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The 13th Uncut Playlist Of 2014

John Mulvey
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The 13th Uncut Playlist Of 2014

Some highlights to see/hear this week: Neil Young playing “Thrasher” for the first time (technically, second time I think) in 36 years; well over an hour of amazing Can footage from 1970; the new Jack White track; and Olga Bell’s album, which seems to suggest that I prefer the Dirty Projectors, or at least their spin-offs, when the singing is in Russian. Couple of things that have been in previous playlists to flag up, too, namely the Jesse Sparhawk & Eric Carbonara and Lee Bains III albums which I’m increasingly taken with. As ever, have a listen and let me know what you think, please. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Robbie Basho – The Voice Of The Eagle (Vanguard) 2 Lee Bains III & The Glory Fires - Dereconstructed (Sub Pop) http://www.youtube.com/watch?v=YucWOXSCa4U ) 3 Lee Bains III & The Glory Fires – There Is A Bomb In Gilead (Alive Natural Sound) 4 Toumani Diabaté & Sidiki Diabaté - Toumani & Sidiki (World Circuit) http://www.youtube.com/watch?v=oCEeaERMfNo 5 Luke Abbott – Wysing Forest (Border Community) 6 Chrissie Hynde – Stockholm (Caroline) 7 The Flaming Lips – Flaming Side Of The Moon (Soundcloud) 8 Jesse Sparhawk & Eric Carbonara – Tributes & Diatribes (VHF) 9 Olga Bell – Krai (One Little Indian) 10 You Are Wolf – Hawk To The Hunting Gone (Stone Tape) 11 William Tyler – Lost Colony (Merge) 12 Sonido Gallo Negro – Sendero Mistico (Glitterbeat) 13 Peter Walker – Second Poem To Karmela (Vanguard/Light In The Attic) 14 [REDACTED] 15 Jack White – High Ball Stepper (Third Man/XL) http://www.youtube.com/watch?v=sRbnAxrS3EM 16 1982 – A/B (Hubro) 17 Courtney Barnett – Bein’ Around (Soundcloud) 18 Can – Soest, 1970, Winter Mixed Media Show http://www.youtube.com/watch?v=vy5q-61HSsM 19 Ethan Johns – The Reckoning (Three Crows) 20 H Usui – Sings The Blues (VHF) 21 Robert Ashley – Private Parts (Lovely) 22 Hamilton Leithauser – Black Hours (Ribbon) 23 Neil Young – Thrasher (Live In Los Angeles) http://www.youtube.com/watch?v=xtl0wnl93go

Some highlights to see/hear this week: Neil Young playing “Thrasher” for the first time (technically, second time I think) in 36 years; well over an hour of amazing Can footage from 1970; the new Jack White track; and Olga Bell’s album, which seems to suggest that I prefer the Dirty Projectors, or at least their spin-offs, when the singing is in Russian.

Couple of things that have been in previous playlists to flag up, too, namely the Jesse Sparhawk & Eric Carbonara and Lee Bains III albums which I’m increasingly taken with. As ever, have a listen and let me know what you think, please.

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

1 Robbie Basho – The Voice Of The Eagle (Vanguard)

2 Lee Bains III & The Glory Fires – Dereconstructed (Sub Pop)

)

3 Lee Bains III & The Glory Fires – There Is A Bomb In Gilead (Alive Natural Sound)

4 Toumani Diabaté & Sidiki Diabaté – Toumani & Sidiki (World Circuit)

5 Luke Abbott – Wysing Forest (Border Community)

6 Chrissie Hynde – Stockholm (Caroline)

7 The Flaming Lips – Flaming Side Of The Moon (Soundcloud)

8 Jesse Sparhawk & Eric Carbonara – Tributes & Diatribes (VHF)

9 Olga Bell – Krai (One Little Indian)

10 You Are Wolf – Hawk To The Hunting Gone (Stone Tape)

11 William Tyler – Lost Colony (Merge)

12 Sonido Gallo Negro – Sendero Mistico (Glitterbeat)

13 Peter Walker – Second Poem To Karmela (Vanguard/Light In The Attic)

14 [REDACTED]

15 Jack White – High Ball Stepper (Third Man/XL)

16 1982 – A/B (Hubro)

17 Courtney Barnett – Bein’ Around (Soundcloud)

18 Can – Soest, 1970, Winter Mixed Media Show

http://www.youtube.com/watch?v=vy5q-61HSsM

19 Ethan Johns – The Reckoning (Three Crows)

20 H Usui – Sings The Blues (VHF)

21 Robert Ashley – Private Parts (Lovely)

22 Hamilton Leithauser – Black Hours (Ribbon)

23 Neil Young – Thrasher (Live In Los Angeles)

The Kinks’ Dave Davies discusses ‘toxic’ relationship with brother Ray

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The Kinks’ Dave Davies discusses ‘toxic’ relationship with brother Ray
The Kinks' Dave Davies has described his relationship with his brother Ray as being "toxic". The pair have not played together since 1996, although recent reports have suggested that they are considering the possibility of reforming the band to celebrate their 50th anniversary. Speaking to The In...

The Kinks‘ Dave Davies has described his relationship with his brother Ray as being “toxic”.

The pair have not played together since 1996, although recent reports have suggested that they are considering the possibility of reforming the band to celebrate their 50th anniversary.

Speaking to The Independent, Dave said: “The thing is, there’s healthy relationships, and toxic ones. And the older I get, the more difficult I find it being around Ray, because – I don’t want to use the word abuse, but I feel my energy seeping away from me sometimes if I’m with him.”

The guitarist added: “What’s that fable about Cain and Abel? I can’t quite remember the details of the dysfunction. But I don’t want to be stuck in there, having jealousy and hatred and envy and being unhappy. And being with Ray for too long gets me back in that cycle. But then, families are difficult, and you can learn from discomfort. Ray and I have been each other’s most important teachers. Maybe that’s the clue to the whole relationship.”

However, he also claimed that there was no animosity between the siblings, claiming: “It’s like some people prefer me and Ray to be at each other’s throats than to be brothers. In my thirties and forties, I resented the fact that Ray gave me so little credit for my input and creativity. But my love has always been relentlessly directed towards him.”

Dave Davies will play his first UK show in 13 years on April 11, with a gig at London’s Barbican Hall.

In the issue of Uncut on sale in January, meanwhile, Ray Davies said that a reunion of The Kinks is “as close as its ever been to happening”, claiming that the brothers had met in a pub in Highgate, London last summer to discuss their 50th anniversary celebrations.

Uncut’s The Kinks: Ultimate Music Guide is available to buy on line here.

Courtney Love reunites classic Hole line-up; announces new single

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Courtney Love reunites classic Hole line-up; announces new single
Courtney Love has reunited the Celebrity Skin line-up of Hole. Love has joined forces with guitar player Eric Erlandson, bassist Melissa Auf der Maur and drummer Patty Schemel, reports Rolling Stone: "I started playing with Patty and Melissa and Eric, just to see how that was. We already played lik...

Courtney Love has reunited the Celebrity Skin line-up of Hole.

Love has joined forces with guitar player Eric Erlandson, bassist Melissa Auf der Maur and drummer Patty Schemel, reports Rolling Stone: “I started playing with Patty and Melissa and Eric, just to see how that was. We already played like three or four times in the last week.”

Last year, Love posted a photo onto her Facebook page which hinted at a possible Hole reunion. The photo, which was posted over the Christmas period on December 28, featured the singer happily embracing Erlandson alongside the caption, “And this just happened…. @eric_erlandson @maindepowr @LouiseMensch @xMAdMx 2014 going to be a very interesting year xc”. @MAdMx is the Twitter handle for bassist Melissa Auf der Maur, while @maindepowr is the group’s manager Peter Mensch.

Hole formed in 1989 but their most famous line-up hadn’t played together since 1998 when they release ‘Celebrity Skin. Following Schemel’s departure that year, Auf Der Maur then left in 1999 to join the Smashing Pumpkins, while the group disbanded entirely three years later. Love is currently gearing up to release the single “Wedding Day” and will tour the UK this May.

Courtney Love plays:

London Shepherd’s Bush Empire (May 11)

London Shepherd’s Bush Empire (12)

Manchester Academy (13)

Glasgow O2 Academy (15)

Leeds O2 Academy (16)

Birmingham O2 Academy (18)

Bristol O2 Academy (19)

Nottingham Rock City (20)

Is Tom Waits planning to tour in 2014?

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Is Tom Waits planning to tour in 2014?
Tom Waits has signed to a booking agency for the first time in 20 years. The singer songwriter has started working with William Morris Endeavor, according to CMU . Waits, who rarely performs live, played his first show in five years as part of Neil Young's Bridge School Benefit in October 2013. ...

Tom Waits has signed to a booking agency for the first time in 20 years.

The singer songwriter has started working with William Morris Endeavor, according to CMU . Waits, who rarely performs live, played his first show in five years as part of Neil Young‘s Bridge School Benefit in October 2013. His signing to William Morris Endeavor might mean that he is planning future live shows.

Last night (April 1), previews started for a new version of William Shakespeare’s play The Tempest at The Smith Center in Las Vegas. Tom Waits and his wife Kathleen Brennan provided music for the show, which is directed by Aaron Posner alongside magician Teller of Penn & Teller. The show will open officially on April 5, and run until April 27.

Last May Tom Waits joined The Rolling Stones live onstage to sing “Little Red Rooster” on May 5 at the Oracle Arena in Oakland, California.

Dr John, The Night Tripper – Gris Gris

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Dr John, The Night Tripper – Gris Gris

Mac Rebennack's brilliant debut, reissued... Rock has traditionally looked to Louisiana with an envious eye. The history. The imagery. The swamps. Songwriters who didn’t know one end of an alligator from the other used the Mississippi as their prime location (John Fogerty), sang inconceivably of “catfish pie in a gris-gris bag” (The Byrds) or wrote about a Cajun queen raising her baby “in the bayou with a Bible round his neck” (Fairport Convention). The hip glossary of New Orleans, with its John the Conqueror root and mojo hands, is as magnetic as the mythology surrounding the devil and the crossroads. The ultimate statement of late-’60s hoodoo vérité is the enduringly brilliant Gris-Gris. A deeply mysterious album full of disembodied voices hanging like skulls from trees, it lends itself to apocryphal stories and far-fetched claims about the original Doctor John of New Orleans, a Haitian or Senegalese healer who appeared in the city in the 19th century. Mac Rebennack has said that his great-great-great-grandfather was arrested with Doctor John for “running a voodoo operation in a whorehouse in 1860”. Other sources suggest that Doctor John was almost certainly dead by 1860 – or that he never existed in the first place. “Many years later,” one paranormalist website relates, “Marie the Second [the daughter of New Orleans voodoo queen Marie Laveau] was heard referring to Doctor John, but not as a person, instead as an African spirit that could assist with rituals.” Just as the slavery-era songs on The Band’s second album come to us from the incongruous setting of Sammy Davis Jr’s pool house in Los Angeles, Gris-Gris was created not in New Orleans but in the heart of Hollywood. The 1967 sessions at Gold Star Studios were the idea of Rebennack, a sought-after pianist on R&B and pop records, and producer-arranger Harold Battiste, who’d worked with Lee Dorsey and written the arrangement for Sonny & Cher’s “I Got You Babe”. Both Rebennack and Battiste were New Orleans natives who’d moved to LA earlier in the ’60s. Together they concocted the idea of a psychedelic Cajun crossover music with Rebennack playing the part of a sinister master of ceremonies, Dr John Creaux. The gris-gris of the title is a small cloth bag of African origin that wards off evil spirits. For Rebennack, it was the start of a totally new career. Dr John would enter popular culture as the inspiration for a Muppet (Dr Teeth) and can be heard most mornings singing the theme tune of Curious George on Disney Junior. But Creaux was a far from child-friendly proposition in 1967 as he and his backing singers itemised the remedies in his little satchel. Mumbling and leering as though completely out of his brain, he listed potions including dragon’s blood (medicinal resin), “balls fix jam” (to be eaten with breakfast) and “sacred sand”. Not all of his terminology was so recondite. His clients came from miles around, he boasted, establishing a hard drug subtext to Gris-Gris that reflected Rebennack’s real-life heroin addiction. Rebennack has tended over the years to recall Gris-Gris as a musical brainwave on his part – let’s combine this with this and see if it sells to the rock audience – but the incantations and juxtapositions on Gris-Gris were so bizarre that even Ahmet Ertegun, whose Atco label released it in January 1968, had no idea what genre it fell into. Aficionados of the furthest-out psychedelia would struggle to find a precedent for Battiste’s arrangement of “Gris-Gris Gumbo Ya Ya”, an eerie shadow print of mandolins and ominous drums. “Danse Kalinda Ba Doom” is like a demented dance band trying to play the second half of Pharoah Sanders’ “Upper Egypt And Lowe Egypt” while an assortment of berserk singers repeatedly interrupts. “Mama Roux”, perky and toe-tapping, is the first of a pair of more accessible tunes – the other is “Jump Sturdy”, a banjo-led chant – but the enchanted persona of Creaux ensures that the vibes remain extremely potent even when he disappears for six minutes (the duration of Battiste’s fantastic, mostly instrumental “Croker Courtbullion”) while a wandering flute and a Sonny Sharrock-style guitar take prominent roles. On an album teeming with outlandish names and inversions of familiar phrases (“Jack be nimble, Jack be slick... Old King Cole had a whole lotta soul”), “Jump Sturdy” weaves together some of the central themes, referencing Marie Laveau and mentioning Bayou St John where she practised some of her voodoo rituals. We’re also introduced to two secondary characters, a rival voodoo queen named Julia Jackson and a local character known as Zozo La Brique. Whatever the truth about Doctor John, these women did exist. Zozo was a street merchant who starved to death because she was too miserly to buy food, according to Gumbo Ya-Ya: A Collection Of Louisiana Folk Tales, a book published in the 1940s. The most famous song on Gris-Gris, covered by everyone from Marsha Hunt to Paul Weller, is “I Walk On Guilded Splinters”, the seven-minute closing track. The voodoo queens step aside and The Night Tripper returns to stake out his territory, emerging from his coffin like Screamin’ Jay Hawkins to “put gris-gris on your doorstep”. The spells he casts abandon the English language for French. Battiste doesn’t so much arrange the music as scatter its bones beneath a full moon. Possessed to the point of being scary, it’s easy to hear its influence on “Sympathy For The Devil”. Jagger must have played it to death. Real Gone’s Gris-Gris reissue adds no extra tracks and provides nothing spectacular in remastering terms; it’ll always be a strange-sounding album with an exaggerated stereo mix. Then again, it hardly needs improvement. The album’s mysteries lead both inwards and outwards, taking the researcher on an odyssey that leads to figures like Père Antoine, an 18th century Louisiana priest with links to the Spanish Inquisition, and Robert Tallant, a newspaper columnist who co-wrote the aforementioned Gumbo Ya-Ya. Ten years after publishing a book about Marie Laveau, Tallant inexplicably died while drinking a glass of water. They all find their way into Gris-Gris somehow, pollinating it with their superstitions, their lore, their magnificent dubiousness. David Cavanagh

Mac Rebennack’s brilliant debut, reissued…

Rock has traditionally looked to Louisiana with an envious eye. The history. The imagery. The swamps. Songwriters who didn’t know one end of an alligator from the other used the Mississippi as their prime location (John Fogerty), sang inconceivably of “catfish pie in a gris-gris bag” (The Byrds) or wrote about a Cajun queen raising her baby “in the bayou with a Bible round his neck” (Fairport Convention). The hip glossary of New Orleans, with its John the Conqueror root and mojo hands, is as magnetic as the mythology surrounding the devil and the crossroads.

The ultimate statement of late-’60s hoodoo vérité is the enduringly brilliant Gris-Gris. A deeply mysterious album full of disembodied voices hanging like skulls from trees, it lends itself to apocryphal stories and far-fetched claims about the original Doctor John of New Orleans, a Haitian or Senegalese healer who appeared in the city in the 19th century. Mac Rebennack has said that his great-great-great-grandfather was arrested with Doctor John for “running a voodoo operation in a whorehouse in 1860”. Other sources suggest that Doctor John was almost certainly dead by 1860 – or that he never existed in the first place. “Many years later,” one paranormalist website relates, “Marie the Second [the daughter of New Orleans voodoo queen Marie Laveau] was heard referring to Doctor John, but not as a person, instead as an African spirit that could assist with rituals.”

Just as the slavery-era songs on The Band’s second album come to us from the incongruous setting of Sammy Davis Jr’s pool house in Los Angeles, Gris-Gris was created not in New Orleans but in the heart of Hollywood. The 1967 sessions at Gold Star Studios were the idea of Rebennack, a sought-after pianist on R&B and pop records, and producer-arranger Harold Battiste, who’d worked with Lee Dorsey and written the arrangement for Sonny & Cher’s “I Got You Babe”. Both Rebennack and Battiste were New Orleans natives who’d moved to LA earlier in the ’60s. Together they concocted the idea of a psychedelic Cajun crossover music with Rebennack playing the part of a sinister master of ceremonies, Dr John Creaux. The gris-gris of the title is a small cloth bag of African origin that wards off evil spirits. For Rebennack, it was the start of a totally new career.

Dr John would enter popular culture as the inspiration for a Muppet (Dr Teeth) and can be heard most mornings singing the theme tune of Curious George on Disney Junior. But Creaux was a far from child-friendly proposition in 1967 as he and his backing singers itemised the remedies in his little satchel. Mumbling and leering as though completely out of his brain, he listed potions including dragon’s blood (medicinal resin), “balls fix jam” (to be eaten with breakfast) and “sacred sand”. Not all of his terminology was so recondite. His clients came from miles around, he boasted, establishing a hard drug subtext to Gris-Gris that reflected Rebennack’s real-life heroin addiction.

Rebennack has tended over the years to recall Gris-Gris as a musical brainwave on his part – let’s combine this with this and see if it sells to the rock audience – but the incantations and juxtapositions on Gris-Gris were so bizarre that even Ahmet Ertegun, whose Atco label released it in January 1968, had no idea what genre it fell into. Aficionados of the furthest-out psychedelia would struggle to find a precedent for Battiste’s arrangement of “Gris-Gris Gumbo Ya Ya”, an eerie shadow print of mandolins and ominous drums. “Danse Kalinda Ba Doom” is like a demented dance band trying to play the second half of Pharoah Sanders’ “Upper Egypt And Lowe Egypt” while an assortment of berserk singers repeatedly interrupts. “Mama Roux”, perky and toe-tapping, is the first of a pair of more accessible tunes – the other is “Jump Sturdy”, a banjo-led chant – but the enchanted persona of Creaux ensures that the vibes remain extremely potent even when he disappears for six minutes (the duration of Battiste’s fantastic, mostly instrumental “Croker Courtbullion”) while a wandering flute and a Sonny Sharrock-style guitar take prominent roles.

On an album teeming with outlandish names and inversions of familiar phrases (“Jack be nimble, Jack be slick… Old King Cole had a whole lotta soul”), “Jump Sturdy” weaves together some of the central themes, referencing Marie Laveau and mentioning Bayou St John where she practised some of her voodoo rituals. We’re also introduced to two secondary characters, a rival voodoo queen named Julia Jackson and a local character known as Zozo La Brique. Whatever the truth about Doctor John, these women did exist. Zozo was a street merchant who starved to death because she was too miserly to buy food, according to Gumbo Ya-Ya: A Collection Of Louisiana Folk Tales, a book published in the 1940s.

The most famous song on Gris-Gris, covered by everyone from Marsha Hunt to Paul Weller, is “I Walk On Guilded Splinters”, the seven-minute closing track. The voodoo queens step aside and The Night Tripper returns to stake out his territory, emerging from his coffin like Screamin’ Jay Hawkins to “put gris-gris on your doorstep”. The spells he casts abandon the English language for French. Battiste doesn’t so much arrange the music as scatter its bones beneath a full moon. Possessed to the point of being scary, it’s easy to hear its influence on “Sympathy For The Devil”. Jagger must have played it to death.

Real Gone’s Gris-Gris reissue adds no extra tracks and provides nothing spectacular in remastering terms; it’ll always be a strange-sounding album with an exaggerated stereo mix. Then again, it hardly needs improvement. The album’s mysteries lead both inwards and outwards, taking the researcher on an odyssey that leads to figures like Père Antoine, an 18th century Louisiana priest with links to the Spanish Inquisition, and Robert Tallant, a newspaper columnist who co-wrote the aforementioned Gumbo Ya-Ya. Ten years after publishing a book about Marie Laveau, Tallant inexplicably died while drinking a glass of water. They all find their way into Gris-Gris somehow, pollinating it with their superstitions, their lore, their magnificent dubiousness.

David Cavanagh

Radiohead to ‘make a plan’ for new album this summer

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Radiohead to ‘make a plan’ for new album this summer
Jonny Greenwood has revealed that Radiohead will regroup this summer to discuss their next album. The band are currently pursuing solo projects and enjoying a break from official band duty following the end of touring their last album, The King Of Limbs. However, Greenwood spoke about the future o...

Jonny Greenwood has revealed that Radiohead will regroup this summer to discuss their next album.

The band are currently pursuing solo projects and enjoying a break from official band duty following the end of touring their last album, The King Of Limbs. However, Greenwood spoke about the future of Radiohead in a new interview with Nashville Cream and said that the “slow moving animal” will gain life in the coming months.

Confirming that Radiohead will be “meeting up at the end of the summer” to “make a plan” for their ninth studio album, Greenwood states, “But, you know, we’re a slow-moving animal, always have been. I guess we’ll decide then what we do next.”

Earlier this year, Jonny’s brother Colin Greenwood said that Radiohead’s plans for a new album were “all up in the air at the minute. Thom’s just come back from touring Atoms For Peace and he’s having some quiet time. I’m sorry to be vague but we’re all just taking it easy at the moment. Just enjoying being at home and hanging out really. But at the same time, the vibe is very much Oxford and all good! It’s like that.”

Read the setlist for Neil Young’s April 1, 2014 Dolby Theatre, Los Angeles show

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Read the setlist for Neil Young’s April 1, 2014 Dolby Theatre, Los Angeles show
Neil Young played the third of four shows at Los Angeles' Dolby Theatre last night [April 1]. The setlist was similar to the sets Young had played on his previous solo acoustic shows this year, with the addition of "Thrasher", which had made its first appearance in 36 years on Saturday [March 29]. ...

Neil Young played the third of four shows at Los Angeles’ Dolby Theatre last night [April 1].

The setlist was similar to the sets Young had played on his previous solo acoustic shows this year, with the addition of “Thrasher”, which had made its first appearance in 36 years on Saturday [March 29].

Young plays his fourth and final show at the venue tonight [April 2].

Set list for Dolby Theatre, Los Angeles, April 1, 2014:

1. From Hank To Hendrix

2. On The Way Home

3. Only Love Can Break Your Heart

4. Love In Mind

5. Philadelphia

6. Mellow My Mind

7. Reason to Believe

8. Someday

9. Changes

10. Harvest

11. Old Man

—

12. Goin’ Back

13. A Man Needs A Maid

14. Ohio

15. Southern Man

16. Mr. Soul

17. If You Could Read My Mind

18. Harvest Moon

19. Flying On The Ground Is Wrong

20. After The Gold Rush

21. Heart Of Gold

—

22. Thrasher

Jack White announces new solo album, Lazaretto

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Jack White announces new solo album, Lazaretto
Jack White will release new solo album, Lazaretto, on June 9. White's second solo album is the follow up to his 2012 debut Blunderbuss and will be released by White's own label Third Man and XL Recordings. Scroll down to stream new instrumental song "High Ball Stepper" now. To celebrate the relea...

Jack White will release new solo album, Lazaretto, on June 9.

White’s second solo album is the follow up to his 2012 debut Blunderbuss and will be released by White’s own label Third Man and XL Recordings. Scroll down to stream new instrumental song “High Ball Stepper” now.

To celebrate the release of the album, Third Man will release a limited edition Lazaretto LP pressed on split-color blue and white vinyl with exclusive album art. It will be packaged with a photo and a 7-inch single featuring two early demos of songs “Alone In My Home” and “Entitlement”, which feature in their finished form on the album.

The album’s title track will be revealed later this month.

The Cure’s Robert Smith reveals new album details – and says 4:14 Scream is “a terrible title”

Michael Bonner
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The Cure’s Robert Smith reveals new album details – and says 4:14 Scream is “a terrible title”
The Cure frontman Robert Smith has revealed that the group's next album will be a mix of brand new material and unused material from 2008's 4:13 Dream, their most recent record. Smith wanted that album to be a double, but a single album was eventually released. Speaking to NME following the grou...

The Cure frontman Robert Smith has revealed that the group’s next album will be a mix of brand new material and unused material from 2008’s 4:13 Dream, their most recent record.

Smith wanted that album to be a double, but a single album was eventually released.

Speaking to NME following the group’s performance for Teenage Cancer Trust at London’s Royal Albert Hall on Saturday (March 29), Smith said of the album: “There’s new stuff that we’re doing with this line-up and stuff we finished with the old line-up.”

Asked why it’s taken so long to release the tracks, Smith said: “Honestly? Just pure bloody mindedness. I was so fucking angry that [the label] wouldn’t release a double album that I wouldn’t give them the other songs.”

The album also follows the solidification of a new line-up of The Cure, featuring Reeves Gabrels on guitar. Smith said that the new line-up was the catalyst for adding new material to the 4:13 Dream leftovers.

“A lot of stuff happened, unfortunately, with the last line-up of the band,” said the frontman. “People forget sometimes that even when you get older, when you play music with people, there’s a very intense relationship there and when that breaks down then it’s very difficult to just pretend it doesn’t matter. The last line-up, there were a number of reasons why I felt unable to complete what we were doing. It was impossible to just get another line-up and bang out the songs we didn’t release; it would have been wrong.”

Reflecting its turbulent origins, the album is tentatively named 4:14 Scream, but Smith believes it’s “a dreadful title. Andy who does our covers has done a really great album cover for it, a kind of pastiche of me doing a scream, so maybe we’ll keep it. It’s one of those reverse psychology things, where it’s so bad it’s good.”

In addition to the new album, the band have said that they will also be releasing a series of live concert DVDs this year, and are planning on taking another ‘Trilogy’ style tour on the road later this year. The original tour took place in 2002 and saw The Cure headline a string of festivals and gigs in Brussels and Berlin in which they played the albums Pornography, Disintegration and Bloodflowers in their entirety. The second tour under the title in 2011 called Reflections saw Three Imaginary Boys, Seventeen Seconds and Faith performed in full.

Afghan Whigs, Ben Watt, Joan As Police Woman, Hurray For The Riff Raff, Howlin Rain, The Men on the new Uncut CD!

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Afghan Whigs, Ben Watt, Joan As Police Woman, Hurray For The Riff Raff, Howlin Rain, The Men on the new Uncut CD!

We have Bruce Springsteen on the cover of the new Uncut, so it's appropriate that the free CD with the issue kicks off rousingly with Brooklyn's The Men and a track called "Another Night from their new album, Tomorrow's Hits that sounds raucously like The E Street Band having a noisy bash at "Train In Vain" by The Clash. There's plenty of other great stuff on the CD, including tracks from new albums by Hurray For The Riff Raff, The Afghan Whigs, Joan As Police Woman, The Delines, EMA, Arc Iris, Fanfarlo, School Of Language, Dawn Landes, Milagres, Ben Watt and Howlin rain. Here's a taster for the CD. Have a great week. THE MEN Another Night http://www.youtube.com/watch?v=vWg7qjH-ftE HURRAY FOR THE RIFF RAFF The Body Electric http://www.youtube.com/watch?v=VOJE0EXm4Dw AFGHAN WHIGS Algiers http://www.youtube.com/watch?v=ovhzeqIaggY&list=PLSody0S2rK1RvSpc-lPnLdE5Z1XwPH4kM JOAN AS POLICE WOMAN Holy City http://www.youtube.com/watch?v=zS5pjxseTQM EMA So Blonde http://www.youtube.com/watch?v=GvyUN0P6yvk ARC IRIS Whiskey Man http://www.youtube.com/watch?v=8kAqjFN99SA BEN WATT Spring http://www.youtube.com/watch?v=aWB-N-OERdk HOWLIN RAIN Roll On The Rusted Days http://www.youtube.com/watch?v=zUPn-x5XY8c

We have Bruce Springsteen on the cover of the new Uncut, so it’s appropriate that the free CD with the issue kicks off rousingly with Brooklyn’s The Men and a track called “Another Night from their new album, Tomorrow’s Hits that sounds raucously like The E Street Band having a noisy bash at “Train In Vain” by The Clash.

There’s plenty of other great stuff on the CD, including tracks from new albums by Hurray For The Riff Raff, The Afghan Whigs, Joan As Police Woman, The Delines, EMA, Arc Iris, Fanfarlo, School Of Language, Dawn Landes, Milagres, Ben Watt and Howlin rain.

Here’s a taster for the CD. Have a great week.

THE MEN

Another Night

http://www.youtube.com/watch?v=vWg7qjH-ftE

HURRAY FOR THE RIFF RAFF

The Body Electric

AFGHAN WHIGS

Algiers

JOAN AS POLICE WOMAN

Holy City

EMA

So Blonde

ARC IRIS

Whiskey Man

BEN WATT

Spring

HOWLIN RAIN

Roll On The Rusted Days

Elbow – The Take Off And Landing Of Everything

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Elbow – The Take Off And Landing Of Everything

Sombre and sparce, but not in the least bit sober: Guy Garvey and co's classy sixth... For their sixth album, Elbow opted for a new working method, recording in small combinations rather than all together, with the remaining members chipping in their two penn'orth later. Not that you'd notice: the results are as homogenous as any earlier Elbow album - indeed, if anything, there's a sustained congruence about the rhythms and textures that makes The Take Off And Landing Of Everything seem like an extended meditation on certain musical and lyrical themes. "This Blue World" sets the tone through the gentle organ intro and slow patter of snare and tambourine, opening up with gently arpeggiating guitar. It's soft and quiet, like a world asleep in snow, as Guy Garvey ruminates upon the persistence of emotional attachment. "While three chambers of my heart be true and strong with love for another," he sings, "the fourth is yours forever". It's perhaps the first of several pieces prompted by Garvey's split from his long-term partner, an apparently amicable separation that has allowed affection to linger poignantly, rather than curdle. The separation took him to New York, where he was able to recover in relative anonymity, developing an attachment to a city other than Manchester. Built on a descending piano motif that develops through anthemic repetition, "New York Morning" celebrates the brusque enthusiasm of "the modern Rome, where folk are nice to Yoko", and the way that "everybody owns the Great Idea, and it feels like there's a big one round the corner". This new transatlantic pond-hopping lifestyle is itself reflected in the title-track, a slow but propulsive Krautrock slouch of organ, drums and tambourine, and in "Fly Boy Blue/Lunette", a tableau of airport lounge barflies and disaffected glimpses of modern life suddenly charged with a sax riff that recalls the tone and texture of early King Crimson. Three minutes and, presumably, several pints in, however, the track slips into a languid jogging bass groove of calm serenity, Garvey reflecting how "I'm reaching the age when decisions are made on your life and your liver". Health concerns are less uppermost in "My Sad Captains", a celebration of the after-hours drinking culture that sustains so many fellowships, through so many generations. A Terry Riley-esque cycling keyboard figure establishes a slow, processional gait, as of a commemoration, with gentle glints of trumpet draping a cloak of nobility around the later stages. "If it's so we only pass this way but once," sings Garvey, "what a perfect waste of time". But of course, the glory of being in one's cups is but a sip away from the bitterness of the curmudgeon in the corner depicted in "Charge", railing against the young who never acknowledge their debts: "Glory be, these fuckers are ignoring me/We never learn from history". Set to sombre organ and sparse drums, with voice and piano declaiming in unison, it's based, Garvey says, on an old teddy-boy he knew, whose grouchy antipathies he grew to understand more deeply the further he moved from his own glory days. Elsewhere, the same kinds of gently pulsing grooves and sparse rhythm skeletons drive tracks like "Real Life (Angel)", an exultant acclamation of deep love ("And on that hallelujah morning, in the arms of your love, the peace that you feel's real life"); and "Honey Sun", the most honest assessment of the "broken devotion" that shot him across the ocean to New York. With humming carrying the main melody over a puttering drum-machine tick, Garvey acknowledges both the impulse to flee, and the realisation that "she and I won't find another me'n'her".   The album concludes with "The Blanket Of Night", another anthem of inter-zonal ambiguity, this time employing oceanic, dreamlike sheets of synthesiser to evoke the perilous journey of stateless refugees in search of a new life in less perilous environs. "Paper cup of a boat, heaving chest of the sea/Carry both of us, swallow her, swallow me," sings Garvey, intoning a prayer of deliverance that, one can't help felling, is heartfelt not just for them, but himself, and you, and me - a fifth chamber of his heart, beating for us all. Andy Gill Q&A Guy Garvey I understand the band adopted a different working method for this album. It was more of an experiment than anything - the idea of everyone having a different day off, throwing up different combinations of band-members, definitely changed the way we were writing. It wasn't that we'd reached any kind of creative impasse. I voiced a documentary on The Beatles' White Album for the BBC, and there was this Abbey Road engineer who said that towards the end, bring any three Beatles together and the work ethic was the same as it ever was, exciting and vibrant; but when all four were in the room, there was a spirit of lethargy, something was slowing them down.    How did it work for you? For instance, all the music for 'Fly Boy Blues/Lunette' was pretty much a live take, by Mark, Pete and Jup, who were the original members of Elbow - they got together at school, doing Queen covers and such. It created a bit of a challenge for me lyrically: to throw something different into the mix, I read the lines from the cover of a magazine, then I used that rhythm as a constriction to write my own images. That was loads of fun, and threw up something different that I normally wouldn't do.   There's an overall theme of fellowship, of the comforts of companionship, running through several songs. Oh yeah, absolutely. I've always written love songs to friends, and to Manchester as well - I suppose this is the first record that I've written a love song to another city! I've always had that fondness for inanimate things: like, I still use the first touring-bag I had, when we first started touring 20 years ago. I've had it re-zipped and re-handled at least three times. I do develop, what is it, an anthropomorphic love? 

Sombre and sparce, but not in the least bit sober: Guy Garvey and co’s classy sixth…

For their sixth album, Elbow opted for a new working method, recording in small combinations rather than all together, with the remaining members chipping in their two penn’orth later. Not that you’d notice: the results are as homogenous as any earlier Elbow album – indeed, if anything, there’s a sustained congruence about the rhythms and textures that makes The Take Off And Landing Of Everything seem like an extended meditation on certain musical and lyrical themes.

“This Blue World” sets the tone through the gentle organ intro and slow patter of snare and tambourine, opening up with gently arpeggiating guitar. It’s soft and quiet, like a world asleep in snow, as Guy Garvey ruminates upon the persistence of emotional attachment. “While three chambers of my heart be true and strong with love for another,” he sings, “the fourth is yours forever”. It’s perhaps the first of several pieces prompted by Garvey’s split from his long-term partner, an apparently amicable separation that has allowed affection to linger poignantly, rather than curdle.

The separation took him to New York, where he was able to recover in relative anonymity, developing an attachment to a city other than Manchester. Built on a descending piano motif that develops through anthemic repetition, “New York Morning” celebrates the brusque enthusiasm of “the modern Rome, where folk are nice to Yoko”, and the way that “everybody owns the Great Idea, and it feels like there’s a big one round the corner”. This new transatlantic pond-hopping lifestyle is itself reflected in the title-track, a slow but propulsive Krautrock slouch of organ, drums and tambourine, and in “Fly Boy Blue/Lunette”, a tableau of airport lounge barflies and disaffected glimpses of modern life suddenly charged with a sax riff that recalls the tone and texture of early King Crimson. Three minutes and, presumably, several pints in, however, the track slips into a languid jogging bass groove of calm serenity, Garvey reflecting how “I’m reaching the age when decisions are made on your life and your liver”.

Health concerns are less uppermost in “My Sad Captains”, a celebration of the after-hours drinking culture that sustains so many fellowships, through so many generations. A Terry Riley-esque cycling keyboard figure establishes a slow, processional gait, as of a commemoration, with gentle glints of trumpet draping a cloak of nobility around the later stages. “If it’s so we only pass this way but once,” sings Garvey, “what a perfect waste of time”. But of course, the glory of being in one’s cups is but a sip away from the bitterness of the curmudgeon in the corner depicted in “Charge”, railing against the young who never acknowledge their debts: “Glory be, these fuckers are ignoring me/We never learn from history”. Set to sombre organ and sparse drums, with voice and piano declaiming in unison, it’s based, Garvey says, on an old teddy-boy he knew, whose grouchy antipathies he grew to understand more deeply the further he moved from his own glory days.

Elsewhere, the same kinds of gently pulsing grooves and sparse rhythm skeletons drive tracks like “Real Life (Angel)”, an exultant acclamation of deep love (“And on that hallelujah morning, in the arms of your love, the peace that you feel’s real life”); and “Honey Sun”, the most honest assessment of the “broken devotion” that shot him across the ocean to New York. With humming carrying the main melody over a puttering drum-machine tick, Garvey acknowledges both the impulse to flee, and the realisation that “she and I won’t find another me’n’her”.

 

The album concludes with “The Blanket Of Night”, another anthem of inter-zonal ambiguity, this time employing oceanic, dreamlike sheets of synthesiser to evoke the perilous journey of stateless refugees in search of a new life in less perilous environs. “Paper cup of a boat, heaving chest of the sea/Carry both of us, swallow her, swallow me,” sings Garvey, intoning a prayer of deliverance that, one can’t help felling, is heartfelt not just for them, but himself, and you, and me – a fifth chamber of his heart, beating for us all.

Andy Gill

Q&A

Guy Garvey

I understand the band adopted a different working method for this album.

It was more of an experiment than anything – the idea of everyone having a different day off, throwing up different combinations of band-members, definitely changed the way we were writing. It wasn’t that we’d reached any kind of creative impasse. I voiced a documentary on The Beatles’ White Album for the BBC, and there was this Abbey Road engineer who said that towards the end, bring any three Beatles together and the work ethic was the same as it ever was, exciting and vibrant; but when all four were in the room, there was a spirit of lethargy, something was slowing them down. 

 

How did it work for you?

For instance, all the music for ‘Fly Boy Blues/Lunette’ was pretty much a live take, by Mark, Pete and Jup, who were the original members of Elbow – they got together at school, doing Queen covers and such. It created a bit of a challenge for me lyrically: to throw something different into the mix, I read the lines from the cover of a magazine, then I used that rhythm as a constriction to write my own images. That was loads of fun, and threw up something different that I normally wouldn’t do.

 

There’s an overall theme of fellowship, of the comforts of companionship, running through several songs.

Oh yeah, absolutely. I’ve always written love songs to friends, and to Manchester as well – I suppose this is the first record that I’ve written a love song to another city! I’ve always had that fondness for inanimate things: like, I still use the first touring-bag I had, when we first started touring 20 years ago. I’ve had it re-zipped and re-handled at least three times. I do develop, what is it, an anthropomorphic love? 

Bruce Springsteen to induct E Street Band into Rock And Roll Hall of Fame

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Bruce Springsteen to induct E Street Band into Rock And Roll Hall of Fame
Bruce Springsteen will induct the E Street Band into the Rock And Roll Hall of Fame, it has been confirmed. The ceremony, which will take place at Brooklyn's Barclays Center on April 10, will also see Michael Stripe induct Nirvana and Rage Against the Machine guitarist Tom Morello induct Kiss, Roll...

Bruce Springsteen will induct the E Street Band into the Rock And Roll Hall of Fame, it has been confirmed.

The ceremony, which will take place at Brooklyn’s Barclays Center on April 10, will also see Michael Stripe induct Nirvana and Rage Against the Machine guitarist Tom Morello induct Kiss, Rolling Stone reports.

Coldplay’s Chris Martin will pay tribute to Peter Gabriel, and Glenn Frey of the Eagles will induct his former bandleader Linda Ronstadt. Stevie Nicks, Carrie Underwood, Emmylou Harris, Sheryl Crow and Bonnie Raitt will perform a tribute to the singer.

Questlove of the Roots will pay tribute to Hall and Oates, and Peter Asher is will induct Brian Epstein and Andrew Loog Oldham.

This year’s event marks the first time the general public has been able to attend the ceremony in New York City. Previously, the closed ceremony took place in New York’s Waldorf Astoria’s grand ballroom.

Artists are eligible for induction 25 years after the release of their first record, meaning Nirvana, who released debut album Bleach in 1989, have been nominated at the first possible opportunity. Last month, original Nirvana drummer Chad Channing said that he would not be inducted with his bandmates.

You can read Tom Morello‘s exclusive account of life on the road with the E Street Band in the new issue of Uncut – in shops now.

The Rolling Stones to resume tour in May

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The Rolling Stones to resume tour in May
The Rolling Stones are set to resume touring in Norway on May 26. Shows in Australia and New Zealand have been rescheduled for October, but the band will pick up their European dates in May at Oslo's Telenor Arena, playing a host of gigs, including a recently announced headline slot at Roskilde fes...

The Rolling Stones are set to resume touring in Norway on May 26.

Shows in Australia and New Zealand have been rescheduled for October, but the band will pick up their European dates in May at Oslo’s Telenor Arena, playing a host of gigs, including a recently announced headline slot at Roskilde festival in Denmark on July 3.

The Rolling Stones will play:

May 25: Oslo, Norway – Telenor Arena

May 29: Lisbon, Portugal – Rock In Rio Festival

June 1: Zürich, Switzerland – Letzigrund Stadium

June 4: Tel Aviv, Israel – Hayarkon Park

June 7: Landgraaf, Netherlands – Pinkpop Festival

June 10: Berlin, Germany – Waldbühne

June 13: Paris, France – Stade De France

June 16: Vienna, Austria – Ernst Happel Stadium

June 17: Düsseldorf, Germany – Esprit Arena

June 22: Rome, Italy – Circus Maximus

June 25: Madrid, Spain – Bernabéu Stadium

June 28: Werchter, Belgium – TW Classic Festival

July 1: Stockholm, Sweden – Tele2 Arena

July 3: Roskilde, Denmark – Roskilde Festival

Tom Petty and the Heartbreakers announce new album, Hypnotic Eye

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Tom Petty and the Heartbreakers announce new album, Hypnotic Eye
Tom Petty and the Heartbreakers are set to release a brand new album, Hypnotic Eye. Their first studio album since 2010, Hypnotic Eye 11 tracks long and will be released this summer. The band's 13th studio album, it was co-produced by Petty, Mike Campbell, and Ryan Ulyate, reports Rolling Stone . ...

Tom Petty and the Heartbreakers are set to release a brand new album, Hypnotic Eye.

Their first studio album since 2010, Hypnotic Eye 11 tracks long and will be released this summer. The band’s 13th studio album, it was co-produced by Petty, Mike Campbell, and Ryan Ulyate, reports Rolling Stone . Speaking to the publication about the album, Petty responded to comments that the release sounds like his earlier albums 1976’s Tom Petty And The Heartbreakers and You’re Gonna Get It from 1978.

“That’s what Mike said: ‘You sing like you did on the first two albums,” said Petty. “Maybe this album does sound like that. But it’s that band 30 years later… I knew I wanted to a do a rock and roll record. We hadn’t made a straight hard-rockin’ record, from beginning to end, in a long time.”

The album will feature the songs “American Dream Plan B”, “Faultlines”, “Red River”, “Burn Out Town” and “Shadow People”. The release will be supported by a to-be-announced tour. Petty also commented that the band are far from finished. “This band just grows and grows, and that’s an incredible gift, I can’t see us calling it off,” he said.

Neil Young plays “Thrasher” for first time in 36 years – see full LA setlists

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Neil Young plays “Thrasher” for first time in 36 years – see full LA setlists

Neil Young began his run of solo shows in Los Angeles with two shows, which featured the first appearance of “Thrasher” in 36 years. Young played the “Rust Never Sleeps” classic during his Saturday night set at the Dolby Theatre. Among other changes from the New York shows in January, Young included “Philadelphia”, “Harvest Moon” and a cover of the Gordon Lightfoot song "If You Could Read My Mind". "If You Could Read My Mind" will presumably figure on Young’s much-rumoured covers album, "A Letter Home", along with Phil Ochs’ “Changes”. A couple more clues to the tracklisting appeared during the Sunday night show, as Young tackled Tim Hardin's "Reason to Believe" and "Blowin' In The Wind". Scroll down for the full setlists from both LA shows… Setlist 29/3/2014 1. From Hank To Hendrix 2. On The Way Home 3. Only Love Can Break Your Heart 4. Love In Mind 5. Philadelphia 6. Mellow My Mind 7. Are You Ready For The Country? 8. Someday 9. Changes 10. Harvest 11. Old Man 12. Goin' Back 13. A Man Needs A Maid 14. Ohio 15. Southern Man 16. Mr. Soul 17. If You Could Read My Mind 18. Harvest Moon 19. Flying On The Ground Is Wrong 20. After The Gold Rush 21. Heart Of Gold 22. Thrasher 23. Long May You Run Setlist 30/3/2014 1. From Hank To Hendrix 2. On The Way Home 3. Only Love Can Break Your Heart 4. Love In Mind 5. Philadelphia 6. Mellow My Mind 7. Reason To Believe 8. Someday 9. Changes 10. Harvest 11. Old Man 12. Goin' Back 13. A Man Needs A Maid 14. Ohio 15. Southern Man 16. Mr. Soul 17. If You Could Read My Mind 18. After The Gold Rush 19. Heart Of Gold 20. Blowin' In The Wind 21. Long May You Run

Neil Young began his run of solo shows in Los Angeles with two shows, which featured the first appearance of “Thrasher” in 36 years.

Young played the “Rust Never Sleeps” classic during his Saturday night set at the Dolby Theatre. Among other changes from the New York shows in January, Young included “Philadelphia”, “Harvest Moon” and a cover of the Gordon Lightfoot song “If You Could Read My Mind”.

“If You Could Read My Mind” will presumably figure on Young’s much-rumoured covers album, “A Letter Home”, along with Phil Ochs’ “Changes”. A couple more clues to the tracklisting appeared during the Sunday night show, as Young tackled Tim Hardin’s “Reason to Believe” and “Blowin’ In The Wind”.

Scroll down for the full setlists from both LA shows…

Setlist 29/3/2014

1. From Hank To Hendrix

2. On The Way Home

3. Only Love Can Break Your Heart

4. Love In Mind

5. Philadelphia

6. Mellow My Mind

7. Are You Ready For The Country?

8. Someday

9. Changes

10. Harvest

11. Old Man

12. Goin’ Back

13. A Man Needs A Maid

14. Ohio

15. Southern Man

16. Mr. Soul

17. If You Could Read My Mind

18. Harvest Moon

19. Flying On The Ground Is Wrong

20. After The Gold Rush

21. Heart Of Gold

22. Thrasher

23. Long May You Run

Setlist 30/3/2014

1. From Hank To Hendrix

2. On The Way Home

3. Only Love Can Break Your Heart

4. Love In Mind

5. Philadelphia

6. Mellow My Mind

7. Reason To Believe

8. Someday

9. Changes

10. Harvest

11. Old Man

12. Goin’ Back

13. A Man Needs A Maid

14. Ohio

15. Southern Man

16. Mr. Soul

17. If You Could Read My Mind

18. After The Gold Rush

19. Heart Of Gold

20. Blowin’ In The Wind

21. Long May You Run

Read the setlist for The Cure’s marathon 45-song Royal Albert Hall show

John Mulvey
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Read the setlist for The Cure’s marathon 45-song Royal Albert Hall show

The Cure repeated their marathon 45-song show at London’s Royal Albert Hall on Saturday (March 29), replicating their setlist of the previous night. Introduced by Noel Fielding, the band came on stage at 7.40pm, which meant that their third and final encore didn’t start until shortly after the venue’s regular 11pm curfew. At the start of the second encore, which began with 1987 single ‘Catch’, singer Robert Smith joked: “Sorry the set is so long. It’s entirely my fault.” Smith remained in good humour throughout the show. After playing ‘2 Late’, the B-Side of 1989 single ‘Lovesong’ which had made its live debut at Friday’s show, Smith said: “Even I can be forgiven for not knowing that one. We’ve only played it once, and that was yesterday.” Before 2008 single ‘Freakshow’, Smith was handed a drumstick by a roadie to use as percussion against a shaker. “I’m always tempted to ask ‘Is this in tune?’ when I’m handed one of these,” he said. During ‘Lullaby’, a fan in seats near the stage donned a Spider-Man costume, a reference to the song’s chorus “The spider man is having me for dinner tonight.” However, he had to be helped out of the costume by his girlfriend during most of the next song, ‘High’. After final song ‘Killing An Arab’, Smith said simply: “Thanks a lot, we’ll see you again.” The show was part of the annual week of concerts organised by The Who singer Roger Daltrey at the venue in aid of Teenage Cancer Trust. Other shows have been by Paolo Nutini, Ed Sheeran and One Republic. The event ends tonight with Suede playing the whole of their ‘Dog Man Star’ album to mark its 20th anniversary. The Cure recently announced they are to release a new album this year. Recorded at the same time as previous album '4.13 Dream' in 2008, it has the working title of '4.13 Scream'. No new songs were previewed during the gigs, which were the band’s first since in the UK since headlining Reading And Leeds Festival in 2012. The Cure played: 'Plainsong' 'Prayers For Rain' 'A Strange Day' 'A Night Like This' 'Stop Dead' 'Push' 'In Between Days' '2 Late' 'Jupiter Crash’ 'The End Of The World' 'Lovesong' 'Mint Car' 'Friday I’m In Love' 'Doing The Unstuck' 'Trust' 'Pictures Of You' 'Lullaby' 'High' 'Harold And Joe' 'The Caterpillar' 'The Walk' 'Sleep When I’m Dead' 'Just Like Heaven' 'From The Edge Of The Deep Green Sea' 'Want' 'The Hungry Ghost' 'Wrong Number' 'One Hundred Years' 'Disintegration' 'If Only Tonight We Could Sleep' 'Shake Dog Shake' 'Fascination Street' 'Bananafishbones' 'Play For Today' 'A Forest' 'Catch' 'The Lovecats' 'Hot Hot Hot!!!' 'Let’s Go To Bed' 'Freakshow' 'Close To Me' 'Why Can’t I Be You?' 'Boys Don’t Cry' '10:15 Saturday Night' 'Killing An Arab'

The Cure repeated their marathon 45-song show at London’s Royal Albert Hall on Saturday (March 29), replicating their setlist of the previous night.

Introduced by Noel Fielding, the band came on stage at 7.40pm, which meant that their third and final encore didn’t start until shortly after the venue’s regular 11pm curfew.

At the start of the second encore, which began with 1987 single ‘Catch’, singer Robert Smith joked: “Sorry the set is so long. It’s entirely my fault.” Smith remained in good humour throughout the show. After playing ‘2 Late’, the B-Side of 1989 single ‘Lovesong’ which had made its live debut at Friday’s show, Smith said: “Even I can be forgiven for not knowing that one. We’ve only played it once, and that was yesterday.”

Before 2008 single ‘Freakshow’, Smith was handed a drumstick by a roadie to use as percussion against a shaker. “I’m always tempted to ask ‘Is this in tune?’ when I’m handed one of these,” he said. During ‘Lullaby’, a fan in seats near the stage donned a Spider-Man costume, a reference to the song’s chorus “The spider man is having me for dinner tonight.” However, he had to be helped out of the costume by his girlfriend during most of the next song, ‘High’. After final song ‘Killing An Arab’, Smith said simply: “Thanks a lot, we’ll see you again.”

The show was part of the annual week of concerts organised by The Who singer Roger Daltrey at the venue in aid of Teenage Cancer Trust. Other shows have been by Paolo Nutini, Ed Sheeran and One Republic. The event ends tonight with Suede playing the whole of their ‘Dog Man Star’ album to mark its 20th anniversary.

The Cure recently announced they are to release a new album this year. Recorded at the same time as previous album ‘4.13 Dream’ in 2008, it has the working title of ‘4.13 Scream’. No new songs were previewed during the gigs, which were the band’s first since in the UK since headlining Reading And Leeds Festival in 2012.

The Cure played:

‘Plainsong’

‘Prayers For Rain’

‘A Strange Day’

‘A Night Like This’

‘Stop Dead’

‘Push’

‘In Between Days’

‘2 Late’

‘Jupiter Crash’

‘The End Of The World’

‘Lovesong’

‘Mint Car’

‘Friday I’m In Love’

‘Doing The Unstuck’

‘Trust’

‘Pictures Of You’

‘Lullaby’

‘High’

‘Harold And Joe’

‘The Caterpillar’

‘The Walk’

‘Sleep When I’m Dead’

‘Just Like Heaven’

‘From The Edge Of The Deep Green Sea’

‘Want’

‘The Hungry Ghost’

‘Wrong Number’

‘One Hundred Years’

‘Disintegration’

‘If Only Tonight We Could Sleep’

‘Shake Dog Shake’

‘Fascination Street’

‘Bananafishbones’

‘Play For Today’

‘A Forest’

‘Catch’

‘The Lovecats’

‘Hot Hot Hot!!!’

‘Let’s Go To Bed’

‘Freakshow’

‘Close To Me’

‘Why Can’t I Be You?’

‘Boys Don’t Cry’

’10:15 Saturday Night’

‘Killing An Arab’

Flaming Lips release companion to Pink Floyd’s ‘The Dark Side Of The Moon’ – listen

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Flaming Lips release companion to Pink Floyd’s ‘The Dark Side Of The Moon’ – listen

Flaming Lips have released a companion album to Pink Floyd's 'The Dark Side Of The Moon' – click below to listen. Titled 'Flaming Side of the Moon', the album is intended to be played at the same time as Pink Floyd's 1973 original. The band also say that the album is "carefully crafted to sync up perfectly with the 1939 film, The Wizard of Oz", a nod to the theorists who claim that the original album can be used as an alternative soundtrack to the cinema classic. The band's press release encourages listeners to pair the companion album with the quadrophonic mix of 'Dark Side Of The Moon' engineered by Alan Parsons, which was released as part of a deluxe reissue. "For ideal listening conditions, fans are encouraged to seek out the original Alan Parsons engineered quadraphonic LP mix of Dark Side, but it will work with the album on any format," it states. The album will apparently be released digitally and in an extremely limited vinyl pressing of 100, which "will be distributed on vinyl to the band's friends and family". Listeners may find the album hard to penetrate without playing Pink Floyd's original at the same time, and it isn't the first time the band have challenged listeners to play a number of albums simultaneously. The 1997 Flaming Lips album Zaireeka was issued on four CDs intended to be started at the precise same moment, thus requiring four stereo system set-ups. It also isn't the first time Flaming Lips have paid tribute to Pink Floyd's mega-selling LP. It follows their 2009 cover version of the whole album, which featured guests including Henry Rollins and Peaches. It was reported earlier this month that the band are currently working with artists including MGMT, Tame Impala and Miley Cyrus for a remake of The Beatles' album 'Sgt. Pepper's Lonely Hearts Club Band.'

Flaming Lips have released a companion album to Pink Floyd’s ‘The Dark Side Of The Moon’ – click below to listen.

Titled ‘Flaming Side of the Moon’, the album is intended to be played at the same time as Pink Floyd’s 1973 original. The band also say that the album is “carefully crafted to sync up perfectly with the 1939 film, The Wizard of Oz”, a nod to the theorists who claim that the original album can be used as an alternative soundtrack to the cinema classic.

The band’s press release encourages listeners to pair the companion album with the quadrophonic mix of ‘Dark Side Of The Moon’ engineered by Alan Parsons, which was released as part of a deluxe reissue. “For ideal listening conditions, fans are encouraged to seek out the original Alan Parsons engineered quadraphonic LP mix of Dark Side, but it will work with the album on any format,” it states.

The album will apparently be released digitally and in an extremely limited vinyl pressing of 100, which “will be distributed on vinyl to the band’s friends and family”.

Listeners may find the album hard to penetrate without playing Pink Floyd’s original at the same time, and it isn’t the first time the band have challenged listeners to play a number of albums simultaneously. The 1997 Flaming Lips album Zaireeka was issued on four CDs intended to be started at the precise same moment, thus requiring four stereo system set-ups.

It also isn’t the first time Flaming Lips have paid tribute to Pink Floyd’s mega-selling LP. It follows their 2009 cover version of the whole album, which featured guests including Henry Rollins and Peaches.

It was reported earlier this month that the band are currently working with artists including MGMT, Tame Impala and Miley Cyrus for a remake of The Beatles’ album ‘Sgt. Pepper’s Lonely Hearts Club Band.’

Black Sabbath to headline Barclaycard British Summer Time

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Black Sabbath to headline Barclaycard British Summer Time

Black Sabbath have been named the third headliners of Barclaycard British Summer Time festival at London’s Hyde Park, with a show on July 4. Other acts on the bill include Soundgarden, Faith No More, Motorhead, Soulfly, Hell and Bo Ningen. Tickets go on sale at 9am on Friday. To mark the festival announcement, Black Sabbath's logo was marked out in Hyde Park, and set on fire. A video of the stunt can be seen below. It’s Black Sabbath’s first UK show since a six-date arena tour in December 2013 in support of their album ’13’. Their line-up features original members Ozzy Osbourne, Tony Iommi and Geezer Butler. Founding drummer Bill Ward left in 2012. Rage Against The Machine drummer Brad Wilk played on '13' and on recent tours, though it has yet to be confirmed if he will appear at the festival. “The first time I came to London I didn't have a pot to piss in. I spent the advance I got for our first album on a new pair of shoes and some Brut aftershave,” said Osbourne. “We’re doing a bit better for ourselves, so I may even splash out on some new aftershave before Hyde Park, the most beautiful park in London, which has opened its gates to so many legends in the past. We are beyond honoured to be allowed to put on a show and hope that the Royals will enjoy it." Other confirmed headliners for the festival are McBusted (July 6) and Neil Young And Crazy Horse (July 12). Organisers say there are due to be three more shows, which will be announced in the coming weeks. The confirmed line-up for July 4 is as follows: Great Oak Stage Black Sabbath Soundgarden Faith No More Motorhead Soulfly Barclaycard Theatre Hell Kobra And The Lotus Broken Hands The Bots Village Hall Gallows Bo Ningen The Gravel Tones Hang The Bastard A Plastic Rose Summer Stage Rise To Remain Blitz Kids The Struts The First

Black Sabbath have been named the third headliners of Barclaycard British Summer Time festival at London’s Hyde Park, with a show on July 4.

Other acts on the bill include Soundgarden, Faith No More, Motorhead, Soulfly, Hell and Bo Ningen. Tickets go on sale at 9am on Friday. To mark the festival announcement, Black Sabbath’s logo was marked out in Hyde Park, and set on fire. A video of the stunt can be seen below.

It’s Black Sabbath’s first UK show since a six-date arena tour in December 2013 in support of their album ’13’. Their line-up features original members Ozzy Osbourne, Tony Iommi and Geezer Butler. Founding drummer Bill Ward left in 2012. Rage Against The Machine drummer Brad Wilk played on ’13’ and on recent tours, though it has yet to be confirmed if he will appear at the festival.

“The first time I came to London I didn’t have a pot to piss in. I spent the advance I got for our first album on a new pair of shoes and some Brut aftershave,” said Osbourne. “We’re doing a bit better for ourselves, so I may even splash out on some new aftershave before Hyde Park, the most beautiful park in London, which has opened its gates to so many legends in the past. We are beyond honoured to be allowed to put on a show and hope that the Royals will enjoy it.”

Other confirmed headliners for the festival are McBusted (July 6) and Neil Young And Crazy Horse (July 12). Organisers say there are due to be three more shows, which will be announced in the coming weeks.

The confirmed line-up for July 4 is as follows:

Great Oak Stage

Black Sabbath

Soundgarden

Faith No More

Motorhead

Soulfly

Barclaycard Theatre

Hell

Kobra And The Lotus

Broken Hands

The Bots

Village Hall

Gallows

Bo Ningen

The Gravel Tones

Hang The Bastard

A Plastic Rose

Summer Stage

Rise To Remain

Blitz Kids

The Struts

The First

Kate Bush for Glastonbury 2014? Wildly optimistic speculation starts here…

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Kate Bush for Glastonbury 2014? Wildly optimistic speculation starts here…

Bookmakers Paddy Power are offering odds of 9/1 that Kate Bush will headline Glastonbury in 2015, after the singer announced her return to live performance. Later in 2014, Bush will play her first live shows since her only previous tour of 1979. Taking place at Eventim Apollo London – the same venue she played at 36 years ago – the 80,000 tickets for all 22 concerts sold out within 15 minutes of going on sale on Friday (March 28). Bush said she was “completely overwhelmed at the response” to her live return, which has the banner ‘Before The Dawn’. Although Bush has never played a festival, she is the first artist to be offered odds of topping the bill of the Pyramid Stage at Glastonbury next year. Paddy Power are also offering odds of 10/1 that the whole of ‘Before The Dawn’ will be cancelled, and 5/2 that Bush will add shows outside of London as part of the tour, which currently has dates between August 26 and October 1. Since going on sale, tickets have been selling for an average of £750 on secondary ticket sites. Their face value is between £49-£135. Although bookmakers are taking odds on Glastonbury in 2015, Arcade Fire are the only confirmed headliners for this year’s festival. They will play on Friday June 27. William Hill suspended betting in February that Kasabian will also headline the Pyramid Stage, while on March 27 Paddy Power made Metallica and Prince joint favourites to headline the Saturday of the festival. However, Emily Eavis recently said that Prince “wasn’t booked this year”.

Bookmakers Paddy Power are offering odds of 9/1 that Kate Bush will headline Glastonbury in 2015, after the singer announced her return to live performance.

Later in 2014, Bush will play her first live shows since her only previous tour of 1979. Taking place at Eventim Apollo London – the same venue she played at 36 years ago – the 80,000 tickets for all 22 concerts sold out within 15 minutes of going on sale on Friday (March 28). Bush said she was “completely overwhelmed at the response” to her live return, which has the banner ‘Before The Dawn’.

Although Bush has never played a festival, she is the first artist to be offered odds of topping the bill of the Pyramid Stage at Glastonbury next year. Paddy Power are also offering odds of 10/1 that the whole of ‘Before The Dawn’ will be cancelled, and 5/2 that Bush will add shows outside of London as part of the tour, which currently has dates between August 26 and October 1. Since going on sale, tickets have been selling for an average of £750 on secondary ticket sites. Their face value is between £49-£135.

Although bookmakers are taking odds on Glastonbury in 2015, Arcade Fire are the only confirmed headliners for this year’s festival. They will play on Friday June 27. William Hill suspended betting in February that Kasabian will also headline the Pyramid Stage, while on March 27 Paddy Power made Metallica and Prince joint favourites to headline the Saturday of the festival. However, Emily Eavis recently said that Prince “wasn’t booked this year”.

Angry John Lennon letter to Phil Spector sells for £53,000

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Angry John Lennon letter to Phil Spector sells for £53,000

A letter written by John Lennon to Phil Spector in the mid 1970s has sold for £53,000 at an online auction – over seven times its estimated pre-auction price of £7,000. Penned in red ink, Lennon wrote the letter at an unknown studio in New York sometime during his ‘Lost Weekend’ – an 18-month period during 1973-75 when the former Beatle had split up from his wife, Yoko Ono. The letter, titled, 'A Matter Of Pee', stated that Lennon had been warned by his record label Capitol that he faced being evicted from the studio. Referring to The Who drummer Keith Moon and singer-songwriter Harry Nilsson, Lennon stated: “Should you not know, it was Harry and Keith who pissed on the console!” Referring to his assistant May Pang, who he briefly dated during the period, Lennon added: “I can’t be expected to mind adult rock stars, nor can May. Besides, she works for me, not A&M.” Lennon produced Nilsson’s 1974 album ‘Pussy Cats’, which Moon drummed on. Moon died from an overdose of a sedative prescribed by his doctor at Nilsson’s home in 1978. The letter was sold to a private collector by London auction house Cooper Owen. Auctioneer Louise Cooper said: “This is a rare note in that it mentions so many well-known figures from the era.” Lennon gave the letter to guitarist Jesse Ed Davis, who sold the letter. Davis played on Lennon’s 1974 album ‘Walls And Bridges’.

A letter written by John Lennon to Phil Spector in the mid 1970s has sold for £53,000 at an online auction – over seven times its estimated pre-auction price of £7,000.

Penned in red ink, Lennon wrote the letter at an unknown studio in New York sometime during his ‘Lost Weekend’ – an 18-month period during 1973-75 when the former Beatle had split up from his wife, Yoko Ono.

The letter, titled, ‘A Matter Of Pee’, stated that Lennon had been warned by his record label Capitol that he faced being evicted from the studio. Referring to The Who drummer Keith Moon and singer-songwriter Harry Nilsson, Lennon stated: “Should you not know, it was Harry and Keith who pissed on the console!”

Referring to his assistant May Pang, who he briefly dated during the period, Lennon added: “I can’t be expected to mind adult rock stars, nor can May. Besides, she works for me, not A&M.” Lennon produced Nilsson’s 1974 album ‘Pussy Cats’, which Moon drummed on. Moon died from an overdose of a sedative prescribed by his doctor at Nilsson’s home in 1978.

The letter was sold to a private collector by London auction house Cooper Owen. Auctioneer Louise Cooper said: “This is a rare note in that it mentions so many well-known figures from the era.” Lennon gave the letter to guitarist Jesse Ed Davis, who sold the letter. Davis played on Lennon’s 1974 album ‘Walls And Bridges’.

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