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Black Keys: “A new album’s definitely gonna happen in 2013”

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The Black Keys have confirmed that a new album is "definitely gonna happen next year". The duo will start work on the follow up their eigth album, 2011's El Camino, early next year. In an interview with CBS Local, drummer Patrick Carney, who recently married his long-term girlfriend, said: "It [a...

The Black Keys have confirmed that a new album is “definitely gonna happen next year”.

The duo will start work on the follow up their eigth album, 2011’s El Camino, early next year.

In an interview with CBS Local, drummer Patrick Carney, who recently married his long-term girlfriend, said: “It [an album] is definitely gonna happen in 2013. It’s just a matter of how long it takes us to make the album and deciding when we want to get back on the road.”

He added: “We’re going to start making a new album in January and we’re going to tour a little more in the spring. Our plan is the have the new album done by the end of spring or earlier, then hopefully take a few months off to do normal things like go to bed early and wake up early, walk the dog, that kind of stuff. Then we’ll probably be back on the road starting next fall.”

The Black Keys will return to the UK later this year for a full arena tour. They will kick off their six-date trek at Newcastle’s Metro Radio Arena on December 7, before playing Glasgow’s SECC on November 8, Birmingham’s NIA on December 9 and the Manchester Arena on December 11. The tour will conclude at London’s O2 Arena on December 12 and 13.

Bill Wilson – Ever Changing Minstrel

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Back from the bargain bin, a lost piece of southern-soul-baring... If you want to make a great record, go to the top. That was what Bill Wilson figured anyway, which is why the 26 year old was knocking on the front door of Bob Johnston’s home in Austin. The feted producer of Bob Dylan, Simon & Garfunkel and Leonard Cohen had recently relocated to the Texan music town after falling out with Columbia records, from whom, he claimed, he had received no royalties for the stellar abums he had delivered. Wilson had been kicking around Austin since being discharged from the U.S. Airforce three years earlier. Born in small town Indiana, Wilson had served in Vietnam before completing his duty to Uncle Sam at Austin’s airbase (these days a civilian aiport). As an aspiring musician he had tasted a little success, singing on a 1970 album by local psych-bluesers Mariani, who featured a 16 year old guitarist - and future star - Eric Johnson. After that Wilson had returned to Indiana to play dobro with an outfit called Pleasant Street. Still, Wilson had never lost faith in his talent. He had a bunch of fine songs and Bob Johnston was surely the man to turn them into a record. Johnston had other ideas. “You came to the wrong house,” he snapped. “You can’t just show up and make a fucking record.” “Will you listen to one song?” wheedled Wilson. In his parlour, Johnson listened to a dozen. Impressed, he decided to cut an album that very night. He summoned a slew of top session players: guitarists Charlie Daniels and Pete Drake, pianist Bob Wilson, drummer Kenny Buttrey, steel guitarist Pete Drake – pretty much the Nashville crew he had used on Dylan’s Blonde On Blonde sessions, with singer Cissy Houston as a bonus. Then they went to work. The resulting album was released in late 1973 on Windfall Records, a label distributed by CBS, though not, it transpired, with much ardour. Its hideous packaging likely didn’t help. Ever Changing Minstrel sank without trace. Its current re-emergence is down to happenstance, after Tompkins Square founder Josh Rosenthal found a copy for 25 cents in a Berkeley record store and noticed Johnston’s credit. Both Rosenthal and Johnston had sound instincts. Ever Changing Minstrel is a collection of tough and tender pieces, the best of which bear the imprint of the early Seventies Austin scene of Guy Clark, and Townes Van Zandt. Wilson turns his rich tenor voice in various directions. “Black Cat Blues” has a southern, swampy feel akin to Tony Joe White’s “Polk Salad Annie” while “Ballad of Cody” is a cameo of a lonesome guitar picker along the rain-soaked streets of San Antone. “Rainy Day Resolution” and “To Rebecca” are brighter pieces that walk singer-songwriterdom’s well-trodden avenues, with “Ever Changing Minstrel” crossing the line into a John Denveresque world of sleepy-eyed women, dripping rainbows, and bright meadows. It’s the only track set solely to picked acoustic guitar. Elsewhere those famous session men cut their stuff. “Long Gone Lady” – testament to Wilson’s fragile marriage - has some purring steel, “Good Ship Society” builds to a Band-esque ensemble piece, and “Following My Lord” and “Father Let Your Light Shine Down” come gospel-soaked, with hammered piano and female backing vocals. Religion clearly had its hold, though when Wilson starts a line “Caught between the devil” you don’t expect him to conclude “and the galaxy”. These were still hippie times. If the album doesn’t add to more than the sum of its parts, there’s an engaging spirit to the session. Presented with his shot at the brass ring, Wilson didn’t fluff his lines or his notes. It must have hurt to see his album vanish into the corporate machinery. Vanish it did – Rosenthal could find no mention of the sessions or personnel in the archives, though Johnston recalls making it well enough. Wilson returned to Indiana and local hero status, gigging and recording until his death at 46, though Johnston never saw him again. The producer handed him a nice epitaph, though: “The fucker could really write”. Neil Spencer

Back from the bargain bin, a lost piece of southern-soul-baring…

If you want to make a great record, go to the top. That was what Bill Wilson figured anyway, which is why the 26 year old was knocking on the front door of Bob Johnston’s home in Austin. The feted producer of Bob Dylan, Simon & Garfunkel and Leonard Cohen had recently relocated to the Texan music town after falling out with Columbia records, from whom, he claimed, he had received no royalties for the stellar abums he had delivered.

Wilson had been kicking around Austin since being discharged from the U.S. Airforce three years earlier. Born in small town Indiana, Wilson had served in Vietnam before completing his duty to Uncle Sam at Austin’s airbase (these days a civilian aiport). As an aspiring musician he had tasted a little success, singing on a 1970 album by local psych-bluesers Mariani, who featured a 16 year old guitarist – and future star – Eric Johnson. After that Wilson had returned to Indiana to play dobro with an outfit called Pleasant Street.

Still, Wilson had never lost faith in his talent. He had a bunch of fine songs and Bob Johnston was surely the man to turn them into a record. Johnston had other ideas. “You came to the wrong house,” he snapped. “You can’t just show up and make a fucking record.”

“Will you listen to one song?” wheedled Wilson.

In his parlour, Johnson listened to a dozen. Impressed, he decided to cut an album that very night. He summoned a slew of top session players: guitarists Charlie Daniels and Pete Drake, pianist Bob Wilson, drummer Kenny Buttrey, steel guitarist Pete Drake – pretty much the Nashville crew he had used on Dylan’s Blonde On Blonde sessions, with singer Cissy Houston as a bonus. Then they went to work.

The resulting album was released in late 1973 on Windfall Records, a label distributed by CBS, though not, it transpired, with much ardour. Its hideous packaging likely didn’t help. Ever Changing Minstrel sank without trace. Its current re-emergence is down to happenstance, after Tompkins Square founder Josh Rosenthal found a copy for 25 cents in a Berkeley record store and noticed Johnston’s credit.

Both Rosenthal and Johnston had sound instincts. Ever Changing Minstrel is a collection of tough and tender pieces, the best of which bear the imprint of the early Seventies Austin scene of Guy Clark, and Townes Van Zandt. Wilson turns his rich tenor voice in various directions. “Black Cat Blues” has a southern, swampy feel akin to Tony Joe White’s “Polk Salad Annie” while “Ballad of Cody” is a cameo of a lonesome guitar picker along the rain-soaked streets of San Antone.

“Rainy Day Resolution” and “To Rebecca” are brighter pieces that walk singer-songwriterdom’s well-trodden avenues, with “Ever Changing Minstrel” crossing the line into a John Denveresque world of sleepy-eyed women, dripping rainbows, and bright meadows. It’s the only track set solely to picked acoustic guitar. Elsewhere those famous session men cut their stuff. “Long Gone Lady” – testament to Wilson’s fragile marriage – has some purring steel, “Good Ship Society” builds to a Band-esque ensemble piece, and “Following My Lord” and “Father Let Your Light Shine Down” come gospel-soaked, with hammered piano and female backing vocals. Religion clearly had its hold, though when Wilson starts a line “Caught between the devil” you don’t expect him to conclude “and the galaxy”. These were still hippie times.

If the album doesn’t add to more than the sum of its parts, there’s an engaging spirit to the session. Presented with his shot at the brass ring, Wilson didn’t fluff his lines or his notes. It must have hurt to see his album vanish into the corporate machinery. Vanish it did – Rosenthal could find no mention of the sessions or personnel in the archives, though Johnston recalls making it well enough. Wilson returned to Indiana and local hero status, gigging and recording until his death at 46, though Johnston never saw him again. The producer handed him a nice epitaph, though: “The fucker could really write”.

Neil Spencer

Jack White angers fans with short New York gig

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Jack White angered fans at his show at Radio City, New York last night (September 29) by ending his set after 1 hour. The former White Stripes man was playing the first of two nights at Manhattan's Radio City Music Hall when he abruptly cut his set short, walking off stage an hour before his gigs h...

Jack White angered fans at his show at Radio City, New York last night (September 29) by ending his set after 1 hour.

The former White Stripes man was playing the first of two nights at Manhattan’s Radio City Music Hall when he abruptly cut his set short, walking off stage an hour before his gigs have usually finished on his current tour.

According to Buzzfeed, once fans realised White was not just talking an extra-long break before an encore set, the scene at the venue turned “ugly” and fans took to Twitter to vent their anger towards the singer.

Hunter Walker, a politics reporter for the New York Observer, who was at the show, tweeted: “Mystery solved. Security guy @ Radio City said Jack White ‘wasn’t happy with the sound, I don’t know why he pulled that’.”

Jack White will return to the UK and Ireland next month when he brings his Blunderbuss tour back to Europe. The tour includes a show at Blackpool’s Empress Ballroom, the venue where The White Stripes recorded their first live DVD, Under Blackpool Lights.

Jack White will play:

O2 Arena Dublin (October 31)

London Alexandra Palace (November 2, 3)

Bridlington Spa (4)

Blackpool Empress Ballroom (6)

O2 Academy Birmingham (7)

Edinburgh Usher Hall (8)

Watch Foo Fighters, The Black Keys join Neil Young on stage in New York

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Foo Fighters' Dave Grohl and The Black Keys' Dan Auerbach joined Neil Young on stage on Saturday [September 29] at a free concert in New York. The Global Citizen Festival, which took place in Central Park, was a five-hour concert featuring performances from Foo Fighters, The Black Keys, Band Of Horses and K'naan, with Neil Young & Crazy Horse capping off the evening. As Neil Young's set came to a climax, Grohl and Auerbach joined Young & Crazy Horse for an extended version of "Rockin' In The Free World" – you can watch a video of the performance below. Singer-songwriter John Legend made a surprise appearance at the festival, playing John Lennon's "Imagine" just a short walk from where the former Beatle was murdered. The concert was scheduled around a meeting of the United Nations General Assembly in New York next month and organisers used an innovative approach to ticket distribution. Any fans wanting a free ticket had to sign up to globalcitizen.org and earn points by watching videos about poverty, malaria, child mortality and other global problems. Organisers said more than 71,000 people had signed up to the website, resulting in over 3.5million page views. It is reported 60,000 fans were given tickets to the free event in New York's Central Park. http://www.youtube.com/watch?v=TEdBA-wxIdY

Foo Fighters’ Dave Grohl and The Black Keys’ Dan Auerbach joined Neil Young on stage on Saturday [September 29] at a free concert in New York.

The Global Citizen Festival, which took place in Central Park, was a five-hour concert featuring performances from Foo Fighters, The Black Keys, Band Of Horses and K’naan, with Neil Young & Crazy Horse capping off the evening.

As Neil Young’s set came to a climax, Grohl and Auerbach joined Young & Crazy Horse for an extended version of “Rockin’ In The Free World” – you can watch a video of the performance below.

Singer-songwriter John Legend made a surprise appearance at the festival, playing John Lennon’s “Imagine” just a short walk from where the former Beatle was murdered.

The concert was scheduled around a meeting of the United Nations General Assembly in New York next month and organisers used an innovative approach to ticket distribution. Any fans wanting a free ticket had to sign up to globalcitizen.org and earn points by watching videos about poverty, malaria, child mortality and other global problems.

Organisers said more than 71,000 people had signed up to the website, resulting in over 3.5million page views. It is reported 60,000 fans were given tickets to the free event in New York’s Central Park.

http://www.youtube.com/watch?v=TEdBA-wxIdY

Queens Of The Stone Age’s Josh Homme debuts new track ‘ Nobody To Love’ – listen

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A new track from Queens Of The Stone Age frontman Josh Homme, titled 'Nobody To Love', has hit the internet – scroll down to the bottom of the page and click to listen. The song, which was co-written by composer and Noel Gallagher's High Flying Birds producer Dave Sardy, is featured in the new film End Of Watch featuring Jake Gyllenhaal, but has now also surfaced on YouTube. Recently, Homme has been locked in a legal dispute with members of his former band Kyuss. Singer John Garcia and drummer Brant Bjork took a reincarnated incarnation of the band called Kyuss Lives! on the road last year and spoke about the possibility of recording a new studio album. In March of this year, however, they were sued by the Queens Of The Stone Age singer and another former Kyuss member, Scott Reeder, for alleged "trademark infringement, misrepresentation [and] false designation". Josh Homme was the original guitarist in Kyuss until their split in 1995. In December last year, Homme said that Queens Of The Stone Age were "locked away in the desert" working on a new album and claimed that the new material sounded "killer". The LP, which will be their sixth studio record and the follow-up to 2007's 'Era Vulgaris', was originally expected to be released later this year. http://www.youtube.com/watch?v=VZEH1FJN6JU

A new track from Queens Of The Stone Age frontman Josh Homme, titled ‘Nobody To Love’, has hit the internet – scroll down to the bottom of the page and click to listen.

The song, which was co-written by composer and Noel Gallagher’s High Flying Birds producer Dave Sardy, is featured in the new film End Of Watch featuring Jake Gyllenhaal, but has now also surfaced on YouTube.

Recently, Homme has been locked in a legal dispute with members of his former band Kyuss. Singer John Garcia and drummer Brant Bjork took a reincarnated incarnation of the band called Kyuss Lives! on the road last year and spoke about the possibility of recording a new studio album.

In March of this year, however, they were sued by the Queens Of The Stone Age singer and another former Kyuss member, Scott Reeder, for alleged “trademark infringement, misrepresentation [and] false designation”.

Josh Homme was the original guitarist in Kyuss until their split in 1995. In December last year, Homme said that Queens Of The Stone Age were “locked away in the desert” working on a new album and claimed that the new material sounded “killer”. The LP, which will be their sixth studio record and the follow-up to 2007’s ‘Era Vulgaris’, was originally expected to be released later this year.

http://www.youtube.com/watch?v=VZEH1FJN6JU

The Rain Parade reunite for first show in 25 years

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Legendary Paisley Underground band, The Rain Parade, are to reunite for the first time in 25 years to play a benefit concert for Bobby Sutliff, singer/guitarist for ’80s contemporaries The Windbreakers, who was seriously injured in a car accident over the summer. The show will take place on January 19, 2013, at Atlanta, GA venue, The Earl. According to a post on Rain Parade singer-guitarist Matt Piucci's Facebook page, this might not be the only show for the reformed band. Piucci wrote, “Rain Parade needs a great drummer. … Not a ton of gigs planned, but cool ones.” He also suggested European concerts are in the works: “Fully intend to cross the pond in 2013.” There is no confirmation yet as to whether the reunited line-up will include original guitarist/vocalist David Roback, who went on to form Opal and Mazzy Star after leaving the band in 1983, following the release of the band's first album Emergency Third Rail Power Trip. http://www.youtube.com/watch?v=kxaky41I6xU

Legendary Paisley Underground band, The Rain Parade, are to reunite for the first time in 25 years to play a benefit concert for Bobby Sutliff, singer/guitarist for ’80s contemporaries The Windbreakers, who was seriously injured in a car accident over the summer.

The show will take place on January 19, 2013, at Atlanta, GA venue, The Earl.

According to a post on Rain Parade singer-guitarist Matt Piucci‘s Facebook page, this might not be the only show for the reformed band. Piucci wrote, “Rain Parade needs a great drummer. … Not a ton of gigs planned, but cool ones.” He also suggested European concerts are in the works: “Fully intend to cross the pond in 2013.”

There is no confirmation yet as to whether the reunited line-up will include original guitarist/vocalist David Roback, who went on to form Opal and Mazzy Star after leaving the band in 1983, following the release of the band’s first album Emergency Third Rail Power Trip.

Crosby, Stills & Nash to perform debut album in its entirety

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Crosby Stills & Nash will close their 80-date world tour next month with a gala performance of their debut album in its entirety at the Beacon Theatre in New York City. The date - October 22 - is the fifth and final date of a run of shows at the venue next month (October 16, 17, 19, 20). At the...

Crosby Stills & Nash will close their 80-date world tour next month with a gala performance of their debut album in its entirety at the Beacon Theatre in New York City.

The date – October 22 – is the fifth and final date of a run of shows at the venue next month (October 16, 17, 19, 20). At the October 22 show, CSN will perform their 1969 debut album, Crosby, Stills & Nash, in full — with songs including “Suite: Judy Blue Eyes,” “Marrakesh Express” and “Guinnevere”. This is the first time the band has ever performed an album in its entirety on stage.

“Only recently we were able to play ‘Suite: Judy Blue Eyes’ after 20 years,” David Crosby recently told MusicRadar.com. “Stephen got into a good place and started being able to do it. We tried it by ourselves, then we played it live, and people went batshit. They were literally going out of their gourds. So we thought, Hey, that’s pretty cool. If we could do that, we could certainly do all the other stuff. The suite’s the hard one.”

The group recently released CSN 2012, a 25-song set on Blu-ray and DVD, presenting CSN’s first live performance film in more than 20 years.

Neil Young: ‘Being mentioned in Kurt Cobain’s suicide note fucked with me’

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Neil Young has revealed that discovering that Kurt Cobain's suicide note contained a reference to one of his lyrics "fucked" with him. Former Nirvana frontman Cobain took his own life in 1994 and, in the final letter he left to his fans, friends and family, reprinted the phrase "It's better to bur...

Neil Young has revealed that discovering that Kurt Cobain’s suicide note contained a reference to one of his lyrics “fucked” with him.

Former Nirvana frontman Cobain took his own life in 1994 and, in the final letter he left to his fans, friends and family, reprinted the phrase “It’s better to burn out than to fade away” from Young’s track “Hey Hey, My My (Into The Black)“.

Writing in his new autobiography Waging Heavy Peace, Young admitted that reading the missive had left him scarred, writing: “When he died and left that note, it struck a deep chord inside of me. It fucked with me.”

The singer also revealed that he had tried to get in touch with Cobain before his death in an attempt to help him conquer his problems, adding: “I, coincidentally, had been trying to reach him. I wanted to talk to him. Tell him only to play when he felt like it.”

Earlier this month, Young revealed that he quit booze and drugs one year ago in order to write his memoir. Discussing his decision to give up drinking alcohol and smoking marijuana in order to write his memoir, he said: “I did it for 40 years. Now I want to see what it’s like to not do it. It’s just a different perspective.”

Neil Young And Crazy Horse release their second album of this year, Psychedelic Pill, on October 29.

Beach Boys launch petition against Mike Love’s ‘money-saving’ post-anniversary tour

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The Beach Boys' Al Jardine has asked fans to sign a petition to champion the Beach Boys' full reunited line-up, over bandmate Mike Love's version of the band without the other three members. Love has previously revealed plans to continue touring under the Beach Boys name after the band's current 5...

The Beach Boys‘ Al Jardine has asked fans to sign a petition to champion the Beach Boys’ full reunited line-up, over bandmate Mike Love’s version of the band without the other three members.

Love has previously revealed plans to continue touring under the Beach Boys name after the band’s current 50th anniversary, which ends in London tomorrow (September 28).

Al Jardine has called on fans to sign the petition against Love’s “money-saving, stripped-down version” of the band, The Guardian reports. The petition, which calls on Love to “reinstate the 3 other members to the touring group for your final years performing” has nearly 4,000 electronic signatures at present.

Meanwhile, Brian Wilson has told CNN that he is gutted Love won’t tour with the rest of the band. “I’m disappointed and can’t understand why Mike doesn’t want to tour with Al, David and me,” he said. “After all, we are the real Beach Boys.”

Wilson was previously opposed to a reunion, but the recent tour and album That’s Why God Made The Radio seems to have garnered some enthusiasm.

Wilson previously said he wants to make a new “exciting rock and roll album” to follow up the reunion record, which could be released next year. However, Love has now said he would only be interested in recording another album if he could “write some songs with Brian”. The pair only collaborated on three songs on the last LP.

Photo credit: Guy Webster

Guns N’ Roses’ Axl Rose demands that ‘defamatory’ art exhibition is closed

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Guns N' Roses frontman Axl Rose has demanded that an LA photographer closes her art exhibition as it includes a defamatory picture of him. TMZ reports that Rose is livid after learning that Laura London's 'Once Upon A Time… Axl Rose Was My Neighbour' collection includes a photo of what she claim...

Guns N’ Roses frontman Axl Rose has demanded that an LA photographer closes her art exhibition as it includes a defamatory picture of him.

TMZ reports that Rose is livid after learning that Laura London’s ‘Once Upon A Time… Axl Rose Was My Neighbour’ collection includes a photo of what she claims is Rose’s garage door spray-painted with the words ‘Sweet Child Of Die’.

London has claimed that the controversial rocker daubed the door himself with the phrase after a spat with his former wife Erin Everly but, in a statement issued through his lawyers, Rose denied that the property pictured in the snap belonged to him.

The letter from his legal representatives reads: Mr. Rose never spray-painted anything. Your salacious and inflammatory statements are plainly designed to garner attention and line your pockets with money.

TMZ also notes that while London has amended the description which originally accompanied the photograph since receiving the letter from Rose’s lawyers, the picture itself still remains on display.

Rose hasn’t enjoyed much luck with the legal system recently, however – last month, he suffered a huge blow in his bid to secure $20million (£13.3million) in damages from Activision, the makers of the Guitar Hero video games. The singer had claimed that Activision had fraudulently induced him into allowing them use of Guns N’ Roses’ ‘Welcome To The Jungle’ in Guitar Hero III, and that the game’s makers had included a character modelled on his former bandmate Slash, despite telling him that the game wouldn’t feature any reference to Slash or his band, Velvet Revolver.

On August 14, though, a judge dismissed Rose’s claim that he had been fraudulently induced, but did set a trial date of February next year to hear his claim that Activision is in breach of contract.

Meanwhile, the current line-up of Guns N’ Roses recently announced that they will be playing a 12-date residency at the Las Vegas’ Hard Rock Hotel and Casino in October.

The rockers will play a run of shows titled the ‘Appetite For Democracy’ residency and have promised to deliver a lengthy and career-spanning setlist at each of the shows. The shows begin on October 31 and then take place on November 2, 3, 7, 9, 10, 14, 17, 18, 21, 23 and 24.

Beatles remasters set for vinyl release

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The Beatles' original studio album remasters are to be released on vinyl on November 12. The albums, released on CD in 2009 and in 2010 for digital download, will now be available on 180-gram vinyl, and will include original features like the Sgt. Pepper's Lonely Heart Club Band cutouts and a repro...

The Beatles‘ original studio album remasters are to be released on vinyl on November 12.

The albums, released on CD in 2009 and in 2010 for digital download, will now be available on 180-gram vinyl, and will include original features like the Sgt. Pepper’s Lonely Heart Club Band cutouts and a reproduction of the poster that accompanied “The White Album”.

Each album will be available individually, and also as part of a boxed edition, limited to 50,000 copies, which will also include a 252-page hardbound book.

Here’s the full line-up of what’s being released:

Please Please Me

“Love Me Do” and “P.S. I Love You” are presented in mono

(North American LP debut in stereo)

With The Beatles

(North American LP debut in stereo)

A Hard Day’s Night

(North American LP debut in stereo)

Beatles For Sale

(North American LP debut in stereo)

Help!

Features George Martin’s 1986 stereo remix

Rubber Soul

Features George Martin’s 1986 stereo remix

Revolver

Original album

Sgt. Pepper’s Lonely Hearts Club Band

Packaging includes replica psychedelic inner sleeve, cardboard cutout sheet and additional insert

Magical Mystery Tour

Packaging includes 24-page colour book

The Beatles (double album)

Packaging includes double-sided photo montage/lyric sheet and 4 solo colour photos

Yellow Submarine

“Only A Northern Song” is presented in mono. Additional insert includes original American liner notes.

Abbey Road

Original album

Let It Be

Original album

Past Masters, Volumes One & Two (double album)

“Love Me Do” (original single version), “She Loves You,” “I’ll Get You,” and “You Know My Name (Look Up The Number)” are presented in mono. Packaging, notes and photographic content is based on the 2009 CD release

Brian Eno to release new album in November

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Brian Eno is set to release a new album, Lux, on Warp Records on November 12. The album is a 75-minute composition in twelve sections that evolved from a work currently housed in the Great Gallery of the Palace of Venaria in Turin, Italy. Lux is Eno's third for Warp, following Small Craft On A Mi...

Brian Eno is set to release a new album, Lux, on Warp Records on November 12.

The album is a 75-minute composition in twelve sections that evolved from a work currently housed in the Great Gallery of the Palace of Venaria in Turin, Italy.

Lux is Eno’s third for Warp, following Small Craft On A Milk Sea (with Jon Hopkins and Leo Abrahams) and Drums Between The Bells (with Rick Holland). It is his first solo album since 2005’s Another Day On Earth.

The track listing is:

1. LUX 1 (19.22)

2. LUX 2 (18.14)

3. LUX 3 (19.19)

4. LUX 4 (18.28)

Photo credit: Michiko Nakao

10cc to release 40th Anniversary box set

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10cc are to release a five-disc box set, Tenology, on November 19 to celebrate their 40th anniversary. Tenology has been compiled with the involvement of the original members – Lol Creme, Kevin Godley, Graham Gouldman and Eric Stewart –and features four CDs (the singles, selected album tracks, ...

10cc are to release a five-disc box set, Tenology, on November 19 to celebrate their 40th anniversary.

Tenology has been compiled with the involvement of the original members – Lol Creme, Kevin Godley, Graham Gouldman and Eric Stewart –and features four CDs (the singles, selected album tracks, the B-sides and rarities) and a DVD (featuring a selection of their promo videos and TV performances on Top Of The Pops, BBC In Concert, See You Sunday and Six Fifty Five Special).

The full track listing is:

Disc One

Donna (1972)

Johnny Don’t Do It (1972)

Rubber Bullets (1973)

The Dean and I (1973)

Sand in My Face (1973)

Somewhere In Hollywood (1973)

The Worst Band in the World (1974)

Headline Hustler (1974)

The Wall Street Shuffle (1974)

Silly Love (1974)

Life Is a Minestrone (1975)

I’m Not in Love (1975)

Art for Art’s Sake (1975)

I’m Mandy, Fly Me (1976)

Lazy Ways (1976)

The Things We Do For Love (1976)

Good Morning Judge (1977)

People in Love (1977)

Disc Two

Dreadlock Holiday (1978)

Reds in My Bed (1978)

For You And I (1978)

One Two Five (1980)

From Rochdale to Ocho Rios (1978)

It Doesn’t Matter At All (1980)

Les Nouveaux Riches (1981)

Don’t Turn Me Away (1981)

The Power of Love (1981)

Run Away (1981)

24 Hours (1983)

Feel the Love (1983)

Woman in Love (1992)

Welcome To Paradise (1992)

Disc Three

The Hospital Song (1973)

Fresh Air for My Momma (1973)

Clockwork Creep (1974)

Oh Effendi (1974)

The Sacro-illiac (1974)

Hotel (1974)

Old Wild Men (1974)

Une Nuit A Paris (1975)

Blackmail (1975)

Flying Junk (1975)

The Second Sitting for the Last Supper (1975)

Iceberg (1976)

I Wanna Rule the World (1976)

Rock and Roll Lullaby (1976)

Don’t Hang Up (1976)

Feel the Benefit (1977)

I Bought A Flat Guitar Tutor (1977)

Take These Chains (1978)

Disc Four – B-sides

Bee in My Bonnet (1972)

Hot Sun Rock (1972)

4% Of Something (1972)

Waterfall (1973)

18 Carat Man Of Means (1974)

Gismo My Way (1974)

Channel Swimmer (1975)

Good News (1975)

Get It While You Can (1976)

Hot To Trot (1977)

Don’t Squeeze Me Like Toothpaste (1977)

I’m So Laid Back, I’m Laid out (1977)

Nothing Can Move Me (1978)

People in Love (The Voodoo Boogie) (1976)

The Recording of the Dean And I (1973)

Disc Five – DVD

Rubber Bullets – Top Of The Pops – 25/12/1973

Life Is a Minestrone – Top Of The Pops – 10/04/1975

I’m Not in Love – Top Of The Pops – 25/12/1975

Dreadlock Holiday – Top Of The Pops – 17/08/1978

Silly Love – BBC In Concert – 21/08/1974

The Wall Street Shuffle – BBC In Concert – 21/08/1974

Baron Samendi – BBC In Concert – 21/08/1974

Old Wild Men – BBC In Concert – 21/08/1974

Oh Effendi – BBC In Concert – 21/08/1974

Fresh Air for My Momma – BBC In Concert – 21/08/1974

Rubber Bullets – BBC In Concert – 21/08/1974

Fresh Air for Momma – See You Sunday – 21/04/1974

The Wall Street Shuffle – See You Sunday – 21/04/1974

Dreadlock Holiday – Six Fifty Five Special – 27/07/1982

Run Away – Six Fifty Five Special – 27/07/1982

Promo Videos

Donna

I’m Not in Love

Art for Art’s Sake

I’m Mandy Fly Me

Good Morning Judge

People in Love

Dreadlock Holiday

One Two Five

Feel the Love

Woman in Love

Sonic Youth get stolen guitars back after 13 years

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Two guitars stolen at a Sonic Youth gig in 1999 have been returned, 13 years later. The band's rented truck full of their equipment was stolen in the middle of the night before a festival appearance in Orange County. The truck was later found in Los Angeles, empty. However, over the years, fans of the band have remained diligent to try and recover the lost gear, which had been heavily modified by the band after guitarist Lee Ranaldo issued a plea at the time. Several have already cropped up, but this month the sixth and seventh guitars both mysteriously appeared, according to Pitchfork. Ranaldo said: "It's kind of wild. After all this time, things are still surfacing thanks to the diligence of fans." A white Jazzmaster, used by Thurston Moore on songs including "Bull In The Heather" and "Dirty Boots" was picked up by a fan in Belgium on eBay. The other, Ranaldo's Jazzmaster used on A Thousand Leaves' "French Tickler" was discovered for sale in a pawn shop and discovered in a thread on guitar forum OffsettGuitars. Sonic Youth will release a new live album, recorded in August 1985 at Chicago’s Smart Bar. The album was recorded on a four-track tape recorder and will be released on November 14 via the band's label Goofin' Records. In October last year, Moore and his partner Kim Gordon announced they would be separating after 27 years of marriage. The announcement raised doubts over the future of Sonic Youth after Matador revealed that plans for the band remained "uncertain".

Two guitars stolen at a Sonic Youth gig in 1999 have been returned, 13 years later.

The band’s rented truck full of their equipment was stolen in the middle of the night before a festival appearance in Orange County. The truck was later found in Los Angeles, empty.

However, over the years, fans of the band have remained diligent to try and recover the lost gear, which had been heavily modified by the band after guitarist Lee Ranaldo issued a plea at the time. Several have already cropped up, but this month the sixth and seventh guitars both mysteriously appeared, according to Pitchfork.

Ranaldo said: “It’s kind of wild. After all this time, things are still surfacing thanks to the diligence of fans.”

A white Jazzmaster, used by Thurston Moore on songs including “Bull In The Heather” and “Dirty Boots” was picked up by a fan in Belgium on eBay. The other, Ranaldo’s Jazzmaster used on A Thousand Leaves’ “French Tickler” was discovered for sale in a pawn shop and discovered in a thread on guitar forum OffsettGuitars.

Sonic Youth will release a new live album, recorded in August 1985 at Chicago’s Smart Bar. The album was recorded on a four-track tape recorder and will be released on November 14 via the band’s label Goofin’ Records.

In October last year, Moore and his partner Kim Gordon announced they would be separating after 27 years of marriage. The announcement raised doubts over the future of Sonic Youth after Matador revealed that plans for the band remained “uncertain”.

The XX – Coexist

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Sensual second proves even better than the first... Few bands invent a sound. But The xx’s strange and beautiful blend of stark indie-pop, late-night soul and post-dubstep texture felt brand new in 2009. Non-believers pointed out the south Londoners’ sonic similarities to The Cure’s gothically ringing guitar and the chamber-punk sparseness of Young Marble Giants, but twin vocalists Romy Madley-Croft and Oliver Sim did not whine like Robert Smith nor deadpan like Alison Stratton. Their voices were proudly mid-Atlantic; pop-soul vocals cast adrift in Jamie Smith’s stripped dub production, evincing a natural clashing of styles, as all great new pop music should. But when a band takes three years to make a follow-up to a classic debut, alarm bells sound. While Smith established himself as DJ, producer and remixer – numbering Radiohead, Adele, the late Gil Scott-Heron and R&B star Drake among his clients – were his band struggling to meet the expectations of a fanbase who saw them as heroes? As it turns out… nope. The three simply bought their first flats, built their own studio, ignored the demand for more product and took their own sweet time. The result is exactly what fans of a great debut album always want but rarely get: the same again, but stronger, deeper, better. Coexist – a perfect word to encapsulate both the trio’s friendship and romantic unease – is a masterpiece. An eleven-song journey into private agonies, Coexist is, essentially, the story of a relationship broken by the protagonists’ tendency to love too much while being unable to express their need to each other. Whereas the first album’s lyrics were written by Madley-Croft and Sim swapping words by email, this time around they sat in a room together and played ping-pong with each other’s heartbreak testimonies. The result is songs that sound like mutual diary entries, scarred by repeated references to dead-end words like ‘lose’, ‘leave’ and ‘end’, summed up by the sensual croon of Madley-Croft’s key lines from “Chained”: “Did I hold you too tight?/Did I not let enough light in?”. Musically, the highlights are the stripped Phil Spectorisms of “Angels”; the tension between house beats and rock ‘n’ roll bass that underpins the repressed catharsis of “Chained”; the steel drum-flecked eroticism of “Reunion” and the subverted disco of “Sunset”, which throws a whole new crying-on-the-dancefloor spin on what US black radio DJ’s used to call ‘quiet storm’ seduction music. As for the mystery at The xx’s heart, its impossible to listen to the closing “Our Song” and not hear Romy and Oliver as former lovers, singing to the world the emotions they couldn’t say to each other. “I know all the words to take you apart”, they harmonise, quiet and deadly, as the guitar shimmers like a Cocteau Twin and the song dissolves into bristling tape hiss. But, as The xx are fond of insisting, their private lives are not the point. This is music that sounds like universal heartbreak, made all the more poignant by its refusal to descend into gender war. Sim – sounding ever more like Stuart Staples – and Madley-Croft – a kind of Sade-meets-Tracey Thorn – feel the same pain and express it in the same naked, direct and honest manner. So sultry and sensual it makes The xx sound like beginners’ luck, Coexist is going to be the midnight soundtrack to thousands of seductions over the next few decades. But all these lovers might be wise not to listen too closely to the words. Because this is an album that believes that every blissful moment of intimate pleasure is only a prelude to the end of everything. Best to leave that conversation to the morning. Garry Mullholland Q&A Jamie xx Coexist sounds supremely confident. Were there no ‘second album syndrome’ palpitations? No. The first record was made very naively. We didn’t even think about putting it out. So with this one we wanted to be in that same headspace. Now we wonder if we should have thought about it a little bit more. You’re always the first person to hear Romy and Oliver’s latest, painfully personal lyrics. Is it like reading your mates’ diaries? Ha! I guess that’s why a lot of people relate to it. But the lyrics are purposely ambiguous so people can relate to them. I mean… if I listen carefully, I do know about their lives intimately so I can guess what they’re about. But they don’t even tell each other what they’re singing about. You are all famously shy. How are you dealing with adulation? It’s been hard. But we’ve gained a lot of confidence from being forced to meet people and philosophise about our music endlessly. So although we were very reluctant to be in the limelight, it’s helped our confidence as people, in real life. Was their any temptation to change musical direction? No. We’re quite restrained people. And because we can’t separate music from our lives, that’s what we do and that’s what we are. I don’t think its possible for us to make something that’s different to how we are as people. INTERVIEW: GARRY MULHOLLAND

Sensual second proves even better than the first…

Few bands invent a sound. But The xx’s strange and beautiful blend of stark indie-pop, late-night soul and post-dubstep texture felt brand new in 2009. Non-believers pointed out the south Londoners’ sonic similarities to The Cure’s gothically ringing guitar and the chamber-punk sparseness of Young Marble Giants, but twin vocalists Romy Madley-Croft and Oliver Sim did not whine like Robert Smith nor deadpan like Alison Stratton. Their voices were proudly mid-Atlantic; pop-soul vocals cast adrift in Jamie Smith’s stripped dub production, evincing a natural clashing of styles, as all great new pop music should.

But when a band takes three years to make a follow-up to a classic debut, alarm bells sound. While Smith established himself as DJ, producer and remixer – numbering Radiohead, Adele, the late Gil Scott-Heron and R&B star Drake among his clients – were his band struggling to meet the expectations of a fanbase who saw them as heroes? As it turns out… nope. The three simply bought their first flats, built their own studio, ignored the demand for more product and took their own sweet time. The result is exactly what fans of a great debut album always want but rarely get: the same again, but stronger, deeper, better. Coexist – a perfect word to encapsulate both the trio’s friendship and romantic unease – is a masterpiece.

An eleven-song journey into private agonies, Coexist is, essentially, the story of a relationship broken by the protagonists’ tendency to love too much while being unable to express their need to each other. Whereas the first album’s lyrics were written by Madley-Croft and Sim swapping words by email, this time around they sat in a room together and played ping-pong with each other’s heartbreak testimonies. The result is songs that sound like mutual diary entries, scarred by repeated references to dead-end words like ‘lose’, ‘leave’ and ‘end’, summed up by the sensual croon of Madley-Croft’s key lines from “Chained”: “Did I hold you too tight?/Did I not let enough light in?”.

Musically, the highlights are the stripped Phil Spectorisms of “Angels”; the tension between house beats and rock ‘n’ roll bass that underpins the repressed catharsis of “Chained”; the steel drum-flecked eroticism of “Reunion” and the subverted disco of “Sunset”, which throws a whole new crying-on-the-dancefloor spin on what US black radio DJ’s used to call ‘quiet storm’ seduction music.

As for the mystery at The xx’s heart, its impossible to listen to the closing “Our Song” and not hear Romy and Oliver as former lovers, singing to the world the emotions they couldn’t say to each other. “I know all the words to take you apart”, they harmonise, quiet and deadly, as the guitar shimmers like a Cocteau Twin and the song dissolves into bristling tape hiss.

But, as The xx are fond of insisting, their private lives are not the point. This is music that sounds like universal heartbreak, made all the more poignant by its refusal to descend into gender war. Sim – sounding ever more like Stuart Staples – and Madley-Croft – a kind of Sade-meets-Tracey Thorn – feel the same pain and express it in the same naked, direct and honest manner.

So sultry and sensual it makes The xx sound like beginners’ luck, Coexist is going to be the midnight soundtrack to thousands of seductions over the next few decades. But all these lovers might be wise not to listen too closely to the words. Because this is an album that believes that every blissful moment of intimate pleasure is only a prelude to the end of everything. Best to leave that conversation to the morning.

Garry Mullholland

Q&A

Jamie xx

Coexist sounds supremely confident. Were there no ‘second album syndrome’ palpitations?

No. The first record was made very naively. We didn’t even think about putting it out. So with this one we wanted to be in that same headspace. Now we wonder if we should have thought about it a little bit more.

You’re always the first person to hear Romy and Oliver’s latest, painfully personal lyrics. Is it like reading your mates’ diaries?

Ha! I guess that’s why a lot of people relate to it. But the lyrics are purposely ambiguous so people can relate to them. I mean… if I listen carefully, I do know about their lives intimately so I can guess what they’re about. But they don’t even tell each other what they’re singing about.

You are all famously shy. How are you dealing with adulation?

It’s been hard. But we’ve gained a lot of confidence from being forced to meet people and philosophise about our music endlessly. So although we were very reluctant to be in the limelight, it’s helped our confidence as people, in real life.

Was their any temptation to change musical direction?

No. We’re quite restrained people. And because we can’t separate music from our lives, that’s what we do and that’s what we are. I don’t think its possible for us to make something that’s different to how we are as people.

INTERVIEW: GARRY MULHOLLAND

Pussy Riot: ‘We had nothing to do in prison but read the Bible’

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Jailed Russian punk collective Pussy Riot have spoken out about their time in prison and claimed they had been spending their time reading the Bible. Nadia Tolokonnikova, Maria Alekhina and Yekaterina Samutsevich received two-year prison sentences on August 17 after being found guilty of hooliganism motivated by religious hatred – and in an interview with GQ, Tolokonnikova revealed that the only text she had been able to read to stave off boredom was the Christian tome. "Prison is a good place to learn to really listen to your own mind and your own body," she said. "I've learned to read much more deeply, for instance. For four months, I had nothing to read but the Bible, so I read it for all four months – diligently, picking everything apart." She added: "Prison is like a monastery – it's a place for ascetic practices. After a month here, I became a vegetarian. Walking in circles for an hour in that tiny dusty yard gets you into a pretty meditative state as well. We don't get much in the way of news. But enough to get inspired." When asked about a report published in a Moscow newspaper which alleged that the three women had been enjoying 'VIP' treatment in prison, meanwhile, she responded: "Did Auschwitz have VIP death lounges? If yes, then I suppose you can call our conditions VIP treatment." She also spoke about the support the band had received from the Western world, adding: "I still can't shake the feeling that I've spent the last six months acting in a big-budget movie. The amount of Western support that we got is a miracle. I believe that if Russia had independent national media, our performance would be better understood at home as well. "Right now we're in hell here. It's hard living in a place where everyone can hate you because of something they heard on TV. That's why every gesture of support is so important and so much appreciated." The three jailed women's case is up for appeal on October 1. Meanwhile, other members of Pussy Riot recently delivered a video message to their supporters, which you can watch below. The video features members of the collective abseiling down a wall before setting fire to an image of President Vladimir Putin. "We've been fighting for the right to sing, to think, to criticise," they say. "To be musicians and artists ready to do everything to change our country. No matter the risks, we go on with our musical fight in Russia". "Start the pussy riot and never stop," they conclude. "The fight for freedom is an endless battle that is bigger than life."

Jailed Russian punk collective Pussy Riot have spoken out about their time in prison and claimed they had been spending their time reading the Bible.

Nadia Tolokonnikova, Maria Alekhina and Yekaterina Samutsevich received two-year prison sentences on August 17 after being found guilty of hooliganism motivated by religious hatred – and in an interview with GQ, Tolokonnikova revealed that the only text she had been able to read to stave off boredom was the Christian tome.

“Prison is a good place to learn to really listen to your own mind and your own body,” she said. “I’ve learned to read much more deeply, for instance. For four months, I had nothing to read but the Bible, so I read it for all four months – diligently, picking everything apart.”

She added: “Prison is like a monastery – it’s a place for ascetic practices. After a month here, I became a vegetarian. Walking in circles for an hour in that tiny dusty yard gets you into a pretty meditative state as well. We don’t get much in the way of news. But enough to get inspired.”

When asked about a report published in a Moscow newspaper which alleged that the three women had been enjoying ‘VIP’ treatment in prison, meanwhile, she responded: “Did Auschwitz have VIP death lounges? If yes, then I suppose you can call our conditions VIP treatment.”

She also spoke about the support the band had received from the Western world, adding: “I still can’t shake the feeling that I’ve spent the last six months acting in a big-budget movie. The amount of Western support that we got is a miracle. I believe that if Russia had independent national media, our performance would be better understood at home as well.

“Right now we’re in hell here. It’s hard living in a place where everyone can hate you because of something they heard on TV. That’s why every gesture of support is so important and so much appreciated.”

The three jailed women’s case is up for appeal on October 1. Meanwhile, other members of Pussy Riot recently delivered a video message to their supporters, which you can watch below. The video features members of the collective abseiling down a wall before setting fire to an image of President Vladimir Putin.

“We’ve been fighting for the right to sing, to think, to criticise,” they say. “To be musicians and artists ready to do everything to change our country. No matter the risks, we go on with our musical fight in Russia”.

“Start the pussy riot and never stop,” they conclude. “The fight for freedom is an endless battle that is bigger than life.”

Rolling Stones’ Ronnie Wood angrily denies memorabilia auction reports

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Ronnie Wood has angrily denied claims that he has teamed up with his ex-wife to auction off stacks of Rolling Stones memorabilia. It was reported earlier today that Wood and his former spouse Jo, who separated in 2011 following allegations that Wood had an extra-marital affair with a waitress – ...

Ronnie Wood has angrily denied claims that he has teamed up with his ex-wife to auction off stacks of Rolling Stones memorabilia.

It was reported earlier today that Wood and his former spouse Jo, who separated in 2011 following allegations that Wood had an extra-marital affair with a waitress – were selling off their shared possessions, which included a wealth of Rolling Stones-related items.

The collection spans four decades of the band’s history and includes everything from custom-painted Fender Stratocasters, tour clothing and backstage passes to portraits painted by Wood of fellow rock elder statesmen Bob Dylan, Eric Clapton and Keith Richards.

However, a representative for Wood has released a statement insisting that he has nothing to do with the auction. “Ronnie was asked by Jo some time ago if he wished to add some items to an auction and he said he did not want to participate,” they said. “He is therefore shocked and disappointed that this auction is being misrepresented as a joint sale. This is not the case.”

They added: “Furthermore he is staggered that some of the items being offered at the auction are clearly his personal belongings, which did not pass to Jo as part of the divorce proceedings.

“The Tour Clothes being offered belong to The Rolling Stones and are not hers to sell. Ronnie feels saddened that Jo has taken this course of action and wants the public to know he has NOT teamed up with Jo on this outrageous sale.”

The goods are set to go under the hammer at Julien’s Auctions in Beverly Hills on October 27. Speaking earlier about the collection, the auction house’s Darren Julien predicted that the sale would go “very well”. He also seemingly contradicted Woods’ statement about the auction by claiming that the former spouses were “still very good friends” and had “just decided it was time to simplify and sell some of their property”.

The Rolling Stones will a brand new Greatest Hits compilation in November titled GRRR! in November. The collection, which is being released to coincide with the band’s 50th anniversary, will feature two brand new songs, “Gloom And Doom” and “One Last Shot”, which were recorded in Paris last month. This is the first new material the band have recorded since their 2005 album A Bigger Bang.

Singer Andy Williams dies aged 84

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Andy Williams has died at the age of 84. USA Today reports that the singer passed away at his home in Brnason, Missouri on Tuesday evening (September 25) following a lengthy battle with bladder cancer. Williams revealed that he had been diagnosed with the illness in November last year and vowed t...

Andy Williams has died at the age of 84.

USA Today reports that the singer passed away at his home in Brnason, Missouri on Tuesday evening (September 25) following a lengthy battle with bladder cancer.

Williams revealed that he had been diagnosed with the illness in November last year and vowed to beat the disease and return to the stage, insisting that cancer was “no longer a death sentence”. But a representative for the singer has now confirmed that he has succumbed to the condition.

Williams scored his first hit single in 1953 and went on to put out 18 albums which were certified gold and three which were certified platinum. In total, he recorded 42 studio albums and became renowned as one of the most popular vocalists of the 60s.

In addition to his singing career, he also ran the Andy Williams Moon River Theater in his home town – named after the track with which he became closely associated – and in 1962 starred in his own TV programme, The Andy Williams show, which won three Emmy Awards.

His most recent hit single in the UK was a newly recorded version of “Can’t Take My Eyes Off You”, which he re-recorded as a duet with singer Denise Van Outen. It reached Number 23 in 2002. Williams is survived by his wife, Debbie, and his three children, Robert, Noelle and Christian.

First Look – Looper

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It’s a pretty auspicious day, according to my Twitter feed. No, it’s not just that Neil Young has joined Twitter – 21,300 followers and rising. No - sit down, folks - today Mark Hamill is the same age as Alec Guinness was when principal photography began on Star Wars. This, incidentally, has been re-Tweeted repeatedly through my timeline this morning by everyone from the good folks at Empire magazine to Graham Linehan. This endless capacity for Star Wars geekery aside, I was reminded recently that the best science fiction tends to be satirical, passing comment on the present from a vantage point located somewhere in the future. It seems to me that science fiction – in film, at least – has become more about fulfilling audience’s role-playing fantasies than displaying its satirical edge. The last science fiction I remember that really felt like it was digging claws in was Alfonso Cuaron's 2006 film, Children Of Men. This year, science fiction hasn't been particularly well served in film. As much as I enjoyed Prometheus, it took us further away from the reactionary, groundbreaking aesthetic of Ridley Scott's original. Dredd felt more like a straight-ahead action film, lacking the black-comedy satire of the best 2000AD strips. Oh, and Colin Farrell in a remake of Total Recall? No, thanks. Looper, which opens this week, is being talked about as a proper science fiction film – distinctive, intelligent, etc. Being as it is a sci-fi thriller involving Bruce Willis travelling back into his own past, an initial reference point could be Twelve Monkeys. But it’s just that bit too clean, a bit too arch; it lacks Terry Gilliam’s scratchy, bug-eyed madness. Looper is set mostly in Kansas, 2044. This is a place where objects familiar from our own time sit next to more fancy, technological creations: where old school pick-up trucks jostle for space on the highways with hover bikes, where drugs are administered optically but people still listen to Richard and Linda Thompson’s “I Want To See The Bright Lights Tonight”. The most effective way of shooting a 
man is with a blunderbuss. http://www.youtube.com/watch?v=2iQuhsmtfHw Looper is the third film from director Rian Johnson, whose 2005 debut, Brick, identified him as a filmmaker who enjoys playing around with genres. Brick brilliantly transposed the hardboiled crime fiction of Dashiell Hammett into the contemporary world of a suburban Californian high school. His follow-up, 2009’s The Brothers Bloom, was a deadpan con-man movie, too dry for some. For Looper, Johnson is reunited with his Brick star Joseph Gordon-Levitt, who plays Joe, employed 
by mobsters in the future to assassinate marks who’re sent back in time to 2004, where Joe 
whacks them in a cornfield outside town. At some point, as every Looper knows, they will have to kill their future selves – thus tying up awkward loose ends in the tomorrow. So it is that Gordon-Levitt finds himself facing himself 
from 20 years hence: Bruce Willis, looking uncannily like a bulked-up Brian Eno. Nothing good can clearly come of this. Turned into an unlikely action hero by Christopher Nolan in Inception and The Dark Knight Rises, Gordon-Levitt has the wiry and muscular frame of a flyweight boxer. There is
 some strong support from Paul Dano as a fellow Looper and Jeff Daniels as an avuncular mob
boss – even Emily Blunt is passably tolerable as a 
single mother. Johnson’s clever, chatty script often plays out in ways you don’t expect it to. Indeed, there are many pleasures here. Perhaps the most satisfying of all is watching Bruce Willis doing good gear in his second film this year, after all-but stealing Wes Anderson's Moonrise Kingdom. Although I'm fond of Willis as a lead actor in particular movies - off the top of my head, Last Man Standing, Armageddon, The Sixth Sense, 16 Blocks - I think he is far more interesting as a supporting actor (as is his willingness to be unlikable) in films like Death Becomes Her, Billy Bathgate and Pulp Fiction. In Looper, I guess what's important is how he plays against type: yes, he is Bruce Willis waving a big gun around in a science fiction film. But, look, beneath that is a man so beaten up by grief and self-hatred that he will kill a child. This is not the kind of thing John McClane would do. Looper opens in the UK on Friday.

It’s a pretty auspicious day, according to my Twitter feed. No, it’s not just that Neil Young has joined Twitter – 21,300 followers and rising.

No – sit down, folks – today Mark Hamill is the same age as Alec Guinness was when principal photography began on Star Wars. This, incidentally, has been re-Tweeted repeatedly through my timeline this morning by everyone from the good folks at Empire magazine to Graham Linehan.

This endless capacity for Star Wars geekery aside, I was reminded recently that the best science fiction tends to be satirical, passing comment on the present from a vantage point located somewhere in the future. It seems to me that science fiction – in film, at least – has become more about fulfilling audience’s role-playing fantasies than displaying its satirical edge. The last science fiction I remember that really felt like it was digging claws in was Alfonso Cuaron’s 2006 film, Children Of Men. This year, science fiction hasn’t been particularly well served in film. As much as I enjoyed Prometheus, it took us further away from the reactionary, groundbreaking aesthetic of Ridley Scott’s original. Dredd felt more like a straight-ahead action film, lacking the black-comedy satire of the best 2000AD strips. Oh, and Colin Farrell in a remake of Total Recall? No, thanks.

Looper, which opens this week, is being talked about as a proper science fiction film – distinctive, intelligent, etc. Being as it is a sci-fi thriller involving Bruce Willis travelling back into his own past, an initial reference point could be Twelve Monkeys. But it’s just that bit too clean, a bit too arch; it lacks Terry Gilliam’s scratchy, bug-eyed madness. Looper is set mostly in Kansas, 2044. This is a place where objects familiar from our own time sit next to more fancy, technological creations: where old school pick-up trucks jostle for space on the highways with hover bikes, where drugs are administered optically but people still listen to Richard and Linda Thompson’s “I Want To See The Bright Lights Tonight”. The most effective way of shooting a 
man is with a blunderbuss.

Looper is the third film from director Rian Johnson, whose 2005 debut, Brick, identified him as a filmmaker who enjoys playing around with genres. Brick brilliantly transposed the hardboiled crime fiction of Dashiell Hammett into the contemporary world of a suburban Californian high school. His follow-up, 2009’s The Brothers Bloom, was a deadpan con-man movie, too dry for some. For Looper, Johnson is reunited with his Brick star Joseph Gordon-Levitt, who plays Joe, employed 
by mobsters in the future to assassinate marks who’re sent back in time to 2004, where Joe 
whacks them in a cornfield outside town.

At some point, as every Looper knows, they will have to kill their future selves – thus tying up awkward loose ends in the tomorrow. So it is that Gordon-Levitt finds himself facing himself 
from 20 years hence: Bruce Willis, looking uncannily like a bulked-up Brian Eno. Nothing good can clearly come of this.

Turned into an unlikely action hero by Christopher Nolan in Inception and The Dark Knight Rises, Gordon-Levitt has the wiry and muscular frame of a flyweight boxer. There is
 some strong support from Paul Dano as a fellow Looper and Jeff Daniels as an avuncular mob
boss – even Emily Blunt is passably tolerable as a 
single mother. Johnson’s clever, chatty script often plays out in ways you don’t expect it to. Indeed, there are many pleasures here. Perhaps the most satisfying of all is watching Bruce Willis doing good gear in his second film this year, after all-but stealing Wes Anderson’s Moonrise Kingdom. Although I’m fond of Willis as a lead actor in particular movies – off the top of my head, Last Man Standing, Armageddon, The Sixth Sense, 16 Blocks – I think he is far more interesting as a supporting actor (as is his willingness to be unlikable) in films like Death Becomes Her, Billy Bathgate and Pulp Fiction. In Looper, I guess what’s important is how he plays against type: yes, he is Bruce Willis waving a big gun around in a science fiction film. But, look, beneath that is a man so beaten up by grief and self-hatred that he will kill a child. This is not the kind of thing John McClane would do.

Looper opens in the UK on Friday.

The 39th Uncut Playlist Of 2012

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This week I seem to have read more people expending energy on how much they despise Mumford & Sons rather than focusing on music they actually like. http://www.youtube.com/watch?v=Bemz-7fofcs Positive vibes here, mostly, as usual. Continuing love for Neil, The Cairo Gang, Heckatin, Ryan Francesconi, Pelt, Holly Herndon, Donald Fagen and Matthew E White (Bon Iver fans, among others, should possibly check the latter out). Number Six is a new project featuring Alan Sparhawk. Number 11 is essentially a ‘70s Miles Davis jam re-enacted by Sunn O))) affiliates. Number 13 is out next January. Number 14 is out now. And Number Nine, as you may have heard, features a variety of farting. This, on that subject, is a good read. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 The Cairo Gang – The Corner Man (Empty Cellar) 2 Ryan Francesconi And Mirabai Peart - Road To Palios (listen here) 3 Tim Hecker & Daniel Lopatin – Instrumental Tourist (Software) 4 Holly Herndon – Movement (RVNG INTL) 5 Pelt – Effigy (MIE) 6 Neil Young & Crazy Horse – Psychedelic Pill (Reprise) 7 The Murder Of Crows – Your Battle (Youtube) 8 Aerosmith – Music From Another Dimension (Columbia) 9 Scott Walker – Bish Bosch (4AD) 10 Matthew E White – Big Inner (Hometapes) 11 Fontanelle – Vitamin F (Southern Lord) 12 Emeralds – Just To Feel Anything (Editions Mego) 13 Arbouretum – Coming Out Of The Fog (Thrill Jockey) 14 Sun Araw – The Inner Treaty (Drag City) 15 Donald Fagen – Sunken Condos (Warner Bros) 16 Savages – City’s Full (Pop Noire) 17 Various Artists – Diablos Del Ritmo: The Colombian Melting Pot 1960-1985 (Analog Africa) 18 Alexander Turnquist – Like Sunburned Snowflakes (VHF)

This week I seem to have read more people expending energy on how much they despise Mumford & Sons rather than focusing on music they actually like.

Positive vibes here, mostly, as usual. Continuing love for Neil, The Cairo Gang, Heckatin, Ryan Francesconi, Pelt, Holly Herndon, Donald Fagen and Matthew E White (Bon Iver fans, among others, should possibly check the latter out). Number Six is a new project featuring Alan Sparhawk. Number 11 is essentially a ‘70s Miles Davis jam re-enacted by Sunn O))) affiliates. Number 13 is out next January. Number 14 is out now. And Number Nine, as you may have heard, features a variety of farting. This, on that subject, is a good read.

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

1 The Cairo Gang – The Corner Man (Empty Cellar)

2 Ryan Francesconi And Mirabai Peart – Road To Palios (listen here)

3 Tim Hecker & Daniel Lopatin – Instrumental Tourist (Software)

4 Holly Herndon – Movement (RVNG INTL)

5 Pelt – Effigy (MIE)

6 Neil Young & Crazy Horse – Psychedelic Pill (Reprise)

7 The Murder Of Crows – Your Battle (Youtube)

8 Aerosmith – Music From Another Dimension (Columbia)

9 Scott Walker – Bish Bosch (4AD)

10 Matthew E White – Big Inner (Hometapes)

11 Fontanelle – Vitamin F (Southern Lord)

12 Emeralds – Just To Feel Anything (Editions Mego)

13 Arbouretum – Coming Out Of The Fog (Thrill Jockey)

14 Sun Araw – The Inner Treaty (Drag City)

15 Donald Fagen – Sunken Condos (Warner Bros)

16 Savages – City’s Full (Pop Noire)

17 Various Artists – Diablos Del Ritmo: The Colombian Melting Pot 1960-1985 (Analog Africa)

18 Alexander Turnquist – Like Sunburned Snowflakes (VHF)