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Camper Van Beethoven – La Costa Perdita

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CVB comeback, take two: A sun-cracked roots-rock homage to Northern California... When Camper Van Beethoven oozed out of California's post-punk scene circa mid-1980s, they confronted witnesses with a set of confounding contradictions: a novelty band, ostensibly—â€Take the Skinheads Bowling†was the hit—counter-intuitively sporting a stunning breadth of musical range and ability; a fiercely DIY aggregation, yet explicitly cosmopolitan, conversant with everything from Balkan balladry to Jamaican ska; a hard-rock behemoth, yet leaning more on violin than electric guitar as lead instrument. They could play almost anything, convincingly and entertainingly, and their souped-up electric blender of country, punk, bluegrass, psychedelia, folk and folk-rock, prog, Middle-Eastern, Indian, and world music—steered by multi-instrumentalist Jonathan Segal—made for a combustible, funny, ever-unpredictable mix (think David Lindley's '60s group, Kaleidoscope). They eventually nudged the pop charts (covering Status Quo's “Pictures Of Matchstick Menâ€), recorded five LPs (two for major label Virgin), and ended up mired in a messy breakup that spawned myriad spin-offs: Monks of Doom, Jack & Jill, Camper Van Chadbourne, and, most notably, Cracker, singer David Lowery's straightforward-by-comparison rock juggernaut. But a rally around Fleetwood Mac's Tusk in 2002 produced a surprise reunion, followed by a strong, war-riddled comeback, New Roman Times. La Costa Perdida (tr. The Lost Thing) brings them full circle, plugging them back into their misfit Californian roots. “A California geographically lost,†explains singer/songwriter David Lowery. “A California lost in time . . . culturally forgotten. That's mostly what the album is about.†“Jonathan and I had started re-listening to Holland. In particular the track ‘Steamboat,’†explains Lowery. “Holland is the Beach Boys' Northern California record. This part of the Beach Boys' oeuvre has long been a big part of the CVB listening library.†Staking out their surreal, existential turf in typically atypical fashion—a kitchen-sink mix of country, blues, norteno, psych, and, yes, ‘60s-style pop harmonies—it's both a melancholy musing on place, especially “Come Down the Coast†and “Northern California Girls,†and shot through with mysticism, history, and spiritual restlessness. “Someday Our Love Will Sell Us Out,†with its mellifluous drone and robot-like harmony chorus, sounds like a dark, long-lost 1967 hippie 45. “Summer Days,†all spiraling riffs, an elegiac meditation on freedom/slavery, is the record's centerpiece. Luke Torn

CVB comeback, take two: A sun-cracked roots-rock homage to Northern California…

When Camper Van Beethoven oozed out of California’s post-punk scene circa mid-1980s, they confronted witnesses with a set of confounding contradictions: a novelty band, ostensibly—â€Take the Skinheads Bowling†was the hit—counter-intuitively sporting a stunning breadth of musical range and ability; a fiercely DIY aggregation, yet explicitly cosmopolitan, conversant with everything from Balkan balladry to Jamaican ska; a hard-rock behemoth, yet leaning more on violin than electric guitar as lead instrument.

They could play almost anything, convincingly and entertainingly, and their souped-up electric blender of country, punk, bluegrass, psychedelia, folk and folk-rock, prog, Middle-Eastern, Indian, and world music—steered by multi-instrumentalist Jonathan Segal—made for a combustible, funny, ever-unpredictable mix (think David Lindley’s ’60s group, Kaleidoscope).

They eventually nudged the pop charts (covering Status Quo‘s “Pictures Of Matchstick Menâ€), recorded five LPs (two for major label Virgin), and ended up mired in a messy breakup that spawned myriad spin-offs: Monks of Doom, Jack & Jill, Camper Van Chadbourne, and, most notably, Cracker, singer David Lowery’s straightforward-by-comparison rock juggernaut.

But a rally around Fleetwood Mac‘s Tusk in 2002 produced a surprise reunion, followed by a strong, war-riddled comeback, New Roman Times. La Costa Perdida (tr. The Lost Thing) brings them full circle, plugging them back into their misfit Californian roots. “A California geographically lost,†explains singer/songwriter David Lowery. “A California lost in time . . . culturally forgotten. That’s mostly what the album is about.â€

“Jonathan and I had started re-listening to Holland. In particular the track ‘Steamboat,’†explains Lowery. “Holland is the Beach Boys’ Northern California record. This part of the Beach Boys’ oeuvre has long been a big part of the CVB listening library.â€

Staking out their surreal, existential turf in typically atypical fashion—a kitchen-sink mix of country, blues, norteno, psych, and, yes, ‘60s-style pop harmonies—it’s both a melancholy musing on place, especially “Come Down the Coast†and “Northern California Girls,†and shot through with mysticism, history, and spiritual restlessness. “Someday Our Love Will Sell Us Out,†with its mellifluous drone and robot-like harmony chorus, sounds like a dark, long-lost 1967 hippie 45. “Summer Days,†all spiraling riffs, an elegiac meditation on freedom/slavery, is the record’s centerpiece.

Luke Torn

Cecil Womack dies aged 65

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Cecil Womack, brother of Bobby Womack and one half of Womack and Womack, has died aged 65. Womack passed away on February 1 in Africa. Bobby Womack confirmed his death earlier today (February 7). In his later years, Womack was known as Zekuumba Zekkariyas after embracing his African heritage and ...

Cecil Womack, brother of Bobby Womack and one half of Womack and Womack, has died aged 65.

Womack passed away on February 1 in Africa. Bobby Womack confirmed his death earlier today (February 7).

In his later years, Womack was known as Zekuumba Zekkariyas after embracing his African heritage and finding family ties to the Zekkariyas tribe.

He was best known for Womack And Womack’s 1988 hit single “Teardrops“, which he recorded with his second wife, Linda Cooke, the daughter of soul singer Sam Cooke.

Womack was born in Cleveland, Ohio in 1947. He and his four brothers formed a gospel group in the 1950s and under the patronage of Sam Cooke, became The Valentinos.

Womack married Motown singer Mary Wells in the 1960s and wrote a number of songs for her. He went on to write for Teddy Pendergrass, Patti LaBelle and The O’Jays.

Earlier today Bobby Womack paid tribute to his brother, writing on Facebook: I was terribly upset when I heard about my brother’s passing, and I still am. We made music together for a long time, but we’ve had many differences over the years. Thankfully we got a chance to reunite last year after a very long separation – and little did I know that it would be the last time I would see him. I can only pass along what I have now learned, which is to not let anything – money, success, etc, come between you and your family.”

Nick Cave & The Bad Seeds – Album By Album

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In this archive feature from Uncut’s March 2009 issue (Take 142), Cave and Mick Harvey discuss their career, album by album – from the Birthday Party “crossover†of From Her To Eternity, to the “general chaos†of Abattoir Blues/Lyre Of Orpheus… _____________________ On the telephone ...

In this archive feature from Uncut’s March 2009 issue (Take 142), Cave and Mick Harvey discuss their career, album by album – from the Birthday Party “crossover†of From Her To Eternity, to the “general chaos†of Abattoir Blues/Lyre Of Orpheus…

_____________________

On the telephone the day before his December 2008 tour begins, Nick Cave seems drily amused by the prospect of a discussion of some of his many works with his longstanding group, The Bad Seeds. As it turns out, however, both he and founder Seed Mick Harvey are expansive with their recollections of the band’s gothic Americana – even if Cave, particularly, is surprised to remember much at all. “When you wake up with a hangover and wonder what you did last night,†he says, “there’s always that sort of feeling around my records…â€

_____________________

FROM HER TO ETERNITY
(Mute, 1984)
Their previous band dead, if not yet cold, former Birthday Party members Nick Cave and Mick Harvey return with guitarist Blixa Bargeld and kindred spirit Barry Adamson. Their first album establishes a palette of theatrical arrangements and dark Americana, enduring mainstays of the band’s sound.

Nick Cave: “The Birthday Party very much had its end – I went back to Australia and I think we did a few shows without Mick Harvey, who basically broke up The Birthday Party, in the sense that he made the phone call to say, ‘I don’t think The Birthday Party should go on any longer.’â€
Mick Harvey: “It’s attributed to me. It was me who said ‘we should can it, really’ – and initially Nick and Roland [S Howard, Birthday Party guitarist] agreed with me unreservedly. But afterwards, they started to get cold feet and carry it on a bit longer. I kind of blithely charged off into the unknown, I didn’t really care.â€
Cave: “I think for maybe a year I just kind of wandered around Melbourne, and then Mick found me and suggested starting another band, and that ended up being the Bad Seeds. The consequence of that was that it became much more of a lyrically driven affair, because I felt that at the beginning of the Bad Seeds that was where my strength was, and it’s taken me longer to get a handle on music.â€
Harvey: “There was no template at all, there was no preconception of what kind of album was going to come out at the other end. I think the last [Birthday Party] shows were in April. We mixed [last Birthday Party release] the ‘Mutiny’ EP in August, and we were in there recording by September – there was kind of a crossover.â€
Cave: “What happened was we went in to the studio without any kind of idea of what band we were or might be, we just wanted to get together and make a record – we didn’t know how we were going to sound, and that was really exciting. It’s one of my favourite records because of that – you can hear a band attempting to discover something about themselves. When you make a record the wisdom is that you get the bugs out, and then you make the record – well, all the bugs are well and truly in there, and I love it because of that.â€

Hear Jack White and Gibby Haynes collaboration, “Paul’s Not Home”

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The first track Jack White has recorded with Butthole Surfers frontman Gibby Haynes has been revealed online. Scroll down to hear it. As revealed earlier this week, the pair worked on three songs, set to be released as a single on White's Third Man Records. The single features new songs 'You Don't Have To Be Smart' and 'Horse Named George', as well as a cover of hardcore band Adrenalin OD's 'Paul's Not Home' which you can hear below. Haynes sings on all three songs whilst White plays guitar. The former frontman of The White Stripes also provides backing vocals on 'Paul's Not Home'. The song originally appeared on 1982's 'New York Thrash' compilation alongside the first ever recorded Beastie Boys tracks, 'Riot Fight' and 'Beastie'. The single is released on February 14, but a number of limited edition versions of the 7" will be pressed onto old medical x-rays, in what White is dubbing a 'flex-ray disc'. These will be sold exclusively from Third Man's Rolling Record Store van at South By Southwest next month in Austin, Texas. The single is part of Third Man Records' Blue Series, which has also seen special releases by Laura Marling, Tom Jones, Insane Clown Posse, Jeff The Brotherhood and Beck.

The first track Jack White has recorded with Butthole Surfers frontman Gibby Haynes has been revealed online. Scroll down to hear it.

As revealed earlier this week, the pair worked on three songs, set to be released as a single on White’s Third Man Records. The single features new songs ‘You Don’t Have To Be Smart’ and ‘Horse Named George’, as well as a cover of hardcore band Adrenalin OD’s ‘Paul’s Not Home’ which you can hear below.

Haynes sings on all three songs whilst White plays guitar. The former frontman of The White Stripes also provides backing vocals on ‘Paul’s Not Home’. The song originally appeared on 1982’s ‘New York Thrash’ compilation alongside the first ever recorded Beastie Boys tracks, ‘Riot Fight’ and ‘Beastie’.

The single is released on February 14, but a number of limited edition versions of the 7″ will be pressed onto old medical x-rays, in what White is dubbing a ‘flex-ray disc’. These will be sold exclusively from Third Man’s Rolling Record Store van at South By Southwest next month in Austin, Texas.

The single is part of Third Man Records’ Blue Series, which has also seen special releases by Laura Marling, Tom Jones, Insane Clown Posse, Jeff The Brotherhood and Beck.

Elton John to appear on new Queens Of The Stone Age album

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Elton John is the latest big name guest confirmed to appear on the new Queens Of The Stone Age album. The unlikely collaboration was revealed by Dave Grohl, who is also drumming on the forthcoming album, when he interviewed Sir Elton as part of his week covering chat show host Chelsea Lately on her...

Elton John is the latest big name guest confirmed to appear on the new Queens Of The Stone Age album.

The unlikely collaboration was revealed by Dave Grohl, who is also drumming on the forthcoming album, when he interviewed Sir Elton as part of his week covering chat show host Chelsea Lately on her late night talk show in America last night (February 6). During the interview, Grohl told the audience that “Recently, Elton and I recorded something together. Something that people wouldn’t imagine the two of us doing together,” before Elton revealed that it was a new song for the upcoming Queens Of The Stone Age album.

Revealing details of the recording session, Elton added: “I was in Vegas and I flew back to LA and Engelbert Humperdinck had written me a very sweet letter and asked me to sing a duet with him. He is part of my history and I couldn’t say no so I went and recorded a song with him. Then I drove three blocks and went from Engelbert to Queens Of The Stone Age, which was a bit of a mindfuck.”

Grohl, interjecting, said: “I remember you (Elton) walking in and him being, like, (lethargically) ‘Have you got a ballad for me?’ and we were just like, ‘no, we do not have a ballad for you.'” Talking specifically about recording the song, Elton added: “After three hours we got it and he (Grohl) drummed on every take and every take was amazing. He’s built like a brick shithouse when he drums.”

Other guests confirmed to appear on the band’s new album include Trent Reznor, Mark Lanegan, Nick Oliveri and Jake Shears of Scissor Sisters. The band will be playing a number of festivals this summer, including Benicàssim in Spain, and Download in the UK.

Guitarist Earl Slick ‘wouldn’t be surprised’ if Bowie tours

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David Bowie's long-term guitarist Earl Slick has hinted that Bowie may tour after all. Speaking to Spinner, Slick said "It's kind of like doing the record [The Next Day]. I wouldn't be surprised if he toured and I wouldn't be surprised if he didn't tour... I know I would like a tour to happen!" Producer Tony Visconti previously told NME that live shows were unlikely, saying, "He’s fairly adamant he’s never gonna perform live again… One of the guys would say, 'Boy, how are we gonna do all this live?' and David said, 'We’re not'. He made a point of saying that all the time." Slick also spoke about the sound of Bowie's new album. "There are a few things that kind of feel like Station To Station rockers, then there are some other things that might feel kind of like Diamond Dogs, but as usual it is extremely eclectic and it is uniquely Bowie, meaning that it's a whole bunch of really cool things," he says. Earlier this week, Bowie's drummer Zachary Alford gave his own opinion of the album's sound to Rolling Stone. He said: "There's definitely a lot of up-tempo material. That's some kind of '60s doo-wop-ish material. Although I don't remember a lot of the songs. I mean, it'll be two years in May since we did it. I haven't heard any of it since. I hope to have the chance to hear it soon myself." He added: "There are a couple that remind me of the Scary Monsters period, because they're a bit more angular and aggressive-sounding… There's another number that's a straight-up country song. There was another one that was based on a blues riff, but we had specific instructions to not make it sound like the blues. There were two songs that sort of had a Bo Diddley feel."

David Bowie’s long-term guitarist Earl Slick has hinted that Bowie may tour after all.

Speaking to Spinner, Slick said “It’s kind of like doing the record [The Next Day]. I wouldn’t be surprised if he toured and I wouldn’t be surprised if he didn’t tour… I know I would like a tour to happen!”

Producer Tony Visconti previously told NME that live shows were unlikely, saying, “He’s fairly adamant he’s never gonna perform live again… One of the guys would say, ‘Boy, how are we gonna do all this live?’ and David said, ‘We’re not’. He made a point of saying that all the time.”

Slick also spoke about the sound of Bowie’s new album. “There are a few things that kind of feel like Station To Station rockers, then there are some other things that might feel kind of like Diamond Dogs, but as usual it is extremely eclectic and it is uniquely Bowie, meaning that it’s a whole bunch of really cool things,” he says.

Earlier this week, Bowie’s drummer Zachary Alford gave his own opinion of the album’s sound to Rolling Stone. He said: “There’s definitely a lot of up-tempo material. That’s some kind of ’60s doo-wop-ish material. Although I don’t remember a lot of the songs. I mean, it’ll be two years in May since we did it. I haven’t heard any of it since. I hope to have the chance to hear it soon myself.”

He added: “There are a couple that remind me of the Scary Monsters period, because they’re a bit more angular and aggressive-sounding… There’s another number that’s a straight-up country song. There was another one that was based on a blues riff, but we had specific instructions to not make it sound like the blues. There were two songs that sort of had a Bo Diddley feel.”

Kraftwerk perform ‘Autobahn’ in full as London residency begins

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Kraftwerk opened their eight-night residency at Tate Modern on Wednesday by playing in full their fourth album, Autobahn. Kraftwerk played a two-hour set that also included most of their best loved numbers. Those lucky enough to secure tickets for Kraftwerk’s first night in the London art museumâ...

Kraftwerk opened their eight-night residency at Tate Modern on Wednesday by playing in full their fourth album, Autobahn.

Kraftwerk played a two-hour set that also included most of their best loved numbers. Those lucky enough to secure tickets for Kraftwerk’s first night in the London art museum’s imposing Turbine Hall were each given a cushion, a crib sheet on the band and a pair of 3D spectacles. However, virtually the whole audience stood to appreciate Kraftwerk’s impressive visuals, displayed on a massive screen behind.

On stage, the four performers stood impassively behind their computers, only one of whom played on the original recording of Autobahn, founder member Ralf Hütter. Having opened with “Robots”, the group played Kraftwerk’s breakthrough album in order, beginning with a 10-minute version of the title track.

That left an hour and a half devoted to a wide-ranging journey through the group’s celebrated back catalogue, featuring both digital versions of seventies classics such as ‘Neon Lights’ and ‘Vitamin’ from 2003’s Tour De France Soundtracks. Highlights included hit single ‘The Model’, the influential ‘Trans Europe Express’ and an updated ‘Radioactivity’ that name-checked the nuclear meltdown at Fukushima.

The set was rapturously received by fans. Steve Kiw from Hove, Sussex, said, “It was what we hoped for and more. We came expecting Autobahn, thought we might get something else and it ended up being absolutely brilliant. The 3D effects were wonderful.â€

Silvia Montello from London regretted she could not repeat the experience, adding, “This is the third time I’ve seen them, but tonight has been a massive treat.â€

Kraftwerk played:

‘The Robots’

‘Autobahn’

‘Kometenmelodie 1’

‘Kometenmelodie 2’

‘Mitternacht’

‘Morgenspaziergang’

‘Radioactivity’

‘Trans Europe Express’

‘The Model’

‘Neon Lights’

‘The Man-Machine’

‘Numbers’

‘Computer World’

‘Computer Love’

‘Home Computer’

‘Tour De France’

‘Vitamin’

‘Planet Of Visions’

‘Music Non Stop’

Kraftwerk’s sold-out concert series The Catalogue 1 2 3 4 5 6 7 8 continues tonight, Thursday, with 1975’s Radio-Activity, followed by sets dedicated to successive albums up to Tour De France Soundtracks.

Sony set to stop making MiniDisc players

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Sony has announced that it will stop making its MiniDisc players in March 2013. The Japanese electronics giant will cease production of the MiniDisc player next month, but it has said it will continue making the actual MiniDiscs, The Telegraph reports. The news marks the end for the audio system, w...

Sony has announced that it will stop making its MiniDisc players in March 2013.

The Japanese electronics giant will cease production of the MiniDisc player next month, but it has said it will continue making the actual MiniDiscs, The Telegraph reports. The news marks the end for the audio system, which was launched by Sony in 1992 as a high-quality digital alternative to the much lower-quality tape cassette.

On their launch, MiniDisc players were seen as the future for audio equipment and Sony claimed the discs would be safe from risk of degradation for 30 years. As the players were recordable, they became popular with sound engineers and media professionals.

However, with the advent of MP3 players such as Apple’s iPod and cloud-based streaming services, the Minidisc has struggled to compete in the market and its demise has been on the cards for some time – Sony previously stopped making portable players in 2011.

The Sixth Uncut Playlist Of 2013: hear Mikal Cronin, Retribution Gospel Choir, Jennie O, Library Of Sands, 3rd Eye Foundation…

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An unintended consequence of the My Bloody Valentine release: plenty of plays this week for “Straight Outta Comptonâ€, following directly after “m b v†in my iTunes library. As you can see, though, it’s been an amazing few days for new music, and consequently I’ve added plenty of links so you can hear Mikal Cronin, Library Of Sands (to recap: Naynay Shineywater from Brightblack Morning Light), Jennie O (produced by Jonathan Wilson), and Retribution Gospel Choir’s amazing “Seven†(featuring Nels Cline, and especially recommended to fans of “Psychedelic Pillâ€). Also worth noting: Kurt Vile, Bitchin’ Bajas. And I’ve added a killer Third Eye Foundation track from 1996, so those of you unfamiliar with Matt Elliott’s music can see why that name’s been cropping up a fair bit with regard to “m b vâ€. This fairly extraordinary week moves up another gear tonight with the start of Kraftwerk’s Tate Modern residency. I’m seeing “Trans Europe Express†on Friday, but your reports and reviews are, as ever, very welcome… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 My Bloody Valentine – m b v (www.mybloodyvalentine.org) 2 NWA – Straight Outta Compton (Ruthless) 3 Kurt Vile – Wakin’ On A Pretty Day (Matador) 4 Bitchin’ Bajas – Krausened (Permanent) 5 Don Bikoff – Celestial Explosion (Tompkins Square) 6 Library Of Sands – Side To Side (Wild Sages) http://www.youtube.com/watch?v=kTWcS5Jq12A&list=PLnSrbbdQJeKzWIVQATT11_1I4OyGdvBAp 7 Valerie June – You Can’t Be Told (Sunday Best) 8 The Flaming Lips – The Terror (Bella Union) 9 Retribution Gospel Choir – III (Chaperone) http://www.youtube.com/watch?v=pCKrRoDXPL0 10 Jennie O – Automechanic (Holy Trinity) 11 Library Of Sands – Wavy Heat (Wild Sages) 12 Goat – Live At The Lexington (Rocket) 13 DJ Koze – Amygdala (Pampa) 14 Mikal Cronin – MCII (Merge) 15 David Grubbs – The Plain Where The Palace Stood (Drag City) 16 Third Eye Foundation – Semtex (Domino) http://www.youtube.com/watch?v=90rIyiuQ5B0 17 Hiss Golden Messenger – Haw (Paradise Of Bachelors)

An unintended consequence of the My Bloody Valentine release: plenty of plays this week for “Straight Outta Comptonâ€, following directly after “m b v†in my iTunes library. As you can see, though, it’s been an amazing few days for new music, and consequently I’ve added plenty of links so you can hear Mikal Cronin, Library Of Sands (to recap: Naynay Shineywater from Brightblack Morning Light), Jennie O (produced by Jonathan Wilson), and Retribution Gospel Choir’s amazing “Seven†(featuring Nels Cline, and especially recommended to fans of “Psychedelic Pillâ€).

Also worth noting: Kurt Vile, Bitchin’ Bajas. And I’ve added a killer Third Eye Foundation track from 1996, so those of you unfamiliar with Matt Elliott’s music can see why that name’s been cropping up a fair bit with regard to “m b vâ€.

This fairly extraordinary week moves up another gear tonight with the start of Kraftwerk’s Tate Modern residency. I’m seeing “Trans Europe Express†on Friday, but your reports and reviews are, as ever, very welcome…

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

1 My Bloody Valentine – m b v (www.mybloodyvalentine.org)

2 NWA – Straight Outta Compton (Ruthless)

3 Kurt Vile – Wakin’ On A Pretty Day (Matador)

4 Bitchin’ Bajas – Krausened (Permanent)

5 Don Bikoff – Celestial Explosion (Tompkins Square)

6 Library Of Sands – Side To Side (Wild Sages)

http://www.youtube.com/watch?v=kTWcS5Jq12A&list=PLnSrbbdQJeKzWIVQATT11_1I4OyGdvBAp

7 Valerie June – You Can’t Be Told (Sunday Best)

8 The Flaming Lips – The Terror (Bella Union)

9 Retribution Gospel Choir – III (Chaperone)

10 Jennie O – Automechanic (Holy Trinity)

11 Library Of Sands – Wavy Heat (Wild Sages)

12 Goat – Live At The Lexington (Rocket)

13 DJ Koze – Amygdala (Pampa)

14 Mikal Cronin – MCII (Merge)

15 David Grubbs – The Plain Where The Palace Stood (Drag City)

16 Third Eye Foundation – Semtex (Domino)

17 Hiss Golden Messenger – Haw (Paradise Of Bachelors)

David Bowie to reissue 40th anniversary edition of Aladdin Sane

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David Bowie's Aladdin Sane will be remastered and reissued to mark its 40th anniversary this year. Bowie's sixth album, Aladdin Sane was originally released in April 1973. The album was originally co-produced by Bowie and Ken Scott and recorded at Trident Studios in London and RCA Studios in New ...

David Bowie‘s Aladdin Sane will be remastered and reissued to mark its 40th anniversary this year.

Bowie’s sixth album, Aladdin Sane was originally released in April 1973.

The album was originally co-produced by Bowie and Ken Scott and recorded at Trident Studios in London and RCA Studios in New York. It would be the last album that the line-up of Mick Ronson (guitar, piano, backing vocals), Trevor Bolder (bass) and Mick ‘Woody’ Woodmansey (drums) would appear on and the first to feature pianist Mike Garson.

The reissue is set for release on April 15 and was remastered by Ray Staff at London’s AIR Studios, who cut the original LP during his time at Trident Studios and has remastered Ziggy Stardust‘s 40th anniversary edition last year.

The tracklisting for the Aladdin Sane 40th Anniversary Edition is as follows:

‘Watch That Man’

‘Aladdin Sane (1913-1938-197?)’

‘Drive-In Saturday’

‘Panic In Detroit’

‘Cracked Actor’

‘Time’

‘The Prettiest Star’

‘Let’s Spend the Night Together’

‘The Jean Genie’

‘Lady Grinning Soul’

Morrissey postpones more Stateside shows due to illness

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Morrissey has postponed more shows in the US due to illness. The singer said that he wanted to restart his tour in Las Vegas on February 9, however, this show has now been pulled, as has his February 10 date in Phoenix. Rescheduled dates are expected to be announced in the coming days. Morrissey...

Morrissey has postponed more shows in the US due to illness.

The singer said that he wanted to restart his tour in Las Vegas on February 9, however, this show has now been pulled, as has his February 10 date in Phoenix.

Rescheduled dates are expected to be announced in the coming days.

Morrissey recently spoke out following his recent health troubles, which saw him hospitalised at William Beaumont Hospital in Royal Oak, Michigan.

The singer issued a statement to fan site True To You, explaining that he was treated for concussion, a bleeding ulcer and Barrett’s esophagus.

He said that he was keen to pick up his North American tour in Las Vegas, writing: “I am fully determined to resume the tour on February 9 at the Chelsea Ballroom in Las Vegas. If there’s an audience of any kind in attendance, I just might die with a smile on my face, after all. If I am not there, I shall probably never again be anywhere.”

These postponed gigs are already part of dates rescheduled from October last year, when Morrissey stopped mid-tour to return to the UK to be with his ill mother. She has since recovered.

Meanwhile, Parlophone Records will put out a limited edition 7″ picture disc of Morrissey’s 1989 single “The Last Of The Famous International Playboys” and a remastered version of his second solo album, 1991’s Kill Uncle on April 8.

Both will feature rare Morrissey photos while Kill Uncle will boast a brand new cover.

The single release will be backed with live recordings, taken from a 2011 Janice Long Show session on BBC Radio 2. The 7″ single comes with ‘People Are The Same Everywhere’, the CD with ‘Action Is My Middle Name’ and the digital download with ‘The Kid’s A Looker’.

The Making Of… The Troggs’ ‘Wild Thing’

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This primal blast of sexual energy – penned by Chip Taylor and later hijacked by Jimi Hendrix – would prove an immediate ’66 hit for Reg Presley and his ‘proto-punk’ beat boys... Reg, manager Larry Page, writer Chip Taylor and more explain how the iconic song was made. From Uncut’s April...

This primal blast of sexual energy – penned by Chip Taylor and later hijacked by Jimi Hendrix – would prove an immediate ’66 hit for Reg Presley and his ‘proto-punk’ beat boys… Reg, manager Larry Page, writer Chip Taylor and more explain how the iconic song was made. From Uncut’s April 2009 issue (Take 143)…

___________________

One of the great, indestructible rock’n’roll songs, “Wild Thing†has survived assaults from The Goodies and, in disco form, Suzi Quatro. Arguably, the best-known version is by Andover’s The Troggs, but they weren’t the first band to record it. “Wild Thing†was written by Chip Taylor, brother of the actor Jon Voight, for The Wild Ones, the house band at New York discothèque, Arthur, run by Richard Burton’s former wife, Sybil.

There is some dispute about who proposed that The Troggs record the song. The band’s manager, Larry Page, insists it was him, while singer Reg Presley suggests that Page was pushing for a cover version of a Lovin’ Spoonful track. But there is no denying the primal power of the recording, which reached No 2 in the UK, and topped the US charts in the summer of 1966. It was subsequently hijacked by Jimi Hendrix, and has become a rock’n’roll classic, revived recently by Prince, who performs it as part of a medley with Tommy James And The Shondells’ “Crimson & Cloverâ€.

“First of all, the groove is so good,†says Taylor. “But the biggest thing that ‘Wild Thing’ had was the silence. I never heard anything like that. That’s the magic of ‘Wild Thing’. Silence is the biggest chill factor you can get in music, and there’s no better pause in rock’n’roll than the pause in ‘Wild Thing’.†Alastair McKay

___________________

Chip Taylor, songwriter: I got a writer’s job in the Brill Building area. I had a room and a piano and a telephone and a window that overlooked 7th Avenue, Broadway and 51st Street. I was writing these organic things that sounded a little Memphisy. I got a call from Gerry Granahan, a writer and A&R executive for United Artists. He said: “I have a group I’m recording, called The Wild Ones. We have three songs, and to tell you the truth I don’t love any of them.†He said: “I’d like to get some cool little thing. I wondered if you had something you could send me over.â€

Chuck Alden, Singer, The Wild Ones: We were making a circuit of all the clubs in Manhattan, and we heard about a new club called Arthur that was going to open. The band that went in there was going to be a success because Sybil Burton was one of the shareholders. We had the right look, the right attitude, so they hired us. We did whatever was current – Beatles, Motown and such. When you were in there you were relegated to being a dance band, because that was one of the first discothèques.

Taylor: I didn’t have many tape recorders to save my ideas. The way I would remember songs was just play them over and over. I was a very simple, unschooled guitar player. So I started banging out these chords, and it almost sounded like a drum as well as the guitar because you could hear the beats my thumb was doing. I was just looking out in the street and letting this thing float, and all of a sudden it just felt terrific. It was just me closing my eyes and imagining I was with some sexy girl that I wanted to talk to: she was kinda mesmerised and I was trying to mesmerise her some more.

Alden: “Wild Thing†is not something I take pride in. It’s like I was holding my nose when I sang it. When you record for a producer, you do what they tell you to do, and that’s it, case closed. It’s spilt milk. I had nothing to do with it except to go in and try to put down a vocal. Looking back, I didn’t even do a good reading on it. If you listen to the demo, they had that little potato pie tin sound, banging away. The Troggs did it the way it should’ve been done.

Taylor: The Wild Ones’ version was a good little R’n’B record with harmonica, but it was more like a regular record, and not like the mad, uneducated thing I’d created.

Larry Page, The Troggs’ manager, producer: I’d done an orchestral album called Kinky Music and I had some stuff on the go in America. I had a meeting with [Columbia Records-owned publishing company] April Blackwood Music, and they said are you looking for material for groups? They brought in about seven or eight titles for me to listen to, one of which was “Wild Thingâ€.

Reg Presley, singer, The Troggs: I’d started to write songs. I don’t think Larry would have known, other than me saying, “Oh, I’ve got a song,†on the telephone. And I didn’t have a telephone in those days. I had to go to a little box. But he sent down “Did You Ever Have To Make Up Your Mind†by The Lovin’ Spoonful for us to do. Also sent with it was the old demo of “Wild Thingâ€, which Dennis Berger, who worked in the office, had got out of a heap of demos. He saw it and thought, ‘Ooh, that’d be good for The Troggs’. I really wasn’t into that kind of music [The Lovin’ Spoonful]. My influences were Louisiana Red and Lightnin’ Hopkins and the blues. When I finally got hold of Larry he said: “How did you get on with the harmonies?†I said, “Harmonies? On ‘Wild Thing’?†And he said, “Well, come up to London and we’ll do it.â€

Page: Reg is into UFOs and he always used to say that if they asked him to go up there with them, he’d go. I get the feeling he’s been, and it’s affected his memory.

Chris Britton, guitar, The Troggs: We did “Wild Thing†and “With A Girl Like You†on the end of a Larry Page Orchestra session. We drove up to Olympic Studios in London from Andover in our battered J4 van, which took two of us to drive, because someone had to lean over and help turn the steering wheel. The throttle linkage broke, so we tied a bit of string on the carburettor leverage, and whoever was sitting in the passenger seat had to work the throttle… it was utter chaos. Anyway, we arrived outside Olympic, and Larry said, “Come on, load yourselves in.†We got in as fast as we could, did a quick runthrough to get a sound balance, played “Wild Thingâ€, played “With A Girl Like You†and we were back out in 20 minutes.

Page: When you hear that they went in and did it in one take… we had rehearsed the boys so we knew exactly what we had. We were going down on four-track, so there wasn’t a lot of mixing, but you had to get it right. The Troggs were rough when I first saw them and rough when I left them, but that’s the magic. It was such a basic song, but everyone had tried to over-produce it. We did add the ocarina, which Colin Fretcher played. Colin worked for me. He used to count the boys in. They weren’t a band that could count themselves in.

Britton: I’ve always been a bit heavy-handed and raucous. Keith [Grant], the engineer, managed to capture the sound quite well. I had two Vox AC30 amps,  one of which I had on flat-out top, and the other I had on flat-out bass, and not only did he put a mic on each amp, but he stuck one on the strings, so you get this slight plectrum noise on the strings – it gives it a slight acoustic quality.

Taylor: The Troggs’ record totally captured the feel of the demo, and it had that great little intro. The ocarina solo that you hear on Reg’s record, they copied that from my demo. I stomped on the floor and did this overdub, trying to get some power to it, and as we were listening back my engineer Ron Johnson did this thing, like when you cup your hands and put a blade of grass in there and you can make a whistling sound – he did it without the blade of grass.

Page: To me it was magic. But no-one else seemed to think so. I walked this thing around the BBC and everybody hated it. I came out and bumped into a producer named Brian Willey. He said to me, “How are you, Larry?†I said, “I’m actually pissed off, I’ve got a hit record here, and everybody hates it.†He said, “I don’t know if you know, but I’m doing Saturday Club, would you like me to put it in?†He’d never heard it, and he put it in the programme. On that one play, it took off. That’s the way hit records happen.

Presley: It was all so fast. I was working on a building, doing a gable end, when I first heard “Wild Thing†on the radio. There was a painter, and he was working on the scaffolding behind me, and when “Wild Thing†came on his transistor radio, he shouted over to me, not knowing who I was. He said, “If that ain’t No 1 next week I’ll eat my brush.†Well, the DJ, when it finished said: “And from 44 to No 8 this week…†and I thought: ‘That bastard could be right.’ I threw my trowel down, and I looked round the shed and said: “Share out me tools, I’m off.â€

Taylor: Your big fear when you wrote a song was that somebody would not get the feel of what you were doing. That’s the one thing the Chip Taylor demo, The Troggs, and the Jimi Hendrix version have in common – the strum is this primitive, groovy thing that has a little in-between movement of your thumb that makes it almost sound percussive.

Presley: It was raw. Music was starting at that time to go towards flower power. A lot of people say we’re the first punk rock. Well, when you look back and see how the punks started, they’re probably bloody right.

My Bloody Valentine, “m b v”: second thoughts

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Just before starting to write this morning, I spent a while digging around for the old office ghettoblaster, computer-connecting technology having failed us in our attempts to play a new EP that turned up yesterday in cassette form. The EP forms part of the capricious launch strategy of Library Of Sands, a new project from a mesa-dwelling outlier called Naynay Shineywater, who used to front Brightblack Morning Light. Brightblack, in the entirely possible event that you never heard them, specialised in a kind of husky, somnambulant desert funk, much indebted to Spiritualized and Dr John. Shineywater’s dedicated new age sensibilities meant that their crystal-heavy imagery was offputting to some, but the music was fantastic. This time, he has returned with three EPs: one on 12-inch (which I haven’t heard yet); one on CD (“Side To Sideâ€, soupy ambient-blues jams with a crack Chicago horn section); and one on cassette (“Wavy Heatâ€, playing now, with an almost industrial grind). You should probably check Shineywater’s site, http://www.tented-tent.com/, for further details. Anyhow, “Wavy Heat†is also remarkable for the second appearance of the week from Colm Ó Cíosóig (it’s pronounced “Cusackâ€, I learn from Wikipedia perhaps 25 years too late). One suspects it might have a little less cultural impact than that of Ó Cíosóig’s other new release, “m b vâ€; after all, Shineywater’s last album came out in 2008, while My Bloody Valentine, legendarily, haven’t put one out since 1991. At time of writing, @LIBRARYOFSANDS has 14 followers on Twitter. All of which means that the few people who do discover Library Of Sands are likely to hear that music very privately and in their own time; its impact will be small, gradual, cumulative. The exact opposite of how “m b v†arrived at some point on Saturday night or Sunday morning, depending on timezone, stamina and luck with My Bloody Valentine’s severely overloaded website. At 7am on Sunday morning, UK time, there was still a palpable sense of participating in a momentous event, as social media elevated the mere act of downloading and playing a new album into a collective phenomenon; who was still awake? and who wakes up at that time? For those of us who first came across MBV around the time of “Strawberry Wine†and “Ecstasyâ€, the feeling of being part of an apparently huge community was at once bizarre and heartening, a validation of sorts; not least when the initial excitement began to solidify into a realisation that “m b v†at least seemed to be an entirely dignified and thrilling continuation of MBV’s musical legacy. The problem with these sudden big releases, of course, is that there’s a danger snap judgments become final ones; that once everyone has shared their first thoughts - here’s the MBV review I posted at about 9am on Sunday – they move on to the next musical revelation dropped without warning onto the internet. There is, though, another possible path: that as a record beds in, we can carry on talking about it, so that a picture emerges of how music changes with every listen – something especially salient to a record like “m b vâ€, on which hidden melodies and details come into focus over time: I’m currently fixated on an escalating whoosh that comes in at 1:22, prefacing the riff, in “Only Tomorrowâ€, and which fades out in a sly, almost sheepish way five or six seconds later, just when you expect it to explode. What else have I learned, or at least thought, about “m b v†in the last 48 hours? That the lower-case fetish still annoys me. That “She Found Now†is maybe out of place as the album opener (it feels like the fourth track on an EP), but has maybe been placed there for tactical reasons, as a kind of initial defusing of expectations. This is how “m b v†seems to be structured: a first hazy shrug; followed by two superb and more overt declarations of intent (“Who Sees You†reminds me increasingly of “Come In Aloneâ€); a varied and consolidating mid-section; then the closing triumvirate of beats and fanfares and noise that offer all the bracing possibilities of what the future – or more cynically, the mid-‘90s - might bring. Mostly, though, and happily, it feels like repeated listenings to this beautiful album have compounded the positive responses of Sunday morning so that, in this case, first thoughts mostly remain best thoughts. Even in the melee of “Wonder 2†(did they sample the plane takeoff from “Blue Monday†and stretch it over the entire track?), it’s those melodies which still feel the most potent aspect of MBV’s work here. Someone on Twitter tagged my first review as a “rockist†reading, presumably on account of me privileging the tunes and casting the closing passage of “Only Tomorrow†as ostensibly a guitar solo. The thing is, though, that the disruptions of My Bloody Valentine and Sonic Youth provided a gateway for me into a lot of avant-garde – especially abstract electronic – music. Kevin Shields’ bent aesthetic still sounds highly original – I might even risk using the word “unique†– but as a consequence, its noisiness is no longer so shocking. Let me know, of course, how it’s working for you. It’ll be interesting to see what Uncut’s reviewer makes of it all, two unimaginable weeks down the line. In the meantime, though, it’s probably responsible of me to flag up our current issue that came out in the UK at the end of last week, and which features Tom Waits on the cover, alongside The Beach Boys, Hendrix, Jim James, Richard Thompson, a spectacular Sinead O’Connor review, and a very different story involving this year’s other significant comeback kids, David Bowie and Tony Visconti. Full details here: https://www.uncut.co.uk/magazine/march-2013 Follow me on Twitter: www.twitter.com/JohnRMulvey

Just before starting to write this morning, I spent a while digging around for the old office ghettoblaster, computer-connecting technology having failed us in our attempts to play a new EP that turned up yesterday in cassette form. The EP forms part of the capricious launch strategy of Library Of Sands, a new project from a mesa-dwelling outlier called Naynay Shineywater, who used to front Brightblack Morning Light.

Brightblack, in the entirely possible event that you never heard them, specialised in a kind of husky, somnambulant desert funk, much indebted to Spiritualized and Dr John. Shineywater’s dedicated new age sensibilities meant that their crystal-heavy imagery was offputting to some, but the music was fantastic. This time, he has returned with three EPs: one on 12-inch (which I haven’t heard yet); one on CD (“Side To Sideâ€, soupy ambient-blues jams with a crack Chicago horn section); and one on cassette (“Wavy Heatâ€, playing now, with an almost industrial grind). You should probably check Shineywater’s site, http://www.tented-tent.com/, for further details.

Anyhow, “Wavy Heat†is also remarkable for the second appearance of the week from Colm Ó Cíosóig (it’s pronounced “Cusackâ€, I learn from Wikipedia perhaps 25 years too late). One suspects it might have a little less cultural impact than that of Ó Cíosóig’s other new release, “m b vâ€; after all, Shineywater’s last album came out in 2008, while My Bloody Valentine, legendarily, haven’t put one out since 1991. At time of writing, @LIBRARYOFSANDS has 14 followers on Twitter.

All of which means that the few people who do discover Library Of Sands are likely to hear that music very privately and in their own time; its impact will be small, gradual, cumulative. The exact opposite of how “m b v†arrived at some point on Saturday night or Sunday morning, depending on timezone, stamina and luck with My Bloody Valentine’s severely overloaded website.

At 7am on Sunday morning, UK time, there was still a palpable sense of participating in a momentous event, as social media elevated the mere act of downloading and playing a new album into a collective phenomenon; who was still awake? and who wakes up at that time? For those of us who first came across MBV around the time of “Strawberry Wine†and “Ecstasyâ€, the feeling of being part of an apparently huge community was at once bizarre and heartening, a validation of sorts; not least when the initial excitement began to solidify into a realisation that “m b v†at least seemed to be an entirely dignified and thrilling continuation of MBV’s musical legacy.

The problem with these sudden big releases, of course, is that there’s a danger snap judgments become final ones; that once everyone has shared their first thoughts – here’s the MBV review I posted at about 9am on Sunday – they move on to the next musical revelation dropped without warning onto the internet.

There is, though, another possible path: that as a record beds in, we can carry on talking about it, so that a picture emerges of how music changes with every listen – something especially salient to a record like “m b vâ€, on which hidden melodies and details come into focus over time: I’m currently fixated on an escalating whoosh that comes in at 1:22, prefacing the riff, in “Only Tomorrowâ€, and which fades out in a sly, almost sheepish way five or six seconds later, just when you expect it to explode.

What else have I learned, or at least thought, about “m b v†in the last 48 hours? That the lower-case fetish still annoys me. That “She Found Now†is maybe out of place as the album opener (it feels like the fourth track on an EP), but has maybe been placed there for tactical reasons, as a kind of initial defusing of expectations. This is how “m b v†seems to be structured: a first hazy shrug; followed by two superb and more overt declarations of intent (“Who Sees You†reminds me increasingly of “Come In Aloneâ€); a varied and consolidating mid-section; then the closing triumvirate of beats and fanfares and noise that offer all the bracing possibilities of what the future – or more cynically, the mid-‘90s – might bring.

Mostly, though, and happily, it feels like repeated listenings to this beautiful album have compounded the positive responses of Sunday morning so that, in this case, first thoughts mostly remain best thoughts. Even in the melee of “Wonder 2†(did they sample the plane takeoff from “Blue Monday†and stretch it over the entire track?), it’s those melodies which still feel the most potent aspect of MBV’s work here.

Someone on Twitter tagged my first review as a “rockist†reading, presumably on account of me privileging the tunes and casting the closing passage of “Only Tomorrow†as ostensibly a guitar solo. The thing is, though, that the disruptions of My Bloody Valentine and Sonic Youth provided a gateway for me into a lot of avant-garde – especially abstract electronic – music. Kevin Shields’ bent aesthetic still sounds highly original – I might even risk using the word “unique†– but as a consequence, its noisiness is no longer so shocking. Let me know, of course, how it’s working for you.

It’ll be interesting to see what Uncut’s reviewer makes of it all, two unimaginable weeks down the line. In the meantime, though, it’s probably responsible of me to flag up our current issue that came out in the UK at the end of last week, and which features Tom Waits on the cover, alongside The Beach Boys, Hendrix, Jim James, Richard Thompson, a spectacular Sinead O’Connor review, and a very different story involving this year’s other significant comeback kids, David Bowie and Tony Visconti. Full details here: https://www.uncut.co.uk/magazine/march-2013

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

Reg Presley dies aged 71

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Reg Presley has died at the age of 71. Presley died at his home in Andover, Hampshire – the town of his birth – from cancer yesterday (February 4), in the company of his family. He was diagnosed with lung cancer in December 2012 during a tour of Germany, and is reported to have had a number of...

Reg Presley has died at the age of 71.

Presley died at his home in Andover, Hampshire – the town of his birth – from cancer yesterday (February 4), in the company of his family. He was diagnosed with lung cancer in December 2012 during a tour of Germany, and is reported to have had a number of strokes before the diagnosis, according to messages posted by music publicist and close friend Keith Altham.

Last month (January 24), Presley posted a statement to fans on the band’s website, in which he announced his retirement from music due to failing health. “I am receiving chemotherapy treatment and at the moment not feeling too bad. However I’ve had to call time on The Troggs and retire. I would like to take this opportunity to thank you all for the cards and calls and for your love, loyalty and support over the years… I shall miss you all. Lots of Love.”

Presley – born Reginald Maurice Ball – formed The Troggs in 1964. The band were signed by Kinks manager Larry Page the following year. Their signature song, “Wild Thing”, reached Number 2 in the charts in 1966, though the lesser-known follow-up, “With A Girl Like You”, gave them their first and only UK Number 1. Though they split in 1969, The Troggs soon reunited and remained a group until Presley’s announcement last month. Despite this, life within the band was not always rosy – as demonstrated on the notorious Troggs Tapes, an expletive-ridden recording of the band arguing in the studio.

In 1994, Wet Wet Wet’s cover of Presley’s 1967 song “Love Is All Around” (for the Four Weddings And A Funeral soundtrack) gave them the second longest-running UK Number 1 to date, remaining on the top spot for 15 consecutive weeks. Presley is reported to have used the royalties from the single to pursue his interest in crop circles and UFOs. The paranormal was a great passion of Presley’s – he published a book on the subject titled Wild Things They Don’t Tell Us in 2002. Presley also had a sideline in acting, appearing in TV’s Inspector Wexford.

Presley’s pop-meets-garage rock sound is said to have been an influence on artists as diverse as The Ramones, Iggy Pop, REM and Jimi Hendrix, who covered ‘Wild Thing’ at 1967’s Monterey Pop Festival. On Twitter, former Rolling Stones manager Andrew Loog Oldham wrote, “R.I.P. Reg Presley of The Troggs. A long time served in the rock trenches. Always innovative.”

Jack White collaborates with Butthole Surfers’ Gibby Haynes on three tracks

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Jack White has collaborated with Butthole Surfers' Gibby Haynes on three songs, set to be released as a single on White's Third Man Records. The single features new songs "You Don't Have To Be Smart" and "Horse Named George", as well as a cover of hardcore band Adrenalin OD's 'Paul's Not Home'. Scr...

Jack White has collaborated with Butthole Surfers’ Gibby Haynes on three songs, set to be released as a single on White’s Third Man Records.

The single features new songs “You Don’t Have To Be Smart” and “Horse Named George”, as well as a cover of hardcore band Adrenalin OD’s ‘Paul’s Not Home’. Scroll down to listen to an excerpt from the track.

Haynes sings on all three songs while White plays guitar. White also provides backing vocals on “Paul’s Not Home”. The song originally appeared on 1982’s “New York Thrash” compilation alongside the first ever recorded Beastie Boys tracks, “Riot Fight” and “Beastie”.

The single is released on February 14, but a number of limited edition versions of the 7″ will be pressed onto old medical x-rays, in what White is dubbing a ‘flex-ray disc’. These will be sold exclusively from Third Man‘s Rolling Record Store van at South By Southwest next month in Austin, Texas.

The single is part of Third Man Records’ Blue Series, which has also seen special releases by Laura Marling, Tom Jones, Insane Clown Posse, Jeff The Brotherhood and Beck.

Jack White will be performing as part of the Grammy Awards ceremony in Los Angeles this Sunday (February 10). His debut solo album, ‘Blunderbuss’, has been nominated for Album of the Year and Best Rock Album.

Vampire Weekend name new album via newspaper classified advert – and announce UK gig

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Vampire Weekend have announced details of their new album, which will be titled Modern Vampires Of The City. The band have also revealed they are to play a one-off UK show on May 8 at The Troxy in London. The band teased the name of their forthcoming third album, which will be released in May, last...

Vampire Weekend have announced details of their new album, which will be titled Modern Vampires Of The City. The band have also revealed they are to play a one-off UK show on May 8 at The Troxy in London.

The band teased the name of their forthcoming third album, which will be released in May, last week and today placed the album title in the classified section of the New York Times under the ‘Lost And Found’ header. Having tipped fans off to their PR stunt via Twitter, the band then confirmed the album title and release date in a second tweet.

The title is in keeping with the cryptic ‘MVOTC’ acronym which has been present on Vampire Weekend’s website since they first revealed they had finished work on the album earlier this year. Fans had speculated as to what the album title could mean online, with some suggesting the MV could stand for Martha’s Vineyard, where some of the album was written and recorded.

The LP will be the band’s first new material since 2010’s ‘Contra’ and has been in the works for more than 20 months and will be released in the UK on May 6.

The tracklisting for is as follows:

‘Obvious Bicycle’

‘Unbelievers’

‘Step’

‘Diane Young’

‘Don’t Lie’

‘Hannah Hunt’

‘Everlasting Arms’

‘Finger Back’

‘Worship You’

‘Ya Hey’

‘Hudson’

‘Young Lion’

Thom Yorke announces series of special live shows

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Thom Yorke has announced a special series of live shows with Radiohead and Atoms For Peace superproducer Nigel Godrich. Announcing the gigs on Twitter earlier today (February 4), Yorke wrote: "Me & Nigel out & about with two turntables & a microphone - London 22 Feb, Berlin 8 March, NY...

Thom Yorke has announced a special series of live shows with Radiohead and Atoms For Peace superproducer Nigel Godrich.

Announcing the gigs on Twitter earlier today (February 4), Yorke wrote: “Me & Nigel out & about with two turntables & a microphone – London 22 Feb, Berlin 8 March, NY 14 March. Special guests & location to follow…”

Atoms For Peace – Thom Yorke’s side project with Godrich, Flea from Red Hot Chili Peppers and percussionist Mauro Refosco – release their debut album ‘Amok’ on February 25 via XL.

In a recent interview, Yorke and Godrich confirmed that they would be playing shows in the UK and Europe, but that they didn’t know when. “It’s still being figured out,” said Nigel. “It’s on the table.”

When asked if they’d be playing this summer’s Glastonbury Festival, Yorke said that they wouldn’t. “We won’t have got our shit together by then,” he explained.

Watch new Nick Cave And The Bad Seeds video, “Jubilee Street”

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Nick Cave And The Bad Seeds have unveiled the video for their song 'Jubilee Street'. The NSFW promo was directed by longtime Cave collaborator John Hillcoat (Lawless, The Proposition), and features Brit actor Ray Winstone. The video was shot in the East End of London at the end of last year. Scroll...

Nick Cave And The Bad Seeds have unveiled the video for their song ‘Jubilee Street’.

The NSFW promo was directed by longtime Cave collaborator John Hillcoat (Lawless, The Proposition), and features Brit actor Ray Winstone. The video was shot in the East End of London at the end of last year. Scroll down to watch.

Speaking about the video, Cave said: It was a real pleasure hanging around the set and watching Ray do his thing. He is a master. What a great actor. And of course, working with my friend and collaborator John Hillcoat is always a blast.

Nick Cave And The Bad Seeds will launch their new album, ‘Push the Sky Away’, with a special, sold out live show at Her Majesty’s Theatre in London on February 10.

The band will be playing the album in full with strings and a choir. A short film by Iain Forsyth and Jane Pollard about the making of the album, which is out February 18, will also be screened at the event.

Similar events will be held in Paris at Trianon (February 11), Berlin Admiralspalast (February 13) and Los Angeles Fonda Theatre (February 21).

For more information visit Nickcave.com.

Nick Cave And The Bad Seeds will be playing SXSW in Austin, Texas in March, Coachella Festival in California in April and Primavera Sound in Barcelona, Spain, in May.

HMV to close up to 100 shops

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Administrators responsible for the restructure of HMV are understood to be announcing plans to close between 60 and 100 stores this week. According to The Telegraph, administrator Deloitte's plans to restructure the business could result in the loss of 1,500 jobs at the music retailer. The location of the stores set to be closed are yet to be finalised, but the chosen shops will remain open until all their stock has been sold. HMV went into administration last month, putting over 4,000 jobs and 223 stores at risk, but hopes of a rescue deal have been raised after restructuring firm Hilco bought the company's £176 million worth of debt. The company are believed to be in talks with record labels, suppliers and HMV's landlords as part of a plan to keep the retailer afloat in some capacity. Hilco, which turned around the fortunes of HMV's Canadian arm, and Deloitte believe that for the chain to emerge as a viable high street retailer it must reduce its number of shops to between 120 and 160. Deloitte has already cut 60 jobs at HMV, which led to staff hijacking the company's Twitter account last week. In a string of messages on the company's Twitter account, Poppy Rose Cleere, who was HMV’s social media planner, criticised the company for getting rid of people who wanted to help secure the long term future of the company: "There are over 60 of us being fired at once! Mass execution of loyal employees who love the brand," read one message. Another stated: "Under normal circumstances we'd never dare do such a thing as this." She later revealed that she felt senior members of staff at HMV "never seemed to grasp" how important social media was in building links between themselves and customers. "I would apologise for the #hmvXFactorFiring tweets but I felt like someone had to speak. As someone without a family to support/no mortgage I felt that I was the safest person to do so," she wrote on her own personal Twitter account. She later added: "I wanted to show the power of Social Media to those who refused to be educated."

Administrators responsible for the restructure of HMV are understood to be announcing plans to close between 60 and 100 stores this week.

According to The Telegraph, administrator Deloitte’s plans to restructure the business could result in the loss of 1,500 jobs at the music retailer. The location of the stores set to be closed are yet to be finalised, but the chosen shops will remain open until all their stock has been sold.

HMV went into administration last month, putting over 4,000 jobs and 223 stores at risk, but hopes of a rescue deal have been raised after restructuring firm Hilco bought the company’s £176 million worth of debt. The company are believed to be in talks with record labels, suppliers and HMV’s landlords as part of a plan to keep the retailer afloat in some capacity.

Hilco, which turned around the fortunes of HMV’s Canadian arm, and Deloitte believe that for the chain to emerge as a viable high street retailer it must reduce its number of shops to between 120 and 160. Deloitte has already cut 60 jobs at HMV, which led to staff hijacking the company’s Twitter account last week.

In a string of messages on the company’s Twitter account, Poppy Rose Cleere, who was HMV’s social media planner, criticised the company for getting rid of people who wanted to help secure the long term future of the company: “There are over 60 of us being fired at once! Mass execution of loyal employees who love the brand,” read one message. Another stated: “Under normal circumstances we’d never dare do such a thing as this.”

She later revealed that she felt senior members of staff at HMV “never seemed to grasp” how important social media was in building links between themselves and customers. “I would apologise for the #hmvXFactorFiring tweets but I felt like someone had to speak. As someone without a family to support/no mortgage I felt that I was the safest person to do so,” she wrote on her own personal Twitter account. She later added: “I wanted to show the power of Social Media to those who refused to be educated.”

Watch Pulp perform new single ‘After You’ on Jonathan Ross show

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Pulp made their first live appearance on TV together in 10 years on Jonathan Ross' chat show this weekend, performing their new single "After You". Watch it below. Jarvis Cocker and co played the James Murphy produced single as well as a brief part of "Common People" as the programme began. "Afte...

Pulp made their first live appearance on TV together in 10 years on Jonathan Ross’ chat show this weekend, performing their new single “After You”. Watch it below.

Jarvis Cocker and co played the James Murphy produced single as well as a brief part of “Common People” as the programme began.

After You” was made available to download last week (January 28). The band originally gave away the track as a present on Christmas Day 2012 to fans who attended their homecoming Sheffield Arena show on December 8.

The track was first demoed by the band during the sessions for their 2001 album We Love Life, but the new version is a fresh version recorded in November 2012, before being finished off with Murphy in December.

http://www.youtube.com/watch?v=72YVDqBqBzo