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The Seventh Uncut Playlist Of 2014

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For a while this week, it looked like I might be able to post a playlist entirely consisting of new entries, at least until I got dragged back into playing the Ryley Walker. But hey, look at all this, not least the clip of Shirley Collins’ first live performance in 30 years, which just showed up. Let me know thoughts, anticipations etc in the comments box. We’ve just finished an issue, so I’ll be taking questions. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Chris Robinson Brotherhood – Phosphorescent Harvest (Silver Arrow) 2 The Spiritualized Mississippi Space Program – Always Forgetting With You (The Bridge Song) (Fat Possum) 3 Thee Oh Sees – Drop (Castleface) 4 A Winged Victory For The Sullen – Atomos VII (Erased Tapes) 5 Kelis – Food (Ninjatune) 6 Howlin Rain – Live Rain (Agitated) 7 The Brothers & Sisters – Dylan’s Gospel (Light In The Attic) 8 Matt Berry – Music For Insomniacs (Acid Jazz) 9 Hurray For The Riff-Raff – Small Town Heroes (ATO) 10 The Rails – Fair Warning (Island) 11 Headland – Sound/Track (Headland) 12 Ryley Walker – All Kinds Of You (Tompkins Square) 13 The People’s Temple – Musical Garden (Hozac) 14 Woo – When The Past Arrives (Drag City) 15 The Amazing Snakeheads – Amphetamine Ballads (Domino) 16 Karen Gwyer – New Roof EP (No Pain In Pop) 17 Sunn 0))) & Ulver – Terrestrials (Southern Lord) 18 Sharon Van Etten – Are We There? (Jagjaguwar) 19 Beck – Morning Phase (Capitol) 20 Sufjan Stevens, Son Lux & Serengeti Present Sisyphus – Sisyphus (Asthmatic Kitty) 21 Shirley Collins – All The Pretty Little Horses/Death & The Lady (Live At The Union Chapel, 2014) http://www.youtube.com/watch?v=V2rx9mmzLXA

For a while this week, it looked like I might be able to post a playlist entirely consisting of new entries, at least until I got dragged back into playing the Ryley Walker. But hey, look at all this, not least the clip of Shirley Collins’ first live performance in 30 years, which just showed up.

Let me know thoughts, anticipations etc in the comments box. We’ve just finished an issue, so I’ll be taking questions.

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

1 Chris Robinson Brotherhood – Phosphorescent Harvest (Silver Arrow)

2 The Spiritualized Mississippi Space Program – Always Forgetting With You (The Bridge Song) (Fat Possum)

3 Thee Oh Sees – Drop (Castleface)

4 A Winged Victory For The Sullen – Atomos VII (Erased Tapes)

5 Kelis – Food (Ninjatune)

6 Howlin Rain – Live Rain (Agitated)

7 The Brothers & Sisters – Dylan’s Gospel (Light In The Attic)

8 Matt Berry – Music For Insomniacs (Acid Jazz)

9 Hurray For The Riff-Raff – Small Town Heroes (ATO)

10 The Rails – Fair Warning (Island)

11 Headland – Sound/Track (Headland)

12 Ryley Walker – All Kinds Of You (Tompkins Square)

13 The People’s Temple – Musical Garden (Hozac)

14 Woo – When The Past Arrives (Drag City)

15 The Amazing Snakeheads – Amphetamine Ballads (Domino)

16 Karen Gwyer – New Roof EP (No Pain In Pop)

17 Sunn 0))) & Ulver – Terrestrials (Southern Lord)

18 Sharon Van Etten – Are We There? (Jagjaguwar)

19 Beck – Morning Phase (Capitol)

20 Sufjan Stevens, Son Lux & Serengeti Present Sisyphus – Sisyphus (Asthmatic Kitty)

21 Shirley Collins – All The Pretty Little Horses/Death & The Lady (Live At The Union Chapel, 2014)

http://www.youtube.com/watch?v=V2rx9mmzLXA

Watch Afghan Whigs new video, “Algiers”

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The reunited Afghan Whigs have released a video ahead of their first new album in 16 years. Scroll down to watch the video for the track "Algiers". It's taken from Do To The Beast, the band's first album since their last album, 1965, which was released in 1998. Do To The Beast will be released on Sub Pop on April 14. Do To The Beast features core members Greg Dulli and bassist John Curley, but it is the first Whigs album that doesn't feature the band's original lead guitarist Rick McCollum. The band reunited briefly in 2012 for a series of festival dates. The Afghan Whigs will play live at Coachella around the release, performing at the Californian festival on April 11 and 18. Speaking about his decision to reform the band with Spin in 2012, Greg Dulli revealed: "I did this acoustic tour about a year and a half ago and John Curley did six of the shows with me, and we had a great time. We hadn’t spent any time on the road together since the band. In the spring, I spent a couple days in Minneapolis with Rick McCollum, and that was also a great time. Plus, I had nothing really pressing this summer, so it gives me something to do. " http://www.youtube.com/watch?v=ovhzeqIaggY

The reunited Afghan Whigs have released a video ahead of their first new album in 16 years.

Scroll down to watch the video for the track “Algiers“.

It’s taken from Do To The Beast, the band’s first album since their last album, 1965, which was released in 1998. Do To The Beast will be released on Sub Pop on April 14.

Do To The Beast features core members Greg Dulli and bassist John Curley, but it is the first Whigs album that doesn’t feature the band’s original lead guitarist Rick McCollum.

The band reunited briefly in 2012 for a series of festival dates.

The Afghan Whigs will play live at Coachella around the release, performing at the Californian festival on April 11 and 18.

Speaking about his decision to reform the band with Spin in 2012, Greg Dulli revealed: “I did this acoustic tour about a year and a half ago and John Curley did six of the shows with me, and we had a great time. We hadn’t spent any time on the road together since the band. In the spring, I spent a couple days in Minneapolis with Rick McCollum, and that was also a great time. Plus, I had nothing really pressing this summer, so it gives me something to do. ”

Jonny Greenwood says modern guitar bands play their “grandparents’ instruments”

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Jonny Greenwood has accused modern guitar bands of playing their "grandparents instruments". Speaking to NME in a new interview, which you can read in full by clicking here, Greenwood was asked about the challenges facing guitars players in 2014. "Guitar bands forming now are often playing the inst...

Jonny Greenwood has accused modern guitar bands of playing their “grandparents instruments”.

Speaking to NME in a new interview, which you can read in full by clicking here, Greenwood was asked about the challenges facing guitars players in 2014. “Guitar bands forming now are often playing the instruments of their grandparents’ generation – and often in the same style,” he commented. “The Beatles didn’t pick up banjos when they started, after all…”.

Greenwood, who plays Wapping Hydraulic Power Station this Sunday (February 23) with London Contemporary Orchestra soloists, added: “I guess, looked at in the right way, things like 808 drum machines are now very old, but still ubiquitous. So maybe it’s better to think of all these things as being as current – or as retro – as anything else. I enjoy there being lots of technology to play with, however old it is.”

Speaking about his plans for this weekend’s show, he said he’ll be playing new material, including “A few short pieces – hopefully one with guitar and strings, if it’s sounding OK in rehearsals.” He will also be performing his soundtrack material from There Will Be Blood, Norwegian Wood and The Master.

It was recently revealed that Greenwood will score the soundtrack to the new Thomas Anderson film, Inherent Vice. The guitarist worked on the music for the director’s last two films – There Will Be Blood and The Master – and has now signed up to write the score for the upcoming crime movie, with London’s Royal Philharmonic Orchestra.

Next month (March 3), Greenwood will release a split album of orchestral compositions with The National‘s Bryce Dessner. The LP, entitled St. Carolyn By The Sea/Suite From There Will Be Blood will feature Dessner’s 2011 work St. Carolyn By The Sea – on which Dessner’s brother, The National’s Aaron Dessner plays electric guitar – 2012’s Lachrimae and 2007’s Raphael alongside Greenwood’s There Will Be Blood score.

Billy Corgan plans eight hour ambient jam inspired by Hermann Hesse’s novel, Siddhartha

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Smashing Pumpkins frontman Billy Corgan is set to play an eight hour long gig based on author Hermann Hesse's 1922 novel, Siddhartha. The free show will take place on February 28 at Corgan's own Madame ZuZu's Teahouse in Highland Park, Chicago. Writing about the performance on Facebook, Corgan said the performance will last 8-9 hours. "Performance will be centered around an ambient/musical interpretation of Hermann Hesse's Siddhartha; built by modular synthesis, on the fly," he said. "Readings of the text to go hand in hand with whatever is created; + the first @Hexistential poster, and event t-shirts too. Hope to see you there." In March 2013, Corgan said that Smashing Pumpkins had officially started writing their new album. "Excited to announce today's our 1st official day of writing for new SP album. Wish us luck!," he tweeted. On February 5 of this year, he also posted a picture of himself with a guitar with the caption "Writing new SP songs". Smashing Pumpkins released their last album, Oceania, in 2012. It was their eighth studio LP.

Smashing Pumpkins frontman Billy Corgan is set to play an eight hour long gig based on author Hermann Hesse’s 1922 novel, Siddhartha.

The free show will take place on February 28 at Corgan’s own Madame ZuZu’s Teahouse in Highland Park, Chicago. Writing about the performance on Facebook, Corgan said the performance will last 8-9 hours. “Performance will be centered around an ambient/musical interpretation of Hermann Hesse’s Siddhartha; built by modular synthesis, on the fly,” he said. “Readings of the text to go hand in hand with whatever is created; + the first @Hexistential poster, and event t-shirts too. Hope to see you there.”

In March 2013, Corgan said that Smashing Pumpkins had officially started writing their new album. “Excited to announce today’s our 1st official day of writing for new SP album. Wish us luck!,” he tweeted. On February 5 of this year, he also posted a picture of himself with a guitar with the caption “Writing new SP songs”.

Smashing Pumpkins released their last album, Oceania, in 2012. It was their eighth studio LP.

Devo’s Bob Casale dies aged 61

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Devo's guitarist Bob Casale has died, reports Variety. Devo founder Gerald Casale broke the news on the band's Facebook page “As an original member of Devo, Bob Casale was there in the trenches with me from the beginning," wrote Gerald Casale. "He was my level-headed brother, a solid performer and talented audio engineer, always giving more than he got. He was excited about the possibility of Mark Mothersbaugh allowing Devo to play shows again. His sudden death from conditions that lead to heart failure came as a total shock to us all.” Former Devo drummer Alan Myers, who played with the band from 1976 to 1985, died from cancer in June 2013.

Devo’s guitarist Bob Casale has died, reports Variety.

Devo founder Gerald Casale broke the news on the band’s Facebook page

“As an original member of Devo, Bob Casale was there in the trenches with me from the beginning,” wrote Gerald Casale. “He was my level-headed brother, a solid performer and talented audio engineer, always giving more than he got. He was excited about the possibility of Mark Mothersbaugh allowing Devo to play shows again. His sudden death from conditions that lead to heart failure came as a total shock to us all.”

Former Devo drummer Alan Myers, who played with the band from 1976 to 1985, died from cancer in June 2013.

David Crosby undergoes heart surgery

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David Crosby has confirmed he underwent heart surgery on Friday, February 14. According to a statement on his website, "At the urging of his doctor, on Friday, February 14, David Crosby underwent a cardiac catheterization and angiogram, based on the results of a routine cardiac stress test. The lef...

David Crosby has confirmed he underwent heart surgery on Friday, February 14.

According to a statement on his website, “At the urging of his doctor, on Friday, February 14, David Crosby underwent a cardiac catheterization and angiogram, based on the results of a routine cardiac stress test. The left anterior coronary artery was found to be 90% blocked, and two stents were placed to provide blood flow to his heart muscle. David is expected to have a full recovery. He did not have a heart attack, though it is certain that had he chosen to ignore his doctor’s urgent recommendation, it would have led to one.”

The statement continued: “‘I am very glad that I listened to my doctors and my family. It seems I am once again a very lucky man,’ says David Crosby. ‘I’m sorry to have to move the dates, but I promise the music will be good when we do play them.'”

Crosby, who is 72, has also rescheduled a clutch of solo dates.

The statement says, “Because he has been instructed to rest before resuming normal activities, the two (2) sold out shows scheduled for the Great American Music Hall in San Francisco on Feb. 20 and 21 have been postponed to April 20 and 21. Please contact the box office at the Great American Music Hall for details. The five (5) sold out shows at the Troubadour in Los Angeles, CA previously scheduled for Feb. 23, 24, 25, 27, 28 will also be postponed to April. The exact dates will be announced very shortly.

“All Crosby, Stills & Nash shows will continue as scheduled. The first show of CSN’s 2014 tour kicks off in Richmond, VA on March 4th.”

Bob Dylan, Led Zeppelin, Neil Young, Bruce Springsteen, The Beatles, David Bowie. . .a hard rain and all that

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What sounded like the roof coming off the house sometime in the early hours of last Sunday morning during what you can only hope was the last of the winter’s great storms woke me with a start, stirring me from a hugely disturbing dream in which I was on Mastermind answering questions in my specialist round on The Vicar of Dibley, Seasons 1-3 (1994-2007). I was perhaps understandably so unnerved by this weird reverie I couldn’t even think about reclaiming the sleep from which I’d been so rudely jolted, so instead made this playlist of songs inspired, if that’s the right word, by the wretched recent weather. If nothing else, it’s an excuse to include one of my favourite Bob Dylan performances, a version of “A Hard Rain’s A-Gonna Fall” from The Great Music Experience festival in Nara, Japan, from May 1994, when Bob was backed by the 90-strong New Tokyo Philharmonic orchestra, conducted by Michael Kamen. That’s the great Jim Keltner on drums, by the way. BOB DYLAN A Hard Rain’s A-Gonna Fall http://www.youtube.com/watch?v=wCGoOPM2_x0 THE BEATLES Rain http://www.youtube.com/watch?v=0aOJGJD-SQc NEIL YOUNG & CRAZY HORSE Like A Hurricane http://www.youtube.com/watch?v=-yxiu1o63CA LED ZEPPELIN WITH NEIL YOUNG When The Levee Breaks http://www.youtube.com/watch?v=_wCvUynhYRY DAVID BOWIE Wild Is The Wind http://www.youtube.com/watch?v=AeQKUIZXDzc CREEDENCE CLEARWATER REVIVAL Who’ll Stop The Rain? http://www.youtube.com/watch?v=kmrwAW5-5rU ARCTIC MONKEYS She’s Thunderstorms) http://www.youtube.com/watch?v=8WgFX0d7hDs BRUCE SPRINGSTEEN Thunder Road http://www.youtube.com/watch?v=iNNcIhZbH-0 CREEDENCE CLEARWATER REVIVAL Have You Ever Seen The Rain? http://www.youtube.com/watch?v=ixmvEtQyzvs BOB DYLAN High Water (For Charley Patton)) http://www.youtube.com/watch?v=48jd7a0PEMM REM So Central Rain/Have You Ever Seen The Rain? http://www.youtube.com/watch?v=XdtHk_aGY3s BRYAN FERRY A Hard Rain's A-Gonna Fall http://www.youtube.com/watch?v=DUR5uu8tOh8 THE FOLKSMEN A Mighty Wind Is Blowin’ http://www.youtube.com/watch?v=mVh0Iq_85aw Bob Dylan pic: FRED TANNEAU/AFP/Getty Images _

What sounded like the roof coming off the house sometime in the early hours of last Sunday morning during what you can only hope was the last of the winter’s great storms woke me with a start, stirring me from a hugely disturbing dream in which I was on Mastermind answering questions in my specialist round on The Vicar of Dibley, Seasons 1-3 (1994-2007).

I was perhaps understandably so unnerved by this weird reverie I couldn’t even think about reclaiming the sleep from which I’d been so rudely jolted, so instead made this playlist of songs inspired, if that’s the right word, by the wretched recent weather.

If nothing else, it’s an excuse to include one of my favourite Bob Dylan performances, a version of “A Hard Rain’s A-Gonna Fall” from The Great Music Experience festival in Nara, Japan, from May 1994, when Bob was backed by the 90-strong New Tokyo Philharmonic orchestra, conducted by Michael Kamen. That’s the great Jim Keltner on drums, by the way.

BOB DYLAN

A Hard Rain’s A-Gonna Fall

THE BEATLES

Rain

http://www.youtube.com/watch?v=0aOJGJD-SQc

NEIL YOUNG & CRAZY HORSE

Like A Hurricane

LED ZEPPELIN WITH NEIL YOUNG

When The Levee Breaks

DAVID BOWIE

Wild Is The Wind

CREEDENCE CLEARWATER REVIVAL

Who’ll Stop The Rain?

ARCTIC MONKEYS

She’s Thunderstorms)

BRUCE SPRINGSTEEN

Thunder Road

CREEDENCE CLEARWATER REVIVAL

Have You Ever Seen The Rain?

BOB DYLAN

High Water (For Charley Patton))

REM

So Central Rain/Have You Ever Seen The Rain?

BRYAN FERRY

A Hard Rain’s A-Gonna Fall

THE FOLKSMEN

A Mighty Wind Is Blowin’

Bob Dylan pic: FRED TANNEAU/AFP/Getty Images

_

Watch Bruce Springsteen and Eddie Vedder cover AC/DC

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Bruce Springsteen was joined on stage by Eddie Vedder over the weekend. Springsteen and the E Street Band were performing at AAMI Park in Melbourne, Australia on Saturday (February 15). They opened their set with a cover of AC/DC's "Highway To Hell", with Vedder joining in on vocals. http://www.y...

Bruce Springsteen was joined on stage by Eddie Vedder over the weekend.

Springsteen and the E Street Band were performing at AAMI Park in Melbourne, Australia on Saturday (February 15).

They opened their set with a cover of AC/DC’s “Highway To Hell“, with Vedder joining in on vocals.

Vedder also performed “Darkness On The Edge of Town“, the second song of the set, with the band.

Bruce Springsteen had previously opened his set at the Perth Arena in Australia with a cover of AC/DC’s 1979 hit ‘Highway To Hell’ on February 6. The late AC/DC singer Bon Scott grew up near Perth.

The Specials announce autumn tour

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The Specials have announced plans for an 11-date tour of the UK and Ireland this coming November. The tour starts at Dublin Olympia on November 3, with dates in Belfast, Glasgow, Newcastle, Manchester and more to follow, including two dates at London's Roundhouse on November 13 and 14. Tickets go o...

The Specials have announced plans for an 11-date tour of the UK and Ireland this coming November.

The tour starts at Dublin Olympia on November 3, with dates in Belfast, Glasgow, Newcastle, Manchester and more to follow, including two dates at London’s Roundhouse on November 13 and 14. Tickets go on sale at 9am on February 21.

Ahead of the tour, Specials frontman Terry Hall will be DJing at The Wolf House in London’s Islington, on March 6, April 3 and May 1.

The Specials will play:

Dublin Olympia (November 3)

Belfast Ulster Hall (4)

Glasgow Barrowland (6)

Newcastle O2 Academy (9)

Manchester O2 Apollo (11)

London Roundhouse (13, 14)

Brighton Dome (17)

Bournemouth O2 Academy (18)

Wolverhampton Civic (20)

Nottingham Rock City (22)

Echo And The Bunnymen finishing up new album

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Echo And The Bunnymen have almost finished their new album. Writing on their Facebook page, the band revealed their new studio LP is "nearing completion", adding that a European tour in support of the record has already been booked. They wrote: We are very excited to announce that the brand new s...

Echo And The Bunnymen have almost finished their new album.

Writing on their Facebook page, the band revealed their new studio LP is “nearing completion”, adding that a European tour in support of the record has already been booked. They wrote:

We are very excited to announce that the brand new studio album produced by Youth (The Verve, Embrace etc) is nearing completion and that a title and artwork are decided plus a full European tour already booked. US dates to follow. Ian feels it’s the bands best work for a very long time.

The album is the band’s first since 2009’s ‘The Fountain’. In 2012 frontman Ian McCulloch released the solo album ‘Pro Patria Mori’, which came with ‘Holy Ghosts’, an album of orchestral versions of Echo And The Bunnymen songs.

The idea for the album came about after a show McCulloch played at the Union Chapel in London. Producer Youth re-recorded the tracks, including The Bunnymen’s ‘Lips Like Sugar’, ‘Rescue’, ‘Nothing Lasts Forever’ and ‘The Killing Moon’.

Photo credit: Joe Dilworth

Prince covers The Waterboys at Ronnie Scott’s show

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Prince played the smallest so far of his London 'Hit and Run' gigs yesterday [February 17], performing at the 250 capacity Ronnie Scott's venue. The set included a surprise cover version of The Waterboys' "The Whole Of The Moon". The song – originally released in 1985 – is long rumoured to hav...

Prince played the smallest so far of his London ‘Hit and Run’ gigs yesterday [February 17], performing at the 250 capacity Ronnie Scott’s venue.

The set included a surprise cover version of The Waterboys‘ “The Whole Of The Moon”. The song – originally released in 1985 – is long rumoured to have been written about Prince. The band have denied this but singer Mike Scott told Uncut that the sound was inspired by Prince.

Scott said: “The sound of ‘…Moon’, its synths, which crop up almost nowhere else in Waterboys music, was me copping sonic ideas from Prince, which Karl [Wallinger, keyboards], also a big Prince fan, was able to translate. I’d turned him onto Prince, played him ‘Purple Rain’ in the summer of ’84.”

Prince’s setlist, as reported by Gigwise, was:

‘Liathach’

‘Shade Of Umber’

‘I Could Never Take The Place Of Your Man’

‘Beautiful Strange’

‘Who Is He And What Is He 2 U?’

‘Sex Machine’

‘Take Me With You’

‘Cool’

‘Do Me Baby’

‘The Most Beautiful Girl In The World’

‘Diamonds And Pearls’

‘The Beautiful Ones’

‘Something In The Water’

‘The Whole Of The Moon’

Broken Bells – After The Disco

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Supple mood music tailored for a rainy Sunday afternoon... Broken Bells’ second full-length album, which arrives 10 years after Brian Burton, aka Danger Mouse, first made his mark on pop culture with the cut-and-paste tour de force, The Grey Album, neatly bookends the wide-ranging first decade of this audacious auteur. Like Gnarls Barkley before it, Broken Bells presents the producer/one-man-band with ample opportunity to combine his studio wizardry with a singular voice, this one belonging to The Shins’ James Mercer. Still, there are more levels to this collaboration than the obvious one of producer and singer. Although he’s put his sonic stamp on every Danger Mouse production, from Gorillaz’s Demon Days (2005) and Beck’s Modern Guilt (2008) to The Black Keys’ El Camino (2011) and Norah Jones’ Little Broken Hearts (2012), there Burton is essentially serving the needs of a client; here he’s a fully-fledged band member. Likewise, Mercer, a singer-songwriter who has disguised himself as a bandleader with The Shins since 2001’s Oh, Inverted World, gets another chance to mix it up with a kindred spirit. If the duo’s self-titled 2010 debut album made it apparent that Burton and Mercer had found a fruitful common ground in their cerebral approaches to making music, the rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership; its 11 tracks are the result of a balanced back-and-forth in the writing, arranging and playing. The album’s opening triptych forms an extended ode to the shimmering sounds of the new wave era, as Burton, 36, and Mercer, 42, appropriate and apply the music of their ’80s childhoods to the rarefied chemistry they create together, with rapturous results. The three tracks are elegantly contoured pieces of aural architecture. “Perfect World” is a pocket symphony for analogue synths with two distinct movements. “After The Disco” bounces along on a springy old-school groove of the order of Daft Punk’s “Get Lucky”. And first single “Holding On For Life” showcases Mercer’s chromium falsetto as his chorus vocals form a reverent homage to the Bee Gees circa Saturday Night Fever, set off by a surging middle-eight in the manner of Tears For Fears’ “Pale Shelter”. This soulful and scintillating track is the most delectable pop confection Burton has come up with since Gnarls Barkley’s “Crazy”, while also displaying the feint-and-parry dynamic of Shins classics like “New Slang” or “Sea Legs”. Following this super-saturated opening segment, the album turns sepia-toned, starting with the hushed, dusky “Leave It Alone”. Five of the remaining eight tracks are burnished by string arrangements from Daniele Lippi, Burton’s partner in Rome, their lush and atmospheric paean to the Italian film music of the 1960s, their presence deepening the nostalgic feel of the album. But even as the atmosphere darkens, the partners keep the quantised midtempo grooves percolating and the analog synths chirping. “The Changing Lights” juxtaposes an undulating Smiths-like verse melody and a subtle nod to Morrissey in Mercer’s vocal with a full-on soul-gospel chorale in the choruses. The chugging but languid “Medicine” could be a newly discovered Scritti Politti rarity, while the following “No Matter What You’re Told” is an unlikely amalgam of The Clash and the Swingle Singers. From there, the mood deepens to blue noir with the languid, lovely ballad “The Angel And The Fool”, giving way to the elegiac introspection of the closing “The Remains Of Rock & Roll”, which functions as an end-title theme for this New Wave spaghetti western. It will be fascinating to see how much of the Danger Mouse signature sound finds its way into Burton’s upcoming productions of Frank Ocean and U2 (his fingerprints are all over “Ordinary Love”, their contribution to the soundtrack to Mandela: Long Walk To Freedom). There’s also the follow-up to El Camino to look forward to, as well as Mercer’s next Shins opus. But no matter what delectations Burton and Mercer offer up later this year, they’ve begun 2014 with a flourish – at the tops of their games, totally in sync with one another. Bud Scoppa Q&A James Mercer Was the falsetto chorus of “Holding On for Life” consciously based on the Bee Gees? That was a coincidence. I was singing over the verse trying to come up with a new melody. Brian picked that melody out and said it should be the chorus. We put together some lyrics, then I sang them in a falsetto to get it to a certain energy level, and it just sounded like me doing a falsetto. Then he had me do layers of it, and when he played that back, I laughed out loud. It was like the Gibbs were singing to me. I like that thing where you’re almost, “Is this too much?” I seem to always find myself in that situation, so I just embrace it. “The Remains Of Rock & Roll”, what’s it all about? We both have careers that happen to be poised on this downward slope of where music fits into pop culture. It used to be such a big deal, but the ones that are hugely successful now are just sort of… silly. Not that we’re cynical about it. Did you listen to particular records when prepping for the album? We listened to Kraftwerk to get an inspiration about beats and sounds. We wondered how they were able to get such powerful moments out of so little. We also listened to some pretty banal ’80s music. What’s the common ground between you two? We both have a love for hooks and melancholy pop music. We just share that affinity for sadness – and also a good beat, strangely. Nowadays, you don’t really see melody and beats and rhythm given this balanced approach. INTERVIEW: BUD SCOPPA

Supple mood music tailored for a rainy Sunday afternoon…

Broken Bells’ second full-length album, which arrives 10 years after Brian Burton, aka Danger Mouse, first made his mark on pop culture with the cut-and-paste tour de force, The Grey Album, neatly bookends the wide-ranging first decade of this audacious auteur. Like Gnarls Barkley before it, Broken Bells presents the producer/one-man-band with ample opportunity to combine his studio wizardry with a singular voice, this one belonging to The Shins’ James Mercer.

Still, there are more levels to this collaboration than the obvious one of producer and singer. Although he’s put his sonic stamp on every Danger Mouse production, from Gorillaz’s Demon Days (2005) and Beck’s Modern Guilt (2008) to The Black Keys’ El Camino (2011) and Norah Jones’ Little Broken Hearts (2012), there Burton is essentially serving the needs of a client; here he’s a fully-fledged band member. Likewise, Mercer, a singer-songwriter who has disguised himself as a bandleader with The Shins since 2001’s Oh, Inverted World, gets another chance to mix it up with a kindred spirit. If the duo’s self-titled 2010 debut album made it apparent that Burton and Mercer had found a fruitful common ground in their cerebral approaches to making music, the rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership; its 11 tracks are the result of a balanced back-and-forth in the writing, arranging and playing.

The album’s opening triptych forms an extended ode to the shimmering sounds of the new wave era, as Burton, 36, and Mercer, 42, appropriate and apply the music of their ’80s childhoods to the rarefied chemistry they create together, with rapturous results. The three tracks are elegantly contoured pieces of aural architecture. “Perfect World” is a pocket symphony for analogue synths with two distinct movements. “After The Disco” bounces along on a springy old-school groove of the order of Daft Punk’s “Get Lucky”. And first single “Holding On For Life” showcases Mercer’s chromium falsetto as his chorus vocals form a reverent homage to the Bee Gees circa Saturday Night Fever, set off by a surging middle-eight in the manner of Tears For Fears’ “Pale Shelter”. This soulful and scintillating track is the most delectable pop confection Burton has come up with since Gnarls Barkley’s “Crazy”, while also displaying the feint-and-parry dynamic of Shins classics like “New Slang” or “Sea Legs”.

Following this super-saturated opening segment, the album turns sepia-toned, starting with the hushed, dusky “Leave It Alone”. Five of the remaining eight tracks are burnished by string arrangements from Daniele Lippi, Burton’s partner in Rome, their lush and atmospheric paean to the Italian film music of the 1960s, their presence deepening the nostalgic feel of the album. But even as the atmosphere darkens, the partners keep the quantised midtempo grooves percolating and the analog synths chirping. “The Changing Lights” juxtaposes an undulating Smiths-like verse melody and a subtle nod to Morrissey in Mercer’s vocal with a full-on soul-gospel chorale in the choruses.

The chugging but languid “Medicine” could be a newly discovered Scritti Politti rarity, while the following “No Matter What You’re Told” is an unlikely amalgam of The Clash and the Swingle Singers. From there, the mood deepens to blue noir with the languid, lovely ballad “The Angel And The Fool”, giving way to the elegiac introspection of the closing “The Remains Of Rock & Roll”, which functions as an end-title theme for this New Wave spaghetti western.

It will be fascinating to see how much of the Danger Mouse signature sound finds its way into Burton’s upcoming productions of Frank Ocean and U2 (his fingerprints are all over “Ordinary Love”, their contribution to the soundtrack to Mandela: Long Walk To Freedom). There’s also the follow-up to El Camino to look forward to, as well as Mercer’s next Shins opus. But no matter what delectations Burton and Mercer offer up later this year, they’ve begun 2014 with a flourish – at the tops of their games, totally in sync with one another.

Bud Scoppa

Q&A

James Mercer

Was the falsetto chorus of “Holding On for Life” consciously based on the Bee Gees?

That was a coincidence. I was singing over the verse trying to come up with a new melody. Brian picked that melody out and said it should be the chorus. We put together some lyrics, then I sang them in a falsetto to get it to a certain energy level, and it just sounded like me doing a falsetto. Then he had me do layers of it, and when he played that back, I laughed out loud. It was like the Gibbs were singing to me. I like that thing where you’re almost, “Is this too much?” I seem to always find myself in that situation, so I just embrace it.

“The Remains Of Rock & Roll”, what’s it all about?

We both have careers that happen to be poised on this downward slope of where music fits into pop culture. It used to be such a big deal, but the ones that are hugely successful now are just sort of… silly. Not that we’re cynical about it.

Did you listen to particular records when prepping for the album?

We listened to Kraftwerk to get an inspiration about beats and sounds. We wondered how they were able to get such powerful moments out of so little. We also listened to some pretty banal ’80s music.

What’s the common ground between you two?

We both have a love for hooks and melancholy pop music. We just share that affinity for sadness – and also a good beat, strangely. Nowadays, you don’t really see melody and beats and rhythm given this balanced approach.

INTERVIEW: BUD SCOPPA

Detroit chef designs 10 course meal inspired by Radiohead’s Kid A

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A Detroit chef has designed a 10 course meal inspired by Radiohead's Kid A album, reports The Huffington Post. Kyle Hanley, a chef at the Detroit Golf Club, has created a menu designed to pair a course up with each track on the 2000 record, while Joseph Allerton, a food and beverage director, chooses the complementing wine and cocktails by considering the music rather than the food it will be consumed with. Hanley told the publication he studied music before becoming a chef and hears "textures and colours" when he listens to an album. "Especially Radiohead, they are very textural. They are a very visceral band," he said. Of the idea to create a menu inspired by an album, Hanley explained: "Most people put out CDs, and this is an actual album. One song flows into the next, and we kind of want to do the same thing with the courses." The 10 course meal begins with "Everything In Its Right Place", which translates to a dish of pan-seared diver scallop, yuzu fluid gel, fried cellophane noodle, lemongrass ponzu, chili oil, with Pfalz Riesling. It concludes with "Motion Picture Soundtrack" - a mousse dou with blackberry pâte de fruit Niepoort LBV port. The full menu is available to view here. Currently, the meal is only planned to be served at Detroit's Elizabeth Theatre on February 19 but Hanley and his business partner Bill Keros are considering turning the event into a monthly series with different albums inspiring each dinner.

A Detroit chef has designed a 10 course meal inspired by Radiohead’s Kid A album, reports The Huffington Post.

Kyle Hanley, a chef at the Detroit Golf Club, has created a menu designed to pair a course up with each track on the 2000 record, while Joseph Allerton, a food and beverage director, chooses the complementing wine and cocktails by considering the music rather than the food it will be consumed with.

Hanley told the publication he studied music before becoming a chef and hears “textures and colours” when he listens to an album. “Especially Radiohead, they are very textural. They are a very visceral band,” he said.

Of the idea to create a menu inspired by an album, Hanley explained: “Most people put out CDs, and this is an actual album. One song flows into the next, and we kind of want to do the same thing with the courses.” The 10 course meal begins with “Everything In Its Right Place“, which translates to a dish of pan-seared diver scallop, yuzu fluid gel, fried cellophane noodle, lemongrass ponzu, chili oil, with Pfalz Riesling. It concludes with “Motion Picture Soundtrack” – a mousse dou with blackberry pâte de fruit Niepoort LBV port. The full menu is available to view here.

Currently, the meal is only planned to be served at Detroit’s Elizabeth Theatre on February 19 but Hanley and his business partner Bill Keros are considering turning the event into a monthly series with different albums inspiring each dinner.

Hear Beck’s new album Morning Phase ahead of official release

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Beck is streaming his new album Morning Phase ahead of its official release. The Los Angeles singer-songwriter is letting fans listen to the record a week early via NPR. Click here to listen to the album before its release on February 24. Beck recently revealed that some high profile collaborati...

Beck is streaming his new album Morning Phase ahead of its official release.

The Los Angeles singer-songwriter is letting fans listen to the record a week early via NPR. Click here to listen to the album before its release on February 24.

Beck recently revealed that some high profile collaborations could be made available later in the year. He told Billboard he set the tracks aside to focus on his new record but they could see the light of day before the end of 2014, “time willing”.

Speaking about Morning Phase in Uncut‘s 2014 Album Preview, Beck said: “I set out to make a gritty king of record, along the lines of those early ’70s singer-songwriter records. But the songs ended up having another quality to them. There are harmonies there: Simon & Garfunkel, Crosby, Stills & Nash, The Everly Brothers, The Stanley Brothers. The Mamas & The Papas, even.”

AC/DC plan new album and 40th anniversary tour

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AC/DC have revealed plans to enter the studio later this year in order to record their first new album since 2008's Brendan O'Brien produced Black Ice. The band will also be heading out on a 40th anniversary tour, which, says Brian Johnson, will comprise 40 special gigs. Speaking to Florida radio s...

AC/DC have revealed plans to enter the studio later this year in order to record their first new album since 2008’s Brendan O’Brien produced Black Ice.

The band will also be heading out on a 40th anniversary tour, which, says Brian Johnson, will comprise 40 special gigs. Speaking to Florida radio station Gater 98.7 – via Rolling Stone – Johnson said the band would be heading to a Vancouver studio in May to record their 16th studio album. Of a proposed anniversary tour, he added:

“Its been 40 years of the band’s existence. So I think we’re gonna try to do 40 gigs, 40 shows, to thank the fans for their undying loyalty. I mean, honestly, our fans are just the best in the world, and we appreciate every one of them. So, like I said, we’ll have to go out, even though we’re getting a bit long in the tooth. You know what? It’s been four years, and I’m really looking forward to it.”

Bruce Springsteen opened his set at the Perth Arena in Australia on February 6 with a cover of AC/DC’s 1979 hit “Highway To Hell”. Click here to watch it.

Tony Visconti: unreleased David Bowie material is “astounding”

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Tony Visconti has said that there are two or three "astounding" tracks left over from the sessions for the artist's 2013 comeback album, The Next Day. The producer was speaking at the Music Producers Guild Awards on February 14, where he collected Bowie's innovation honour on the artist's behalf. ...

Tony Visconti has said that there are two or three “astounding” tracks left over from the sessions for the artist’s 2013 comeback album, The Next Day.

The producer was speaking at the Music Producers Guild Awards on February 14, where he collected Bowie’s innovation honour on the artist’s behalf. He said that the unreleased songs could still be put out one day.

BBC News reports that Visconti said both he and Bowie were “very excited” by the reaction to last year’s Mercury Prize nominated LP. “We were very excited with the reaction. Honestly I was in a daze for the first week, because keeping a secret for two years took quite a lot of lying. I almost started believing my own stories!”

He continued: “No one believed that David Bowie was going to make another album and so the timing was perfect, because everyone kind of gave up on him. There were rumours of bad health and rumours of retirement, and I’m laughing my head off every time I hear them. I’m in the studio with a very healthy man who has no problem writing songs, he wrote easily 30 songs for that album.”

Wes Anderson’s The Grand Budapest Hotel

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Without giving too much away here, one of the main characters in Wes Anderson’s new film works in a patisserie. There, she helps the owner, Mendl, concoct elaborate and sumptuous-looking pasties and cakes for the locals in l’entre deux guerres Lutz, a sleepy, Alpine town in the Republic of Zubrowka. These fabulous confections might reasonably act as an appropriate metaphor for Anderson’s film itself: colourful and delightful, rich with handcrafted detail. Anderson, of course, has habitually set his films in their own self-contained environments – an elite prep school, a New York brownstone, a submarine, a train car, even an island – but here he has gone one step further to create an entire European state, populated by ancient aristocratic dynasties and eccentric but well-meaning civilians. At the centre of this fuddy Ruritanian analogue lies the Grand Budapest Hotel, a splendid dolls’ house of a building overseen by the particular but kindly concierge, Gustave H (Ralph Fiennes). In a typical Anderson flourish, M. Gustave’s antics are presented to us via a number of leapfrogging narratives (distinguished by different aspect ratios, naturally): a girl reading a book in the present day called The Grand Hotel Budapest, a to-camera address by its author in 1985, a flashback to a 1969 meeting in the Hotel which inspired the book, and finally to 1932, where we find the Hotel in its imperial phase and Gustave in full pomp. What follows – this being a Wes Anderson film – involves a secret code, mysterious societies, a murder, a priceless painting, the plot skipping gamely from hotel to prison and beyond to the snowy peaks of Zubrowka. As you’d expect, the colour palette and composition of every shot is exquisite, the attention to detail fastidious. Certain scenes rendered in stop-frame animation – a ski chase, a ride on a funicular – blend imperceptibly into the live action. It is utterly artificial and yet wholly beguiling. A lot of that is to do with the impressive work done here by Ralph Fiennes – admittedly, not an actor known for his comedy work, but who is terrific as M. Gustave, all prickly hauteur and prissy imperiousness, yet also an incorrigible libertine who seduces the hotel’s elderly female guests (“84? I’ve had older.”) Fiennes’ nimble performance anchors the film – though props are due to the usual high-functioning cast Anderson has assembled for this exuberant caper, including Bill Murray, Willem Dafoe, Jeff Goldlblum, Adrien Brody, Ed Norton, Tilda Swinton and Harvey Keitel. A comedy, yes, but the film has a deepening melancholic edge to it: an awareness that this wonderfully preserved Belle Époque world is facing the vicissitudes of the period: towards the film’s end, the Hotel is requisitioned as a barracks for troops in familiar dark uniforms; certain travel permits are no suddenly longer valid. While Zubrowka is a mittel-European fantasia, nevertheless Anderson has decided that the very real intrusion of war is valid, the era to be trampled underfoot by an invading fascist army. The key, perhaps, to understanding the film lies in the 1969 setting. There, the book’s author – played by Jude Law – hears the story of M. Gustave’s exploits from Zero Mustapha (F Murray Abraham), who was once Gustave’s protégé (played by a pencil-mostachio'd Tony Revolori) and is now its owner. In the years since the war, the Grand Budapest Hotel has become “an enchanted old ruin”, run down and shabby. Although Anderson’s film announces itself as a whimsical construct, its artifice continually reinforced by literary devices, narrators, time periods and ‘Chapter’ headings, the murmurings of European conflict become increasingly hard to avoid. This celebration of the glory days of a particular era are finally, quite subtly overtaken by a genuine sadness. Follow me on Twitter @MichaelBonner. http://www.youtube.com/watch?v=1Fg5iWmQjwk The Grand Budapest Hotel opens in the UK on March 7

Without giving too much away here, one of the main characters in Wes Anderson’s new film works in a patisserie.

There, she helps the owner, Mendl, concoct elaborate and sumptuous-looking pasties and cakes for the locals in l’entre deux guerres Lutz, a sleepy, Alpine town in the Republic of Zubrowka. These fabulous confections might reasonably act as an appropriate metaphor for Anderson’s film itself: colourful and delightful, rich with handcrafted detail. Anderson, of course, has habitually set his films in their own self-contained environments – an elite prep school, a New York brownstone, a submarine, a train car, even an island – but here he has gone one step further to create an entire European state, populated by ancient aristocratic dynasties and eccentric but well-meaning civilians. At the centre of this fuddy Ruritanian analogue lies the Grand Budapest Hotel, a splendid dolls’ house of a building overseen by the particular but kindly concierge, Gustave H (Ralph Fiennes). In a typical Anderson flourish, M. Gustave’s antics are presented to us via a number of leapfrogging narratives (distinguished by different aspect ratios, naturally): a girl reading a book in the present day called The Grand Hotel Budapest, a to-camera address by its author in 1985, a flashback to a 1969 meeting in the Hotel which inspired the book, and finally to 1932, where we find the Hotel in its imperial phase and Gustave in full pomp.

What follows – this being a Wes Anderson film – involves a secret code, mysterious societies, a murder, a priceless painting, the plot skipping gamely from hotel to prison and beyond to the snowy peaks of Zubrowka. As you’d expect, the colour palette and composition of every shot is exquisite, the attention to detail fastidious. Certain scenes rendered in stop-frame animation – a ski chase, a ride on a funicular – blend imperceptibly into the live action. It is utterly artificial and yet wholly beguiling. A lot of that is to do with the impressive work done here by Ralph Fiennes – admittedly, not an actor known for his comedy work, but who is terrific as M. Gustave, all prickly hauteur and prissy imperiousness, yet also an incorrigible libertine who seduces the hotel’s elderly female guests (“84? I’ve had older.”) Fiennes’ nimble performance anchors the film – though props are due to the usual high-functioning cast Anderson has assembled for this exuberant caper, including Bill Murray, Willem Dafoe, Jeff Goldlblum, Adrien Brody, Ed Norton, Tilda Swinton and Harvey Keitel.

A comedy, yes, but the film has a deepening melancholic edge to it: an awareness that this wonderfully preserved Belle Époque world is facing the vicissitudes of the period: towards the film’s end, the Hotel is requisitioned as a barracks for troops in familiar dark uniforms; certain travel permits are no suddenly longer valid. While Zubrowka is a mittel-European fantasia, nevertheless Anderson has decided that the very real intrusion of war is valid, the era to be trampled underfoot by an invading fascist army. The key, perhaps, to understanding the film lies in the 1969 setting. There, the book’s author – played by Jude Law – hears the story of M. Gustave’s exploits from Zero Mustapha (F Murray Abraham), who was once Gustave’s protégé (played by a pencil-mostachio’d Tony Revolori) and is now its owner. In the years since the war, the Grand Budapest Hotel has become “an enchanted old ruin”, run down and shabby. Although Anderson’s film announces itself as a whimsical construct, its artifice continually reinforced by literary devices, narrators, time periods and ‘Chapter’ headings, the murmurings of European conflict become increasingly hard to avoid. This celebration of the glory days of a particular era are finally, quite subtly overtaken by a genuine sadness.

Follow me on Twitter @MichaelBonner.

The Grand Budapest Hotel opens in the UK on March 7

Her

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Spike Jonze's digital affair... In the future, as depicted by Spike Jonze, no one will wear belts. This is a place of gently muted colour schemes, discreet facial hair and where poverty appears to have been eradicated – but, alas, for all its Utopian charms, the denizens of future Los Angeles are still susceptible to broken hearts. One such individual is divorcee Theodore Twombly, who finds therapy from his broken marriage working at BeautifulHandwrittenLetters.com – composing love letters for strangers to send to their spouses. Poor, lonely Theodore – that is, until he meets Samantha, and the two fall in love. Samantha is a computer operating system, no less: Theodore’s IT girl, for want of a better pun. Jonze presents Theodore and Samantha’s relationship as perfectly natural – Her deploys all the tropes of the conventional rom-com – which forces a comparison between the director’s beautifully designed fantasy world and our own increasing dependency on technology. Can a man really fall in love with a computer – and do the emotions of an artificial intelligence qualify as real? “Are these feelings real,” Samantha wonders, “or is it just programming?” Jonze sends the film’s rom-com.com into tasty postmodern territory. In a calculatedly ambiguous way, Jonze appears to be both simultaneously mocking and embracing a genre (a tactic he used previously in Adaptation). Into this comes Joaquin Phoenix as Theodore, mercifully dialling back his usual ham to deliver a more approachable and sympathetic performance. As Samantha appears to acquire consciousness (“I’m becoming much more than what they programmed,”), he begins to push her away, revealing what we can assume to be a general inability to love – presumably what put paid to his marriage. Voicing Samantha, Scarlett Johansson is husky, warm and involving – much as you’d imagine. There is good support, too, from Parks And Recreation’s Chris Pratt as Theodore’s work colleague, Rooney Mara as Theodore’s ex wife and, particularly, Amy Adams – playing Theodore’s best friend Amy as a kind of Diane Keaton character. There is a lovely shot towards the end of the film as Theodore and Amy sit on the roof terrace of their apartment block that recalls Keaton and Woody Allen in Manhattan nestled on a bench in the shadow of the 59th Street Bridge. Michael Bonner Follow me on Twitter @MichaelBonner.

Spike Jonze’s digital affair…

In the future, as depicted by Spike Jonze, no one will wear belts. This is a place of gently muted colour schemes, discreet facial hair and where poverty appears to have been eradicated – but, alas, for all its Utopian charms, the denizens of future Los Angeles are still susceptible to broken hearts. One such individual is divorcee Theodore Twombly, who finds therapy from his broken marriage working at BeautifulHandwrittenLetters.com – composing love letters for strangers to send to their spouses. Poor, lonely Theodore – that is, until he meets Samantha, and the two fall in love.

Samantha is a computer operating system, no less: Theodore’s IT girl, for want of a better pun. Jonze presents Theodore and Samantha’s relationship as perfectly natural – Her deploys all the tropes of the conventional rom-com – which forces a comparison between the director’s beautifully designed fantasy world and our own increasing dependency on technology. Can a man really fall in love with a computer – and do the emotions of an artificial intelligence qualify as real? “Are these feelings real,” Samantha wonders, “or is it just programming?” Jonze sends the film’s rom-com.com into tasty postmodern territory. In a calculatedly ambiguous way, Jonze appears to be both simultaneously mocking and embracing a genre (a tactic he used previously in Adaptation).

Into this comes Joaquin Phoenix as Theodore, mercifully dialling back his usual ham to deliver a more approachable and sympathetic performance. As Samantha appears to acquire consciousness (“I’m becoming much more than what they programmed,”), he begins to push her away, revealing what we can assume to be a general inability to love – presumably what put paid to his marriage. Voicing Samantha, Scarlett Johansson is husky, warm and involving – much as you’d imagine. There is good support, too, from Parks And Recreation’s Chris Pratt as Theodore’s work colleague, Rooney Mara as Theodore’s ex wife and, particularly, Amy Adams – playing Theodore’s best friend Amy as a kind of Diane Keaton character. There is a lovely shot towards the end of the film as Theodore and Amy sit on the roof terrace of their apartment block that recalls Keaton and Woody Allen in Manhattan nestled on a bench in the shadow of the 59th Street Bridge.

Michael Bonner

Follow me on Twitter @MichaelBonner.

Bob Dylan announces Irish dates

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Bob Dylan and his band will play two shows in Ireland this June, according to Aiken Promotions and Ticketmaster. The dates are: Live at The Marquee, Cork: June 16 The 02, Dublin: June 17 Although the dates haven't been confirmed on Dylan's website, a release from Aiken Promotions says tickets ...

Bob Dylan and his band will play two shows in Ireland this June, according to Aiken Promotions and Ticketmaster.

The dates are:

Live at The Marquee, Cork: June 16

The 02, Dublin: June 17

Although the dates haven’t been confirmed on Dylan’s website, a release from Aiken Promotions says tickets will go on sale Thursday, February 20 at 9.00am.

They can be booked online here or 24 hour credit card bookings 0818 719300 (ROI) / 0844 277 4455 (NI).

Dylan’s only other dates so far confirmed for 2014 are 14 shows in Japan, starting in Tokyo on March 31.

Cliff Richard on Morrissey show: “I’ll have a chicken curry afterwards”

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Cliff Richard has said that he will not go vegetarian when he supports Morrissey in America later this year. As reported on Thursday (February 13), Morrissey has announced two major US arena shows with support from Sir Tom Jones and Sir Cliff Richard. In a statement, Morrissey said he was "honoure...

Cliff Richard has said that he will not go vegetarian when he supports Morrissey in America later this year.

As reported on Thursday (February 13), Morrissey has announced two major US arena shows with support from Sir Tom Jones and Sir Cliff Richard. In a statement, Morrissey said he was “honoured and thrilled” to have Jones and Richard on the bills.

Speaking to BBC News about his upcoming US date, Cliff Richard said he was happy to be on the bill but would not follow the same dietary regime as the headliner: “I like to think he might eat some meat when I arrive, but I wouldn’t expect him to. So I don’t think he’d expect me to be vegetarian,” he said. Adding: “If I found he was offended by people eating meat then I won’t eat it in front of him. But I’ll have a chicken curry afterwards.”

Speaking about Morrissey himself, Richards admitted that he is not completely au fait with Morrissey’s back catalogue: “I checked on the internet and saw a couple of shots of him live, and his audiences look really – I don’t know how to say this – they look really nice,” he said. “They were swaying in the crowd and mouthing lyrics and I was thinking, ‘Oh, my audiences do that’. So maybe his audience will be kind to me.”

“I like to move and shake and leap around the stage and sing a variety of pop-rock songs like ‘Ocean Deep’ and ‘Miss You Nights’. Of course I’m going to do them,” said Richard of his stage show. “I’m just going to make it really difficult for Morrissey to follow me.”