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Yoko Ono Plastic Ono Band – Between My Head And The Sky

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Yoko Ono Plastic Ono Band – Between My Head And The Sky

Rock and art: it’s funny, it seems an awfully long time since bag-ism and bed-ins and jamming with bearded men in robes, but about 10 seconds since Fluxus and cutting clothes off and white chess sets. Yoko Ono’s early rock excursions are, understandably, somewhat of their time; but then, so were her collaborators. John Lennon apart, she was working with Eric Clapton, Frank Zappa, Elephant’s Memory, all talented artists, but men who had come up through the blues, and jazz, and Marshall amps, and all that hoo ha. Yoko Ono’s art came from an uncluttered place; nobody save possibly John Cage has ever used so much space, and whiteness, and silence in their work. And it’s that which has always served her well, in both her art and her music. From David Bowie to the B-52’s, rock artists have always respected the simplicity and modernity of Yoko Ono’s work and when she released her 1980s single, “Walking On Thin Ice”, it fit right in to the new era (not least because John Lennon shoplifted Talking Heads’ “Cities” for the riff). Yoko Ono’s work has been mostly excellent (though I’m still trying to erase from my memory a concert at the Wembley Conference Centre where she sang “Imagine” as audience members waved candles) and almost always essential. “Don’t Worry Kyoko”, “Mrs Lennon”, “I Felt Like Smashing My Face In A Clear Glass Window”, “Mind Train”, “Walking On Thin Ice”, “Nobody Sees You Like I Do”, “Rising” – these are just a few of the songs Ono has recorded in the past 35 years that everyone should own, encompassing not just the brilliant, hippy-distressing AAIIIIIEEEEEE!!!!! primal wail that thrills even now, but also in recent years an emotional sound which contracts with her sometimes chilly early work. Perhaps it’s the murder of her husband that released a desire to communicate quieter feelings, perhaps it’s her upbringing in a somewhat distant Japanese well-to-do family, or just the passage of time that makes us all reflective. But Yoko Ono’s music since the 1990s has been dissonantly thunderous and quietly melancholic. She’s also continued to have a genius for collaboration. In the 1970s, she often used John Lennon’s superstar friends, and in recent years she’s worked with Sean Lennon’s band (this album is on his label), who are forceful and happy, as you might expect, with both avant-garde and modern rock stylings. 2007’s Yes, I’m A Witch (in your FACE, misogynous rock) saw her give her old recordings to everyone from Cat Power and Peaches to Hank Schocklee and Jason Pierce, with suitably grateful results. Ono may not have been a direct influence on all these people, but without her, they’d all be playing the ukulele on a boat. Possibly. And now she releases an album with a classically Yoko title, which like much music made by people who’ve got a hell of a back catalogue, leans on every style of her career. There’s a rhythmically heavy train song (“Waiting For The D Train”). There’s a gorgeously affirmative piano piece (“I’m Going Away Smiling”) which may well be about John Lennon. There’s both primal and post-electro blip on “The Sun Is Down” (the collaborators here are Sean Lennon, New Yorican Japanese band Cibo Matto and Tokyo’s Cornelius). A few of the songs here are in Japanese, which is only fitting, and a lot of them (“Ask The Elephant!”) have Ono’s elliptically charming wit (if she is a witch, she’s a very funny one). The general impression is unsurprisingly eclectic with, slightly surprisingly, a lot of trumpets. The final track, “I’m Alive”, is 26 seconds long, features nothing but four words and some curious banging, and is the most moving thing I’ve heard in ages. This is an excellent album that manages to be both a mature summary of an artist’s career and something completely fresh and new. At a time when the old daddy singers are congratulating themselves for being able to enter a studio and re-record their own songs, it must be a great source of satisfaction for Yoko Ono (and if he’s around in the ether, John Lennon) that she is out-performing, out-classing and out-original-ing her husband’s 1960s peers. But then, she always did. DAVID QUANTICK Latest and archive album reviews on Uncut.co.uk

Rock and art: it’s funny, it seems an awfully long time since bag-ism and bed-ins and jamming with bearded men in robes, but about 10 seconds since Fluxus and cutting clothes off and white chess sets. Yoko Ono’s early rock excursions are, understandably, somewhat of their time; but then, so were her collaborators. John Lennon apart, she was working with Eric Clapton, Frank Zappa, Elephant’s Memory, all talented artists, but men who had come up through the blues, and jazz, and Marshall amps, and all that hoo ha.

Yoko Ono’s art came from an uncluttered place; nobody save possibly John Cage has ever used so much space, and whiteness, and silence in their work. And it’s that which has always served her well, in both her art and her music. From David Bowie to the B-52’s, rock artists have always respected the simplicity and modernity of Yoko Ono’s work and when she released her 1980s single, “Walking On Thin Ice”, it fit right in to the new era (not least because John Lennon shoplifted Talking Heads’ “Cities” for the riff).

Yoko Ono’s work has been mostly excellent (though I’m still trying to erase from my memory a concert at the Wembley Conference Centre where she sang “Imagine” as audience members waved candles) and almost always essential. “Don’t Worry Kyoko”, “Mrs Lennon”, “I Felt Like Smashing My Face In A Clear Glass Window”, “Mind Train”, “Walking On Thin Ice”, “Nobody Sees You Like I Do”, “Rising” – these are just a few of the songs Ono has recorded in the past 35 years that everyone should own, encompassing not just the brilliant, hippy-distressing AAIIIIIEEEEEE!!!!! primal wail that thrills even now, but also in recent years an emotional sound which contracts with her sometimes chilly early work.

Perhaps it’s the murder of her husband that released a desire to communicate quieter feelings, perhaps it’s her upbringing in a somewhat distant Japanese well-to-do family, or just the passage of time that makes us all reflective. But Yoko Ono’s music since the 1990s has been dissonantly thunderous and quietly melancholic.

She’s also continued to have a genius for collaboration. In the 1970s, she often used John Lennon’s superstar friends, and in recent years she’s worked with Sean Lennon’s band (this album is on his label), who are forceful and happy, as you might expect, with both avant-garde and modern rock stylings.

2007’s Yes, I’m A Witch (in your FACE, misogynous rock) saw her give her old recordings to everyone from Cat Power and Peaches to Hank Schocklee and Jason Pierce, with suitably grateful results. Ono may not have been a direct influence on all these people, but without her, they’d all be playing the ukulele on a boat. Possibly.

And now she releases an album with a classically Yoko title, which like much music made by people who’ve got a hell of a back catalogue, leans on every style of her career. There’s a rhythmically heavy train song (“Waiting For The D Train”). There’s a gorgeously affirmative piano piece (“I’m Going Away Smiling”) which may well be about John Lennon. There’s both primal and post-electro blip on “The Sun Is Down” (the collaborators here are Sean Lennon, New Yorican Japanese band Cibo Matto and Tokyo’s Cornelius).

A few of the songs here are in Japanese, which is only fitting, and a lot of them (“Ask The Elephant!”) have Ono’s elliptically charming wit (if she is a witch, she’s a very funny one). The general impression is unsurprisingly eclectic with, slightly surprisingly, a lot of trumpets. The final track, “I’m Alive”, is 26 seconds long, features nothing but four words and some curious banging, and is the most moving thing I’ve heard in ages.

This is an excellent album that manages to be both a mature summary of an artist’s career and something completely fresh and new. At a time when the old daddy singers are congratulating themselves for being able to enter a studio and re-record their own songs, it must be a great source of satisfaction for Yoko Ono (and if he’s around in the ether, John Lennon) that she is out-performing, out-classing and out-original-ing her husband’s 1960s peers. But then, she always did.

DAVID QUANTICK

Latest and archive album reviews on Uncut.co.uk

Richard Hawley – Truelove’s Gutter

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Richard Hawley – Truelove’s Gutter
Richard Hawley’s sixth album begins with an eerie electronic drone, but that proves to be something of a deceptive fanfare – as ever, this is a record that unfurls itself as cosily as a cat by a fireside. A writer who knows the virtue of continuity in all things, 'Truelove’s Gutter' (like hi...

Richard Hawley’s sixth album begins with an eerie electronic drone, but that proves to be something of a deceptive fanfare – as ever, this is a record that unfurls itself as cosily as a cat by a fireside.

A writer who knows the virtue of continuity in all things, ‘Truelove’s Gutter’ (like his last two, ‘Lady’s Bridge’ and ‘Cole’s Corner’) continues to be rooted in Richard Hawley’s Sheffield psychogeography: a charming and heavily romanticised place, where songs like “Ashes On The Fire” signpost the way to Hawley’s preferred locale, somewhere between Jim Reeves and Chris Isaak.

Throughout, his mellowness of tone is the album’s defining feature – even on “Remorse Code”, an epic nine-minute track that appears to be about a drug comedown. Miraculously, thanks to the minutiae of the arrangements, it’s a sound that never becomes one dimensional.

JOHN ROBINSON

Latest and archive album reviews on Uncut.co.uk

Rufus Wainwright, Manics, Pet Shop Boys Pen Songs For Shirley Bassey

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Rufus Wainwright, Manics, Pet Shop Boys Pen Songs For Shirley Bassey

Award winning composer David Arnold has produced Dame Shirley Bassey's first studio album of new material for more than 20 years - and there's a host of celebrity artist writing credits on 'The Performance'. Rufus Wainwright contributes a song called "Apartment", while Manic Street Preachers have contibuted "The Girl From Tiger Bay", and Pet Shop Boys close the new album with "The Performance Of My Life". Richard Hawley, David McAlmont, KT Tunstall and Take That's Gary Barlow have also penned lyrics for Bassey. Talking about 72-year old Shirley Bassey's voice, Arnold has said in a press statement: "All these songs were just songs, until Dame Shirley Bassey sang them. There's something about a Bassey performance that can knock the wind out of your sails, make you laugh, make you cry, let you in on the joke or be led to a more exotic place." The Diamonds Are Forever title track, which Bassey sang in 1971, composers John Barry and Don Black have also reunited for The Performance, with a new track called "Our Time Is Now". Dame Shirley Bassey's The Performance track listing is:

Award winning composer David Arnold has produced Dame Shirley Bassey‘s first studio album of new material for more than 20 years – and there’s a host of celebrity artist writing credits on ‘The Performance’.

Rufus Wainwright contributes a song called “Apartment”, while Manic Street Preachers have contibuted “The Girl From Tiger Bay”, and Pet Shop Boys close the new album with “The Performance Of My Life”.

Richard Hawley, David McAlmont, KT Tunstall and Take That‘s Gary Barlow have also penned lyrics for Bassey.

Talking about 72-year old Shirley Bassey‘s voice, Arnold has said in a press statement: “All these songs were just songs, until Dame Shirley Bassey sang them. There’s something about a Bassey performance that can knock the wind out of your sails, make you laugh, make you cry, let you in on the joke or be led to a more exotic place.”

The Diamonds Are Forever title track, which Bassey sang in 1971, composers John Barry and Don Black have also reunited for The Performance, with a new track called “Our Time Is Now”.

Dame Shirley Bassey’s The Performance track listing is:

  • “Almost There” (Tom Baxter)
  • “Apartment” (Rufus Wainwright)
  • “This Time” (Gary Barlow)
  • “I Love You” (Nick Hodgson)
  • “Our Time Is Now” (John Barry/ Don Black)
  • “As God Is My Witness” (David Arnold/ David McAlmont)
  • “No Good About Goodbye” (David Arnold/ Don Black)
  • “The Girl From Tiger Bay” (Manic Street Preachers)
  • “Nice Men” (KT Tunstall)
  • “After The Rain” (Richard Hawley)
  • “The Performance Of My Life” (Pet Shop Boys)

The Performance is out on November 9.

More Uncut.co.uk music and film news

The Unthanks – Here’s The Tender Coming

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The Unthanks – Here’s The Tender Coming

Playing both sides against the centre is one way to describe the approach that has brought Rachel Unthank and the Winterset success, the two sides in question being hardcore Northumbrian folk, and cutting-edge neo-classical arrangements. Of more customary ways to update folk tradition – the electric guitars and muscular fiddle of, say, Seth Lakeman, or the electronica of Tunng – there has been no sign. Instead, the group have stayed resolutely focused on the sibling vocal harmonies of Rachel and sister Becky, delivered in the saltiest of Geordie accents and framed by backings that range from string quartets to minimalist piano codas reminiscent of Erik Satie. First heard on 2005’s debut, 'Cruel Sister', the combination was brought into mournful majesty on 2007’s 'The Bairns', an album as bleak but bracing as a North Sea downpour, which won the group a Mercury Prize nomination and converts from way beyond the folk community (few of their peers can boast Radiohead and Robert Wyatt among their fanbase). The expansion of the Winterset’s female quartet to a nine-piece lineup that includes bass and drums, along with their rebranding as The Unthanks, suggests a move towards the mainstream, but this third album follows seamlessly on from its predecessors. Not much has changed; piano duties pass from Stef Conner (herself a replacement for Belinda O’Hooley) to producer Adrian McNally (Rachel’s husband) and multi-instrumentalist Chris Price has also joined. The further four members, says McNally, are as much about giving the group extra oomph onstage as changing their sound. The group have, however, lightened up a little. The intensity of 'The Bairns', with its songs about poverty, drunken wives and lost children, is still in place, but leavened by numbers like “Betsy Belle” and “Where’ve You Been Dick” that owe much to the jaunty traditions of music hall. The one original song here, “Lucky Gilchrist”, likewise celebrates a fallen friend in a style as sprightly as his character (“full of glee, a bit like Freddy Mercury”). The record is, as Rachel puts it, “a warmer shade of sad”. There is, nonetheless, a wintry eloquence to much of Tender; “Sad February” grieves over drowned sailors, “The Testimony of Patience Kershaw”, a 1970 song by Frank Higgins, relates the gruelling role child labour in Victorian coalmines, and Ewan MacColl’s “Nobody Knew She Was There” honours a cleaning woman driven to suicide in “the writhing foul black water”. Nor is the mood of desolation much altered by the eight-minute epic “Annachie Gordon”, a ballad learned from Nic Jones, in which a maiden is forced to marry a lord and forsake her true lover, a humble fisherman who arrives to find his love dead from a broken heart. Nor by “Flowers Of The Town”, their version of the much covered Scots lament, “Flowers Of The Forest”. Yet it’s in the nature of the blues – and what is Britannia’s folk tradition but our islands’ version of the same? – that redemption is always lurking. That promise is held within both the tender vocal harmonies of the Unthank sisters, and the inventive settings to the songs. “Nobody Knows” chimes with bright autoharp, while Lal Waterson’s “At First She Starts”, whose stately strings cast a doomy mood, is actually about finding one’s personal voice. The title track plays against the grain in the opposite manner, at first coming across as a cheery love song but in reality describing the arrival of Nelson’s navy – the tender in question is a boat – intent on press-ganging Geordies into the Napoleonic wars. It’s an often exquisite mixture of light and dark, instinct and artistry, that honours both the power of old songs and the stoicism of the lives that shaped them. Rarely has the deep past sounded so stirring, or so modern. NEIL SPENCER Latest and archive album reviews on Uncut.co.uk

Playing both sides against the centre is one way to describe the approach that has brought Rachel Unthank and the Winterset success, the two sides in question being hardcore Northumbrian folk, and cutting-edge neo-classical arrangements.

Of more customary ways to update folk tradition – the electric guitars and muscular fiddle of, say, Seth Lakeman, or the electronica of Tunng – there has been no sign. Instead, the group have stayed resolutely focused on the sibling vocal harmonies of Rachel and sister Becky, delivered in the saltiest of Geordie accents and framed by backings that range from string quartets to minimalist piano codas reminiscent of Erik Satie.

First heard on 2005’s debut, ‘Cruel Sister’, the combination was brought into mournful majesty on 2007’s ‘The Bairns’, an album as bleak but bracing as a North Sea downpour, which won the group a Mercury Prize nomination and converts from way beyond the folk community (few of their peers can boast Radiohead and Robert Wyatt among their fanbase).

The expansion of the Winterset’s female quartet to a nine-piece lineup that includes bass and drums, along with their rebranding as The Unthanks, suggests a move towards the mainstream, but this third album follows seamlessly on from its predecessors. Not much has changed; piano duties pass from Stef Conner (herself a replacement for Belinda O’Hooley) to producer Adrian McNally (Rachel’s husband) and multi-instrumentalist Chris Price has also joined. The further four members, says McNally, are as much about giving the group extra oomph onstage as changing their sound.

The group have, however, lightened up a little. The intensity of ‘The Bairns’, with its songs about poverty, drunken wives and lost children, is still in place, but leavened by numbers like “Betsy Belle” and “Where’ve You Been Dick” that owe much to the jaunty traditions of music hall. The one original song here, “Lucky Gilchrist”, likewise celebrates a fallen friend in a style as sprightly as his character (“full of glee, a bit like Freddy Mercury”). The record is, as Rachel puts it, “a warmer shade of sad”.

There is, nonetheless, a wintry eloquence to much of Tender; “Sad February” grieves over drowned sailors, “The Testimony of Patience Kershaw”, a 1970 song by Frank Higgins, relates the gruelling role child labour in Victorian coalmines, and Ewan MacColl’s “Nobody Knew She Was There” honours a cleaning woman driven to suicide in “the writhing foul black water”.

Nor is the mood of desolation much altered by the eight-minute epic “Annachie Gordon”, a ballad learned from Nic Jones, in which a maiden is forced to marry a lord and forsake her true lover, a humble fisherman who arrives to find his love dead from a broken heart. Nor by “Flowers Of The Town”, their version of the much covered Scots lament, “Flowers Of The Forest”.

Yet it’s in the nature of the blues – and what is Britannia’s folk tradition but our islands’ version of the same? – that redemption is always lurking. That promise is held within both the tender vocal harmonies of the Unthank sisters, and the inventive settings to the songs. “Nobody Knows” chimes with bright autoharp, while Lal Waterson’s “At First She Starts”, whose stately strings cast a doomy mood, is actually about finding one’s personal voice.

The title track plays against the grain in the opposite manner, at first coming across as a cheery love song but in reality describing the arrival of Nelson’s navy – the tender in question is a boat – intent on press-ganging Geordies into the Napoleonic wars.

It’s an often exquisite mixture of light and dark, instinct and artistry, that honours both the power of old songs and the stoicism of the lives that shaped them. Rarely has the deep past sounded so stirring, or so modern.

NEIL SPENCER

Latest and archive album reviews on Uncut.co.uk

Michael Jackson This Is It Movie Poster Released

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Michael Jackson This Is It Movie Poster Released

The poster for Michael Jackson's comeback concert rehearsal footage film This Is It, has been released today (September 9). The forthcoming film, made by Sony Pictures Entertainment, garnered from filming of Jackson's last weeks, as he prepared for his London 02 Arena residency, will be released worldwide from October 28, for two weeks only. Tickets to see the film, will go on sale from September 27. The film's producers have also today announced that the Michael Jackson motion picture, based on his life, is to be directed by the This Is It Concert director Kenny Ortega with the full support of The Estate of Michael Jackson. Ortega, also director of the This Is It concert and film, says: “This film is a gift to Michaels fans. As we began assembling the footage for the motion picture we realized we captured something extraordinary, unique and very special. It’s a very private, exclusive look into a creative genius’s world" www.ThisIsIt-Movie.com More Uncut.co.uk music and film news

The poster for Michael Jackson‘s comeback concert rehearsal footage film This Is It, has been released today (September 9).

The forthcoming film, made by Sony Pictures Entertainment, garnered from filming of Jackson‘s last weeks, as he prepared for his London 02 Arena residency, will be released worldwide from October 28, for two weeks only. Tickets to see the film, will go on sale from September 27.

The film’s producers have also today announced that the Michael Jackson motion picture, based on his life, is to be directed by the This Is It Concert director Kenny Ortega with the full support of The Estate of Michael Jackson.

Ortega, also director of the This Is It concert and film, says: “This film is a gift to Michaels fans. As we began assembling the footage for the motion picture we realized we captured something extraordinary, unique and very special. It’s a very private, exclusive look into a creative genius’s world”

www.ThisIsIt-Movie.com

More Uncut.co.uk music and film news

Speech Debelle Scoops Mercury Prize 2009

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Speech Debelle Scoops Mercury Prize 2009

London rapper Speech Debelle has scooped this year's Barclaycard Mercury Prize for her debut album 'Speech Therapy' at the presentation ceremony in London on Tuesday (September 8). The 26-year old, the first woman to win the annual music prize since Ms Dynamite won in 2002 with 'A Little Deeper'. Speech Debelle's album 'Speech Therapy' only sold 3,000 copies on its release earlier this year, and didn't even make the Top 40 album chart, but is expected to receive a huge boost in sales after collecting the Mercury Prize. Collecting her award at the Grosvenor House Hotel, Debelle said: "Thank you to the panellists, to my band, thank you so much to my mum, to my fans, thank you to whoever's name's on the cheque. I'll be here all night – thank you very much, good night." Previous winners include Elbow, Klaxons, Arctic Monkeys, Antony & The Johnsons and Franz Ferdinand. A special 70-minute televison programme of The Barclaycard Mercury Prize awards show, including performances from all nominees, will be broadcast on BBC 2 on Friday Spetember 11 at 11.40pm. The shortlist of albums nominated for 2009 Mercury Prize were:

London rapper Speech Debelle has scooped this year’s Barclaycard Mercury Prize for her debut album ‘Speech Therapy’ at the presentation ceremony in London on Tuesday (September 8).

The 26-year old, the first woman to win the annual music prize since Ms Dynamite won in 2002 with ‘A Little Deeper’.

Speech Debelle‘s album ‘Speech Therapy’ only sold 3,000 copies on its release earlier this year, and didn’t even make the Top 40 album chart, but is expected to receive a huge boost in sales after collecting the Mercury Prize.

Collecting her award at the Grosvenor House Hotel, Debelle said: “Thank you to the panellists, to my band, thank you so much to my mum, to my fans, thank you to whoever’s name’s on the cheque. I’ll be here all night – thank you very much, good night.”

Previous winners include Elbow, Klaxons, Arctic Monkeys, Antony & The Johnsons and Franz Ferdinand.

A special 70-minute televison programme of The Barclaycard Mercury Prize awards show, including performances from all nominees, will be broadcast on BBC 2 on Friday Spetember 11 at 11.40pm.

The shortlist of albums nominated for 2009 Mercury Prize were:

  • Bat For Lashes – ‘Two Suns’
  • Florence And The Machine – ‘Lungs’
  • Friendly Fires – ‘Friendly Fires’
  • Glasvegas – ‘Glasvegas’
  • The Horrors – ‘Primary Colours’
  • La Roux – ‘La Roux’
  • Led Bib – ‘Sensible Shoes’
  • The Invisible – ‘The Invisible’
  • Lisa Hannigan – ‘Sea Sew’
  • Kasabian – ‘West Ryder Pauper Lunatic Asylum’
  • Speech Debelle – ‘Speech Therapy’
  • Sweet Billy Pilgrim – ‘Twice Born Men’

More Mercury Prize news on Uncut.co.uk

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Pic credit: PA Photos

The 33rd Uncut Playlist Of 2009

John Mulvey
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Apologies for the radio silence these past couple of weeks – I’ve been on holiday a long way from the CD mountain, catching up on some well-earned silence. Thanks for all your correspondence in the meantime, not least the kind words about my “Seeing For Miles” comp, and the Brazilian contributions to the Os Mutantes piece. Getting back to work, it hardly seems surprising that there’s another Neil Young album on the way which isn’t “Toast”. Some talk of The Beatles, too. But here’s what I’ve managed to play over the past couple of days. Maybe I’ll give that Speech Debelle album another go a bit later, though I can't say I'm keen… 1 Chris Bell – I Am The Cosmos (Rhino) 2 Various Artists – Ouled Bambara: Portraits Of Gnawa (Drag City) 3 The Slits – Trapped Animal (Sweet Nothing) 4 Jan Dukes De Grey – Sorcerers/Mice And Rats In The Loft (Cherry Tree) 5 Massive Attack – Splitting The Atom EP (Virgin) 6 Sunburned Hand Of The Man – A (Ecstatic Peace) 7 LCD Soundsystem – 45.33 Remixes (DFA/EMI) 8 Cat Stevens – Was Dog A Doughnut (A&M) 9 Kurt Vile – Childish Prodigy (Matador) 10 Alasdair Roberts – The Wyrd Meme (Drag City) 11 Jesca Hoop – Hunting My Dress (Last Laugh) 12 Shrinebuilder – Shrinebuilder (Neurot) 13 Mark Eitzel – Klamath (Décor) 14 Luke Haines – 21st Century Man (FP Music) 15 Fuck Buttons – Tarot Sport (ATP Recordings)

Apologies for the radio silence these past couple of weeks – I’ve been on holiday a long way from the CD mountain, catching up on some well-earned silence. Thanks for all your correspondence in the meantime, not least the kind words about my “Seeing For Miles” comp, and the Brazilian contributions to the Os Mutantes piece.

Continue

Beatles Downloads Delay Blamed On EMI By Paul McCartney

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Beatles Downloads Delay Blamed On EMI By Paul McCartney
Sir Paul McCartney has spoken out about the delay in getting The Beatles back catalogue onto services like iTunes on the eve of their collection of remastered reissues being released on September 9, 2009. McCartney, one of the two surviving members of the Fabs, says the band are keen for the songs ...

Sir Paul McCartney has spoken out about the delay in getting The Beatles back catalogue onto services like iTunes on the eve of their collection of remastered reissues being released on September 9, 2009.

McCartney, one of the two surviving members of the Fabs, says the band are keen for the songs to be made available digitally, and said that the continued delay was down to EMI records.

Talking to Uncut-sister title NME, Paul McCartney says: “We were having problems with iTunes – well not iTunes, EMI was the problem – with downloading, which we’d like to do because that’s how a lot of people get their music.”

‘The Beatles: Rock Band‘ game, which is also released on September 9, has been a ‘back’ route taken by the band to be able to offer some downloadable material.

McCartney says: “We’ve kind of bypassed that [download problems] because now you can do it in ‘Rock Band’, I always liked that, when you’re told you can’t do something and suddenly there’s a little route round the back.”

Featuring 13 different covers – one for each LP release –the special Beatles issue of NME will be available on UK newsstands from September 9.

More Beatles news and reviews on Uncut.co.uk

Pic credit: PA Photos

Doves Announce Manchester Homecoming Concert

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Doves Announce Manchester Homecoming Concert
Doves have announced that they will play a mammoth homecoming concert in Manchester just before Christmas. Doves will perform their one-off gig on December 18 at the Manchester Central venue. Tickets for the show are on sale from Friday September 11 at 9am. The trio released acclaimed album King...

Doves have announced that they will play a mammoth homecoming concert in Manchester just before Christmas.

Doves will perform their one-off gig on December 18 at the Manchester Central venue.

Tickets for the show are on sale from Friday September 11 at 9am.

The trio released acclaimed album Kingdom of Rust earlier this year.

More Doves news on Uncut.co.uk

Win! A pair of tickets to see Willard Grant Conspiracy in London next week!

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Win! A pair of tickets to see Willard Grant Conspiracy in London next week!

Americana greats Willard Grant Conspiracy, led by Robert Fisher are to headline Club Uncut next Friday (September 18) and we have two pairs of tickets to give away! Willard Grant Conspiracy will play at the Relentless Garage venue in Islington and you can get your tickets for this intimate show, here, priced just £11. If you're feeling lucky, answer the simple question here. Entries need to be in by September 16. More Willard Grant Conspiracy news and reviews on Uncut.co.uk. Plus latest music and film news from Uncut.co.uk here

Americana greats Willard Grant Conspiracy, led by Robert Fisher are to headline Club Uncut next Friday (September 18) and we have two pairs of tickets to give away!

Willard Grant Conspiracy will play at the Relentless Garage venue in Islington and you can get your tickets for this intimate show, here, priced just £11.

If you’re feeling lucky, answer the simple question here. Entries need to be in by September 16.

More Willard Grant Conspiracy news and reviews on Uncut.co.uk.

Plus latest music and film news from Uncut.co.uk here

Kris Kristofferson To Answer Your Questions!

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Kris Kristofferson To Answer Your Questions!
Kris Kristofferson is soon to be the star of our regular feature An Audience With…, and as ever we want your questions to put to him. So, what might want to ask the Rhodes Scholar, former janitor and country legend? What memories does he have of working with Sam Peckinpah on Pat Garrett An...

Kris Kristofferson is soon to be the star of our regular feature An Audience With…, and as ever we want your questions to put to him.

So, what might want to ask the Rhodes Scholar, former janitor and country legend?

What memories does he have of working with Sam Peckinpah on Pat Garrett And Billy The Kid..?

When he witnessed Bob Dylan’s sessions for Blonde On Blonde, did he notice whether Bob had any unusual habits in the studio?

Just how on earth did he manage to land a helicopter on Johnny Cash’s front lawn..?

Send your questions to uncutaudiencewith@ipcmedia.com by Thursday, September 10.

The best questions and of course, Kris’s answers will be published in a future edition of Uncut magazine.

Please include your name and location with your questions!

More Uncut.co.uk music and film news

Arctic Monkeys Announce UK Tour Dates!

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Arctic Monkeys Announce UK Tour Dates!
Arctic Monkeys, who just headlined this year's Reading and Leeds festivals, have announced a full UK tour to take place this November. The Arctic Monkeys live shows kick off in Liverpool on November 13 and include dates at Wembley Arena and Manchester MEN on November 21. Tickets for the newly anno...

Arctic Monkeys, who just headlined this year’s Reading and Leeds festivals, have announced a full UK tour to take place this November.

The Arctic Monkeys live shows kick off in Liverpool on November 13 and include dates at Wembley Arena and Manchester MEN on November 21.

Tickets for the newly announced shows go on sale on Friday September 11 at 9am.

Arctic Monkeys UK tour dates are as follows:

  • Liverpool Echo Arena (November 13)
  • Sheffield Arena (14)
  • Newcastle Metro Arena (16)
  • Wembley Arena (18)
  • Birmingham NIA (20)
  • Manchester MEN Arena (21)
  • Nottingham Trent FM Arena (22)
  • Glasgow SECC (24)
  • Belfast The Odyssey (25)
  • Dublin The O2 (26)

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New Neil Young Album, ‘Dreamin’ Man’, Set For Release!

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New Neil Young Album, ‘Dreamin’ Man’, Set For Release!
Neil Young has confirmed that he will release the 12th album in his Archives Performance Series, called 'Dreamin' Man'. Set for release around November 2, 2009, 'Dreamin' Man' features Harvest Moon songs, performed solo and acoustic, before the album was originally released. Neil Young's Dreamin' ...

Neil Young has confirmed that he will release the 12th album in his Archives Performance Series, called ‘Dreamin’ Man’.

Set for release around November 2, 2009, ‘Dreamin’ Man’ features Harvest Moon songs, performed solo and acoustic, before the album was originally released.

Neil Young’s Dreamin’ Man track listing is:

“Dreamin’ Man”

“Such A Woman”

“Old King Rap”

“Old King”

“One Of These Days”

“Harvest Moon”

“You and Me”

“From Hank To Hendrix”

“Unknown Legend”

“Natural Beauty”

“War of Man”

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David Bowie Has New Species Of Spider Named After Him

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David Bowie Has New Species Of Spider Named After Him
David Bowie has had a rare Malaysian spider named after him, by German spider expert Peter Jäger. The newly discovered giant yellow spider has been named Heteropoda davidbowie in tribute to rock legend Bowie. Jäger, who has identified 200 new species of spider in the last decade says he hopes to...

David Bowie has had a rare Malaysian spider named after him, by German spider expert Peter Jäger.

The newly discovered giant yellow spider has been named Heteropoda davidbowie in tribute to rock legend Bowie.

Jäger, who has identified 200 new species of spider in the last decade says he hopes to raise awareness of the endangered insects, saying: “It is working against time. Along with the species, we are also quickly losing genetic resources that have evolved over more than 300 million years.”

Neil Young, is another rocker who has had a species of spider named after him. In May 2008, the name ‘Myrmekiaphila neilyoungi’ was bestowed on a newly discovered trapdoor spider in California.

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Julian Cope – Peggy Suicide (Deluxe Edition)

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Julian Cope – Peggy Suicide (Deluxe Edition)

After the doomed pop compromises of 1988’s My Nation Underground, Peggy Suicide effectively signalled the start of Julian Cope’s mature phase. ‘Mature’ being a relative concept, of course, when you’re wearing a giant papier-mâché head and calling yourself Sqwubbsy. Still, liberated from most commercial ambitions, Julian Cope made his masterpiece, an expansive eco-concept piece that managed to be eclectic, psychedelic and surprisingly funky. “Safesurfer” remains his greatest eight minutes, ostensibly a Tamworth “Maggot Brain”. A second disc, predominantly of baggyish remixes, however, confirms once again that Julian Cope should stay well away from prevailing fashions. JOHN MULVEY Latest and archive album reviews on Uncut.co.uk

After the doomed pop compromises of 1988’s My Nation Underground, Peggy Suicide effectively signalled the start of Julian Cope’s mature phase. ‘Mature’ being a relative concept, of course, when you’re wearing a giant papier-mâché head and calling yourself Sqwubbsy.

Still, liberated from most commercial ambitions, Julian Cope made his masterpiece, an expansive eco-concept piece that managed to be eclectic, psychedelic and surprisingly funky. “Safesurfer” remains his greatest eight minutes, ostensibly a Tamworth “Maggot Brain”.

A second disc, predominantly of baggyish remixes, however, confirms once again that Julian Cope should stay well away from prevailing fashions.

JOHN MULVEY

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Uncut Album Reviews: Harmonia

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1976 might be stamped in rock’s history books as the year punk swept the UK, but it found Brian Eno on a very different course. One year before, Eno’s 1975 album Discreet Music, a serene synthesiser piece inspired by a period spent bedridden, had demonstrated his commitment to what would soon be known as ambient. Now, Eno was bound for a studio in Forst, rural West Germany, at the invitation of who he had referred to as “the world’s most important rock band”, Harmonia. The joint project of Hans-Joachim Roedelius and Dieter Moebius of Berlin’s Cluster and Neu! guitarist Michael Rother, Harmonia’s two albums to date, Musik Von Harmonia (1974) and Deluxe (1975) were among the best Krautrock had to offer, gentler than Can or Faust, but with their shimmering keyboards and mechanical rhythms, every bit as compelling. That the fruits of the first session, collected as Harmonia ’76’s Tracks & Traces (GRONLAND) 3*, was not released until 1997 casts a little doubt on its quality. But while feeling somewhat sketch-like – this is evidently the sound of an improvisatory trio finding their common ground – there are fine moments here, from the languid synthesiser bubbles of “Welcome” to the gaping black hole kosmische of “Sometimes In Autumn”. Rother soon split from Harmonia to go solo, but Brian Eno would reconvene with Roedelius and Moebius at producer Conny Plank’s studio in 1977. Joined by Can’s Holger Czukay and avant-garde composer Asmus Tietchens, the three-week session yielded not one, but two albums. The first, 'Cluster & Eno' (BUREAU B) 4* is crisper, with arrangements in tighter focus: “Wehrmut” wrings astonishing emotion out of minor-key synths, “One” is a mutant sitar raga that vacillates between melodies and Velvets-esque drone, and if “Ho Renomo” now reminds you of a mobile phone advert, it just shows how far ambient has seeped into the mainstream. The second album from the sessions, 1978’s 'After The Heat' (BUREAU B) 4* – released as Eno Moebius Rodelius – feels quite different. In fact, it’s an Eno solo album in all but name. Good job, then, that it’s a good one. Desolate piano and droning synth pieces segue into funk-inflected art-rock, and Eno sings on three tracks – notably “The Belldog”, which, with its soaring vocal and squirming sequenced bass, is surely a track LCD Soundsystem’s James Murphy has spun a few times. Three decades on and Roedelius and Moebius are still making music, touring with the revitalised Harmonia and working on solo material. Moebius’ newie, 'Kram' (KLANGBAD) 3* is somewhat patchy, prone to bouts of discordant proto-techno, but the likes of “Womit” remain firmly in the spirit of kosmische, a melding of crystal synths and gurgling bass that played quiet, or speaking-shakingly loud, has a transporting effect. LOUIS PATTISON Latest and archive album reviews on Uncut.co.uk

1976 might be stamped in rock’s history books as the year punk swept the UK, but it found Brian Eno on a very different course. One year before, Eno’s 1975 album Discreet Music, a serene synthesiser piece inspired by a period spent bedridden, had demonstrated his commitment to what would soon be known as ambient. Now, Eno was bound for a studio in Forst, rural West Germany, at the invitation of who he had referred to as “the world’s most important rock band”, Harmonia.

The joint project of Hans-Joachim Roedelius and Dieter Moebius of Berlin’s Cluster and Neu! guitarist Michael Rother, Harmonia’s two albums to date, Musik Von Harmonia (1974) and Deluxe (1975) were among the best Krautrock had to offer, gentler than Can or Faust, but with their shimmering keyboards and mechanical rhythms, every bit as compelling.

That the fruits of the first session, collected as Harmonia ’76’s Tracks & Traces (GRONLAND) 3*, was not released until 1997 casts a little doubt on its quality. But while feeling somewhat sketch-like – this is evidently the sound of an improvisatory trio finding their common ground – there are fine moments here, from the languid synthesiser bubbles of “Welcome” to the gaping black hole kosmische of “Sometimes In Autumn”.

Rother soon split from Harmonia to go solo, but Brian Eno would reconvene with Roedelius and Moebius at producer Conny Plank’s studio in 1977. Joined by Can’s Holger Czukay and avant-garde composer Asmus Tietchens, the three-week session yielded not one, but two albums. The first, ‘Cluster & Eno’ (BUREAU B) 4* is crisper, with arrangements in tighter focus: “Wehrmut” wrings astonishing emotion out of minor-key synths, “One” is a mutant sitar raga that vacillates between melodies and Velvets-esque drone, and if “Ho Renomo” now reminds you of a mobile phone advert, it just shows how far ambient has seeped into the mainstream.

The second album from the sessions, 1978’s ‘After The Heat’ (BUREAU B) 4* – released as Eno Moebius Rodelius – feels quite different. In fact, it’s an Eno solo album in all but name. Good job, then, that it’s a good one. Desolate piano and droning synth pieces segue into funk-inflected art-rock, and Eno sings on three tracks – notably “The Belldog”, which, with its soaring vocal and squirming sequenced bass, is surely a track LCD Soundsystem’s James Murphy has spun a few times.

Three decades on and Roedelius and Moebius are still making music, touring with the revitalised Harmonia and working on solo material. Moebius’ newie, ‘Kram’ (KLANGBAD) 3* is somewhat patchy, prone to bouts of discordant proto-techno, but the likes of “Womit” remain firmly in the spirit of kosmische, a melding of crystal synths and gurgling bass that played quiet, or speaking-shakingly loud, has a transporting effect.

LOUIS PATTISON

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Stereophonics Return To Cardiff Castle For Concert

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Stereophonics Return To Cardiff Castle For Concert
Stereophonics have announced a special one-off concert to take place at Cardiff Castle on October 3, to celebrate the November 16 release of their seventh studio album 'Keep Calm And Carry On'. The show, a return to the same venue the Stereophonics headlined in June 1998, will have ticket prices ca...

Stereophonics have announced a special one-off concert to take place at Cardiff Castle on October 3, to celebrate the November 16 release of their seventh studio album ‘Keep Calm And Carry On‘.

The show, a return to the same venue the Stereophonics headlined in June 1998, will have ticket prices capped to the same they were then, a mere £12.50.

Tickets for the show will be exclusively available through the band’s website www.stereophonics.com from 9am on Wednesday September 9.

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Sex Pistol John Lydon Reforms PiL for UK Tour

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Sex Pistol John Lydon Reforms PiL for UK Tour
Sex Pistols legend John Lydon has announced that he is reforming his other 70s band Public Image Ltd for a series of UK live gigs at the end of the year. PiL celebrate the 30 years since the release of their Metal Box in November 1979 with five live shows announced so far. Public Image Ltd will se...

Sex Pistols legend John Lydon has announced that he is reforming his other 70s band Public Image Ltd for a series of UK live gigs at the end of the year.

PiL celebrate the 30 years since the release of their Metal Box in November 1979 with five live shows announced so far.

Public Image Ltd will see John Lydon joined by Damned guitarist Lu Edmonds, former Slits drummer Bruce Smith and bassist Scott Firth.

The revived version of Public Image Ltd will play the following UK live dates, tickets on sale on Friday September 11 at 9am.

  • Birmingham, O2 Academy (December 15)
  • Leeds, O2 Academy (16)
  • Glasgow, O2 Academy (18)
  • Manchester, Academy (19)
  • London Brixton, O2 Academy (21)

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Muse – Resistance

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Muse – Resistance
Muse’s frontman Matthew Bellamy is one of a breed of crackpots who believe that 9/11 was “an inside job”: that the 3,000 people who died in the Twin Towers – and, presumably, the victims of terrorism in London, Madrid, Mumbai, Delhi, Bali, Jakarta, Sudan, Somalia and so on – were not kille...

Muse’s frontman Matthew Bellamy is one of a breed of crackpots who believe that 9/11 was “an inside job”: that the 3,000 people who died in the Twin Towers – and, presumably, the victims of terrorism in London, Madrid, Mumbai, Delhi, Bali, Jakarta, Sudan, Somalia and so on – were not killed by Islamist terrorists but by some shady cabal comprising the CIA, MI6, Mossad, Gilead Sciences, Shell Oil and a phalanx of shape-shifting reptiles. Bellamy, an innocent, relentlessly curious autodidact who questions absolutely everything, is essentially prepared to believe any hare-brained conspiracy theory that counters the prevailing worldview.

However, the qualities that make Bellamy such a credulous conspiracy theorist are, perhaps, exactly the qualities needed in rock music right now. If you’re a rock star, why not question absolutely everything? Why cleave to this outdated punk notion that musicianship is A Bad Thing? Why settle for one catchy riff when you can crowbar half a dozen into a single song? Why not throw in an operatic aria, an electro beat, some thrash metal guitar shredding and the chords from a Liszt symphonic poem before you’ve even got to your first chorus?

The opening track on Muse’s first studio album in three years, “Uprising”, is a case in point. It takes a Goldfrapp-style schaffel beat and the “whoop-whoop” riff from Blondie’s “Call Me” and marries them to some leftist sloganeering (“Rise up and take the power back/Fat cats will have a heart attack”). And that’s about as orthodox as the album gets.

“Undisclosed Desires” employs a skeletal Timbaland breakbeat, a Prince digi-funk riff and some Spinal Tap-ish sentiments (“I want to exorcise the demons from your past”). “I Belong To You” starts of like a jaunty 10cc song, mutates into a Rufus Wainwright ballad, quotes from a Saint-Saëns opera and then goes into a jovial clarinet solo.

“Guiding Light” takes the bombastic pulse from Ultravox’s “Vienna” and bolts it on to a slice of U2-meets-Brian May stadium rock; “MK Ultra” sets the chords from a Chopin prelude to a heavy metal stomp; “Unnatural Selection” is Metallica-meets-Big Beat.

All these tracks, however, are dwarfed in scale by “United States Of Eurasia”, an audacious six-minute voyage through Mitteleuropa, the Balkans and the Middle East, which eventually finds peace in a string-drenched reading of Chopin’s E-flat Nocturne, and ends with the explosion of an Exocet. With nods to “We Are The Champions”, “Mustapha” and the multi-tracked harmonies from “Bohemian Rhapsody”, it sounds like Queen’s maddest moments crammed into a single song.

Yet we’re still not done. The album closes with Muse’s “Jazz Odyssey” a 14-minute piece in three movements called “Exogenesis”. It throws in the angular chord changes from a Shostakovich symphony, the arpeggios from a Philip Glass opera, the thumping piano octaves from a Grieg piano concerto and a Johann Strauss waltz. Oh, and lots of guitar.

Like the rest of the album, it’s bonkers – hilarious, maddening, ridiculous and slightly shit – yet never dull. As always, Muse’s dog’s dinner of instrumental quotations gels together largely because Matt Bellamy’s long, slow, sustained vocal lines always seem to calm down the madness and hold everything in place.

Far from being Radiohead for thickos – or Coldplay fronted by David Icke – on Resistance, Muse prove that they could be the last in a line of great British rock eccentrics, a trio of mad professors who should be cherished. And if you don’t agree, you’re clearly being controlled by shape-shifting lizards.

JOHN LEWIS

UNCUT Q&A: Matt Bellamy

What is the “Resistance” of the title?

Well, one is a resistance against the “general corporatocracy” that John Perkins describes in his book, Confessions Of An Economic Hitman, in which he shows how big corporations are far more powerful than all of our governments. The other resistance is the Gandhi-style peaceful resistance; the idea that love can cross boundaries between different religions and political views, to the point that you realise how pointless those beliefs actually are, and how those beliefs don’t define you.

Was there a conscious nod to Queen?

I’ll definitely hold up my hands and admit that the bit where the vocal harmonies kick in on “United States Of Eurasia” is a nod to Queen. I can’t really deny that! But I think it’s more what we have in common, which is bringing together heavy rock influences and classical influences. Otherwise Queen are well before my time – a band I’d associate with my mum’s generation!

Why the lengthy quotations from Saint-Saëns and Chopin?

I’ve started going to see operas in Milan, and I was blown away by Samson & Delilah by Saint-Saëns. That aria is one of the finest pieces of songwriting I’ve ever heard, and it fitted perfectly with that track. And the Chopin nocturne, that comes at the end of a track about Eurasia being a chessboard that America needs to dominate. So the whole song tries to capture that madness, that megalomania, and the Chopin piece is all that’s left in the aftermath of destruction.

INTERVIEW: JOHN LEWIS

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Adventureland

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Adventureland
Uncut film review: ADVENTURELAND Directed by: GREG MOTTOLA Starring: JESSE EISENBERG, KRISTEN STEWART, BILL HADER, RYAN REYNOLDS A wry, soulful teen romance with contemporary comedy elements intact, this has more in common with Greg Mottola’s inquisitive 1997 indie debut The Day Trippers t...
  • Uncut film review: ADVENTURELAND
  • Directed by: GREG MOTTOLA
  • Starring: JESSE EISENBERG, KRISTEN STEWART, BILL HADER, RYAN REYNOLDS

A wry, soulful teen romance with contemporary comedy elements intact, this has more in common with Greg Mottola’s inquisitive 1997 indie debut The Day Trippers than his huge hit, the broad yet big-hearted farce Superbad.

Apart from directing several episodes of Arrested Development, Mottola went quiet between the two, but the success of Superbad gained him the green light to make this semi-autobiographical, coming-of-age piece.

He’s learned how to give big audiences big laughs – Adventureland isn’t averse to a few sex/drugs/puke/punches-in-the-nuts gags – but this is the most reflective offering yet from the Judd Apatow axis. Its total recall of the ardour of youthful infatuation feels closer to something Eric Rohmer might have exhaled, or Linklater’s Dazed And Confused. It’s human, rather than cartoon-like.

It’s Reagan-era, 1987. James (Eisenberg, mainlining the vague, wide-eyed nerd he portrayed in Roger Dodger and The Squid And The Whale) is distraught to discover his parents’ economic woes mean he has to work all summer at a Pennsylvania amusement park, to fund his college future. Torn from his Replacements albums and Henry Miller books, he’s shunted onto a stall where “nobody is allowed to win the giant-ass panda prize”. Initially traumatised, he makes friends among other misfits there.

Where his personality fails, his pot stash succeeds. He falls in love with Em (Stewart), unaware that she’s having a passionless affair with an older musician and bullshitter (Reynolds). “I jammed with Lou on ‘Shed A Light On Love’,” he brags. “It’s called ‘Satellite Of Love’,” points out James. “Right, that’s what I said.” Em’s a mess of contradictions, so James becomes distracted by the carny hottie, of whom a colleague sighs, “That ass is a platonic ideal. A higher truth.”

Around this romantic quadrangle, over-qualified weirdos exchange quips and whines about the futility of existence. One is a Russian comparative literature graduate. “What career track is that?” asks his date. “Hot dog vendor, garbage collector,” he replies, “World’s my oyster.” The park plays Falco’s “Rock Me Amadeus” twenty times daily. “Sadism”, wail our likeable losers.

The surface humour is great (with Saturday Night Live regulars Bill Hader and Kristen Wiig in great form), but beneath the usual study of growing pains and frustrated libidos is shrewd empathy for the characters. Most of them learn something from this hothouse summer, but, realistically, some don’t.

There’s a keen sense of place, that place being Nowheresville, and of time (reinforced by a splendid soundtrack, and a score by Yo La Tengo). Much like its anti-hero, Adventureland is at first too gauchely intelligent for its surroundings, then learns to merge the best of what it is and what it isn’t. Gentle is the new gross, it seems.

CHRIS ROBERTS

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