Both came out this year.

Meanwhile, Sting has just released a 16th century-styled classical album of lute music, “Songs From The Labyrinth”, to great acclaim.

Summers believes that if The Police reformed today, “I think we’d sell out every stadium in the world!”

To listen to Andy Summer’s Podcast – Click here

First New 10cc Songs For 30 Years!

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First New 10cc Songs For 30 Years!

Two brand new tracks recorded by Kevin Godley and Graham Gouldman of brilliant, underrated Mancunian prog-poppers 10cc are being made available on a Greatest Hits compilation, out this week. “Beautifulloser.com” and “Son of Man” are the first new tracks written and recorded by Godley and Gouldman since 1976's "How Dare You!", the last album made by the super-cerebral Manchester band as a four-piece. As well as the new songs, and the well-known hits including the Number 1s “Rubber Bullets”, “Dreadlock Holiday” and production landmark “I’m Not In Love”, the compilation also collates the talents of 10cc members away from the group. The album includes Eric Stewart's work with '60s beat group The Mindbenders and Gouldman's compositions for The Yardbirds, The Hollies and Herman's Hermits, as well as the pre-10cc novelty worldwide smash "Neanderthal Man" by Hotlegs and Godley's '80s hits with 10cc partner Lol Creme. 10cc - who split in 1976 with Godley & Creme forming a duo, leaving Gouldman and Stewart to carry on as 10cc - have recently enjoyed something of a critical rehabilitation. The Feeling - who were signed to Island Records by Gouldman's A&R son, Louis Bloom - have been name-checking them, The Flaming Lips put "I'm Not In Love" on a compilation of their favourite music called 'Late Night Tales', and Radio London DJ Sean Rowley recently admitted that he "started the whole Guilty Pleasures project because of 10cc" and his determination to win them the respect they deserve. “10cc. Greatest Hits… And More” is out now on UMTV.

Two brand new tracks recorded by Kevin Godley and Graham Gouldman of brilliant, underrated Mancunian prog-poppers 10cc are being made available on a Greatest Hits compilation, out this week.

“Beautifulloser.com” and “Son of Man” are the first new tracks written and recorded by Godley and Gouldman since 1976’s “How Dare You!”, the last album made by the super-cerebral Manchester band as a four-piece.

As well as the new songs, and the well-known hits including the Number 1s “Rubber Bullets”, “Dreadlock Holiday” and production landmark “I’m Not In Love”, the compilation also collates the talents of 10cc members away from the group.

The album includes Eric Stewart’s work with ’60s beat group The Mindbenders and Gouldman’s compositions for The Yardbirds, The Hollies and Herman’s Hermits, as well as the pre-10cc novelty worldwide smash “Neanderthal Man” by Hotlegs and Godley’s ’80s hits with 10cc partner Lol Creme.

10cc – who split in 1976 with Godley & Creme forming a duo, leaving Gouldman and Stewart to carry on as 10cc – have recently enjoyed something of a critical rehabilitation.

The Feeling – who were signed to Island Records by Gouldman’s A&R son, Louis Bloom – have been name-checking them, The Flaming Lips put “I’m Not In Love” on a compilation of their favourite music called ‘Late Night Tales’, and Radio London DJ Sean Rowley recently admitted that he “started the whole Guilty Pleasures project because of 10cc” and his determination to win them the respect they deserve.

“10cc. Greatest Hits… And More” is out now on UMTV.

Borat Spoof Is Uncut’s Youtube Video Of The Day

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Borat Spoof Is Uncut’s Youtube Video Of The Day

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: Move Over Borat, here's Bruno

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: Move Over Borat, here’s Bruno

Nick Cave, Martyn Casey, Warren Ellis, Jim Sclavunos form Grinderman

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Nick Cave, Martyn Casey, Warren Ellis, Jim Sclavunos form Grinderman

Grinderman is the new demonic side project from Nick Cave and some of his musical Bad Seeds. Grinderman are Bad Seed and ex-Triffids member Martyn Casey (bass, acoustic, vocals), Bad Seed and ex-The Cramps/Sonic Youth man Jim Sclavunos (drums, percussion, vocals) and Dirty Three founder member Warren Ellis. Warren Ellis has previously collaborated with Cave on the musical score to 2005 film “The Proposition”. Grinderman are a free spirited mash-up of a group that has accidentally fallen together, described by themselves as sounding like “an instinctual yawlp” Within Grinderman, Nick Cave has taken to playing electric guitar, quite unusual for the singer-songwriter. “Having Nick on the guitar changed the whole dynamic,” says Ellis. That’s just one of the things that makes being in Grinderman more liberating for the musicians. Elliis goes on to say that they “push on relentless” with the musical direction where they would normally refrain. It sounds like a noisy and original offering from the Bad Seeds. Grinderman’s debut album is slated for release next March. The band will play as part of the line-up at The Dirty Three-curated All Tomorrow’s Parties festival next April. Nick Cave will play also play a headline show. For more information about next year’s ATP – Click here

Grinderman is the new demonic side project from Nick Cave and some of his musical Bad Seeds.

Grinderman are Bad Seed and ex-Triffids member Martyn Casey (bass, acoustic, vocals), Bad Seed and ex-The Cramps/Sonic Youth man Jim Sclavunos (drums, percussion, vocals) and Dirty Three founder member Warren Ellis.

Warren Ellis has previously collaborated with Cave on the musical score to 2005 film “The Proposition”.

Grinderman are a free spirited mash-up of a group that has accidentally fallen together, described by themselves as sounding like “an instinctual yawlp”

Within Grinderman, Nick Cave has taken to playing electric guitar, quite unusual for the singer-songwriter. “Having Nick on the guitar changed the whole dynamic,” says Ellis.

That’s just one of the things that makes being in Grinderman more liberating for the musicians. Elliis goes on to say that they “push on relentless” with the musical direction where they would normally refrain.

It sounds like a noisy and original offering from the Bad Seeds.

Grinderman’s debut album is slated for release next March.

The band will play as part of the line-up at The Dirty Three-curated All Tomorrow’s Parties festival next April.

Nick Cave will play also play a headline show.

For more information about next year’s ATP – Click here

Life On The Road with Bob Dylan

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Life On The Road with Bob Dylan

Buck Baxter played guitar on the road with Dylan between 1992 and 1999. "You hear all sorts of stories about Bob but all I can say is that he always treated me good. We weren't close buddies or anything like that. It was always clear that I worked for him, but it was a good working relationship with a lot of respect. I never went to his house for Thanksgiving, or anything. I let him be and he let me be. Even on stage, he let you pretty much do your thing. You could play whatever you wanted within the framework of the set list and the songs. I've made it a rule not to talk too much about him. He doesn't like it and you have to respect his privacy. He's an interesting cat, I'll say that. But what he does when he's not putting himself up there on stage is his business. I know people want to know what he eats for breakfast but I've never understood why anybody would find that stuff interesting. He's just a regular guy, but there's all kinds of crazy rumours and misinformation about him out there. I first got to know him when I was playing with Steve Earle. We were supporting him on tour and he asked me to sit in with his band a few times. He was interested in steel guitar and he asked me to get him one, so I picked him one up in Nashville and gave him a few lessons. At the end of the tour, he asked for my phone number. I never heard anything for the next two years. Then when he finally rang, he said 'You've got to be here tomorrow because we're leaving for a tour of Australia in three days'. That's the way Bob is and I guess he knows it's not likely you're going to say 'no'. He's special to play with because they're such great songs. I already knew he was a great songwriter but the interesting thing was I got to like the songs more by playing them and hearing him sing them every night. And he kept it interesting by always changing the set list around so it was never the same. Sure I got sick of playing "All Along The Watchtower" night after night. But on the other hand, there are songs like "Tangled Up In Blue" that we played seven nights a week and I never got sick of at all. I had a good seven or eight years with him, I learned a lot and by the time I left, I'd played more gigs with him than anybody except Tony Garnier. I'm not one for statistics and any of that stuff but when I see it on the Dylan websites and in the books about Bob that I played 700-and-something times with him, I'm proud of that. I can't say that I ever thought of it as a 'never-ending tour', though. It was just playing gigs. And if you're a working musician, that's what you do, isn't it?” INTERVIEW: NIGEL WILLIAMSON For the full story of Bob Dylan's 'Never Ending Tour', get the December issue of Uncut, out now.

Buck Baxter played guitar on the road with Dylan between 1992 and 1999.

“You hear all sorts of stories about Bob but all I can say is that he always treated me good. We weren’t close buddies or anything like that. It was always clear that I worked for him, but it was a good working relationship with a lot of respect. I never went to his house for Thanksgiving, or anything. I let him be and he let me be. Even on stage, he let you pretty much do your thing. You could play whatever you wanted within the framework of the set list and the songs.

I’ve made it a rule not to talk too much about him. He doesn’t like it and you have to respect his privacy. He’s an interesting cat, I’ll say that. But what he does when he’s not putting himself up there on stage is his business. I know people want to know what he eats for breakfast but I’ve never understood why anybody would find that stuff interesting. He’s just a regular guy, but there’s all kinds of crazy rumours and misinformation about him out there.

I first got to know him when I was playing with Steve Earle. We were supporting him on tour and he asked me to sit in with his band a few times. He was interested in steel guitar and he asked me to get him one, so I picked him one up in Nashville and gave him a few lessons. At the end of the tour, he asked for my phone number.

I never heard anything for the next two years. Then when he finally rang, he said ‘You’ve got to be here tomorrow because we’re leaving for a tour of Australia in three days’. That’s the way Bob is and I guess he knows it’s not likely you’re going to say ‘no’.

He’s special to play with because they’re such great songs. I already knew he was a great songwriter but the interesting thing was I got to like the songs more by playing them and hearing him sing them every night. And he kept it interesting by always changing the set list around so it was never the same. Sure I got sick of playing “All Along The Watchtower” night after night. But on the other hand, there are songs like “Tangled Up In Blue” that we played seven nights a week and I never got sick of at all.

I had a good seven or eight years with him, I learned a lot and by the time I left, I’d played more gigs with him than anybody except Tony Garnier. I’m not one for statistics and any of that stuff but when I see it on the Dylan websites and in the books about Bob that I played 700-and-something times with him, I’m proud of that. I can’t say that I ever thought of it as a ‘never-ending tour’, though. It was just playing gigs. And if you’re a working musician, that’s what you do, isn’t it?”

INTERVIEW: NIGEL WILLIAMSON

For the full story of Bob Dylan’s ‘Never Ending Tour’, get the December issue of Uncut, out now.

Rod Stewart Announces Summer Stadium Shows

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Rod Stewart Announces Summer Stadium Shows

Rod Stewart has announced he will play some massive solo shows in the UK next summer. The legendary singer is currently enjoying success with his 35th album “Still The Same…Great Rock Classics Of Our Time” which debuted at Number 1 in the US and in the Top 5 here in the UK. Stewart played hits from his “Great American Songbook Series” at a sold-out string of shows at London’s Earls Court last year as part of a UK tour – he also played arena shows in Manchester, Newcastle and Birmingham. The stadium shows scheduled for next summer will be the singer’s largest yet. He will play at the following UK stadiums: Manchester, City of Manchester Stadium (June 28) London, Twickenham Stadium (30) Ipswich, Football Club (July 3) Glasgow, Hampden Park Stadium (5) Cardiff, Millennium Stadium (7) Coventry, Ricoh Arena (10) Tickets for the mammoth shows go on sale this Friday (November 10) at 9am. Prices range from £50-£65. Rod Stewart reveals all in ‘audience’ interview for Uncut – including his backside – get all the gossip in the December issue – available in shops now. For more information about the shows – Click here to go to Rod’s homepage

Rod Stewart has announced he will play some massive solo shows in the UK next summer.

The legendary singer is currently enjoying success with his 35th album “Still The Same…Great Rock Classics Of Our Time” which debuted at Number 1 in the US and in the Top 5 here in the UK.

Stewart played hits from his “Great American Songbook Series” at a sold-out string of shows at London’s Earls Court last year as part of a UK tour – he also played arena shows in Manchester, Newcastle and Birmingham.

The stadium shows scheduled for next summer will be the singer’s largest yet.

He will play at the following UK stadiums:

Manchester, City of Manchester Stadium (June 28)

London, Twickenham Stadium (30)

Ipswich, Football Club (July 3)

Glasgow, Hampden Park Stadium (5)

Cardiff, Millennium Stadium (7)

Coventry, Ricoh Arena (10)

Tickets for the mammoth shows go on sale this Friday (November 10) at 9am. Prices range from £50-£65.

Rod Stewart reveals all in ‘audience’ interview for Uncut – including his backside – get all the gossip in the December issue – available in shops now.

For more information about the shows – Click here to go to Rod’s homepage

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