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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!

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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!

Paul McCartney To Get Second Special BRIT Award

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Paul McCartney is to receive his second Outstanding Contribution To Music Award at next year's BRITS ceremony. McCartney already holds a Brit Award for Outstanding Contribution To Music for his work with The Beatles, is now to be honoured for his solo work. The singer has previously refused to accept the award, as he thought it indicated that his career was coming to an end. It has also been announced that singer Adele will be given the Critics Choice prize - a new award "created to encourage and launch new talent". The Brits Committee spokesman Ged Doherty said: "Huge congratulations to Adele. I know the competition was fierce in this, the inaugural year of this award, and she is a worthy winner." Other contenders for the new award included Duffy and Foals. Next year's BRITS are to be hosted by The Osbornes, Ozzy and Sharon and is set to take place at London's Earls Court on February 20. The show will be live broadcast on ITV1. Pic credit: Rex Features

Paul McCartney is to receive his second Outstanding Contribution To Music Award at next year’s BRITS ceremony.

McCartney already holds a Brit Award for Outstanding Contribution To Music for his work with The Beatles, is now to be honoured for his solo work.

The singer has previously refused to accept the award, as he thought it indicated that his career was coming to an end.

It has also been announced that singer Adele will be given the Critics Choice prize – a new award “created to encourage and launch new talent”.

The Brits Committee spokesman Ged Doherty said: “Huge congratulations to Adele. I know the competition was fierce in this, the inaugural year of this award, and she is a worthy winner.”

Other contenders for the new award included Duffy and Foals.

Next year’s BRITS are to be hosted by The Osbornes, Ozzy and Sharon and is set to take place at London’s Earls Court on February 20.

The show will be live broadcast on ITV1.

Pic credit: Rex Features

Donald Fagen – Nightfly Trilogy

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More personal than Steely Dan’s records but every bit as acerbic, Donald Fagen’s solo LPs are united not just by their sophistication but also by a sense of nostalgia for what has been irretrievably lost – Duke Ellington and Ray Charles, the promise and optimism of postwar America and Fagen’s own innocence. The three albums make a powerful cumulative point – as memories recede, from adolescence through midlife to encroaching mortality, the associated emotions intensify. On The Nightfly Trilogy, the sleek contours, and soulful female backing vocals provide a counterpoint to the anxiety that permeates the lyrics, forming a smooth coating of familiarity around the increasingly bitter pill of the material. As Fagen puts it in his newly penned notes to Morph The Cat, “paranoia just wasn’t any fun anymore in the age of Al Qaeda.” If unease is the trilogy’s recurring tonality, fierce intelligence and unerring taste are the gears that turn its complexities. On 1982’s The Nightfly (Fagen’s reflection on adolescence), Dan mainstays like guitarist Larry Carlton and drummer Jeff Porcaro play with seemingly effortless virtuosity on the beguiling “Green Flower Street” and “The Goodbye Look”. Eleven years later, Kamakiriad (the “midlife” album) boasts an entirely new crew, including partner Walter Becker on lead guitar, gliding back to the future on “Trans-Island Skyway”. For 2006’s Morph The Cat, the core line-up of the reformed Dan band seems as unruffled gamboling through the nightmare zeitgeist narratives of “Mary Shut The Garden Door” and the title song as they do on Fagen’s silky ode to Brother Ray, “It’s What I Do”. Free of the thematic weight of the proper albums, the 10 little-heard songs on the bonus disc provide pleasurable marginalia as they embrace Henry Mancini, and the big-band era. The opener, a delectably funky 2006 cover of Al Green’s “Rhymes” created in collaboration with Todd Rundgren, makes a tantalizing case for a joint album from the two iconoclasts. That would be just the thing to snap Fagen out of own morose state: the prospect of a fourth solo project is simply too unsettling to contemplate. BUD SCOPPA Q&A DONALD FAGEN: UNCUT: The trilogy is startling in its thematic cohesiveness. DONALD FAGEN: While I was doing The Nightfly, I realized that the songs had the point of view of someone in early adolescence. And when I did Kamakiriad, although it had a science fiction framing device, it was actually about midlife. At that point I kind of knew I was going to do a third album that would make it a kind of trilogy. So Morph The Cat was more premeditated as to its theme. What’s the difference between a Steely Dan record and a solo album? When I’m in my studio and I say, “Hey Walter, what do you think of this?,” and no one answers, that’s the difference. But every once in a while I’ll come up with a song that is more personal or subjective in some way. And sometimes there are things I’ve shown to Walter that he didn’t feel like working on; maybe he sensed that they were songs I should work on by myself. INTERVIEW: BUD SCOPPA

More personal than Steely Dan’s records but every bit as acerbic, Donald Fagen’s solo LPs are united not just by their sophistication but also by a sense of nostalgia for what has been irretrievably lost – Duke Ellington and Ray Charles, the promise and optimism of postwar America and Fagen’s own innocence. The three albums make a powerful cumulative point – as memories recede, from adolescence through midlife to encroaching mortality, the associated emotions intensify.

On The Nightfly Trilogy, the sleek contours, and soulful female backing vocals provide a counterpoint to the anxiety that permeates the lyrics, forming a smooth coating of familiarity around the increasingly bitter pill of the material. As Fagen puts it in his newly penned notes to Morph The Cat, “paranoia just wasn’t any fun anymore in the age of Al Qaeda.”

If unease is the trilogy’s recurring tonality, fierce intelligence and unerring taste are the gears that turn its complexities.

On 1982’s The Nightfly (Fagen’s reflection on adolescence), Dan mainstays like guitarist Larry Carlton and drummer Jeff Porcaro play with seemingly effortless virtuosity on the beguiling “Green Flower Street” and “The Goodbye Look”. Eleven years later, Kamakiriad (the “midlife” album) boasts an entirely new crew, including partner Walter Becker on lead guitar, gliding back to the future on “Trans-Island Skyway”. For 2006’s Morph The Cat, the core line-up of the reformed Dan band seems as unruffled gamboling through the nightmare zeitgeist narratives of “Mary Shut The Garden Door” and the title song as they do on Fagen’s silky ode to Brother Ray, “It’s What I Do”.

Free of the thematic weight of the proper albums, the 10 little-heard songs on the bonus disc provide pleasurable marginalia as they embrace Henry Mancini, and the big-band era. The opener, a delectably funky 2006 cover of Al Green’s “Rhymes” created in collaboration with Todd Rundgren, makes a tantalizing case for a joint album from the two iconoclasts. That would be just the thing to snap Fagen out of own morose state: the prospect of a fourth solo project is simply too unsettling to contemplate.

BUD SCOPPA

Q&A DONALD FAGEN:

UNCUT: The trilogy is startling in its thematic cohesiveness.

DONALD FAGEN: While I was doing The Nightfly, I realized that the songs had the point of view of someone in early adolescence. And when I did Kamakiriad, although it had a science fiction framing device, it was actually about midlife. At that point I kind of knew I was going to do a third album that would make it a kind of trilogy. So Morph The Cat was more premeditated as to its theme.

What’s the difference between a Steely Dan record and a solo album?

When I’m in my studio and I say, “Hey Walter, what do you think of this?,” and no one answers, that’s the difference. But every once in a while I’ll come up with a song that is more personal or subjective in some way. And sometimes there are things I’ve shown to Walter that he didn’t feel like working on; maybe he sensed that they were songs I should work on by myself.

INTERVIEW: BUD SCOPPA

Countdown To Led Zeppelin Reunion

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Led Zeppelin are due to headline the tribute to Ahmet Ertegun concert is tonight (December 10), with the legends due to perform at 9pm (GMT). The band, comprising the three original members of Jimmy Page, Robert Plant, John Paul Jones will be playing a two-hour set with Jason Bonham, the late John Bonham's son on drums at the reunion show which takes place at London's O2 Arena. Also playing the tribute to the late Atlantic Records' founder are Bill Wyman's Rhythm Kings, Paul Rodgers, Foreigner, Paolo Nutini who was the last artist that Ertegun mentored. The show is due to start at 7pm, with the running order yet to be confirmed, though www.uncut.co.uk will be bringing you the build up from inside the O2 Arena from 5pm today. Stay tuned as tonight we'll be bringing you news reports throughout the night, including a live blog of what tracks Led Zeppelin perform. The songs have been a closely guarded secret, though the band have already promised us there will be some set list surprises! Meanwhile in conjunction with our sister title nme.com there's still time for you for your ultimate Led Zep rock tracks. Just head to the special vote page here: Rate The Song and rate which songs you'd like to see the band play! We'll be publishing the final results ahead of tonight's highly anticipated gig! Pic credit: PA Photos

Led Zeppelin are due to headline the tribute to Ahmet Ertegun concert is tonight (December 10), with the legends due to perform at 9pm (GMT).

The band, comprising the three original members of Jimmy Page, Robert Plant, John Paul Jones will be playing a two-hour set with Jason Bonham, the late John Bonham’s son on drums at the reunion show which takes place at London’s O2 Arena.

Also playing the tribute to the late Atlantic Records’ founder are Bill Wyman’s Rhythm Kings, Paul Rodgers, Foreigner, Paolo Nutini who was the last artist that Ertegun mentored.

The show is due to start at 7pm, with the running order yet to be confirmed, though www.uncut.co.uk will be bringing you the build up from inside the O2 Arena from 5pm today.

Stay tuned as tonight we’ll be bringing you news reports throughout the night, including a live blog of what tracks Led Zeppelin perform.

The songs have been a closely guarded secret, though the band have already promised us there will be some set list surprises!

Meanwhile in conjunction with our sister title nme.com there’s still time for you for your ultimate Led Zep rock tracks.

Just head to the special vote page here: Rate The Song and rate which songs you’d like to see the band play! We’ll be publishing the final results ahead of tonight’s highly anticipated gig!

Pic credit: PA Photos

Invasion Of The Body Snatchers

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Don Siegel has acquired neither a fanatical cult following nor the iconic status of his most famous protégés, Sam Peckinpah and Clint Eastwood. And yet, he still continues to exert influence today. Jodie Foster's vigilante drama The Brave One plays like a Dirty Harry revenge movie, while The Invasion, starring Nicole Kidman, makes the third official remake of his 1955 sci-fi classic - and that's not counting the slew of films it unofficially "inspired," from Quatermass 2 (1957) to The Faculty (1998). Adapted from Jack Finney's novella The Body Snatchers, this is set in a sunny American small-town, where local doctor Miles Bennell (Kevin McCarthy) is bemused by the string of patients coming to see him claiming their relatives are not, in fact, their relatives. A hysterical little boy swears his mother is not his mother; a young woman feels sudden distance from her uncle. Each complaint is the same: they look the same, but "...there's something *missing*." Bennell prescribes sedatives, mutters "mass hysteria," but he's nagged by the feeling something else is going on. Then his friends Jack and Theodora call him to their house to share an eerie discovery: lying there on their billiard table, a blank, half-formed figure, slowly growing to resemble Jack. In the garden, they find huge alien seedpods, splitting open to reveal incomplete replicas of them all. Crafting a Blue Velvet-ish sense of the weird behind neat picket fences, Siegel has built slowly, but now the brakes are off. Bennell, losing his friends one by one, works out the invaders can only take over when their human models are asleep. Soon everyone in town (including a young Peckinpah) has been replaced. They look, sound, even remember the same way - but lack emotion, passion, soul. Finally only Bennell and his girlfriend are left, gobbling amphetamines to stay awake, and watching in horror as colonised townsfolk begin loading trucks with pods destined to spread their invisible invasion nationwide. Released as the Cold War was beginning to freeze, Siegel's movie has been decried as a typical Red Menace flick. But its nightmarish picture of square, bland suburbanites happily surrendering individuality is equally plausible as a comment on the witch-hunt climate and consumerist ideals that brainwashed the American '50s. Siegel was adept at such straight-faced ambiguity; years later, critics couldn't decide whether Dirty Harry was a fascist fantasy, or a warning. It's a measure of his accomplishment that this film, shot in an astonishing 19 days, manages to survive severe studio interference. Panicked by his stark non-ending - a rabid, deranged McCarthy, running through highway traffic screaming, "They're HERE!!!" - the producers insisted on inserting a placatory prologue and epilogue, showing the authorities springing into action. In '60s America, underground cinemas made a ritual of showing the movie with the studio bookends chopped out and in 1978, Philip Kaufman, directing the first remake, ignored them all together, beginning where Siegel ended: McCarthy, in a cameo, still screaming in the traffic. Kaufman's chill movie took Siegel's lead, using the story to comment on his times, describing an America turning from social awareness and activism toward passive self-absorption. In 1993, for his underrated update, Bodysnatchers, Abel Ferrara continued the tradition, transferring the action to a US military base for a film that questioned the blind nationalism whipped up around Gulf War I. For all their merits, however, no remake has matched Siegel's original. A concise but ambiguous masterpiece of paranoia, its sharp, haunting brilliance grows clearer with the appearance of each subsequent replicant. What the big-budget Kidman version has to tell us about today remains to be seen. Perhaps that the pod-people are now making movies? EXTRAS: A missed opportunity. Instead of seeking to restore Siegel's cut, this features a pointlessly "colorized" version alongside the black and white original; a pretty washed-out print, too. 1* DAMIEN LOVE

Don Siegel has acquired neither a fanatical cult following nor the iconic status of his most famous protégés, Sam Peckinpah and Clint Eastwood. And yet, he still continues to exert influence today. Jodie Foster‘s vigilante drama The Brave One plays like a Dirty Harry revenge movie, while The Invasion, starring Nicole Kidman, makes the third official remake of his 1955 sci-fi classic – and that’s not counting the slew of films it unofficially “inspired,” from Quatermass 2 (1957) to The Faculty (1998).

Adapted from Jack Finney’s novella The Body Snatchers, this is set in a sunny American small-town, where local doctor Miles Bennell (Kevin McCarthy) is bemused by the string of patients coming to see him claiming their relatives are not, in fact, their relatives. A hysterical little boy swears his mother is not his mother; a young woman feels sudden distance from her uncle. Each complaint is the same: they look the same, but “…there’s something *missing*.”

Bennell prescribes sedatives, mutters “mass hysteria,” but he’s nagged by the feeling something else is going on. Then his friends Jack and Theodora call him to their house to share an eerie discovery: lying there on their billiard table, a blank, half-formed figure, slowly growing to resemble Jack. In the garden, they find huge alien seedpods, splitting open to reveal incomplete replicas of them all.

Crafting a Blue Velvet-ish sense of the weird behind neat picket fences, Siegel has built slowly, but now the brakes are off. Bennell, losing his friends one by one, works out the invaders can only take over when their human models are asleep. Soon everyone in town (including a young Peckinpah) has been replaced. They look, sound, even remember the same way – but lack emotion, passion, soul. Finally only Bennell and his girlfriend are left, gobbling amphetamines to stay awake, and watching in horror as colonised townsfolk begin loading trucks with pods destined to spread their invisible invasion nationwide.

Released as the Cold War was beginning to freeze, Siegel’s movie has been decried as a typical Red Menace flick. But its nightmarish picture of square, bland suburbanites happily surrendering individuality is equally plausible as a comment on the witch-hunt climate and consumerist ideals that brainwashed the American ’50s. Siegel was adept at such straight-faced ambiguity; years later, critics couldn’t decide whether Dirty Harry was a fascist fantasy, or a warning.

It’s a measure of his accomplishment that this film, shot in an astonishing 19 days, manages to survive severe studio interference. Panicked by his stark non-ending – a rabid, deranged McCarthy, running through highway traffic screaming, “They’re HERE!!!” – the producers insisted on inserting a placatory prologue and epilogue, showing the authorities springing into action.

In ’60s America, underground cinemas made a ritual of showing the movie with the studio bookends chopped out and in 1978, Philip Kaufman, directing the first remake, ignored them all together, beginning where Siegel ended: McCarthy, in a cameo, still screaming in the traffic. Kaufman’s chill movie took Siegel’s lead, using the story to comment on his times, describing an America turning from social awareness and activism toward passive self-absorption. In 1993, for his underrated update, Bodysnatchers, Abel Ferrara continued the tradition, transferring the action to a US military base for a film that questioned the blind nationalism whipped up around Gulf War I.

For all their merits, however, no remake has matched Siegel’s original. A concise but ambiguous masterpiece of paranoia, its sharp, haunting brilliance grows clearer with the appearance of each subsequent replicant. What the big-budget Kidman version has to tell us about today remains to be seen. Perhaps that the pod-people are now making movies?

EXTRAS: A missed opportunity. Instead of seeking to restore Siegel’s cut, this features a pointlessly “colorized” version alongside the black and white original; a pretty washed-out print, too.

1*

DAMIEN LOVE

AC/DC – Plug Me In

In December 1989, US forces attempting to smoke Panamanian dictator General Noriega out of hiding played AC/DC at ear-splitting volume until he finally surrendered. A note for Special Forces then: Plug Me In will do the trick in half the time. A five hour riff-kreig of AC/DC in concert (or seven, if you bag the Collectors edition) Plug Me In is not for the uninitiated. There are points - particularly in the latter stages of DVD 2, where the band are captured gurning through "The Jack" live in 2001 - that even the most fanatical fan will acknowledge that their salty, Chuck Berry meets Benny Hill boogie loses some of it's magic in the journey from enormodome to living room. Yet as footage of the Bon Scott years, the righteous mayhem of Back In Black and even the gonzoid stadium smut of "Stiff Upper Lip" show, Plug Me In offers a route into a riotously un-PC world of sweat, jugs and rock'n'roll where Hell is fun, hookers have a heart of gold and sexual diseases are something to brag about. We begin, then, with a TV performance of "High Voltage" from 1975. With the band dressed up in garish Carnaby Street threads and Bon Scott terrorising the front row in a lace up catsuit, they could almost be an Antipodean answer to The Sweet, if Angus wasn't jitter-like bugging across stage like a crazed Jeanette Kranky. Following some grainy footage taken at their first ever gig in Sydney, we're soon witnessing AC/DC in their pumped-up pomp. You can almost smell the liquor 'n' sawdust during cranked up renditions of "Dog Eat Dog" and "Let There Be Rock" filmed at a raucous Glasgow Apollo in 1978. But it's a clip of "Highway To Hell" from Dutch TV in 1979 which marks their transition from feisty outsiders to genuine cock-rock contenders. Stripped to the waist and with the band superglue tight behind him, Scott is Rod, Ozzy and Alex Harvey rolled into one - a bar-room screamer who''ll steal your girl, start a fight and drink you under the table and still give you the best night of your life. If DVD 2 - the Brian Johnson years - see the band mutate from fun-loving riff-rats to stadium-levelling rock titans, their tongue remains firmly in cheek throughout. Seeing the Beavis & Butthead intro film for 1996's Ballbreaker, where the sniggering pair are seen off by a cartoon of a bug-like Angus and a ten foot dominatrix, reminds you that as well as being a biting satire on male adolecent fantasises, AC/DC are above all, as they'd put it, bloody great entertainment. It's only when they enter the real world for a plain awful version of "Rock Me Baby" with The Rolling Stones in 2003, where the Young brothers, for once, look lost, that the spell gets broken. "How many dirty deeds have you done in the last year?" an interviewer asks Angus during a promo flick for Dirty Deeds Done Dirt Cheap. A filthy grin, a quick touch of the grubby school cap. "Err, about four hundred and fifty..." Let there be rock. EXTRA'S: Interviews, tour promo films and alternate live versions. DVD 3 features the never-before-seen 1983 show from the Houston Summit PAUL MOODY Pic credit: Rex

In December 1989, US forces attempting to smoke Panamanian dictator General Noriega out of hiding played AC/DC at ear-splitting volume until he finally surrendered. A note for Special Forces then: Plug Me In will do the trick in half the time.

A five hour riff-kreig of AC/DC in concert (or seven, if you bag the Collectors edition) Plug Me In is not for the uninitiated. There are points – particularly in the latter stages of DVD 2, where the band are captured gurning through “The Jack” live in 2001 – that even the most fanatical fan will acknowledge that their salty, Chuck Berry meets Benny Hill boogie loses some of it’s magic in the journey from enormodome to living room.

Yet as footage of the Bon Scott years, the righteous mayhem of Back In Black and even the gonzoid stadium smut of “Stiff Upper Lip” show, Plug Me In offers a route into a riotously un-PC world of sweat, jugs and rock’n’roll where Hell is fun, hookers have a heart of gold and sexual diseases are something to brag about.

We begin, then, with a TV performance of “High Voltage” from 1975. With the band dressed up in garish Carnaby Street threads and Bon Scott terrorising the front row in a lace up catsuit, they could almost be an Antipodean answer to The Sweet, if Angus wasn’t jitter-like bugging across stage like a crazed Jeanette Kranky.

Following some grainy footage taken at their first ever gig in Sydney, we’re soon witnessing AC/DC in their pumped-up pomp. You can almost smell the liquor ‘n’ sawdust during cranked up renditions of “Dog Eat Dog” and “Let There Be Rock” filmed at a raucous Glasgow Apollo in 1978. But it’s a clip of “Highway To Hell” from Dutch TV in 1979 which marks their transition from feisty outsiders to genuine cock-rock contenders. Stripped to the waist and with the band superglue tight behind him, Scott is Rod, Ozzy and Alex Harvey rolled into one – a bar-room screamer who”ll steal your girl, start a fight and drink you under the table and still give you the best night of your life.

If DVD 2 – the Brian Johnson years – see the band mutate from fun-loving riff-rats to stadium-levelling rock titans, their tongue remains firmly in cheek throughout. Seeing the Beavis & Butthead intro film for 1996’s Ballbreaker, where the sniggering pair are seen off by a cartoon of a bug-like Angus and a ten foot dominatrix, reminds you that as well as being a biting satire on male adolecent fantasises, AC/DC are above all, as they’d put it, bloody great entertainment.

It’s only when they enter the real world for a plain awful version of “Rock Me Baby” with The Rolling Stones in 2003, where the Young brothers, for once, look lost, that the spell gets broken.

“How many dirty deeds have you done in the last year?” an interviewer asks Angus during a promo flick for Dirty Deeds Done Dirt Cheap.

A filthy grin, a quick touch of the grubby school cap.

“Err, about four hundred and fifty…”

Let there be rock.

EXTRA’S: Interviews, tour promo films and alternate live versions. DVD 3 features the never-before-seen 1983 show from the Houston Summit

PAUL MOODY

Pic credit: Rex

Paul McCartney – The McCartney Years

"All pizza and fairytales," was John Lennon's withering mid-70s putdown of the McCartney canon, and while this new DVD box of solo videos, Wings footage, live shows, duets, interviews and documentaries certainly has its fair share of three-cheese crust and Disney schmaltz, it also has enough to suggest that a life without either of those things would be pretty dismal. McCartney himself recalls, on the extensive track-by-track commentary, Bruce Springsteen approaching him at an awards show, telling him that for the longest time he never could get the point of "Silly Love Songs". "But now I've got a wife and kids myself, well, it makes a lot more sense." You would have hardly thought The Boss would be in need of such sentimental education. As the title of the collection hints, The McCartney Years often feels as much like a belated memorial for Linda as it is a round-up of old promos and live shows. The pair famously spent only a week apart over the course of three decades - and that only when Paul was busted in Japan. The best videos on the first disc - covering the Seventies and early 80s, from Ram, Wings and "Mull of Kintyre" to the duets with Stevie Wonder and Michael Jackson - are the simplest, Paul and Linda and the kids escaping the fall-out from The Beatles in rural Scotland, captured in photos and home movies on "Maybe I'm Amazed" and "Heart of the Country". The contentment he found here undoubtedly demotivated him as a writer. Having conquered the world in the 60s, proved himself again and found domestic bliss in the 70s, what was left for him to do in the 80s and 90s? The second disc is best when McCartney is simply remembering the music that first inspired him - a verse of Eddie Cochrane's "20 Flight Rock" on the Parkinson show, a cover of The Vipers' skiffle b-side "No Other Baby", a snatch of the first Buddy Holly pastiche he wrote as a fourteen year old. The third disc collects three live performances: Wings' 1976 Rockshow, a mellow, Unplugged from 1991 and ultimately the eccentrically exuberant Glastonbury set from 2004, where McCartney, with all his cheese, showbiz singalong wisdom, melody and magic, finally seemed to have found his ideal home. EXTRAS: Track commentaries, Melvyn Bragg and Parkinson interviews, Creating Chaos documentary, Live Aid footage, alternate takes. 4* STEPHEN TROUSSÉ

“All pizza and fairytales,” was John Lennon‘s withering mid-70s putdown of the McCartney canon, and while this new DVD box of solo videos, Wings footage, live shows, duets, interviews and documentaries certainly has its fair share of three-cheese crust and Disney schmaltz, it also has enough to suggest that a life without either of those things would be pretty dismal.

McCartney himself recalls, on the extensive track-by-track commentary, Bruce Springsteen approaching him at an awards show, telling him that for the longest time he never could get the point of “Silly Love Songs”. “But now I’ve got a wife and kids myself, well, it makes a lot more sense.” You would have hardly thought The Boss would be in need of such sentimental education.

As the title of the collection hints, The McCartney Years often feels as much like a belated memorial for Linda as it is a round-up of old promos and live shows. The pair famously spent only a week apart over the course of three decades – and that only when Paul was busted in Japan. The best videos on the first disc – covering the Seventies and early 80s, from Ram, Wings and “Mull of Kintyre” to the duets with Stevie Wonder and Michael Jackson – are the simplest, Paul and Linda and the kids escaping the fall-out from The Beatles in rural Scotland, captured in photos and home movies on “Maybe I’m Amazed” and “Heart of the Country”.

The contentment he found here undoubtedly demotivated him as a writer. Having conquered the world in the 60s, proved himself again and found domestic bliss in the 70s, what was left for him to do in the 80s and 90s? The second disc is best when McCartney is simply remembering the music that first inspired him – a verse of Eddie Cochrane‘s “20 Flight Rock” on the Parkinson show, a cover of The Vipers‘ skiffle b-side “No Other Baby”, a snatch of the first Buddy Holly pastiche he wrote as a fourteen year old.

The third disc collects three live performances: Wings’ 1976 Rockshow, a mellow, Unplugged from 1991 and ultimately the eccentrically exuberant Glastonbury set from 2004, where McCartney, with all his cheese, showbiz singalong wisdom, melody and magic, finally seemed to have found his ideal home.

EXTRAS: Track commentaries, Melvyn Bragg and Parkinson interviews, Creating Chaos documentary, Live Aid footage, alternate takes.

4*

STEPHEN TROUSSÉ

John Lennon – Stars Pick Their Favourite 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 Alan McGee's pick. Coming up: Richmond Fontaine's Willy Vlautin, Josh Ritter, Roy Wood and more will be picking out their favourite tracks. ~ Robyn Hitchcock: "WELL, WELL, WELL" From the John Lennon/Plastic Ono Band album (December 1970) It’s my favourite off the Plastic Ono Band record. It’s just so to the point. He’d been doing Primal Therapy. But that also really suited the way he sang. He was able to make his voice break up and splinter in a way that sounded attractive and soulful. He could belt it out like Beefheart or Robert Plant, but he could also sing beautiful, high harmonies like the Beach Boys. The great strength of John Lennon is the number of emotional layers that are in him. On the surface he was funny, then underneath he was nasty, and then under that he was really sad. There’s so many feelings in his voice. And he could write pop songs - but he could also sing really heavy blues. And “Well, Well, Well” is one of the great blues rants. The lyrics just shrug at times - “Oh, well”. Because what can you do? He’s not singing about, “Man, we’re gonna change things.” He’s saying, “Well, here we are, wandering around talking - who gives a shit?” It always makes me cry. It connects with an emotional truth, which is how sad living is, and how fucked up. But it doesn’t pontificate about it. Instead it’s a vehicle for his voice. If Neil Young had written that, it would have sounded like a cat being boiled. You have to have that kind of voice, to get away with that kind of song. To me that is absolutely the perfect rock vocal. It’s not a tumescent bellow, it’s a soulful, wounded bellow. It’s a human elephant heading for the graveyard. There’s been nothing like it before or since. ~ 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 Alan McGee‘s pick.

Coming up: Richmond Fontaine‘s Willy Vlautin, Josh Ritter, Roy Wood and more will be picking out their favourite tracks.

~

Robyn Hitchcock:

“WELL, WELL, WELL”

From the John Lennon/Plastic Ono Band album (December 1970)

It’s my favourite off the Plastic Ono Band record. It’s just so to the point. He’d been doing Primal Therapy. But that also really suited the way he sang. He was able to make his voice break up and splinter in a way that sounded attractive and soulful. He could belt it out like Beefheart or Robert Plant, but he could also sing beautiful, high harmonies like the Beach Boys.

The great strength of John Lennon is the number of emotional layers that are in him. On the surface he was funny, then underneath he was nasty, and then under that he was really sad. There’s so many feelings in his voice. And he could write pop songs – but he could also sing really heavy blues. And “Well, Well, Well” is one of the great blues rants.

The lyrics just shrug at times – “Oh, well”. Because what can you do? He’s not singing about, “Man, we’re gonna change things.” He’s saying, “Well, here we are, wandering around talking – who gives a shit?” It always makes me cry. It connects with an emotional truth, which is how sad living is, and how fucked up. But it doesn’t pontificate about it. Instead it’s a vehicle for his voice. If Neil Young had written that, it would have sounded like a cat being boiled. You have to have that kind of voice, to get away with that kind of song. To me that is absolutely the perfect rock vocal. It’s not a tumescent bellow, it’s a soulful, wounded bellow. It’s a human elephant heading for the graveyard. There’s been nothing like it before or since.

~

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!