In 1969, the filmmaker Philip Trevelyan was introduced to the Page family. The father – a widower known locally as “Oily Page†– had worked in aircraft engineering but at the time Trevelyan met him, lived with his four grown-up children in a wood in Sussex, without electricity or running wat...
In 1969, the filmmaker Philip Trevelyan was introduced to the Page family. The father – a widower known locally as “Oily Page†– had worked in aircraft engineering but at the time Trevelyan met him, lived with his four grown-up children in a wood in Sussex, without electricity or running water.
The Pages became the subject of Trevelyan’s documentary, The Moon And The Sledgehammer, released in 1971, and has since quietly assumed cult status. An influence on filmmakers ranging from Nick Broomfield and Andrew Kotting, Trevelyan’s film has finally been restored and given a full release on DVD, overseen by Katy MacMillan, former wife of producer Jimmy Vaughn.
This new edition of The Moon And The Sledgehammer coincides with the BFI’s release of Alan Clarke’s Penda’s Fen and Peter Hall’s Akenfield (1973). Although in many respects markedly different films, they are all connected – however loosely – to a broader seam in literature, TV and film running through the Sixties and Seventies, knotted around the edgelands of Britain: places saturated in folk memory, Arthurian magic, Gaia myths and the occult history of Britain. To this list you could also add films including The Wicker Man, Blood On Satan’s Claw, Winstanley and Requiem For A Village, assorted Earth-set Doctor Who stories (The Daemons, particularly), The Changes, Children Of The Stones and books ranging from Alan Garner’s The Weirdstone Of Brisingamen and Susan Cooper’s The Dark Is Rising series to Richard Mabey’s The Unofficial Countryside.
Penda’s Fen is essentially a quasi-pagan fiction invoking the spirits of dead kings and composers to present a vision of an alternative England, first broadcast as part of the BBC’s Play For Today series. A layered, radical piece, it incorporates teenage sexuality and folk horror alongside complex theological and political concepts. Based on Ronald Blythe’s oral history, Akenfield chronicled the changing character and rhythms of a Suffolk village, with Hall using non-professional actors drawn from nearby communities. Many of these people are struggling to cope with the most dramatic changes to face agricultural communities for generations; and it is at this same transitional moment that Trevelyan finds the Pages.
But while the residents of Akenfield make do and mend, to the best of their abilities, the septuagenarian Page and his children have chosen to adopt a self-sufficient life isolated from the perils of the modern age in their ramshackle home in the woods. There are occasional forays into the modern world – in one scene, Trevelyan’s camera follows the slow passage of the family’s traction engine past Hayward’s Heath train station. “Steam will come back in,†says Peter, the eldest son. His younger brother, Jim, meanwhile, views evolutionary theories with suspicion and – in one of the film’s most uncomfortable scenes – appears to court his sister, Kath, with a bunch of flowers. “You are my garden of roses, kissed by the morning dew,†he tells her.
Old man Page himself is quite the thesp, emerging from the woods like an arthritic Pan to dispense twinkly-eyed hedgerow wisdom: “I never go where the cock never crows and I wouldn’t advise any of you to go where the cock don’t crow.†But although Page and his family are at least in charge of their own destinies, unburdened by deadlines or the 9 – 5 grind – contented amid the rusty iron carcasses that litter their yard – you might wonder whether their values and eccentricities have greater of less resonance in today’s world.
Eric Clapton has announced details of a new live album.
Live In San Diego With Special Guest JJ Cale will be released as a 2 CD set or 3 LP vinyl set and digital album on September 30 on Reprise/Bushbranch Records.
Recorded at Clapton’s March 15, 2007 performance at the iPayOne Center in San Die...
Eric Clapton has announced details of a new live album.
Live In San Diego With Special Guest JJ Cale will be released as a 2 CD set or 3 LP vinyl set and digital album on September 30 on Reprise/Bushbranch Records.
Recorded at Clapton’s March 15, 2007 performance at the iPayOne Center in San Diego, CA, this concert included guitarists Derek Trucks and Doyle Bramhall II and featured JJ Cale as a special guest on five tracks (including “After Midnight†and “Cocaineâ€) as well as Robert Cray on the final song of the record, “Crossroadsâ€.
Pre-orders from Ericclapton.com will receive the track “Anyway The Wind Blows†instantly and 2 additional songs ahead of the album’s release date. The 180gram version of the vinyl is exclusively available at Ericclapton.com, as well as a T-shirt and album bundle.
The tracklisting is: Tell The Truth
Key To The Highway
Got To Get Better In A Little While
Little Wing
Anyday
Anyway The Wind Blows
After Midnight
Who Am I Telling You?
Don’t Cry Sister
Cocaine
Motherless Children
Little Queen Of Spades
Further On Up The Road
Wonderful Tonight
Layla
Crossroads
The Beatles’ minds are expanding, as work progresses on the next LP – ‘Magic Circles’? ‘Beatles On Safari’? ‘Revolver’? – and Paul immerses himself in Stockhausen and the Tibetan Book Of The Dead. First, though, there’s a return to Hamburg, and an emotional reunion with Astrid Ki...
Taken from NME 01/07/1966
The letter written by John Lennon summed it all up: it was sent by him some years ago to the late Beatle, Stuart Sutcliffe, and was one of a collection handed back to him in Hamburg on Sunday. In the letter John wrote: “I’ve got one ciggy to last ’til Thursday.â€
That’s the sort of memory The Beatles have of Hamburg – miserable poverty. On Sunday, however, they returned in triumph. They swept into the city at the head of an eight-car motorcade escorted by motorcycle policemen. To most of Hamburg, the world-beating Beatles had arrived. But to a handful in the Grosse Freiheit – a tiny street of sordid clubs (they once lived above one) – John, Paul, George and Ringo were back. And the friends they made then filtered through the militant-like German security to renew acquaintances.
There was Betina, the buxom blonde who worked in the Star-Club bar and who had a crush on John. “She used to call out for her favourite numbers,†John later recalled, adding, “She got me drinks when we had no money. And pills – print that!†Friends like Cory, the attractive girl Paul once courted. Her parents own a restaurant in the Grosse Freiheit – the street that houses the Star-Club – and that was often a source of food for the hungry Beatles.
And Bert Kaempfert – the man who recorded The Beatles in their Hamburg days. He called backstage on Sunday to see them and pay his respects like the others. And Astrid Kirchherr, the girl who was engaged to Stuart Sutcliffe.
So The Beatles were in Hamburg. But apart from the friends there was little to remind the four of earlier days spent there. They sang to a crowd of more than 7,000 in the huge Ernst Merck Hall – a concrete palace they had never even seen before. There was no return to the Star-Club where their music first took its shape.
“We’d like to go,†John admitted sadly, “but there’d be millions of people there and it would be no fun. We’d probably get crushed to death.â€
They stayed at the magnificent Schloss Hotel in Tremsbüttel – more than 30 miles from Hamburg, deep in the country. Dozens of green-uniformed policemen patrolled the grounds, searching out fans who had journeyed from the city and surrounding towns in the hope of sneaking a glimpse of their idols. There was no return to the little flat over a strip club where they once lived. Although its owner had cleared out the tenant so that The Beatles could go back for a party, the rooms stayed empty.
“Security,†the Beatles-minders explained. “We couldn’t possibly let them go there.â€
A pity, for The Beatles will never again see that former home. Within a month, the building is to be demolished. They rode in a limousine heading the procession of vehicles which carried the entourage. The whole fleet of Mercedes cruised uninterrupted in and out of the city as the escort of outriders sealed off side roads and ordered traffic to pull off the road until The Beatles had passed.
Their concerts were promoted by a German magazine which never rated them a mention in their Star-Club days. But rumour has it that the journal paid the group so much for the concerts in Munich, Essen and Hamburg that even with capacity audiences it lost money on the ‘Blitztournee’, as it triumphantly named the three-day tour. Doubtless, Axel Springer, the German press baron who counts the magazine among his collection, would willingly have paid twice the price. To buy The Beatles for three days is no small feat and worth a fortune in prestige.
I was especially interested to report The Beatles’ return to Hamburg – for it was that city that I first met them in in the autumn of 1962. I was there for a week to report Little Richard’s appearance at the Star-Club and The Beatles were on the same bill. There were friendly arguments between Lennon and Little Richard, which always ended with Lennon exclaiming, “Shuddup grandfather†at the older man. But one night I heard Richard remark to the club owner, Manfred Weissleder, “Those Beatles are so good – watch them Manfred, they could be the biggest thing in the whole world.â€
Manfred attached no more importance to Little Richard’s words than I did, but we both recalled them well enough when I visited the Star-Club last Saturday night. Manfred also remembered a business argument with Brian Epstein shortly before they began that last season at the Star-Club. The Beatles’ manager was demanding £250 a week for his group – half as much again as they had received before.
Manfred had said it was too much. “Nonsense,†retorted Epstein. “These boys will soon be bigger than Elvis Presley.â€
Weissleder didn’t believe the argument – but he paid the money. The tall, blond German had a flood of stories to retell about The Beatles. His earliest memory of them went back to some two years before even he first employed them: “One night I saw them going into a club opposite mine. They looked so strange I turned to a friend and said, ‘They must be visitors from another planet.’â€
Manfred laughed at the memory of the night he says John went on the Star-Club stage naked – apart from the guitar. Though John later told me he had on a pair of shorts (“And a toilet seat around me ’eadâ€). And Weissleder recalled the day he lent them a car to drive to the seaside.
“That night I had to interrupt them onstage to ask Paul – the only one who could drive – where the car was. He said, ‘Oh, the engine is broken so we left it there.’ A practically new £2,000 car, and they had dumped it by the seaside!â€
We talked into the early hours of Sunday morning – at a time when the luxury express train specially hired for the Beatles entourage was bearing its precious party the 300 miles from Essen to Hamburg itself. They arrived at breakfast time and went straight to bed at the hotel in Tremsbüttel.
By lunchtime the crowds had gathered outside. I joined John, Paul and Ringo (George was a late-riser) in their suite in the midst of a discussion about the title of their next LP.
“We’ve had all sorts of ideas during this trip – ‘Magic Circles’, ‘Beatles On Safari’ and ‘Revolver’ – that’s the one John likes the best,†Paul told me. Minutes later they made an appearance on the hotel balcony, to the delight of the crowd outside. As they walked to the waiting cars, I heard John comment; “How about Betina being on the station at seven o’clock this morning? Thought she was going to ask for a number!â€
The motorcade took a devious route through country roads. There were no incidents but the German police had taken no chances – outside the hall another squad of motorcycles and a number of vehicles that looked like armoured cars stood by. The Beatles, however, made a quick and easy entrance to their backstage dressing room and were safely locked away before a gang of youths attempted in vain to storm the door, aiming tear gas bombs at the police, who retaliated with high-powered water hoses, drenching the would-be Beatles assailants.
Then came the first show. More than 10 minutes after Peter & Gordon’s act had finished, the chanting, impatient audience gave The Beatles a wild reception. The group played well, but John’s voice was showing that it doesn’t pay to keep out of practice for seven months – for after the Munich and Essen concerts he could barely croak a note. It was particularly noticeable in “Paperback Writerâ€. Even weeks of recording sessions had failed to strengthen his voice sufficiently for concerts. This was the second warning they got about keeping in practice – in Munich I understand they had to rehearse in their hotel room for fear of forgetting their hits onstage!
Between concerts they suffered another insane press conference, answering questions like, “John, how about Ringo?†(To which Lennon replied, “I think you’re soft.â€) One irked reporter asked, “Beatles, why are you such horrid snobbies?†to which George replied that they weren’t and that it was all in her mind. Then Paul made a little speech about how they believed in answering questions directly even if it made them unpopular. And he got a round of applause.
Then they retired to the dressing room, where the small collection of friends was waiting. Before the second show, I asked John about a local story that The Beatles had been ‘arrested’ by the police on a previous visit for attempting to set fire to a club where they were appearing.
He said: “That one’s got a bit twisted. We set fire to this, well, this little thing onstage and the club owner – who wanted to get us banned because we had told him we weren’t going to play there anymore but were moving to the Star-Club – called the police.â€
Paul nodded. Then Ringo announced, “Come on chaps, let’s go and do another rock’n’roll show,†in his best send-up voice.
After the show, they were whisked straight back to Tremsbüttel where invitation after invitation for them to attend a variety of parties – including one specially staged by a count at his castle in the forest – were declined.
But the saddest message of all was wired on The Beatles’ behalf to Manfred Weissleder at the Star-Club. It said, “Sorry we can’t make it tonight.†And in his office overlooking the Grosse Freiheit, Manfred shook his head and said: “It’s a pity, they never missed a night before…†CHRIS HUTCHINS
Back issues of Uncut’s History Of Rock magazine can be found at our online store, while The Beatles Ultimate Music Guide bookazine – featuring this very article – is available here.
Wild Beasts discuss their new album, Boy King, in the new issue of Uncut, revealing that they wanted to get away from being seen as a "clever band".
The group's fifth album, produced by John Congleton, is out today (August 5th), and sees the Kendal quartet take a guitar-based look at sex and mascul...
Wild Beasts discuss their new album, Boy King, in the new issue of Uncut, revealing that they wanted to get away from being seen as a “clever band”.
The group’s fifth album, produced by John Congleton, is out today (August 5th), and sees the Kendal quartet take a guitar-based look at sex and masculinity.
“Generally we wanted to get away from being typecast as a ‘clever band’,” explains Tom Fleming. “We wanted the lyrics to be self-explanatory.
“Our last LP, Present Tense, was almost all synths. This one is actually our most guitar-heavy album! John [Congleton] had a trove of weird fuzz pedals and we used them to weaponise the guitars. We wanted to use the tropes of rock’n’roll in a more interesting way, to ‘shred’ without making it sound like a Van Halen record. Not that there’s anything wrong with a Van Halen record…”
Boy King is the first album Wild Beasts have worked on with the Texan producer Congleton, and Fleming explains that heading to Dallas to record brought a new approach.
“We loved a lot of [John Congleton’s] recent work, with St Vincent, Swans, John Grant, Blondie et al, and we were surprised when he approached us. He wanted us to sound more spontaneous, to leave mistakes in, to sound like a band making a mess. He had a very Texan, no-bullshit approach. English feyness and intellectualism don’t count for much in Texas.”
Pick up the current issue of Uncut, out now, to read the full Q&A and an extensive review of Wild Beasts’ new album.
Todd Solondz last film, Dark Horse, posed the question: is it possible to make an engaging film about an imbecilic under-achiever? Here, the director hopes that viewers will invest their goodwill in this yarn about a dachshund as it passes through several owners. These include a middle-age suburban ...
Todd Solondz last film, Dark Horse, posed the question: is it possible to make an engaging film about an imbecilic under-achiever? Here, the director hopes that viewers will invest their goodwill in this yarn about a dachshund as it passes through several owners. These include a middle-age suburban couple (Tracy Letts and Julie Delpy), a veterinarian assistant and her former school bully (Greta Gerwig and Keiran Culkin), a New York film professor (Danny DeVito) and a dyspeptic elderly woman (Ellen Burstyn).
Followers of Solondz career will be pleased to learn that these include returning characters from his breakthrough film, Welcome To The Dollhouse; and that Weiner-Dog circles all Solondz usual filmmaking tropes. The suburbs are hell, all yoga mats and granola bars and manners. In the first sequence, Delpy delivers an exquisitely written monologue about her own childhood pet, a poodle named Croissant, that was repeatedly “raped†by a stray dog named Mohammad. In the second, Greta Gerwig plays Greta Gerwig doing her kookiest Greta Gerwig – here cast as a grown-up version of Heather Matarazzo’s awkward adolescent student in Solondz’ breakthrough film, Welcome To The Dollhouse. The passages with Gerwig and Culkin are – by Solondz’s standards, at least – the most emotionally satisfying in the film.
In a film of long takes and uncomfortable silences, Danny DeVito’s permanent frown perfectly captures the neurotic anxiety at the heart of Solondz’s films. His Dave Schmerz is a not just a discontented teacher, he’s a failed screenwriter, too. Double win! “I have big news,†he’s told at one point by an elusive agent. “It’s going to sound like bad news at first, but I promise you it’s good news in the end.†His attempts to sell his script allow Solondz to dig into Hollywood – elsewhere, his fellow Sundance alumni Richard Linklater and Quentin Tarantino are skewered. Burstyn, meanwhile, gets to deliver the film’s best line. As the infirm Nina, she informs her visiting daughter that she has named the dachshund Cancer. “It felt right,†she says. “Everyone’s dying.â€
Jonny Greenwood has revealed details of Radiohead's recording processes on their latest album, A Moon Shaped Pool.
In an interview with NPR, Greenwood discussed the band’s relationship with Thom Yorke during recording, likening their contribution to "arrangers".
“It’s not really about can I ...
Jonny Greenwood has revealed details of Radiohead‘s recording processes on their latest album, A Moon Shaped Pool.
In an interview with NPR, Greenwood discussed the band’s relationship with Thom Yorke during recording, likening their contribution to “arrangers”.
“It’s not really about can I do my guitar part now, it’s more … how do we not mess up this really good song? Part of the problem is Thom will sit at the piano and play a song like ‘Pyramid Song’ and we’re going to record it and how do we not make it worse, how do we make it better than him just playing it by himself, which is already usually quite great. We’re arrangers, really,†he said.
Of lead single “Burn The Witch“, Greenwood said: “This song was one of the rare chances of getting our hands on an unfinished song, so we could put strings on right at the beginning. Usually strings are an afterthought, decoration on the end of a song. I’ve been saying for years, wouldn’t it be great to start with strings.â€
He continues: “So this song was just Thom singing in a drum machine and nothing else. And then I wrote strings to that. So you’re hearing an orchestra play—they’re strumming their violins with guitar plectrums, that’s the rhythm.â€
Greenwood goes on to talk about the recording of “Daydreaming” and “Glass Eyes”. Listen to the full 25-minute interview below.
The Rolling Stones have released the trailer for their forthcoming concert film, Havana Moon.
The film documents the band's historic concert in the Cuban capital in March this year.
The concert film will premiere on cinema screens across the globe for one night only on Friday, September 23.
https...
The Rolling Stones have released the trailer for their forthcoming concert film, Havana Moon.
The film documents the band’s historic concert in the Cuban capital in March this year.
The concert film will premiere on cinema screens across the globe for one night only on Friday, September 23.
“The Cuba show was simply amazing,†says Mick Jagger. “It was an incredible moment; a huge sea of people for as far as the eye could see. You could feel the buzz of the enthusiasm from the crowd and that was for me the stand out moment.â€
“There’s the sun the moon the stars and The Rolling Stones,†adds Keith Richards. “Seeing Cuba finally get the chance to rock out was special… A night to remember in Havana.â€
The Stones were the first rock band to play an open-air, free concert in the country. Their show attracted a million people in Havana, which took place in the same week as President Obama became the first serving US President to visit Cuba in 88 years.
Bob Weir has announced details of a new solo album, Blue Mountain - his first album of entirely new material for 30 years.
The album is released on September 30 through Columbia/Legacy Recordings.
Blue Mountain is now available for pre-order on CD by clicking here and digitally by clicking here.
...
Bob Weir has announced details of a new solo album, Blue Mountain – his first album of entirely new material for 30 years.
The album is released on September 30 through Columbia/Legacy Recordings.
Recorded in 2015 at and co-produced by Josh Kaufman, Blue Mountain features The National’s Aaron Dessner, Bryce Dessner and Scott Devendorf. Singer-songwriter Josh Ritter collaborated with Weir on select tracks.
Other musicians who’ve played on the album include Ray Rizzo (drums, harmonium, harmonica, backup vocals), Joe Russo (drums), Jon Shaw (upright bass, piano), Rob Burger (keyboard, accordion, tuned percussion), Sam Cohen (electric guitar and pedal steel), Nate Martinez (guitars, harmonium, backup vocals), Jay Lane (drums, vocals), Robin Sylvester (upright bass, vocals, hammond organ) and Steve Kimock (lapsteel). The Bandana Splits – comprising Annie Nero, Lauren Balthrop and Dawn Landes – sing backup on the album.
The tracklisting for Blue Mountain is:
Only A River
Cottonwood Lullaby
Gonesville
Lay My Lily Down
Gallop On The Run
Whatever Happened To Rose
What The Ghost Towns Know
Darkest Hour
Ki-Yi Bossie
Storm Country
Blue Mountain
One More River To Cross
Weir will also support the album with some shows on his Campfire Tour. Pre-sale tickets will be available on August 9 at 10:00am local time and public on-sale on August 12 at 10:00am local time from his website. Every online ticket order comes with one physical CD of Blue Mountain.
October 7 — Marin County Civic Center—San Rafael, CA
October 8 — Fox Theater¬—Oakland, CA
October 10 — The Wiltern—Los Angeles, CA
October 12 — Tower Theatre—Upper Darby, PA
October 14 & 15 — Kings Theatre—Brooklyn, NY
October 16 — The Capitol Theatre—Port Chester, NY
October 19 — Ryman Auditorium—Nashville, TN
Ringo Starr has revealed he voted for Brexit in the recent Referendum vote in the UK.
In a new interview in Bloomberg Businessweek, Starr has admitted "I voted for Brexit, because I thought the European Union was a great idea, but I didn’t see it going anywhere lately. It’s in shambles, and weâ...
Ringo Starr has revealed he voted for Brexit in the recent Referendum vote in the UK.
In a new interview in Bloomberg Businessweek, Starr has admitted “I voted for Brexit, because I thought the European Union was a great idea, but I didn’t see it going anywhere lately. It’s in shambles, and we’re all stuck with people who want to make arrangements for their own country and don’t think for the other countries. Britain should be out and get back on its own feet.”
“And now Scotland wants to leave and Wales wants to leave,” he continued. “Then it will be Devon. God knows where it will end.”
Elsewhere in the interview, Starr talks about The Beatles coming late to digital: “We’re just moving with the times. When we started with vinyl, and then CDs came out, that was good for us financially, because it wasn’t in the contract. We had to go to CDs in the end. We were pretty late there. We were late to iTunes, too, but went there so you could buy the tracks. Streaming is huge now, so we’re moving on. Who knows what’s going to be next? What’s Kanye West going to think of?”
The interview appears in Bloomberg Businessweek’s Interview Issue, onlineonline today and on newsstands worldwide tomorrow.
OK, heads up for this lot: Dalthom, who make pretty out, aqueous jams and consist of Rob Thomas from Sunburned Hand Of The Man and Gary War… primo choogle from Nashville's Natural Child… Acid Arab… Kurt Vile guesting with Luke Roberts… PURLING HISS… the NYC desert trance of 75 Dollar Bill ...
Band Of Horses’ Ben Bridwell has muttered elsewhere his dissatisfaction that Why Are You OK will be heard for the first time largely in spring and summer. It is, he insists, a record for autumn, and he’s right. Measured against Band Of Horses’ previous records, it finds the group’s essential...
Band Of Horses’ Ben Bridwell has muttered elsewhere his dissatisfaction that Why Are You OK will be heard for the first time largely in spring and summer. It is, he insists, a record for autumn, and he’s right. Measured against Band Of Horses’ previous records, it finds the group’s essential melancholy getting the upper hand in the long-ongoing struggle with their baser rock instincts: it is a record for darkness drawing in, for falling mercury, for “all the trees are turning goldâ€, as Bridwell has it on “Throw My Messâ€.
Why Are You OK begins with the seven-minute suite-in-two-parts “Dull Times/The Moonâ€. The first portion is a stately procession that feels like it’s about to erupt into a carnival, but never quite does: spectral harmonies sigh over a gradually escalating backdrop, while Bridwell exudes fretful ennui (“Feel like I’m going insane/Why bother?â€). When the shift in tempo comes, about five minutes in, it’s with guitars like a motorcycle being kick-started, and it revs quickly into something raucous, almost Jane’s Addiction-y, although Bridwell still sounds plagued by whatever it was (“Blank state and maudlin/In need of something to say†– an audacious tone to take in an opening statement, but one which suits the ensuing album.)
Not everything here is existential disquiet set to counter-intuitively expansive alterna-rock, but quite a lot of it is (no bad thing, obviously: it is possible to situate Band Of Horses in a parallelogram cornered by Radiohead, The National, The Decemberists and Okkervil River). “Solemn Oathâ€, which builds from a back porch strumalong, decorated by electric guitars sounding as much like banjos as electric guitars are ever likely to, into a(nother) tumult of widescreen rock, includes the telling line “But I’m lucky as fuck/It still ain’t enoughâ€. Still other songs plumb depths sufficiently dark that one can only hope they’re not autobiographical. “Throw My Messâ€, superficially a breezy country stomper, secretes the bruising appreciation “Getting me arrested was the strangest way/Of showing me that you’re mine/But it saved my lifeâ€.
This isn’t quite a record of two halves – there is a brief instrumental interlude, “Hold On Gimme A Secâ€, about halfway through, but this doesn’t obviously cleave Why Are You OK into discrete Acts. There are, however, some (well, relatively) playful moments. “Casual Partyâ€, sounds something like Radiohead playing FM radio rock, and (not incongruently) chronicles the narrator’s overwhelming horror of the suburban minutiae under discussion at the titular soiree (“Awful conversation at the casual party/The job, babble on/the recreational hobbies/No it never stopsâ€). “In A Drawer†is a sumptuous, shape-shifting symphony that fades in and out of a dazed singalong chorus, furnished by a choir comprising guests J Mascis, Sera Cahoone and Jenn Champion (nee Ghetto).
In the interests of creative freedom, Band Of Horses financed the recording of Why Are You OK themselves, but recouped their investment thanks to Rick Rubin – who, not for the first time in Band Of Horses’ history, served as a mentor, editor and facilitator of a new record deal (it was Rubin who got them signed to Columbia for 2010’s Infinite Arms and 2012’s Mirage Rock). Grandaddy’s Jason Lytle, producing, approaches the task as a sympathetic conductor, rather than overbearing auteur. The Grandaddy-est track is “Hagâ€, a downbeat epic haunted by keyboards which manage that signature Lytle trick of sounding somehow gloomy yet whimsical, and Bridwell’s tendency towards doubt and self-abasement (“Why spend half the time indifferent/And the other half alone?â€). Lytle’s touch is also discernible on “Lying Under Oakâ€, synthesisers whispering behind one of those Band Of Horses ballads on which they demonstrate that one can abandon the verse-chorus-verse-chorus-solo-etc convention without descending into obtuseness.
For all that, the two best moments of Why Are You OK are its least complicated and adorned. “Country Teen†is a wilfully lo-fi country ballad, recorded in a modern facsimile of old-school mono, acoustic rhythm guitar in the left speaker, Bridwell’s voice in the right. And the closing track, “Even Stillâ€, is just exquisite, a lament of loneliness that resembles the unfettered internal monologue of someone hopelessly awake at four in the morning, accompanied by knelling piano chords before being lifted from of its murk by flourishes of psychedelia.
If there’s much complaint to be made about Why Are You OK, it’s only the same objection that might be lodged against Band Of Horses generally. More than once, it is difficult not to drift into wistful contemplation of the splendid, unreconstructed rock’n’roll racket of which they might be capable if they tried underthinking things for a change.
U2 have revealed details of their plans for next year.
Reporters behind the 2013 book U2 En España spoke to the band in Valencia recently, where Bono brought them up to speed on the follow-up to 2014's Songs Of Innocence, reportedly titled Songs Of Experience.
"It's not finished yet but you will ...
U2 have revealed details of their plans for next year.
Reporters behind the 2013 book U2 En España spoke to the band in Valencia recently, where Bono brought them up to speed on the follow-up to 2014’s Songs Of Innocence, reportedly titled Songs Of Experience.
“It’s not finished yet but you will like it,” he said. “In terms of lyrics it is stronger than [1983 album] War, it has more clarity”.
Bono also clarified when fans can expect the next leg of the band’s world tour. “The second part of the tour is for 2017… You might see a few things in September or October though.”
U2s Innocence + Experience tour concluded in Paris on December 7, 2015.
Adam Clayton, meanwhile, said that the album and tour would be coming “soon… in the next six months”.
Peter Hook has announced details of his latest book.
Following on from his previous books The Hacienda: How Not To Run A Club and Joy Division memoir Unknown Pleasures, Hook's new book will focus on New Order.
Substance is published in hardback by Simon & Schuster UK on October 6, 2016.
Subst...
Peter Hook has announced details of his latest book.
Following on from his previous books The Hacienda: How Not To Run A Club and Joy Division memoir Unknown Pleasures, Hook’s new book will focus on New Order.
Substance is published in hardback by Simon & Schuster UK on October 6, 2016.
Substance begins where Unknown Pleasures left off: “We didn’t really think about it afterwards, it just sort of happened. One day we were Joy Division and the next time we got together, we were a new band,” Hook writes.
Hook promises to address the band’s break-up in 2008 while the book will include every New Order set list and tour itinerary, along with “geek facts†of every piece of electronic equipment used by the band.
Drive-By Truckers have shared a new song, “What It Meansâ€, from their forthcoming album, American Band.
The album was recorded at Nashville’s Sound Emporium with longtime producer/engineer David Barbe. The band have already previewed one new song “Surrender Under Protest†on NPR.
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Drive-By Truckers have shared a new song, “What It Meansâ€, from their forthcoming album, American Band.
The album was recorded at Nashville’s Sound Emporium with longtime producer/engineer David Barbe. The band have already previewed one new song “Surrender Under Protest†on NPR.
Talking about “What It Meansâ€, Patterson Hood said that it’s “a song I wrote a couple of years ago protesting the Ferguson decision and the Trayvon Martin killing. Unfortunately, the song is still timely today. I hope and pray that one day it won’t be.â€
The tracklisting for American Band is:
Ramon Casiano
Darkened Flags on the Cusp of Dawn
Surrender Under Protest
Guns of Umpqua
Filthy and Fried
When the Sun Don’t Shine
Kinky Hypocrites
Ever South
What It Means
Once They Banned Imagine
Baggage
Conor Oberst has announced details of his new acoustic solo album, Ruminations.
The album was written last winter in Oberst's hometown of Omaha, Nebraska.
"I wasn't expecting to write a record," says Oberst. "I honestly wasn't expecting to do much of anything. Winter in Omaha can have a paralyzin...
Conor Oberst has announced details of his new acoustic solo album, Ruminations.
The album was written last winter in Oberst’s hometown of Omaha, Nebraska.
“I wasn’t expecting to write a record,” says Oberst. “I honestly wasn’t expecting to do much of anything. Winter in Omaha can have a paralyzing effect on a person but in this case it worked in my favor. I was just staying up late every night playing piano and watching the snow pile up outside the window. Next thing I knew I had burned through all the firewood in the garage and had more than enough songs for a record. I recorded them quick to get them down but then it just felt right to leave them alone.”
The tracklisting for Ruminations is:
Tachycardia
Barbary Coast (later)
Gossamer Thin
Counting Sheep
Mamah Borthwick (A Sketch)
The Rain Follows the Plow
A Little Uncanny
Next of Kin
You All Loved Him Once
Till St. Dymphna Kicks Us Out
Iggy Pop paid tribute to David Bowie during a two-hour radio show over the weekend.
Pop's Iggy Confidential on BBC Radio 6 Music found Pop share his memories of Bowie while playing some of his favourite songs by his late friend.
The playlist included "Art Decade", "Moonage Daydream", "Dollar Days"...
Iggy Pop paid tribute to David Bowie during a two-hour radio show over the weekend.
Pop’s Iggy Confidential on BBC Radio 6 Music found Pop share his memories of Bowie while playing some of his favourite songs by his late friend.
The playlist included “Art Decade”, “Moonage Daydream”, “Dollar Days” and “Warszawa”
Boys Keep Swinging
Art Decade
John, I’m Only Dancing (Sax Version)
Black Country Rock
Station To Station
What In The World
Wild Is The Wind
Scary Monsters (And Super Creeps)
The Prettiest Star (Single Version)
Moss Garden
Panic in Detroit
Dirty Boys
Moonage Daydream
Sound and Vision
Under Pressure
Diamond Dogs
Criminal World
Where Are We Now?
I Can’t Give Everything Away
Stay (US Single Edit)
TVC 15
Young Americans (Single Version)
Golden Years (Single Version)
Aladdin Sane
Dollar Days
Warszawa
“Ramones†and “deluxe†might be two words you’d think should never go together, but this 40th anniversary, three-disc set of the Ramones’ debut is the latest manifestation of a gradual reappraisal of the band that began with the 2003 documentary, End Of The Century. If the Ramones had pr...
“Ramones†and “deluxe†might be two words you’d think should never go together, but this 40th anniversary, three-disc set of the Ramones’ debut is the latest manifestation of a gradual reappraisal of the band that began with the 2003 documentary, End Of The Century. If the Ramones had previously portrayed themselves as something of a cartoon – The Archies with black leather and glue stains – End Of The Century shaded in the depth, turning them into a dark, difficult graphic novel. It showed for the first time the extent of the hatred that existed between Johnnyand Joey, a personal tragedy that lay at the heart of the fraternity, and it also showed that their delinquent fusion of music and image was not a dumb fluke – this was a band knowingly acting within a specifically New York tradition of pop art-rock.
That point is driven home by the album’s producer Craig Leon, who remastered the tapes for this reissue and contributes fantastic liner notes. According to Leon, Ramones was always perceived as the first element of a three or four-album run that would drive home the same themes, over and over – before they began recording, they wrote a list of 35 songs they planned to record over the next couple of years. Later, Leon and Tommy Erdelyi/Ramone, the drummer and musical director, considered cutting the album as a single continuous track to reflect the aural bombardment of the Ramones live experience but also the band’s monomaniacal vision. The Ramones, like Warhol or Lichtenstein, were masters of doing one thing brilliantly and repetitively – something reinforced by the second disc of this set, which contains singles and unreleased demos, including tracks that would appear on subsequent albums such as “You’re Gonna Kill That Girlâ€, “You Should Never Have Opened That Door†and “I Don’t Care†but could easily have fitted on Ramones.
The set is split into three discs, which give the brevity of an average Ramones song allows for nearly 80 tracks (albeit six of which are different versions of “Blitzkrieg Bopâ€). Disc one offers a remaster of the original stereo version of the album, plus a brutal, focused mono mix, available for the first time (it’s also being issued on vinyl). Leon’s challenge as producer was always to capture the thundering impact of the band and he had originally toyed with releasing the album in mono for precisely this purpose. In his notes, he explains how each instrument was isolated to achieve “the totally unique sonic environment of separation that characterizes the final mix of the albumâ€. Equal care was paid to mixing, with Leon rejecting a first mix as too conventional until settling on one inspired by A Hard Day’s Night ¬ the Ramones were Beatles nuts, saw themselves as a Bizarro version of the originals, and even wanted to record Ramones at Abbey Road – replicating the odd tension of an old-fashioned four-track mix and achieving with this “retro nouveau style†the desired tone of “imbalance rather than balanceâ€. Finally came the mastering sessions. While Nick Kent scribbled notes in the corner, the acetate grooves were cut so deep to get the requisite volume, it burnt the cutting lathe. Ramones might sound rough and ready – and it was certainly recorded at haste on a tiny budget – but it still utilised whatever that was available in “a state-of-the-art New York studio of the mid-70sâ€.
The demos on disc two – which include the bludgeoning unreleased version of “Today Your Love, Tomorrow The World†with Nazi lyrics – give an idea of the difference this attention to detail made to the final releases: tracks like “53rd and 3rd†and “I Wanna Be Your Boyfriendâ€, while entirely recognizable, are tinny and rough in their original form and would later be both beefed up and smoothed down by the studio process. Otherwise, nothing changes. The Ramones knew what they had was special and they didn’t want to dilute it even if that meant reviews for the completed album, a lacerating 29 minutes of absurdity and attitude, would confuse the likes of the Dayton Journal Herald, who dismissed it as “El Stinko garbageâ€, failing to see the line the band drew from rock‘n’roll through British Invasion, girl groups, bubblegum pop and glam.
Disc three gives the album further context. It features two live sets recorded one night at The Roxy in Hollywood in 1976 – the second has not been released before, and is, as you might hope, near identical to the first. Every song is the same but different, with Dee Dee barking out 1-2-3-4, at one point in the middle of a song, Joey flattening vowels, Johnny thundering lightning chords and Tommy offering minimalist percussion. It also adds a dose of the one thing people missed from the debut: a sense of humour. Joey’s deadpan intros are brief – and repetitive – but they reinforce the wit that lay behind the surliness of the most serious joke in punk.
EXTRAS 8/10: Three-CD/one-LP limited edition of 19,760 individually numbered copies featuring remastered stereo and mono mix of original album, singles (stereo & mono), out-takes and demos, and two live shows. Also includes liner notes by producer Craig Leon and journalist Mitchell Cohen, with photographs by Roberta Bayley.
Leonard Cohen has paid tribute to his former muse, Marianne Ihlen, who died last week.
According to her friend, the filmmaker Jan Christian Mollestad, Ihlen passed away on July 28 at Diakonhjemmets Hospital in Oslo, reportedly less than a week after being diagnosed with leukaemia.
Cohen's Facebook...
Leonard Cohen has paid tribute to his former muse, Marianne Ihlen, who died last week.
According to her friend, the filmmaker Jan Christian Mollestad, Ihlen passed away on July 28 at Diakonhjemmets Hospital in Oslo, reportedly less than a week after being diagnosed with leukaemia.
Cohen’s Facebook page reports that the singer asked that a letter to him from Mollestad, informing Cohen of her passing, be used in his memorial:
“Dear Leonard
Marianne slept slowly out of this life yesterday evening. Totally at ease, surrounded by close friends.
Your letter came when she still could talk and laugh in full consciousness. When we read it aloud, she smiled as only Marianne can. She lifted her hand, when you said you were right behind, close enough to reach her.
It gave her deep peace of mind that you knew her condition. And your blessing for the journey gave her extra strength. Jan and her friends who saw what this message meant for her, will all thank you in deep gratitude for replying so fast and with such love and compassion.
In her last hour I held her hand and hummed Bird on a Wire, while she was breathing so lightly. And when we left he room, after her soul had flown out of the window for new adventures, we kissed her head and whispered your everlasting words
So long, Marianne”
Born in Norway, Ihlen ran away to the Greek island of Hydra with her boyfriend, Norwegian author Axel Jensen, when she was 22. After giving birth to a son – known as ‘Little Axel’ – she and Jensen broke up. Ihlen met Cohen on Hydra in the early Sixties and the pair began a relationship.
During their first years together, Ihlen inspired several of Cohen’s songs – including “So Long, Marianne” and “Bird On A Wire” – and he dedicated his poetry collection, Flowers For Hitler, to her.
“Oh, those years were really good,” Ihlen told author Kari Hesthamar. “Very good. We sat in the sun and we lay in the sun, we walked in the sun, we listened to music, we bathed, we played, we drank, we discussed. There was writing and lovemaking and…It was absolutely fabulous, you know, to have it like that. During five years I didn’t have shoes on my feet, you know…And I met many beautiful people. Now they are cast to the winds. Some are dead. Many are dead.”
Big Star - Isolated In The Light is an authorized, limited-edition book, showcasing images from photographers who chronicled both Big Star's beginnings during the burgeoning 1970's Memphis music scene and the later solo projects of songwriters Alex Chilton and Chris Bell in Memphis, New York and acr...
Big Star – Isolated In The Light is an authorized, limited-edition book, showcasing images from photographers who chronicled both Big Star’s beginnings during the burgeoning 1970’s Memphis music scene and the later solo projects of songwriters Alex Chilton and Chris Bell in Memphis, New York and across Europe.
The book will be published on October 14 and features over 200 (many rare and previously unseen) color and black and white images by photographers including William Eggleston, alongside historic images from the vaults of Ardent Studios Archives, Chris Bell’s original handwritten letters and lyrics, new interviews and commentary from Jody Stephens, Chris Stamey, Jon Auer and Ken Stringfellow plus other contributions from Ivo Watts-Russell, Simon Raymonde, Kim Deal and more.
The book is available as a hardback limited edition of 1,000 numbered books. There will be a standard version of 500 copies and the Signature Edition of 500 copies, which will include a previously unpublished signed and numbered 10″x7.5″ print and 2 posters.
A landmark week for publishing, I think: when was the last time a magazine appeared in UK newsagents with Kate Bush, Tammy Wynette and Sham 69 on the cover? Not to mention Dylan, Earth Wind & Fire, Bruce, Siouxsie, Bob Marley, the Pistols, the Stones, Magazine, The Clash, The Jam, XTC, Devo, Tom...
A landmark week for publishing, I think: when was the last time a magazine appeared in UK newsagents with Kate Bush, Tammy Wynette and Sham 69 on the cover? Not to mention Dylan, Earth Wind & Fire, Bruce, Siouxsie, Bob Marley, the Pistols, the Stones, Magazine, The Clash, The Jam, XTC, Devo, Tom Waits, Johnny Thunders and Dire Straits (not together).
This, of course, is how The History Of Rock 1978 shapes up. Kate’s on the cover, and you can order a copy from our online shop. It’s a great issue: here’s John Robinson to fill you in on the details…
“Welcome to 1978. After the revolutions of the past year or so, this is a year where in music’s war-torn landscape, reconstruction, of a kind, begins. There are survivors of punk’s revolution – Bob Marley, The Clash, and John Lydon to name three – but others aren’t so lucky. Bands like the Damned, Television and the Sex Pistols break up. Sid Vicious ends the year in a foreign jail.
“Long before this, NME’s Charles Shaar Murray meets Howard Devoto and decrees Magazine one of the best of the ‘post-punk’ bands. Nearly 40 years on, we have come to think of post-punk as a genre – here, though, its liberated values and policy-driven music have yet to coalesce into anything so formal
“Instead there are new bands – among them XTC, Pere Ubu, X-Ray Spex, Devo, the Slits, and Siouxsie And The Banshees – who have taken punk as a starting point, a means to their own end. Among the artists of the ‘new wave’ (as everyone is calling it) our cover star Kate Bush, being a more mystical and theatrical figure, is an odd fit. Still, in 1978 her records convincingly slug it out with the Bee Gees in the top ten. It is a time for odd fits.
“This is the world of The History Of Rock, a monthly magazine which follows each turn of the rock revolution. Whether in sleazy dive or huge arena, passionate and increasingly stylish contemporary reporters were there to chronicle events. This publication reaps the benefits of their understanding for the reader decades later, one year at a time. Missed one? You can find out how to rectify that by visiting our online shop and picking up a back issue.
“In the pages of this fourteenth edition, dedicated to 1978, you will find verbatim articles from frontline staffers, filed from the thick of the action, wherever it may be. Backstage with Bruce Springsteen. Discussing Charles Manson with Siouxsie Sioux. In Riker’s Island with Sid Vicious.
“Sid protests his innocence. Even if no one believes him, at least someone is there to give him a fair hearing.”