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Hear exclusive stream of Bruce Langhorne’s The Hired Hand soundtrack

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Hear exclusive stream of Bruce Langhorne’s The Hired Hand soundtrack

Peter Fonda's cult western score reissued... Bruce Langhorne's soundtrack to Peter Fonda's 1971 cult western The Hired Hand is to be re-released by Scissor Tail records. We're delighted to present an exclusive stream of Langhorne's album - scroll down to hear it. A veteran of the Greenwich Village folk scene, Langhorne played on sessions for artists including Joan Baez, Peter, Paul & Mary and The Clancy Brothers. He was reportedly the inspiration for Bob Dylan's "Mr Tambourine Man", and went on to play guitar on Dylan's albums, The Freewheelin' Bob Dylan and Bringing It All Back Home. The Hired Hand was his first film score. It was also Peter Fonda's directorial debut, made when the star was fresh off the success of Easy Rider. In the film, he played a Harry Collings, a drifter who - with his friend Arch (Warren Oates) in tow - returns to his abandoned wife Hannah (Verna Bloom) and work as the hired hand on her farmstead. "I read the script by Alan Sharp," Fonda told Uncut in 2002. "It was such a beautiful story. I don't know of another western before that would, I guess, be called a feminist western because it all pivots around her [Hannah] - I figured this is really cool, this is a far-out western, and westerns are the way Americans talk about their mythology." Soundcloud Embed Code The album is released by Scissor Tail on November 11, 2014. You can pre-order it here. The Hired Hand tracklisting is: 1. Opening 2. Dead Girl 3. Leaving Del Norte 4. Riding Thru The Rain 5. Three Teeth 6. Spring 7. Windmill 8. No Further Need 9. Arch Leaves 10. Harry And Hannah 11. Ending

Peter Fonda’s cult western score reissued…

Bruce Langhorne‘s soundtrack to Peter Fonda’s 1971 cult western The Hired Hand is to be re-released by Scissor Tail records.

We’re delighted to present an exclusive stream of Langhorne’s album – scroll down to hear it.

A veteran of the Greenwich Village folk scene, Langhorne played on sessions for artists including Joan Baez, Peter, Paul & Mary and The Clancy Brothers. He was reportedly the inspiration for Bob Dylan‘s “Mr Tambourine Man”, and went on to play guitar on Dylan’s albums, The Freewheelin’ Bob Dylan and Bringing It All Back Home.

The Hired Hand was his first film score. It was also Peter Fonda‘s directorial debut, made when the star was fresh off the success of Easy Rider. In the film, he played a Harry Collings, a drifter who – with his friend Arch (Warren Oates) in tow – returns to his abandoned wife Hannah (Verna Bloom) and work as the hired hand on her farmstead.

“I read the script by Alan Sharp,” Fonda told Uncut in 2002. “It was such a beautiful story. I don’t know of another western before that would, I guess, be called a feminist western because it all pivots around her [Hannah] – I figured this is really cool, this is a far-out western, and westerns are the way Americans talk about their mythology.”

Soundcloud Embed Code

The album is released by Scissor Tail on November 11, 2014.

You can pre-order it here.

The Hired Hand tracklisting is:

1. Opening

2. Dead Girl

3. Leaving Del Norte

4. Riding Thru The Rain

5. Three Teeth

6. Spring

7. Windmill

8. No Further Need

9. Arch Leaves

10. Harry And Hannah

11. Ending

Marianne Faithfull – Give My Love To London

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Marianne Faithfull – Give My Love To London

Recuperating from serious injury, the veteran chanteuse puts her back into one of her most personal records... The introductory verse to the opening title track on Marianne Faithfull’s first album in three years suggests a misty-eyed romanticism, a valentine to the city the now Paris-based singer called home for so many of her 67 years. Co-writer Steve Earle, who previously glamorised London on his own GI yarn “Johnny Come Lately”, fashions a bouncy, country rhythm, while Marianne sings about dancing along Piccadilly in the moonlight. It’s not long, though, before the narrative takes a cynical turn (“I’ll visit all the places/I used to know so well/From Maida Vale to Chelsea/Paradise to Hell”), and the lunar glow gives way to streets lit by the fires of a riot. What starts as loose autobiography becomes a broader, less historical portrait of how Faithfull views the city, setting the tone for a record that checks in on touchstones from the past but more often than not casts a critical eye over the world as a whole. Earle is just one of several high-profile collaborators, and Faithfull finds another kindred spirit in Pink Floyd’s Roger Waters, whose “Sparrows Will Sing” ponders what a child might think of the damaged planet he’ll inherit from the previous generation as he “tries to decipher the whole of this unholy mess”. It’s a gentle, despairing scenario, but there’s a full-on rage to “Mother Wolf”, co-written with Patrick Leonard, railing against the lies and duplicity of warmongering world leaders (“The words that come out of your mouth disgust me/The thoughts in your heart sicken me”). Were we to ignore the words, the overriding “feel” of the melodies isn’t especially far removed from the polite theatricality of Faithfull’s last outing, 2011’s Horses And High Heels, but here Faithfull is at her most lyrically caustic since the pivotal Broken English in 1979. Even the love songs have a sinister edge; the lachrymose “Falling Back” (with Anna Calvi) questions past missteps, and “Love More Or Less” (with Tom McRae) picks over the bones of a current but ultimately doomed romance. But the most striking chapter in this most personal collection of musings is one of two songs contributed by Nick Cave, with whom Faithfull first worked on 2005’s Before The Poison. “Late Victorian Holocaust” is a spectral ballad about drug addiction that draws on his own and Marianne’s (separate) heroin experiences, but paints a picture of the two of them walking hand-in-hand through a London that alternates between bliss and nightmare. At a stretch, the song could be read as a companion piece to Lou Reed’s “Perfect Day”, its delicate travelogue finding the protagonists awestruck: “We were star babies in the dark/Throwing up in Meanwhile Park/Then sleeping in each other’s arms/Beyond happy we were, beyond harm.” There’s no doubt that Cave could despatch a handy version of it himself, but he’s clearly tailored the lyric and its London-centric imagery for Faithfull’s defiantly dramatic but fatalistic cracked voice. Much of the album took shape last year following a back injury that kept Faithfull housebound for the best part of six months, time during which she was able to focus her thoughts and prepare a collection she was determined would rely less on covers than previous releases. Nevertheless, her formidable interpretive skills get a workout on three tracks, including a straight-ahead reading of The Everly Brothers’ “The Price Of Love” and a smoky drawl through Hoagy Carmichael’s “I Get Along Without You Very Well”. Both fit the sombre template of the original songs, while the third cover, Leonard Cohen’s “Going Home” is – paradoxically, perhaps, considering its author – the album’s frothiest, wittiest component. There’s a sly grin to Faithfull’s vocal, the sense that she’s allowing herself a private joke amidst the anger and angst which makes up the rest of the album. Marianne’s back on her feet these days, fully recovered, and while reminding us that love is pain doesn’t entirely neglect the funny bone. TERRY STAUNTON Q&A How did you injure yourself last year? I was in LA, got up in the middle of night and fell backwards, breaking my sacrum bone in four places. I was laid up for quite a while, and it gave me a lot of time to write – well, to think. I didn’t do much writing but I thought really carefully about what I wanted to do on this record. What do I believe in? What’s really important to me? What do I like and what don’t I like? There seems to be lot of anger on the record. Well, I think anger is good, it’s a very creative energy. It drives me to get things done, and is not nearly as negative as envy or some other emotions. I was determined to do as few covers as possible, and thankfully I had a lot of time to work on my own words because I wasn’t able to do much else. It’s the most personal album I’ve ever made. Did your ongoing relationship with Nick Cave begin by the two of you bonding over your histories of addiction? Not at all! It was a love of, and shared tastes in, music that brought us together. But he could only have written “Late Victorian Holocaust” for me – who else could sing it?! I think it’s a masterpiece, it imagines us doing drugs together, which we never did, and it describes a very London junkie scenario. It was never like New York where you’re waiting for the man; in London you were running after him. INTERVIEWED BY TERRY STAUNTON

Recuperating from serious injury, the veteran chanteuse puts her back into one of her most personal records…

The introductory verse to the opening title track on Marianne Faithfull’s first album in three years suggests a misty-eyed romanticism, a valentine to the city the now Paris-based singer called home for so many of her 67 years. Co-writer Steve Earle, who previously glamorised London on his own GI yarn “Johnny Come Lately”, fashions a bouncy, country rhythm, while Marianne sings about dancing along Piccadilly in the moonlight.

It’s not long, though, before the narrative takes a cynical turn (“I’ll visit all the places/I used to know so well/From Maida Vale to Chelsea/Paradise to Hell”), and the lunar glow gives way to streets lit by the fires of a riot. What starts as loose autobiography becomes a broader, less historical portrait of how Faithfull views the city, setting the tone for a record that checks in on touchstones from the past but more often than not casts a critical eye over the world as a whole.

Earle is just one of several high-profile collaborators, and Faithfull finds another kindred spirit in Pink Floyd’s Roger Waters, whose “Sparrows Will Sing” ponders what a child might think of the damaged planet he’ll inherit from the previous generation as he “tries to decipher the whole of this unholy mess”. It’s a gentle, despairing scenario, but there’s a full-on rage to “Mother Wolf”, co-written with Patrick Leonard, railing against the lies and duplicity of warmongering world leaders (“The words that come out of your mouth disgust me/The thoughts in your heart sicken me”).

Were we to ignore the words, the overriding “feel” of the melodies isn’t especially far removed from the polite theatricality of Faithfull’s last outing, 2011’s Horses And High Heels, but here Faithfull is at her most lyrically caustic since the pivotal Broken English in 1979. Even the love songs have a sinister edge; the lachrymose “Falling Back” (with Anna Calvi) questions past missteps, and “Love More Or Less” (with Tom McRae) picks over the bones of a current but ultimately doomed romance.

But the most striking chapter in this most personal collection of musings is one of two songs contributed by Nick Cave, with whom Faithfull first worked on 2005’s Before The Poison. “Late Victorian Holocaust” is a spectral ballad about drug addiction that draws on his own and Marianne’s (separate) heroin experiences, but paints a picture of the two of them walking hand-in-hand through a London that alternates between bliss and nightmare.

At a stretch, the song could be read as a companion piece to Lou Reed’s “Perfect Day”, its delicate travelogue finding the protagonists awestruck: “We were star babies in the dark/Throwing up in Meanwhile Park/Then sleeping in each other’s arms/Beyond happy we were, beyond harm.” There’s no doubt that Cave could despatch a handy version of it himself, but he’s clearly tailored the lyric and its London-centric imagery for Faithfull’s defiantly dramatic but fatalistic cracked voice.

Much of the album took shape last year following a back injury that kept Faithfull housebound for the best part of six months, time during which she was able to focus her thoughts and prepare a collection she was determined would rely less on covers than previous releases. Nevertheless, her formidable interpretive skills get a workout on three tracks, including a straight-ahead reading of The Everly Brothers’ “The Price Of Love” and a smoky drawl through Hoagy Carmichael’s “I Get Along Without You Very Well”.

Both fit the sombre template of the original songs, while the third cover, Leonard Cohen’s “Going Home” is – paradoxically, perhaps, considering its author – the album’s frothiest, wittiest component. There’s a sly grin to Faithfull’s vocal, the sense that she’s allowing herself a private joke amidst the anger and angst which makes up the rest of the album. Marianne’s back on her feet these days, fully recovered, and while reminding us that love is pain doesn’t entirely neglect the funny bone.

TERRY STAUNTON

Q&A

How did you injure yourself last year?

I was in LA, got up in the middle of night and fell backwards, breaking my sacrum bone in four places. I was laid up for quite a while, and it gave me a lot of time to write – well, to think. I didn’t do much writing but I thought really carefully about what I wanted to do on this record. What do I believe in? What’s really important to me? What do I like and what don’t I like?

There seems to be lot of anger on the record.

Well, I think anger is good, it’s a very creative energy. It drives me to get things done, and is not nearly as negative as envy or some other emotions. I was determined to do as few covers as possible, and thankfully I had a lot of time to work on my own words because I wasn’t able to do much else. It’s the most personal album I’ve ever made.

Did your ongoing relationship with Nick Cave begin by the two of you bonding over your histories of addiction?

Not at all! It was a love of, and shared tastes in, music that brought us together. But he could only have written “Late Victorian Holocaust” for me – who else could sing it?! I think it’s a masterpiece, it imagines us doing drugs together, which we never did, and it describes a very London junkie scenario. It was never like New York where you’re waiting for the man; in London you were running after him.

INTERVIEWED BY TERRY STAUNTON

Neil Young: “We should impeach President Obama for fracking”

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Neil Young: “We should impeach President Obama for fracking”

Young releases his second album of the year - Storytone - on November 3... Neil Young has called for US President Barack Obama to be impeached because of his involvement with fracking. Young made the comments last night (October 14) on American talk show The Colbert Report, writes Rolling Stone. "I think we should impeach him for fracking," said Young when asked by host Stephen Colbert if he thought Obama should be impeached over Iraq. "It's not in the interest of the American people... I am part of the free world, and he is the leader of the free world!" Meanwhile, Young's ongoing spat with David Crosby continues. Young confirmed to radio DJ Howard Stern that a CSNY reunion will "never happen." “Playing with Stills and Nash was really great,” he said, “I wish [Crosby] the best with his life. There’s love there, there’s just nothing else there. [A reunion] will never happen. Never happen, no, not in a million years….You have to think about things before you do them. If you make a mistake, you have to fix it right away. [A reunion] will never happen. You don't have to worry about it. It's easy to say 'no.'" Young will release his new solo album, Storytone on November 3. The LP is his second of the year following A Letter Home, which was recorded in the vintage vinyl booth at Jack White's Third Man Records store in Nashville.

Young releases his second album of the year – Storytone – on November 3…

Neil Young has called for US President Barack Obama to be impeached because of his involvement with fracking.

Young made the comments last night (October 14) on American talk show The Colbert Report, writes Rolling Stone. “I think we should impeach him for fracking,” said Young when asked by host Stephen Colbert if he thought Obama should be impeached over Iraq. “It’s not in the interest of the American people… I am part of the free world, and he is the leader of the free world!”

Meanwhile, Young’s ongoing spat with David Crosby continues. Young confirmed to radio DJ Howard Stern that a CSNY reunion will “never happen.”

“Playing with Stills and Nash was really great,” he said, “I wish [Crosby] the best with his life. There’s love there, there’s just nothing else there. [A reunion] will never happen. Never happen, no, not in a million years….You have to think about things before you do them. If you make a mistake, you have to fix it right away. [A reunion] will never happen. You don’t have to worry about it. It’s easy to say ‘no.'”

Young will release his new solo album, Storytone on November 3. The LP is his second of the year following A Letter Home, which was recorded in the vintage vinyl booth at Jack White’s Third Man Records store in Nashville.

Nick Cave And The Bad Seeds to reissue first fourteen albums on vinyl

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Nick Cave And The Bad Seeds to reissue first fourteen albums on vinyl

The reissue series will run throughout 2014 and 2015... Nick Cave And The Bad Seeds are set to re-release fourteen albums from their back-catalogue. The band released their fifteenth studio LP Push Away The Sky in February 2013 and will reissue each album that came before that over the next year. Release dates of the re-pressings will start on October 27 with 1984's From Her To Eternity, The Firstborn Is Dead (1985) and Your Funeral… My Trial (1986). More recent albums Nocturama (2003), Abattoir Blues / The Lyre Of Orpheus (2004) and Dig, Lazarus, Dig!!! (2008) will be available on November 17, followed by Kicking Against The Pricks (1986) on November 24. The remaining seven albums from the band's Mute-era catalogue will then be re-issued during 2015. Check out the release dates for 2014 below. Nick Cave recently announced a solo tour for next Spring. October 27 'From Her To Eternity' (1984) 'The Firstborn Is Dead' (1985) 'Your Funeral… My Trial' (1986) November 17 'Nocturama' (2003) 'Abattoir Blues' / 'The Lyre Of Orpheus' (2004) 'Dig, Lazarus, Dig!!!' (2008) November 24 'Kicking Against The Pricks' (1986)

The reissue series will run throughout 2014 and 2015…

Nick Cave And The Bad Seeds are set to re-release fourteen albums from their back-catalogue.

The band released their fifteenth studio LP Push Away The Sky in February 2013 and will reissue each album that came before that over the next year.

Release dates of the re-pressings will start on October 27 with 1984’s From Her To Eternity, The Firstborn Is Dead (1985) and Your Funeral… My Trial (1986).

More recent albums Nocturama (2003), Abattoir Blues / The Lyre Of Orpheus (2004) and Dig, Lazarus, Dig!!! (2008) will be available on November 17, followed by Kicking Against The Pricks (1986) on November 24.

The remaining seven albums from the band’s Mute-era catalogue will then be re-issued during 2015.

Check out the release dates for 2014 below. Nick Cave recently announced a solo tour for next Spring.

October 27

‘From Her To Eternity’ (1984)

‘The Firstborn Is Dead’ (1985)

‘Your Funeral… My Trial’ (1986)

November 17

‘Nocturama’ (2003)

‘Abattoir Blues’ / ‘The Lyre Of Orpheus’ (2004)

‘Dig, Lazarus, Dig!!!’ (2008)

November 24

‘Kicking Against The Pricks’ (1986)

Joni Mitchell to release remastered greatest hits collection

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Joni Mitchell to release remastered greatest hits collection

Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced will come out in November... Joni Mitchell is to release a remastered collection of her greatest hits. Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced features 53 songs from her career. The 4-CD box set features songs which have been hand selected by Mitchell and re-arranged into 'themes'; reflecting the quartet and ballet mentioned in the title. Mitchell explained in a press release: "Instead of it being an emotional roller coaster ride as it was before — crammed into one disc — themes began to develop. Moods sustained. When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet — a quartet. I also had a box set." This is not the first time Joni Mitchell has been involved with ballet, her final album Shine, which was released in 2007, was played in New York accompanied by members of the Alberta Ballet. Mitchell said: "I am a painter who writes songs. My songs are very visual. The words create scenes... What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work." These new remastered tracks promise to be "familiar but fresh", with "a lot of sonic adjustment", which has all been crafted by Mitchell. She has also added her own liner notes to the songs which talk about her recording process, 53 lyrical poems, one for each song, and a series of 6 paintings. A deluxe hardcover book will also be included with the box set. The collection will be available from November 16. The Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced tracklisting is: Disc 1 1. In France They Kiss On Main Street 2. Ray's Dad's Cadillac 3. You Turn Me On I'm A Radio 4. Harlem in Havana 5. Car on a Hill 6. Dancin' Clown 7. River 8. Chinese Cafe/Unchained Melody 9. Harry's House/Centerpiece 10. Shades of Scarlett Conquering 11. Number One 12. The Windfall (Everything For Nothing) 13. Come In From the Cold Disc 2 1. Court and Spark 2. No Apologies 3. Trouble Child 4. Not to Blame 5. Nothing Can Be Done 6. Comes Love 7. Moon at the window 8. Blue 9. Tax Free 10. The Wolf That Lives In Lindsey 11. Hana 12. Hejira 13. Stay In Touch 14. Night Ride Home Disc 3 1. You're My Thrill 2. The Crazy Cries of Love 3. Love Puts on a New Face 4. Borderline 5. A Strange Boy 6. You Dream Flat Tires 7. Love 8. All I Want 9. Be Cool 10. Yvette in English 11. Just Like This Train 12. Carey 13. The Only Joy in Town Disc 4 1. Don Juan's Reckless Daughter 2. Two Grey Rooms 3. God Must Be a Boogie Man 4. Down to You 5. A Case of You 6. The Last Time I Saw Richard 7. Raised Pn Robbery 8. Sweet Sucker Dance 9. Lakota 10. Cool Water 11. Amelia 12. Both Sides Now 13. My Best To You

Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced will come out in November…

Joni Mitchell is to release a remastered collection of her greatest hits.

Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced features 53 songs from her career.

The 4-CD box set features songs which have been hand selected by Mitchell and re-arranged into ‘themes’; reflecting the quartet and ballet mentioned in the title.

Mitchell explained in a press release: “Instead of it being an emotional roller coaster ride as it was before — crammed into one disc — themes began to develop. Moods sustained. When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet — a quartet. I also had a box set.”

This is not the first time Joni Mitchell has been involved with ballet, her final album Shine, which was released in 2007, was played in New York accompanied by members of the Alberta Ballet. Mitchell said: “I am a painter who writes songs. My songs are very visual. The words create scenes… What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work.”

These new remastered tracks promise to be “familiar but fresh”, with “a lot of sonic adjustment”, which has all been crafted by Mitchell. She has also added her own liner notes to the songs which talk about her recording process, 53 lyrical poems, one for each song, and a series of 6 paintings. A deluxe hardcover book will also be included with the box set. The collection will be available from November 16.

The Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced tracklisting is:

Disc 1

1. In France They Kiss On Main Street

2. Ray’s Dad’s Cadillac

3. You Turn Me On I’m A Radio

4. Harlem in Havana

5. Car on a Hill

6. Dancin’ Clown

7. River

8. Chinese Cafe/Unchained Melody

9. Harry’s House/Centerpiece

10. Shades of Scarlett Conquering

11. Number One

12. The Windfall (Everything For Nothing)

13. Come In From the Cold

Disc 2

1. Court and Spark

2. No Apologies

3. Trouble Child

4. Not to Blame

5. Nothing Can Be Done

6. Comes Love

7. Moon at the window

8. Blue

9. Tax Free

10. The Wolf That Lives In Lindsey

11. Hana

12. Hejira

13. Stay In Touch

14. Night Ride Home

Disc 3

1. You’re My Thrill

2. The Crazy Cries of Love

3. Love Puts on a New Face

4. Borderline

5. A Strange Boy

6. You Dream Flat Tires

7. Love

8. All I Want

9. Be Cool

10. Yvette in English

11. Just Like This Train

12. Carey

13. The Only Joy in Town

Disc 4

1. Don Juan’s Reckless Daughter

2. Two Grey Rooms

3. God Must Be a Boogie Man

4. Down to You

5. A Case of You

6. The Last Time I Saw Richard

7. Raised Pn Robbery

8. Sweet Sucker Dance

9. Lakota

10. Cool Water

11. Amelia

12. Both Sides Now

13. My Best To You

The Beatles’ unused Abbey Road photos up for auction

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The Beatles’ unused Abbey Road photos up for auction

The sale is expected to reach between £50,000-70,000... Unused photos from The Beatles' Abbey Road photoshoot are set to go on sale at auction. As The Guardian here, the shots were taken on 8 August 1969 by photographer Iain Macmillan, who had only ten minutes to complete the entire shoot. Six photos were taken in all, including the photo that eventually made the final cut, as well as a scenery shot of the Abbey Road sign. "[The photos] are incredibly rare," said Sarah Wheeler of Bloomsbury Auctions. "I’ve spoken to other music dealers and no one has been able to find a complete set on the market for at least 10 years." The collection will hit auction on November 21, with a sales estimate of between £50,000-70,000. Abbey Road was released in September 1969.

The sale is expected to reach between £50,000-70,000…

Unused photos from The Beatles‘ Abbey Road photoshoot are set to go on sale at auction.

As The Guardian here, the shots were taken on 8 August 1969 by photographer Iain Macmillan, who had only ten minutes to complete the entire shoot.

Six photos were taken in all, including the photo that eventually made the final cut, as well as a scenery shot of the Abbey Road sign.

“[The photos] are incredibly rare,” said Sarah Wheeler of Bloomsbury Auctions. “I’ve spoken to other music dealers and no one has been able to find a complete set on the market for at least 10 years.”

The collection will hit auction on November 21, with a sales estimate of between £50,000-70,000.

Abbey Road was released in September 1969.

Neil Young on David Crosby: “If you make a mistake you have to fix it right away”

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Neil Young on David Crosby: “If you make a mistake you have to fix it right away”
Neil Young appeared as a guest on Howard Stern's SiriusXM radio show on October 14. During the 75 minute interview - which you can hear below - Young reiterated his recent proclamation that CSNY would never play live again, as well as his Pono digital music service, views on the Woodstock Festival ...

Neil Young appeared as a guest on Howard Stern’s SiriusXM radio show on October 14.

During the 75 minute interview – which you can hear below – Young reiterated his recent proclamation that CSNY would never play live again, as well as his Pono digital music service, views on the Woodstock Festival and his upcoming new album, Storeytone. He also addressed his ongoing environmental concerns.

When asked about his recent announcement that Crosby Stills Nash & Young would never tour again, Rolling Stone reports that Young confirmed a reunion will “never happen.”

“Playing with Stills and Nash was really great,” he said, “I wish [Crosby] the best with his life. There’s love there, there’s just nothing else there. [A reunion] will never happen. Never happen, no, not in a million years….You have to think about things before you do them. If you make a mistake, you have to fix it right away. [A reunion] will never happen. You don’t have to worry about it. It’s easy to say ‘no.'”

Young continued, “We’ve been together for a long time. We did a lot of great work. Why should we get back together and celebrate how great we were? What difference does it make? It’s not for the audience, it’s not for money either.”

Discussing the Woodstock movie, Young complained that the cameras on stage interfered with CSNY’s performance. “They didn’t have to be right there on the stage,” he said. “They’re cameras, hello! Use zoom, dickhead. We were playing music and there’s some jerk standing there in black clothes. We’re playing music, get out of there.”

Speaking about Storeytone, which is due for release in November, Young said, “It was a great experience. I was in a room with all these musicians. We did it all at once. There’s no overdubs. Be great or be gone. That’s what my producer David Briggs always said. You only have one shot at a time and you can’t go fix it. I knew where I wanted to go with the songs, and the orchestra had charts and an arranger and everything…It was done with up to a 90-piece orchestra. We did it live in the room like Sinatra.”

On the subject of his environmental issues, Young reportedly said, “We can do little things to fight climate change but our armed forces are the biggest carbon dioxide providers in the world, and yet we are fighting, what, ISIS?”

“Since 1950 we’ve lost 90% of the fish in the ocean (and) we’ve doubled our own population,” he continued. “Since 1970, we’ve lost half the wildlife on the planet and again we’ve doubled our population.”

http://www.youtube.com/watch?v=YIwWAX6bHwI

Iggy Pop: “If I had to depend on what I get from album sales I’d be tending bars between sets”

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Iggy Pop: “If I had to depend on what I get from album sales I’d be tending bars between sets”
Iggy Pop has hit out against U2 for the way they 'gifted' new album Songs Of Innocence to all iTunes users – and praised Thom Yorke for distributing a solo album via BitTorrent. Delivering the fourth annual John Peel Lecture at the Radio Festival in Salford last night (October 13), Pop said: "Th...

Iggy Pop has hit out against U2 for the way they ‘gifted’ new album Songs Of Innocence to all iTunes users – and praised Thom Yorke for distributing a solo album via BitTorrent.

Delivering the fourth annual John Peel Lecture at the Radio Festival in Salford last night (October 13), Pop said: “The people who don’t want the free U2 download are trying to say, don’t try to force me. And they’ve got a point.”

“Part of the process when you buy something from an artist, it’s a kind of anointing, you are giving people love. It’s your choice to give or withhold. You are giving a lot of yourself, besides the money. But in this particular case, without the convention, maybe some people felt like they were robbed of that chance, and they have a point.”

The subject of his lecture – which marked ten years since Peel’s death – was “free music in a capitalist society”. Dressed in a barely buttoned black shirt revealing his bare chest and reading glasses, the punk godfather prowled the stage as he told a packed auditorium how digital advances have caused the music industry to become “almost laughably pirate” and that electronic devices “estrange people from their morals and also make it easier to steal music than pay for it.”

He claimed the normalisation of illegal downloading is “bad for everything”. “We are exchanging the corporate rip-off for the public one. Aided by power nerds. Kind of computer Putins. They just wanna get rich and powerful. And now the biggest bands are charging insane ticket prices or giving away music before it can flop, in an effort to stay huge. And there’s something in this huge thing that kind of sucks.”

However, despite his distaste for the act of piracy, he did express sympathy towards low-paid individuals who face legal action because of it. “I think that prosecuting some college kid because she shared a file is a lot like sending somebody to Australia 200 years ago for poaching his lordship’s rabbit,” he commented. “That’s how it must seem to poor people who just want to watch a crappy movie for free after they’ve been working themselves to death all day at Tesco.”

While criticising U2, Pop applauded Thom Yorke for offering Tomorrow’s Modern Boxes via a peer-to-peer file sharing service usually associated with illegal downloading. “I actually think what Thom Yorke has done with BitTorrent is very good.”

“I was gonna say here: ‘Sure the guy is a pirate at Bit Torrent’ but I was warned legally, so I’ll say: ‘Sure the guy at Bit Torrent is a pirate’s friend’ But all pirates want to go legit, just like I wanted to be respectable. It’s normal. After a while people feel like you’re a crook, it’s too hard to do business. So it’s good in this case that Thom Yorke is encouraging a positive change. The music is good. It’s being offered at a low price direct to people who care.”

Similarly, he championed independent labels as housing the “almost all the best music”, and urged them to resist the “squeeze” by YouTube.

“As the commercial trade swings more into general showbiz, the indies will be the only place to go for new talent, outside the Mickey Mouse Club, so I think they were right to band together and sign the Fair Digital Deals Declaration.”

During his half-hour address, the 67-year-old shared anecdotes and experiences from his own career, and at one point noted: “If I had to depend on what I actually get from sales I’d be tending bars between sets.” Defending his Swiftcover commercial, he said: “If I wanna make money, well how about selling car insurance? At least I’m honest. It’s an ad and that’s all it is”

The event was broadcast live on 6Music – where Pop presents a weekly Sunday afternoon show – and will be screened on BBC Four this Sunday (19 October) at 8pm. The audience included Jarvis Cocker, former Smiths drummer Mike Joyce, Tracey Thorn and members of New Order and Everything Everything.

Afterwards, he said of the lecture: “It was wonderful. It took me back about 40 years. I felt like a kid trying to learn. The most difficult part was stopping my own mind. I had pages and pages [of text] that looked like [it had been written by] someone from a mental hospital.”

Jack White’s keyboard player Isaiah ‘Ikey’ Owens dies aged 38

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Jack White’s keyboard player Isaiah ‘Ikey’ Owens dies aged 38
Isaiah 'Ikey' Owens, best known as keyboard player in Jack White's band, has died aged 38. News of Isaiah 'Ikey' Owens' passing was announced on Jack White's official website, via a statement which read: "It is with great sadness that we tell the world of the passing of the incredible musician Isai...

Isaiah ‘Ikey’ Owens, best known as keyboard player in Jack White’s band, has died aged 38.

News of Isaiah ‘Ikey’ Owens’ passing was announced on Jack White‘s official website, via a statement which read: “It is with great sadness that we tell the world of the passing of the incredible musician Isaiah ‘Ikey’ Owens. He will be missed and loved forever by his family, friends, bandmates and fans.”

It continued: “Ikey Owens was an astounding keyboard player in Jack White’s backing band. He also played with Mars Volta, Free Moral Agents, and many other projects. Out of respect for Ikey, the remaining shows of the Jack White Tour in Mexico have been cancelled. We will all miss you Ikey. You were and are an incredible artist.”

Isaiah Randolph “Ikey” Owens began his career playing in bands in his native Long Beach, California, including his own, Free Moral Agents. He played with the Mars Volta from 2001 to 2009, and began playing with White in 2012. He played on White’s Blunderbuss and Lazaretto albums, as well as on the accompanying tours.

Owens many other credits included live or session work for TV On The Radio’s Dave Sitek, Shuggie Otis, Mastodon and Crystal Antlers.

The Los Angeles Times reports that Owens had recently moved to Nashville, citing a June 2014 interview published in the Orange County Register, where the musician said that trips from Long Beach to Nashville, to work with White, had been hugely rewarding.

“(I learned) new ways to approach everything,” Owens explained. “Just similarities of country Americana with reggae and funk and hip-hop. A lot of the principles and a lot of the methodologies are all kind of easy to do in Long Beach. It all kind of translates.”

“Now that I’m getting older, it’s really hard to try and professionally make records in Long Beach,” Owens told the Orange County Register. “I don’t want to live in L.A.; I’m not really interested in New York. Nashville has been really good to me and kind of developing my career more in the studio.”

Owens was found dead in his hotel room in Puebla, Mexico on Tuesday, October 14. Authorities say the cause of death is currently unknown, according to the Spanish-language Periodico Digital.

Photo credit: David James Swanson

Leonard Cohen announces Live In Dublin CD and DVD

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Leonard Cohen announces Live In Dublin CD and DVD

Full-length concert recording and film, to be released in December... Leonard Cohen will release Leonard Cohen - Live In Dublin, an full-length concert recording and film, on Monday, December 1. The first - and only - release of a complete Leonard Cohen concert to be shot in high definition, Live In Dublin will be available in 3CD/DVD, 3CD/Blu-ray and digital configurations. It can be pre-ordered here: 3CD/DVD 3CD/Blu-ray 3CD iTunes The show was recorded at Dublin's 02 Arena on September 12, 2013 during Cohen's Old Ideas tour. Leonard Cohen - Live In Dublin includes an 11-song first set, a 10-song second set and an 8-song encore. The DVD features bonus live tracks recorded in Canada in 2013. The tracklisting for Leonard Cohen - Live In Dublin is: Set 1 Dance Me To The End Of Love The Future Bird on the Wire Everybody Knows Who By Fire The Gypsy's Wife Darkness Amen Come Healing Lover Lover Lover Anthem Set 2 Tower Of Song Suzanne Chelsea Hotel #2 Waiting For The Miracle The Partisan In My Secret Life Alexandra Leaving (Sharon Robinson) I'm Your Man Recitation w/ N.L. Hallelujah Take this Waltz Encore So Long, Marianne Going Home First We Take Manhattan Famous Blue Raincoat If It Be Your Will (Webb Sisters) Closing Time I Tried to Leave You Save the Last Dance for Me DVD Bonus songs Show Me The Place – Halifax, NS, Canada – April 13, 2013 – Halifax Metro Centre Anyhow – St. John's, NL, Canada – April 20, 2013 – Mile One Centre Different Sides – St. John, NB, Canada – April 15, 2013 – Harbour Station

Full-length concert recording and film, to be released in December…

Leonard Cohen will release Leonard Cohen – Live In Dublin, an full-length concert recording and film, on Monday, December 1.

The first – and only – release of a complete Leonard Cohen concert to be shot in high definition, Live In Dublin will be available in 3CD/DVD, 3CD/Blu-ray and digital configurations.

It can be pre-ordered here:

3CD/DVD

3CD/Blu-ray

3CD

iTunes

The show was recorded at Dublin’s 02 Arena on September 12, 2013 during Cohen’s Old Ideas tour.

Leonard Cohen – Live In Dublin includes an 11-song first set, a 10-song second set and an 8-song encore. The DVD features bonus live tracks recorded in Canada in 2013.

The tracklisting for Leonard Cohen – Live In Dublin is:

Set 1

Dance Me To The End Of Love

The Future

Bird on the Wire

Everybody Knows

Who By Fire

The Gypsy’s Wife

Darkness

Amen

Come Healing

Lover Lover Lover

Anthem

Set 2

Tower Of Song

Suzanne

Chelsea Hotel #2

Waiting For The Miracle

The Partisan

In My Secret Life

Alexandra Leaving (Sharon Robinson)

I’m Your Man

Recitation w/ N.L.

Hallelujah

Take this Waltz

Encore

So Long, Marianne

Going Home

First We Take Manhattan

Famous Blue Raincoat

If It Be Your Will (Webb Sisters)

Closing Time

I Tried to Leave You

Save the Last Dance for Me

DVD Bonus songs

Show Me The Place – Halifax, NS, Canada – April 13, 2013 – Halifax Metro Centre

Anyhow – St. John’s, NL, Canada – April 20, 2013 – Mile One Centre

Different Sides – St. John, NB, Canada – April 15, 2013 – Harbour Station

The Waterboys share first track from new album, Modern Blues

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The Waterboys share first track from new album, Modern Blues

Launch concerts in Feb 2015 announced... The Waterboys have announced details of their new album, Modern Blues. The album is to be released on Harlequin And Clown, via Kobalt Label Services on January 19, 2015. It was recorded in Nashville and produced by Waterboys leader Mike Scott and mixed by Bob Clearmountain. Modern Blues features Ralph Salmins, a mainstay on drums for the past four years, alongside Scott and regular Waterboy Steve Wickham, as well as Memphis keyboard player “Brother” Paul Brown and Muscle Shoals bassist David Hood. Modern Blues will be released on CD and also double vinyl. The vinyl features an extra track, an acoustic demo of "Long Strange Golden Road". The album can be pre-ordered here. The tracklisting for Modern Blues is: Destinies Entwined November Tale Still A Freak I Can See Elvis The Girl Who Slept For Scotland Rosalind (You Married The Wrong Girl) Beautiful Now Nearest Thing To Hip Long Strange Golden Road The band have previewed a track from the album, "Destinies Entwined", which you can hear below. http://www.youtube.com/watch?v=7_4EhpohXNQ Meanwhile, the band have announced they will launch the album with two concerts: Mon Feb 2, 2015: Coventry, Warwick Arts Centre Tues Feb 3, 2015: London Roundhouse Tickets for these shows go on on sale Friday, October 10.

Launch concerts in Feb 2015 announced…

The Waterboys have announced details of their new album, Modern Blues.

The album is to be released on Harlequin And Clown, via Kobalt Label Services on January 19, 2015. It was recorded in Nashville and produced by Waterboys leader Mike Scott and mixed by Bob Clearmountain.

Modern Blues features Ralph Salmins, a mainstay on drums for the past four years, alongside Scott and regular Waterboy Steve Wickham, as well as Memphis keyboard player “Brother” Paul Brown and Muscle Shoals bassist David Hood.

Modern Blues will be released on CD and also double vinyl. The vinyl features an extra track, an acoustic demo of “Long Strange Golden Road”. The album can be pre-ordered here.

The tracklisting for Modern Blues is:

Destinies Entwined

November Tale

Still A Freak

I Can See Elvis

The Girl Who Slept For Scotland

Rosalind (You Married The Wrong Girl)

Beautiful Now

Nearest Thing To Hip

Long Strange Golden Road

The band have previewed a track from the album, “Destinies Entwined“, which you can hear below.

Meanwhile, the band have announced they will launch the album with two concerts:

Mon Feb 2, 2015: Coventry, Warwick Arts Centre

Tues Feb 3, 2015: London Roundhouse

Tickets for these shows go on on sale Friday, October 10.

Steve Gunn, “Way Out Weather”/Nathan Bowles, “Nansemond”

John Mulvey
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Steve Gunn, “Way Out Weather”/Nathan Bowles, “Nansemond”

How does a questing psychedelic guitarist transform themselves into a classic singer-songwriter? By compromising, in many cases. Steve Gunn, however, is managing the transition with uncanny elegance. Maybe you've already heard the latest album from this languidly prolific Brooklyn guitarist: it's called "Way Out Weather", and it's just out on the Paradise Of Bachelors label. http://www.youtube.com/watch?v=vNfd1nilhI0 Gunn is one of those musicians I've written a lot about these past few years, thanks not just to the sheer weight of records he's made, but to their striking consistency. Consistency in terms of quality, I should stress, rather than of homogeneous sound: Gunn has been scrupulous in plotting a zigzagging course between roots music and the avant-garde, visiting all kinds of intersections along the way. That journey has taken in solo acoustic records like "Boerum Palace", Higgins/Bull-style duets with the drummer John Truczynski, a JJ Cale homage with Hiss Golden Messenger (Golden Gunn), a psychedelic jam band with the Irish guitarist Cian Nugent (Desert Heat), a stint in Kurt Vile's Violators and, most recently, a collaboration with the British guitarist Mike Cooper, a kindred spirit in his investigations of how he can stretch, splinter and transcend folk guitar playing. http://www.youtube.com/watch?v=I-KEFMFF47E&list=PLGLGDT-9ZI4KlbI8L3exrSMO4DkKcRs_r Beginning with last year's "Time Off", however, Gunn has channelled at least part of his energies into becoming a more orthodox singer-songwriter, with one foot in the vicinity of the rock world. "Way Out Weather" is a beautifully-constructed set of songs, and one in which Gunn has worked out exactly how to fit his six-string explorations into more orderly environs. Take the opening title track, and how Gunn's engagingly husky voice discreetly leaves space for the woozy, cycling guitar dynamic - a narrative of eco-fear played out with a sun-damaged languor. As Gunn embarks on a kind of ambulatory but unfussy solo, his time with Kurt Vile seems to have had a subtle impact on his playing (reports are circulating, incidentally, of a Vile/Gunn joint LP being in the works). http://www.youtube.com/watch?v=ckSY12Dmw8Q&list=PLGLGDT-9ZI4Jxy3xTypg3umwxsJ2cmofM In contrast with its predecessor, "Way Out Weather" is full of inventive new tangents, so that "Atmosphere", for instance, plants Gunn's introverted work into a kind of hazy ambient setting. "Milly's Garden", meanwhile, is an elegant, muted boogie that calls to mind Little Feat, or even a surreally undemonstrative Stones. For a guitarist who made his name as a solo performer, it's also a measure of how well Gunn's music now fits into a band environment; fuller, more expansive, for sure, but still retaining the critical intimacy, the understated virtuosity that is at the heart of his work. One of those players involved on "Way Out Weather", and indeed in Gunn's current live band, is Nathan Bowles, who's long moved in a similar shadowy interzone to that of Gunn. Bowles' CV includes being a core member of the rustic Piedmont ensemble, The Black Twig Pickers, and their more cosmic twin band, Pelt, as well as shifts with, again, Hiss Golden Messenger. In Gunn's band, Bowles mans the drumkit, but on many of these jobs he's focused on playing banjo, and it's this instrument that dominates his tremendous second solo album, Nansemond, also on Paradise Of Bachelors. If 2012's A Bottle, A Buckeye played it relatively straight as banjo folk, Bowles' second solo set is a rich realisation of his complete range. So Nansemond evokes Bowles' swampy Virginia homeland with nuanced picking, waterlogged drones, rowdy vocals (a first) and an inspired duel with the electric guitar of Tom Carter, from Charalambides on "Chuckatuck". Best of all, there's "Sleepy Lake Tire Swing", a culmination of Bowles' downhome and transcendent adventures, that captures the same spirit as his mentor, Jack Rose. http://www.youtube.com/watch?v=2E3ZXnlNnCw Great records both, I think, and a sign that perhaps this music, played by many artists who lurked in the background during the curious acid-folk (or whatever you need to call it) upsurge of a few years back, is now having its moment. These are productive and endlessly busy musicians, but ones who've followed a discreet path of experimentation and arrived at more accessible music in their own gracious time. As the emails start arriving in my inbox, pushing hordes of wet-behind-the-ears performers straight into the limelight as putative stars of 2015, it's a strategy that many bigger labels might do well to follow. Even in today's fraught climate, a little long-termism might eventually pay dividends… Follow me on Twitter: www.twitter.com/JohnRMulvey Picture: Constance Mensh

How does a questing psychedelic guitarist transform themselves into a classic singer-songwriter? By compromising, in many cases. Steve Gunn, however, is managing the transition with uncanny elegance. Maybe you’ve already heard the latest album from this languidly prolific Brooklyn guitarist: it’s called “Way Out Weather”, and it’s just out on the Paradise Of Bachelors label.

Gunn is one of those musicians I’ve written a lot about these past few years, thanks not just to the sheer weight of records he’s made, but to their striking consistency. Consistency in terms of quality, I should stress, rather than of homogeneous sound: Gunn has been scrupulous in plotting a zigzagging course between roots music and the avant-garde, visiting all kinds of intersections along the way.

That journey has taken in solo acoustic records like “Boerum Palace”, Higgins/Bull-style duets with the drummer John Truczynski, a JJ Cale homage with Hiss Golden Messenger (Golden Gunn), a psychedelic jam band with the Irish guitarist Cian Nugent (Desert Heat), a stint in Kurt Vile’s Violators and, most recently, a collaboration with the British guitarist Mike Cooper, a kindred spirit in his investigations of how he can stretch, splinter and transcend folk guitar playing.

Beginning with last year’s “Time Off”, however, Gunn has channelled at least part of his energies into becoming a more orthodox singer-songwriter, with one foot in the vicinity of the rock world. “Way Out Weather” is a beautifully-constructed set of songs, and one in which Gunn has worked out exactly how to fit his six-string explorations into more orderly environs. Take the opening title track, and how Gunn’s engagingly husky voice discreetly leaves space for the woozy, cycling guitar dynamic – a narrative of eco-fear played out with a sun-damaged languor. As Gunn embarks on a kind of ambulatory but unfussy solo, his time with Kurt Vile seems to have had a subtle impact on his playing (reports are circulating, incidentally, of a Vile/Gunn joint LP being in the works).

In contrast with its predecessor, “Way Out Weather” is full of inventive new tangents, so that “Atmosphere”, for instance, plants Gunn’s introverted work into a kind of hazy ambient setting. “Milly’s Garden”, meanwhile, is an elegant, muted boogie that calls to mind Little Feat, or even a surreally undemonstrative Stones. For a guitarist who made his name as a solo performer, it’s also a measure of how well Gunn’s music now fits into a band environment; fuller, more expansive, for sure, but still retaining the critical intimacy, the understated virtuosity that is at the heart of his work.

One of those players involved on “Way Out Weather”, and indeed in Gunn’s current live band, is Nathan Bowles, who’s long moved in a similar shadowy interzone to that of Gunn. Bowles’ CV includes being a core member of the rustic Piedmont ensemble, The Black Twig Pickers, and their more cosmic twin band, Pelt, as well as shifts with, again, Hiss Golden Messenger.

In Gunn’s band, Bowles mans the drumkit, but on many of these jobs he’s focused on playing banjo, and it’s this instrument that dominates his tremendous second solo album, Nansemond, also on Paradise Of Bachelors. If 2012’s A Bottle, A Buckeye played it relatively straight as banjo folk, Bowles’ second solo set is a rich realisation of his complete range. So Nansemond evokes Bowles’ swampy Virginia homeland with nuanced picking, waterlogged drones, rowdy vocals (a first) and an inspired duel with the electric guitar of Tom Carter, from Charalambides on “Chuckatuck”. Best of all, there’s “Sleepy Lake Tire Swing”, a culmination of Bowles’ downhome and transcendent adventures, that captures the same spirit as his mentor, Jack Rose.

Great records both, I think, and a sign that perhaps this music, played by many artists who lurked in the background during the curious acid-folk (or whatever you need to call it) upsurge of a few years back, is now having its moment. These are productive and endlessly busy musicians, but ones who’ve followed a discreet path of experimentation and arrived at more accessible music in their own gracious time. As the emails start arriving in my inbox, pushing hordes of wet-behind-the-ears performers straight into the limelight as putative stars of 2015, it’s a strategy that many bigger labels might do well to follow. Even in today’s fraught climate, a little long-termism might eventually pay dividends…

Follow me on Twitter: www.twitter.com/JohnRMulvey

Picture: Constance Mensh

Ozzy Osbourne to be honoured at MTV EMAs in Glasgow

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Ozzy Osbourne to be honoured at MTV EMAs in Glasgow

This year's ceremony will take place at the SSE Hydro in Glasgow on November 9... Ozzy Osbourne is set to be receive the Global Icon award at this year's MTV EMAs. The ceremony, which is now in its 20th year, will take place at the SSE Hydro in Glasgow on Sunday, November 9 and will be broadcast live from 9pm. Osbourne, who was recently forced to explain comments he made about the September 11 attacks on New York in 2001, will receive the Global Icon award in recognition of his work as both a member of Black Sabbath and a solo artist. "Ozzy's impact on music and pop culture has been tremendous," said Bruce Gillmer, executive vice president of talent and music programming and events for Viacom. "For over four decades (and counting!) he’s entertained, influenced, inspired and sometimes shocked legions of die-hard fans around the globe. We’re thrilled and honoured to announce that this year’s MTV Global Icon will be Ozzy Osbourne!" Earlier this month it was confirmed that Ed Sheeran and Ariana Grande will perform at the EMAs. Sheeran is a double nominee with nods in the Best British Male and Best UK & Ireland Act categories. Host Minaj has been nominated in four categories – Best Female, Best Hip-Hop, Best Fans and Best Look – at the awards show, while Katy Perry, Ariana Grande and Pharrell Williams lead the nominations across the categories.

This year’s ceremony will take place at the SSE Hydro in Glasgow on November 9…

Ozzy Osbourne is set to be receive the Global Icon award at this year’s MTV EMAs.

The ceremony, which is now in its 20th year, will take place at the SSE Hydro in Glasgow on Sunday, November 9 and will be broadcast live from 9pm.

Osbourne, who was recently forced to explain comments he made about the September 11 attacks on New York in 2001, will receive the Global Icon award in recognition of his work as both a member of Black Sabbath and a solo artist.

“Ozzy’s impact on music and pop culture has been tremendous,” said Bruce Gillmer, executive vice president of talent and music programming and events for Viacom. “For over four decades (and counting!) he’s entertained, influenced, inspired and sometimes shocked legions of die-hard fans around the globe. We’re thrilled and honoured to announce that this year’s MTV Global Icon will be Ozzy Osbourne!”

Earlier this month it was confirmed that Ed Sheeran and Ariana Grande will perform at the EMAs.

Sheeran is a double nominee with nods in the Best British Male and Best UK & Ireland Act categories. Host Minaj has been nominated in four categories – Best Female, Best Hip-Hop, Best Fans and Best Look – at the awards show, while Katy Perry, Ariana Grande and Pharrell Williams lead the nominations across the categories.

Noel Gallagher: “Morrissey is the funniest man I’ve ever met”

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Noel Gallagher: “Morrissey is the funniest man I’ve ever met”

And confirms new album Chasing Yesterday for March 2, 2015 release date... Noel Gallagher has said that Morrissey is the funniest man he's ever met. Speaking to Jo Whiley on BBC Radio 2 earlier this evening (October 13), Gallagher spoke about a night out in Los Angeles which he shared with Morrissey and Russell Brand. "He's the funniest man I've ever met in my entire life. Absolutely side splitting." He added: "He's not got a good word to say about anyone – he's very cutting. He bullied Russell!" Following the announcement of Noel Gallagher's new album, Chasing Yesterday, the frontman also revealed that he is yet to have a record deal. The album will be released on March 2, 2015 under the Noel Gallagher & The High Flying Birds name. However, speaking to Whiley, Gallagher commented: "I don't have a record deal – my management have to put it in a suitcase and hawk it around the world." Gallagher went on to discuss the current state of the music industry, saying: "I don't think the music business has a clue whats going on at the moment… I sat in a meeting recently, of how we're gonna release it ['Chasing Yesterday']... I got so frustrated… there's too much time devoted to how we're gonna release the record, just get it out and get on the road!" Discussing the record, Gallagher said he had only just decided on the title. "I dithered on the title for the album up until about two days ago when I had to submit it… I must have changed it 12 times!" He added that he now 'hates' his choice. "As soon as it went I thought 'I hate it!" A UK arena tour will take place next year, with dates in London, Manchester, Glasgow, Nottingham and Belfast. Scroll down for full details. Noel Gallagher will play: Belfast, Odyssey Arena (March 3, 2015) Dublin, 3 Arena (4) Nottingham, Capital FM Arena (6) Glasgow, The SSE Hydro (7) Manchester, Arena, (9) London, O2 Arena (10)

And confirms new album Chasing Yesterday for March 2, 2015 release date…

Noel Gallagher has said that Morrissey is the funniest man he’s ever met.

Speaking to Jo Whiley on BBC Radio 2 earlier this evening (October 13), Gallagher spoke about a night out in Los Angeles which he shared with Morrissey and Russell Brand. “He’s the funniest man I’ve ever met in my entire life. Absolutely side splitting.” He added: “He’s not got a good word to say about anyone – he’s very cutting. He bullied Russell!”

Following the announcement of Noel Gallagher’s new album, Chasing Yesterday, the frontman also revealed that he is yet to have a record deal. The album will be released on March 2, 2015 under the Noel Gallagher & The High Flying Birds name. However, speaking to Whiley, Gallagher commented: “I don’t have a record deal – my management have to put it in a suitcase and hawk it around the world.”

Gallagher went on to discuss the current state of the music industry, saying: “I don’t think the music business has a clue whats going on at the moment… I sat in a meeting recently, of how we’re gonna release it [‘Chasing Yesterday’]… I got so frustrated… there’s too much time devoted to how we’re gonna release the record, just get it out and get on the road!”

Discussing the record, Gallagher said he had only just decided on the title. “I dithered on the title for the album up until about two days ago when I had to submit it… I must have changed it 12 times!” He added that he now ‘hates’ his choice. “As soon as it went I thought ‘I hate it!”

A UK arena tour will take place next year, with dates in London, Manchester, Glasgow, Nottingham and Belfast. Scroll down for full details.

Noel Gallagher will play:

Belfast, Odyssey Arena (March 3, 2015)

Dublin, 3 Arena (4)

Nottingham, Capital FM Arena (6)

Glasgow, The SSE Hydro (7)

Manchester, Arena, (9)

London, O2 Arena (10)

Warp Records confirm the death of LFO’s Mark Bell

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Warp Records confirm the death of LFO’s Mark Bell

The producer and techno artist passed away last week from complications after an operation... Mark Bell of LFO has died. The news was confirmed by Warp Records, who wrote: "It's with great sadness that we announce the untimely passing of Mark Bell of LFO who died last week from complications after an operation. Mark's family & friends request privacy at this difficult time." LFO formed in the late 1980s in Yorkshire and were considered to be pioneers of electronic dance music and techno. The duo was made up of Bell and Gez Varley, until Varley left in the mid-1990s. LFO released three albums, 1991's Frequencies, 1996's Advance and 2003's Sheath. Bell worked closely with Bjork, co-producing a number of her albums, starting in 1997 with Homogenic. He also released music under the name Clark. Bjork paid tribute by sharing 1991's 'Love Is The Message' on her Facebook page - which you can listen to below - while Friendly Fires's Jack Savidge wrote: "RIP Mark Bell- an absolute don". http://www.youtube.com/watch?v=2247wlH38ks

The producer and techno artist passed away last week from complications after an operation…

Mark Bell of LFO has died.

The news was confirmed by Warp Records, who wrote: “It’s with great sadness that we announce the untimely passing of Mark Bell of LFO who died last week from complications after an operation. Mark’s family & friends request privacy at this difficult time.”

LFO formed in the late 1980s in Yorkshire and were considered to be pioneers of electronic dance music and techno. The duo was made up of Bell and Gez Varley, until Varley left in the mid-1990s. LFO released three albums, 1991’s Frequencies, 1996’s Advance and 2003’s Sheath.

Bell worked closely with Bjork, co-producing a number of her albums, starting in 1997 with Homogenic. He also released music under the name Clark.

Bjork paid tribute by sharing 1991’s ‘Love Is The Message’ on her Facebook page – which you can listen to below – while Friendly Fires’s Jack Savidge wrote: “RIP Mark Bell- an absolute don”.

Watch Neil Young perform with 92-piece orchestra in new video for “Who’s Gonna Stand Up”

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Watch Neil Young perform with 92-piece orchestra in new video for “Who’s Gonna Stand Up”

Taken from new album, Storytone... Neil Young performs new song "Who's Gonna Stand Up" backed by a 92-piece orchestra in the song's official video. Scroll down to watch the clip at the bottom of this story. "Who's Gonna Stand Up" will feature on Young's new solo album, Storytone. The LP, his second of the year following A Letter Home, was recorded in the vintage vinyl booth at Jack White's Third Man Records store in Nashville and will come out on November 3. The release will be a double album with a second disc seeing Young performing the same songs but backed by a 92-piece orchestra. The video shows a behind the scenes look at the recording of these songs. "Who's Gonna Stand Up?" was first released to coincide with the People's Climate Marches around the world. Meanwhile, Neil Young recently said that he will never tour as part of Crosby, Stills, Nash & Young again. David Crosby subsequently replied to his to former bandmate and said "I hear Neil said 'there will never be any more CSNY shows' that's like saying there are mountains in Tibet we know Neil ….we already knew." He later replied to a fan's question as to why there will not be any more CSNY shows with, "He is very angry with me…" http://www.youtube.com/watch?v=NkiRR3T_3NY

Taken from new album, Storytone…

Neil Young performs new song “Who’s Gonna Stand Up” backed by a 92-piece orchestra in the song’s official video. Scroll down to watch the clip at the bottom of this story.

“Who’s Gonna Stand Up” will feature on Young’s new solo album, Storytone. The LP, his second of the year following A Letter Home, was recorded in the vintage vinyl booth at Jack White’s Third Man Records store in Nashville and will come out on November 3.

The release will be a double album with a second disc seeing Young performing the same songs but backed by a 92-piece orchestra. The video shows a behind the scenes look at the recording of these songs. “Who’s Gonna Stand Up?” was first released to coincide with the People’s Climate Marches around the world.

Meanwhile, Neil Young recently said that he will never tour as part of Crosby, Stills, Nash & Young again. David Crosby subsequently replied to his to former bandmate and said “I hear Neil said ‘there will never be any more CSNY shows’ that’s like saying there are mountains in Tibet we know Neil ….we already knew.”

He later replied to a fan’s question as to why there will not be any more CSNY shows with, “He is very angry with me…”

Goat – Commune

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Goat – Commune

Afro-noise jams, via Germany, the Sahara and Sweden. Masked festival favourites continue their worldwide masquerade... Psychedelic, revolutionary music has often gone hand-in-hand with communal living. Take what seem like Goat’s two main poles of influence: from Nigeria, Fela Kuti and his Kalakuta Republic, out of which the Afrika 70 collective would regularly pump their 15-minute Afrobeat monoliths railing against government corruption and army brutality; and from West Germany, the Amon Düül commune, a group of radicals who indulged in far-out experimentation – politically, pharmaceutically and musically. Churning out boundary-breaking jams from a cult-like compound isn’t a recipe for success in our era of cultural commodification, though. Still, Goat, reputed commune-dwellers from a village in northern Sweden that they claim has never relinquished its centuries-old pagan beliefs, have done a surprisingly good job of crossing over. After releasing their debut album, World Music, in 2012, the group now draw large crowds at major festivals, are signed to Sub Pop in the US, and headline London’s 1,700-capacity Roundhouse later this year. That they sport fantastic and outlandish tribal masks and robes straight from some mythical Nubian bazaar, and have managed to retain a haze of mystery – we still don’t know the names of most of their members, or how many they number, a rarity in this age of hyper-connectivity – can only have increased their notoriety. But really, none of this would matter if Goat’s music wasn’t so eminently appealing. The formula here on Commune, their second full-length, is similar to their debut, where they skilfully took the spiralling, sinuous jams of Kuti or Düül, and recast them in a more accessible mould. Each of the nine songs is highly listenable, streamlined (the longest track is just under seven minutes), and loaded with classic-rock vibes (wah-wah pedals take a real kicking throughout) and simple, chanted hooks from their two vocalists. At times, the masks slip to reveal not much underneath – while their forebears sang of revolution, liberation and very real political issues, Goat are content to spoon the listener beige, quasi-mystical pronouncements. “There is only one true meaning with life, and that is to be a positive force in the constant creation of evolution,” goes “To Travel The Path Unknown”’s prologue. You can hardly imagine soldiers murderously storming the Swedes’ compound as they did Fela’s, after hearing these lyrics. These missteps serve to make Goat seem like a post-modern, cartoon version of a ritualistic jam band, trawling shallow waters instead of unknown depths. And yet, forgetting the masks and the mystical gubbins, the songs are such thrilling journeys that it barely matters. As the listener sinks into the grooves, more diverse influences appear – Saharan guitar curlicues are still present throughout, but there’s a taste of Peruvian folk music on “The Light Within”, while a new purchase, a Turkish electric saz, is fed through a wah-wah on the excellent “Hide From The Sun”, perhaps the most compellingly ‘Eastern’ Goat have yet sounded. And in more of a departure, the pulsing, jagged “Words” channels Silver Apples by way of Portishead’s Apples-aping “We Carry On”. The album peaks near the end of its relatively short, 38-minute run with the heat-freckled drone-rock of “Bondye”, and “Gathering Of Ancient Tribes”, which comes on like Tinariwen armed with Marshall stacks and Big Muffs. It’s an onslaught that suggests if Goat plan to wander further in the future, they could successfully explore the realms of stoner-metal. The album ends, Möbius strip-like, with the same Tibetan singing bowl chimes that open it. Because we now know the nature of the beast, Commune is less immediately striking than World Music. But if Goat seem unlikely to lead you to liberation or spiritual transcendence, their compact jams, the vivid ingredients cherry-picked from disparate corners of the globe, are still as groovy and downright joyous as they ever were – devotional music for the feet. And they’ll sound just as mighty on those festival stages. Tom Pinnock Q&A “Funkmaster Goat” Could you tell us a little more about your hometown, Korpilombolo? It was founded in the 16th Century by Samish travellers. Later they were joined by travellers from Western Africa and together they created a spiritual commune based around openness towards the different cultures and people of the world. Through travelling and collectivism we have always managed to preserve and develop this commune and its beliefs. What is living in a commune really like? We all live in various collectives or communes. Society is nothing but a big collective. Your job, your family, your friends are others. So you tell me. What is important is that you recognise this and try to take a positive role in your collectives. How do you think Commune differs from World Music? Both albums were mainly created in our own studio, but this time we could use the studio better. So we have experimented more with sounds. We have also brought in a wider range of influences and instruments – some new flutes, a saz and a lot more percussion instruments. INTERVIEW: TOM PINNOCK

Afro-noise jams, via Germany, the Sahara and Sweden. Masked festival favourites continue their worldwide masquerade…

Psychedelic, revolutionary music has often gone hand-in-hand with communal living. Take what seem like Goat’s two main poles of influence: from Nigeria, Fela Kuti and his Kalakuta Republic, out of which the Afrika 70 collective would regularly pump their 15-minute Afrobeat monoliths railing against government corruption and army brutality; and from West Germany, the Amon Düül commune, a group of radicals who indulged in far-out experimentation – politically, pharmaceutically and musically.

Churning out boundary-breaking jams from a cult-like compound isn’t a recipe for success in our era of cultural commodification, though. Still, Goat, reputed commune-dwellers from a village in northern Sweden that they claim has never relinquished its centuries-old pagan beliefs, have done a surprisingly good job of crossing over. After releasing their debut album, World Music, in 2012, the group now draw large crowds at major festivals, are signed to Sub Pop in the US, and headline London’s 1,700-capacity Roundhouse later this year.

That they sport fantastic and outlandish tribal masks and robes straight from some mythical Nubian bazaar, and have managed to retain a haze of mystery – we still don’t know the names of most of their members, or how many they number, a rarity in this age of hyper-connectivity – can only have increased their notoriety. But really, none of this would matter if Goat’s music wasn’t so eminently appealing.

The formula here on Commune, their second full-length, is similar to their debut, where they skilfully took the spiralling, sinuous jams of Kuti or Düül, and recast them in a more accessible mould. Each of the nine songs is highly listenable, streamlined (the longest track is just under seven minutes), and loaded with classic-rock vibes (wah-wah pedals take a real kicking throughout) and simple, chanted hooks from their two vocalists.

At times, the masks slip to reveal not much underneath – while their forebears sang of revolution, liberation and very real political issues, Goat are content to spoon the listener beige, quasi-mystical pronouncements. “There is only one true meaning with life, and that is to be a positive force in the constant creation of evolution,” goes “To Travel The Path Unknown”’s prologue. You can hardly imagine soldiers murderously storming the Swedes’ compound as they did Fela’s, after hearing these lyrics. These missteps serve to make Goat seem like a post-modern, cartoon version of a ritualistic jam band, trawling shallow waters instead of unknown depths.

And yet, forgetting the masks and the mystical gubbins, the songs are such thrilling journeys that it barely matters. As the listener sinks into the grooves, more diverse influences appear – Saharan guitar curlicues are still present throughout, but there’s a taste of Peruvian folk music on “The Light Within”, while a new purchase, a Turkish electric saz, is fed through a wah-wah on the excellent “Hide From The Sun”, perhaps the most compellingly ‘Eastern’ Goat have yet sounded. And in more of a departure, the pulsing, jagged “Words” channels Silver Apples by way of Portishead’s Apples-aping “We Carry On”.

The album peaks near the end of its relatively short, 38-minute run with the heat-freckled drone-rock of “Bondye”, and “Gathering Of Ancient Tribes”, which comes on like Tinariwen armed with Marshall stacks and Big Muffs. It’s an onslaught that suggests if Goat plan to wander further in the future, they could successfully explore the realms of stoner-metal. The album ends, Möbius strip-like, with the same Tibetan singing bowl chimes that open it.

Because we now know the nature of the beast, Commune is less immediately striking than World Music. But if Goat seem unlikely to lead you to liberation or spiritual transcendence, their compact jams, the vivid ingredients cherry-picked from disparate corners of the globe, are still as groovy and downright joyous as they ever were – devotional music for the feet. And they’ll sound just as mighty on those festival stages.

Tom Pinnock

Q&A

“Funkmaster Goat”

Could you tell us a little more about your hometown, Korpilombolo?

It was founded in the 16th Century by Samish travellers. Later they were joined by travellers from Western Africa and together they created a spiritual commune based around openness towards the different cultures and people of the world. Through travelling and collectivism we have always managed to preserve and develop this commune and its beliefs.

What is living in a commune really like?

We all live in various collectives or communes. Society is nothing but a big collective. Your job, your family, your friends are others. So you tell me. What is important is that you recognise this and try to take a positive role in your collectives.

How do you think Commune differs from World Music?

Both albums were mainly created in our own studio, but this time we could use the studio better. So we have experimented more with sounds. We have also brought in a wider range of influences and instruments – some new flutes, a saz and a lot more percussion instruments.

INTERVIEW: TOM PINNOCK

Hear David Bowie’s new track, “Sue (Or In A Season Of Crime)”

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Hear David Bowie’s new track, “Sue (Or In A Season Of Crime)”

Song received its first play on BBC Radio 6... David Bowie has premiered new song "Sue (Or In A Season Of Crime)" on BBC Radio 6 show Guy Garvey’s Finest Hour. Bowie had previously announced that Garvey would play the track – which features on forthcoming compilation Nothing Has Changed – during his Sunday afternoon slot. Listen to a radio rip of the song below, as discovered by Consequence of Sound. "Sue (Or In A Season Of Crime)" is due to be released on 10-inch vinyl and digital download on November 17. Bowie recorded the song during the summer in New York with producer Tony Visconti and the Maria Schneider Orchestra. Following the song's debut, lyrics were posted via the singer's Facebook page. Nothing Has Changed is also due to be released on November 17. The tracklist for the 3CD edition of Nothing Has Changed is as follows: CD 1: 'Sue (Or In A Season Of Crime)' 'Where Are We Now?' 'Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA Edit)' 'The Stars (Are Out Tonight)' 'New Killer Star (Radio Edit)' 'Everyone Says ‘Hi’ (Edit)' 'Slow Burn (Radio Edit)' 'Let Me Sleep Beside You' 'Your Turn To Drive' 'Shadow Man' 'Seven (Marius De Vries Mix)' 'Survive (Marius De Vries Mix)' 'Thursday’s Child (Radio Edit)' 'I'm Afraid Of Americans (V1) (Clean Edit)' 'Little Wonder (Edit)' 'Hallo Spaceboy (PSB Remix)’ (with Pet Shop Boys) 'The Heart’s Filthy Lesson (Radio Edit)' 'Strangers When We Meet (Single Version)' CD 2: 'Buddha Of Suburbia' 'Jump They Say (Radio Edit)' 'Time Will Crawl (MM Remix)' 'Absolute Beginners (Single Version)’ 'Dancing In The Street' (with Mick Jagger) 'Loving The Alien (Single Remix)' 'This Is Not America' (with Pat Metheny Group) 'Blue Jean' 'Modern Love (Single Version)' 'China Girl (Single Version)' 'Let's Dance (Single Version)' 'Fashion (Single Version)' 'Scary Monsters (And Super Creeps) (Single Version)' 'Ashes To Ashes (Single Version)' 'Under Pressure’ (with Queen) 'Boys Keep Swinging' '“Heroes” (Single Version)’ 'Sound And Vision' 'Golden Years (Single Version)' 'Wild Is The Wind (2010 Harry Maslin Mix)' CD 3: 'Fame' 'Young Americans (2007 Tony Visconti Mix Single Edit)' 'Diamond Dogs' 'Rebel Rebel' 'Sorrow' 'Drive-In Saturday' 'All The Young Dudes' 'The Jean Genie (Original Single Mix)' 'Moonage Daydream' 'Ziggy Stardust' 'Starman (Original Single Mix)' 'Life On Mars? (2003 Ken Scott Mix)' 'Oh! You Pretty Things' 'Changes' 'The Man Who Sold The World' 'Space Oddity' 'In The Heat Of The Morning' 'Silly Boy Blue' 'Can’t Help Thinking About Me' 'You’ve Got A Habit Of Leaving' 'Liza Jane'

Song received its first play on BBC Radio 6…

David Bowie has premiered new song “Sue (Or In A Season Of Crime)” on BBC Radio 6 show Guy Garvey’s Finest Hour.

Bowie had previously announced that Garvey would play the track – which features on forthcoming compilation Nothing Has Changed – during his Sunday afternoon slot. Listen to a radio rip of the song below, as discovered by Consequence of Sound.

“Sue (Or In A Season Of Crime)” is due to be released on 10-inch vinyl and digital download on November 17. Bowie recorded the song during the summer in New York with producer Tony Visconti and the Maria Schneider Orchestra. Following the song’s debut, lyrics were posted via the singer’s Facebook page.

Nothing Has Changed is also due to be released on November 17. The tracklist for the 3CD edition of Nothing Has Changed is as follows:

CD 1:

‘Sue (Or In A Season Of Crime)’

‘Where Are We Now?’

‘Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA Edit)’

‘The Stars (Are Out Tonight)’

‘New Killer Star (Radio Edit)’

‘Everyone Says ‘Hi’ (Edit)’

‘Slow Burn (Radio Edit)’

‘Let Me Sleep Beside You’

‘Your Turn To Drive’

‘Shadow Man’

‘Seven (Marius De Vries Mix)’

‘Survive (Marius De Vries Mix)’

‘Thursday’s Child (Radio Edit)’

‘I’m Afraid Of Americans (V1) (Clean Edit)’

‘Little Wonder (Edit)’

‘Hallo Spaceboy (PSB Remix)’ (with Pet Shop Boys)

‘The Heart’s Filthy Lesson (Radio Edit)’

‘Strangers When We Meet (Single Version)’

CD 2:

‘Buddha Of Suburbia’

‘Jump They Say (Radio Edit)’

‘Time Will Crawl (MM Remix)’

‘Absolute Beginners (Single Version)’

‘Dancing In The Street’ (with Mick Jagger)

‘Loving The Alien (Single Remix)’

‘This Is Not America’ (with Pat Metheny Group)

‘Blue Jean’

‘Modern Love (Single Version)’

‘China Girl (Single Version)’

‘Let’s Dance (Single Version)’

‘Fashion (Single Version)’

‘Scary Monsters (And Super Creeps) (Single Version)’

‘Ashes To Ashes (Single Version)’

‘Under Pressure’ (with Queen)

‘Boys Keep Swinging’

‘“Heroes” (Single Version)’

‘Sound And Vision’

‘Golden Years (Single Version)’

‘Wild Is The Wind (2010 Harry Maslin Mix)’

CD 3:

‘Fame’

‘Young Americans (2007 Tony Visconti Mix Single Edit)’

‘Diamond Dogs’

‘Rebel Rebel’

‘Sorrow’

‘Drive-In Saturday’

‘All The Young Dudes’

‘The Jean Genie (Original Single Mix)’

‘Moonage Daydream’

‘Ziggy Stardust’

‘Starman (Original Single Mix)’

‘Life On Mars? (2003 Ken Scott Mix)’

‘Oh! You Pretty Things’

‘Changes’

‘The Man Who Sold The World’

‘Space Oddity’

‘In The Heat Of The Morning’

‘Silly Boy Blue’

‘Can’t Help Thinking About Me’

‘You’ve Got A Habit Of Leaving’

‘Liza Jane’

U2 on controversial tax arrangements: “Was it totally fair? Probably not”

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U2 on controversial tax arrangements: “Was it totally fair? Probably not”

Band have previously been accused of tax evasion... U2 have discussed their controversial tax arrangements with the band asserting they have acted with full transparency. In 2006, the company that handles U2's publishing royalties was moved from their home country, Ireland, to the Netherlands in a switch many believed was made so the group could receive tax breaks. The decision has attracted much criticism, including a demonstration at their 2011 Glastonbury set that saw scuffles break out between protestors and security guards. In a new interview with The Observer, the band have spoken about the controversy, with The Edge admitting the decision might not have been "totally fair". "Was it totally fair? Probably not," said the guitarist. "The perception is a gross distortion. We do pay a lot of tax. But if I was [the Glastonbury protestors] I probably would have done the same, so it goes with the territory.” Bono affirmed that the band's financial dealings have been forthright: "All of our stuff is out in the open. How did people find out about it? Because it’s published. The sneakiness is when you don’t even know what’s going on." In 2011, The Edge defended the band after comments made by US federal worker Simon Moroney. In a letter published by The Baltimore Sun, Moroney said the band "exemplifies the worst characteristics of Wall Street, both for excess and tax evasion". Writing to the newspaper in response, The Edge said that suggesting U2 are involved in tax evasion is "possibly libellous". "For the record, U2 and the individual band members have a totally clean record with every jurisdiction to which they are required to pay tax and have never been and will never be involved in tax evasion," wrote The Edge. In their interview with The Observer, the band also spoke about new album Songs Of Innocence. The LP was released last month to coincide with the launch of the new iPhone 6 and iWatch in California. It was immediately made available on iTunes and free digital copies were delivered to all users. "I absolutely had my doubts about it before we did it, and after, but it was the right thing to do," said The Edge. "It was an opportunity that will only ever come around once for anybody. I don’t think anyone would want to do it again."

Band have previously been accused of tax evasion…

U2 have discussed their controversial tax arrangements with the band asserting they have acted with full transparency.

In 2006, the company that handles U2’s publishing royalties was moved from their home country, Ireland, to the Netherlands in a switch many believed was made so the group could receive tax breaks. The decision has attracted much criticism, including a demonstration at their 2011 Glastonbury set that saw scuffles break out between protestors and security guards.

In a new interview with The Observer, the band have spoken about the controversy, with The Edge admitting the decision might not have been “totally fair”.

“Was it totally fair? Probably not,” said the guitarist. “The perception is a gross distortion. We do pay a lot of tax. But if I was [the Glastonbury protestors] I probably would have done the same, so it goes with the territory.”

Bono affirmed that the band’s financial dealings have been forthright: “All of our stuff is out in the open. How did people find out about it? Because it’s published. The sneakiness is when you don’t even know what’s going on.”

In 2011, The Edge defended the band after comments made by US federal worker Simon Moroney. In a letter published by The Baltimore Sun, Moroney said the band “exemplifies the worst characteristics of Wall Street, both for excess and tax evasion”.

Writing to the newspaper in response, The Edge said that suggesting U2 are involved in tax evasion is “possibly libellous”.

“For the record, U2 and the individual band members have a totally clean record with every jurisdiction to which they are required to pay tax and have never been and will never be involved in tax evasion,” wrote The Edge.

In their interview with The Observer, the band also spoke about new album Songs Of Innocence. The LP was released last month to coincide with the launch of the new iPhone 6 and iWatch in California. It was immediately made available on iTunes and free digital copies were delivered to all users.

“I absolutely had my doubts about it before we did it, and after, but it was the right thing to do,” said The Edge. “It was an opportunity that will only ever come around once for anybody. I don’t think anyone would want to do it again.”

Watch Led Zeppelin preview ‘Houses Of The Holy’ boxset in new video

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Watch Led Zeppelin preview ‘Houses Of The Holy’ boxset in new video

Reissue is due for release October 28... Led Zeppelin have released an 'unboxing video' for the upcoming Super Deluxe Edition of their 1973 album Houses Of The Holy. Click below to watch. New reissues of Led Zeppelin IV and Houses Of The Holy are due to be released on October 28 and will include the original albums remastered by guitarist Jimmy Page, as well as previously unheard audio from the band's archives. The new trailer, as reported by RTÉ, features a clip of a previously unreleased mix of "The Rain Song" and previews the boxset's contents. A similar video for Led Zeppelin IV was released on September 25. The Super Deluxe editions will feature CD and vinyl versions of each album, as well as a download card and a special 80-page hardbound book. Both will also be available to purchase as a single album or vinyl LP, a deluxe double LP, or as a digital download. Comparable reissues of the band's first three studio albums were released in June. http://www.youtube.com/watch?v=I7ySe_22xk0

Reissue is due for release October 28…

Led Zeppelin have released an ‘unboxing video’ for the upcoming Super Deluxe Edition of their 1973 album Houses Of The Holy. Click below to watch.

New reissues of Led Zeppelin IV and Houses Of The Holy are due to be released on October 28 and will include the original albums remastered by guitarist Jimmy Page, as well as previously unheard audio from the band’s archives.

The new trailer, as reported by RTÉ, features a clip of a previously unreleased mix of “The Rain Song” and previews the boxset’s contents. A similar video for Led Zeppelin IV was released on September 25.

The Super Deluxe editions will feature CD and vinyl versions of each album, as well as a download card and a special 80-page hardbound book. Both will also be available to purchase as a single album or vinyl LP, a deluxe double LP, or as a digital download. Comparable reissues of the band’s first three studio albums were released in June.

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