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Whit Stillman’s Damsels In Distress

Michael Bonner
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Whit Stillman’s Damsels In Distress

It's a busy week for film. Marvel Comics' superhero team-up Avengers Assemble arrived in cinemas last night, while yesterday the inaugural three-day Sundance London Festival opened for business at the 02 Arena with a screening Under African Skies, a documentary about the making of Paul Simon's Graceland album. In all the attendant coverage these two events have received, it would easy to overlook another prestigious release - the release of Damsels In Distress, the first film in 14 years from writer/director Whit Stillman. Stillman’s debut, 1989’s Metropolitan, premiered at Sundance and went on to earn Stillman an Oscar nomination for Best Screenplay, establishing Stillman as a kind of WASPy Woody Allen. Invariably in Stillman’s films, there’s lots of wealthy, super-literate, young Manhattanites standing around in rooms, talking. Although Stillman’s body of work is slight – only four films, including Damsels – it’s still significant. You can spot his influence in the droll screenplays of Wes Anderson and Noah Baumbach, the preppy vibes of the first Vampire Weekend album, or The Social Network’s precocious Ivy Leaguers. Despite Stillman’s lengthy hiatus – he’s been living in Paris, incidentally, working as a writer for hire – Damsels In Distress demonstrates that his chops are reassuringly intact. I’m hard pressed to think of another filmmaker who so unapologetically mixes references to the works of obscure British novelists with lengthy discussions on “the decline of decadence” and the unusual sexual proclivities of a 12th century religious order – and still finds time to work in a dance sequence modeled on a 1937 Fred Astaire musical called, uh, A Damsel In Distress. Unlike Stillman’s previous dispatches from the drawing rooms of the Upper East Side, the setting here is a fictional university campus though, typically, the focus is on young, hyper-privileged Americans. Damsels… follows four female students (led by Greta Gerwig, who did such good work in Greenberg opposite Ben Stiller) who run the university suicide prevention centre, prescribing tap dancing as a remedy for depression, and who plan to save their fellow students from becoming part of the college’s “moron jamboree” via the miraculous powers of soap. The vibe is idiosyncratic, digressive; the script zips along like a Howard Hawks’ screwball comedy. As high school comedies go, it’s up there with Heathers and Clueless.

It’s a busy week for film. Marvel Comics’ superhero team-up Avengers Assemble arrived in cinemas last night, while yesterday the inaugural three-day Sundance London Festival opened for business at the 02 Arena with a screening Under African Skies, a documentary about the making of Paul Simon‘s Graceland album.

In all the attendant coverage these two events have received, it would easy to overlook another prestigious release – the release of Damsels In Distress, the first film in 14 years from writer/director Whit Stillman. Stillman’s debut, 1989’s Metropolitan, premiered at Sundance and went on to earn Stillman an Oscar nomination for Best Screenplay, establishing Stillman as a kind of WASPy Woody Allen. Invariably in Stillman’s films, there’s lots of wealthy, super-literate, young Manhattanites standing around in rooms, talking. Although Stillman’s body of work is slight – only four films, including Damsels – it’s still significant. You can spot his influence in the droll screenplays of Wes Anderson and Noah Baumbach, the preppy vibes of the first Vampire Weekend album, or The Social Network’s precocious Ivy Leaguers.

Despite Stillman’s lengthy hiatus – he’s been living in Paris, incidentally, working as a writer for hire – Damsels In Distress demonstrates that his chops are reassuringly intact. I’m hard pressed to think of another filmmaker who so unapologetically mixes references to the works of obscure British novelists with lengthy discussions on “the decline of decadence” and the unusual sexual proclivities of a 12th century religious order – and still finds time to work in a dance sequence modeled on a 1937 Fred Astaire musical called, uh, A Damsel In Distress.

Unlike Stillman’s previous dispatches from the drawing rooms of the Upper East Side, the setting here is a fictional university campus though, typically, the focus is on young, hyper-privileged Americans. Damsels… follows four female students (led by Greta Gerwig, who did such good work in Greenberg opposite Ben Stiller) who run the university suicide prevention centre, prescribing tap dancing as a remedy for depression, and who plan to save their fellow students from becoming part of the college’s “moron jamboree” via the miraculous powers of soap. The vibe is idiosyncratic, digressive; the script zips along like a Howard Hawks’ screwball comedy. As high school comedies go, it’s up there with Heathers and Clueless.

The Ty Segall Band: “Slaughterhouse”

John Mulvey
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The Ty Segall Band: “Slaughterhouse”

One swift month ago, I wrote a blog about Ty Segall and White Fence’s excellent Hair album, repeating a story that Segall had another couple of albums in the pipeline. Well, one has already turned up; but before we get there, perhaps check this astounding live clip of Segall, Tim ‘White Fence’ Presley, Mikal Cronin et al going for it on “Scissor People”: http://www.youtube.com/watch?v=mwyAGJDRgpI If you’ve only heard Segall’s relatively calm “Goodbye Bread” album from last year, the psychedelic intensity of “Scissor People” might come as a bit of a shock. This, though, is the stuff he’s best at, as “Melted”, quite a lot of his singles comp and this year’s output testifies. “Slaughterhouse”, the new one due June on In The Red, is credited to The Ty Segall Band (of which the excellent Cronin is a key member; let me plug his self-titled solo debut from last year once again). The hunger for white noise is so great this time out that the final track, “Fuzz War”, is ten minutes of unadulterated racket. Chances are, though, that you’ll be focusing on the ten superb tracks that precede it: nuggety psych-punk freak-outs that distinguish themselves from so much of the garage underground not just by their fervid speed, but also the hotwired virtuosity of the band and the gleaming melodies that Segall implants in the midst of it all. A first track, “Wave Goodbye”, has just been leaked… http://www.youtube.com/watch?v=-FSTSlyB9sQ … and while it’s pretty great – not for the first time, Segall reminds me of Kurt Cobain circa “Bleach” – the relative sloth of “Wave Goodbye” isn’t quite preparation for the rest of “Slaughterhouse”; though the jam at the end is some indication. Songs like “The Tongue” and “Tell Me What’s Inside Your Heart”, instead, capture Segall and his band’s way of channelling his encyclopaedic knowledge of ‘60s beat into raw ramalam: at points, they sound, like the early Beatles given a vigorous and in some ways deranged makeover. There’s garage rock gold throughout, climaxing after a fashion with the quartet laying waste to Captain Beefheart’s “Diddy Wah Diddy”. “Alright, here we go: extra fast,” instructs Segall at the start, then “Fuck this fucking song!” as it starts to disintegrate around him. “I don’t know what we’re doing!” he laughs at the death. “Rewind it, let’s go again.” God knows what the next take sounded like, but it hardly matters. Like the whole album, it’s definitely a keeper. Follow me on Twitter: www.twitter.com/JohnRMulvey

One swift month ago, I wrote a blog about Ty Segall and White Fence’s excellent Hair album, repeating a story that Segall had another couple of albums in the pipeline. Well, one has already turned up; but before we get there, perhaps check this astounding live clip of Segall, Tim ‘White Fence’ Presley, Mikal Cronin et al going for it on “Scissor People”:

If you’ve only heard Segall’s relatively calm “Goodbye Bread” album from last year, the psychedelic intensity of “Scissor People” might come as a bit of a shock. This, though, is the stuff he’s best at, as “Melted”, quite a lot of his singles comp and this year’s output testifies. “Slaughterhouse”, the new one due June on In The Red, is credited to The Ty Segall Band (of which the excellent Cronin is a key member; let me plug his self-titled solo debut from last year once again). The hunger for white noise is so great this time out that the final track, “Fuzz War”, is ten minutes of unadulterated racket.

Chances are, though, that you’ll be focusing on the ten superb tracks that precede it: nuggety psych-punk freak-outs that distinguish themselves from so much of the garage underground not just by their fervid speed, but also the hotwired virtuosity of the band and the gleaming melodies that Segall implants in the midst of it all.

A first track, “Wave Goodbye”, has just been leaked…

… and while it’s pretty great – not for the first time, Segall reminds me of Kurt Cobain circa “Bleach” – the relative sloth of “Wave Goodbye” isn’t quite preparation for the rest of “Slaughterhouse”; though the jam at the end is some indication.

Songs like “The Tongue” and “Tell Me What’s Inside Your Heart”, instead, capture Segall and his band’s way of channelling his encyclopaedic knowledge of ‘60s beat into raw ramalam: at points, they sound, like the early Beatles given a vigorous and in some ways deranged makeover. There’s garage rock gold throughout, climaxing after a fashion with the quartet laying waste to Captain Beefheart’s “Diddy Wah Diddy”.

“Alright, here we go: extra fast,” instructs Segall at the start, then “Fuck this fucking song!” as it starts to disintegrate around him. “I don’t know what we’re doing!” he laughs at the death. “Rewind it, let’s go again.” God knows what the next take sounded like, but it hardly matters. Like the whole album, it’s definitely a keeper.

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

Southern Accents by Tom Petty & The Heartbreakers – An Uncut All-Time Classic

Tom Pinnock
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Southern Accents by Tom Petty & The Heartbreakers – An Uncut All-Time Classic
In the latest issue of Uncut (Take 181, June 2012), out now, we visit Tom Petty at his California home to discuss the history of the Heartbreakers, why he's "a ridiculous control freak" and why the group are heading to the UK for the first time in 15 years – so it seems like a good time to check o...

In the latest issue of Uncut (Take 181, June 2012), out now, we visit Tom Petty at his California home to discuss the history of the Heartbreakers, why he’s “a ridiculous control freak” and why the group are heading to the UK for the first time in 15 years – so it seems like a good time to check out this great piece by Adam Sweeting on Petty’s ‘lost classic’, 1985’s Southern Accents, from Uncut’s May 2004 issue.

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If you were compiling a list of Southern Rock bands, you’d have The Allman Brothers, Lynyrd Skynyrd and The North Mississippi All Stars pencilled in pretty sharpish, and probably The Black Crowes, The Atlanta Rhythm Section and Molly Hatchet, too. Tom Petty & The Heartbreakers, however, might very well be absent, even though they originally hailed from Florida. After all, few outfits have become so identified with the sunshine, smog and

sybaritic lifestyle out west in California. And it wasn’t until the Heartbreakers were five albums into their career that Petty made a conscious effort to reconnect himself to his Florida roots with Southern Accents.

A decade earlier in 1974, Mudcrutch, as the pre-Heartbreakers were known, had loaded their gear into a VW van and set out from their hometown of Gainesville, Fla. for California and the prospect of a record deal. In hardly any time, they were fixed up with Denny Cordell’s Shelter Records.

The Heartbreakers landmarks usually go like this: taut and wiry debut album finds favour with a Britain in the throes of punk, Petty striking up a rapport with Elvis Costello and Nick Lowe. Follow-up You’re Gonna Get lt! pumps up the volume in a jangle-rock stylee. Then band enters Lawsuit Hell and bankruptcy, emerging triumphantly with raised-digit epic Damn The Torpedoes. Hard Promises cements Heartbreakers into mainstream, Long After Dark features band raging against the rockbiz machine… and then Petty decides to make a solo double album about his Southern background. He’ll call it Southern Accents.

Heartbreakers compilations always skate briskly over Southern Accents as if the Trackpicker-In-Chief was ordered to bury his head in inferior live tracks or selections from Petty’s later solo work. Maybe it’s because the finished album veered off at right angles to Petty’s original objective, or maybe it’s because it emerged from a dark and murky period in the band’s history, but the most interesting parts are airbrushed from view.

The album was recorded at Petty’s home studio in LA, though as he gradually invited his bandmates in to help out, it moved away from his solo concept and morphed into a Heartbreakers project. The decision to make the album at Chateau Petty proved ill-conceived, and as the sessions ground on cabin fever set in. Recreational drugs were consumed, day turned all too frequently into night, and partygoers stopped by at all hours. Petty himself was in some sort of mid-life creative crisis.

“Tom was dancing with the devil at that point,” says Heartbreakers drummer Stan Lynch. “I imagined he was going to go… Something was going to happen real bad.”

Although he was having no trouble knocking out songs, Petty couldn’t get a grip on the album’s direction. His exasperation came to a head one night while he was making the umpteenth attempt to mix opening track “Rebels”, a combined self-portrait and Civil War flashback. Petty vented his frustration on a nearby wall, violently enough to break a mass of small bones in his hand.

Eventually, Petty had to call in outside help. With Dave Stewart, who’d been invited to LA by producer Jimmy Iovine to work on a Stevie Nicks album but slipped into Petty’s orbit instead, he created the eccentric but effective “Don’t Come Around Here No More”, the plastic disco-pop of “Make It Better (Forget About Me)” and the bogus funk-rap of “It Ain’t Nothin’ To Me”. All these made the cut at the expense of a batch of songs much closer to the album’s original theme.

It’s as if the only way he could trip himself out of the log-jam was to force himself into an alien musical style, and the Stewart material sounds incongruous alongside the other tracks. The fiery and anthemic “Dogs On The Run” recalls the widescreen Petty of “Refugee”, and “Mary’s New Car” is built around a word-game lyric that lets the musicians paint whatever they like under it. Echoey vocal counterpoints, saxophone and a cool, floating beat make it one of the band’s most atmospheric creations.

As for “Spike”, a bit of panting-dog noise at the end suggests it might be about Tom’s family pet but the warm, rubbery feel of the playing and the way the musicians seem to be tiptoeing around each other in slow motion makes it more likely they were talking about stuff you stick in your veins. Petty’s vocal plays the ornery-Southern-motherfucker to the hilt and is positively chilling in its sneering delinquency.

The big set-pieces, “Southern Accents” and “The Best Of Everything”, end sides one and two of the LP release respectively. “The Best Of Everything” was originally written for Hard Promises a couple of years earlier, but when it didn’t make the album it became the germ for Southern Accents. Robbie Robertson created the sprawling brass arrangement, reminiscent of The Band’s Rock Of Ages live album and evoking an appropriate antebellum grandeur, and had the brainwave of inviting Richard Manuel to sing harmony. As for the twilight-zone ballad “Southern Accents”, Petty has always rated it as one of his most personal pieces.

It wasn’t until the release of the Playback boxset in 1995 that more pieces of the jigsaw fell into place, since scattered among the six discs were several discarded refugees from the Southern Accents project. “Trailer” was a wry account of a relationship cursed by narrow horizons and straitened circumstances, couched in bittersweet country-rock.

Petty reworked similar turf in “The Apartment Song”, duetting with Stevie Nicks over a jumping, hiccuping beat fired up by some sterling cowpoke guitar from Mike Campbell. The song was later reworked for a Petty solo album, Full Moon Fever.

If these omissions seemed baffling, the decision not to use “The lmage Of Me” (written by Wayne Kemp and a hit for Conway Twitty) was actionable. In concert, The Heartbreakers are apt to take a shot at anything from Ray Charles to The Louvin Brothers, and here they drop deftly into some sleek Western swing, gliding from the speakers like a silver streamliner hurtling across Texas.

There was also the Heartbreakers’ account of Nick Lowe’s “Cracking Up”, with Petty sounding ultra-dry and super-laconic. It was both a flashback to their first flush of success in England and perhaps a glimpse into their collective state of mind. Finally, there was a brisk acoustic version of “Big Boss Man”, Petty singing in a retarded slur as though his brains had been broiled by the Delta sun. Taken together, the missing songs could have added a wealth of nuance to Petty’s portrait of the South, and would also have showcased aspects of the Heartbreakers’ abilities which usually went unheard. Southern Accents might have been acknowledged as Petty’s masterpiece, instead of an intriguing failure dangling in conceptual limbo. But you could always get a copy of Playback and assemble your own bespoke version of it.

Levon Helm to be buried next to former band mate

Michael Bonner
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Levon Helm to be buried next to former band mate
Levon Helm, the former Band drummer who died from cancer last Thursday [April 19], is to be buried next to his former band mate, Rick Danko. Last night [April 26], 2,000 mourners attended a wake for Helm at his Woodstock home, according to Associated Press. Helm's closed casket, in the second-floor...

Levon Helm, the former Band drummer who died from cancer last Thursday [April 19], is to be buried next to his former band mate, Rick Danko.

Last night [April 26], 2,000 mourners attended a wake for Helm at his Woodstock home, according to Associated Press. Helm’s closed casket, in the second-floor studio of the barn where Helm hosted his Midnight Rambles, was surrounded by flowers and flanked by his drum kit and a piano.

After a private funeral today [April 27], Helm will be buried in Woodstock Cemetery next to Rick Danko, The Band‘s singer and bassist, who died in December, 1999.

Vampire Weekend: “We’ve started many songs”

Michael Bonner
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Vampire Weekend: “We’ve started many songs”
Vampire Weekend have confirmed to Rolling Stone that they're working on the follow-up to their 2011 album, Contra. "We've started many songs," bassist Chris Baio told Rolling Stone. "Obviously we haven't been rushing it. We take it very seriously. We'll be incredibly psyched to share it with the wo...

Vampire Weekend have confirmed to Rolling Stone that they’re working on the follow-up to their 2011 album, Contra.

“We’ve started many songs,” bassist Chris Baio told Rolling Stone. “Obviously we haven’t been rushing it. We take it very seriously. We’ll be incredibly psyched to share it with the world when it’s done.”

Released in January, 2011, Contra reached No 3 in the UK album charts and No 1 on the Billboard 200 chart in America.

In July, Vampire Weekend will headline the Pitchfork Music Festival in Chicago’s Union Park, alongside Feist, Hot Chip and Godspeed You Black Emperor. This will be the New York band’s first live performance since August, 2011.

Gregg Allman delays book tour for medical tests

Michael Bonner
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Gregg Allman delays book tour for medical tests
Gregg Allman is to undergo diagnostic cardiac testing at a clinic in Jacksonsville, Florida to ascertain whether he needs additional care after a recent hernia operation, reports Rolling Stone. The tests will mean Allman must delay his forthcoming American publicity tour for his memoir, My Cross To...

Gregg Allman is to undergo diagnostic cardiac testing at a clinic in Jacksonsville, Florida to ascertain whether he needs additional care after a recent hernia operation, reports Rolling Stone.

The tests will mean Allman must delay his forthcoming American publicity tour for his memoir, My Cross To Bear.

“I’ve been working on the book for years and am grateful for all the support I’ve received in putting it together,” said Allman in a statement. “As soon as doctors give me the thumbs up to go back on the road, I will be heading out onto my book tour and I can’t wait to meet all of my fans.”

Allman was also scheduled to appear on several American TV shows to promote the book, including Piers Morgan Tonight.

The Gaslight Anthem announce release of comeback single, “45”

Michael Bonner
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The Gaslight Anthem announce release of comeback single, “45”
The Gaslight Anthem have announced the release of "45", the first track to be taken from the band's fourth album, Handwritten. The song will receive its world premiere on Monday April 30 on BBC Radio 1 at 7.30pm (BST) as DJ Zane Lowe's Hottest Record in the World. Speaking about the new album, fro...

The Gaslight Anthem have announced the release of “45”, the first track to be taken from the band’s fourth album, Handwritten.

The song will receive its world premiere on Monday April 30 on BBC Radio 1 at 7.30pm (BST) as DJ Zane Lowe’s Hottest Record in the World.

Speaking about the new album, frontman Brian Fallon has previously described the songs from ‘Handwritten’ as “pretty personal and pretty aggressive”. The album does not have a scheduled release date as yet.

The Gaslight Anthem recently announced a one-off UK show for this summer. The New Jersey band will play London’s KOKO venue on June 11.

The band recorded the follow-up to 2010’s American Slang in Nashville and have also confirmed via their Twitter account Twitter.com/Gaslightanthem that they have also recently recorded a number of covers and a selection of B-sides.

Rolling Stones’ Exile On Main Street album to become a film

Michael Bonner
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Rolling Stones’ Exile On Main Street album to become a film
The Rolling Stones are to become the subject of a new film based around Robert Greenfield’s 2008 book Exile On Main Street: A Season In Hell With The Rolling Stones. According to Deadline.com, Richard Branson will produce the film, which is set in the South of France during summer 1971, when the ...

The Rolling Stones are to become the subject of a new film based around Robert Greenfield’s 2008 book Exile On Main Street: A Season In Hell With The Rolling Stones.

According to Deadline.com, Richard Branson will produce the film, which is set in the South of France during summer 1971, when the Stones recorded their album, Exile On Main Street.

The last time the Stones exploits were dramatised on film was in 2005, in Stoned, about the suspicious circumstances surrounding the death of the band’s former guitarist Brian Jones in 1969.

In September, the Stones will release a career-spanning documentary to coincide with their 50th anniversary.

Johnny Marr and Mike Joyce deny Smiths reunion reports

Michael Bonner
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Johnny Marr and Mike Joyce deny Smiths reunion reports

Rumours that The Smiths were set to reunite have been put to bed by the band's former guitarist Johnny Marr and drummer Mike Joyce. A story on Music-news.co.uk this morning [April 26] suggested Marr and frontman Morrissey had been in talks with a "well-known" promoter about reuniting. However, a highly-placed source in Britain's live music industry, along with others close to the band, denied the rumours when contacted by NME. Now in a short post on his official Facebook page, Facebook.com/officialjohnnymarr, Marr commented: "The rumour of The Smiths reunion is untrue. It's not happening." Drummer Mike Joyce has also denied the reports during his show on internet station Beatwolf Radio earlier today. According to the Daily Mirror, he said: "When I first heard about it I was… to say surprised and rather shocked was a bit of an understatement. Obviously I had to keep my emotions in check because there’s a lot of people in the office. He continued: “It’s not happening folks, as far as I know – which could be a good thing."

Rumours that The Smiths were set to reunite have been put to bed by the band’s former guitarist Johnny Marr and drummer Mike Joyce.

A story on Music-news.co.uk this morning [April 26] suggested Marr and frontman Morrissey had been in talks with a “well-known” promoter about reuniting. However, a highly-placed source in Britain’s live music industry, along with others close to the band, denied the rumours when contacted by NME.

Now in a short post on his official Facebook page, Facebook.com/officialjohnnymarr, Marr commented: “The rumour of The Smiths reunion is untrue. It’s not happening.”

Drummer Mike Joyce has also denied the reports during his show on internet station Beatwolf Radio earlier today. According to the Daily Mirror, he said: “When I first heard about it I was… to say surprised and rather shocked was a bit of an understatement. Obviously I had to keep my emotions in check because there’s a lot of people in the office.

He continued: “It’s not happening folks, as far as I know – which could be a good thing.”

Jack White set to hit No 1 on both sides of the Atlantic

Michael Bonner
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Jack White set to hit No 1 on both sides of the Atlantic
Jack White is set to score a US and UK chart-topping double next week with his debut solo album, Blunderbuss. The ex-White Stripes man is predicted to top the Billboard 200 in the US with around 100,000-120,000 copies of the album set to be shifted, according to chart experts. The chart is due to b...

Jack White is set to score a US and UK chart-topping double next week with his debut solo album, Blunderbuss.

The ex-White Stripes man is predicted to top the Billboard 200 in the US with around 100,000-120,000 copies of the album set to be shifted, according to chart experts. The chart is due to be unveiled next Wednesday [May 2].

Yesterday, it was revealed White is well on course to knock Adele‘s 21 from the top of the UK album chart this Sunday (April 29), with Rufus Wainwright and his new album Out Of The Game his main contender.

Although White has never topped the Billboard 200 in the US, The White Stripes scored two Number Ones in the UK, with 2003’s Elephant and 2007’s Icky Thump.

Earlier this week it was announced that White would write, produce and perform the soundtrack to the new Johnny Depp film, The Lone Ranger.

He also played his first solo UK show this week [April 23], headlining London’s HMV Forum the day Blunderbuss was released.

White returns in June for more UK gigs, including a set at Radio 1’s Hackney Weekend event in London on June 23.

Manchester’s Hacienda nightclub announces 30th anniversary celebration plans

Michael Bonner
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Manchester’s Hacienda nightclub announces 30th anniversary celebration plans

The Hacienda, the Manchester nightclub co-owned by New Order, has announced that it will be hosting three one-off events to celebrate the club's 30th anniversary. The events, which are named X1, X2 and X3, will take place in late May and early June. The first will take place in the car park of the Hacienda, which is now a block of apartments. The other events will happen in the city's Sankeys nightclub. X1 will take place on May 21 in the Hacienda's car park, X2 on June 2 in Sankeys with former Hacienda residents Laurent Garnier and Justin Martin among the line-up. Finally, X3 will happen on June 4, with a stellar cast that includes Peter Hook, Dave Haslam, Graeme Park and John Da Silva. As well as the three events, there will also be a new clothing collection named 'Label, Location, Legacy' launched to coincide with the anniversary and a photography exhibition. The line-up for the Hacienda's 30th anniversary celebrations is as follows: X1 – Haçienda 30 @ The Haçienda Apartments Car Park - May 21 Line-Up TBC X2 – Haçienda 30, Sankeys – June 2 Laurent Garnier, Justin Martin, Oli Furness and Special Guests X3 – Haçienda 30, Sankeys – June 4 Kevin Saunderson, Graeme Park. Allister Whitehead, Tom Wainwright, Jon Da Silva, 808 State DJ’s, Peter Hook, Mc Tunes, Dave Haslam, Dave Booth, Jason Boardman

The Hacienda, the Manchester nightclub co-owned by New Order, has announced that it will be hosting three one-off events to celebrate the club’s 30th anniversary.

The events, which are named X1, X2 and X3, will take place in late May and early June. The first will take place in the car park of the Hacienda, which is now a block of apartments. The other events will happen in the city’s Sankeys nightclub.

X1 will take place on May 21 in the Hacienda’s car park, X2 on June 2 in Sankeys with former Hacienda residents Laurent Garnier and Justin Martin among the line-up. Finally, X3 will happen on June 4, with a stellar cast that includes Peter Hook, Dave Haslam, Graeme Park and John Da Silva.

As well as the three events, there will also be a new clothing collection named ‘Label, Location, Legacy’ launched to coincide with the anniversary and a photography exhibition.

The line-up for the Hacienda’s 30th anniversary celebrations is as follows:

X1 – Haçienda 30 @ The Haçienda Apartments Car Park – May 21

Line-Up TBC

X2 – Haçienda 30, Sankeys – June 2

Laurent Garnier, Justin Martin, Oli Furness and Special Guests

X3 – Haçienda 30, Sankeys – June 4

Kevin Saunderson, Graeme Park. Allister Whitehead, Tom Wainwright, Jon Da Silva, 808 State DJ’s, Peter Hook, Mc Tunes, Dave Haslam, Dave Booth, Jason Boardman

Jerry Lee Lewis – A Whole Lotta Jerry Lee Lewis

Michael Bonner
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Jerry Lee Lewis – A Whole Lotta Jerry Lee Lewis

Four-disc monument to the Killer, containing no filler... What with one thing and another, it took the Grand Ole Opry a while to invite Jerry Lee Lewis to make his debut. Sixteen years, in fact, from his first hits (“Whole Lotta Shakin’ Going On”, “Great Balls Of Fire”) to finally ushering the Killer onto the stage of Nashville’s Ryman auditorium in January 1973. The high temple of the country music establishment had their reasons for hesitating. Lewis was not known for family-friendly behaviour, unless one counts as such already having three families by this point – one, to the detriment of his box office, with a cousin he’d wed when she was thirteen. But he’d grown up, surely. He was pushing 40. He’d married for a fourth time, to someone old enough to vote. And he was reinventing himself as a proper country singer – he’d had hits with versions of Kris Kristofferson’s “Me & Bobby McGee”, Jimmie Rodgers’ “Waiting For A Train” and Ray Griff’s “Who’s Gonna Play This Old Piano?”. The Opry prepared to formally welcome the black sheep to the fold. “Let me tell ya somethin’ about Jerry Lee Lewis, ladies and gentlemen,” the ostensibly repentant sinner introduced himself. “I am a rock’n’rollin’, country-and-western, rhythm’n’blues singin’ MOTHERFUCKER.” The failure to use this unimprovable assessment of Lewis as the title of this artefact is about the only mis-step its compilers made. The four discs contain 106 tracks, arranged chronologically – the first released by Sun records when Eisenhower was president and people thought this Elvis kid would be over by Christmas, the last a defiantly feral “Wild One”, from the soundtrack of 1989 biopic “Great Balls Of Fire” (Lewis has been little wearied by the two decades and change since – though 2010’s duets collection “Mean Old Man” was a treat). As a study of Lewis’s progress, it’s riveting, not least because it reminds that his move countrywards was not merely a foray in search of an audience that might forgive him his manifold trespasses – he was singing Hank Williams’ “You Win Again” like he meant it as early as 1957. It’s also a necessary lesson that Lewis’s legend is underpinned by prodigious talent – this is a study of sustained instrumental virtuosity, a reminder of how much of rock’n’roll still bucks and twitches to the beat set by Lewis’s left hand, pounding the lower keys like they’ve walked into the bar and asked for a drink with a paper umbrella in it. It’s also an expertly curated compendium of modern American song, although Lewis never really merely covered songs, or even did anything so mannerly as interpreted them. Time and again, he strips them down, soups them up, and turns them loose, unmistakable as anything but Jerry Lee Lewis numbers, breezily heedless of whether they were originally written as heartbreak laments (Hank Williams’ “Cold Cold Heart”) or portents of apocalypse (Creedence Clearwater Revival’s “Bad Moon Rising”). Even at his tenderest (Ernest Tubb’s “Walking The Floor Over You”, say), Lewis never quite dispels the concern that he’s about to set fire to something or swat someone with his piano stool. Lewis called his (terrific) 2006 album Last Man Standing, an acknowledgement of his status as a surviving pioneer (this title was perhaps rather a snub to Chuck Berry, but it, uh, wouldn’t have been the first). This collection is both monument to an incalculably influential canon, and a chronicle of a life now barely imaginable, still less repeatable. Lewis, like all the few remaining rock’n’roll pathfinders, has something of the gnarled cachet of veterans of long-ago wars, occupying the unfathomable realm of those who have experienced things beyond the ken of subsequent generations. He haunts this compilation as he haunts rock’n’roll, a cackling, piano-kicking embodiment of the chaotic contradiction of its origins: the devil’s music played by the God-fearing. Extras: 70-page booklet, containing photos of Lewis at various stages op his career, complete details for each track, and a serviceable biographical essay. 8/10 Andrew Mueller

Four-disc monument to the Killer, containing no filler…

What with one thing and another, it took the Grand Ole Opry a while to invite Jerry Lee Lewis to make his debut. Sixteen years, in fact, from his first hits (“Whole Lotta Shakin’ Going On”, “Great Balls Of Fire”) to finally ushering the Killer onto the stage of Nashville’s Ryman auditorium in January 1973.

The high temple of the country music establishment had their reasons for hesitating. Lewis was not known for family-friendly behaviour, unless one counts as such already having three families by this point – one, to the detriment of his box office, with a cousin he’d wed when she was thirteen. But he’d grown up, surely. He was pushing 40. He’d married for a fourth time, to someone old enough to vote. And he was reinventing himself as a proper country singer – he’d had hits with versions of Kris Kristofferson’s “Me & Bobby McGee”, Jimmie Rodgers’ “Waiting For A Train” and Ray Griff’s “Who’s Gonna Play This Old Piano?”. The Opry prepared to formally welcome the black sheep to the fold.

“Let me tell ya somethin’ about Jerry Lee Lewis, ladies and gentlemen,” the ostensibly repentant sinner introduced himself. “I am a rock’n’rollin’, country-and-western, rhythm’n’blues singin’ MOTHERFUCKER.”

The failure to use this unimprovable assessment of Lewis as the title of this artefact is about the only mis-step its compilers made. The four discs contain 106 tracks, arranged chronologically – the first released by Sun records when Eisenhower was president and people thought this Elvis kid would be over by Christmas, the last a defiantly feral “Wild One”, from the soundtrack of 1989 biopic “Great Balls Of Fire” (Lewis has been little wearied by the two decades and change since – though 2010’s duets collection “Mean Old Man” was a treat).

As a study of Lewis’s progress, it’s riveting, not least because it reminds that his move countrywards was not merely a foray in search of an audience that might forgive him his manifold trespasses – he was singing Hank Williams’ “You Win Again” like he meant it as early as 1957. It’s also a necessary lesson that Lewis’s legend is underpinned by prodigious talent – this is a study of sustained instrumental virtuosity, a reminder of how much of rock’n’roll still bucks and twitches to the beat set by Lewis’s left hand, pounding the lower keys like they’ve walked into the bar and asked for a drink with a paper umbrella in it.

It’s also an expertly curated compendium of modern American song, although Lewis never really merely covered songs, or even did anything so mannerly as interpreted them. Time and again, he strips them down, soups them up, and turns them loose, unmistakable as anything but Jerry Lee Lewis numbers, breezily heedless of whether they were originally written as heartbreak laments (Hank Williams’ “Cold Cold Heart”) or portents of apocalypse (Creedence Clearwater Revival’s “Bad Moon Rising”). Even at his tenderest (Ernest Tubb’s “Walking The Floor Over You”, say), Lewis never quite dispels the concern that he’s about to set fire to something or swat someone with his piano stool.

Lewis called his (terrific) 2006 album Last Man Standing, an acknowledgement of his status as a surviving pioneer (this title was perhaps rather a snub to Chuck Berry, but it, uh, wouldn’t have been the first). This collection is both monument to an incalculably influential canon, and a chronicle of a life now barely imaginable, still less repeatable. Lewis, like all the few remaining rock’n’roll pathfinders, has something of the gnarled cachet of veterans of long-ago wars, occupying the unfathomable realm of those who have experienced things beyond the ken of subsequent generations. He haunts this compilation as he haunts rock’n’roll, a cackling, piano-kicking embodiment of the chaotic contradiction of its origins: the devil’s music played by the God-fearing.

Extras: 70-page booklet, containing photos of Lewis at various stages op his career, complete details for each track, and a serviceable biographical essay. 8/10

Andrew Mueller

Beatles’ first American concert to be screened in cinemas

Michael Bonner
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Beatles’ first American concert to be screened in cinemas
The Beatles first concert in America is to screened as part of a new documentary, The Beatles: The Lost Concert. The band played at the Washington Coliseum on February, 11, 1964, two days after their historic TV appearance on The Ed Sullivan Show. Their twelve song, 30 minute set included "I Wanna ...

The Beatles first concert in America is to screened as part of a new documentary, The Beatles: The Lost Concert.

The band played at the Washington Coliseum on February, 11, 1964, two days after their historic TV appearance on The Ed Sullivan Show. Their twelve song, 30 minute set included “I Wanna Hold Your Hand”, “She Loves You” and “Twist And Shout” and was shown in American cinemas in March that same year.

The footage was subsequently lost, but was recently rediscovered and remastered by Screenvision, who’ve produced the new documentary.

The film will be premiered at New York’s Ziegfield Theater on May 6, and will be screened in cinemas across America from May 17 and 22. There are no immediate plans for a UK release.

In other Beatles’ business, the band’s 1968 animated film, Yellow Submarine, has been digitally restored for DVD and Blu-ray release in the UK on May 28, and a day later in North America. The film’s soundtrack album will be reissued on CD on the same dates.

The Chris Robinson Brotherhood: “Big Moon Ritual”

John Mulvey
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The Chris Robinson Brotherhood: “Big Moon Ritual”

I’ve never been a particularly assiduous follower of Ryan Adams, but my favourite thing I’ve ever heard him do was a version, with The Cardinals, of “Goodnight Rose” on a Henry Rollins show. http://www.youtube.com/watch?v=nzSgQ891jY4 It’s not the song so much (you can find a shrunken version of it on “Easy Tiger”), more the jam which engulfs it: a testimony to Adams’ oft-cited, rarely-audible Dead love; a pretty neat showcase for Neal Casal’s spiralling, Cali-spacerock guitar. I’m sure plenty of Adams fans could point me in the direction of similar stuff, but one of the many things that have struck me about “Big Moon Ritual”, by the Chris Robinson Brotherhood, is that it seems to crystallise and fulfil that particular idea of what Cosmic American Music should sound like. Neal Casal is there in the ranks, though it transpires he wasn’t in the original lineup of this latest Robinson trip; his spot was first occupied by Jonathan Wilson, whose “Gentle Spirit” album from last year is another useful touchstone for where “Big Moon Ritual” is coming from. Since a low-key appearance on Devendra Banhart’s “Smokey Rolls Down Thunder Canyon” – and not withstanding the odd potent Black Crowes reunion – Robinson has been stealthily realigning himself with what might loosely be described – and has been, ad nauseam – as a new canyon scene in LA. Banhart’s comrade Thom Monahan is behind the desk here, and there’s a nice passage in the press release that encapsulates the project’s spirit: “It’s not a psych band because you have a Prince Valiant haircut and wear Beatle boots,” says Robinson. “It’s psych because that’s where our heads are. We want to make music that blossoms. We want to make music that sounds cosmic.” Robinson goes on to cite a bunch of intriguing influences for the project: Neu!, Melanie, Flatt & Scruggs, Mel Tillis and Morton Subotnick. Mostly, though, these are hard to detect. “Big Moon Ritual” generally sounds exactly how you might expect: like the guy from The Black Crowes hooking up with some like-minded virtuosi for a clutch of laidback, intuitive explorations of a musical space occupied so fruitfully by The Grateful Dead and The Allman Brothers in the early ‘70s. The outstanding “Rosalee” even manages to squeeze a compressed “Drums/Space” jam into its bridge, though the song around it is a sprightly country-funk workout that Robinson would have turned into a stadium showstopper two decades ago. Not much wrong with that, you could argue, but the Brotherhood, liberated from certain hard rock obligations, can work it out with a leisurely euphoria that probably better complements Robinson’s cry of “Air getting thinner… Are we getting high?” There are seven tracks on “Big Moon Ritual”, none shorter than seven minutes, and most feel that they could roll on for a good deal longer than they do: it’d be interesting to hear from anyone who’s been lucky enough to see one of their live shows. Certainly, every time Casal steps up to solo – the one in the predominantly Allman-ish “Star Or Stone” is especially great – there’s a sense that he, and the rest of this terrifically fluid band, would happily pursue some concept of the infinite jam. Which is just fine. Robinson’s voice and musical character remains strong; so strong, perhaps, that those of you with suspicions of The Black Crowes might still struggle to get behind this one. The odd Moog solos that punctuate these Macon-via-Topanga ballads and boogies, often in lieu of pedal steel, will hardly change that. For the rest of us, though, “Big Moon Ritual” is a hermetically-sealed, tenderly-executed piece of work that shoots at being both earthy and transcendent, and pulls it off with a very suitable air of effortlessness. Out June 4, I believe, and there’s another album called “The Magic Door” promised for September. I’ll report back when I hear more. Follow me on Twitter: www.twitter.com/JohnRMulvey

I’ve never been a particularly assiduous follower of Ryan Adams, but my favourite thing I’ve ever heard him do was a version, with The Cardinals, of “Goodnight Rose” on a Henry Rollins show.

It’s not the song so much (you can find a shrunken version of it on “Easy Tiger”), more the jam which engulfs it: a testimony to Adams’ oft-cited, rarely-audible Dead love; a pretty neat showcase for Neal Casal’s spiralling, Cali-spacerock guitar.

I’m sure plenty of Adams fans could point me in the direction of similar stuff, but one of the many things that have struck me about “Big Moon Ritual”, by the Chris Robinson Brotherhood, is that it seems to crystallise and fulfil that particular idea of what Cosmic American Music should sound like. Neal Casal is there in the ranks, though it transpires he wasn’t in the original lineup of this latest Robinson trip; his spot was first occupied by Jonathan Wilson, whose “Gentle Spirit” album from last year is another useful touchstone for where “Big Moon Ritual” is coming from.

Since a low-key appearance on Devendra Banhart’s “Smokey Rolls Down Thunder Canyon” – and not withstanding the odd potent Black Crowes reunion – Robinson has been stealthily realigning himself with what might loosely be described – and has been, ad nauseam – as a new canyon scene in LA. Banhart’s comrade Thom Monahan is behind the desk here, and there’s a nice passage in the press release that encapsulates the project’s spirit: “It’s not a psych band because you have a Prince Valiant haircut and wear Beatle boots,” says Robinson. “It’s psych because that’s where our heads are. We want to make music that blossoms. We want to make music that sounds cosmic.”

Robinson goes on to cite a bunch of intriguing influences for the project: Neu!, Melanie, Flatt & Scruggs, Mel Tillis and Morton Subotnick. Mostly, though, these are hard to detect. “Big Moon Ritual” generally sounds exactly how you might expect: like the guy from The Black Crowes hooking up with some like-minded virtuosi for a clutch of laidback, intuitive explorations of a musical space occupied so fruitfully by The Grateful Dead and The Allman Brothers in the early ‘70s.

The outstanding “Rosalee” even manages to squeeze a compressed “Drums/Space” jam into its bridge, though the song around it is a sprightly country-funk workout that Robinson would have turned into a stadium showstopper two decades ago. Not much wrong with that, you could argue, but the Brotherhood, liberated from certain hard rock obligations, can work it out with a leisurely euphoria that probably better complements Robinson’s cry of “Air getting thinner… Are we getting high?”

There are seven tracks on “Big Moon Ritual”, none shorter than seven minutes, and most feel that they could roll on for a good deal longer than they do: it’d be interesting to hear from anyone who’s been lucky enough to see one of their live shows. Certainly, every time Casal steps up to solo – the one in the predominantly Allman-ish “Star Or Stone” is especially great – there’s a sense that he, and the rest of this terrifically fluid band, would happily pursue some concept of the infinite jam.

Which is just fine. Robinson’s voice and musical character remains strong; so strong, perhaps, that those of you with suspicions of The Black Crowes might still struggle to get behind this one. The odd Moog solos that punctuate these Macon-via-Topanga ballads and boogies, often in lieu of pedal steel, will hardly change that.

For the rest of us, though, “Big Moon Ritual” is a hermetically-sealed, tenderly-executed piece of work that shoots at being both earthy and transcendent, and pulls it off with a very suitable air of effortlessness. Out June 4, I believe, and there’s another album called “The Magic Door” promised for September. I’ll report back when I hear more.

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

Fans invited to pay their respects to Levon Helm at his Woodstock home

Michael Bonner
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Fans invited to pay their respects to Levon Helm at his Woodstock home

Fans of Levon Helm, who passed away last week at the age of 71, have been invited to his home and studio today [April 26] to pay their respects to the vocalist and drummer. A message posted on Helm’s website reads: "Levon's friends & fans are invited to pay their final respects on Thursday, April 26, 2012 between the hours of 10am. and 3pm. at his home/studio in Woodstock." It is here where Helm hosted his famous Midnight Ramble gigs. Helm passed away from throat cancer on April 19. Following his death a number of artists paid tribute to the musician. Bob Dylan wrote on his website: "He was my bosom buddy friend to the end, one of the last true great spirits of my or any other generation. This is just so sad to talk about. I still can remember the first day I met him and the last day I saw him. We go back pretty far and had been through some trials together. I'm going to miss him, as I'm sure a whole lot of others will too." Helm's former bandmate Garth Hudson, wrote: Levon "I am so terribly sad. Thank you for 50 years of friendship and music. Memories that live on with us. No more sorrows, no more troubles, no more pain. He went peacefully to that beautiful marvellous place. Levon, I'm proud of you."

Fans of Levon Helm, who passed away last week at the age of 71, have been invited to his home and studio today [April 26] to pay their respects to the vocalist and drummer.

A message posted on Helm’s website reads: “Levon’s friends & fans are invited to pay their final respects on Thursday, April 26, 2012 between the hours of 10am. and 3pm. at his home/studio in Woodstock.”

It is here where Helm hosted his famous Midnight Ramble gigs.

Helm passed away from throat cancer on April 19. Following his death a number of artists paid tribute to the musician.

Bob Dylan wrote on his website:

“He was my bosom buddy friend to the end, one of the last true great spirits of my or any other generation. This is just so sad to talk about. I still can remember the first day I met him and the last day I saw him. We go back pretty far and had been through some trials together. I’m going to miss him, as I’m sure a whole lot of others will too.”

Helm’s former bandmate Garth Hudson, wrote: Levon “I am so terribly sad. Thank you for 50 years of friendship and music. Memories that live on with us. No more sorrows, no more troubles, no more pain. He went peacefully to that beautiful marvellous place. Levon, I’m proud of you.”

This month in Uncut!

Tom Pinnock
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This month in Uncut!

The new issue of Uncut, which hits shelves this Thursday, April 26, features Dexys, Paul McCartney, Neil Young, Tom Petty and more. Dexys’ Kevin Rowland is on the cover, recalling his band’s strange and gripping history, and looking forward to their imminent comeback album, One Day I’m Going To Soar. Elsewhere in the issue, Paul McCartney recalls the turmoil surrounding the making of his ‘lost classic’, 1971’s Ram, we preview Neil Young and Crazy Horse’s upcoming Americana album, and head to Tom Petty’s home to discuss the Heartbreakers, Dylan, and Jack Nicholson’s basketball tickets. In our reviews section, new albums from Damon Albarn, Beach House and Richard Hawley, and reissues from My Bloody Valentine, The Small Faces and Sandy Denny are put to the test – along with the latest DVDs and films. Our Instant Karma front section features John Lydon, Sharon Van Etten and the return of cosmic country heroes Beachwood Sparks. The new issue, dated June 2012, is out in shops on Thursday, April 26.

The new issue of Uncut, which hits shelves this Thursday, April 26, features Dexys, Paul McCartney, Neil Young, Tom Petty and more.

Dexys’ Kevin Rowland is on the cover, recalling his band’s strange and gripping history, and looking forward to their imminent comeback album, One Day I’m Going To Soar.

Elsewhere in the issue, Paul McCartney recalls the turmoil surrounding the making of his ‘lost classic’, 1971’s Ram, we preview Neil Young and Crazy Horse’s upcoming Americana album, and head to Tom Petty’s home to discuss the Heartbreakers, Dylan, and Jack Nicholson’s basketball tickets.

In our reviews section, new albums from Damon Albarn, Beach House and Richard Hawley, and reissues from My Bloody Valentine, The Small Faces and Sandy Denny are put to the test – along with the latest DVDs and films.

Our Instant Karma front section features John Lydon, Sharon Van Etten and the return of cosmic country heroes Beachwood Sparks.

The new issue, dated June 2012, is out in shops on Thursday, April 26.

John Lydon: “The riots are going to lead to something far far worse”

Michael Bonner
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John Lydon: “The riots are going to lead to something far far worse”
Public Image Ltd.'s John Lydon has said he fears that last summer's riots are the precursor to "something far, far worse". Speaking in this week's issue of NME, which is on UK newsstands and available digitally now, Lydon has said he was "deeply ashamed" of how the government handled the situation...

Public Image Ltd.‘s John Lydon has said he fears that last summer’s riots are the precursor to “something far, far worse”.

Speaking in this week’s issue of NME, which is on UK newsstands and available digitally now, Lydon has said he was “deeply ashamed” of how the government handled the situation and that you can still “feel the tension” on the streets.

Asked for his take on last summer’s riots, Lydon replied: “I was very upset with it. People got killed. It was a great tragedy, a great tragedy caused by a government and a police force that’s completely indifferent to what young people have as a future. They’re given nothing now, even less than when I was young and that hurts me deeply.”

Then asked if he thought this was a sign of things to come, Lydon added: “It’s definitely going to lead to something far, far worse. It’s brewing. It’s palpable. You can feel the tension. It’s waiting to go off like an enormous bomb. It will be blamed on the kids on the street, and it isn’t their fault. I’m very deeply ashamed of a government that doesn’t have a clue what’s going on.”

Lydon is preparing to release his first album with PiL in 20 years, This Is PiL, on May 28.

Beach Boys confirm track listing for new album

Michael Bonner
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0
Beach Boys confirm track listing for new album
The Beach Boys have confirmed the track listing for their new album, That's Why God Made The Radio. Along with the title track, the album also features "Think About The Days", "Isn’t It Time", "Spring Vacation", "Private Life Of Bill And Sue", "Shelter", "Daybreak Over The Ocean", "Beaches In Min...

The Beach Boys have confirmed the track listing for their new album, That’s Why God Made The Radio.

Along with the title track, the album also features “Think About The Days”, “Isn’t It Time”, “Spring Vacation”, “Private Life Of Bill And Sue”, “Shelter”, “Daybreak Over The Ocean”, “Beaches In Mind”, “Strange World”, “My Life Suite”, and “Summer’s Gone”.

The album will be preceded by a single, “That’s Why God Made The Radio”, on April 30. The album itself will be released on June 4.

The Beach Boys are about to kick off their 50th anniversary celebrations with a world tour. That’s Why God Made The Radio is the band’s 29th studio album. It will be followed by a new hits collection and a career spanning box set planned for later this year.

John Cale announces tour dates

Michael Bonner
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0
John Cale announces tour dates
John Cale has announced dates in the UK and Ireland ahead of the release of his new album later this year. Cale is scheduled to play: The Button Factory, Dublin on Wednesday, October 3 HMV Picture House, Edinburgh on Friday, October 5 HMV Ritz, Manchester on Saturday October 6 Coal Exchange, Ca...

John Cale has announced dates in the UK and Ireland ahead of the release of his new album later this year.

Cale is scheduled to play:

The Button Factory, Dublin on Wednesday, October 3

HMV Picture House, Edinburgh on Friday, October 5

HMV Ritz, Manchester on Saturday October 6

Coal Exchange, Cardiff on Sunday October 7

The Junction, Cambridge on Wednesday October 10

HMV Royal Institute, Birmingham on Thursday October 11

Royal Festival Hall, London on Saturday October 13

You Me At Six offer fans a unique opportunity

Julian Curran
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0
Learn how to play their hit single 'Time Is Money'. Guitarist Chris Miller walks you through the song with easy to follow instructions on every part of the song from the introductory riff to the solo. You can check out the 'Time Is Money' tutorial below....

Learn how to play their hit single ‘Time Is Money’.

Guitarist Chris Miller walks you through the song with easy to follow instructions on every part of the song from the introductory riff to the solo.

You can check out the ‘Time Is Money’ tutorial below.

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