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Led Zeppelin Perform At London’s O2 Arena

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Led Zeppelin have finally hit the stage at London’s O2 Arena – coming on at 9pm (GMT). Opening song was ‘Good Times Bad Times’ , the first song from their first self-titled album, and it's as good a place as any to start - from the band's very beginning. And Led Zep sound as good as the hype surrounding them. Plant’s vocals sound incredibly good, as he swings his microphone in a swoon onstage and Page’s guitar sounds okay if a bit murky and the crowd have gone wild. The band who are all clad in black except Page who's wearing a white shirt, are playing on a big open stage, with a huge screen behind them projecting the show to the 20, 000 lucky fans in attendance. No pausing between tracks, th, the second track is second album track ‘Ramble On’ and the third, ‘Black Dog’ from Zeppelin III, by which time the sound quality hits it's stride. The crowd began singing back to Robert Plant during the ‘Ah Ah – Ah Ah’ refrain halfway through. There was a short pause in the set, with only the intermittent cackle of feedback as equipment or cables were shifted around, and Plant then finally spoke, saying, in an almost vampiric comedy tone: "Good evening" with a cheeky grimace, before Led Zeppelin start on 'In My Time Of Dying.' You can read Uncut's first review of the show by clicking here straight after the show for John Mulvey's Wild Mercury Sound blog. A longer more in-depth review will follow in the next issue of UNCUT magazine. We'll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11). If you were at the O2 Arena, email us with your reviews and opinions! Email your views to Uncutaudiencewith@ipcmedia.com Pic credit: Getty Images

Led Zeppelin have finally hit the stage at London’s O2 Arena – coming on at 9pm (GMT).

Opening song was ‘Good Times Bad Times’ , the first song from their first self-titled album, and it’s as good a place as any to start – from the band’s very beginning. And Led Zep sound as good as the hype surrounding them. Plant’s vocals sound incredibly good, as he swings his microphone in a swoon onstage and Page’s guitar sounds okay if a bit murky and the crowd have gone wild.

The band who are all clad in black except Page who’s wearing a white shirt, are playing on a big open stage, with a huge screen behind them projecting the show to the 20, 000 lucky fans in attendance.

No pausing between tracks, th, the second track is second album track ‘Ramble On’ and the third, ‘Black Dog’ from Zeppelin III, by which time the sound quality hits it’s stride. The crowd began singing back to Robert Plant during the ‘Ah Ah – Ah Ah’ refrain halfway through.

There was a short pause in the set, with only the intermittent cackle of feedback as equipment or cables were shifted around, and Plant then finally spoke, saying, in an almost vampiric comedy tone: “Good evening” with a cheeky grimace, before Led Zeppelin start on ‘In My Time Of Dying.’

You can read Uncut’s first review of the show by clicking here straight after the show for John Mulvey’s Wild Mercury Sound blog.

A longer more in-depth review will follow in the next issue of UNCUT magazine.

We’ll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11).

If you were at the O2 Arena, email us with your reviews and opinions!

Email your views to Uncutaudiencewith@ipcmedia.com

Pic credit: Getty Images

Jason Bonham – More Nervous Than The Rest Of Led Zep

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Jason Bonham's regular bandmates from Foreigner have been keeping an eye on him prior to tonight's one-off Led Zeppelin concert at the O2 Arena (December 10). Foreigner, who Bonham drums with, are currently on a European tour, and have just explained to www.uncut.co.uk how the rescheduled date from November 26 to today has really complicated their show times. The band have just flown in from performing a show in Berlin, and have to fly straight back out to Zurich tonight, but as singer Kelly Hansen explained: "This show was about doing it for Ahmet, it's a pleasure to be here, it's just a shame that we were on such a short amount of time. Guitarist Mick Jones added: "When you have such a small amount of time on stage, it's hard, you have to find it within you to give it your all. I'm so pleased we got to play Ahmet's favourite Foreigner song." Having just been speaking to Jason Bonham backstage, it would appear that nerves are wracking him, though of course he's looking forward to doing his utmost for Ahmet, the band and his dad. Jason has previously taken on the role of drumming briefly with Led Zeppelin, once at Atlantic Records 40th birthday party in 1988 and the second time at his own wedding party back in 1990. We have been reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin throughout the evening. Coming up, all the bands, gossip, and fans reactions. You can also see Uncut's sister title nme.com for even more live coverage from the concert. You can read Uncut's first review of the show by clicking here straight after the show for John Mulvey's Wild Mercury Sound blog. A longer more in-depth review will follow in the next issue of UNCUT magazine. We'll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11). If you were at the O2 Arena, email us with your reviews and opinions! Email your views to Uncutaudiencewith@ipcmedia.com Pic credit: PA Photos

Jason Bonham‘s regular bandmates from Foreigner have been keeping an eye on him prior to tonight’s one-off Led Zeppelin concert at the O2 Arena (December 10).

Foreigner, who Bonham drums with, are currently on a European tour, and have just explained to www.uncut.co.uk how the rescheduled date from November 26 to today has really complicated their show times.

The band have just flown in from performing a show in Berlin, and have to fly straight back out to Zurich tonight, but as singer Kelly Hansen explained: “This show was about doing it for Ahmet, it’s a pleasure to be here, it’s just a shame that we were on such a short amount of time.

Guitarist Mick Jones added: “When you have such a small amount of time on stage, it’s hard, you have to find it within you to give it your all. I’m so pleased we got to play Ahmet’s favourite Foreigner song.”

Having just been speaking to Jason Bonham backstage, it would appear that nerves are wracking him, though of course he’s looking forward to doing his utmost for Ahmet, the band and his dad.

Jason has previously taken on the role of drumming briefly with Led Zeppelin, once at Atlantic Records 40th birthday party in 1988 and the second time at his own wedding party back in 1990.

We have been reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin throughout the evening. Coming up, all the bands, gossip, and fans reactions.

You can also see Uncut’s sister title nme.com for even more live coverage from the concert.

You can read Uncut’s first review of the show by clicking here straight after the show for John Mulvey’s Wild Mercury Sound blog.

A longer more in-depth review will follow in the next issue of UNCUT magazine.

We’ll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11).

If you were at the O2 Arena, email us with your reviews and opinions!

Email your views to Uncutaudiencewith@ipcmedia.com

Pic credit: PA Photos

Paul Rodgers, Foreigner And More!

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The Ahmet Ertegun tribute concert is now well underway at London's O2 Arena. The concert started with a supergroup of Emerson, Lake and Palmer's Keith Emerson, joined by Alan White and Chris Squire from 60's prog rock group Yes, and Bad Company's Simon Kirk, performing classic track 'Fanfare Of The Common Man'. The group were then swiftly followed on by Bill Wyman's Rhythm Kings taking to the stage, who are to be the night's house band. Singer Maggie Bell, rock'n' roller Alvin Lee and Mike Sanchez then took to the stage to perform a succession of 50s soul ballads. Paul Rodgers came on next performing his classic riff track 'All Right Now' followed by Bad Company's 'Seagull'. Foreigner then took to the stage with their biggest hit 'I Want To Know What Love Is', with the band being accompanied by a children's choir for the epic sing-along chorus. The stage was then promptly cleared, with the first half of the show all over by 8.30, it dawned on everyone in the arena that Led Zeppelin were, actually, up next. Almost as though the past few months waiting had evapurated like magic. Their first full live show in over 27 years is scheduled to begin around 9pm, come back to the site for more details in half an hour. Uncut is trying to share the huge rock love as it unfolds, internet servers permitting. The sheer demand of this event has crashed networks across the world in music fans determinated to have a nose at what's been transpiring in London's Docklands. Meanwhile, while we wait for the main event, word is constantly filtering through about the celebs in the audience, Marilyn Manson, Bob Geldof, Liam Gallagher, Gene Simmons are all here for the biggest concert ever. We are reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin throughout the evening. Coming up, all the bands, gossip, and fans reactions. You can also see Uncut's sister title nme.com for even more live coverage from the concert. You can read Uncut's first review of the show by clicking here now for John Mulvey's Wild Mercury Sound blog. A longer more in-depth review will follow in the next issue of UNCUT magazine. We'll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11). If you were at the O2 Arena, email us with your reviews and opinions! Email your views to Uncutaudiencewith@ipcmedia.com Pic credit: PA Photos

The Ahmet Ertegun tribute concert is now well underway at London’s O2 Arena.

The concert started with a supergroup of Emerson, Lake and Palmer‘s Keith Emerson, joined by Alan White and Chris Squire from 60’s prog rock group Yes, and Bad Company‘s Simon Kirk, performing classic track ‘Fanfare Of The Common Man’.

The group were then swiftly followed on by Bill Wyman’s Rhythm Kings taking to the stage, who are to be the night’s house band.

Singer Maggie Bell, rock’n’ roller Alvin Lee and Mike Sanchez then took to the stage to perform a succession of 50s soul ballads.

Paul Rodgers came on next performing his classic riff track ‘All Right Now’ followed by Bad Company’s ‘Seagull’.

Foreigner then took to the stage with their biggest hit ‘I Want To Know What Love Is’, with the band being accompanied by a children’s choir for the epic sing-along chorus.

The stage was then promptly cleared, with the first half of the show all over by 8.30, it dawned on everyone in the arena that Led Zeppelin were, actually, up next. Almost as though the past few months waiting had evapurated like magic.

Their first full live show in over 27 years is scheduled to begin around 9pm, come back to the site for more details in half an hour. Uncut is trying to share the huge rock love as it unfolds, internet servers permitting.

The sheer demand of this event has crashed networks across the world in music fans determinated to have a nose at what’s been transpiring in London’s Docklands.

Meanwhile, while we wait for the main event, word is constantly filtering through about the celebs in the audience, Marilyn Manson, Bob Geldof, Liam Gallagher, Gene Simmons are all here for the biggest concert ever.

We are reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin throughout the evening. Coming up, all the bands, gossip, and fans reactions.

You can also see Uncut’s sister title nme.com for even more live coverage from the concert.

You can read Uncut’s first review of the show by clicking here now for John Mulvey’s Wild Mercury Sound blog.

A longer more in-depth review will follow in the next issue of UNCUT magazine.

We’ll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11).

If you were at the O2 Arena, email us with your reviews and opinions!

Email your views to Uncutaudiencewith@ipcmedia.com

Pic credit: PA Photos

It’s showtime! The Ahmet Erteun Tribute Concert is go!

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After months of eager anticipation - we're finally here and the show has begun! The next few hours are going to be full of musical surprises from the great and the good, we don't have a running order, so bear with as we find out together as the night goes on... Paolo Nutini has opened the tribut...

After months of eager anticipation – we’re finally here and the show has begun!

The next few hours are going to be full of musical surprises from the great and the good, we don’t have a running order, so bear with as we find out together as the night goes on…

Tribute To Ahmet Ertegun – It’s Showtime!

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The Ahmet Ertegun tribute concert has kicked off London's O2 Arena tonight (December 10). Anticipation for tonight's show has been unprecented, with an estimated 20 milion people attempting to register for pairs of tickets which only 9,000 finally won in a lottery style ballot earlier this year. Previously confirmed on the bill tonight are Foreigner, Paul Rodgers and Paolo Nutini who will be performing with Bill Wyman's Rhythm Kings as the 'house band'. All of the artists have been signed to Atlantic Records over the years. Suprise guests have also been promised as the night progresses. You can read Uncut's first review of the show by clicking here now for John Mulvey's Wild Mercury Sound blog. A longer more in-depth review will follow in the next issue of UNCUT magazine. We'll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11). If you were at the O2 Arena, email us with your reviews and opinions! Email your views to Uncutaudiencewith@ipcmedia.com Pic credit: PA Photos

The Ahmet Ertegun tribute concert has kicked off London’s O2 Arena tonight (December 10).

Anticipation for tonight’s show has been unprecented, with an estimated 20 milion people attempting to register for pairs of tickets which only 9,000 finally won in a lottery style ballot earlier this year.

Previously confirmed on the bill tonight are Foreigner, Paul Rodgers and Paolo Nutini who will be performing with Bill Wyman’s Rhythm Kings as the ‘house band’. All of the artists have been signed to Atlantic Records over the years. Suprise guests have also been promised as the night progresses.

You can read Uncut’s first review of the show by clicking here now for John Mulvey’s Wild Mercury Sound blog.

A longer more in-depth review will follow in the next issue of UNCUT magazine.

We’ll have more pictures, reports and fan reactions from the Ahmet Ertegun tribute concert from the morning (December 11).

If you were at the O2 Arena, email us with your reviews and opinions!

Email your views to Uncutaudiencewith@ipcmedia.com

Pic credit: PA Photos

Led Zeppelin Reunion – One hour to go, the O2 Arena is filling up

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The 02 Arena is bustling with the energy of rock - fans are still queuing to pick up tickets and at the entrance to the Arena. Others are bustling around the bars and cafes throughout the O2 complex as the artists and special guests are beginning to arrive on the red carpet... As reported, Led Z...

The 02 Arena is bustling with the energy of rock – fans are still queuing to pick up tickets and at the entrance to the Arena.

Others are bustling around the bars and cafes throughout the O2 complex as the artists and special guests are beginning to arrive on the red carpet…

Uncut on the Led Zeppelin reunion!

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I won’t after all be one of the 20,000 people who tonight will be at the O2 Arena for the much-anticipated Led Zeppelin reunion show. I had a ticket, but in the end gave it up to John Mulvey, who will now deservedly be there, along with www.uncut.co.uk news supremo, Farah Ishaq. Farah will be backstage and posting a blow-by-blow account of the show, while John will be putting a full review online as soon as he can after Zeppelin finish what everyone is hoping will be the most spectacular comeback in rock history. Click here for Uncut's special Live Reviews Blog - tonight (December 10) coming direct from backstage at the Ahmet Ertegun tribute concert, headlined by Led Zeppelin. We'll have a track by track guide from 7pm.

I won’t after all be one of the 20,000 people who tonight will be at the O2 Arena for the much-anticipated Led Zeppelin reunion show. I had a ticket, but in the end gave it up to John Mulvey, who will now deservedly be there, along with www.uncut.co.uk news supremo, Farah Ishaq.

John Lennon – Stars Pick Their Favorite Tracks

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The January issue of UNCUT is on sale now, featuring an all-star panel of musicians selecting their favourite song by the late Beatle John Lennon. Which Lennon song "flipped out" Brian Wilson when he first heard it? Which one reminds Arctic Monkey Alex Turner of his mum and dad? And when we asked The Who's Roger Daltrey for his favourite, what on earth led him to conclude: "I can see why people go completely mad in this business."? And there's many, many brilliant contributions from the likes of Yoko Ono, John Cale, John Lydon, Jarvis Cocker and Liam Gallagher. Meanwhile, Uncut.co.uk will be running online exclusives throughout the month, today is Roy Wood's pick. ~ Roy Wood: (JUST LIKE) STARTING OVER Single from the John Lennon album, Double Fantasy (October 1980). Highest UK chart position: 1 A personal favourite of mine is "(Just Like) Starting Over", the last single released before his tragic end. It went back to those Lennon rock & roll-type routes that we all loved about his writing, which really made me smile when I heard this song after all those years he spent in retirement. It just makes you wonder what the follow up album would have been like, and what he would have been doing now. I remember playing at the Alexandra Palace in London sometime during 1968/69 with The Move, together with Jimi Hendrix and Pink Floyd. I’d been onstage before the show sorting out my amp and I was walking back to the dressing room which for some reason was at the other end of this massive hall, with my guitar around my neck. I spotted John Lennon right in the distance walking towards me wearing his trademark Afghan coat and round yellow specs. It seemed to take ages before we met up. He stamped to a halt and saluted me, Sergeant Major style, to which I did exactly the same. He said "Nice one, man” and just carried on walking. And I did exactly the same. It was a strange and magical experience and I will always treasure that memory. God bless you, John. ~ Plus! What do you think Lennon's greatest song is? You can vote for your choice, and tell us why, by clicking here for the special poll. We'll be publishing your choices in a future issue of Uncut, along with a reader Top 10. VOTE HERE!

The January issue of UNCUT is on sale now, featuring an all-star panel of musicians selecting their favourite song by the late Beatle John Lennon.

Which Lennon song “flipped out” Brian Wilson when he first heard it?

Which one reminds Arctic Monkey Alex Turner of his mum and dad?

And when we asked The Who‘s Roger Daltrey for his favourite, what on earth led him to conclude: “I can see why people go completely mad in this business.”?

And there’s many, many brilliant contributions from the likes of Yoko Ono, John Cale, John Lydon, Jarvis Cocker and Liam Gallagher.

Meanwhile, Uncut.co.uk will be running online exclusives throughout the month, today is Roy Wood‘s pick.

~

Roy Wood:

(JUST LIKE) STARTING OVER

Single from the John Lennon album, Double Fantasy (October 1980). Highest UK chart position: 1

A personal favourite of mine is “(Just Like) Starting Over”, the last single released before his tragic end. It went back to those Lennon rock & roll-type routes that we all loved about his writing, which really made me smile when I heard this song after all those years he spent in retirement. It just makes you wonder what the follow up album would have been like, and what he would have been doing now.

I remember playing at the Alexandra Palace in London sometime during 1968/69 with The Move, together with Jimi Hendrix and Pink Floyd. I’d been onstage before the show sorting out my amp and I was walking back to the dressing room which for some reason was at the other end of this massive hall, with my guitar around my neck.

I spotted John Lennon right in the distance walking towards me wearing his trademark Afghan coat and round yellow specs. It seemed to take ages before we met up. He stamped to a halt and saluted me, Sergeant Major style, to which I did exactly the same. He said “Nice one, man” and just carried on walking. And I did exactly the same. It was a strange and magical experience and I will always treasure that memory. God bless you, John.

~

Plus! What do you think Lennon’s greatest song is? You can vote for your choice, and tell us why, by clicking here for the special poll. We’ll be publishing your choices in a future issue of Uncut, along with a reader Top 10. VOTE HERE!

Editors Add Second London Date To Spring Tour

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Editors have announced that they will now play a second show in London next March. Due to demand, a second night at London's mammoth Alexandra Palace will now take place on March 6. As previouslty announced Editors play the following venues: Glasgow Academy (February 26) Blackpool Empress Ballroom (28) Birmingham NIA (2) Doncaster Dome (March 2) Manchester Apollo (3) London Alexandra Palace (5, 6) Plymouth Pavillions (7)

Editors have announced that they will now play a second show in London next March.

Due to demand, a second night at London’s mammoth Alexandra Palace will now take place on March 6.

As previouslty announced Editors play the following venues:

Glasgow Academy (February 26)

Blackpool Empress Ballroom (28)

Birmingham NIA (2)

Doncaster Dome (March 2)

Manchester Apollo (3)

London Alexandra Palace (5, 6)

Plymouth Pavillions (7)

Led Zeppelin: Top 20 Songs Fans Want To Hear

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Led Zeppelin's 'Kashmir' has been voted as the song fans most want to hear when the group perfrom their first full show in 27 years at London's O2 Arena tonight (December 10). In conjunction with sister title nme.com we have been running an online vote to find out which tracks you want to hear at the one-off concert tonight. 'Kashmir' from the band's sixth studio album 'Physical Graffiti' has been voted the your favorite track. 'Stairway To Heaven' comes in at number 2, and 'Whole Lotta Love' which used to be part of the Top of The Pops intro riff comes in at number three. The Top 20 songs list also includes 'when The Leevee Breaks', 'Dazed And Confused' and 'Heartbreaker.' The vote is still open - so if you've not already scored your favourite Led Zeppelin tracks out of ten - head to the special vote page here: Rate The Song. Check Uncut's Live Reviews Blog from 7pm tonight where we'll be reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin. The Top 20 songs for Led Zeppelin's fan-voted setlist are: 1. 'Kashmir' 2. 'Stairway To Heaven' 3. 'Whole Lotta Love' 4. 'Rock And Roll' 5. 'Black Dog' 6. 'Immigrant Song 7. 'When The Levee Breaks' 8. 'Dazed And Confused' 9. 'Since I've Been Loving You' 10. 'Heartbreaker' 11. 'Communication Breakdown' 12. 'Babe I'm Gonna Leave You' 13. 'Ramble On' 14. 'Over The Hills And Far Away' 15. 'Good Times Bad Times' 16. 'Achilles Last Stand' 17. 'No Quarter' 18. 'The Song Remains The Same' 19. 'Going To California' 20. 'In My Time Of Dying'

Led Zeppelin‘s ‘Kashmir’ has been voted as the song fans most want to hear when the group perfrom their first full show in 27 years at London’s O2 Arena tonight (December 10).

In conjunction with sister title nme.com we have been running an online vote to find out which tracks you want to hear at the one-off concert tonight.

‘Kashmir’ from the band’s sixth studio album ‘Physical Graffiti’ has been voted the your favorite track.

‘Stairway To Heaven’ comes in at number 2, and ‘Whole Lotta Love’ which used to be part of the Top of The Pops intro riff comes in at number three.

The Top 20 songs list also includes ‘when The Leevee Breaks’, ‘Dazed And Confused’ and ‘Heartbreaker.’

The vote is still open – so if you’ve not already scored your favourite Led Zeppelin tracks out of ten – head to the special vote page here: Rate The Song.

Check Uncut’s Live Reviews Blog from 7pm tonight where we’ll be reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin.

The Top 20 songs for Led Zeppelin’s fan-voted setlist are:

1. ‘Kashmir’

2. ‘Stairway To Heaven’

3. ‘Whole Lotta Love’

4. ‘Rock And Roll’

5. ‘Black Dog’

6. ‘Immigrant Song

7. ‘When The Levee Breaks’

8. ‘Dazed And Confused’

9. ‘Since I’ve Been Loving You’

10. ‘Heartbreaker’

11. ‘Communication Breakdown’

12. ‘Babe I’m Gonna Leave You’

13. ‘Ramble On’

14. ‘Over The Hills And Far Away’

15. ‘Good Times Bad Times’

16. ‘Achilles Last Stand’

17. ‘No Quarter’

18. ‘The Song Remains The Same’

19. ‘Going To California’

20. ‘In My Time Of Dying’

Led Zeppelin imminently, plus the great Kelley Stoltz

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Mildly deranged vibes here today, as I prepare my body and soul for the Led Zeppelin gig tonight. I'll be posting a review of the show on this blog when I manage to get home from Greenwich, but you can follow the action throughout the evening as Farah Ishaq will be reporting non-stop from Greenwich on our Live Reviews blog. I spent a long time on the M4 this past weekend playing old Led Zep albums and trying to guess which songs they'll actually still be capable of playing. A slightly cautious hunch is that there'll be a fair few slowish blues and not much in the vein of say, "The Song Remains The Same". But we'll see. Today, after a bracing blast of "Physical Graffiti", it occurred to me that I really should get around to writing about the fine fourth album by Kelley Stoltz. It's called "Circular Sounds" and, I have to admit, it's the first one of his records that has really grabbed me - though I suspect if I'd spent enough time with its predecessors (though possibly not his cover of Echo And The Bunnymen's "Crocodiles")I'd be pretty sold on those ones too. Stoltz is from San Francisco, and essentially, his speciality is a faintly crotchety, faintly psychedelic, exceptionally melodic Americanised update of The Beatles and The Kinks. Listening to "Circular Sounds" the other day, it struck me that there are two main ways in which musicians are influenced by this sort of canonical Britbeat. Most British disciples - Oasis and Jam-era Weller are obvious examples, I guess - fixate on the anthemics, the attitudes, the Englishness, the mod affiliations. This lot have never interested me a great deal, to be honest; as the amount of hairy nouveau-hippy stuff I write about here probably makes clear, the aesthetics of mod have always been fairly charmless to me. Stoltz, I think, belongs to a tradition which you could plausibly trace from the Nuggets bands, through people like Big Star and maybe Cheap Trick, earlyish Elvis Costello & The Attractions, up to the likes of Elliott Smith and Brendan Benson, where artists - usually American - grapple with the melodic possibilities of that tradition, without getting hung up on the baggage. If Stoltz had been in Detroit around the turn of the decade, you can imagine Jack White recruiting him into The Raconteurs at the expense of Benson. "Circular Sounds" is one of those records where every play brings another favourite song. It has a curiously cranky baroque air, a jaunty lushness which feels like it was nailed together in a garden shed rather than a plush studio, as pumping pianos, wobbly brass lines and a manifest crackling energy give these memorable little songs real thrust. Today I like "To Speak To The Girl" (a swinging 1965 groove, there), the gorgeous, 1970 Kinksy "When You Forget" and "Your Reverie", which I believe may be the first single, and which sounds a bit like Costello's "Pump It Up" if it was dreamed up in, oh, Cleveland in 1968. I'm going to be playing this one a lot next year; hopefully you will too. But in the meantime I have a date with destiny. Anyone else who makes it to the Led Zep show, please let me know what you thought.

Mildly deranged vibes here today, as I prepare my body and soul for the Led Zeppelin gig tonight. I’ll be posting a review of the show on this blog when I manage to get home from Greenwich, but you can follow the action throughout the evening as Farah Ishaq will be reporting non-stop from Greenwich on our Live Reviews blog.

Led Zeppelin! They are coming!

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Tonight's tribute concert to Ahmet Ertegun, starring a reunited band you might have heard of, Led Zeppelin, is just a few hours away now. Page, Plant, JPJ and Jason Bonham are playing their first two-hour long set in 27 years from 9pm at the 02 Arena and Uncut.co.uk will be reporting from inside th...

Tonight’s tribute concert to Ahmet Ertegun, starring a reunited band you might have heard of, Led Zeppelin, is just a few hours away now.

Page, Plant, JPJ and Jason Bonham are playing their first two-hour long set in 27 years from 9pm at the 02 Arena and Uncut.co.uk will be reporting from inside the concert!

Led Zeppelin – Knebworth ’79 – More Of Your Memories

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In last month's UNCUT magazine - we delved back into the photo archives to bring you Simon Fowler's memories of recording the sell-out record-breaking attendence show - now with Led Zeppelin about to do it all again, here we publish your memories from 1979. ~ Dena Zarans: If only I hadn’t persuaded my parents to take their scheming daughter plus best friend Pauline to Loch Ness on holiday with them. Strange, said daughter’s new found passion for Scottish heather and mist. They had put it down to an art student’s zest for nature and mythical glen. Little did they suspect their daughter’s hidden agenda of tracking down the whereabouts of Jimmy Page’s country retreat. After all, was it not an open secret in certain circles that Pagey was only too willing to invite tired, lost and thirsty fans in for tea and biscuits? Especially two attractive waifs like us, I cunningly mused! If only those journalists hadn’t taken an interest in us in the ‘Cats Whiskers’ last night. Why were we in the Highlands and what did we hope to see and do? With a leading question like that I couldn’t resist my opportunity and spilled the beans. Pauline, of course, took the artistic route and claimed to want to see the satanic murals in Pagey’s Boleskine House, former home of “The Beast”, Aleister Crowley. As my motives were highly ulterior, I went along with this but kept quiet about any further ambitions. To crown it all it was my 21st birthday and our friendly bloodhounds had decided that a present was in order. Not only this (and more to the point), what a good story it would make for their little rag. It was proposed that the next morning they’d transport us to Page’s lair and write about whatever transpired. Eek. No sleep was had that night. Excitement mounted and by morning enthusiasm had turned to abject panic. Make up was trowelled on and countless cigarettes consumed, unlike the proffered haggis breakfast. I’m sure the owner of the B&B had deduced we were about to rendezvous with a Bay City Roller and not a serious musician, such was our demeanour at the prospect. Our chauffeur arrived. The journalist who was doubling as the photographer, drove around the edge of the Loch until finally we arrived at two imposing wrought iron gates. Our disappointment must have been tangible when we found that the gates were well and truly locked with no apparent way of gaining admittance or attention. However, I’d spied a hole in the wall and somehow persuaded Pauline to join me in crawling through it. At this point our journalist friend renounced all responsibilities for our actions, wanting to retain the good relations cultivated between press and Jimmy Page. So there we were, on our own. Suddenly two enormous black Dobermans, bounded out of nowhere at us. Pauline, who is almost 6ft, immediately hid behind me (I’m 5ft 4in) and used me as a human shield. The dogs leapt and just as I was anticipating the cold pain of dagger-like fangs ripping into my flesh, the feeling of something warm and slimey sloshing all over my face overwhelmed me. Yes, we were being licked to death! Jimmy’s Hounds of Boleskine greeted us with the waggy tails and sloppy embrace of long lost playmates. Then from behind a hillock came a shout: “Oi, you, get outta there or I’ll set the dogs on ya!” “Oh yeah?” Thought I. An angry, red faced thug sprang off a lawnmower and headed toward us. Still sputtering, the garden-bouncer began his tirade again, including the morsel that Jimmy wasn’t there. With eyelashes fluttering wildly we apologised profusely and attempted the logic of having broken into Mr. Page’s property for a cup of tea. It didn’t wash. We turned tail and scurried off in the direction of the gates, closely followed by the gardener. After being unceremoniously evicted, this time through the more traditional exit, our reporter was allowed photographs of us by the gates of Boleskine which were subsequently published in the Inverness and Highland News. Ah well, we’d tried. Not to wallow in failure, we consoled ourselves with what lay in store for us the following weekend. Knebworth. On the Friday night, a sparsely covered encampment greeted us at the grounds surrounding the grassy arena. With only a few tents speckled here and there we had the choice of prime position. A fire was lit and in a haze of exotic herbal substances canvas and pole were miraculously erected. We retired to our tent exhausted by our efforts and promptly fell asleep. 2 hrs later we crawled out bleary-eyed and couldn't believe what we saw. A city of tents had mushroomed in the intervening hours and how many thousands there were was anyone’s guess. It really was magical and a sight I'll never forget. I’m sure anyone who was there will remember the atmosphere and camaraderie of this almost mediaeval encampment preparing for battle, regardless of how spaced out the troops were! The gate would open at 4 am. I’d brought an alarm clock (sad, eh?) and at 3 am it rudely announced that today was The Day. Hastily trying to apply mascara in torchlight and pull on skin tight loons whilst simultaneously avoiding the knees and elbows of four others is something I said I would never do again and have kept to my word. We walked at an ever quickening pace to the gate of the arena area. Impatient to get to the stage, when the gate was eventually opened we all tumbled in, running like the wind for pole position. Pretty damn excellent really - we ended up a few makeshift rows from the front. My boyfriend had decided to celebrate my 21st birthday of the previous week with a bottle of Moet and Chandon, a packet of bacon Frazzles and one of Link’s specialities - a three-pronged herbal cigarette. 6 am and all was well. Most of the day passed by in a series of befuddled images: Todd Rundgren leaping through the air, arms akimbo and guitar flying, our escape of Chas and Dave all the more desperate, as negotiating the latrines was deemed preferable to the endurance of their set. So much for abstinence. Misplaced person of the day had to be the spikey-haired bleached-blond punk in leathers and chains who’d either lost his way or come to get an education. Finally, when our reserves of patience could stand it no more, the light went down and Zeppelin hit the stage. It had been four years since they had played in England. I remember the roar of 250,000 people as they arrived onstage. The opening anthems included “The Song Remains The Same” and “Celebration Day” and I believe it was the first time I was to hear “In The Evening”. I have an abiding image of Jimmy Page enveloped in a lazer beam pyramid, a lone figure to the right of the stage, thrashing the bow across his guitar and bathed in blue light. Amid multiple encores, “Heartbreaker” and “Communication Breakdown” saw them out and left us ecstatic, wondering when we would see them again. I thank God we are not afflicted with the burden of foresight. How we ever found the tent that night I shall never know. As a postscript I want to take you full circle to 1994 and the Zeppelin Convention. For some reason I had decided to take with me that newspaper cutting of Pauline and I at Boleskine. Jason Bonham had turned up and was announcing that he’d sign autographs for £5 each, which would then go to charity. I couldn’t resist and took the cutting up with me for him to sign. Whilst I was telling him the story of our jaunt up to Jimmy’s house, there was a guy, obviously a friend, listening intently at Jason’s shoulder with an amused twinkle in his eye. As I concluded my tale and prepared to go, the stranger turned to me and said: “You know that evil looking bastard who chased you out of Boleskine? Well that was me.....” ~ Ove Stridh: Two of my friends and I left our little Swedish village and went out in Europe by train on inter rail tickets. Our first planned stop was in London to meet up with some other friends from Sweden before going up to Stevenage and the Knebworth festival. First of all we started up with a nice party in Hyde Park and later in some pub nearby. The next day we had some hangover but we managed to get all the people together and jumped on the train to Stevenage. I had been there once before in 1975 to see Pink Floyd. When I bought the ticket for this festival my main reason was to see The New Barbarians but by now we knew that they had cancelled their gig for this, the first weekend. Well, I thought it might be some fun to see Led Zeppelin as well and a rock festival is always a nice way to spend some time. We spent the most of the night before the festival in one of the big tents in the camping area drinking all the beers and whisky we had bought in Stevenage. A sleeping bag each was all the baggage we had. While we were drinking our beer in this tent some guy near us got so drunk that he became unconscious and threw up on one of my friends’ sleeping bag. It was hell of party that night and in the middle of the night there was a rumour that the gates would open at four o'clock in the morning so we moved outside just up at the gates. A special thing that I remember is that one person out in the dark night first shouted "Wally" and then a lot people shouted back "Bloody Wally" and that continued for hours. Well sometime in the morning the gates opened and we got in but we were not too quick so we did not get so good spot in the field, quite near the stage but a bit on one side. I don't remember so much of the other bands that played that day but we had so much fun and enjoyed all of it even if I missed The New Barbarians. I also remember the poor people who tried to stand up for digging and dancing and then got hit by a rain of cans and bottles. Led Zeppelin was really great and I remember a policeman who went completely wild during "Whole Lotta Love" he was so happy and dancing. After some encores most of the people started to move out of the arena and we wanted to do same, all of us except a guy called Christer. He's a true hardcore Zeppelin fan and he kept saying, "No you idiots we can't go now, they will play at least one more song" but we started to walk in the dark to get somewhere to put out our sleeping bags and sleep. When we had walked for about 500 meters we could hear the the band coming out on the stage and they started to play again.Our friend Christer actually began to cry and screamed to us, "Now you see you fuckin' morons, they are playing ‘Heartbreaker’ and here we are in the middle of nowhere, I will never forgive you guys". He did never forgive us but now he's going to London for the concert there. I'm very glad for him! ~ Teddy Lindgren: Happy to borrow the money I needed, from my mum, to pay for the ticket and the inter rail pass, I was soon on my way, by train. Copenhagen (with all that comes with that), Amsterdam ( did anybody say The Milky Way?), ferry from Hoek van Holland to, was it Felixstowe or Harwich? Can´t really remember… But I remember my company on the local train to Knebworth. A bunch of crazy, English dope/acidheads soon adopted me. One guy even had ACID tattooed on his knuckles. But they were really nice blokes and they were, like me, totally Zepfreaks. After a long walk from the station, we finally got to the big field or park or whatever it was, far out in the country, as it seemed to me. This was late in the evening, the day before the concert. There was thousands of people there and fires were burning and I thought I had the time of my life. Until it started to rain… But these nice gentlemen from the train covered me with plastic blankets that they, professionals as they were, quickly got from their backpacks. I remember some kind of comedy duo - ”Chas and Dave”? Singing a silly song about a rabbit. I remember Southside Johnny sounding like Springsteen. I don´t remember hardly anything about Rundgren. Didn´t know who he was and thought it sounded boring. Then the New Barbarians was on… I was at a really good spot, 20 metres from the stage. A few moments before the show started, lots of Richards lookalikes, stumbled their way through the crowd, to get as close as possible to their mentor. When the Barbarians left the stage, the Richards-clones also left. “Fucking heavy metal!” was all they had to say about Zep! The band played some Stones tunes, some Faces and Ronnie Wood songs and a few funky things, as far as I remember. Then after some delay, Led Zeppelin took over the place! At this time they were superior, in my world, and Robert Plant for sure was that Golden God he claimed to be himself. Being in this place, in a foreign country, with all these people, 250000?, ( shit, a rumour even said a woman gave birth to a child at Knebworth! Can that really be true? And what name did they give him/her?) when Zep got on I was blown away. Tears in my eyes, shivers down my spine. I was in heaven! What strucked me the most, was how important J-P Jones was to the live sound.Page & Plant, in all their glory, but Jonesy was really a very, very big part of the machinery with Bonham as the backbone of it all. How smashing and amazing it all was! It was, probably, the greatest rock moment of my life! ~ For more Knebworth 1979 memories - see part one by clicking here Check Uncut's Live Reviews Blog from 7pm tonight where we'll be reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin.

In last month’s UNCUT magazine – we delved back into the photo archives to bring you Simon Fowler’s memories of recording the sell-out record-breaking attendence show – now with Led Zeppelin about to do it all again, here we publish your memories from 1979.

~

Dena Zarans:

If only I hadn’t persuaded my parents to take their scheming daughter plus best friend Pauline to Loch Ness on holiday with them. Strange, said daughter’s new found passion for Scottish heather and mist. They had put it down to an art student’s zest for nature and mythical glen. Little did they suspect their daughter’s hidden agenda of tracking down the whereabouts of Jimmy Page’s country retreat. After all, was it not an open secret in certain circles that Pagey was only too willing to invite tired, lost and thirsty fans in for tea and biscuits? Especially two attractive waifs like us, I cunningly mused!

If only those journalists hadn’t taken an interest in us in the ‘Cats Whiskers’ last night. Why were we in the Highlands and what did we hope to see and do? With a leading question like that I couldn’t resist my opportunity and spilled the beans.

Pauline, of course, took the artistic route and claimed to want to see the satanic murals in Pagey’s Boleskine House, former home of “The Beast”, Aleister Crowley. As my motives were highly ulterior, I went along with this but kept quiet about any further ambitions. To crown it all it was my 21st birthday and our friendly bloodhounds had decided that a present was in order. Not only this (and more to the point), what a good story it would make for their little rag. It was proposed that the next morning they’d transport us to Page’s lair and write about whatever transpired. Eek.

No sleep was had that night. Excitement mounted and by morning enthusiasm had turned to abject panic. Make up was trowelled on and countless cigarettes consumed, unlike the proffered haggis breakfast. I’m sure the owner of the B&B had deduced we were about to rendezvous with a Bay City Roller and not a serious musician, such was our demeanour at the prospect.

Our chauffeur arrived. The journalist who was doubling as the photographer, drove around the edge of the Loch until finally we arrived at two imposing wrought iron gates. Our disappointment must have been tangible when we found that the gates were well and truly locked with no apparent way of gaining admittance or attention. However, I’d spied a hole in the wall and somehow persuaded Pauline to join me in crawling through it. At this point our journalist friend renounced all responsibilities for our actions, wanting to retain the good relations cultivated between press and Jimmy Page.

So there we were, on our own. Suddenly two enormous black Dobermans, bounded out of nowhere at us. Pauline, who is almost 6ft, immediately hid behind me (I’m 5ft 4in) and used me as a human shield. The dogs leapt and just as I was anticipating the cold pain of dagger-like fangs ripping into my flesh, the feeling of something warm and slimey sloshing all over my face overwhelmed me. Yes, we were being licked to death! Jimmy’s Hounds of Boleskine greeted us with the waggy tails and sloppy embrace of long lost playmates.

Then from behind a hillock came a shout:

“Oi, you, get outta there or I’ll set the dogs on ya!”

“Oh yeah?” Thought I.

An angry, red faced thug sprang off a lawnmower and headed toward us. Still sputtering, the garden-bouncer began his tirade again, including the morsel that Jimmy wasn’t there. With eyelashes fluttering wildly we apologised profusely and attempted the logic of having broken into Mr. Page’s property for a cup of tea. It didn’t wash. We turned tail and scurried off in the direction of the gates, closely followed by the gardener.

After being unceremoniously evicted, this time through the more traditional exit, our reporter was allowed photographs of us by the gates of Boleskine which were subsequently published in the Inverness and Highland News.

Ah well, we’d tried. Not to wallow in failure, we consoled ourselves with what lay in store for us the following weekend. Knebworth. On the Friday night, a sparsely covered encampment greeted us at the grounds surrounding the grassy arena. With only a few tents speckled here and there we had the choice of prime position. A fire was lit and in a haze of exotic herbal substances canvas and pole were miraculously erected.

We retired to our tent exhausted by our efforts and promptly fell asleep. 2 hrs later we crawled out bleary-eyed and couldn’t believe what we saw. A city of tents had mushroomed in the intervening hours and how many thousands there were was anyone’s guess. It really was magical and a sight I’ll never forget. I’m sure anyone who was there will remember the atmosphere and camaraderie of this almost mediaeval encampment preparing for battle, regardless of how spaced out the troops were!

The gate would open at 4 am. I’d brought an alarm clock (sad, eh?) and at 3 am it rudely announced that today was The Day.

Hastily trying to apply mascara in torchlight and pull on skin tight loons whilst simultaneously avoiding the knees and elbows of four others is something I said I would never do again and have kept to my word. We walked at an ever quickening pace to the gate of the arena area. Impatient to get to the stage, when the gate was eventually opened we all tumbled in, running like the wind for pole position. Pretty damn excellent really – we ended up a few makeshift rows from the front.

My boyfriend had decided to celebrate my 21st birthday of the previous week with a bottle of Moet and Chandon, a packet of bacon Frazzles and one of Link’s specialities – a three-pronged herbal cigarette. 6 am and all was well.

Most of the day passed by in a series of befuddled images: Todd Rundgren leaping through the air, arms akimbo and guitar flying, our escape of Chas and Dave all the more desperate, as negotiating the latrines was deemed preferable to the endurance of their set. So much for abstinence. Misplaced person of the day had to be the spikey-haired bleached-blond punk in leathers and chains who’d either lost his way or come to get an education.

Finally, when our reserves of patience could stand it no more, the light went down and Zeppelin hit the stage. It had been four years since they had played in England. I remember the roar of 250,000 people as they arrived onstage. The opening anthems included “The Song Remains The Same” and “Celebration Day” and I believe it was the first time I was to hear “In The Evening”. I have an abiding image of Jimmy Page enveloped in a lazer beam pyramid, a lone figure to the right of the stage, thrashing the bow across his guitar and bathed in blue light. Amid multiple encores, “Heartbreaker” and “Communication Breakdown” saw them out and left us ecstatic, wondering when we would see them again. I thank God we are not afflicted with the burden of foresight.

How we ever found the tent that night I shall never know.

As a postscript I want to take you full circle to 1994 and the Zeppelin Convention. For some reason I had decided to take with me that newspaper cutting of Pauline and I at Boleskine. Jason Bonham had turned up and was announcing that he’d sign autographs for £5 each, which would then go to charity. I couldn’t resist and took the cutting up with me for him to sign. Whilst I was telling him the story of our jaunt up to Jimmy’s house, there was a guy, obviously a friend, listening intently at Jason’s shoulder with an amused twinkle in his eye. As I concluded my tale and prepared to go, the stranger turned to me and said: “You know that evil looking bastard who chased you out of Boleskine? Well that was me…..”

~

Ove Stridh:

Two of my friends and I left our little Swedish village and went out in Europe by train on inter rail tickets. Our first planned stop was in London to meet up with some other friends from Sweden before going up to Stevenage and the Knebworth festival. First of all we started up with a nice party in Hyde Park and later in some pub nearby.

The next day we had some hangover but we managed to get all the people together and jumped on the train to Stevenage. I had been there once before in 1975 to see Pink Floyd. When I bought the ticket for this festival my main reason was to see The New Barbarians but by now we knew that they had cancelled their gig for this, the first weekend. Well, I thought it might be some fun to see Led Zeppelin as well and a rock festival is always a nice way to spend some time.

We spent the most of the night before the festival in one of the big tents in the camping area drinking all the beers and whisky we had bought in Stevenage. A sleeping bag each was all the baggage we had. While we were drinking our beer in this tent some guy near us got so drunk that he became unconscious and threw up on one of my friends’ sleeping bag.

It was hell of party that night and in the middle of the night there was a rumour that the gates would open at four o’clock in the morning so we moved outside just up at the gates. A special thing that I remember is that one person out in the dark night first shouted “Wally” and then a lot people shouted back “Bloody Wally” and that continued for hours.

Well sometime in the morning the gates opened and we got in but we were not too quick so we did not get so good spot in the field, quite near the stage but a bit on one side.

I don’t remember so much of the other bands that played that day but we had so much fun and enjoyed all of it even if I missed The New Barbarians. I also remember the poor people who tried to stand up for digging and dancing and then got hit by a rain of cans and bottles.

Led Zeppelin was really great and I remember a policeman who went completely wild during “Whole Lotta Love” he was so happy and dancing. After some encores most of the people started to move out of the arena and we wanted to do same, all of us except a guy called Christer. He’s a true hardcore Zeppelin fan and he kept saying, “No you idiots we can’t go now, they will play at least one more song” but we started to walk in the dark to get somewhere to put out our sleeping bags and sleep.

When we had walked for about 500 meters we could hear the the band coming out on the stage and they started to play again.Our friend Christer actually began to cry and screamed to us, “Now you see you fuckin’ morons, they are playing ‘Heartbreaker’ and here we are in the middle of nowhere, I will never forgive you guys”.

He did never forgive us but now he’s going to London for the concert there. I’m very glad for him!

~

Teddy Lindgren:

Happy to borrow the money I needed, from my mum, to pay for the ticket and the inter rail pass, I was soon on my way, by train. Copenhagen (with all that comes with that), Amsterdam ( did anybody say The Milky Way?), ferry from Hoek van Holland to, was it Felixstowe or Harwich? Can´t really remember…

But I remember my company on the local train to Knebworth. A bunch of crazy, English dope/acidheads soon adopted me. One guy even had ACID tattooed on his knuckles. But they were really nice blokes and they were, like me, totally Zepfreaks.

After a long walk from the station, we finally got to the big field or park or whatever it was, far out in the country, as it seemed to me. This was late in the evening, the day before the concert. There was thousands of people there and fires were burning and I thought I had the time of my life. Until it started to rain… But these nice gentlemen from the train covered me with plastic blankets that they, professionals as they were, quickly got from their backpacks.

I remember some kind of comedy duo – ”Chas and Dave”? Singing a silly song about a rabbit. I remember Southside Johnny sounding like Springsteen. I don´t remember hardly anything about Rundgren. Didn´t know who he was and thought it sounded boring.

Then the New Barbarians was on… I was at a really good spot, 20 metres from the stage.

A few moments before the show started, lots of Richards lookalikes, stumbled their way through the crowd, to get as close as possible to their mentor. When the Barbarians left the stage, the Richards-clones also left. “Fucking heavy metal!” was all they had to say about Zep! The band played some Stones tunes, some Faces and Ronnie Wood songs and a few funky things, as far as I remember.

Then after some delay, Led Zeppelin took over the place!

At this time they were superior, in my world, and Robert Plant for sure was that Golden God he claimed to be himself. Being in this place, in a foreign country, with all these people, 250000?, ( shit, a rumour even said a woman gave birth to a child at Knebworth! Can that really be true? And what name did they give him/her?) when Zep got on I was blown away. Tears in my eyes, shivers down my spine. I was in heaven!

What strucked me the most, was how important J-P Jones was to the live sound.Page & Plant, in all their glory, but Jonesy was really a very, very big part of the machinery with Bonham as the backbone of it all. How smashing and amazing it all was!

It was, probably, the greatest rock moment of my life!

~

For more Knebworth 1979 memories – see part one by clicking here

Check Uncut’s Live Reviews Blog from 7pm tonight where we’ll be reporting live from the tribute to Ahmet Ertegun concert, headlined by Led Zeppelin.

Ron Wood Exclusive Interview!

0

Ron Wood studied art at Ealing’s College of Art. Despite being told by his bandmates to “stick to playing guitar”, he’s persevered and now, with an exhibition of his art running at Manchester’s Richard Goodall Gallery until January 5, he talks to UNCUT about his second career as “Ronnie Rembrandt”. UNCUT: What can people expect to see at the exhibition? RWOOD: They can see all my work, including works that have been exhibited at Scream Gallery in London. Exhibitions are about a story, an experience. And with a good piece of art, you capture an audience with your story, the texture and the colour. All my paintings are inspired by experience. There is no way to separate one element from another. It’s the package of everything together. Is there ever a point where your music and art get in the way of each other? On tour with the Rolling Stones, life is incredibly busy: the travelling, new cities, shows three or four times a week. But I travel with my paints and often paint in the hotel rooms on my downtime. It’s fantastic, because there’s always something new to see, to capture and to explore. By the end of the tour, I have paintings to reflect the entire journey. Was art your first choice of career? I always looked up to my brothers Art and Ted, both musicians and painters themselves. Since I could remember, I wanted to do exactly what they did, and so I followed them to art school. There wasn’t one moment where music took over. In my life and forever, art and music have been intertwined. Can you remember the first things you ever drew or painted? I was quite young, maybe nine or so when my first painting was properly recognized. I won a TV competition. My family and I were having dinner at home, and there was my painting on the telly! What kind of attitude did theFaces and the Rolling Stones have towards your art? They’ve always supported me in what I do. It’s part of me and always has been. I’ve been nicknamed “Ronnie Rembrandt”, an incredible compliment. It’s always good to have our tours captured on canvas. It’s great to look back on. I wouldn’t say I have one ideal subject. I love painting while we’re on tour and I love trying to capture the energy and passion we have when we’re on stage. It’s an incredible position to be in: painting what I experience, see and feel at that point in time. INTERVIEW: ROB HUGHES The Richard Goodall Gallery is at 103 High Street, Manchester M4 1HQ For details, visit www.richardgoodallgallery.com Pic credit: PA Photos

Ron Wood studied art at Ealing’s College of Art. Despite being told by his bandmates to “stick to playing guitar”, he’s persevered and now, with an exhibition of his art running at Manchester’s Richard Goodall Gallery until January 5, he talks to UNCUT about his second career as “Ronnie Rembrandt”.

UNCUT: What can people expect to see at the exhibition?

RWOOD: They can see all my work, including works that have been exhibited at Scream Gallery in London. Exhibitions are about a story, an experience. And with a good piece of art, you capture an audience with your story, the texture and the colour. All my paintings are inspired by experience. There is no way to separate one element from another. It’s the package of everything together.

Is there ever a point where your music and art get in the way of each other?

On tour with the Rolling Stones, life is incredibly busy: the travelling, new cities, shows three or four times a week. But I travel with my paints and often paint in the hotel rooms on my downtime. It’s fantastic, because there’s always something new to see, to capture and to explore. By the end of the tour, I have paintings to reflect the entire journey.

Was art your first choice of career?

I always looked up to my brothers Art and Ted, both musicians and painters themselves. Since I could remember, I wanted to do exactly what they did, and so I followed them to art school. There wasn’t one moment where music took over. In my life and forever, art and music have been intertwined.

Can you remember the first things you ever drew or painted?

I was quite young, maybe nine or so when my first painting was properly recognized. I won a TV competition. My family and I were having dinner at home, and there was my painting on the telly!

What kind of attitude did theFaces and the Rolling Stones have towards your art?

They’ve always supported me in what I do. It’s part of me and always has been. I’ve been nicknamed “Ronnie Rembrandt”, an incredible compliment. It’s always good to have our tours captured on canvas. It’s great to look back on. I wouldn’t say I have one ideal subject. I love painting while we’re on tour and I love trying to capture the energy and passion we have when we’re on stage. It’s an incredible position to be in: painting what I experience, see and feel at that point in time.

INTERVIEW: ROB HUGHES

The Richard Goodall Gallery is at 103 High Street, Manchester M4 1HQ

For details, visit www.richardgoodallgallery.com

Pic credit: PA Photos

Spiritualized Bring Christmas Spirit Early At Divine Chapel Show

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Jason Pierce brought an atmospheric and sublime show of Spiritualized songs to Islington's Union Chapel last night (December 9). Joined by Doggen from Spiritualized on keyboards and harmonica; the pair were accompanied by the London Community Gospel Choir and a string quartet on the chapel's stage. The ever-publically reticent Pierce sat facing away from the audience, playing acoustic guitar and reading from a song book. The nearly two hour set comprised songs throughout Pierce's career, from Spacemen 3 as well as Spiritualized albums, with several tracks from 2001's 'Let It Come Down'. Adding to the Christmas-sy atmosphere in the church, the group sang carol 'Silent Night' during the encore. Pierce has now completed recording a new Spiritualized studio album, and will hopefully be released in the Spring. Spiritualized play the Union Chapel again tonight (December 10). Last night's set list was: Sitting On Fire Lord Let It Rain On Me True Love Will Find You Cool Waves Amen Going Down Slow Soul On Fire Walking With Jesus Feel So Sad Stop Your Crying All Of My Tears Baby I'm Just A Fool Anything More/ Ladies & Gentlemen Broken Heart Think I'm In Love Lord Can You Hear Me Goodnight Goodnight Silent Night Oh Happy Day Pic credit: PA Photos

Jason Pierce brought an atmospheric and sublime show of Spiritualized songs to Islington’s Union Chapel last night (December 9).

Joined by Doggen from Spiritualized on keyboards and harmonica; the pair were accompanied by the London Community Gospel Choir and a string quartet on the chapel’s stage.

The ever-publically reticent Pierce sat facing away from the audience, playing acoustic guitar and reading from a song book. The nearly two hour set comprised songs throughout Pierce’s career, from Spacemen 3 as well as Spiritualized albums, with several tracks from 2001’s ‘Let It Come Down’.

Adding to the Christmas-sy atmosphere in the church, the group sang carol ‘Silent Night’ during the encore.

Pierce has now completed recording a new Spiritualized studio album, and will hopefully be released in the Spring.

Spiritualized play the Union Chapel again tonight (December 10).

Last night’s set list was:

Sitting On Fire

Lord Let It Rain On Me

True Love Will Find You

Cool Waves

Amen

Going Down Slow

Soul On Fire

Walking With Jesus

Feel So Sad

Stop Your Crying

All Of My Tears

Baby I’m Just A Fool

Anything More/ Ladies & Gentlemen

Broken Heart

Think I’m In Love

Lord Can You Hear Me

Goodnight Goodnight

Silent Night

Oh Happy Day

Pic credit: PA Photos

Iggy And The Stooges To Play IOW Festival

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Iggy Pop & The Stooges have been confirmed to play next year's Isle Of Wight Festival. James, Lily Allen and Kate Nash will also be joining previously announced headliners Kaiser Chiefs, The Sex Pistols and The Police at the three-day music event next June 13-15. Tickets for the festival went on sale today (December 10). See the official festival website here, for more ticket details and band info: www.isleofwightfestival.com

Iggy Pop & The Stooges have been confirmed to play next year’s Isle Of Wight Festival.

James, Lily Allen and Kate Nash will also be joining previously announced headliners Kaiser Chiefs, The Sex Pistols and The Police at the three-day music event next June 13-15.

Tickets for the festival went on sale today (December 10).

See the official festival website here, for more ticket details and band info: www.isleofwightfestival.com

Pink Floyd – Oh, By The Way…

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Fetch the helium balloons, face paints and mobile disco. After years of rancour and torpor, Pink Floyd suddenly can’t stop celebrating. First came September’s 40th anniversary reissue of The Piper At The Gates Of Dawn. Now cop a load of this mammoth, 16-CD ‘instant Floyd collection’, containing mini-vinyl reproductions of all their studio albums (1967–94): a deluxe, executive, gold-member, £145 crash course in Floyd. The patient is strapped down. For the next 11 hours he will listen to the entire box set in chronological order, with no toilet breaks, human contact or wine. His experiment begins with Piper…, a space probe viewed from a child’s nursery, which alternately soothes and scares him (heartbeat: placid, berserk). He quickly impresses the doctors by reappraising the not-so-exalted A Saucerful Of Secrets, muttering: “You can hear how they took three bass-notes from the middle of ‘Interstellar Overdrive’ and devised a sort of speculative, post-Barrett, cosmic-progressive franchise for themselves to build on.” If the film soundtrack More and ‘studio’ half of Ummagumma (heartbeat: sluggish) don’t hold his attention (“undercooked, run-of-the-mill atmospherics”), he perks up during the latter’s ‘live’ half (“genuinely spooky”) and towards the end of Atom Heart Mother (heartbeat: inert) when we wake him with electric shocks (“yaaaaarrgh”). The sequence MeddleDark Side Of The MoonWish You Were Here meets with apparently sincere approval (“say what you like, the meticulous craftsmanship is to die for”) and special, if unusual, praise is reserved for the 1972 album Obscured By Clouds (“very much their ‘fuck you’ garage-rock classic”). The bleak Animals (1977), despite doctors’ concerns, stimulates him into forthright social comment (“more punk than punk, really”), but he baulks at The Wall and requires heavy sedation (“Roger Waters and Bob Ezrin at their tasteless, pompous worst”). He sleeps through The Final Cut, probably for the best, and, though revivified, his intravenous drip detaches itself midway through A Momentary Lapse Of Reason (“those mid-’80s productions… I’ve just remembered an urgent chiropodist’s appointment”). He is administered freebase cocaine to keep him alive during The Division Bell (“zzzzzz”). Further patient notes: “No outtakes, no ‘Vegetable Man’, chiz chiz”, “SO MUCH UNDERACHIEVEMENT: IRONY?”, “Remarkable how Nick Mason goes from primitive–African nutter to most banal drummer on earth in 2 yrs”. DAVID CAVANAGH

Fetch the helium balloons, face paints and mobile disco. After years of rancour and torpor, Pink Floyd suddenly can’t stop celebrating. First came September’s 40th anniversary reissue of The Piper At The Gates Of Dawn. Now cop a load of this mammoth, 16-CD ‘instant Floyd collection’, containing mini-vinyl reproductions of all their studio albums (1967–94): a deluxe, executive, gold-member, £145 crash course in Floyd.

The patient is strapped down. For the next 11 hours he will listen to the entire box set in chronological order, with no toilet breaks, human contact or wine. His experiment begins with Piper…, a space probe viewed from a child’s nursery, which alternately soothes and scares him (heartbeat: placid, berserk). He quickly impresses the doctors by reappraising the not-so-exalted A Saucerful Of Secrets, muttering: “You can hear how they took three bass-notes from the middle of ‘Interstellar Overdrive’ and devised a sort of speculative, post-Barrett, cosmic-progressive franchise for themselves to build on.”

If the film soundtrack More and ‘studio’ half of Ummagumma (heartbeat: sluggish) don’t hold his attention (“undercooked, run-of-the-mill atmospherics”), he perks up during the latter’s ‘live’ half (“genuinely spooky”) and towards the end of Atom Heart Mother (heartbeat: inert) when we wake him with electric shocks (“yaaaaarrgh”). The sequence MeddleDark Side Of The MoonWish You Were Here meets with apparently sincere approval (“say what you like, the meticulous craftsmanship is to die for”) and special, if unusual, praise is reserved for the 1972 album Obscured By Clouds (“very much their ‘fuck you’ garage-rock classic”).

The bleak Animals (1977), despite doctors’ concerns, stimulates him into forthright social comment (“more punk than punk, really”), but he baulks at The Wall and requires heavy sedation (“Roger Waters and Bob Ezrin at their tasteless, pompous worst”). He sleeps through The Final Cut, probably for the best, and, though revivified, his intravenous drip detaches itself midway through A Momentary Lapse Of Reason (“those mid-’80s productions… I’ve just remembered an urgent chiropodist’s appointment”). He is administered freebase cocaine to keep him alive during The Division Bell (“zzzzzz”).

Further patient notes: “No outtakes, no ‘Vegetable Man’, chiz chiz”, “SO MUCH UNDERACHIEVEMENT: IRONY?”, “Remarkable how Nick Mason goes from primitive–African nutter to most banal drummer on earth in 2 yrs”.

DAVID CAVANAGH

U2 – The Joshua Tree Re-Mastered (R1987)

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It is vexingly difficult to improve upon the summation of “The Joshua Tree” offered by longtime U2 confidant Bill Flanagan in his liner notes accompanying this sumptuous re-release. U2’s fifth studio album, Flanagan writes, “established both a standard they would always have to live up to, and an image they would forever try to live down.” The Joshua Tree was a milestone and a millstone. It turned U2 from a biggish rock’n’roll band into inescapable, ubiquitous, culture-straddling colossi. Even Time magazine felt obliged to put them on the cover, declaring U2 “Rock’s Hottest Ticket” and relegating Mikhail Gorbachev to a top-corner drop-in. It also turned U2, as that kind of success often does to its victim, into caricatures of themselves. The perception of U2 as a sack of pompous bores, which rather unfairly persists despite several expansive and expensive attempts by the band to exorcise it – Bono famously characterised U2’s dazzling reinvention in the 1990s as “the sound of four men chopping down ‘The Joshua Tree’” – is rooted in the album’s cover image: Anton Corbijn’s grainy, black-and-white study of a quartet of earnest young Irishmen regarding the Californian desert with a demeanour that made the statues of Easter Island resemble, by comparison, the cast of “Animal House”. So, 20 years and more than 20 million sales later, 'The Joshua Tree' is one of those albums which, like anything similarly culturally and commercially overwhelming, is a struggle to appreciate on its own merits. It’s a task made no easier by the – admittedly splendid – distractions included with this reissue. The deluxe edition includes a second disc of b-sides and demos. A limited box set has that plus a DVD which contains a concert from the “Joshua Tree” tour (Paris, July 4th, 1987), a couple of videos (including one for “Red Hill Mining Town” in which U2, clad in sweat-soaked singlets, stroll around what seems to be some sort of disreputable sauna) and a film called “Outside It’s America” – an agglomeration of home-movie footage, including the (almost literally) riotous filming of the “Where The Streets Have No Name” video on a Los Angeles rooftop, plus plane rides, photo shoots, soundchecks, shopping, and sundry after-hours clowning. The new sleeve features more of Corbijin’s photos, plus reflections on the album from most of its principals – each of U2, minus the obstinately modest Larry Mullen jr, Corbijn, producers Daniel Lanois and Brian Eno, among others. 'The Joshua Tree' itself, it says here, has been “meticulously remastered”, but any casual listener who can perceive a meaningful difference between this and the original has i) ears like a bat and/or ii) needs to get out more. The emphasis on the re-mastering is, however, a telling indicator of U2’s essential restlessness: they are, whatever else one may think of them, the least complacent of megastars, gnawingly dissatisfied with their own canon (Bono’s contribution to the sleevenotes includes a hostage-offering admonishment to himself that he “never finished” the lyrics for “The Joshua Tree”). It’s also indicative of U2’s apparently insatiable desire to broadcast as far and wide as possible, this band who never – somewhat jarringly in the crucible of post-punk which formed them – saw the point, or the appeal, of obscurity (in the same treatise, Bono recalls rock of the late 80s as “starting to stare at its own shoes, with its gothic death cults and indie whingeing”). Even the b-sides and out-takes on the new bonus disc fizz with ambition – and, inevitably, occasionally, over-ambition. Those who experience an itching sensation in their teeth whenever U2 embrace Calliope a little too ardently should probably skip the arrangements of William Blake’s “Introduction” (from “Songs Of Experience”) and Allen Ginsberg’s “America”. Elsewhere, though, lie many treasures, greatly illuminating of U2’s palette of influences – the space-age Smokey Robinson “Sweetest Thing”, the svelte Television homage “Spanish Eyes”. 'The Joshua Tree' itself still bristles with the bravado of a band shaping up for a shot at the title, daring themselves to believe that they could make their idols their peers. Shortly afterwards, of course, the further pursuit of this impulse would lead to the hubris, well-meaning though it was, of (i)Rattle & Hum(i), but for these 11 tracks, U2 hit neither a metaphorical nor actual duff note. The track-listing is massively front-loaded, led off by the three big singles (“Where The Streets Have No Name”, “I Still Haven’t Found What I’m Looking For”, “With Or Without You”): the result, Bono later claimed, of asking Kirsty MacColl (whose then-husband, Steve Lillywhite, mixed four of the cuts) to sequence the record; she simply listed the songs in order of preference. Starting with these ecstatic anthems sets the album up for a vertiginous downward momentum, plummeting through “Bullet The Blue Sky” (an oblique critique of American misadventurism in El Salvador, on which Edge’s screeching guitar satisfyingly approximates fighter jets) via the gorgeous “Running To Stand Still” to a succession of exquisitely reproachful, souped-up psalms contemplating, to various extents, what was, then and now, the biggest of subjects: the United States. The working title for 'The Joshua Tree' was “The Two Americas”, which would have been blundering and portentous, but also accurate. The album was, and remains, an epic and unflinching gaze into a country of possibilities inspiring and alarming: a country into which U2 were looking, perhaps, and seeing something of themselves. ANDREW MUELLER

It is vexingly difficult to improve upon the summation of “The Joshua Tree” offered by longtime U2 confidant Bill Flanagan in his liner notes accompanying this sumptuous re-release. U2’s fifth studio album, Flanagan writes, “established both a standard they would always have to live up to, and an image they would forever try to live down.”

The Joshua Tree was a milestone and a millstone. It turned U2 from a biggish rock’n’roll band into inescapable, ubiquitous, culture-straddling colossi. Even Time magazine felt obliged to put them on the cover, declaring U2 “Rock’s Hottest Ticket” and relegating Mikhail Gorbachev to a top-corner drop-in.

It also turned U2, as that kind of success often does to its victim, into caricatures of themselves. The perception of U2 as a sack of pompous bores, which rather unfairly persists despite several expansive and expensive attempts by the band to exorcise it – Bono famously characterised U2’s dazzling reinvention in the 1990s as “the sound of four men chopping down ‘The Joshua Tree’” – is rooted in the album’s cover image: Anton Corbijn’s grainy, black-and-white study of a quartet of earnest young Irishmen regarding the Californian desert with a demeanour that made the statues of Easter Island resemble, by comparison, the cast of “Animal House”.

So, 20 years and more than 20 million sales later, ‘The Joshua Tree’ is one of those albums which, like anything similarly culturally and commercially overwhelming, is a struggle to appreciate on its own merits. It’s a task made no easier by the – admittedly splendid – distractions included with this reissue. The deluxe edition includes a second disc of b-sides and demos. A limited box set has that plus a DVD which contains a concert from the “Joshua Tree” tour (Paris, July 4th, 1987), a couple of videos (including one for “Red Hill Mining Town” in which U2, clad in sweat-soaked singlets, stroll around what seems to be some sort of disreputable sauna) and a film called “Outside It’s America” – an agglomeration of home-movie footage, including the (almost literally) riotous filming of the “Where The Streets Have No Name” video on a Los Angeles rooftop, plus plane rides, photo shoots, soundchecks, shopping, and sundry after-hours clowning. The new sleeve features more of Corbijin’s photos, plus reflections on the album from most of its principals – each of U2, minus the obstinately modest Larry Mullen jr, Corbijn, producers Daniel Lanois and Brian Eno, among others.

‘The Joshua Tree’ itself, it says here, has been “meticulously remastered”, but any casual listener who can perceive a meaningful difference between this and the original has i) ears like a bat and/or ii) needs to get out more. The emphasis on the re-mastering is, however, a telling indicator of U2’s essential restlessness: they are, whatever else one may think of them, the least complacent of megastars, gnawingly dissatisfied with their own canon (Bono’s contribution to the sleevenotes includes a hostage-offering admonishment to himself that he “never finished” the lyrics for “The Joshua Tree”). It’s also indicative of U2’s apparently insatiable desire to broadcast as far and wide as possible, this band who never – somewhat jarringly in the crucible of post-punk which formed them – saw the point, or the appeal, of obscurity (in the same treatise, Bono recalls rock of the late 80s as “starting to stare at its own shoes, with its gothic death cults and indie whingeing”).

Even the b-sides and out-takes on the new bonus disc fizz with ambition – and, inevitably, occasionally, over-ambition. Those who experience an itching sensation in their teeth whenever U2 embrace Calliope a little too ardently should probably skip the arrangements of William Blake’s “Introduction” (from “Songs Of Experience”) and Allen Ginsberg’s “America”. Elsewhere, though, lie many treasures, greatly illuminating of U2’s palette of influences – the space-age Smokey Robinson “Sweetest Thing”, the svelte Television homage “Spanish Eyes”.

‘The Joshua Tree’ itself still bristles with the bravado of a band shaping up for a shot at the title, daring themselves to believe that they could make their idols their peers. Shortly afterwards, of course, the further pursuit of this impulse would lead to the hubris, well-meaning though it was, of (i)Rattle & Hum(i), but for these 11 tracks, U2 hit neither a metaphorical nor actual duff note. The track-listing is massively front-loaded, led off by the three big singles (“Where The Streets Have No Name”, “I Still Haven’t Found What I’m Looking For”, “With Or Without You”): the result, Bono later claimed, of asking Kirsty MacColl (whose then-husband, Steve Lillywhite, mixed four of the cuts) to sequence the record; she simply listed the songs in order of preference.

Starting with these ecstatic anthems sets the album up for a vertiginous downward momentum, plummeting through “Bullet The Blue Sky” (an oblique critique of American misadventurism in El Salvador, on which Edge’s screeching guitar satisfyingly approximates fighter jets) via the gorgeous “Running To Stand Still” to a succession of exquisitely reproachful, souped-up psalms contemplating, to various extents, what was, then and now, the biggest of subjects: the United States.

The working title for ‘The Joshua Tree’ was “The Two Americas”, which would have been blundering and portentous, but also accurate. The album was, and remains, an epic and unflinching gaze into a country of possibilities inspiring and alarming: a country into which U2 were looking, perhaps, and seeing something of themselves.

ANDREW MUELLER

The Vernon Elliott Ensemble – Ivor The Engine & Pogles Wood

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To anoraks of a certain sensibility, Trunk Records honcho Jonny Trunk is slowly assuming the role of a pop culture National Trust – preserving musical memories that will always be too obscure or esoteric for mainstream consumption. Thanks to him, the soundtrack to camp horror-flick Blood On Satan’s Claw is once again in circulation, whilst Basil Kirchin’s Abstractions Of The Industrial North has been liberated from the music library limbo. If affection for such off-beam instrumental excursions runs deep, then that shouldn’t be surprising. As Trunk’s 2001 reissue of Vernon Elliott’s music for The Clangers serves to remind us, the music that accompanied our pre-school yesterdays defied categorisation. In the hands of Elliott, outer space was depicted not as a wonky Joe Meek-style futurescape of possibilities, but a place where tiny curiosities happened amid a backdrop of vast emptiness. This CD gathers together the rest of Elliott’s work with master storyteller Oliver Postgate. In keeping with their settings, the music for Pogles Wood and Ivor The Engine was stripped of avant-garde flourishes. The main Ivor theme included here is akin to a 12-inch (or, if you like, wide-gauge) version – with a minute of Satiesque piano and Elliott’s bassoon preceding the recognizably jaunty bit. Much of what follows is really just colour (“Ivor Resists Starting” is the sort of thing you insert as light relief when making CD-Rs for friends) but just as much is unexpectedly moving: the choir on “Land Of My Fathers” and the bucolic canter of “Fast Theme”. Even if you remember Pogles Wood, chances are you won’t remember its finest moment “Witch’s Theme”. After complaints from worried parents, this burst of air-thickening orchestral portent was shelved, along with the witch whose entrance it heralded. What remained, however, was hardly easy listening. “Pogles Walk” sounds like the music woodland animals might make after the humans have left, whilst Apprehensive Music is up there with Depeche Mode’s “It’s No Good” for the most literal title of all time. Odd doesn’t even begin to cover it – but smuggled in the Trojan horse of Postgate’s narratives, the effect of Elliott’s music was mesmerising. It’s hard to imagine a generation weaned on Tweenies and Fifi & The Flowertots coming to appreciate the music of their early years in quite the same way. PETER PAPHIDES

To anoraks of a certain sensibility, Trunk Records honcho Jonny Trunk is slowly assuming the role of a pop culture National Trust – preserving musical memories that will always be too obscure or esoteric for mainstream consumption. Thanks to him, the soundtrack to camp horror-flick Blood On Satan’s Claw is once again in circulation, whilst Basil Kirchin’s Abstractions Of The Industrial North has been liberated from the music library limbo.

If affection for such off-beam instrumental excursions runs deep, then that shouldn’t be surprising. As Trunk’s 2001 reissue of Vernon Elliott’s music for The Clangers serves to remind us, the music that accompanied our pre-school yesterdays defied categorisation. In the hands of Elliott, outer space was depicted not as a wonky Joe Meek-style futurescape of possibilities, but a place where tiny curiosities happened amid a backdrop of vast emptiness.

This CD gathers together the rest of Elliott’s work with master storyteller Oliver Postgate. In keeping with their settings, the music for Pogles Wood and Ivor The Engine was stripped of avant-garde flourishes. The main Ivor theme included here is akin to a 12-inch (or, if you like, wide-gauge) version – with a minute of Satiesque piano and Elliott’s bassoon preceding the recognizably jaunty bit. Much of what follows is really just colour (“Ivor Resists Starting” is the sort of thing you insert as light relief when making CD-Rs for friends) but just as much is unexpectedly moving: the choir on “Land Of My Fathers” and the bucolic canter of “Fast Theme”.

Even if you remember Pogles Wood, chances are you won’t remember its finest moment “Witch’s Theme”. After complaints from worried parents, this burst of air-thickening orchestral portent was shelved, along with the witch whose entrance it heralded. What remained, however, was hardly easy listening. “Pogles Walk” sounds like the music woodland animals might make after the humans have left, whilst Apprehensive Music is up there with Depeche Mode’s “It’s No Good” for the most literal title of all time. Odd doesn’t even begin to cover it – but smuggled in the Trojan horse of Postgate’s narratives, the effect of Elliott’s music was mesmerising. It’s hard to imagine a generation weaned on Tweenies and Fifi & The Flowertots coming to appreciate the music of their early years in quite the same way.

PETER PAPHIDES

Nick Cave And Warren Ellis – The Assassination Of Jesse James By The Coward Robert Ford: OST

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Maybe it's the aching romanticism, maybe it's the moral absolutes or maybe it's just all that gorgeous blood and thunder, but the New Western has proved fertile ground for some of rock's wildest mavericks. Bob Dylan infamously appeared in and scored Sam Peckinpah's Pat Garrett & Billy The Kid. Robert Altman shot to a soundtrack of Leonard Cohen songs on McCabe and Mrs Miller. And Neil Young provided an oddball addition to the canon with his work on Jim Jarmusch's inscrutably deadpan Dead Man. Having long aspired to precisely that company, Nick Cave is fast becoming the go-to guy to soundtrack your modern-day existential horse opera. He paired up with long-time Bad Seed/Grinderman accomplice Warren Ellis in 2005 to provide music for his own outback vengeance drama The Proposition, and now the duo have been commissioned by Aussie auteur Andrew Dominik (director of the stunning Chopper, among others) to score his would-be Malickian adaptation of Ron Hansen's novel, The Assassination of Jesse James... The Propositionfeatured tracks with such functional titles as "Sad Violin Thing" and "Gun Thing", and the new record kicks off with an ominous piano and violin number called "A Rather Lovely Thing". In truth, half of a dozen of the tracks here could be similarly titled. Dominik's ambitions for his movie were apparently scuppered by the studio, but that doesn't seem to have had any effect on the music which is thick with atmosphere, though -- entirely instrumental -- short on incident. Cave makes a brief cameo in the film, to sing a Jesse-inspired folksong with Zooey Deschanel, but that makes no appearance here. Instead we get a rich, heady musical moonshine, at its best on the twinkling spooked piano of "Song for Jesse". STEPHEN TROUSSÉ Q&A With Warren Ellis: UNCUT:Do you and Nick work differently on soundtracks compared to song-based material? WARREN ELLIS: With a film you are serving something else,and you find yourself making music you wouldn't necessarily do in your group.Generally there are no lyrics,so it's a different thing, more open ended, less reliant on form and structure.We tend to create the music apart from the images, then apply it and see how it fits. We don't spot music,or provide stings as such.I think it's quite different to how other composers work. What was your brief? We were sent one minute of Brad Pitt saying the same line over and over, and made the bulk of the music from that session. It was then left up to Nick and myself to find a way of doing what we do and in some way meet the demands of such a project.I think Andrew has made a huge leap with this film. It's extraordinairy. What's the appeal of the Western? What's not to like about a good Western?! But it's a coincidence that we've done two of them. Recently we completed music for a documentary on an English brain surgeon!

Maybe it’s the aching romanticism, maybe it’s the moral absolutes or maybe it’s just all that gorgeous blood and thunder, but the New Western has proved fertile ground for some of rock’s wildest mavericks. Bob Dylan infamously appeared in and scored Sam Peckinpah‘s Pat Garrett & Billy The Kid. Robert Altman shot to a soundtrack of Leonard Cohen songs on McCabe and Mrs Miller. And Neil Young provided an oddball addition to the canon with his work on Jim Jarmusch‘s inscrutably deadpan Dead Man.

Having long aspired to precisely that company, Nick Cave is fast becoming the go-to guy to soundtrack your modern-day existential horse opera. He paired up with long-time Bad Seed/Grinderman accomplice Warren Ellis in 2005 to provide music for his own outback vengeance drama The Proposition, and now the duo have been commissioned by Aussie auteur Andrew Dominik (director of the stunning Chopper, among others) to score his would-be Malickian adaptation of Ron Hansen’s novel, The Assassination of Jesse James…

The Propositionfeatured tracks with such functional titles as “Sad Violin Thing” and “Gun Thing”, and the new record kicks off with an ominous piano and violin number called “A Rather Lovely Thing”. In truth, half of a dozen of the tracks here could be similarly titled. Dominik’s ambitions for his movie were apparently scuppered by the studio, but that doesn’t seem to have had any effect on the music which is thick with atmosphere, though — entirely instrumental — short on incident. Cave makes a brief cameo in the film, to sing a Jesse-inspired folksong with Zooey Deschanel, but that makes no appearance here. Instead we get a rich, heady musical moonshine, at its best on the twinkling spooked piano of “Song for Jesse”.

STEPHEN TROUSSÉ

Q&A With Warren Ellis:

UNCUT:Do you and Nick work differently on soundtracks compared to song-based material?

WARREN ELLIS: With a film you are serving something else,and you find yourself making music you wouldn’t necessarily do in your group.Generally there are no lyrics,so it’s a different thing, more open ended, less reliant on form and structure.We tend to create the music apart from the images, then apply it and see how it fits. We don’t spot music,or provide stings as such.I think it’s quite different to how other composers work.

What was your brief?

We were sent one minute of Brad Pitt saying the same line over and over, and made the bulk of the music from that session. It was then left up to Nick and myself to find a way of doing what we do and in some way meet the demands of such a project.I think Andrew has made a huge leap with this film. It’s extraordinairy.

What’s the appeal of the Western?

What’s not to like about a good Western?! But it’s a coincidence that we’ve done two of them. Recently we completed music for a documentary on an English brain surgeon!