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Uncut’s Top 10: Robert Plant! Phil Spector! Wild Beasts!

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Uncut's Top 10 most popular stories, blogs and reviews for the last 7 days (upto August 2, 2009) have been the following. Click on the subjects below to check out www.uncut.co.uk's big hits! *** 1. NEWS: ROBERT PLANT TO PERFORM AT O2 ARENA CONCERT - Led Zep legend leads the line-up for Nordoff-R...

Uncut’s Top 10 most popular stories, blogs and reviews for the last 7 days (upto August 2, 2009) have been the following.

Click on the subjects below to check out www.uncut.co.uk‘s big hits!

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1. NEWS: ROBERT PLANT TO PERFORM AT O2 ARENA CONCERT – Led Zep legend leads the line-up for Nordoff-Robbins ‘collaborations’ charity concert. Find out how to get tickets here.

2. NEWS: PHIL SPECTOR ‘ALARMED’ BY CHARLES MANSON OFFER – Legendary producer is propositioned by the other famous convicted murderer in California prison.

3. NEWS: WILD BEASTS REVIEWED! Plus recommended releases round-up – See Uncut’s album tips here.

4. LATITUDE FESTIVAL 2009 – THE ULTIMATE UNCUT REVIEW! – There’s still time to let us know what your highlights of Henham Park were this year!

5. ALBUM REVIEW: CORNERSHOP – JUDY SUCKS A LEMON FOR BREAKFAST The ’shop re-opens; business not quite as usual.

6. SPECIAL FEATURE: UNCUT’S ONLINE READER SURVEY: WE WANT TO HEAR FROM YOU! – You could win a £150 PURE DAB/internet radio, when you complete a short survey here.

7. ALBUM REVIEW: IAN HUNTER – MAN OVERBOARD – Shades of a masterpiece? Hunter’s on a roll heading into the Mott The Hoople reunion.

8. BLOG: THE 28TH UNCUT PLAYLIST OF 2009 – Catch up with what Uncut’s office stereo has played lately.

9. BLOG: JIM O’ROURKE – THE VISITOR – Preview of the Smog man’s latest.

10. FILM REVIEW: THE TAKING OF PELHAM 1 2 3 – Noisy retooling of the 1970s’ heist classic with Denzel Washington and John Travolta.

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For more music and film news, updated daily, stay tuned to Uncut.co.uk

Plus don’t forget to sign up for Uncut’s weekly newsletter, go to the homepage, and enter your email address. You’ll find the box at the top left-hand side.

Steven Spielberg To Remake Harvey

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Steven Spielberg is to direct a remake of 1950 Oscar-nominated film Harvey, adapted from the Mary Chase-written play. The classic film starred James Stewart who befriends an invisible 6ft tall rabbit. Film publication Variety reveals that the Spielberg remake will be a co-production between 20th C...

Steven Spielberg is to direct a remake of 1950 Oscar-nominated film Harvey, adapted from the Mary Chase-written play.

The classic film starred James Stewart who befriends an invisible 6ft tall rabbit.

Film publication Variety reveals that the Spielberg remake will be a co-production between 20th Century Fox and DreamWorks.

Variety also speculates that Spielberg is hoping that Tom Hanks or Will Smith will play the title role.

For more music and film news from Uncut click here

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The xx: “xx”

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Apologies for not coming up with the annual skree of indignation when the Mercury shortlist was announced a couple of weeks ago. To be honest, I couldn’t be bothered to get worked up about it this year, not least because it would’ve been quite a struggle to come up with a dozen British albums I could genuinely enthuse about that have come out in the last 12 months. I did, though, have a momentary flash of annoyance about the absence of The xx’s album, until I realised that it wasn’t out ‘til mid-August and consequently didn’t qualify for the prize this year. “xx” is the debut album by The xx, whose lower-case affectation actually suits their music rather well. I’ve read quite a lot about this record which fixates on the band’s origins at the Elliot School in Putney, which tends to bracket them with that school’s other notable alumni, Four Tet/Fridge, Hot Chip and Burial, and ignores the fact that The xx are actually a comparatively orthodox, if unusually subtle, indie-rock band. Plenty of press has also made a deal about their R&B influences, which are palpable, but hardly overstated: anyone who comes to “xx” expecting something comparable to the tooled, unearthly soundscapes that Timbaland created for Aaliyah may be disappointed, or at least a little confounded. You can, at a push, see a bunch of these insidious little songs as more organic reconfigurations of that sound. But maybe a better comparison, if just as stretched an idea, might be Mazzy Star covering Portishead. These are 11 songs that are pleasingly hard to separate, that sustain an arid, skeletal, low-lit atmosphere, with a prevailingly creepy vibe that’s barely undermined by it being so evidently contrived. “Intro” sets the tone, an instrumental of spare twangs, mildly looming keyboard ambience and crackling beats. When vocalists Romy Madley Croft and Oliver Sim turn up on “VCR”, the modus operandi becomes totally clear; spacious minimalism overlaid with affected boy/girl vocals that manage to be simultaneously detached and doleful. Maybe I’m making it sound a bit hipster-gimmicky, but “xx” is much better than that, not just because the atmosphere is so compelling, but thanks to the potency of many of these songs. For all their apparent stripped similarity to each other, the likes of “Crystallised”, “Islands” and especially “Shelter” have been lodged stubbornly in my brain for a good few weeks now. Let’s hope they’re still there with a few other people this time next year.

Apologies for not coming up with the annual skree of indignation when the Mercury shortlist was announced a couple of weeks ago. To be honest, I couldn’t be bothered to get worked up about it this year, not least because it would’ve been quite a struggle to come up with a dozen British albums I could genuinely enthuse about that have come out in the last 12 months.

Watch Arctic Monkeys Cover Nick Cave and the Bad Seeds

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Videos from Arctic Monkeys live web transmission last week (Thursday July 30) have become available, including their live cover of Nick Cave and the Bad Seeds' "Red Right Hand". As well as the surprise cover, you can also see the live performance of album track "Potion Approaching". Enjoy! In other Arctic Monkeys news, Alex Turner has spoken to Uncut, see the interview here. Arctic Monkeys cover of Nick Cave's "Red Right Hand": http://www.youtube.com/watch?v=hcvGOUuDGXc&hl=en&fs=1 "Potion Approaching": http://www.youtube.com/watch?v=Pxv7G98xnrE&hl=en&fs=1 For more Arctic Monkeys news on Uncut click here. And for more music and film news from Uncut click here Share

Videos from Arctic Monkeys live web transmission last week (Thursday July 30) have become available, including their live cover of Nick Cave and the Bad Seeds‘ “Red Right Hand”.

As well as the surprise cover, you can also see the live performance of album track “Potion Approaching”.

Enjoy!

In other Arctic Monkeys news, Alex Turner has spoken to Uncut, see the interview here.

Arctic Monkeys cover of Nick Cave’s “Red Right Hand”:

“Potion Approaching”:

For more Arctic Monkeys news on Uncut click here.

And for more music and film news from Uncut click here

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Bloom Festival at Chepstow Cancelled

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The fourth annual Bloom festival which was due to take place from August 14-16 at Chepstow Race course has been cancelled. The three day festival had artists such as Noah & The Whale (pictured above), Mercury music prize nominee Speech Debelle, Utah Saints and Frankmusik lined up to play. Ticket holders are being offered the chance to exchange their Bloom tickets for either the Beachdown Festival (August 28) or for the Big Chill which takes place this weekend (August 6-9). All 2009 ticket holders will also recieve a free ticket for the 2010 Bloom event. Bloom festival organiser Olivia Chapman has explained: "It’s been an incredibly difficult decision for us to make, as Bloom is an independently run organisation, built from our very heart and souls. We have worked tirelessly for the best part of nine months on this event which makes it very hard for us to walk away from it. However we have to think of the bigger picture and feel that we are making the right decision". More details from bloomfestival.com For more music and film news from Uncut click here

The fourth annual Bloom festival which was due to take place from August 14-16 at Chepstow Race course has been cancelled.

The three day festival had artists such as Noah & The Whale (pictured above), Mercury music prize nominee Speech Debelle, Utah Saints and Frankmusik lined up to play.

Ticket holders are being offered the chance to exchange their Bloom tickets for either the Beachdown Festival (August 28) or for the Big Chill which takes place this weekend (August 6-9).

All 2009 ticket holders will also recieve a free ticket for the 2010 Bloom event.

Bloom festival organiser Olivia Chapman has explained: “It’s been an incredibly difficult decision for us to make, as Bloom is an independently run organisation, built from our very heart and souls. We have worked tirelessly for the best part of nine months on this event which makes it very hard for us to walk away from it. However we have to think of the bigger picture and feel that we are making the right decision”.

More details from bloomfestival.com

For more music and film news from Uncut click here

Arctic Monkey Alex Turner gives Uncut the lowdown on new LP!

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ARTIST INTERVIEW - ALEX TURNER: …on the Monkeys’ adventures with Josh Homme. “We sent him our demos and he said: ‘You’ve got to come to the desert!’” *** What was the decision-making process that led to you recording at Rancho de la Luna with Josh Homme? We’d met him a couple of ...

ARTIST INTERVIEW – ALEX TURNER:

…on the Monkeys’ adventures with Josh Homme. “We sent him our demos and he said: ‘You’ve got to come to the desert!’”

***

What was the decision-making process that led to you recording at Rancho de la Luna with Josh Homme?

We’d met him a couple of times and played a show together [in Houston in October 2007] and wondered then if he’d be up for producing us. We sort of forgot about it, but when we had about six songs together, Laurence [Bell] from our label said, “Would you still be interested in doing something with Josh?” We sent him the demos and as soon as he heard the first bit of the tune “Dance Little Liar” he said, ‘You’ve got to come to the desert.’

Did you make any pilgrimages into the desert?

Yeah, we were mostly locked up in this little house doing the record, but we had time for a little bit of recreation! Later on in the recording we did a trip to this place called the Integratron. It’s a structure erected by a fellow called George Van Tassel who had a visit in the night from some kind of being who instructed him to build an acoustically sound dome involving an electro-magnet. I haven’t got the diagram here but it’s believed that the objective in building this thing was to recharge or rejuvenate human cells, except he never finished it before he died. Because it’s acoustically sound, if someone talks across from you it sounds like they’re right by your ear. It’s a mad place. We did a little recording of “Secret Door” there one night.

The Joshua Tree desert certainly seems to attract the cranks…Definitely. But you don’t want to completely reject the cranks.

What was Homme like to work with?

He was really encouraging in every department but one thing that’s really apparent is the guitars. Both him and Alain Johannes are terrific guitarists.We’ve always been reluctant to approach guitar solos for longer than a few seconds but they gave us the confidence to… rip it up.

What happened after you left Joshua Tree?

We did a little Australian tour and stepped away from the album for a minute. It became apparent that I still needed to write a bit, so we booked another session with James [Ford, Favourite Worst Nightmare producer]. Although we still had Alain in the studio to keep it linear.

Was there a sense that you needed something a bit different to balance out the material you recorded with Josh?

I think so, yeah, that’s right. We needed to fill in the bits. I wrote “Cornerstone” one morning, quite quickly. There’s something to be said for writing in the morning. At other points in the day you’re a bit more defensive. I saw it as a challenge to write something in a major key, but that wasn’t cheesy.

(INTERVIEW:SAM RICHARDS)

To read more from Alex Turner check out the latest issue of Uncut – where we review Humbug, the Arctic Monkey’s third album in depth too.

For more Arctic Monkeys news on Uncut click here.

And for more music and film news from Uncut click here

Arctic Monkey Alex Turner gives Uncut the lowdown on new LP!

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ARTIST INTERVIEW - ALEX TURNER: …on the Monkeys’ adventures with Josh Homme. “We sent him our demos and he said: ‘You’ve got to come to the desert!’” *** What was the decision-making process that led to you recording at Rancho de la Luna with Josh Homme? We’d met him a co...

ARTIST INTERVIEW – ALEX TURNER:
…on the Monkeys’ adventures with Josh Homme. “We sent him our demos and he said: ‘You’ve got to come to the desert!’”

***

What was the decision-making process that led to you recording at Rancho de la Luna with Josh Homme?

We’d met him a couple of times and played a show together [in Houston in October 2007] and wondered then if he’d be up for producing us. We sort of forgot about it, but when we had about six songs together, Laurence [Bell] from our label said, “Would you still be interested in doing something with Josh?” We sent him the demos and as soon as he heard the first bit of the tune “Dance Little Liar” he said, ‘You’ve got to come to the desert.’

Did you make any pilgrimages into the desert?

Yeah, we were mostly locked up in this little house doing the record, but we had time for a little bit of recreation! Later on in the recording we did a trip to this place called the Integratron. It’s a structure erected by a fellow called George Van Tassel who had a visit in the night from some kind of being who instructed him to build an acoustically sound dome involving an electro-magnet. I haven’t got the diagram here but it’s believed that the objective in building this thing was to recharge or rejuvenate human cells, except he never finished it before he died. Because it’s acoustically sound, if someone talks across from you it sounds like they’re right by your ear. It’s a mad place. We did a little recording of “Secret Door” there one night.
The Joshua Tree desert certainly seems to attract the cranks…Definitely. But you don’t want to completely reject the cranks.

What was Homme like to work with?

He was really encouraging in every department but one thing that’s really apparent is the guitars. Both him and Alain Johannes are terrific guitarists.We’ve always been reluctant to approach guitar solos for longer than a few seconds but they gave us the confidence to… rip it up.

What happened after you left Joshua Tree?

We did a little Australian tour and stepped away from the album for a minute. It became apparent that I still needed to write a bit, so we booked another session with James [Ford, Favourite Worst Nightmare producer]. Although we still had Alain in the studio to keep it linear.

Was there a sense that you needed something a bit different to balance out the material you recorded with Josh?

I think so, yeah, that’s right. We needed to fill in the bits. I wrote “Cornerstone” one morning, quite quickly. There’s something to be said for writing in the morning. At other points in the day you’re a bit more defensive. I saw it as a challenge to write something in a major key, but that wasn’t cheesy.

To read more from Alex Turner check out the latest issue of Uncut – where we review Humbug, the Arctic Monkey’s third album in depth too.

INTERVIEW: SAM RICHARDS

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The Stone Roses – The Stone Roses (R1989)

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The Stone Roses’ eponymous debut (released 20 years ago, hence the ballyhoo and plethora of celebratory formats) is no longer just a much-loved record. It gets called the greatest British debut of all time. It gets credited with having blueprinted all the Britpop that’s followed it. A recent Obs...

The Stone Roses’ eponymous debut (released 20 years ago, hence the ballyhoo and plethora of celebratory formats) is no longer just a much-loved record. It gets called the greatest British debut of all time. It gets credited with having blueprinted all the Britpop that’s followed it. A recent Observer poll named it the best record ever produced in these islands. Like The Godfather, Hancock’s Half Hour and Monty Python, The Stone Roses LP has joined an elite echelon of pop culture artefacts that now have a complete life of their own, far beyond the reach of mere critics, far beyond even the wildest hopes and dreams of the people who made it.

That wasn’t always the case. It’s hard to believe now, but the Roses’ first album slipped out without too much fanfare. Sure, the hipper kids and the music papers were gearing up for what became known as Madchester, but, despite some well received gigs, nobody expected The Stone Roses’ debut to be the epicentre of a nationwide phenomenon. In the NME, it got a warm reception, but wasn’t even the lead review on the page. It’s highest chart placing was a whopping 19. By December, its real importance had become evident, but it still didn’t top the end-of-year critics’ polls. NME ranked it second behind De La Soul’s 3 Feet High And Rising, a record with which, incidentally, it shares some whacked-out, groovy-man DNA. In the Melody Maker it was rated behind The Cure’s Disintegration, The Pixies’ Doolittle and Kate Bush’s The Sensual World.

So what has caused this record’s relentless elevation to the commanding heights of British musical history? As always, it’s the music, stupid. This is a simply a wonderful album, both very much of its time and, thanks to the band’s cooler-than-thou plundering of their musical heritage, gorgeously timeless as well. Where, for instance, the Happy Mondays’ utter submergence in Ecstasy culture caused their best songs to be indelibly stamped with the dance music that accompanied the whole loved-up scene, the Roses delved much wider for their sounds. Their basic pop/rock/shuffle beat formula is endlessly bent through prisms of psychedelia, dub, folk, the wah-wah symphonic soul of Norman Whitfield and ’60s pop (“Shoot You Down” is pure Merseybeat!). The resultant stew is truly a thing of beauty.

Which is nigh-on incredible when you consider that the band’s first attempt at concocting an album – the songs produced with Martin Hannett that would eventually form the Garage Flowers bootleg – had been something akin to a bloody car crash. Credit for this transformation must go to producer John Leckie and youthful engineer Paul Schroeder, who somehow had the patience and skill to deal with both the group’s magpie collection of influences and, let’s be frank here, glaring weaknesses (Ian Brown, as live experiences proved, is a hugely charismatic frontman, but a painfully hit-and-miss singer) and still produce something that captured all the twinkle and power, tenderness and grandiloquence for which the lads, in their swaggering, baggy arrogance, were aiming.

The result, even after two decades of familiarity, remains gently awe-inspiring. From the opening sneer of “I Wanna Be Adored”, where Brown asserts that the Roses are so good they can afford to stick two fingers up to the Faust/Robert Johnson-style help of the devil (“I don’t have to sell my soul, he’s already in me”) to the final guitar twiddle of the epically blasphemous “I Am The Resurrection”, this is a collection that never puts a foot remotely wrong. Even the backwards tape wig-out of “Don’t Stop” and the Simon & Garfunkel whimsy of “Elizabeth My Dear”, which in another context would irritate like tight shoes, here sound just, well, perfect. At all times the record’s evident ambition, and the band’s overarching confidence, is leavened by a disarming charm and an insouciance that borders on heroic.

It’s become fashionable to identify The Stone Roses’ May 1990 gig at Spike Island as Woodstock for the E generation, the second when all the clubbing and flares and love vibes and faith in the Manchester bands made some kind of sense, and was revealed to the mainstream as the great thing it undoubtedly was.

In truth, that moment had come six months earlier, when the Happy Mondays (cavorting through “Hallelujah”) and the Roses (tossing off “Fool’s Gold” like it wasn’t the best single of the year) both made their debuts on Top Of The Pops, when such things mattered. I can still remember the staff of NME, eschewing the usual post-work sherbets, watching the event on the office telly with a mixture of reverence and glee. A palpable sense of history thickened the air; cynical rock journalists, I swear, hugged one another.

The Stone Roses were that important, and their first album – it’s tempting to call it their only one; can anyone really listen to the benighted follow-up? – is their gift to the ages. Forget the anniversary and the contrived hype; just listen, and take it to your heart once again.

DANNY KELLY

For more album reviews, click here for the UNCUT music archive

James Yorkston And The Big Eyes Family Players – Folk Songs

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The Fence Collective: it sounds like a committee of concerned property owners rather than a hotbed of cultural activism, but the micro label from Fife has left quite a mark on modern music since its inception a dozen years ago. The credo adopted by Fence founder Kenny Anderson, aka King Creosote, wa...

The Fence Collective: it sounds like a committee of concerned property owners rather than a hotbed of cultural activism, but the micro label from Fife has left quite a mark on modern music since its inception a dozen years ago. The credo adopted by Fence founder Kenny Anderson, aka King Creosote, was straight from the punk handbook – “We write our own songs, we release our own records, we stage our own gigs” – but as important has been the sense of family and mutual support that Fence has generated.

That spirit has nurtured new talent – take a bow KT Tunstall – rescued the bruised career of the Beta Band, and coaxed James Yorkston to grow from journeyman rocker into a songwriter of rare poetic grace.

The 39-year-old Yorkston has been a name to watch and drop ever since his 2002 debut, Moving Up Country, but on last year’s (fifth) album, When The Haar Rolls In, he raised his game, creating a gentle song suite that slipped between acoustic folk-rap and Brittenesque evocations of landscape, notably on the title track. Clearly sensing the record was a personal landmark, Yorkston and Domino released it in multiple formats, including deluxe editions with other people singing Yorkston’s songs and an album of remixes, all of which reflects another virtue laid down by Fence; playful profligacy.

So it’s no shock to find Yorkston parking his customary band, The Athletes, for a strategic alliance with a group led by James Green, the Leeds musician with whom Yorkston shares a passion for ’70s Krautrockers. This time, too, his attention is entirely on other people’s songs, principally the canon laid down by ’60s folkies like Dolly and Shirley Collins, Anne Briggs and Nic Jones, though with forays into Ireland and Galicia.

In some ways Folk Songs completes a 2001 project, an album of traditional material that Yorkston recorded but shelved, its contents dribbling out on subsequent albums and EPs. Here he tackles a new set of vintage material, led by a trio of songs he first encountered via English singer Anne Briggs. It’s Briggs, young-tearaway-turned-middle-aged hideaway, who above all awoke Yorkston’s folkie within, after he had borrowed her eponymous album from the library purely because “she looked so bonny on the cover”.

Being inspired by a larkish solo voice like Briggs clearly poses problems for a self-styled “gruff Scot” of limited vocal range. Yorkston has circumvented his limitations by singing within his comfort zone, and framing his vocals with clever arrangements. He’s also borrowed something from Bert Jansch, another supporter; Yorkston isn’t as intense as Bert (few are), but he has the same mournful intimacy. When these guys tell a tale, you tune in. Though it’s antique songs in play here, Yorkston uses much the same techniques he applies to his own songs. On the poachers’ ballad “Thorneymoor Woods” he builds a wash of sound that strays progressively from the straight-ahead start until the piece is adrift in a gently bleeping sea of psych-folk.

Instrumental excitation versus his quiet, lyrical burr is a trick Yorkston’s grown adept at employing. The opening “Hills Of Greenmoor”, another Briggs favourite, has stately string choruses set against a thrumming James Green bassline borrowed from Can’s cookbook. “Mary Connaught & James O’Donnell” is given a racy, Poguesish treatment and “Low Down In The Broom”, handed on by Eliza Carthy, is taken at full gallop. There are also times when Yorkston is happy to leave well alone. “Just As The Tide Was Flowing”, come down via the Collins sisters, is left fragile and brief, and “Sovay”, the story of a highwaywoman who holds up her sweetheart, is slow and mournful.

The LP flows easily through history. Wherever you land, there’s sure to be unexpected instrumentation going on; a murmur of pedal steel on “Rufford Park Poachers”, a tangle of harp on “Low Down In The Broom”. Yorkston may have set aside his “personal muse” for a moment, but Folk Songs is still part of his rich re-imagining of our heritage.

UNCUT Q&A: JAMES YORKSTON:

UNCUT: What is the magic behind Fife and the Fence Collective?

JAMES YORKSTON: It was making music with the certainty that no-one was going to buy it. So there was no pressure, we could just follow our muse.

…The Haar Rolls In marked a step-up in your output.

All the records are pretty good! I’ll admit that …Haar is my favourite, though.

You’re playing with a new band on this one.

James Green gave me a copy of his CD and I really wanted to work with him. Big Eyes are an amazing group who do lush, melodic pieces, almost soundscapes. That had some influence on how Folk Songs sounds, though to be honest, I’ve been playing these songs for years and had the arrangements ready, so James was a little boxed-in.

I don’t know much about Scotland but I’m amazed at the rejuvenation of English folk scene.

The musicians up here are very young, teenagers, and I’m talking about the real traditional people. It’s all a long way from that indie rock scene.

How come this record has so many English songs?

I’m not sure. I used to regard English folk as staid, but hearing Anne Briggs really opened it up for me, and through her I discovered Martin Carthy, the Watersons and the rest.

It’s still thought eccentric in some quarters to sing songs of such antiquity. Are they relevant?

These songs have endured for a reason. It’s the cruddy stuff that dies out.

What else are you up to?

Issue 1 of Loops, a collaborative journal between Faber and Domino, includes one of my tour diaries. And I’ve just done a version of “Nottamun Town” for a b-side. I see it as a nonsense song, in the best meaning of that term.

INTERVIEW: NEIL SPENCER

For more album reviews, click here for the UNCUT music archive

Michael Jackson Andy Warhol Portrait On Display In London This Weekend

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A portait of Michael Jackson by Andy Warhol is to go on display in Europe for the first time ever, in London, from August 6-9, before going up for auction in New York. The famous Warhol portrait will be on display at London's British Music Experience at the 02 for just three days. The artwork was originally commissioned in celebration of Jackson's 'Thriller' album success. More details about the British Music Experience and how you can see the painting from here. For more on Michael Jackson click here Read the full Uncut Michael Jackson obituary here More Uncut.co.uk music and film news

A portait of Michael Jackson by Andy Warhol is to go on display in Europe for the first time ever, in London, from August 6-9, before going up for auction in New York.

The famous Warhol portrait will be on display at London’s British Music Experience at the 02 for just three days.

The artwork was originally commissioned in celebration of Jackson’s ‘Thriller’ album success.

More details about the British Music Experience and how you can see the painting from here.

For more on Michael Jackson click here

Read the full Uncut Michael Jackson obituary here

More Uncut.co.uk music and film news

Rolling Stones Make New Integrated Merch Deal

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The Rolling Stones have done a deal with Universal Music's Bravado merchandising arm, which means that future products will be more integrated, as Universal own the group's post-1971 back catalogue. Bravado CEO Tom Bennett, commenting on the new deal, has said:"Throughout their storied career, The ...

The Rolling Stones have done a deal with Universal Music’s Bravado merchandising arm, which means that future products will be more integrated, as Universal own the group’s post-1971 back catalogue.

Bravado CEO Tom Bennett, commenting on the new deal, has said:”Throughout their storied career, The Rolling Stones have created one of the world’s most seminal and awe-inspiring bodies of work, and we are delighted to welcome them to the Bravado family.

Moving forward, we are looking forward to integrating all of the resources we now have on hand – from their merchandising to all of their audio and video content – to create dynamic new opportunities that combine music and merchandise in unique exclusive formats, sold to not only existing retailers but to new exciting non-traditional outlets”.

For more Rolling Stones news on Uncut click here.

And for more music and film news from Uncut click here

Bruce Springsteen To Perfrom Born To Run In Full Live

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Bruce Springsteen is to play his 1975 classic album 'Born to Run' live in it's entirety in September. The one-off (so far) concert has been announced to take place at Chicago's United Center on September 20. Springsteen's third album release's anthems include "Thunder Road", "She's The One" and "J...

Bruce Springsteen is to play his 1975 classic album ‘Born to Run’ live in it’s entirety in September.

The one-off (so far) concert has been announced to take place at Chicago’s United Center on September 20.

Springsteen’s third album release’s anthems include “Thunder Road”, “She’s The One” and “Jungleland.”

Springsteen, playing with the E Street Band play Chicago as part of their US tour dates.

More Bruce Springsteen newsAnd for more music and film news from Uncut click here

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Pic credit: PA Photos

Mesrine: Killer Instinct / Public Enemy No.1

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MESRINE: KILLER INSTINCT MESRINE: PUBLIC ENEMY No. 1 Directed by: Jean-Francois Richet Starring: Vincent Cassel, Gerard Depardieu, Mathieu Amalric, Ludivine Sagnier *** Throughout the 1960s and ‘70s Jacques Mesrine was France’s most wanted man, something of a cult figure: think Dillinger me...

MESRINE: KILLER INSTINCT

MESRINE: PUBLIC ENEMY No. 1

Directed by: Jean-Francois Richet

Starring: Vincent Cassel, Gerard Depardieu, Mathieu Amalric, Ludivine Sagnier

***

Throughout the 1960s and ‘70s Jacques Mesrine was France’s most wanted man, something of a cult figure: think Dillinger meets Clyde. He multi-tasked fiendishly. Robbed banks. Kidnapped millionaires. Made “impossible” escapes from maximum security prisons – and even from the courtroom during his own high-profile trial. A master of disguise, he was known as “The Man With A Thousand Faces”. He was also a cold, ruthless killer when necessary, and sometimes when not. Ultimately he was gunned down in a hail of police bullets, which is where this epic yet gritty two-part film, based on memoirs he began while incarcerated, comes in, before sending us on a rollercoaster ride of flashbacks.

Mesrine is a role any actor would give everything for, and the electric Vincent Cassel does just that. Switching strange hairstyles and weight fluctuations he makes the super-villain as prickly and complex as Tony Montana. And Richet, given such a gold-mine of material, has a ball. This atypically French director takes on the proud heritage of American gangster movies and, wickedly, trumps them. Mesrine, who was no stranger to the canon of gangster lore, or indeed to egomania, would approve.

Split into two films over four hours, there isn’t a minute where the breathless tale treads water. The first movie, Killer Instinct, introduces us to the young Jacques, an ex-soldier traumatised by the Algerian war. Eager for thrills, untroubled by morals, racing through heists and women, he climbs the crime ladder of 60s Paris, mentored by Guido (Depardieu, relishing his Don Corleone moment.) Imperilled, Mesrine relocates to Montreal, where he becomes ever more ambitious and notorious.

In Public Enemy No. 1 he’s captured and returned to France. But if the first part is Goodfellas meets The Godfather, the second throws in heart-stoppingly exciting blasts of Bullit and Papillon. (In fact while individual scenes have the itchy urgency of Mann, the whole has the sweep of Scorsese, the grandeur of Leone’s Once Upon A Time In America). He escapes again, pitching himself alongside Francois Besse (Amalric) as an anti-establishment rebel, as a pliant media inflates the Robin Hood myth. At one point he attempts to break back IN to jail, on a point of principle. Mesrine’s stunts are by now deranged. And most of them succeed. This is partly down to the ineptitude of the police, who he relishes taunting. When they do finally reduce him to a bloody pulp, his girlfriend (Sagnier) is more shocked that they’ve killed her dog.

Such an unsentimental spin recalls Ferrara’s King Of New York, and Richet shows throughout this roaring marathon that he’s not only learned from the genre’s masters but can match them, too.

CHRIS ROBERTS

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The Yes Men Fix The World

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THE YES MEN FIX THE WORLD DIRECTED BY: Andy Bichlbaum, Mike Bonnano STARRING: Andy Bichlbaum, Mike Bonnano *** The Yes Men are a coalition of corporate responsibility activists who recognise that there are more effective – and more amusing – means of protest than chanting slogans at bored po...

THE YES MEN FIX THE WORLD

DIRECTED BY: Andy Bichlbaum, Mike Bonnano

STARRING: Andy Bichlbaum, Mike Bonnano

***

The Yes Men are a coalition of corporate responsibility activists who recognise that there are more effective – and more amusing – means of protest than chanting slogans at bored police officers. The Yes Men use websites to establish bogus identities as consultants, lecturers and commentators. Inevitably, their “services” are sought by credulous corporations and media, allowing them to wreak entertaining havoc from within.

In The Yes Men Fix The World, two of the group – Andy Bichlbaum and Mike Bonnano –blow their cover, filming their greatest coup from the inside. The target is Dow, new owners of Union Carbide, the company forever tainted by association with the world’s worst industrial disaster – the 1984 Bhopal gas leak.

The Yes Men appear on BBC Worldwide as spokesmen for Dow, promising overdue restitution to the people of Bhopal: a stunt that wipes US$2 billion off Dow’s stock value. What ensues is a smart, thoughtful examination not only of the morality of capitalism, but of comedy – the Yes Men fret over the ethics of their prankery with a rigour that their corporate adversaries could learn something from.

ANDREW MUELLER

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Free Music: The Songs That Influenced The Beatles

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The latest issue of Uncut , our Beatles special, comes with a free special themed CD; 'Pre-fabs: the songs that influenced John, Paul, George & Ringo'. The 15-track compilation includes Elvis Presley, Chuck Berry, Buddy Holly, Little Richard and Carl Perkins. See below for full track details. The Beatles recorded and performed a sizeable clutch of songs by the US rock’n’roll/R’n’B artists who opened the door and influenced them as music-hungry teenagers growing up in ’50s Liverpool. Their early marathon sets in clubs along Hamburg’s Reeperbahn were stuffed with covers. The first five Beatles LPs, bar 'A Hard Day’s Night', contained favourite songs previously recorded by other artists, and both John and Paul went on to record albums of rock’n’roll standards in their solo careers. Here, in their original versions, we present 15 non-Lennon/McCartney compositions that soundtracked the birth of The Beatles more than half a century ago… 1. Larry Williams - "Dizzy Miss Lizzy" Written and recorded in New Orleans by Larry Williams in ’58, this song was in The Beatles’ setlist from Hamburg days and appeared on their ’65 album Help! They also covered Williams’ “Bad Boy” and “Slow Down” and another version of “Dizzy” appeared on the Lennon/Plastic Ono Band album, Live Peace In Toronto 1969. 2. Eddie Cochran - "C’mon Everybody" Cochran recorded this song in ’58, two years before his death. The Beatles covered several Cochran numbers in the early days and George was such a fan that he even acquired one of the singer’s stage shirts. 3 Wilbert Harrison - "Kansas City" Leiber & Stoller wrote “Kansas City” in ’52 when it was a blues hit for Little Willie Littlefield. But it was the ’58 hit version by Wilbert Harrison and subsequent cover by Little Richard that persuaded The Beatles to add it to the Hamburg setlist. They finally cut it - with adapted lyrics - for ’64’s For Sale. 4. Chuck Berry - "You Can’t Catch Me" Chuck’s ’56 hit was a Beatles’ favourite from early days and John borrowed the lyric “Here come old flat top” for the opening line of “Come Together”. The steal did not go unnoticed by Chuck’s publisher and the ensuing legal suit indirectly led to Lennon covering the original on ’75’s Rock’N’Roll. 5. Buddy Holly - "Words Of Love" Recorded by Holly in ’57, this was in the Fabs’ early live sets when Ringo played a packing case to capture the original drum sound. A cover eventually appeared on ’64’s For Sale. 6 The Everly Brothers - "Wake Up Little Susie" Written by Felice and Boudleaux Bryant and a No 1 for Don and Phil in ’57. When The Fabs played this in early Cavern days, McCartney tried to fool the blues purists by announcing it as a Big Bill Broonzy number. 7. Elvis Presley - "Baby Let’s Play House" Recorded in Memphis for Sun in ’55, this was the song that gave Elvis his first US chart entry. Lennon later borrowed the lyric “I’d rather see you dead, little girl, than to be with another man,” for the opening line of “Run For Your Life” on Rubber Soul. 8. Little Richard - "Long Tall Sally" Written with producer “Bumps” Blackwell as the follow-up to his first hit, “Tutti Frutti”, Little Richard’s intention was to come up with a song so fast that this time Pat Boone couldn’t cover it. He did, anyway. And so did The Beatles, eight years later on a ’64 EP. 9. The Del-Vikings - "Come Go With Me" This doo-wop hit from ’57 was the song John was singing with The Quarrymen at the Woolton church fête the first time Paul set eyes on him. 10. Big Joe Turner - "Shake Rattle & Roll" Turner topped the R’n’B charts in ’54 with this Jesse Stone composition, sparking an immediate cover by Bill Haley and another by Elvis two years later. The Beatles recorded it as part of an extended jam during the Get Back sessions in Jan ’69 and it eventually appeared on Anthology 3. 11. The Coasters - "Searchin’" “Searchin’” was written by Leiber & Stoller for The Coasters in ’57, and it was this song The Beatles played during their failed audition for Decca on Jan 1, ’62. 12. Ricky Nelson - "Lonesome Town" This ’58 hit was recorded by Paul on his ’99 LP, Run Devil Run. It was also one of Linda’s favourites, as Paul explained when he sang it at her memorial concert at the Albert Hall. 13. Lloyd Price - "Just Because" New Orleans stalwart Price cut this in ’57 and it left a lasting impression on John, who chose it to close his ’75 covers LP, Rock’N’Roll. 14. Bobby Freeman - "Do You Wanna Dance?" A white pop standard, covered by everyone from The Beach Boys to Bette Midler, John joined the team when he included it on Rock’N’Roll. Rumour has claimed that Jerry Garcia played guitar on Freeman’s original. 15. Carl Perkins - "Everybody’s Trying To Be My Baby" The Beatles recorded several Perkins songs, but they had a particular affection for this song, a hit for Perkins in ’57. TRACK LIST: NIGEL WILLIAMSON *** To see what else is in the September Uncut click here On sale now! For music and film news from Uncut click here.

The latest issue of Uncut , our Beatles special, comes with a free special themed CD; ‘Pre-fabs: the songs that influenced John, Paul, George & Ringo’.

The 15-track compilation includes Elvis Presley, Chuck Berry, Buddy Holly, Little Richard and Carl Perkins. See below for full track details.

The Beatles recorded and performed a sizeable clutch of songs by the US rock’n’roll/R’n’B artists who opened the door and influenced them as music-hungry teenagers growing up in ’50s Liverpool.

Their early marathon sets in clubs along Hamburg’s Reeperbahn were stuffed with covers. The first five Beatles LPs, bar ‘A Hard Day’s Night’, contained favourite songs previously recorded by other artists, and both John and Paul went on to record albums of rock’n’roll standards in their solo careers.

Here, in their original versions, we present 15 non-Lennon/McCartney compositions that soundtracked the birth of The Beatles more than half a century ago…

1. Larry Williams – “Dizzy Miss Lizzy”

Written and recorded in New Orleans by Larry Williams in ’58, this song was in The Beatles’ setlist from Hamburg days and appeared on their ’65 album Help! They also covered Williams’ “Bad Boy” and “Slow Down” and another version of “Dizzy” appeared on the Lennon/Plastic Ono Band album, Live Peace In Toronto 1969.

2. Eddie Cochran – “C’mon Everybody”

Cochran recorded this song in ’58, two years before his death. The Beatles covered several Cochran numbers in the early days and George was such a fan that he even acquired one of the singer’s stage shirts.

3 Wilbert Harrison – “Kansas City”

Leiber & Stoller wrote “Kansas City” in ’52 when it was a blues hit for Little Willie Littlefield. But it was the ’58 hit version by Wilbert Harrison and subsequent cover by Little Richard that persuaded The Beatles to add it to the Hamburg setlist. They finally cut it – with adapted lyrics – for ’64’s For Sale.

4. Chuck Berry – “You Can’t Catch Me”

Chuck’s ’56 hit was a Beatles’ favourite from early days and John borrowed the lyric “Here come old flat top” for the opening line of “Come Together”. The steal did not go unnoticed by Chuck’s publisher and the ensuing legal suit indirectly led to Lennon covering the original on ’75’s Rock’N’Roll.

5. Buddy Holly – “Words Of Love”

Recorded by Holly in ’57, this was in the Fabs’ early live sets when Ringo played a packing case to capture the original drum sound. A cover eventually appeared on ’64’s For Sale.

6 The Everly Brothers – “Wake Up Little Susie”

Written by Felice and Boudleaux Bryant and a No 1 for Don and Phil in ’57. When The Fabs played this in early Cavern days, McCartney tried to fool the blues purists by announcing it as a Big Bill Broonzy number.

7. Elvis Presley – “Baby Let’s Play House”

Recorded in Memphis for Sun in ’55, this was the song that gave Elvis his first US chart entry. Lennon later borrowed the lyric “I’d rather see you dead, little girl, than to be with another man,” for the opening line of “Run For Your Life” on Rubber Soul.

8. Little Richard – “Long Tall Sally”

Written with producer “Bumps” Blackwell as the follow-up to his first hit, “Tutti Frutti”, Little Richard’s intention was to come up with a song so fast that this time Pat Boone couldn’t cover it. He did, anyway. And so did The Beatles, eight years later on a ’64 EP.

9. The Del-Vikings – “Come Go With Me”

This doo-wop hit from ’57 was the song John was singing with The Quarrymen at the Woolton church fête the first time Paul set eyes on him.

10. Big Joe Turner – “Shake Rattle & Roll”

Turner topped the R’n’B charts in ’54 with this Jesse Stone composition, sparking an immediate cover by Bill Haley and another by Elvis two years later. The Beatles recorded it as part of an extended jam during the Get Back sessions in Jan ’69 and it eventually appeared on Anthology 3.

11. The Coasters – “Searchin’”

“Searchin’” was written by Leiber & Stoller for The Coasters in ’57, and it was this song The Beatles played during their failed audition for Decca on Jan 1, ’62.

12. Ricky Nelson – “Lonesome Town”

This ’58 hit was recorded by Paul on his ’99 LP, Run Devil Run. It was also one of Linda’s favourites, as Paul explained when he sang it at her memorial concert at the Albert Hall.

13. Lloyd Price – “Just Because”

New Orleans stalwart Price cut this in ’57 and it left a lasting impression on John, who chose it to close his ’75 covers LP, Rock’N’Roll.

14. Bobby Freeman – “Do You Wanna Dance?”

A white pop standard, covered by everyone from The Beach Boys to Bette Midler, John joined the team when he included it on Rock’N’Roll. Rumour has claimed that Jerry Garcia played guitar on Freeman’s original.

15. Carl Perkins – “Everybody’s Trying To Be My Baby”

The Beatles recorded several Perkins songs, but they had a particular affection for this song, a hit for Perkins in ’57.

TRACK LIST: NIGEL WILLIAMSON

***

To see what else is in the September Uncut click here On sale now!

For music and film news from Uncut click here.

Procol Harum Keyboardist Wins Whiter Shade Of Pale High Court Case

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Procol Harum's former keyboardist Matthew Fisher won his case to have his contribution to 1967 No.1 single "A Whiter Shade of Pale" recognised on Thursday July 30. A ruling by the House of Lords means that Fisher will now receive a share of future royalties for the track. Baroness Hale, one of the...

Procol Harum‘s former keyboardist Matthew Fisher won his case to have his contribution to 1967 No.1 single “A Whiter Shade of Pale” recognised on Thursday July 30.

A ruling by the House of Lords means that Fisher will now receive a share of future royalties for the track.

Baroness Hale, one of the five judges who heard Fisher’s case commented: “As one of those people who do remember the ’60s, I am glad that the author of that memorable organ part has at last achieved the recognition he deserves.”

Another judge, Lord Hope added: “A person who has a good idea, as Mr. Fisher did when he composed the well-known organ solo that did so much to make the song in its final form such a success, is entitled to protect the advantage that he has gained from this and to earn his reward.”

Fisher, said he was delighted to win the long-fought battle to claim credit alongside Procol Harum’s songwriter Gary Brooker commenting:”this was about making sure everyone knew about my part in the authorship.

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Phil Spector ‘Alarmed’ By Charles Manson Offer

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Phil Spector is reported to be "very alarmed" at an offer to collaborate, musically, with cult leader and convicted murderer Charles Manson. Spector is serving a sentence for murdering actress Lana Clarkson at Corcoran State Prison in California, the same place Manson has been held since 1971. Spe...

Phil Spector is reported to be “very alarmed” at an offer to collaborate, musically, with cult leader and convicted murderer Charles Manson.

Spector is serving a sentence for murdering actress Lana Clarkson at Corcoran State Prison in California, the same place Manson has been held since 1971.

Spectors publicist Hal Lifson has told the BBC that Charles Manson sent a note to Spector calling him the “greatest producer who ever lived” and suggested they make a record together.

Manson has been writing and recording spoken word and music albums for several years while in prison.

Lifson said that: “Phil Spector has been very, very alarmed and scared at the notion of Charles Manson contacting him for any reason, also adding: “He is very worried that any association be made between himself and Charles Manson. He mentioned that he used to get phone calls from John Lennon and Tina Turner, and now it’s Charles Manson. He said, ‘Go figure’. It was kind of a dark humour comment.”

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Pic credit: PA Photos

Willard Grant Conspiracy To Headline Club Uncut

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Club Uncut is very proud to announce that Willard Grant Conspiracy are to headline our September show! The Americana greats led by Robert Fisher will play North London's Relentless Garage venue in Islington on Friday September 18. You can get your tickets for this intimate show, here, priced just ...

Club Uncut is very proud to announce that Willard Grant Conspiracy are to headline our September show!

The Americana greats led by Robert Fisher will play North London’s Relentless Garage venue in Islington on Friday September 18.

You can get your tickets for this intimate show, here, priced just £11.

Baltimore’s regal Arbouretum played this month’s Club Uncut, you can read a rave review of the gig here.

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The Kinks Were Nearly Managed By The Krays

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The Kinks were appraoched to be managed by notorious criminals the Kray twins in the 60s, singer Ray Davies has revealed. Reggie and Ronnie Kray reportedly tried to set up a meeting with The Kinks as Davies explains: "Our managers at the time were stockbroker types. They had a visit from someone in...

The Kinks were appraoched to be managed by notorious criminals the Kray twins in the 60s, singer Ray Davies has revealed.

Reggie and Ronnie Kray reportedly tried to set up a meeting with The Kinks as Davies explains: “Our managers at the time were stockbroker types. They had a visit from someone in the Kray organisation saying they were interested in managing us. They also asked if Mick Avory would be available for a date. It wouldn’t have been beneath our managers to strike a deal. The mind boggles.”

Ray adds that Reggie Kray contacted him again in 1998, after his solo track “London Song” referenced the brothers. Davies says: “I received a phone call from Her Majesty’s Prison saying how much he liked it.”

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Kris Kristofferson Pays Tribute To Johnny Cash On New Album

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Kris Kristofferson, who is to be awarded the BMI Icon Award at the 57th annual Country Awards in November, has revealed details about his forthcoming new studio album 'Closer To The Bone'. Featuring Dylan drummer Jim Keltner on drums as well as Rolling Stones producer Don Was on bass, Rami Jaffee o...

Kris Kristofferson, who is to be awarded the BMI Icon Award at the 57th annual Country Awards in November, has revealed details about his forthcoming new studio album ‘Closer To The Bone’.

Featuring Dylan drummer Jim Keltner on drums as well as Rolling Stones producer Don Was on bass, Rami Jaffee on keyboards and the late Stephen Bruton on guitar, the eleven track album is set for release on September 28.

Speaking about the new record, Kristofferson has said: “I like the intimacy of the new album. It has a general mood of reflecting on where we all are at this end of life.”

The track “Good Morning John” is written as a tribute to Kristofferson’s mentor and friend, the late Johnny Cash.

Kris Kristofferson’s Closer To The Bone album track list is:

‘Closer To The Bone’

‘From Here To Forever’

‘Holy Woman’

‘Starlight And Stone’

‘Sister Sinead’

‘Hall Of Angels’

‘Love Don’t Live Here Anymore’

‘Good Morning John’

‘Tell Me One More Time’

‘Let The Walls Come Down’

‘The Wonder’

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