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War Child Album Previews On MySpace

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Prior to its official release this month on February 16, Myspace Music are exclusively previewing the forthcoming War Child album ‘Heroes (Vol 1)’. Marking the 15th Anniversary of War Child, the album sees music legends select a favourite track from their back catalogue and nominate a contemporary artist to perform a cover version. It includes Beck covering Bob Dylan’s “Leopard-Skin Pill-Box Hat”, Duffy performing Wings’ “Live And Let Die” and Elbow tackling U2’s “Running To Stand Still”. Listen here: www.myspace.com/warchildheroes War Child was set up in 1994 to support children and young people who have to live with the brutal effects of war. "War Child do exactly what it says on the tin,” said Elbow’s Guy Garvey. “These kids shouldn't be in such circumstances in the first place, but they are, so thank god someone's doing something about it. The album was originally due to be released last year but due to the overwhelming number of artists who asked to take part the release date had to be postponed. "I have been supporting War Child since 1995,” said Sir Paul McCartney. “I think Duffy’s version of “Live and Let Die” is great – I was really impressed. The breadth of talent on this project is amazing; it's great that so many people gave their time, energy and support to this initiative. I urge everyone to support War Child." In addition to the record, Coldplay will be performing a one-off show with The Killers at Shepherd’s Bush Empire on February 18. In a statement the band said: "In our eyes, War Child is one of the world's most important charities, and The Killers are one of our favourite bands, so playing this concert is an absolute pleasure for us." The art work for the project was designed by former Stone Roses guitarist John Squire, who previously designed the cover for War Child’s 1995 album ‘Help’. The tracklisting in full: 1. Beck (Bob Dylan: Leopard-Skin Pill-Box Hat) 2. Scissor Sisters (Roxy Music: Do The Strand) 3. Lily Allen (The Clash: Straight To Hell) 4. Duffy (Paul McCartney: Live And Let Die) 5. Elbow (U2: Running To Stand Still) 6. TV On The Radio (David Bowie: Heroes) 7. Hot Chip (Joy Division: Transmission) 8. The Kooks (The Kinks: Victoria) 9. Estelle (Stevie Wonder: Superstition) 10. Rufus Wainwright (Brian Wilson: Wonderful/ Song For Children) 11. Peaches (Iggy Pop: Search And Destroy) 12. The Hold Steady (Bruce Springsteen: Atlantic City) 13. The Like (Elvis Costello: You Belong To Me) 14. Yeah Yeah Yeahs (The Ramones: Sheena Is A Punk Rocker) 15. Franz Ferdinand (Blondie: Call Me) For more music and film news click here

Prior to its official release this month on February 16, Myspace Music are exclusively previewing the forthcoming War Child album ‘Heroes (Vol 1)’.

Marking the 15th Anniversary of War Child, the album sees music legends select a favourite track from their back catalogue and nominate a contemporary artist to perform a cover version. It includes Beck covering Bob Dylan’s “Leopard-Skin Pill-Box Hat”, Duffy performing Wings’ “Live And Let Die” and Elbow tackling U2’s “Running To Stand Still”.

Listen here: www.myspace.com/warchildheroes

War Child was set up in 1994 to support children and young people who have to live with the brutal effects of war. “War Child do exactly what it says on the tin,” said Elbow’s Guy Garvey. “These kids shouldn’t be in such circumstances in the first place, but they are, so thank god someone’s doing something about it.

The album was originally due to be released last year but due to the overwhelming number of artists who asked to take part the release date had to be postponed. “I have been supporting War Child since 1995,” said Sir Paul McCartney. “I think Duffy’s version of “Live and Let Die” is great – I was really impressed. The breadth of talent on this project is amazing; it’s great that so many people gave their time, energy and support to this initiative. I urge everyone to support War Child.”

In addition to the record, Coldplay will be performing a one-off show with The Killers at Shepherd’s Bush Empire on February 18. In a statement the band said: “In our eyes, War Child is one of the world’s most important charities, and The Killers are one of our favourite bands, so playing this concert is an absolute pleasure for us.”

The art work for the project was designed by former Stone Roses guitarist John Squire, who previously designed the cover for War Child’s 1995 album ‘Help’.

The tracklisting in full:

1. Beck (Bob Dylan: Leopard-Skin Pill-Box Hat)

2. Scissor Sisters (Roxy Music: Do The Strand)

3. Lily Allen (The Clash: Straight To Hell)

4. Duffy (Paul McCartney: Live And Let Die)

5. Elbow (U2: Running To Stand Still)

6. TV On The Radio (David Bowie: Heroes)

7. Hot Chip (Joy Division: Transmission)

8. The Kooks (The Kinks: Victoria)

9. Estelle (Stevie Wonder: Superstition)

10. Rufus Wainwright (Brian Wilson: Wonderful/ Song For Children)

11. Peaches (Iggy Pop: Search And Destroy)

12. The Hold Steady (Bruce Springsteen: Atlantic City)

13. The Like (Elvis Costello: You Belong To Me)

14. Yeah Yeah Yeahs (The Ramones: Sheena Is A Punk Rocker)

15. Franz Ferdinand (Blondie: Call Me)

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Motley Crue, Slipknot, Korn, The Prodigy for Download Festival 2009

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The Prodigy, Slipknot, Motley Crue, Pendulum and Korn have been confirmed to play this year’s Download Festival at Donington Park. Taking place between June 12 and 14 , the renowned rock festival is now in its seventh year. “This year more than ever before, Download Festival celebrates the his...

The Prodigy, Slipknot, Motley Crue, Pendulum and Korn have been confirmed to play this year’s Download Festival at Donington Park.

Taking place between June 12 and 14 , the renowned rock festival is now in its seventh year.

“This year more than ever before, Download Festival celebrates the history of Donington and all that is rock,” said festival promoter Andy Copping. “With acts such as Slipnot, The Prodigy and Motley Crue already confirmed to play, this just shows how varied and diverse the rock genre can be and we are delighted to reflect this with our 2009 line-up.”

Tickets for Download go on sale at 9am on Friday (February 13).

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Carter USM To Play First Four Albums Live!

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Carter The Unstoppable Sex Machine have announced they will play their first four albums in full at concerts at two London venues in November. Entitled ‘The Drum Machine Years’, the first night will take place at the Kentish Town Forum on November 13 where the band will play ‘1992: The Love A...

Carter The Unstoppable Sex Machine have announced they will play their first four albums in full at concerts at two London venues in November.

Entitled ‘The Drum Machine Years’, the first night will take place at the Kentish Town Forum on November 13 where the band will play ‘1992: The Love Album’ and 1994’s ‘Post Historic Monsters’.

The second show at Brixton Academy will see performances of their debut ‘101 Damnations’ and the follow-up, 1991’s ’30 Something’.

“We will be playing songs that we have never played live before and I am really looking forward to that challenge,” says guitarist Fruitbat. “If Sparks can learn twenty or so albums then we can do this. These sets should be marathons so I’m going to get in training. I think the audience should too as we’re all going to need to be fit for this!”

Carter USM reformed after a ten year break in 2007 for two shows at Brixton Academy and Glasgow Barrowlands. They returned the following year for a couple of gigs at Birmingham and Brixton Academy.

“We really enjoyed playing the reunion gigs,” says frontman Jim Bob. “They were fantastic life affirming celebrations and turned out to be some of the best ever Carter shows. We decided that if we did it again it had to be something different, for both the audience and for us. Performing out first four albums in full, first track to last is something we’ve never done. We might even chuck in a cheeky Take That style costume change.”

Tickets go on sale at 9am on Friday (February 13).

For more music and film news click here

Bruce Springsteen To Play Hyde Park This June!

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Following their triumphant performance at this year’s Superbowl, Bruce Springsteen and the E Street Band have been announced as headliners for Hard Rock Calling at London’s Hyde Park. Taking place on June 27 and 28 the first announced night will also see performances from the Dave Matthews Band and up-and-coming New Jersey boys The Gaslight Anthem with a full supporting line-up still to be announced. “Obviously it’s been a dream of mine to play with Bruce and the E Street Band,” said The Gaslight Anthem’s Brian Fallon. “It’s truly an honour, and on top of that for it to be in London, one of my favourite cities anywhere, it’s a dream. Plus, it’s two Jersey shore locals playing some rock and roll.” After the critical acclaim that greeted this year’s No. 1 charting ‘Working On A Dream’ album, the appearance in June will be The Boss’ first-ever festival gig outside of the US. Past Hard Rock Callings have seen Eric Clapton, The Who, Aerosmith, Roger Waters and most recently The Police play the capital. Tickets go on sale at 9am on Friday (February 13). http://www.youtube.com/watch?v=qjbSD6OImjU&hl=en&fs=1 For more music and film news click here Pic credit: PA Photos

Following their triumphant performance at this year’s Superbowl, Bruce Springsteen and the E Street Band have been announced as headliners for Hard Rock Calling at London’s Hyde Park.

Taking place on June 27 and 28 the first announced night will also see performances from the Dave Matthews Band and up-and-coming New Jersey boys The Gaslight Anthem with a full supporting line-up still to be announced.

“Obviously it’s been a dream of mine to play with Bruce and the E Street Band,” said The Gaslight Anthem’s Brian Fallon. “It’s truly an honour, and on top of that for it to be in London, one of my favourite cities anywhere, it’s a dream. Plus, it’s two Jersey shore locals playing some rock and roll.”

After the critical acclaim that greeted this year’s No. 1 charting ‘Working On A Dream’ album, the appearance in June will be The Boss’ first-ever festival gig outside of the US.

Past Hard Rock Callings have seen Eric Clapton, The Who, Aerosmith, Roger Waters and most recently The Police play the capital.

Tickets go on sale at 9am on Friday (February 13).

http://www.youtube.com/watch?v=qjbSD6OImjU&hl=en&fs=1

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Pic credit: PA Photos

Blur Announce Manchester Live Date

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Blur have announced their first indoor arena show since annnouncing their reformation late last year. Damon Albarn, Graham Coxon, Alex James and Dave Rowntree will play Manchester's MEN Arena on June 26. Last week the group also announced two festival headline appearances at Scotland's T in the Pa...

Blur have announced their first indoor arena show since annnouncing their reformation late last year.

Damon Albarn, Graham Coxon, Alex James and Dave Rowntree will play Manchester’s MEN Arena on June 26.

Last week the group also announced two festival headline appearances at Scotland’s T in the Park and Ireland’s Oxegen, in addition to their already sold out two night stand in London’s Hyde Park on July 2 and 3.

Blur are also rumoured to be headlining this year’s Glastonbury festival, although this is yet to be confirmed.

Tickets for Blur’s Manchester MEN Arena show will go on sale on Friday (February 13) at 9am.

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Jagger Jokes Around At This Year’s BAFTA Ceremony

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Not content with a 40-year career in music, not to mention a long list of dubious acting roles, Mick Jagger turned his hand to stand up comedy at the BAFTAs last night (February 8). Presenting the award for Best Film, The Rolling Stones’ front-man joked he was the founding member of the ‘Movie Star Rock Star Exchange Program’. “Tonight Sir Ben Kinsley will be singing Brown Sugar at the Grammys,” said Jagger, “Sir Anthony Hopkins is in the studio recording with Amy Winehouse and Dame Judy Dench is gamely trashing hotel rooms somewhere in New York - and we’re hoping that next week Sir Brad and all the Pitt family will be performing The Sound of Music at the Brit Awards.” Earlier, on the red carpet, Slumdog Millionaire star Dev Patel accidentally wandered into an interview with Sharon Stone, “I can’t believe my luck,” said the 18-year-old, “somebody slap me”, to which the Basic Instinct star duly – yet affectionately – obliged. Best Actor winner Mickey Rourke turned the air blue when thanking his publicist for having “the hardest job in showbusiness – telling me where to go, what to do, when to do it, what to eat, how to dress, what to fuck…” For more on the winners of this year’s BAFTAs click here Pic credit: PA Photos

Not content with a 40-year career in music, not to mention a long list of dubious acting roles, Mick Jagger turned his hand to stand up comedy at the BAFTAs last night (February 8).

Presenting the award for Best Film, The Rolling Stones’ front-man joked he was the founding member of the ‘Movie Star Rock Star Exchange Program’. “Tonight Sir Ben Kinsley will be singing Brown Sugar at the Grammys,” said Jagger, “Sir Anthony Hopkins is in the studio recording with Amy Winehouse and Dame Judy Dench is gamely trashing hotel rooms somewhere in New York – and we’re hoping that next week Sir Brad and all the Pitt family will be performing The Sound of Music at the Brit Awards.”

Earlier, on the red carpet, Slumdog Millionaire star Dev Patel accidentally wandered into an interview with Sharon Stone, “I can’t believe my luck,” said the 18-year-old, “somebody slap me”, to which the Basic Instinct star duly – yet affectionately – obliged.

Best Actor winner Mickey Rourke turned the air blue when thanking his publicist for having “the hardest job in showbusiness – telling me where to go, what to do, when to do it, what to eat, how to dress, what to fuck…”

For more on the winners of this year’s BAFTAs click here

Pic credit: PA Photos

Metallica To Headline New Travelling Festival

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Metallica have been confirmed as headliners for the travelling Sonisphere Festival which is set to take place for the first time this summer. Metallica will play two dates at Knebworth House on August 1-2, co-headlining with nu-metallers Linkin Park. “We’re stoked to be touring England and Eu...

Metallica have been confirmed as headliners for the travelling Sonisphere Festival which is set to take place for the first time this summer.

Metallica will play two dates at Knebworth House on August 1-2, co-headlining with nu-metallers Linkin Park.

“We’re stoked to be touring England and Europe with Sonisphere,” said drummer Lars Ulrich. “Summer festivals in Europe are what Metallica do best. We can’t wait to see all of our fans out there.”

Organised by the creators of the Monsters of Rock and Download festivals, Sonisphere will take place over two stages with only one band playing at a time, allowing fans not to miss any acts. As well as taking place in front of 60,00 fans at Knebworth the festival will also visit Holland, Germany, Spain, Sweden and Finland.

Other confirmed acts for the UK dates include Mastodon and Lamb of God, and the festival will mark 35 years since the first live rock concert at Knebworth.

“As I’ve become aware of the awesome bands who have played Knebworth over the years I realise what an honour it will be,” said Linkin Park frontman Chester Bennington. “This is definitely one of the big ones, you have to work on earning the respect of the fans in the UK. I would say the experiences over the years playing festivals over there, the audience actually gets better and better each time.”

Tickets for Knebworth go on sale at 9am on February 11.

Sonisphere dates announced so far are:

Holland,Goffertpark, Nijmegen (w. Slipnot) (June 20)

Germany, Hockenheimring (w. Die Toten Hosen) (July 4)

Spain, Forum, Barcelona (w. Slipnot) (July 11)

Sweden, Folkets Park, Hultsfred (July 18)

Finland, Kirjurinluoto (w. Linkin Park) (July 25)

UK, Knebworth, Linkin Park headlining (August 1)

UK, Knebworth, Metallica headlining (August 2)

For more music and film news click here

Green Day Reveal New Album Title

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Green Day have revealed on their website Greenday.com that their forthcoming new studio album will be titled '21st Century Breakdown' and that it will be released this May. The follow-up to 2004's 'American Idiot' has been produced by Butch Vig and the 16 tracks are split into three 'Acts'; 'Heroes...

Green Day have revealed on their website Greenday.com that their forthcoming new studio album will be titled ’21st Century Breakdown’ and that it will be released this May.

The follow-up to 2004’s ‘American Idiot’ has been produced by Butch Vig and the 16 tracks are split into three ‘Acts’; ‘Heroes And Cons’, ‘Charlatans And Saints’ and ‘Horseshoes And Handgrenades.’

Green Day, who performed at the 2009 Grammy Awards on Sunday (February 8), have partially revealed track names to US magazing Alt Press.

As well as the title track “21st Century Breakdown”, “Know Your Enemy”, “Viva la Gloria”, “Before the Lobotomy”, “Christian’s Inferno” and “Last Night on Earth” all appear on the first act, ‘Heroes and Cons’

More info and to pre-order the new Green Day album, click here for Greenday.com

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Slumdog Millionaire Cleans Up At BAFTAS

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Danny Boyle’s ‘Slumdog Millionaire’ cleaned up at last night’s BAFTAs, winning seven awards including Best Film and Best Director (February 8). The rags to riches tale was nominated for a total of 11 awards, and was also awarded best adapted screenplay, music, cinematography, editing and so...

Danny Boyle’s ‘Slumdog Millionaire’ cleaned up at last night’s BAFTAs, winning seven awards including Best Film and Best Director (February 8).

The rags to riches tale was nominated for a total of 11 awards, and was also awarded best adapted screenplay, music, cinematography, editing and sound. Picking up Best Adapted Screenplay, writer Simon Beaufoy revealed he had a both a plastic replica and a Bafta made of chocolate at home: “I have two pretend Baftas at home so it’s great to have a real one.”

Kate Winslett won her second Best Actress Bafta for her role in ‘The Reader’, beating Meryl Streep, Kristin Scott Thomas and herself in ‘Revolutionary Road’. Noticeably more composed than at January’s Golden Globes, Winslett thanked the film’s crew for its success: “I want to thank everybody involved in the making of this film. They all know who they are and deserve a bit fat piece of this.” Winslett added she shared the award with two of the film’s producers, Sidney Pollack and Anthony Minghella, who died last year: “You are much missed today, and you will be much missed for many years to come, and this is for you. Thank you.”

Held at London’s Royal Opera House and hosted by Jonathan Ross, the ceremony saw Heath Ledger posthumously awarded Best Supporting Actor for his portrayal of The Joker in ‘The Dark Knight’.

Mickey Rourke beat Sean Penn, Brad Pitt and Frank Langella to the Best Actor award which he dedicated to legendary hell-raiser Richard Harris. “It’s such a pleasure to be back here out of the darkness,” said Rourke before thanking director Darren Aronofsky for giving him “a second chance after fucking up my career for 15 years.”

Penelope Cruz, who won Best Supporting Actress for ‘Vivky Cristina Barcelona’, said she felt “honoured and grateful” to receive the award.

Documentary ‘Man On Wire’ won Best British Film while Colin Farrell and Brendan Gleeson’s ‘In Bruges’ won Best Original Screenplay.

Wallace and Gromit creator Nick Park picked up the Short Animation award for ‘A Matter of Loaf and Death’ and French film ‘I’ve Loved You So Long’, starring Kristin Scott Thomas, beat ‘Waltz With Bashir’ and ‘Gomorrah’ to win Best Foreign Language Film.

The prestigious Bafta Fellowship was awarded to director Terry Gilliam. The former Monty Python man dedicated his award to Heath Ledger who died last January. “Everybody has said he was extraordinary, but we can’t even begin to imagine what he was going to be,” said Gilliam. “We only saw a tiny tip of the iceberg. But he’s gone.”

For more music and film news click here

Pic credit: PA Photos

Morrissey – Years Of Refusal

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This LP, the third studio album since strong>Morrissey began his near-miraculous recovery from commercial and critical oblivion with 2004’s You Are The Quarry, was always going to be a bit tricky. Quarry… reminded us that he is still capable of marvellous song-writing, as well as providing him with his first ever million-seller, solo or otherwise. 2005’s Live At Earls Court allowed him to reclaim his past – and especially his past in The Smiths – without appearing like The Human League or Tony Hadley on one of those I ? The ’80s tours. And Ringleader Of The Tormentors, with its tantalising glimpses of love found and celibacy abandoned (“explosive kegs between my legs!” – ooh matron!) was, after two decades of smokescreen and hairshirt, both revelatory and winningly upbeat. In a little less than two years, Morrissey had engineered one of music’s great resurrections. After that fabulous piece of Lazarus-meets-Liberace hoopla, the build-up to Years Of Refusal has been inevitably accompanied by a certain amount of “what next?” angst. And Moz himself may well have been disquieted by another dawning realisation. Many of his heroes – Joe Orton, Billy Fury, Oscar Wilde, James Dean, Elvis – did their best work young, then slipped away before the passing years took their inevitable toll. But a vegetarian lifestyle, and a robust Irish constitution, have thankfully denied our man any such get-out. By the time he tours this new album in the summer, Steven Patrick Morrissey will be 50… So, how’s he coped? Very well, in truth. Years Of Refusal is an excellent album. Not an excellent “rock album”, or an excellent “pop album”, but an excellent Morrissey album. It’s a distinction worth making because these days Moz’s appeal is confined, surely, to his large and unswerving horde of adherents. He’s unlikely to attract new fans, but still has more than enough devotees to sustain him artistically and to keep the wolf a very healthy distance from the door. It’s an enviable position for an artist to occupy and a really simple deal: Morrissey makes decent Moz disc (none of that self-parody nonsense like Kill Uncle or Maladjusted, the 1999 clunker that almost blew the whole arrangement) and his gang will adore him forever. The faithful (though they might gripe about the paltry ration of just nine new songs) will be largely delighted with this latest offering. To details. Years Of Refusal looks both back and forward. Produced in LA by pop-punk pioneer Jerry Finn (who died soon after the sessions) it’s a souped-up revision of the arena-ready rock sound he cooked up for …Quarry. Guitars hammer where they used to twinkle; the music is crunchy and insistent; there are refinements (Hispanic brass and guitars flavour at least three of the songs), but mostly the band throbs like one of those electricity substations. And after the vaguely autobiographical bent of …Tormentors, this is a return to more traditional Morrissey lyrical content – low-speed love chases (“Black Cloud”) and gleeful put-downs (“You Were Good In Your Time”). But there’s something else as well. Maybe it’s the imminent arrival of that important birthday, but there does seem an even greater pre-occupation than usual with the passing of time, the transience of things and the certainty of death. “When Last I Spoke To Carol” and “One Day Goodbye Will Be Farewell” confront the Reaper head on, while “Mama Lay Softly On The Riverbed“ (“Life is nothing much to lose/It’s just so lonely here without you”) is so painfully poignant that the listener ends up hoping that it’s not a chapter from the singer’s real life. Even the best Morrissey records have their moments where it all sounds a bit phoned in (here, even the most ardent admirer could live without “Black Cloud”, “Sorry Doesn’t Help” and “All You Need Is Me”), but when it all comes together, this is still one of the most thrilling landmarks in the musical landscape. “Something Is Squeezing My Skull”, “Mama...” and “That’s How People Grow Up” are all welcome new gems in the Moz treasure chest, but the shiniest jewel – and irrefutable evidence that he is still the master of a pop scene he often surveys with utter disdain – is “When Last I Spoke To Carol”. A gorgeously controlled vocal is augmented by flamenco guitars and festooned with a swirling mariachi horn battery, the latter clearly influenced by recent collaborator Ennio Morricone. It is truly wonderful, better even than the White Stripes’ equally trumpet-drenched “Conquest” and the best bits of the lovely Last Shadow Puppets record, with which it shares some widescreen, string-driven DNA. As he heads into middle age, Morrissey (the man) seems as confrontational as ever, still mad for the spats, gaffes and feuds that have studded his life and career. Records as bright and occasionally beautiful as Years Of Refusal make us forgive Morrissey (the artist) even his most juvenile foibles. DANNY KELLY

This LP, the third studio album since strong>Morrissey began his near-miraculous recovery from commercial and critical oblivion with 2004’s You Are The Quarry, was always going to be a bit tricky. Quarry… reminded us that he is still capable of marvellous song-writing, as well as providing him with his first ever million-seller, solo or otherwise. 2005’s Live At Earls Court allowed him to reclaim his past – and especially his past in The Smiths – without appearing like The Human League or Tony Hadley on one of those I ? The ’80s tours. And Ringleader Of The Tormentors, with its tantalising glimpses of love found and celibacy abandoned (“explosive kegs between my legs!” – ooh matron!) was, after two decades of smokescreen and hairshirt, both revelatory and winningly upbeat. In a little less than two years, Morrissey had engineered one of music’s great resurrections.

After that fabulous piece of Lazarus-meets-Liberace hoopla, the build-up to Years Of Refusal has been inevitably accompanied by a certain amount of “what next?” angst. And Moz himself may well have been disquieted by another dawning realisation. Many of his heroes – Joe Orton, Billy Fury, Oscar Wilde, James Dean, Elvis – did their best work young, then slipped away before the passing years took their inevitable toll. But a vegetarian lifestyle, and a robust Irish constitution, have thankfully denied our man any such get-out. By the time he tours this new album in the summer, Steven Patrick Morrissey will be 50…

So, how’s he coped? Very well, in truth. Years Of Refusal is an excellent album. Not an excellent “rock album”, or an excellent “pop album”, but an excellent Morrissey album. It’s a distinction worth making because these days Moz’s appeal is confined, surely, to his large and unswerving horde of adherents. He’s unlikely to attract new fans, but still has more than enough devotees to sustain him artistically and to keep the wolf a very healthy distance from the door. It’s an enviable position for an artist to occupy and a really simple deal: Morrissey makes decent Moz disc (none of that self-parody nonsense like Kill Uncle or Maladjusted, the 1999 clunker that almost blew the whole arrangement) and his gang will adore him forever. The faithful (though they might gripe about the paltry ration of just nine new songs) will be largely delighted with this latest offering.

To details. Years Of Refusal looks both back and forward. Produced in LA by pop-punk pioneer Jerry Finn (who died soon after the sessions) it’s a souped-up revision of the arena-ready rock sound he cooked up for …Quarry. Guitars hammer where they used to twinkle; the music is crunchy and insistent; there are refinements (Hispanic brass and guitars flavour at least three of the songs), but mostly the band throbs like one of those electricity substations. And after the vaguely autobiographical bent of …Tormentors, this is a return to more traditional Morrissey lyrical content – low-speed love chases (“Black Cloud”) and gleeful put-downs (“You Were Good In Your Time”). But there’s something else as well. Maybe it’s the imminent arrival of that important birthday, but there does seem an even greater pre-occupation than usual with the passing of time, the transience of things and the certainty of death. “When Last I Spoke To Carol” and “One Day Goodbye Will Be Farewell” confront the Reaper head on, while “Mama Lay Softly On The Riverbed“ (“Life is nothing much to lose/It’s just so lonely here without you”) is so painfully poignant that the listener ends up hoping that it’s not a chapter from the singer’s real life.

Even the best Morrissey records have their moments where it all sounds a bit phoned in (here, even the most ardent admirer could live without “Black Cloud”, “Sorry Doesn’t Help” and “All You Need Is Me”), but when it all comes together, this is still one of the most thrilling landmarks in the musical landscape. “Something Is Squeezing My Skull”, “Mama…” and “That’s How People Grow Up” are all welcome new gems in the Moz treasure chest, but the shiniest jewel – and irrefutable evidence that he is still the master of a pop scene he often surveys with utter disdain – is “When Last I Spoke To Carol”. A gorgeously controlled vocal is augmented by flamenco guitars and festooned with a swirling mariachi horn battery, the latter clearly influenced by recent collaborator Ennio Morricone. It is truly wonderful, better even than the White Stripes’ equally trumpet-drenched “Conquest” and the best bits of the lovely Last Shadow Puppets record, with which it shares some widescreen, string-driven DNA.

As he heads into middle age, Morrissey (the man) seems as confrontational as ever, still mad for the spats, gaffes and feuds that have studded his life and career. Records as bright and occasionally beautiful as Years Of Refusal make us forgive Morrissey (the artist) even his most juvenile foibles.

DANNY KELLY

M Ward – Hold Time

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When Matt Ward released his first solo album, Duet For Guitars #2 in 1999, he appeared to be another bedroom hermit with a four-track recorder, inhabiting his private universe on the margins of indie. But through the course of the ’00s, the Portland, Oregon, native has progressively shown himself to be multitalented, popping up all over as guest musician and general creative go-to-guy. His accomplishments are many. Touring and recording with the comparably ambitious Conor Oberst. Co-producing and playing guitar on Rabbit Fur Coat, the first album of Rilo Kiley’s Jenny Lewis. Forming She & Him with actress/singer Zooey Deschanel and concocting 2008’s soft-rock homage, Volume One. Not to mention making significant contributions to the records of artists ranging from Cat Power to Beth Orton and Norah Jones. Meanwhile, Ward’s own albums have incrementally expanded on the artist’s lo-fi roots, which put him alongside such fingerpicking solipsists as the Mountain Goats’ John Darnielle, Smog’s Bill Callahan, Will Oldham and fellow Portlander Elliott Smith. His studio output, which now stands at six LPs, reveals him as a virtuoso guitarist and expressive singer, a passionate conservator of American roots music and a purveyor of Big Themes. All that is special about Ward is encapsulated in the captivating “Chinese Translation” from 2006’s Post-War, an epic metaphysical parable enclosed in a lilting alt.country song, embedding poetic verbiage about the cycle of life into a playful arrangement. The heady and ambitious Hold Time finds him delving deeper into the sounds and themes of Post-War and “Chinese Translation”. The album will be perceived by some as a religious tract because its rich Biblical imagery and intimations of immortality – and yes, he does thank God in his acknowledgments. But Hold Time is not an album-long testimony of belief; instead, it plays out as an extended meditation on the preciousness of time, the dance of life and death, and what evidence man can perceive of a spiritual dimension in the physical universe. After hushed opener “For Beginners”, the first of several contemplations of sin and salvation, Ward wastes no time connecting divine love with its human corollary. On “Nobody Like You”, he describes the redemptive power of true love via a lyric that mixes the language of traditional songs (“I trusted liars and thieves in my blindness”) and Motown (“But now it’s just like ABC/Life’s just like 1…2…3”), in a finger-snappin’ arrangement à la Dave Edmunds. Then comes the sprightly, string-enhanced shuffle “Jailbird”, the final minutes of a condemned man – one human who knows precisely when the life will go out of his body, which is what interests Ward in the subject. The words he puts in the mouth of his dead man walking directly address the album’s prevailing theme: “Save my soul ’fore they lay my old body down.” It’s easy to get lost in Ward’s lyrics, but this artist’s thematic concerns can’t be separated from his sonic impulses, which deftly draw on the hand-made sounds of Appalachian music, country blues, clapboard-church gospel and early rock’n’roll. At the same time, the album has all the lo-fi signifiers, from Ward’s imperfectly doubled lead vocals to the gauze of reverb he throws over the tracks. But these intimate elements co-exist with the most expansive arrangements of Ward’s career. The album’s leitmotif is its lush, dreamy string sections, which bring a gorgeous poignancy not only to the metaphysical songs “For Beginners”, “Hold Time”, “Save Me”, “Fisher Of Men” and “Epistemology”, but also to his radical reworkings of a pair of ’50s rockers, Buddy Holly’s “Rave On” (a duet with Deschanel) and Don Gibson’s “Oh Lonesome Me” (with Lucinda Williams). A third cover closes the album; it’s the Sinatra ballad “I’m a Fool To Want You”, with Ward transforming it into the end-title theme for an imaginary Spaghetti Western that doubles as a wordless hymn. “I have a lot of questions about that relationship between love and death,” Ward said in 2003. He’s pondering those questions in earnest now. UNCUT Q&A, M Ward: Your arrangements are lusher than ever, and yet you’ve retained your trademark lo-fi character. Growing up with making so many four-track tapes, that sound is forever in my head. Production-wise, I wanted a balance between rich string sounds and thin pawn-shop sounds. What prompted the Buddy Holly and Don Gibson covers? The short answer is that I’ve loved those songs as long as I’ve loved any song. The long answer is that I’d like to erase any kind of timeframe on these records I’m making. I like it when I hear a song on the radio and I don’t know how old it is, or where sounds are coming from. What’s the overarching theme of Hold Time? It’s inspired by being asked where my inspiration comes from. It’s the hardest question in the world, so I decided to make a record that tried to answer it. I like stories and songs that raise questions instead of pretending to have all the answers. There’s not many elements of life that can take you to those areas – but music can. BUD SCOPPA

When Matt Ward released his first solo album, Duet For Guitars #2 in 1999, he appeared to be another bedroom hermit with a four-track recorder, inhabiting his private universe on the margins of indie. But through the course of the ’00s, the Portland, Oregon, native has progressively shown himself to be multitalented, popping up all over as guest musician and general creative go-to-guy.

His accomplishments are many. Touring and recording with the comparably ambitious Conor Oberst. Co-producing and playing guitar on Rabbit Fur Coat, the first album of Rilo Kiley’s Jenny Lewis. Forming She & Him with actress/singer Zooey Deschanel and concocting 2008’s soft-rock homage, Volume One. Not to mention making significant contributions to the records of artists ranging from Cat Power to Beth Orton and Norah Jones.

Meanwhile, Ward’s own albums have incrementally expanded on the artist’s lo-fi roots, which put him alongside such fingerpicking solipsists as the Mountain Goats’ John Darnielle, Smog’s Bill Callahan, Will Oldham and fellow Portlander Elliott Smith. His studio output, which now stands at six LPs, reveals him as a virtuoso guitarist and expressive singer, a passionate conservator of American roots music and a purveyor of Big Themes. All that is special about Ward is encapsulated in the captivating “Chinese Translation” from 2006’s Post-War, an epic metaphysical parable enclosed in a lilting alt.country song, embedding poetic verbiage about the cycle of life into a playful arrangement.

The heady and ambitious Hold Time finds him delving deeper into the sounds and themes of Post-War and “Chinese Translation”. The album will be perceived by some as a religious tract because its rich Biblical imagery and intimations of immortality – and yes, he does thank God in his acknowledgments. But Hold Time is not an album-long testimony of belief; instead, it plays out as an extended meditation on the preciousness of time, the dance of life and death, and what evidence man can perceive of a spiritual dimension in the physical universe.

After hushed opener “For Beginners”, the first of several contemplations of sin and salvation, Ward wastes no time connecting divine love with its human corollary. On “Nobody Like You”, he describes the redemptive power of true love via a lyric that mixes the language of traditional songs (“I trusted liars and thieves in my blindness”) and Motown (“But now it’s just like ABC/Life’s just like 1…2…3”), in a finger-snappin’ arrangement à la Dave Edmunds.

Then comes the sprightly, string-enhanced shuffle “Jailbird”, the final minutes of a condemned man – one human who knows precisely when the life will go out of his body, which is what interests Ward in the subject. The words he puts in the mouth of his dead man walking directly address the album’s prevailing theme: “Save my soul ’fore they lay my old body down.”

It’s easy to get lost in Ward’s lyrics, but this artist’s thematic concerns can’t be separated from his sonic impulses, which deftly draw on the hand-made sounds of Appalachian music, country blues, clapboard-church gospel and early rock’n’roll. At the same time, the album has all the lo-fi signifiers, from Ward’s imperfectly doubled lead vocals to the gauze of reverb he throws over the tracks. But these intimate elements co-exist with the most expansive arrangements of Ward’s career.

The album’s leitmotif is its lush, dreamy string sections, which bring a gorgeous poignancy not only to the metaphysical songs “For Beginners”, “Hold Time”, “Save Me”, “Fisher Of Men” and “Epistemology”, but also to his radical reworkings of a pair of ’50s rockers, Buddy Holly’s “Rave On” (a duet with Deschanel) and Don Gibson’s “Oh Lonesome Me” (with Lucinda Williams). A third cover closes the album; it’s the Sinatra ballad “I’m a Fool To Want You”, with Ward transforming it into the end-title theme for an imaginary Spaghetti Western that doubles as a wordless hymn. “I have a lot of questions about that relationship between love and death,” Ward said in 2003. He’s pondering those questions in earnest now.

UNCUT Q&A, M Ward:

Your arrangements are lusher than ever, and yet you’ve retained your trademark lo-fi character.

Growing up with making so many four-track tapes, that sound is forever in my head. Production-wise, I wanted a balance between rich string sounds and thin pawn-shop sounds.

What prompted the Buddy Holly and Don Gibson covers?

The short answer is that I’ve loved those songs as long as I’ve loved any song. The long answer is that I’d like to erase any kind of timeframe on these records I’m making. I like it when I hear a song on the radio and I don’t know how old it is, or where sounds are coming from.

What’s the overarching theme of Hold Time?

It’s inspired by being asked where my inspiration comes from. It’s the hardest question in the world, so I decided to make a record that tried to answer it. I like stories and songs that raise questions instead of pretending to have all the answers. There’s not many elements of life that can take you to those areas – but music can.

BUD SCOPPA

Various Artists – Dark Was The Night

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Back in 1993 with grunge at its height, the Red Hot Organisation’s AIDS fund-and-awareness raiser compilation No Alternative seemed to capture a generation coming of age. The record featured contributions from Smashing Pumpkins, Sonic Youth, The Breeders, and, in the kind of commercial contradiction that so tormented them, a song by Nirvana – “Verse Chorus Verse” – that their record company insisted could not be listed on the album sleeve. But amid stiff competition, the stand-out track was “Unseen Power Of The Picket Fence” by Pavement. In his ramshackle, elliptical way, Stephen Malkmus paid tribute to REM (“Southern boys, just like you and me”), harking back to the days of the “Chronic Town” EP, and even imagining an alternative pop prehistory where Buck, Stipe, Berry and Mills stood up to the might of Sherman’s Confederate army. Obliquely, amusingly, it defined the “alternative rock” generation as the cultural children of those first inklings of college rock in early-’80s Athens. Sixteen years later, the latest Red Hot comp rounds up the grandchildren. Compiled by Aaron and Bryce Dessner from The National, the two-disc, 31-song tracklisting of Dark Was The Night reads like a roll call of US indie rock of the last five years, a scene that’s burgeoned from the 2004 debut of the Arcade Fire (who contribute a new track, “Lenin”) to the overwhelming success of last year’s critics’ darling Bon Iver (who donates “Brackett, WI”, plus a spontaneous collaboration with Aaron, “Big Red Machine”). The comp seems to have had two major inspirations. The first was Red Hot founder and DWTN Executive Producer John Carlin’s sense that a lot of these younger indie kids seemed to be practically chamber orchestras, putting a baroque 21st-century spin on American roots music. And the second was Feist’s appearance on Letterman a couple of years ago, where she assembled a scratch backing choir comprising members of The National, The New Pornographers, Grizzly Bear and Broken Social Scene – the real tipping-point moment when, according to Aaron, the sense of a scene or a movement – the kind of thing musicians love to deny to trend-chasing journalists – seemed undeniable. Carlin’s “baroque folk” concept explicity inspires a clutch of tracks, though their roots are not necessarily American: The Books and José González cutely cover Nick Drake’s “Cello Song”, while Feist and Grizzly Bear’s Ben Gibbard offer a winsome take on Vashti Bunyan’s “Train Song”. Closer to that old weird America are Kronos Quartet’s spare, stunning reprise of Blind Willie Johnson’s moaning blues for the title track and Antony Hegarty and Bryce Dessner’s elegiac take on Bob Dylan’s “I Was Young When I Left Home”. However, even Hegarty’s startling voice struggles to escape what you might call the generic gravity of the record. Listen to successive tracks by Feist, Bon Iver, Grizzly Bear, Yeasayer, Decemberists, Iron & Wine and the repeated force of the folksy plucking and briney voices can prove almost overwhelming. This is the polite, less freaky end of modern American indie folk: earnest, well-intentioned, Obama-fundraising, National Public Radio-supporting... and cumulatively a little dull. Even the Arcade Fire can’t quite get the party started: “Lenin” is a rumbling, oddly low-key number, recalling The Beatles’ late attempts to get back to their rock’n’roll roots. But such an extensive, stellar lineup can’t fail to hit the mark and Dark Was The Night features some real highlights, notably The National’s own track, “So Far Around The Bend”, augmented by a wonderful woodwind and string arrangement by classical wunderkind Nico Muhly, and Sufjan Stevens’ sprawling pan-genre odyssey through Castanets’ “You Are The Blood”. But best of all is “Knotty Pine”, a collaboration between Dirty Projectors, and David Byrne, who provided the lyric – “Here is the sound that photographs make/When I see them when I hear them/I see regions of sharp precision/Over-abundance /Overindulgence” – from an old scrap he’d held onto since the early days of Talking Heads, and suggested lead Projector Dave Longstreth come up with a new setting. The project seems to have energised both parties – Byrne sounds thrilled to be jamming with the new arthouse set, while The Dirty Projectors seem inspired into rare focus, their beguiling tangents resolving into something resembling a pop song. But more importantly, like Pavement paying homage to REM back in 1993, it suggests that college rock can still find fresh inspiration in returning to the old school. UNCUT Q&A, Aaron Dessner: How did you hook up with Red Hot? I actually worked for John Carlin from Red Hot in New York, at his design company. And I was playing music on the side and leaving all the time for little tours, and he was nice about it, and we bonded over it. He was always cool about me taking off. and when The National finally got big enough that we didn’t need to have a job, he was very supportive of us leaving – and that was kind of when the idea of trying to do a Red Hot record came up. Did you intend to document a scene or movement? When people used to ask us this question, we used to say we live in a little vacuum and we make the songs we make, we’re not part of a scene. And that was true back then. I think now, what we’ve found is by touring, your friends more and more become the people whose music you’ve listened to for years. Things come together when you’re out at festivals. And we discovered trying to make this record that people are willing to go the extra mile. STEPHEN TROUSSÉ

Back in 1993 with grunge at its height, the Red Hot Organisation’s AIDS fund-and-awareness raiser compilation No Alternative seemed to capture a generation coming of age. The record featured contributions from Smashing Pumpkins, Sonic Youth, The Breeders, and, in the kind of commercial contradiction that so tormented them, a song by Nirvana – “Verse Chorus Verse” – that their record company insisted could not be listed on the album sleeve.

But amid stiff competition, the stand-out track was “Unseen Power Of The Picket Fence” by Pavement. In his ramshackle, elliptical way, Stephen Malkmus paid tribute to REM (“Southern boys, just like you and me”), harking back to the days of the “Chronic Town” EP, and even imagining an alternative pop prehistory where Buck, Stipe, Berry and Mills stood up to the might of Sherman’s Confederate army.

Obliquely, amusingly, it defined the “alternative rock” generation as the cultural children of those first inklings of college rock in early-’80s Athens.

Sixteen years later, the latest Red Hot comp rounds up the grandchildren. Compiled by Aaron and Bryce Dessner from The National, the two-disc, 31-song tracklisting of Dark Was The Night reads like a roll call of US indie rock of the last five years, a scene that’s burgeoned from the 2004 debut of the Arcade Fire (who contribute a new track, “Lenin”) to the overwhelming success of last year’s critics’ darling Bon Iver (who donates “Brackett, WI”, plus a spontaneous collaboration with Aaron, “Big Red Machine”).

The comp seems to have had two major inspirations. The first was Red Hot founder and DWTN Executive Producer John Carlin’s sense that a lot of these younger indie kids seemed to be practically chamber orchestras, putting a baroque 21st-century spin on American roots music. And the second was Feist’s appearance on Letterman a couple of years ago, where she assembled a scratch backing choir comprising members of The National, The New Pornographers, Grizzly Bear and Broken Social Scene – the real tipping-point moment when, according to Aaron, the sense of a scene or a movement – the kind of thing musicians love to deny to trend-chasing journalists – seemed undeniable.

Carlin’s “baroque folk” concept explicity inspires a clutch of tracks, though their roots are not necessarily American: The Books and José González cutely cover Nick Drake’s “Cello Song”, while Feist and Grizzly Bear’s Ben Gibbard offer a winsome take on Vashti Bunyan’s “Train Song”. Closer to that old weird America are Kronos Quartet’s spare, stunning reprise of Blind Willie Johnson’s moaning blues for the title track and Antony Hegarty and Bryce Dessner’s elegiac take on Bob Dylan’s “I Was Young When I Left Home”.

However, even Hegarty’s startling voice struggles to escape what you might call the generic gravity of the record. Listen to successive tracks by Feist, Bon Iver, Grizzly Bear, Yeasayer, Decemberists, Iron & Wine and the repeated force of the folksy plucking and briney voices can prove almost overwhelming. This is the polite, less freaky end of modern American indie folk: earnest, well-intentioned, Obama-fundraising, National Public Radio-supporting… and cumulatively a little dull. Even the Arcade Fire can’t quite get the party started: “Lenin” is a rumbling, oddly low-key number, recalling The Beatles’ late attempts to get back to their rock’n’roll roots.

But such an extensive, stellar lineup can’t fail to hit the mark and Dark Was The Night features some real highlights, notably The National’s own track, “So Far Around The Bend”, augmented by a wonderful woodwind and string arrangement by classical wunderkind Nico Muhly, and Sufjan Stevens’ sprawling pan-genre odyssey through Castanets’ “You Are The Blood”.

But best of all is “Knotty Pine”, a collaboration between Dirty Projectors, and David Byrne, who provided the lyric – “Here is the sound that photographs make/When I see them when I hear them/I see regions of sharp precision/Over-abundance /Overindulgence” – from an old scrap he’d held onto since the early days of Talking Heads, and suggested lead Projector Dave Longstreth come up with a new setting. The project seems to have energised both parties – Byrne sounds thrilled to be jamming with the new arthouse set, while The Dirty Projectors seem inspired into rare focus, their beguiling tangents resolving into something resembling a pop song. But more importantly, like Pavement paying homage to REM back in 1993, it suggests that college rock can still find fresh inspiration in returning to the old school.

UNCUT Q&A, Aaron Dessner:

How did you hook up with Red Hot?

I actually worked for John Carlin from Red Hot in New York, at his design company. And I was playing music on the side and leaving all the time for little tours, and he was nice about it, and we bonded over it. He was always cool about me taking off. and when The National finally got big enough that we didn’t need to have a job, he was very supportive of us leaving – and that was kind of when the idea of trying to do a Red Hot record came up.

Did you intend to document a scene or movement?

When people used to ask us this question, we used to say we live in a little vacuum and we make the songs we make, we’re not part of a scene. And that was true back then. I think now, what we’ve found is by touring, your friends more and more become the people whose music you’ve listened to for years. Things come together when you’re out at festivals. And we discovered trying to make this record that people are willing to go the extra mile.

STEPHEN TROUSSÉ

Robert Plant and Alison Krauss Scoop Five Grammy Awards

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Robert Plant and Alison Krauss picked up an impressive haul of five Grammy Awards in Los Angeles last night (February 8). The duo's wins included beating the likes of Coldplay and Radiohead to pick up Album Of The Year, Record Of The Year for "Pease Read The Letter" at the 51st Annual Grammy Awards...

Robert Plant and Alison Krauss picked up an impressive haul of five Grammy Awards in Los Angeles last night (February 8).

The duo’s wins included beating the likes of Coldplay and Radiohead to pick up Album Of The Year, Record Of The Year for “Pease Read The Letter” at the 51st Annual Grammy Awards ceremony.

“I’m bewildered,” remarked Plant, “in the old days we would have called it selling out but now it’s a good way to spend a Sunday.”

Plant and Krauss performed “Rich Woman” and “Gone Gone Gone” with producer/bandleader and fellow Grammy winner T Bone Burnett.

T Bone Burnett as producer and Mike Piersante as engineer/mixer also received Grammys for Record of the Year and Album of the Year for ‘Raising Sand.’

A good evening for British artists, with Radiohead winning Best Alternative Album and Best Boxed/Limited Edition Package for In Rainbows. Singers Adele and Duffy also both pickedup awards.

“Thank you so much,” said an emotional Adele accepting the Best New Artist award from fellow Brit Estelle, “I’m going to cry.”

Coldplay won Best Rock Album and Song Of The Year. Decked out in a lurid, Sgt Pepper-style military jacket Chris Martin thanked the audience for the recognition:“We have never had so many Grammys in our lives. I feel so grateful to be here, I’m going to tear it up. Thank you so much.”

Earlier in the evening Martin duetted with Jay-Z on a version of Coldplay’s Lost, before performing Viva La Vida with the rest of the band. The ceremony was opened by U2 playing a new Song entitled “Get On Your Boots” and featured a performance of 15 Steps by Radiohead.

Chris Brown and girlfriend Rihanna both cancelled their appearances following Brown’s arrest for a suspected domestic violence incident earlier that evening.

For more music and film news click here

Pic credit: PA Photos

Brian Wilson – That Lucky Old Sun

Brian Wilson’s story is fascinating, not least because Wilson shows little sign of being fascinated by it himself. Everywhere he goes, he is treated with reverence, and he responds with nonchalance. There is, for example, an interview by Zooey Deschanel on this DVD, in which the actress – all bu...

Brian Wilson’s story is fascinating, not least because Wilson shows little sign of being fascinated by it himself. Everywhere he goes, he is treated with reverence, and he responds with nonchalance. There is, for example, an interview by Zooey Deschanel on this DVD, in which the actress – all bubbly and excited – attempts to engage Wilson in discussion. They are at the Hollywood Bowl, so she asks about the shows he has seen there. The first was The Beatles, Wilson says blandly. “And I saw Andy Williams one time.”

So, while he can just about reminisce about hanging out at Skippy’s hot dog stand in the early 1960s, it seems as if memories, for Brian, are best left unpacked. Yet sometimes, in the flatness of his conversation, Wilson does reveal himself. Deschanel enquires whether he always knew that his brothers could sing, and he replies that he did. It’s a story he has told before, but the phrasing here is precise. “We used to sing in our bedroom. A song called ‘Come Down From Your Ivory Tower And Let Love Come Into Your Heart’ [presumably Porter Wagoner’s ‘Ivory Tower’]. And just two years after that we recorded ‘In My Room’, which is the same three parts we used to sing in our bedroom. So we got some practice. If you can learn the parts and you can do the harmonies, and do them just right, it’s going to sound like angels.”

This DVD focuses on Wilson’s 2008 album, That Lucky Old Sun, which marked a new stage in his creative recovery. There is a beautiful performance of the album in LA’s Capitol Studios, but just as interesting is the footage of it being recorded. It shows that while Wilson can be diffident, he is the boss in the studio. There are flashes of temper, and odd moments of humour – his impersonation of an Elvis karate kick – but mostly what you see is how Wilson’s whole life is concentrated on music. “Music is probably the biggest source of mental and emotional healing that I have in life,” he says. “When I’m at the piano, I dream.”

That Lucky Old Sun saw him back at the piano, dreaming with an intensity he hadn’t approached in decades. The tone was set by the title track, an inspired reworking of a Louis Armstrong song, but there does seem to have been an element of collaboration in the decision to frame the album as a kind of autobiography; of Wilson, and Los Angeles.

The song “Oxygen To The Brain”, Wilson explains, was “about how I laid around, didn’t do anything, gained weight, didn’t wash my face, and then one day I stepped on the gas and started exercising.” Inspired by the confessional tone, one of Wilson’s collaborators Scott Bennett wrote the lyrics to “Midnight’s Another Day”, in which Wilson sings about how his memories made him feel like stone, and how “all these people made me feel so alone”. “That’s exactly how I felt!” Wilson says, faintly amazed. “And he knew that!”

That wistfulness now permeates all of the Beach Boys’ material. Watch Wilson performing “California Girls” (on the Yahoo live set included here), and it’s apparent that the youthful complexion of the song is now barnacled with sadness. It is terribly poignant.

But, despite the reverential tone of the interviewees (among them Fleet Foxes’ Robin Pecknold), this is no obituary. What you see here is a gentle man, in sympathetic company, trying to cope with the burdens of genius by refusing to acknowledge them, even when everyone around him remains awed by the myth. My favourite moment comes when Scott Bennett explains how his lyric for “You’ll Be My Surfer Girl” was inspired by his sense that Wilson was making a musical reference to the first song he wrote, “Surfer Girl”. So, “in addition to it being an ode to your first love, it’s like a love song to your first song.”

“I just think it’s all about how I still love my wife,” says Brian.

Anyway, he sings it like an angel.

EXTRAS: 4* Track-by-track commentary, feature-length Making Of, Yahoo! Nissan Live Sets performance, MySpace “Artist On Artist” interview by Zooey Deschanel, Black Cab Sessions performance.

ALASTAIR McKAY

Being There

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Among the directors who tried to turn Hollywood upside down during the ‘70s, Hal Ashby holds a special place. He’s almost a metaphor for the whole era: arriving in the early-70s with small, unexpected movies brimming with new energy; run aground by the end of the decade, burnt out on drugs and studio frustrations. Ashby directed eleven movies before his untimely death in 1988. Mainstream acclaim came with 1978’s post-Vietnam melodrama, Coming Home, but his cult rests on four films: Harold And Maude, The Last Detail, Shampoo and this, the last weird flash before terminal decline, released, significantly enough, in December 1979. Revisit that quartet, though, and you’ll run into the central conundrum of Ashby’s career: it’s hard to locate the director’s presence at all. The success of all four films depends mainly on their writing and, in particular, their lead actor – none more than Being There, which frames Peter Sellers at his most restrained yet most brilliant, soloing with intensely quiet genius in his penultimate role. Adapted from Jerzy Kosinski’s 1971 novel, it’s a modern-day fable, a spin on the emperor with no clothes, about a simpleton who gets mistaken for a guru. Sellers plays the vacuum at the centre, a man called Chance. His origins are mysterious. All we know is he has lived his entire life in the townhouse of a wealthy old man in Washington DC, and that he is not quite right. As the maid who raised him puts it: “No brains at all. Stuffed with rice pudding between the ears.” For decades, the child-like Chance has tended the old man’s garden, but he has never ventured beyond its walls. His only contact with the world outside comes via the TV he obsessively surfs. One day, though, the old man dies, the house is sold and Chance – dressed in 1930s clothes inherited from the dead man – is cast out from his garden into the fallen world. With Sellers stumbling politely from quiet mahogany sanctuary into the loud, dirty and profane streets, clicking his TV remote control at youths who confront him, Ashby has great fun with this sequence. But the real joke is still to come. By chance, Chance is swept up into the orbit of Ben Rand (Melvyn Douglas, who won an Oscar), a dying old industrialist billionaire and political kingmaker, known as the President’s closest confidante. Sitting by Rand’s side, Chance’s silence gets mistaken for wisdom. When pressed for comment, he talks meaninglessly about the only thing he knows about: “As long as the roots are not severed, all is well. And all will be well in the garden.” It is gobbledegook, but, blinded by their sophistry and the fear of being seen not to understand, the political elite, and the audiences watching on TV, seize on his utterances as pearls of profound insight. As people constantly read their own meanings into Chance’s uncomprehending silence, the gentle idiot is soon carried to the verge of assuming the Presidency. This was a deeply personal project for Sellers. He lobbied for the role since the novel was first published, but by the time he got to play the part, he was seriously ill. Being There would be the last film of his released before his death. Although nominated, he was reportedly devastated when he failed to win the Best Actor Oscar in 1980. The real reward, though, lies in the incredible performance he left. Sellers has an impossible job: to play a cipher, a man who isn't there, yet imbue that void with hints of something profound. Somehow, he pulls it off. With his little hat and umbrella he is as absurd, unsettling and enigmatic as a Magritte. Still and silent, a universe away from Clouseau’s clowning, he radiates. This is Sellers’ film. Still, it was Ashby who came up with the last, magical touch that pushes the thing towards masterpiece: the final scene when, unobserved, Chance steps onto the surface of a lake, and obliviously begins walking on water. It’s impossible to work out what the mysterious, mischievous image is supposed to convey. The scene sends shivers running backwards through the movie, connecting with Biblical references Kosinski litters through the plot - but the scene doesn’t exist in Kosinski’s book. Ashby apparently improvised it, inspired by Sellers’ reflection in a polished floor. He probably couldn’t tell you what it’s supposed to represent himself. Maybe Ashby was something of a Chance: just there at the right moment, beside the right people. Watching Sellers stroll curiously across that beautiful grey lake, though, you can’t deny that it *feels* like it means something. And, if you like, you can probably find your own meaning in it. Perfect, really. EXTRAS: 3* Ileana Douglas’ (Melvyn Douglas’ granddaughter) memories, trailer. The Blu-Ray additionally features deleted scenes, alternative ending and gag reel. DAMIEN LOVE Pic credit: Kobal Collection

Among the directors who tried to turn Hollywood upside down during the ‘70s, Hal Ashby holds a special place. He’s almost a metaphor for the whole era: arriving in the early-70s with small, unexpected movies brimming with new energy; run aground by the end of the decade, burnt out on drugs and studio frustrations.

Ashby directed eleven movies before his untimely death in 1988. Mainstream acclaim came with 1978’s post-Vietnam melodrama, Coming Home, but his cult rests on four films: Harold And Maude, The Last Detail, Shampoo and this, the last weird flash before terminal decline, released, significantly enough, in December 1979. Revisit that quartet, though, and you’ll run into the central conundrum of Ashby’s career: it’s hard to locate the director’s presence at all. The success of all four films depends mainly on their writing and, in particular, their lead actor – none more than Being There, which frames Peter Sellers at his most restrained yet most brilliant, soloing with intensely quiet genius in his penultimate role.

Adapted from Jerzy Kosinski’s 1971 novel, it’s a modern-day fable, a spin on the emperor with no clothes, about a simpleton who gets mistaken for a guru. Sellers plays the vacuum at the centre, a man called Chance. His origins are mysterious. All we know is he has lived his entire life in the townhouse of a wealthy old man in Washington DC, and that he is not quite right. As the maid who raised him puts it: “No brains at all. Stuffed with rice pudding between the ears.”

For decades, the child-like Chance has tended the old man’s garden, but he has never ventured beyond its walls. His only contact with the world outside comes via the TV he obsessively surfs. One day, though, the old man dies, the house is sold and Chance – dressed in 1930s clothes inherited from the dead man – is cast out from his garden into the fallen world.

With Sellers stumbling politely from quiet mahogany sanctuary into the loud, dirty and profane streets, clicking his TV remote control at youths who confront him, Ashby has great fun with this sequence. But the real joke is still to come. By chance, Chance is swept up into the orbit of Ben Rand (Melvyn Douglas, who won an Oscar), a dying old industrialist billionaire and political kingmaker, known as the President’s closest confidante.

Sitting by Rand’s side, Chance’s silence gets mistaken for wisdom. When pressed for comment, he talks meaninglessly about the only thing he knows about: “As long as the roots are not severed, all is well. And all will be well in the garden.” It is gobbledegook, but, blinded by their sophistry and the fear of being seen not to understand, the political elite, and the audiences watching on TV, seize on his utterances as pearls of profound insight. As people constantly read their own meanings into Chance’s uncomprehending silence, the gentle idiot is soon carried to the verge of assuming the Presidency.

This was a deeply personal project for Sellers. He lobbied for the role since the novel was first published, but by the time he got to play the part, he was seriously ill. Being There would be the last film of his released before his death. Although nominated, he was reportedly devastated when he failed to win the Best Actor Oscar in 1980.

The real reward, though, lies in the incredible performance he left. Sellers has an impossible job: to play a cipher, a man who isn’t there, yet imbue that void with hints of something profound. Somehow, he pulls it off. With his little hat and umbrella he is as absurd, unsettling and enigmatic as a Magritte. Still and silent, a universe away from Clouseau’s clowning, he radiates.

This is Sellers’ film. Still, it was Ashby who came up with the last, magical touch that pushes the thing towards masterpiece: the final scene when, unobserved, Chance steps onto the surface of a lake, and obliviously begins walking on water.

It’s impossible to work out what the mysterious, mischievous image is supposed to convey. The scene sends shivers running backwards through the movie, connecting with Biblical references Kosinski litters through the plot – but the scene doesn’t exist in Kosinski’s book. Ashby apparently improvised it, inspired by Sellers’ reflection in a polished floor. He probably couldn’t tell you what it’s supposed to represent himself.

Maybe Ashby was something of a Chance: just there at the right moment, beside the right people. Watching Sellers stroll curiously across that beautiful grey lake, though, you can’t deny that it *feels* like it means something. And, if you like, you can probably find your own meaning in it. Perfect, really.

EXTRAS: 3* Ileana Douglas’ (Melvyn Douglas’ granddaughter) memories, trailer. The Blu-Ray additionally features deleted scenes, alternative ending and gag reel.

DAMIEN LOVE

Pic credit: Kobal Collection

Mick Jones Unveils ‘Rock and Roll Public Library’

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Mick Jones is to display a collection of items gathered from working with The Clash, Big Audio Dynamite and Carbon Silicon in a new exhibition in a South London lock-up from next month. Presenting the collection as “The Rock & Roll Public Library”, items include marketing materials from all...

Mick Jones is to display a collection of items gathered from working with The Clash, Big Audio Dynamite and Carbon Silicon in a new exhibition in a South London lock-up from next month.

Presenting the collection as “The Rock & Roll Public Library”, items include marketing materials from all of the bands plus related magazines, books instruments, flight cases, posters and stage clothes.

Highlights are likely to be the boxes of boxes of correspondence, photographs and song lyrics.

Jones will show off his hoarded collection at the Cheslea Space in SW1 from March 18 – April 18.

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Pic credit: PA Photos

Howling Bells Live Webchat This Afternoon!

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Label mates with Fleet Foxes on Bella Union, the band are about to release their second album 'Radio Wars'. Part of the chat today will discuss the importance of independent music. The Howling Bells toured Europe last year with The Killers, so they have plenty of tips for new starters in the industry. The band are to be joined by music trends expert Andy Perry, so you can also pitch your questions about what music is likely to rock your world this year. The band will also treat fans to a taste of the new songs. Click here to log on and chat to the band at 2pm. You can submit your questions now! It's simple. More information about how to get started in music, see the Emusic site here: www.emusic.com/webtv For more music and film news click here

Label mates with Fleet Foxes on Bella Union, the band are about to release their second album ‘Radio Wars’. Part of the chat today will discuss the importance of independent music.

The Howling Bells toured Europe last year with The Killers, so they have plenty of tips for new starters in the industry.

The band are to be joined by music trends expert Andy Perry, so you can also pitch your questions about what music is likely to rock your world this year.

The band will also treat fans to a taste of the new songs.

Click here to log on and chat to the band at 2pm.

You can submit your questions now! It’s simple.

More information about how to get started in music, see the Emusic site here: www.emusic.com/webtv

For more music and film news click here

Buffalo Springfield drummer Dewey Martin RIP

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Dewey Martin, drummer for Buffalo Springfield has died aged 68, Uncut has learnt today. He died on January 31, of as yet unknown causes. Martin – along with Neil Young and Stephen Stills, one of three Canadians in the Springfield – was born on September 30, 1940 as Walter Dwayne Midkiff in...

Dewey Martin, drummer for Buffalo Springfield has died aged 68, Uncut has learnt today.

He died on January 31, of as yet unknown causes.

Martin – along with Neil Young and Stephen Stills, one of three Canadians in the Springfield – was born on September 30, 1940 as Walter Dwayne Midkiff in Chesterfield, Ontario. Leaving Canada, he’d found his way to Nashville, where he’d earned his stripes playing for Roy Orbison, Patsy Cline, the Everly Brothers and Faron Young. Moving to LA, he even fronted his own band, British Invasion-copyists Sir Walter Raleigh And The Coupons, in between stints with the Standells, the Modern Folk Quarter and The Dillards.

In Spring, 1966, he was invited to audition for the Springfield by Stephen Stills. Arguably a more accomplished musician than the others, he later grumbled to Young’s biographer Jimmy McDonough: “I didn’t have to audition for Orbison or Pasty.”

Young, speaking to McDonough, was clearly impressed with Martin: “We started tryin’ drummers. I liked Dewey. He’s a sensitive drummer. You get harder, he gets harder. You pull back, he pulls back. He can feel the music – you don’t have to tell him. Eye contact. Signals. All natural. To me, that’s worth its weight in gold.”

After the Springfield collapsed in 1968, Martin attempted to put together a second line up, the New Buffalo Springfield; later, New Buffalo after a legal dispute with Stills and Young. But Martin was eventually fired from the band, and went on to work first as a solo artist then in Medicine Ball until 1971, when he retired from music to become a mechanic.

But Martin, it seems, could never quite shake the Springfield. In the mid-Eighties, he reunited with bassist Bruce Palmer for Buffalo Springfield Revisited, and they toured the chicken-in-a-basket circuit through to the early Nineties. In fact, Martin and Palmer briefly reunited with Young in 1987, when Young was assembling a backing band for his This Note’s For You album, but the sessions didn’t work.

In 1997, the members of Buffalo Springfield (without Young) were inducted into the Rock ‘n’ Roll Hall Of Fame. On the song “Buffalo Springfield Again”, from his Silver & Gold album [2000], Young sang of how he’d “Like to see those guys again/And give it another shot.” With Palmer’s death in October 2004, and now Martin’s, that, sadly, will now never happen.

Ray Davies and Clash Legends To Appear At Laugharne Weekend

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Kinks founder Ray Davies is to perform at this year's Laugharne Weekend in Wales. The Welsh literary festival welcomes poets, authors and 'travelling musicians' and venues range in capacity from Dylan Thomas' Boathouse (24) to Laugharne Castle (300). Taking place from April 3 - 5 musicians playing...

Kinks founder Ray Davies is to perform at this year’s Laugharne Weekend in Wales.

The Welsh literary festival welcomes poets, authors and ‘travelling musicians’ and venues range in capacity from Dylan Thomas’ Boathouse (24) to Laugharne Castle (300).

Taking place from April 3 – 5 musicians playing include Cate LeBon and Stuart Moxham and Johnny – a duo formed especially for the festival by Euros Childs, ex Gorky’s Zygotic Mynci, and Norman Blake from Teenage Fan Club.

Davies will be performing a spoken word show based on his book ‘X-Ray.’ Other conversations, panels and readings will incllude Shirley Collins, Keith Allen, Simon Armitage and Irvine Welsh.

The Clash‘s Mick Jones and Nick “Topper” Headon will be interviewed about their careers by their former tour manager Johnny Green.

Limited weekend tickets are available, priced at £65, individual shows will be priced between £5 and £15.

Individual show tickets (not weekend tickets) will be on sale from The New Three Mariners in Laugharne, Borders in Swansea and Spillers in Cardiff.

Check out the festival website for a full line-up and ticket details: www.thelaugharneweekend.com

All tickets go on sale from Friday February 6 at 9am.

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Lux Interior, The Cramps’ frontman Has Died

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Lux Interior, The Cramps very influential frontman died at Glandale Memorial Hospital, California from a pre-existing heart condition yesterday (February 4), aged just 62. Lux Interior, born Erick Lee Purkhiser founded The Cramps with his wife Poison Ivy in the 70s and the band are attributed with ...

Lux Interior, The Cramps very influential frontman died at Glandale Memorial Hospital, California from a pre-existing heart condition yesterday (February 4), aged just 62.

Lux Interior, born Erick Lee Purkhiser founded The Cramps with his wife Poison Ivy in the 70s and the band are attributed with pioneering a unique variation on the rockabilly sound.

The band’s publicist released an official statement saying:”Lux was a fearless frontman who transformed every stage he stepped on into a place of passion, abandon, and true freedom. He is a rare icon who will be missed dearly.”

The Cramps have toured endlessly in the last few years and were at No 2 in this year’s All Tomorrow’s Parties Fans Strike Back list, the list of bands that fans want to see play the May festival.

Click here for the full Uncut Lux Interior obituary

Plus! Click here for a reprint of Editor Allan Jones’ encounter with Lux and The Police in 1980

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