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Pulp: A Film About Life, Death And Supermarkets

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Jarvis and co shoot for a happy ending... As anyone who has seen Svengali, 20 Feet From Stardom or Frank will have surely realised, we are not exactly living in a golden age of music films right now. Much of my problem with these films lies in the reductive treatment of their subjects – the Sto...

Jarvis and co shoot for a happy ending…

As anyone who has seen Svengali, 20 Feet From Stardom or Frank will have surely realised, we are not exactly living in a golden age of music films right now. Much of my problem with these films lies in the reductive treatment of their subjects – the Stone Roses, a clutch of (mostly) interesting backing singers, the life of Frank Sidebottom. That Pulp (subtitled A Film About Life, Death And Supermarkets) manages to drag the genre out of its slump is quite an achievement. As much as I like Pulp, it’s still hard to muster much enthusiasm for a band who – some spry reunion shows in 2011/12 aside – haven’t released any new music for over a decade and whose story has been rigorously documented elsewhere. arvis Cocker seems to implicitly understand the shortcomings of the proposal: “It didn’t feel like a good ending,†he admits. “I know that ‘tidying up’ isn’t the greatest rock’n’roll motivation but I did want to give the story a happy ending.†To reinforce how underwhelming all this might be, we then get some footage of Jarvis changing a flat tyre, feeding some ducks, riding a bicycle.

As it turns out, Jarvis is arguably the least interesting thing about this film from New Zealand based director Florian Habicht. The events in Pulp take place in Sheffield, on December 8, 2012, the day of the band’s last UK concert. It follows the individual band members, their fans and a handful of the city’s more colourful inhabitants as they prepare for this momentous event. The band themselves prove to be amiable, self-deprecating souls – in particular drummer Nick Banks, who we first meet coaching his daughter Jeannie’s football team, the Sheffield FC U14 Ladies, who are sponsored by Pulp. Elsewhere, interviewed in a local record shop, sometime member Richard Hawley notes of the 12 year gap between Pulp’s debut It and their creative peak Different Class, “marriages don’t last that long, governments don’t last that long.â€

But the real stars are the good folks of Sheffield (“a medium sized city in the north of England,†says Jarvis helpfully): knife makers, fishmongers, school children, newspaper sellers, all of whom gamely offer their thoughts on Jarvis and Pulp. “When they first started out, I listened to their music with Blur,†says Josephine, a white-haired fan of uncertain age. “And of the two, I prefer Pulp.†Habicht also interviews the workers in the city’s Castle Market, where the teenage Cocker held down a Saturday job. Meanwhile, a dance troupe, U-nique, treat Habicht’s cameras to their routine for “Disco 2000†and the Sheffield Harmony vocal group deliver a fruity a cappella version of “Common Peopleâ€. We also meet a nurse who’s travelled from Georgia for the show, and a local musician who found solace in Pulp’s music during an especially turbulent period in his life. “I thin the concert was OK,†reflects Cocker at the film’s close. â€It was important to do it, and I think it was good that we left Sheffield to the last thing. Life is a random process, I think, but you can add a narrative to it. And so by doing that, it just seemed logical that you would do this thing and finish in the place where it all started.â€
Michael Bonner

Ozzy Osbourne: “I’m up for another Black Sabbath album and tour”

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Ozzy Osbourne has revealed that there is a possibility for a new Black Sabbath album. The band took part in a press conference at this years Sweden Rock Festival in Sölvesborg on Friday [June 6]. The group discussed their plans for the future, and hinted that a new album may be in the works. "We...

Ozzy Osbourne has revealed that there is a possibility for a new Black Sabbath album.

The band took part in a press conference at this years Sweden Rock Festival in Sölvesborg on Friday [June 6]. The group discussed their plans for the future, and hinted that a new album may be in the works.

“We haven’t really discussed it. It is possible there’s gonna be another album,” said Osbourne. “But we haven’t really sat down and decided what we’re gonna do yet. We just wanna finish this tour and then we’ll see.”

In May, Tony Iommi said that the band’s Hyde Park gig this July could be their last ever. He admitted that he and his bandmates currently have no plans to play live after the festival and that, combined with his ill health, could mark the last time Black Sabbath fans get to see the band perform live.

Commenting on Iommi’s remarks, Osbourne said: “If it’s goodbye, we’re ending it on a high note…But I’m up for another Black Sabbath album and tour. If we can, great. If not, I’ll just carry on doing my own thing.”

Black Sabbath discuss their greatest abums in this month’s Uncut, in shops now.

Watch Arcade Fire cover The Smiths

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Arcade Fire covered The Smiths' "London" during their second show at London's Earls Court on Saturday night [June 7]. The band played the track during Saturday's show, which saw the band supported by Lorde. On the previous night's performance the band were joined by Ian McCulloch to perform the Ech...

Arcade Fire covered The Smiths‘ “London” during their second show at London’s Earls Court on Saturday night [June 7].

The band played the track during Saturday’s show, which saw the band supported by Lorde. On the previous night’s performance the band were joined by Ian McCulloch to perform the Echo And The Bunnymen track ‘The Cutter’.

During the Friday night gig Arcade Fire frontman Win Butler spoke about the band’s reasons for playing the venue, commenting: “We wanted to do Earls Court before they tear it down for condos. Get your bids in now. Hope they’re cheap.” In 2012 an online petition was launched to ‘save’ the venue, opposing plans to demolish the centre as part of redevelopment plans for the area.

Before Arcade Fire took to the stage last night the arena was transformed into a giant discotheque – featuring spotlights and glitter balls. The ‘fake’ Reflektors band played a cover of The Beatles ‘Helter Skelter’ on a second stage in the venue during the evening. As well as headlining this year’s Glastonbury Festival, Arcade Fire will also play a huge show at Hyde Park on July 3.

Arcade Fire played:

‘Reflektor’

‘Flashbulb Eyes’

‘Neighborhood #3 (Power Out)’

‘Rebellion (Lies)’

‘Joan Of Arc’

‘Month of May’

‘We Exist’

‘The Suburbs’/’The Suburbs (contd)”

‘Ready to Start’

‘Neighborhood #1 (Tunnels)’

‘Intervention/’Antichrist Television Blues”

‘No Cars Go’

‘Haïti’

‘Afterlife’

‘It’s Never Over (Oh Orpheus)’

‘Sprawl II (Mountains Beyond Mountains)’

‘Normal Person’

‘London’

‘Here Comes the Night Time’

‘Wake Up’

The Kinks discuss latest reunion plans

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The Kinks appear to be close to reuniting, according to Ray Davies in a new interview in The Sunday Times yesterday [June 8]. Speaking about the possibility of reuniting with his brother, Dave, Ray Davies confirmed, “I met Dave only last week to talk about getting back together again." “We’v...

The Kinks appear to be close to reuniting, according to Ray Davies in a new interview in The Sunday Times yesterday [June 8].

Speaking about the possibility of reuniting with his brother, Dave, Ray Davies confirmed, “I met Dave only last week to talk about getting back together again.”

“We’ve also spoken a few times on the phone and emailed. He’s been composing his own songs, but I’d really like to write with him again.â€

“We both agree we don’t want to do old stuff or tour with past hits,†continued Davies. “It’s got to be something new.â€

Earlier this year, Uncut carried an exclusive cover story where both Davies brothers and original drummer Mick Avory discussed the possibility of a Kinks reunion to mark the band’s 50th anniversary this year.

“It’s as close as it’s ever been to happening,” admitted Ray Davies.

Beastie Boys win $1.7 million lawsuit

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The surviving members of the Beastie Boys have won $1.7 million (£1.01 million) in their copyright lawsuit against Monster Beverage Corp. The case centred on a video created by the corporation which used five Beastie Boys songs in a "Beastie Boys Megamix" and flashed the message "RIP MCA" on screen to promote a show in 2012 without the band's knowledge or permission. The late Adam 'MCA' Yauch stated in his will that his likeness or art, including his work with the Beastie Boys, was not to be used for advertising purposes. Following an eight day trial the jury found in favour of the band, though Monster's lawyer, Reid Kahn, said the company would appeal, reports Reuters. When the verdict was read Adam Horovitz aka Ad-Rock hugged his partner Kathleen Hanna, formerly of Bikini Kill and Le Tigre and now fronting The Julie Ruin. He commented: "We're happy. We just want to thank the jury." During the trial Beastie Boys member Michael Diamond aka Mike D effectively announced the end of the band, saying that they promised the late MCA they would not make any new music after he passed away. "We have not been able to tour since MCA, Adam Yauch, died," Diamond said. "We can't make new music." When asked if the band would have given permission for their work to be used in the Monster promo, Mike D said: "Absolutely no".

The surviving members of the Beastie Boys have won $1.7 million (£1.01 million) in their copyright lawsuit against Monster Beverage Corp.

The case centred on a video created by the corporation which used five Beastie Boys songs in a “Beastie Boys Megamix” and flashed the message “RIP MCA” on screen to promote a show in 2012 without the band’s knowledge or permission. The late Adam ‘MCA’ Yauch stated in his will that his likeness or art, including his work with the Beastie Boys, was not to be used for advertising purposes.

Following an eight day trial the jury found in favour of the band, though Monster’s lawyer, Reid Kahn, said the company would appeal, reports Reuters. When the verdict was read Adam Horovitz aka Ad-Rock hugged his partner Kathleen Hanna, formerly of Bikini Kill and Le Tigre and now fronting The Julie Ruin. He commented: “We’re happy. We just want to thank the jury.”

During the trial Beastie Boys member Michael Diamond aka Mike D effectively announced the end of the band, saying that they promised the late MCA they would not make any new music after he passed away. “We have not been able to tour since MCA, Adam Yauch, died,” Diamond said. “We can’t make new music.” When asked if the band would have given permission for their work to be used in the Monster promo, Mike D said: “Absolutely no”.

Morrissey postpones another gig on American tour

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Morrissey has pulled another show on his current American tour. The singer was recently forced to cancel a gig in Atlanta, Georgia after being struck down by illness and he has now postponed tomorrow's show (June 6) at the Revel Casino Hotel in Atlantic City, New Jersey. A statement on Morrissey's ...

Morrissey has pulled another show on his current American tour.

The singer was recently forced to cancel a gig in Atlanta, Georgia after being struck down by illness and he has now postponed tomorrow’s show (June 6) at the Revel Casino Hotel in Atlantic City, New Jersey. A statement on Morrissey’s Facebook page says the gig will now take place at the same venue on June 22.

The statement reads: “As Morrissey and the touring party recover from a virus, the engagement in Atlantic City at the Revel Ovation Hall has been postponed to Sunday, June 22. All previously purchased tickets will be honored on the new date. The tour will resume as originally scheduled, without question, at the Boston Opera House on Saturday, June 7.”

The tour’s opening act Kristeen Young also revealed earlier today (June 5) that she will no longer be supporting Morrissey on the remaining dates. She wrote on Facebook: “We won’t be continuing as opening band for the Morrissey tour. Thanks to all who showed up early and gave us such life-sustaining enthusiasm. Thanks to Morrissey for his years of support and generosity. There are lots of plans and lots of possibilities and we can’t wait to tear into them.”

Robert Plant: Jimmy Page needs to “have a good rest”

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Robert Plant has responded to Jimmy Page's claim that he is "fed up" with the singer for delaying plans for reunion shows by saying the guitarist needs to "have a good rest". The band last played together in December 2007 at London's O2 Arena, but singer Plant has ruled out the possibility of a fol...

Robert Plant has responded to Jimmy Page’s claim that he is “fed up” with the singer for delaying plans for reunion shows by saying the guitarist needs to “have a good rest”.

The band last played together in December 2007 at London’s O2 Arena, but singer Plant has ruled out the possibility of a follow-up concert any time soon.

Speaking to The National, Plant said: “I think he needs to go to sleep and have a good rest, and think again. We have a great history together and like all brothers we have these moments where we don’t speak on the same page but that’s life.”

The band recently reissued their first three albums with new, previously unreleased material.

In a recent interview with the BBC guitarist Page said he was sure fans would be keen on another reunion show, but Plant has since said the chances of it happening are zero. Page commented: “I was told last year that Robert Plant said he is doing nothing in 2014, and what do the other two guys think? Well, he knows what the other guys think. Everyone would love to play more concerts for the band. He’s just playing games, and I’m fed up with it, to be honest with you. I don’t sing, so I can’t do much about it.”

The 21st Uncut Playlist Of 2014

A few headline comebacks in this week’s playlist, and if you scroll down you should be able to hear strong new music from the likes of Jeff Tweedy, Caribou, David Kilgour and, though perhaps ‘new’ music might be a misnomer, Crosby, Stills, Nash & Young. The past few days, however, have been dominated by all the Tropicalia and Chilean psychedelia that our picture editor, Phil King, brought back from his tour of South America with The Jesus And Mary Chain. If you have time to listen to just one thing from the list this week, can I recommend the insanely great Los Jaivas track below? Reminds me a little of the Lula Cortes/Ze Ramalho album (like an Amazonian Amon Duul II, very roughly) that got reissued a few years back. And one bit of housekeeping, while I’m here: we have a new email address for your letters to Uncut. Please send brickbats, bouquets and all the usual associated business to uncut_feedback@ipcmedia.com. Thanks. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Sundown Songs – Far From Home (CD Baby) 2 David Kilgour & The Heavy Eights – End Times Undone (Merge) http://www.youtube.com/watch?v=k8WXo_CzaAE 3 Ruthann Friedman – Chinatown (Wolfgang) 4 Richard Thompson – Acoustic Classics (Proper) 5 Desertshore – Migrations Of Glass (Caldo Verde) 6 Los Vidrios Quebrados – Fictions (Anima) 7 Caetano Veloso – Transa (Philips) 8 Tamba Trio – Avanco (Philips) 9 Clementina – Cada Voce? (Museu Da Imagem E Do Som) 10 Los Jaivas – 1971: Primer Disco De Los Jaivas (Columbia) http://www.youtube.com/watch?v=la2lYOsJ9Zc 11 Crosby, Stills, Nash & Young – CSNY 1974 (Rhino) 12 Jennifer Castle – Pink City (No Quarter) 13 Jack White – Lazaretto (Third Man/XL) http://www.youtube.com/watch?v=cYF0LtfUvJs 14 Various Artists – Country Funk II: 1967-1974 (Light In The Attic) 15 Neil Young – A Letter Home (Reprise) 16 [REDACTED] 17 Sam Doores - True To My Luck: The Early Years (CDR) 18 Various Artists – C86 (Cherry Red) 19 The War On Drugs – Lost In The Dream (Secretly Canadian) 20 Caribou – Can’t Do Without You (City Slang) 21 Sinead O’Connor - I'm Not Bossy, I'm The Boss (Nettwerk) 22 Congregacion – Viene (Machitun) 23 Electric Würms – Musik, Die Schwer Zu Twerk (Bella Union) 24 Benjamin Booker - Benjamin Booker (Rough Trade) 25 Peter Broderick And Greg Haines - Greg Gives Peter Space (Erased Tapes) 26 Girma Yifrashewa – Love And Peace (Unseen Worlds) 27 Richard Reed Parry – Music For Heart And Breath (Deutsche Grammofon) 28 Jeff Tweedy – I’ll Sing It (dBpm) 29 Eastlink – Eastlink (In The Red) 30 Bob Carpenter – Silent Passage (No Quarter) http://www.youtube.com/watch?v=c8TMRjSpSoY 31 Alexander Turnquist – Wildflower (Western Vinyl)

A few headline comebacks in this week’s playlist, and if you scroll down you should be able to hear strong new music from the likes of Jeff Tweedy, Caribou, David Kilgour and, though perhaps ‘new’ music might be a misnomer, Crosby, Stills, Nash & Young.

The past few days, however, have been dominated by all the Tropicalia and Chilean psychedelia that our picture editor, Phil King, brought back from his tour of South America with The Jesus And Mary Chain. If you have time to listen to just one thing from the list this week, can I recommend the insanely great Los Jaivas track below? Reminds me a little of the Lula Cortes/Ze Ramalho album (like an Amazonian Amon Duul II, very roughly) that got reissued a few years back.

And one bit of housekeeping, while I’m here: we have a new email address for your letters to Uncut. Please send brickbats, bouquets and all the usual associated business to uncut_feedback@ipcmedia.com. Thanks.

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

1 Sundown Songs – Far From Home (CD Baby)

2 David Kilgour & The Heavy Eights – End Times Undone (Merge)

3 Ruthann Friedman – Chinatown (Wolfgang)

4 Richard Thompson – Acoustic Classics (Proper)

5 Desertshore – Migrations Of Glass (Caldo Verde)

6 Los Vidrios Quebrados – Fictions (Anima)

7 Caetano Veloso – Transa (Philips)

8 Tamba Trio – Avanco (Philips)

9 Clementina – Cada Voce? (Museu Da Imagem E Do Som)

10 Los Jaivas – 1971: Primer Disco De Los Jaivas (Columbia)

11 Crosby, Stills, Nash & Young – CSNY 1974 (Rhino)

12 Jennifer Castle – Pink City (No Quarter)

13 Jack White – Lazaretto (Third Man/XL)

http://www.youtube.com/watch?v=cYF0LtfUvJs

14 Various Artists – Country Funk II: 1967-1974 (Light In The Attic)

15 Neil Young – A Letter Home (Reprise)

16 [REDACTED]

17 Sam Doores – True To My Luck: The Early Years (CDR)

18 Various Artists – C86 (Cherry Red)

19 The War On Drugs – Lost In The Dream (Secretly Canadian)

20 Caribou – Can’t Do Without You (City Slang)

21 Sinead O’Connor – I’m Not Bossy, I’m The Boss (Nettwerk)

22 Congregacion – Viene (Machitun)

23 Electric Würms – Musik, Die Schwer Zu Twerk (Bella Union)

24 Benjamin Booker – Benjamin Booker (Rough Trade)

25 Peter Broderick And Greg Haines – Greg Gives Peter Space (Erased Tapes)

26 Girma Yifrashewa – Love And Peace (Unseen Worlds)

27 Richard Reed Parry – Music For Heart And Breath (Deutsche Grammofon)

28 Jeff Tweedy – I’ll Sing It (dBpm)

29 Eastlink – Eastlink (In The Red)

30 Bob Carpenter – Silent Passage (No Quarter)

31 Alexander Turnquist – Wildflower (Western Vinyl)

The Making Of… The Raconteurs’ Steady As She Goes

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As Jack White’s second solo album, Lazaretto, is released on Monday (June 10), it seemed time to check out some of the White pieces in our archive. Here, in this article from December 2006’s Uncut (Take 115), Jack, Brendan Benson and Patrick Keeler celebrate the irresistible rise of their three-...

As Jack White’s second solo album, Lazaretto, is released on Monday (June 10), it seemed time to check out some of the White pieces in our archive. Here, in this article from December 2006’s Uncut (Take 115), Jack, Brendan Benson and Patrick Keeler celebrate the irresistible rise of their three-minute garage pop classic. Interview: Barney Hoskyns

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If ever a record begged to be released on 7†vinyl it was The Raconteurs’ “Steady As She Goesâ€. Redolent of an era when singles not only counted, but jumped out of the speakers, grabbing you by the lapels of your ratty post-punk jacket, the debut by Jack White’s other band was an instant masterpiece of 21st-century garage rock.

If its four-chord sequence was hardly revolutionary, “Steady†was anthemic, slashingly exciting, even latently funky. The fact that it embraced the quiet life, the idea of settling down in a state of matrimonial monogamy, paradoxically made the song more thrilling. Inimitable White lines like “Your friends have shown a kink in the single life/You’ve had too much to think, now you need a wife†were priceless antidotes to the rebellion-by-numbers themes of so many young rock bands.

For White Stripes fans, any fears that White’s radical blues-rock primitivism would be compromised by The Raconteurs’ orthodox lineup were allayed within 30 seconds. Hearing that first stabbed chord, you knew everything was going to be OK. And when the classy Broken Boy Soldiers album followed on the single’s heels, it was clear The Raconteurs were more than a busman’s holiday.

As they come to the close of 2006, The Raconteurs themselves remain pleasantly astonished by what happened the day Jack White dropped by Brendan Benson’s house on Detroit’s East Grand Boulevard.

“We were making the second video for ‘Steady’, racing these soapbox cars down a hill,†says White. “Brendan came to a stop beside me, turned to me laughing and said, ‘Did you ever imagine when we were writing this song that it would lead to this?’â€

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Jack White (vocals, guitar): Brendan only lived three blocks away from me, so I would stop by quite often just to say hey and what’s going on. Brendan said, “Jack, please help me write some lyrics, ’coz I’m all tapped out!†He played me the demo of “Steady As She Goes†that he’d done, which he’d played all the instruments on. It was like a slow reggae version, a lot slower, and he only had one line, “Find yourself a girl and settle down…†So I just took his book and started writing.

At first I thought it was funny, because Brendan’s always trying to find the beauty in the clichéd phrases and sometimes he catches flak for that. So I was trying to do my best, Brendan! I think the big notion in my head was we’re all getting older now and enough of goofing around. All our friends are musicians, so it was like, ‘How much of this world can we stay a part of and how much do we reject?’

The song changed identity when Patrick [Keeler, drummer] and Little Jack [Lawrence, bassist] showed up a few days later. They happened to be in town, so we said, “You guys should come over and play on this.â€

The best part of “Steady†is that it was the first time the four of us ever recorded together. People always say, ‘God, my demos sounded so much better than my album.’ I mean, it was great to be in Brendan’s attic, where it was 120 degrees and we wanted to get the hell out of there. Most of The White Stripes’ albums are recorded in really harsh conditions in the dead of winter, and that’s the best way to record, because when you get comfortable you start messing it up.

We thought it was a good blessing for the band to start off on vinyl. The song sounded so immediate that it just felt right. Life since the single came out has been amazing. The band has changed so much since then and it hasn’t even been that long.

I have to honestly say that I’m divided totally 50/50 between The Raconteurs and The White Stripes. My brain now has two options for songs that I write, and it’s a really nice luxury to have as a songwriter. I have so many songs now for another White Stripes record: Meg and I are working on songs during the breaks from touring with The Raconteurs.

But this band is making me a much better guitar player. I’ve taken a 10-year-leap in terms of guitar playing, because in the White Stripes I didn’t have time to explore – I had to keep going back to rhythm guitar to keep the show going.

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Brendan Benson (vocals, guitar): I remember writing the main part of “Steady As She Goes†and recording a little demo on a little tape recorder. All it was, was “Find yourself a girl, find yourself a girl…â€, just the same line over and over again. And then Jack came by the house and I played it for him. He liked it and we just started writing, as he does. He’s good at that, and he just finished the lyric.

The theme of settling down is kind of an ongoing discussion with myself. I haven’t really figured it out or come to any conclusions. It’s kind of an age-old topic. Jack’s approach was a little different, and I didn’t quite understand it at first. He came up with the phrase “Steady, as she goes†and I thought, “Yeah, that’s cool.†I never questioned the phrase ‘kink in the single life’ and I didn’t think about it too much because I guess I was so preoccupied with other things – just the fact that we were writing together.

The cool thing about The Raconteurs is that there are two approaches to the music. It’s like the duality of man, yin and yang, devil and angel. And I think this song is like that, too. I don’t always understand Jack’s part in it and he probably doesn’t always understand my part in it. What I like most about songwriting is sneaking an idea in where it doesn’t belong. A bunch of kids jumping up and down singing ‘Steady, as she goes!’ – if you think about it, it’s kind of ironic.

It’s debatable when the birth of The Raconteurs was. We wrote “Steady†but then we wrote “Broken Boy Soldierâ€, I think, on the same day. It all happened without talking, almost – screwing around, having fun.

Everything was done so fast. “Steady As She Goes†is an early take, if not the first take. Jack was like, “Okay, cool, I thought that was great.†I was like, “Wait, were we recording?â€

I look at us like black sheep. I look at us next to what’s happening on the charts and it doesn’t look like it fits. At one point we were right behind the Red Hot Chili Peppers on the charts and I thought, ‘How can that be?’ I’m having a hard time figuring it out!

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Patrick Keeler (drums): Brendan and Jack just wrote the song to write it – they weren’t trying to make an album or anything. I heard it in Jack’s car when he played it for me, like, “Check out what me and Brendan made.†Little Jack and I were coming up anyway to record some demos with Brendan, so we all four happened to be in town at the same time. So we recorded that song. We kind of changed it up a little bit, making it more rocking.

It probably took five or six songs before we realised we were making a record. So we started naming songs and then started naming our band. We stopped around 10 songs because we figured we could’ve just gone on and on.

We’ve been really lucky with the people that come out to the shows, like the very first show in Liverpool in March. We’ve done nine or ten festivals over the summer, and the response has been great.

We’ve been writing the whole time for a new record. There was no problem with coming up with new songs; the hardest part was to stop! So I think we’re all excited about getting back into the studio.

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Fact File

Written by: Jack White and Brendan Benson

Performers: Jack White, Brendan Benson, Patrick Keeler, ‘Little’ Jack Lawrence

Produced by: Jack White, Brendan Benson, Patrick Keeler, ‘Little’ Jack Lawrence

Recorded at: Brendan Benson’s East Grand Studio, Detroit, Michigan

Released: April 2006

Highest UK chart position: 4

Highest US chart position: 55

Allen Toussaint: “I never thought of being a performer, neverâ€

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Allen Toussaint looks back over his incredible career in the new issue of Uncut, dated July 2014 and out now. The New Orleans songwriter and performer discusses working with artists including Ernie K-Doe, Irma Thomas, Lee Dorsey, The Meters, Frankie Miller, The Band, Little Feat and Labelle. Tou...

Allen Toussaint looks back over his incredible career in the new issue of Uncut, dated July 2014 and out now.

The New Orleans songwriter and performer discusses working with artists including Ernie K-Doe, Irma Thomas, Lee Dorsey, The Meters, Frankie Miller, The Band, Little Feat and Labelle.

Toussaint also talks about the impact of Hurricane Katrina on his beloved city, and his lack of ambition as far as performing under his own name.

“I never thought of being a performer,†he explains. “Never. I only recorded myself by request from companies.

“But my comfort zone is behind the scene. People out front, I expect them to live and breathe that, like I live and breathe what I do. I do this, you do that. That’s what I believe.â€

The new Uncut, dated July 2014, is out now.

Listen to new Jeff Tweedy song, “I’ll Sing It”

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Jeff Tweedy has released a new song, "I'll Sing It", taken from his forthcoming album, Sukierae. According to Glide, the album is released on September 16 through Tweedy's own dBpm Records. Sukierae contains 20 new songs, performed by Tweedy along with his 18-year-old son, drummer Spencer. “Whe...

Jeff Tweedy has released a new song, “I’ll Sing It“, taken from his forthcoming album, Sukierae.

According to Glide, the album is released on September 16 through Tweedy’s own dBpm Records.

Sukierae contains 20 new songs, performed by Tweedy along with his 18-year-old son, drummer Spencer.

“When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing,†Tweedy said. “Solo to me meant that I would do everything – write the songs, play all the instruments and sing. But Spencer’s been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo.â€

Other musicians on Sukierae are Jess Wolfe and Holly Laessig of the Brooklyn-band Lucius, who provide backing vocals, and keyboard player, Scott McCaughey (R.E.M., The Young Fresh Fellows and The Minus 5).

Grace Jones – Nightclubbing (Deluxe edition)

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Pull up to her bumper! Disco diva’s 1981 new-wave masterpiece pimped out with b-sides and unreleased material... Grace Jones had already been typecast as a supernatural being by the fashion world in the 1970s while she held court in the bohemian hotspots of New York and Paris. Still, it it took a leap of faith by Island Records’ Chris Blackwell and Alex Sadkin to launch the Jamaican diva as a radical new artist at the turn of the ’80s. Released in 1981, Nightclubbing is the album that came to define Jones as the complete performer, in her own way, as singer, muse, actress, alien and androgyne. Its sound, a sublime mix of reggae, funk, new wave and disco, was as arresting as its cover image, a painting of Jones by her partner Jean-Paul Goude, her sinuous masculinity accentuated by a flat top hairstyle and modern Armani tailoring. The indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie. No one had seen or heard anything quite like this, though. She had form, of course, having made, in tandem with her modelling career, three decent disco albums with master mixer Tom Moulton, but by the end of the ’70s it was time to step off that treadmill. Sensing her potential, Blackwell invited Jones to his studio, Compass Point, near Nassau in the Bahamas, and assembled a band who, under his charismatic stewardship, would interpret contemporary hits and compose original material for Jones. Though A Certain Ratio had been considered for the gig, it quickly became apparent that Blackwell’s boys were no ordinary outfit. The backbone of countless dub and reggae grooves, bassist Sly Dunbar and drummer Robbie Shakespeare could claim to be the finest rhythm section in the world, while alongside guitarists Mikey Chung and Barry Reynolds (ex-Blodwyn Pig) and percussionist Uziah ‘Sticky’ Thompson, Parisian keyboard player Wally Badarou brought continental flair to the mix. Dubbed the Compass Point All Stars, they eased themselves into the task at hand with fairly orthodox covers of The Pretenders, Roxy Music and The Normal for 1980’s Warm Leatherette before hitting their stride on the edgier material that would form Nightclubbing. Only 12 months separates the two albums – Jones’ altercation with chat show host Russell Harty, in December 1980, occurred midway between releases – yet they’re very different beasts. Perhaps the All Stars, by now a well-oiled unit, had sussed out what Blackwell and Sadkin were after because on Nightclubbing they’re cavalier enough to dismantle Flash And The Pan’s “Walking In The Rain†and Bill Withers’ “Use Me†and rebuild them in Jones’ image: exotic, sensual, funky and – uniquely for a woman who devoured the spotlight – somehow endlessly mysterious. On “Nightclubbing†they construct a synth-funk chassis over which Jones decadently drapes her long limbs, transforming Iggy’s neurotic narrator into a champion athlete. “Demolition Manâ€, a song Sting wrote for Jones and later recorded with The Police, is gobbled up and spat out over a booming, rubbery groove. There are lighter moments that highlight the breadth of the producers’ tastes – the snaking, sultry “I’ve Seen That Face Before (Libertango)†and “I’ve Done It Againâ€, written by Reynolds and Marianne Faithfull, on which Jones sings rather than commands – but it’s the All Stars’ “Pull Up To The Bumper†that will always be the real head-turner. A raunchy post-punk dub underpinned by a classic Sly & Robbie riddim, “Pull Up…†is supposedly about parallel parking, but when Jones instructs, “Pull up to my bumper, baby / In your long black limousine / Pull up to my bumper, baby / Drive it in betweenâ€, she’s not thinking about the Highway Code. Five extended versions of “Pull Up…†appear on Disc 2 amid sundry other 12-inch mixes. The key track here is the unreleased cover of Gary Numan’s “Me! I Disconnect From You†which finds Jones coasting on a warm, rolling groove, the original’s angst thawing beneath a palm tree. This didn’t feature on ’82’s (i)Living My Life(i), the passable final instalment of Jones’ Compass Point trilogy, but it wouldn’t have fitted. Even by then, Jones had moved on, her sights set on Hollywood. The nightclub veteran knew when to make the perfect exit. Piers Martin Q+A Wally Badarou, Compass Point All Stars keyboard player What was the atmosphere like at Compass Point when you joined? A bit tense at the beginning, as apart from Chris (Blackwell) and Alex (Sadkin), no one really knew what was in the game: disco or reggae? Luckily, things unfolded without verbal or written explanation. What are you enduring memories of making Nightclubbing? The smile on Sly’s face when I improvised the keys on “Pull Up To The Bumperâ€; Chris’ astonishment when he realised I did the solo on “Walking In The Rain†with a synth; Alex and Chris’ relief when I came up with the high-pitch introduction to “I’ve Seen That Face Beforeâ€â€¦ Each song had its special moments. How did the sessions unfold? We would start at sunset and carry on until we felt we were not productive anymore. No drinking, barely smoking, nothing unusual for the times. Concentrated and relaxed. What do you remember of the Gary Numan cover? I had plans for overdubs, but never did them because the song was no longer scheduled. It still sounds unfinished to my ear. It is always interesting that people might like what you felt was unfinished: it is all about where we place the cursor in purposefulness. Fans love it, so be it. Was there a sense you were making something special with Grace? At the time, no. So many massive hits from the US and UK were attracting so much attention wordwide, we hardly had a clue about making any durable impact.

Pull up to her bumper! Disco diva’s 1981 new-wave masterpiece pimped out with b-sides and unreleased material…

Grace Jones had already been typecast as a supernatural being by the fashion world in the 1970s while she held court in the bohemian hotspots of New York and Paris. Still, it it took a leap of faith by Island Records’ Chris Blackwell and Alex Sadkin to launch the Jamaican diva as a radical new artist at the turn of the ’80s. Released in 1981, Nightclubbing is the album that came to define Jones as the complete performer, in her own way, as singer, muse, actress, alien and androgyne. Its sound, a sublime mix of reggae, funk, new wave and disco, was as arresting as its cover image, a painting of Jones by her partner Jean-Paul Goude, her sinuous masculinity accentuated by a flat top hairstyle and modern Armani tailoring. The indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie. No one had seen or heard anything quite like this, though.

She had form, of course, having made, in tandem with her modelling career, three decent disco albums with master mixer Tom Moulton, but by the end of the ’70s it was time to step off that treadmill. Sensing her potential, Blackwell invited Jones to his studio, Compass Point, near Nassau in the Bahamas, and assembled a band who, under his charismatic stewardship, would interpret contemporary hits and compose original material for Jones. Though A Certain Ratio had been considered for the gig, it quickly became apparent that Blackwell’s boys were no ordinary outfit. The backbone of countless dub and reggae grooves, bassist Sly Dunbar and drummer Robbie Shakespeare could claim to be the finest rhythm section in the world, while alongside guitarists Mikey Chung and Barry Reynolds (ex-Blodwyn Pig) and percussionist Uziah ‘Sticky’ Thompson, Parisian keyboard player Wally Badarou brought continental flair to the mix. Dubbed the Compass Point All Stars, they eased themselves into the task at hand with fairly orthodox covers of The Pretenders, Roxy Music and The Normal for 1980’s Warm Leatherette before hitting their stride on the edgier material that would form Nightclubbing.

Only 12 months separates the two albums – Jones’ altercation with chat show host Russell Harty, in December 1980, occurred midway between releases – yet they’re very different beasts. Perhaps the All Stars, by now a well-oiled unit, had sussed out what Blackwell and Sadkin were after because on Nightclubbing they’re cavalier enough to dismantle Flash And The Pan’s “Walking In The Rain†and Bill Withers’ “Use Me†and rebuild them in Jones’ image: exotic, sensual, funky and – uniquely for a woman who devoured the spotlight – somehow endlessly mysterious.

On “Nightclubbing†they construct a synth-funk chassis over which Jones decadently drapes her long limbs, transforming Iggy’s neurotic narrator into a champion athlete. “Demolition Manâ€, a song Sting wrote for Jones and later recorded with The Police, is gobbled up and spat out over a booming, rubbery groove. There are lighter moments that highlight the breadth of the producers’ tastes – the snaking, sultry “I’ve Seen That Face Before (Libertango)†and “I’ve Done It Againâ€, written by Reynolds and Marianne Faithfull, on which Jones sings rather than commands – but it’s the All Stars’ “Pull Up To The Bumper†that will always be the real head-turner. A raunchy post-punk dub underpinned by a classic Sly & Robbie riddim, “Pull Up…†is supposedly about parallel parking, but when Jones instructs, “Pull up to my bumper, baby / In your long black limousine / Pull up to my bumper, baby / Drive it in betweenâ€, she’s not thinking about the Highway Code.

Five extended versions of “Pull Up…†appear on Disc 2 amid sundry other 12-inch mixes. The key track here is the unreleased cover of Gary Numan’s “Me! I Disconnect From You†which finds Jones coasting on a warm, rolling groove, the original’s angst thawing beneath a palm tree. This didn’t feature on ’82’s (i)Living My Life(i), the passable final instalment of Jones’ Compass Point trilogy, but it wouldn’t have fitted. Even by then, Jones had moved on, her sights set on Hollywood. The nightclub veteran knew when to make the perfect exit.

Piers Martin

Q+A

Wally Badarou, Compass Point All Stars keyboard player

What was the atmosphere like at Compass Point when you joined?

A bit tense at the beginning, as apart from Chris (Blackwell) and Alex (Sadkin), no one really knew what was in the game: disco or reggae? Luckily, things unfolded without verbal or written explanation.

What are you enduring memories of making Nightclubbing?

The smile on Sly’s face when I improvised the keys on “Pull Up To The Bumperâ€; Chris’ astonishment when he realised I did the solo on “Walking In The Rain†with a synth; Alex and Chris’ relief when I came up with the high-pitch introduction to “I’ve Seen That Face Beforeâ€â€¦ Each song had its special moments.

How did the sessions unfold?

We would start at sunset and carry on until we felt we were not productive anymore. No drinking, barely smoking, nothing unusual for the times. Concentrated and relaxed.

What do you remember of the Gary Numan cover?

I had plans for overdubs, but never did them because the song was no longer scheduled. It still sounds unfinished to my ear. It is always interesting that people might like what you felt was unfinished: it is all about where we place the cursor in purposefulness. Fans love it, so be it.

Was there a sense you were making something special with Grace?

At the time, no. So many massive hits from the US and UK were attracting so much attention wordwide, we hardly had a clue about making any durable impact.

Glastonbury stage times announced

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The stage times for this month's Glastonbury festival have been revealed. Scroll down for information on the timings for the Pyramid Stage, Other Stage, West Holts Stage, The Park Stage, John Peel Stage Acoustic Tent and Avalon Stage. Glastonbury 2014 takes place on Worthy Farm over June 27-29, with the gates to festival opening on June 25. Pyramid Stage Friday Arcade Fire 22.00-23.45 Elbow 20.00-21.15 Lily Allen 18.30-19.30 Rudimental 16.45-17.45 De La Soul 15.15-16.15 Rodrigo y Gabriela 13.45-14.45 The War on Drugs 12.30-13.15 Turtle Island 11.30-12.10 Saturday Metallica 21.45-23.45 Jack White 19.30-20.45 Robert Plant 17.30-18.45 Lana Del Rey 16.00-17.00 Kelis 14.30-15.20 Angel Haze 13.15-14.00 Nitin Sawhney 12.00-12.45 Nick Mulvey 11.00-11.40 Sunday Kasabian 21.45-23.15 The Black Keys 19.45-21.00 Ed Sheeran 18.00-19.00 Dolly Parton 16.20-17.30 The 1975 14.45-15.35 Toumani & Sidiki 13.30-14.15 Caro Emerald 12.15-13.00 English National Ballet 11.30-11.50 Other Stage Friday Skrillex 22.30-23.45 Paolo Nutini 20.45-21.45 Interpol 19.15-20.15 Foster the People 17.50-18.50 Haim 16.25-17.20 Band of Skulls 15.10-16.00 John Newman 13.50-14.45 Blondie 12.15-13.20 TBA 11.00-11.45 Saturday Jake Bugg 22.30-23.45 Pixies 21.00-22.00 Manic Street Preachers 19.30-20.30 Imagine Dragons 18.00-19.00 Kodaline 16.30-17.30 Warpaint 15.00-16.00 Midlake 13.40-14.30 Circa Waves 12.30-13.10 Jake Isaac 11.30-12.00 Sunday Massive Attack 22.00-23.15 Ellie Goulding 20.30-21.30 Bombay Bicycle Club 18.50-19.50 The Horrors 17.20-18.20 Sam Smith 16.00-16.50 White Lies 14.40-15.30 Lucy Rose 13.30-14.10 The Subways 12.10-13.00 Bajofondo 11.00-11.40 West Holts Stage Friday MIA 22.15-23.45 Jurassic 5 20.30-21.30 Tune-Yards 19.00-20.00 Vintage Trouble 17.30-18.30 Sun Ra Arkestra 16.00-17.00 Deltron 3030 14.30-15.30 The Stepkids 13.00-14.00 The London Sinfonietta and Jonny Greenwood 11:10-12:30 Saturday Bryan Ferry 22.15-23.45 Goldfrapp 20.30-21.30 Seun Kuti and Egypt 80 19.00-20.00 The Daptone Super Soul Revue 16.30-18.30 The Internet 14.45-15.45 John Wizards 13.15-14.15 The Reverend Peyton's Big Damn Band 11.45-12.45 Sunday Disclosure 22.00-23.15 Bonobo 20.30-21.30 The Wailers 19.00-20.00 The Lee Thompson Ska Orchestra 17.30-18.30 Public Service Broadcasting 16.00-17.00 Troker 14.30-15.30 Melt Yourself Down 13.00-14.00 M+A 11.45-12.30 The Park Stage Friday Metronomy 23.00-00.15 Four Tet 21.30-22.30 2 Bears (DJ set) 21.00-21.30 Danny Brown 20.00-21.00 Parquet Courts 18.30-19.30 Jimi Goodwin 17.00-18.00 Courtney Barnett 15.30-16.30 Don Cavalli 14.00-15.00 Bipolar Sunshine 12.45-13.30 All We Are 11.30-12.15 Saturday Mogwai 23.00-00.15 John Grant 21.30-22.30 Anna Calvi 20.00-21.00 ESG 18.30-19.30 Jagwar Ma 17.00-18.00 Nina Persson 15.30-16.30 Cate Le Bon 14.10-15.00 Young Fathers 13.00-13.45 Vance Joy 12.00-12.40 Luke Sital-Singh 11.00-11.40 Sunday James Blake 21.00-22.15 St Vincent 19.30-20.30 Yoko Ono Plastic Ono Band 18.00-19.00 Phosphorescent 16.30-17.30 Connan Mockasin 15.15-16.00 Juana Molina 14.10-14.55 Thunderbirds Are Go 13.00-13.40 Lau 12.00-12.40 The Rails 11.00-11.40 John Peel Stage Friday Kaiser Chiefs 22.45-23.45 Lykke Li 21.15-22.15 Chvrches 19.45-20.45 Wild Beasts 18.15-19.15 Crystal Fighters 17.00-17.50 Poliça 16.00-16.40 Temples 15.00-15.40 Drenge 14.00-14.40 Jungle 13.00-13.40 Money for Rope 11.50-12.30 Echo and the Empress 11.00-11.30 Saturday MGMT 22.45-23.45 Chromeo 21.15-22.15 Little Dragon 19.45-20.45 Clean Bandit 18.15-19.15 Courtney Barnett 17.00-17.40 Wolf Alice 16.00-16.40 Fat White Family 15.00-15.40 Royal Blood 14.00-14.40 Hozier 13.00-13.40 Reignwolf 11.55-12.40 The Black Tambourines 11.00-11.30 Sunday London Grammar 22.15-23.15 Chance the Rapper 20.45-21.45 The Brian Jonestown Massacre 19.15-20.15 Bleachers 18.05-18.50 King Charles 17.00-17.40 Dry the River 16.00-16.40 TBA 14.35-15.30 George Ezra 13.50-14.20 Lonely the Brave 12.50-13.30 The Preatures 11.50-12.30 Darlia 11.00-11.30 Acoustic Tent Friday Tinariwen 21.30-23.00 The Blues Band 20.00-21.00 Dr Feelgood 18.30-19.30 Fisherman's Friends 17.25-18.10 Tony Joe White 16.25-17.00 Holly Williams 15.30-16.10 Danny & the Champions of the World 14.30-15.10 Hozier 13.40-14.10 The Reverend Peyton's Big Damn Band 12.55-13.25 James Bay 12.00-12.40 Saturday Dexys 21.30-23.30 Paul Heaton & Jacqui Abbott 20.00-21.00 Nick Lowe 19.00-19.40 Kacey Musgraves 18.00-18.45 John Illsley and Band 16.40-17.40 Thea Gilmore 15.40-16.20 Ethan Johns 14.30-15.15 The Riptide Movement 13.20-14.10 Aoife O'Donovan 12.20-13.00 Hero Fisher 11.30-12.00 Sunday Suzanne Vega 22.30-23.30 Alison Moyet 21.10-22.10 Clannad 20.00-20.50 House Gospel Choir 18.50-19.40 Jake Bugg 17.35-18.30 Rainy Boy Sleep 16.15-17.15 Sturgill Simpson 15.00-15.45 Galia Arad 14.00-14.45 Booka Brass Band 13.00-13.40 The Henry Girls 12.00-12.40 Avalon Stage Friday The Selecter 23.15-0.25 Newton Faulkner 21.45-22.45 Sophie Ellis-Bextor 20.15-21.15 Hazel O'Connor 18.45-19.45 Hudson Taylor 17.15-18.15 Michael Kiwanuka 15.45-16.45 Blackbeard's Tea Party 14.20-15.15 Hobo Jones and the Junkyard Dogs 13.00-13.55 Saturday Jonny Lang 23.15-00.25 Emilíana Torrini 21.45-22.45 Beth Orton 20.15-21.15 The Bad Shepherds 18.45-19.45 Skinny Lister 17.15-18.15 Dervish 15.45-16.45 Larkin Poe 14.15-15.15 Marika Hackman 12.50-13.45 Rusty Shackle 11.30-12.25 Sunday Peatbog Faeries 22.45-23.55 Dry the River 21.15-22.15 Johnny Flynn and the Sussex Wit 19.45-20.45 Gabrielle Aplin 18.15-19.15 North Mississippi Allstars 16.45-17.45 The Mariachis 15.15-16.15 3 Daft Monkeys 13.50-14.45 CC Smugglers 12.35-13.25 Gibson Bull 11.30-12.10

The stage times for this month’s Glastonbury festival have been revealed.

Scroll down for information on the timings for the Pyramid Stage, Other Stage, West Holts Stage, The Park Stage, John Peel Stage Acoustic Tent and Avalon Stage. Glastonbury 2014 takes place on Worthy Farm over June 27-29, with the gates to festival opening on June 25.

Pyramid Stage

Friday

Arcade Fire 22.00-23.45

Elbow 20.00-21.15

Lily Allen 18.30-19.30

Rudimental 16.45-17.45

De La Soul 15.15-16.15

Rodrigo y Gabriela 13.45-14.45

The War on Drugs 12.30-13.15

Turtle Island 11.30-12.10

Saturday

Metallica 21.45-23.45

Jack White 19.30-20.45

Robert Plant 17.30-18.45

Lana Del Rey 16.00-17.00

Kelis 14.30-15.20

Angel Haze 13.15-14.00

Nitin Sawhney 12.00-12.45

Nick Mulvey 11.00-11.40

Sunday

Kasabian 21.45-23.15

The Black Keys 19.45-21.00

Ed Sheeran 18.00-19.00

Dolly Parton 16.20-17.30

The 1975 14.45-15.35

Toumani & Sidiki 13.30-14.15

Caro Emerald 12.15-13.00

English National Ballet 11.30-11.50

Other Stage

Friday

Skrillex 22.30-23.45

Paolo Nutini 20.45-21.45

Interpol 19.15-20.15

Foster the People 17.50-18.50

Haim 16.25-17.20

Band of Skulls 15.10-16.00

John Newman 13.50-14.45

Blondie 12.15-13.20

TBA 11.00-11.45

Saturday

Jake Bugg 22.30-23.45

Pixies 21.00-22.00

Manic Street Preachers 19.30-20.30

Imagine Dragons 18.00-19.00

Kodaline 16.30-17.30

Warpaint 15.00-16.00

Midlake 13.40-14.30

Circa Waves 12.30-13.10

Jake Isaac 11.30-12.00

Sunday

Massive Attack 22.00-23.15

Ellie Goulding 20.30-21.30

Bombay Bicycle Club 18.50-19.50

The Horrors 17.20-18.20

Sam Smith 16.00-16.50

White Lies 14.40-15.30

Lucy Rose 13.30-14.10

The Subways 12.10-13.00

Bajofondo 11.00-11.40

West Holts Stage

Friday

MIA 22.15-23.45

Jurassic 5 20.30-21.30

Tune-Yards 19.00-20.00

Vintage Trouble 17.30-18.30

Sun Ra Arkestra 16.00-17.00

Deltron 3030 14.30-15.30

The Stepkids 13.00-14.00

The London Sinfonietta and Jonny Greenwood 11:10-12:30

Saturday

Bryan Ferry 22.15-23.45

Goldfrapp 20.30-21.30

Seun Kuti and Egypt 80 19.00-20.00

The Daptone Super Soul Revue 16.30-18.30

The Internet 14.45-15.45

John Wizards 13.15-14.15

The Reverend Peyton’s Big Damn Band 11.45-12.45

Sunday

Disclosure 22.00-23.15

Bonobo 20.30-21.30

The Wailers 19.00-20.00

The Lee Thompson Ska Orchestra 17.30-18.30

Public Service Broadcasting 16.00-17.00

Troker 14.30-15.30

Melt Yourself Down 13.00-14.00

M+A 11.45-12.30

The Park Stage

Friday

Metronomy 23.00-00.15

Four Tet 21.30-22.30

2 Bears (DJ set) 21.00-21.30

Danny Brown 20.00-21.00

Parquet Courts 18.30-19.30

Jimi Goodwin 17.00-18.00

Courtney Barnett 15.30-16.30

Don Cavalli 14.00-15.00

Bipolar Sunshine 12.45-13.30

All We Are 11.30-12.15

Saturday

Mogwai 23.00-00.15

John Grant 21.30-22.30

Anna Calvi 20.00-21.00

ESG 18.30-19.30

Jagwar Ma 17.00-18.00

Nina Persson 15.30-16.30

Cate Le Bon 14.10-15.00

Young Fathers 13.00-13.45

Vance Joy 12.00-12.40

Luke Sital-Singh 11.00-11.40

Sunday

James Blake 21.00-22.15

St Vincent 19.30-20.30

Yoko Ono Plastic Ono Band 18.00-19.00

Phosphorescent 16.30-17.30

Connan Mockasin 15.15-16.00

Juana Molina 14.10-14.55

Thunderbirds Are Go 13.00-13.40

Lau 12.00-12.40

The Rails 11.00-11.40

John Peel Stage

Friday

Kaiser Chiefs 22.45-23.45

Lykke Li 21.15-22.15

Chvrches 19.45-20.45

Wild Beasts 18.15-19.15

Crystal Fighters 17.00-17.50

Poliça 16.00-16.40

Temples 15.00-15.40

Drenge 14.00-14.40

Jungle 13.00-13.40

Money for Rope 11.50-12.30

Echo and the Empress 11.00-11.30

Saturday

MGMT 22.45-23.45

Chromeo 21.15-22.15

Little Dragon 19.45-20.45

Clean Bandit 18.15-19.15

Courtney Barnett 17.00-17.40

Wolf Alice 16.00-16.40

Fat White Family 15.00-15.40

Royal Blood 14.00-14.40

Hozier 13.00-13.40

Reignwolf 11.55-12.40

The Black Tambourines 11.00-11.30

Sunday

London Grammar 22.15-23.15

Chance the Rapper 20.45-21.45

The Brian Jonestown Massacre 19.15-20.15

Bleachers 18.05-18.50

King Charles 17.00-17.40

Dry the River 16.00-16.40

TBA 14.35-15.30

George Ezra 13.50-14.20

Lonely the Brave 12.50-13.30

The Preatures 11.50-12.30

Darlia 11.00-11.30

Acoustic Tent

Friday

Tinariwen 21.30-23.00

The Blues Band 20.00-21.00

Dr Feelgood 18.30-19.30

Fisherman’s Friends 17.25-18.10

Tony Joe White 16.25-17.00

Holly Williams 15.30-16.10

Danny & the Champions of the World 14.30-15.10

Hozier 13.40-14.10

The Reverend Peyton’s Big Damn Band 12.55-13.25

James Bay 12.00-12.40

Saturday

Dexys 21.30-23.30

Paul Heaton & Jacqui Abbott 20.00-21.00

Nick Lowe 19.00-19.40

Kacey Musgraves 18.00-18.45

John Illsley and Band 16.40-17.40

Thea Gilmore 15.40-16.20

Ethan Johns 14.30-15.15

The Riptide Movement 13.20-14.10

Aoife O’Donovan 12.20-13.00

Hero Fisher 11.30-12.00

Sunday

Suzanne Vega 22.30-23.30

Alison Moyet 21.10-22.10

Clannad 20.00-20.50

House Gospel Choir 18.50-19.40

Jake Bugg 17.35-18.30

Rainy Boy Sleep 16.15-17.15

Sturgill Simpson 15.00-15.45

Galia Arad 14.00-14.45

Booka Brass Band 13.00-13.40

The Henry Girls 12.00-12.40

Avalon Stage

Friday

The Selecter 23.15-0.25

Newton Faulkner 21.45-22.45

Sophie Ellis-Bextor 20.15-21.15

Hazel O’Connor 18.45-19.45

Hudson Taylor 17.15-18.15

Michael Kiwanuka 15.45-16.45

Blackbeard’s Tea Party 14.20-15.15

Hobo Jones and the Junkyard Dogs 13.00-13.55

Saturday

Jonny Lang 23.15-00.25

Emilíana Torrini 21.45-22.45

Beth Orton 20.15-21.15

The Bad Shepherds 18.45-19.45

Skinny Lister 17.15-18.15

Dervish 15.45-16.45

Larkin Poe 14.15-15.15

Marika Hackman 12.50-13.45

Rusty Shackle 11.30-12.25

Sunday

Peatbog Faeries 22.45-23.55

Dry the River 21.15-22.15

Johnny Flynn and the Sussex Wit 19.45-20.45

Gabrielle Aplin 18.15-19.15

North Mississippi Allstars 16.45-17.45

The Mariachis 15.15-16.15

3 Daft Monkeys 13.50-14.45

CC Smugglers 12.35-13.25

Gibson Bull 11.30-12.10

Michael Stipe reveals first new material since R.E.M. split

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Michael Stipe has revealed his first new music since REM split in 2011. Stipe has soundtracked a film called The Cold Lands, which is directed by his friend Tom Gilroy. "This is, in fact, the first thing that I’ve done musically since REM disbanded. So, of course, I wanted it to be for something ...

Michael Stipe has revealed his first new music since REM split in 2011.

Stipe has soundtracked a film called The Cold Lands, which is directed by his friend Tom Gilroy. “This is, in fact, the first thing that I’ve done musically since REM disbanded. So, of course, I wanted it to be for something that meant a lot to me. That was important… I knew I wasn’t going to sing, so that made it easier,” said Stipe to Salon, who are currently streaming a clip from the film, which features a snippet of Stipe’s soundtrack.

When speaking about his ideas for the soundtrack, he added: “I tried to bring groove… I probably would have done something much quieter. But I knew that he [Gilroy] wanted something that had a beat, so that was great because it really pushed me. I’m happy with where it landed. It felt to me like a great first project.

Stipe also commented on the fact that he was spotted at a show in Athens, Georgia last November watching his former bandmates Bill Berry, Mike Mills and Peter Buck play the REM song “Don’t Go Back To Rockville” at the 40 Watt. He said people were “walking up and asking me when I was going to get up on stage and I said, ‘I’m not. I’m here to see my friends do what they love to do.'”

When the band split Stipe said it was “unfathomable” that he would make a solo album. “It’s unfathomable to me right now. What would it sound like? Watered-down R.E.M?” he commented. Peter Buck also admitted he was sad that the band would never play together again, but insisted he couldn’t imagine them changing their minds over the decision to split.

On four albums by Mike Cooper…

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I must confess that, until very recently, I hadn’t really heard of Mike Cooper; more evidence, I guess, of the apparently boundless reserves of records from the early ‘70s still to be reissued (the Bob Carpenter album, due to be released on No Quarter in the autumn, is another great example I should write about soon). For those of us interested in how roots music can intersect with the avant-garde, however, the rediscovery of British guitarist Cooper is a fortuitous one. His journey from folk and blues clubs (Cooper was approached to join The Rolling Stones at one, very early, stage) to the furthest reaches of esoterica began in the early ‘70s with three rare and rewarding albums. These albums, Trout Steel and Places I Know/Machine Gun Co are about to be reissued as two CDs by one of the most assiduous labels currently active, Paradise Of Bachelors. 1970’s Trout Steel showcases singer-songwriterly craftsmanship in the Bert Jansch mould, occasionally dissolving into free jazz drift (the 11-minute “I’ve Got Mine†is a fidgety, minimalist precursor of Wilco’s “Less Than You Thinkâ€). Places I Know (1971), meanwhile, is a good-natured retrenchment into Michael Chapman-ish folk rock, which also finds room for a spellbinding piano ballad, “Time To Timeâ€, that would have done Bill Fay proud. Cooper originally envisaged Places I Know to be a double album with what turned out to be 1972’s Machine Gun Co (note the Brotzmann reference), and the pair are reunited for this reissue package. After the relative orthodoxy of the first set, Machine Gun is a rambunctious pursuit of Trout Steel’s wilder ideals, as sturdy songs – notably “So Glad (That I Found You)†– are repeatedly sent off onto knottier improv tangents. The reissues – and especially the questing aspects of Machine Gun Co – also act as a serendipitous prelude to Cantos De Lisboa, a hook-up with the busy Brooklyn guitarist, Steve Gunn, that’s the latest entry in RVNG INTL’s always interesting FRKWYS series (previous notable inter-generational collaborations have included the Sun Araw/Congos Jamaica project and, my personal favourite, the meditative freak-outs programmed by Blues Control and Laraaji). Cantos De Lisboa is ostensibly a collection of jams captured at Cooper’s home in Lisbon, in which his and Gunn’s shared love of country blues is entangled with Portuguese folk music and some brackish avant-garde tendencies. Cooper uses his lap-steel as an atmospheric tool, so much so that on the likes of “Lampedusa 2013†it takes on an abrasive, almost industrial timbre. For all the liberating experimentation, though, Cantos De Lisboa’s standout track is ironically its most conventional: “Pena Panoramaâ€, an impressionistic piece sung by Gunn that recalls the exceptional “Old Strange†from his 2013 solo set, Time Off. Follow me on Twitter: www.twitter.com/JohnRMulvey Hear :

I must confess that, until very recently, I hadn’t really heard of Mike Cooper; more evidence, I guess, of the apparently boundless reserves of records from the early ‘70s still to be reissued (the Bob Carpenter album, due to be released on No Quarter in the autumn, is another great example I should write about soon).

For those of us interested in how roots music can intersect with the avant-garde, however, the rediscovery of British guitarist Cooper is a fortuitous one. His journey from folk and blues clubs (Cooper was approached to join The Rolling Stones at one, very early, stage) to the furthest reaches of esoterica began in the early ‘70s with three rare and rewarding albums. These albums, Trout Steel and Places I Know/Machine Gun Co are about to be reissued as two CDs by one of the most assiduous labels currently active, Paradise Of Bachelors.

1970’s Trout Steel showcases singer-songwriterly craftsmanship in the Bert Jansch mould, occasionally dissolving into free jazz drift (the 11-minute “I’ve Got Mine†is a fidgety, minimalist precursor of Wilco’s “Less Than You Thinkâ€). Places I Know (1971), meanwhile, is a good-natured retrenchment into Michael Chapman-ish folk rock, which also finds room for a spellbinding piano ballad, “Time To Timeâ€, that would have done Bill Fay proud. Cooper originally envisaged Places I Know to be a double album with what turned out to be 1972’s Machine Gun Co (note the Brotzmann reference), and the pair are reunited for this reissue package. After the relative orthodoxy of the first set, Machine Gun is a rambunctious pursuit of Trout Steel’s wilder ideals, as sturdy songs – notably “So Glad (That I Found You)†– are repeatedly sent off onto knottier improv tangents.

The reissues – and especially the questing aspects of Machine Gun Co – also act as a serendipitous prelude to Cantos De Lisboa, a hook-up with the busy Brooklyn guitarist, Steve Gunn, that’s the latest entry in RVNG INTL’s always interesting FRKWYS series (previous notable inter-generational collaborations have included the Sun Araw/Congos Jamaica project and, my personal favourite, the meditative freak-outs programmed by Blues Control and Laraaji).

Cantos De Lisboa is ostensibly a collection of jams captured at Cooper’s home in Lisbon, in which his and Gunn’s shared love of country blues is entangled with Portuguese folk music and some brackish avant-garde tendencies. Cooper uses his lap-steel as an atmospheric tool, so much so that on the likes of “Lampedusa 2013†it takes on an abrasive, almost industrial timbre. For all the liberating experimentation, though, Cantos De Lisboa’s standout track is ironically its most conventional: “Pena Panoramaâ€, an impressionistic piece sung by Gunn that recalls the exceptional “Old Strange†from his 2013 solo set, Time Off.

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

Hear :

Watch Jack White’s new video for “Lazaretto”

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Jack White has released a video for the lead single and title track off his new album, Lazaretto. Scroll down to the watch it. The video is directed by Jonas & François, the French directing team whose credits including Kanye West, Depeche Mode and Muse. A 7†vinyl single of “Lazarettoâ€...

Jack White has released a video for the lead single and title track off his new album, Lazaretto.

Scroll down to the watch it.

The video is directed by Jonas & François, the French directing team whose credits including Kanye West, Depeche Mode and Muse.

A 7†vinyl single of “Lazarettoâ€, featuring the exclusive non-album b-side cover of Elvis Presley’s “Power of My Loveâ€, is available to pre-order.

You can watch White perform another track from the album, “Temporary Ground“, here.

The tracklisting for Lazaretto is:

“Three Women”

“Lazaretto”

“Temporary Ground”

“Would You Fight for My Love?”

“High Ball Stepper”

“Just One Drink”

“Alone in My Home”

“Entitlement”

“That Black Bat Licorice”

“I Think I Found the Culprit”

“Want and Able”

The album is released on June 9 via Third Man Records/XL Recordings.

Exclusive! The Beatles unveil cinema poster for A Hard Day’s Night 50th anniversary restoration

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The Beatles' debut feature film, A Hard Day's Night, is to be re-released to commemorate its 50th anniversary. A new poster has been designed to accompany the re-release, which you can see at the top of the story. The A Hard Day's Night 50th anniversary restoration will have an extended run at Lo...

The Beatles‘ debut feature film, A Hard Day’s Night, is to be re-released to commemorate its 50th anniversary.

A new poster has been designed to accompany the re-release, which you can see at the top of the story.

The A Hard Day’s Night 50th anniversary restoration will have an extended run at London’s BFI Southbank from July 4, with a special preview and talk with director Richard Lester on July 3.

Tickets are available here.

It will be in cinemas, on-demand and available to download from July 4, followed by a special edition Blu-ray and DVD release on July 21.

The DVD Extras are:

* ‘In Their Own Voices’: a new piece combining 1964 interviews with The Beatles with Behind The Scenes footage and photos

* ‘You Can’t Do That’: The Making Of A Hard Day’s Night, a documentary by producer Walter Shenson including an outtake performance by The Beatles

* ‘Things The Said Today’: a documentary about the film featuring Richard Lester, George Martin, screenwriter Alun Owen and cinematographer Gilbert Taylor

* ‘Picturewise’: A new piece about Richard Lester’s early work featuring a new audio interview with the director

* ‘Anatomy Of A Style’: a new piece on Lester’s methods

* New interview with author Mark Lewisohn

* Audio commentary featuring cast and crew

Nick Cave announces rare solo shows

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Nick Cave has announced he will play three special solo piano sets after advanced screenings of a new documentary about the singer, 20,000 Days On Earth. Rolling Stone reports that Cave will play after screenings in Los Angeles (July 10), Montreal (August 1) and New York (August 4). He will also pa...

Nick Cave has announced he will play three special solo piano sets after advanced screenings of a new documentary about the singer, 20,000 Days On Earth.

Rolling Stone reports that Cave will play after screenings in Los Angeles (July 10), Montreal (August 1) and New York (August 4). He will also participate in Q+As at the same shows.

The documentary, directed by Iain Forsyth and Jane Pollard, will be released in the UK on September 19.

You can read our first look preview of 20,000 Days On Earth here.

Cave is confirmed to take part in satellite broadcast to UK cinemas on September 17, which will include a preview of 20,000 Days On Earth followed by an exclusive event featuring Nick Cave plus special guests.

Metallica defend Glastonbury set: “The fact that everybody’s got an opinion means people still care”

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Metallica have defended their Glastonbury headline set, with drummer Lars Ulrich saying that the fact that people are debating the slot means "people still care". Speaking on Radio 1's Rock Show, Ulrich commented: "The fact that everyone's got an opinion I'll take as a good thing because it means t...

Metallica have defended their Glastonbury headline set, with drummer Lars Ulrich saying that the fact that people are debating the slot means “people still care”.

Speaking on Radio 1’s Rock Show, Ulrich commented: “The fact that everyone’s got an opinion I’ll take as a good thing because it means that people still care and are still interested and we still have one foot in relevance of some sort.”

He added: “It’s comforting that 33 years into a career you can still mange to stir it up a little bit. Glastonbury is the biggest, greatest festival on this planet and we’re headlining Saturday night. Bring it on. We’re going to show up and have fun but all the hoopla is interesting.”

The most recent band to criticise Metallica over their upcoming show is Mogwai who dismissed them as being “unbelievably bad.” The Scottish band will headline The Park Stage at Glastonbury on the same night (Saturday) Metallica perform on The Pyramid Stage.

Hear new Morrissey track, “Earth Is The Loneliest Planet”

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Morrissey is streaming a new song, "Earth Is The Loneliest Planet". Click below to listen to the track via Spotify, which was recently trailed with a spoken word video starring Pamela Anderson. Morrissey's upcoming LP World Peace Is None Of Your Business will be released later this year on July ...

Morrissey is streaming a new song, “Earth Is The Loneliest Planet“.

Click below to listen to the track via Spotify, which was recently trailed with a spoken word video starring Pamela Anderson.

Morrissey’s upcoming LP World Peace Is None Of Your Business will be released later this year on July 14. The full tracklisting for the album can be seen below.

Meanwhile, Morrissey is reportedly appealing for a new music publisher after his current deal of 30 years ended.

The singer had a deal with Warner-Chappell Music that covered both The Smiths and his solo output and lasted the last 30 years. However, quasi-official Morrissey fansite True-To-You reports that his deal has come to a close and that he is now looking for a new one. Interested parties are asked to contact ivoryenquiries@outlook.com for more information.

The World Peace Is None Of Your Business tracklisting is:

‘World Peace Is None Of Your Business’

‘Neal Cassady Drops Dead’

‘Istanbul’

‘I’m Not A Man’

‘Earth Is The Loneliest Planet’

‘Staircase At The University’

‘The Bullfighter Dies’

‘Kiss Me A Lot’

‘Smiler With Knife’

‘Kick The Bride Down the Aisle’

‘Mountjoy’

‘Oboe Concerto’