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Oasis Get It On With Girls Aloud

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Another new snippet has been made available from the forthcoming DVD release of Oasis' on-the-road movie 'Lord Don't Slow Me Down'. This week's clip sees the Gallaghers chat up pop group Girls Aloud. The film, which was released in selected cinemas last year will come with a host of extras - including voice commentaries from all of the band, plus footage of the Q&A Noel Gallagher hosted in New York last year. A second disc captures Oasis' Manchester homecoming show at Citys' Eastlands Stadium too, which includes footage sent in by fans who attended the show. ‘Lord Don’t Slow Me Down’ is scheduled for release on October 29. Click here for the video clip: Windows Media Player:Low / High Real Player:Low / High You can view Uncut.co.uk's previous Lord Don't Slow Me Down clips here: Clip One Clip Two Come back to www.uncut.co.uk next week for another preview clip.

Another new snippet has been made available from the forthcoming DVD release of Oasis‘ on-the-road movie ‘Lord Don’t Slow Me Down‘.

This week’s clip sees the Gallaghers chat up pop group Girls Aloud.

The film, which was released in selected cinemas last year will come with a host of extras – including voice commentaries from all of the band, plus footage of the Q&A Noel Gallagher hosted in New York last year.

A second disc captures Oasis’ Manchester homecoming show at Citys’ Eastlands Stadium too, which includes footage sent in by fans who attended the show.

‘Lord Don’t Slow Me Down’ is scheduled for release on October 29.

Click here for the video clip:

Windows Media Player:Low / High

Real Player:Low / High

You can view Uncut.co.uk’s previous Lord Don’t Slow Me Down clips here:

Clip One

Clip Two

Come back to www.uncut.co.uk next week for another preview clip.

Uncut’s Worst Gigs! – Online Exclusive

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In last month's UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs. Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen - including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie - with rare photos from the shows too. We're also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there! ***** JOY DIVISION Prince Of Wales Conference Centre, London 2 August 1979. STEVE SUTHERLAND: Me and my mate Nigel had read breathless reviews in NME about these brilliant new bands coming out of Liverpool with psychedelic inclinations and promisingly weird names, so when it was announced that Echo & The Bunnymen and The Teardrop Explodes were both to make their London debuts on the opening night of an avant garde rock festival being held in the basement of the YMCA off Tottenham Court Road, we were there. The Bunnymen opened, Echo the drum machine ticking away nicely on the backbeat as a young, tousled haired Mac pouted his way through vaguely acoustic renditions of future classics ‘Read It In Books’, ‘The Pictures On My Wall’, ‘Do It Clean’ and an especially intriguing ‘Villiers Terrace’. Me and my mate Nigel agreed that a song that sounded like Neil Young singing about people biting wool, pulling string and rolling around on carpets was very ace indeed. The Teardrops bounced on next. They seemed very poppy after the Bunnymen but Copey’s fresh-faced enthusiasm and plummy, self-conscious vocals raised a smile and carried the day. As I recall headliners Essential Logic did us all a favour by pulling out so we were left with this mob called Joy Division. They trooped on looking like disinterested squaddies and then proceeded to make a most godawful racket. This was nothing particularly noteworthy in itself – by 1979 we were well used to being sold noisy old guff and told it was art. Indeed Pil excelled in it. But what was not acceptable to me and my mate Nigel, and what finally send us scurrying off to the pub in exasperation was the geezer at the front who insisted on doing this piss poor Jim Morrison impersonation accompanied by this spaz idiot dancing that had nothing to do with the noise issuing into the tiny room through the tortured speaker stacks. Well, that, and the fact that they sounded like Hawkwind. Still do, as it happens. ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com to share your memories, of the ones we've published or any which we have missed, and we’ll publish the best in a future issue!

In last month’s UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs.

Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen – including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie – with rare photos from the shows too.

We’re also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there!

*****

JOY DIVISION

Prince Of Wales Conference Centre, London

2 August 1979.

STEVE SUTHERLAND: Me and my mate Nigel had read breathless reviews in NME about these brilliant new bands coming out of Liverpool with psychedelic inclinations and promisingly weird names, so when it was announced that Echo & The Bunnymen and The Teardrop Explodes were both to make their London debuts on the opening night of an avant garde rock festival being held in the basement of the YMCA off Tottenham Court Road, we were there.

The Bunnymen opened, Echo the drum machine ticking away nicely on the backbeat as a young, tousled haired Mac pouted his way through vaguely acoustic renditions of future classics ‘Read It In Books’, ‘The Pictures On My Wall’, ‘Do It Clean’ and an especially intriguing ‘Villiers Terrace’. Me and my mate Nigel agreed that a song that sounded like Neil Young singing about people biting wool, pulling string and rolling around on carpets was very ace indeed.

The Teardrops bounced on next. They seemed very poppy after the Bunnymen but Copey’s fresh-faced enthusiasm and plummy, self-conscious vocals raised a smile and carried the day.

As I recall headliners Essential Logic did us all a favour by pulling out so we were left with this mob called Joy Division. They trooped on looking like disinterested squaddies and then proceeded to make a most godawful racket. This was nothing particularly noteworthy in itself – by 1979 we were well used to being sold noisy old guff and told it was art. Indeed Pil excelled in it. But what was not acceptable to me and my mate Nigel, and what finally send us scurrying off to the pub in exasperation was the geezer at the front who insisted on doing this piss poor Jim Morrison impersonation accompanied by this spaz idiot dancing that had nothing to do with the noise issuing into the tiny room through the tortured speaker stacks. Well, that, and the fact that they sounded like Hawkwind. Still do, as it happens.

*****

plus WERE YOU THERE?

Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have.

Email Allan_Jones@ipcmedia.com to share your memories, of the ones we’ve published or any which we have missed, and we’ll publish the best in a future issue!

Win! Tickets To See Wilco Next Month

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Chicago alt-country group Wilco make blues infused alternative-rock headed up by the unmistakable voice of Jeff Tweedy. Ghostly, ephemeral and yet, somehow, catchy, Wilco's music is an amalgamation of everything that's great about a well-written pop song. Having just released acclaimed album 'Sky Blue Sky' and playing a host of European festivals including the Uncut-sponsored Latitude - Wilco return to the UK for two dates next month. Uncut.co.uk has two pairs of tickets to giveaway to each Wilco's shows at Carling Academy Birmingham on November 4 and Carling Academy Brixton on November 5. Winers will also recieve a copy of 'Sky Blue Sky' as well as a t-shirt. All you have to do to be in with a chance of winning is go to the competition here. Closing date for entries is October 30. For tickets and more information about the shows: click here. Pic credit: Chris Strong

Chicago alt-country group Wilco make blues infused alternative-rock

headed up by the unmistakable voice of Jeff Tweedy.

Ghostly, ephemeral and yet, somehow, catchy, Wilco’s music is an amalgamation of everything that’s great about a well-written pop song.

Having just released acclaimed album ‘Sky Blue Sky‘ and playing a host of European festivals including the Uncut-sponsored Latitude – Wilco return to the UK for two dates next month.

Uncut.co.uk has two pairs of tickets to giveaway to each Wilco’s shows at Carling Academy Birmingham on November 4 and Carling

Academy Brixton on November 5. Winers will also recieve a copy of ‘Sky Blue Sky’ as well as a t-shirt.

All you have to do to be in with a chance of winning is go to the competition here.

Closing date for entries is October 30.

For tickets and more information about the shows: click here.

Pic credit: Chris Strong

Ed Hamell Brings Trial To Europe

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Hamell On Trial aka as Ed Hamell has just embarked on a short European tour, supporting Ani DiFranco at selected venues. The feisty rock'n'roll punk-poet and sometime UNCUT contributor has a new show entitled 'The Terrorism Of Everyday Life' - and Hamell claims that he's feeling as "controversially explosive" as ever. Catch the one-man-band at the following venues from tomorrow: Dublin, Ireland, Tripod (9) Brussels, Belgium, Ancienne Belgique (11) Paris, France, Elysee Montmartre (12) Milan, Italy, Rolling Stone (14) Zurich, Switzerland, Kaufleuten (15) Amsterdam, Netherlands, Melkweg Max (17) Hamburg, Germany, Fabrik (18) Koln, Germany, Kulturkirche (19) London, England, Shepherd's Bush Empire (21) More details about the tour are available here from www.Hamellontrial.com Pic credit: Phil Wallis

Hamell On Trial aka as Ed Hamell has just embarked on a short European tour, supporting Ani DiFranco at selected venues.

The feisty rock’n’roll punk-poet and sometime UNCUT contributor has a new show entitled ‘The Terrorism Of Everyday Life’ – and Hamell claims that he’s feeling as “controversially explosive” as ever.

Catch the one-man-band at the following venues from tomorrow:

Dublin, Ireland, Tripod (9)

Brussels, Belgium, Ancienne Belgique (11)

Paris, France, Elysee Montmartre (12)

Milan, Italy, Rolling Stone (14)

Zurich, Switzerland, Kaufleuten (15)

Amsterdam, Netherlands, Melkweg Max (17)

Hamburg, Germany, Fabrik (18)

Koln, Germany, Kulturkirche (19)

London, England, Shepherd’s Bush Empire (21)

More details about the tour are available here from www.Hamellontrial.com

Pic credit: Phil Wallis

Sonic Cathedral To Host Tribute Night To Lee Hazlewood

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Sonic Cathedral's 'Some Velvet Morning' club night at The Social is to pay tribute to Lee Hazlewood later this month. Taking place on October 29, the evening will see live performances from Dot Allison, Strange Idols, The Tamborines and The Left Outsides as well as some secret guests to be revealed on the night. A highlight of the evening will be the premiere listen of Hazlewood's last ever recording; a collaboration with Icelandic quartet Amiina. Entry to Some Velvet Morning is free, but Sonic Cathedral will be raising money on the night for Hazlewood’s chosen charity, the Globe, Arizona, branch of the Salvation Army. Click here for details:www.tsasw.org/donate.asp For more details about Sonic Cathedral nights and records, including this one, click here:www.Soniccathedral.co.uk. To read Uncut's full Lee Hazlewood obituary, click here.

Sonic Cathedral’s ‘Some Velvet Morning’ club night at The Social is to pay tribute to Lee Hazlewood later this month.

Taking place on October 29, the evening will see live performances from Dot Allison, Strange Idols, The Tamborines and The Left Outsides as well as some secret guests to be revealed on the night.

A highlight of the evening will be the premiere listen of Hazlewood’s last ever recording; a collaboration with Icelandic quartet Amiina.

Entry to Some Velvet Morning is free, but Sonic Cathedral will be raising money on the night for Hazlewood’s chosen charity, the Globe, Arizona, branch of the Salvation Army.

Click here for details:www.tsasw.org/donate.asp

For more details about Sonic Cathedral nights and records, including this one, click here:www.Soniccathedral.co.uk.

To read Uncut’s full Lee Hazlewood obituary, click here.

Abba Reissue Expanded Version Of ‘The Album’

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Abba's 1977 number one album 'The Album' is to be reissued next month, with an expanded tracklisting and a bonus DVD, just a few weeks before the record's 30th anniversary. The Swedish supergroup's fifth album was originally released in Sweden in conjunction with Abba: The Movie - and featured several songs from the film - including 'Take A Chance On Me', 'The Name Of The Game' and 'Thank You For The Music.' The re-mastered version of 'The Album' is to be released on November 26 through Universal, and will include alternative mixes of songs while the DVD features live performances, interviews and TV appearances. The full tracklisting is as follows: Disc One: Eagle (long version) Take A Chance On Me One Man, One Woman The Name Of The Game Move On Hole In Your Soul Thank You For The Music I Wonder (Departure) I’m A Marionette Eagle (short version) Take A Chance On Me (live version – Australia / Canada mix) Thank You For The Music (Doris Day Mix) El Andar (album version) I Wonder (departure) Gracias Por La Musica (album version) Disc Two/ DVD: Eagle / Thanks You For The Music (from Star Parade) Take A Chance On Me (from Am Laufenden Band) The Name Of The Game (Abba special) Thank Your For The Music (Mike Yarwood’s Christmas Special) Take A Chance On Me (from Star Parade) Abba On Tour 1977 (from Rapport) Recording Abba The Album (from Gomorron Sverige) Abba, In London February 1978 (from Blue Peter) Abba In America, May 1978 (from Rapport) Abba The Album TV commercial 1 (UK) Abba The Album TV commercial 2 (Australia)

Abba‘s 1977 number one album ‘The Album’ is to be reissued next month, with an expanded tracklisting and a bonus DVD, just a few weeks before the record’s 30th anniversary.

The Swedish supergroup’s fifth album was originally released in Sweden in conjunction with Abba: The Movie – and featured several songs from the film – including ‘Take A Chance On Me‘, ‘The Name Of The Game‘ and ‘Thank You For The Music.’

The re-mastered version of ‘The Album’ is to be released on November 26 through Universal, and will include alternative mixes of songs while the DVD features live performances, interviews and TV appearances.

The full tracklisting is as follows:

Disc One:

Eagle (long version)

Take A Chance On Me

One Man, One Woman

The Name Of The Game

Move On

Hole In Your Soul

Thank You For The Music

I Wonder (Departure)

I’m A Marionette

Eagle (short version)

Take A Chance On Me (live version – Australia / Canada mix)

Thank You For The Music (Doris Day Mix)

El Andar (album version)

I Wonder (departure)

Gracias Por La Musica (album version)

Disc Two/ DVD:

Eagle / Thanks You For The Music (from Star Parade)

Take A Chance On Me (from Am Laufenden Band)

The Name Of The Game (Abba special)

Thank Your For The Music (Mike Yarwood’s Christmas Special)

Take A Chance On Me (from Star Parade)

Abba On Tour 1977 (from Rapport)

Recording Abba The Album (from Gomorron Sverige)

Abba, In London February 1978 (from Blue Peter)

Abba In America, May 1978 (from Rapport)

Abba The Album TV commercial 1 (UK)

Abba The Album TV commercial 2 (Australia)

Brian Wilson To Perform With English National Ballet

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Brian Wilson is to make his ballet debut at an English National Ballet gala fundraiser next month. The former Beach Boy, along with his band, will perform a set of classic hits with ENB dancers onstage to close the Royal show in London on November 11. As part of the collaboration with Wilson, a one-off dance is being created by the ENB set to 'God Only Knows' from Wilson's acclaimed Pet Sounds album. Wilson's spokesperson commented: “Brian is very excited and honoured to be asked to perform on this royal evening with the English National Ballet. Brian is also very much looking forward to seeing English National Ballet perform his favourite composition.” The gala is being held to celebrate the ENB's new production of The Snow Queen and will raise vital funds for the company. Wilson, enjoying a resurgence in popularity in the past few years, recently premiered his new composition 'That Lucky Old Sun (A Narrative)' - with a series of six shows at London's Royal Festival Hall.

Brian Wilson is to make his ballet debut at an English National Ballet gala fundraiser next month.

The former Beach Boy, along with his band, will perform a set of classic hits with ENB dancers onstage to close the Royal show in London on November 11.

As part of the collaboration with Wilson, a one-off dance is being created by the ENB set to ‘God Only Knows’ from Wilson’s acclaimed Pet Sounds album.

Wilson’s spokesperson commented: “Brian is very excited and honoured to be asked to perform on this royal evening with the English National Ballet. Brian is also very much looking forward to seeing English National Ballet perform his favourite composition.”

The gala is being held to celebrate the ENB’s new production of The Snow Queen and will raise vital funds for the company.

Wilson, enjoying a resurgence in popularity in the past few years, recently premiered his new composition ‘That Lucky Old Sun (A Narrative)‘ – with a series of six shows at London’s Royal Festival Hall.

Uncut’s Worst Gigs! – Online Exclusive

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In last month's UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs. Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen - including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie - with rare photos from the shows too. We're also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there! ***** FREE Salisbury City Hall, 1972 STEVE SUTHERLAND: Living in the rural West Country market town of Salisbury, we were pretty much grateful for any band that deigned to come our way. Marble Orchard, Jerusalem, Stray… any old no-mark hard rock outfit was guaranteed a hero’s welcome just for crossing the border into Wilts. But every now and then real stars would descend from Valhalla to blow our tiny, adolescent minds. Led Zep had swaggered into town late in ‘71, Page, with his violin bow, an absolute warlock. Jethro Tull had mesmerised at the Alex Rooms, Ian Anderson a drooling tramp majestic. In misguided tribute, I recall we nicked our dads’ dressing gowns to wear after school for a few days post-Tull until we realised the girls were all snogging suedeheads in Crombies. And now – joy of joys! - Free were on their way to the City Hall as part of their comeback tour. Free were bona fide bigtime. They’d had proper hits, been on Top Of The Pops. Local bands in village halls bludgeoned through the opening riffs of ‘All Right Now’. Pedro, the acned, cool, conspicuously stoned sixth form hippy who had hair down to there and, so legend went, never (itals)ever(itals) washed it, had actually stopped and spoken to me – a mere fifth former! – because I happened to have a copy of Free’s Tons Of Sobs album conspicuously tucked under my arm. They were cool and they were proper – men’s men, steeped in the hard labour of the delta blues. Paul Rodgers, the rugged singer, looked like the sort of geezer who had to shave four times a day just to keep the stubble at bay. Bassist Andy Frazer had something of the Mexican switchblade bandito about him. Drummer Simon Kirk was a character in an era when drummers – Bonham, Moon, Palmer – were characters. And Paul Kossoff, the guitarist, he could make that axe of his weep, rage and bleed. So it was in full anticipation of a masterclass in musical machismo that me and my mates raced out after tea and convened at the Brewery Tap, a pub near the City Hall, where they’d happily sell real scrumpy to 15 year olds. It was my mate Tiny’s birthday as I recall – we called him Tiny because he was nearly six feet tall and covered in bumfluff. Three pints in, he slid off his chair and cracked his head on the table, opening up a nasty gash above his left eye. Someone had to cart him off to the hospital just down the road so he missed the show. He was the lucky one. Back then you never had the faintest idea what was really going on. Melody Maker, Sounds, NME, Record Mirror… we bought ‘em all every week but such was the way of the world back then, rock stars’ problems – personal or chemical – were never remotely mentioned. As far as the tabloids were concerned, rock was just a mad epidemic, bound to pass the way of all teenage fads. So it was something of a mystery why Free, who I think I’ve already mentioned were on a comeback tour, had broken up in the first place. It took about 10 seconds of the show starting for the truth to become all too apparent. There were four dudes on stage, but only three appeared to be actually alive. Kossoff was sort of slumped against the right hand speaker stack like he’d been invisibly lassooed to the fucking thing to keep him upright. I don’t remember what they played but I do know that Kossoff barely hit a note. All you could see was sweaty hair and it looked like he might have pissed himself. At one point it actually seemed from where we were, about 12 rows back, as if he was asleep. The others in the band, as I recall, completely ignored him. Listening to Free churn out their greatest hits sans guitar was not, even to youthfully unjudgemental ears, what the doctor ordered and, indiscriminate though we were, we fucked off back to the pub after about half an hour, stunned to realise that bands could actually be rubbish. Later, of course, the truth all came out. Poor old Kossoff was addicted to just about every drug known to man and when he finally passed away, on a plane I believe, it was said that all of his vital bodily functions – heart, liver, lungs etc – gave up the ghost simultaneously, a scenario virtually unprecedented in medical history. That Pete Doherty’s got some way to go. ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com to share your memories, of the ones we've published or any which we have missed, and we’ll publish the best in a future issue!

In last month’s UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs.

Well, in this month’s issue we’re looking back on the worst gigs we’ve ever seen – including The Stone Roses, Bob Dylan, Kevin Rowland and David Bowie – with rare photos from the shows too.

We’re also going to publish one of the worst gigs every day, with online exclusives, so feast your eyes on this, and be glad you weren’t there!

*****

FREE

Salisbury City Hall, 1972

STEVE SUTHERLAND:

Living in the rural West Country market town of Salisbury, we were pretty much grateful for any band that deigned to come our way. Marble Orchard, Jerusalem, Stray… any old no-mark hard rock outfit was guaranteed a hero’s welcome just for crossing the border into Wilts.

But every now and then real stars would descend from Valhalla to blow our tiny, adolescent minds. Led Zep had swaggered into town late in ‘71, Page, with his violin bow, an absolute warlock. Jethro Tull had mesmerised at the Alex Rooms, Ian Anderson a drooling tramp majestic. In misguided tribute, I recall we nicked our dads’ dressing gowns to wear after school for a few days post-Tull until we realised the girls were all snogging suedeheads in Crombies. And now – joy of joys! – Free were on their way to the City Hall as part of their comeback tour.

Free were bona fide bigtime. They’d had proper hits, been on Top Of The Pops. Local bands in village halls bludgeoned through the opening riffs of ‘All Right Now’. Pedro, the acned, cool, conspicuously stoned sixth form hippy who had hair down to there and, so legend went, never (itals)ever(itals) washed it, had actually stopped and spoken to me – a mere fifth former! – because I happened to have a copy of Free’s Tons Of Sobs album conspicuously tucked under my arm.

They were cool and they were proper – men’s men, steeped in the hard labour of the delta blues. Paul Rodgers, the rugged singer, looked like the sort of geezer who had to shave four times a day just to keep the stubble at bay. Bassist Andy Frazer had something of the Mexican switchblade bandito about him. Drummer Simon Kirk was a character in an era when drummers – Bonham, Moon, Palmer – were characters. And Paul Kossoff, the guitarist, he could make that axe of his weep, rage and bleed.

So it was in full anticipation of a masterclass in musical machismo that me and my mates raced out after tea and convened at the Brewery Tap, a pub near the City Hall, where they’d happily sell real scrumpy to 15 year olds. It was my mate Tiny’s birthday as I recall – we called him Tiny because he was nearly six feet tall and covered in bumfluff. Three pints in, he slid off his chair and cracked his head on the table, opening up a nasty gash above his left eye. Someone had to cart him off to the hospital just down the road so he missed the show. He was the lucky one.

Back then you never had the faintest idea what was really going on. Melody Maker, Sounds, NME, Record Mirror… we bought ‘em all every week but such was the way of the world back then, rock stars’ problems – personal or chemical – were never remotely mentioned. As far as the tabloids were concerned, rock was just a mad epidemic, bound to pass the way of all teenage fads. So it was something of a mystery why Free, who I think I’ve already mentioned were on a comeback tour, had broken up in the first place.

It took about 10 seconds of the show starting for the truth to become all too apparent. There were four dudes on stage, but only three appeared to be actually alive. Kossoff was sort of slumped against the right hand speaker stack like he’d been invisibly lassooed to the fucking thing to keep him upright. I don’t remember what they played but I do know that Kossoff barely hit a note. All you could see was sweaty hair and it looked like he might have pissed himself. At one point it actually seemed from where we were, about 12 rows back, as if he was asleep. The others in the band, as I recall, completely ignored him.

Listening to Free churn out their greatest hits sans guitar was not, even to youthfully unjudgemental ears, what the doctor ordered and, indiscriminate though we were, we fucked off back to the pub after about half an hour, stunned to realise that bands could actually be rubbish.

Later, of course, the truth all came out. Poor old Kossoff was addicted to just about every drug known to man and when he finally passed away, on a plane I believe, it was said that all of his vital bodily functions – heart, liver, lungs etc – gave up the ghost simultaneously, a scenario virtually unprecedented in medical history. That Pete Doherty’s got some way to go.

*****

plus WERE YOU THERE?

Not even UNCUTs war-weary gig-hounds have been to every show in history – but you lot probably have.

Email Allan_Jones@ipcmedia.com to share your memories, of the ones we’ve published or any which we have missed, and we’ll publish the best in a future issue!

Nick Cave & Warren Ellis: Music From The Motion Picture The Assassination Of Jesse James By The Coward Robert Ford

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Another day, another disc from the Miles Davis "On The Corner" box set, and someone (John McLaughlin?) appears to have turned up with a sitar. Most bracing. Before we embarked on this, though, we played the new Nick Cave & Warren Ellis soundtrack, a musical sequel of sorts to their score for "The Proposition" from a couple of years ago. Cave seems to have a fairly prodigious workrate these days, which seems to suggest that sensible office hours and a healthy lifestyle can fuel deranged creativity just as effectively as more conventional rock'n'roll debauchery. After the excellent Grinderman set from earlier this year, "The Assassination Of Jesse James" very consciously presents another side of Cave and Ellis; so instead of bloodthirsty ramalams we get sombre, expansive instrumentals invested with a kind of still, withering gravitas. No jokes about Gardener's Question Time, then. Instead, Cave privileges his high aesthetic side, sometimes lost beneath all the blood and thunder. "The Assassination" has a fuller, richer feel than "The Proposition", and I guess you could perilously trace a creative strand from these gradually unfolding melodies back to "The Boatman's Call". As with "The Proposition", I suppose it'd be easy to assume this instrumental music - calculated to evoke deserts, hard men doing morally indeterminate things and such - might recall The Dirty Three, given the prominence of Warren Ellis. But Ellis' violin-playing is again much more subdued than with his own band; there are none of the florid, occasionally showy, flurries that make The Dirty Three, for me, initially impressive but ultimately a bit wearying. It sometimes seems as if there are distinct guiding principles behind these Cave extra-curricular activities, as if they're ruthlessly managed by him as theoretical projects. Grinderman, I guess, are defined by abandon and irreverence, while "The Assassination" is all about dignity and restraint; he's not averse to wryly mocking himself here, though, hence the opening track being called "Rather Lovely Thing", which it is, actually. I wonder where all this compartmentalising is going to leave the new Bad Seeds album, scheduled for sometime early next year? In theory, Cave's flagship project is the place where he can move between extremes more easily, probably with a greater focus on Bible imagery. But maybe the two poles he's visited this year might encourage Cave to go and find an adjusted direction for his main music. Unlikely, but you never know. . .

Another day, another disc from the Miles Davis “On The Corner” box set, and someone (John McLaughlin?) appears to have turned up with a sitar. Most bracing. Before we embarked on this, though, we played the new Nick Cave & Warren Ellis soundtrack, a musical sequel of sorts to their score for “The Proposition” from a couple of years ago.

Cut of the Day: Friday Fun With Springsteen

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Uncut was listening to the great new Springsteen album 'Magic' in the office today - so we were inspired to put Springsteen into YouTube search to find a clip for today. Instead of an actual music clip - we found this frankly hillarious spoof by Ben Stiller - 'Counting With Springsteen' - Defy you not to laugh: http://www.youtube.com/watch?v=bV5iHgdRQRg

Uncut was listening to the great new Springsteen album ‘Magic‘ in the office today – so we were inspired to put Springsteen into YouTube search to find a clip for today.

Instead of an actual music clip – we found this frankly hillarious spoof by Ben Stiller – ‘Counting With Springsteen’ –

Defy you not to laugh:

Ween To Play Next Spring’s ATP

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With the announcement today that this Christmas' All Tomorrow's Parties' festival curated by Portishead has sold out - details about next year's event have been revealed. The event happening on the first May weekend of 2008 will be curated by Pitchfork Media at the original ATP site of Camber Sands Holiday Camp. The event will take place from May 9 -11 - and the first band's confirmed to play are Ween, Sebadoh, Man Man, Dirty Projectors, Pissed Jeans, Fuck Buttons, Apse, Glass Candy, Caribou, Los Campesinos and Of Montreal. ATP May 2008 Weekend Two, will take place at Butlins Resort at Minehead on May 16 - 18. Details will be announced shortly. Tickets, priced at £140 for 3-days incl. accomodation for the All Tomorrow’s Parties can be purchased directly through www.atpfestival.com and are available in blocks of 4,5,6,7 or 8.

With the announcement today that this Christmas’ All Tomorrow’s Parties‘ festival curated by Portishead has sold out – details about next year’s event have been revealed.

The event happening on the first May weekend of 2008 will be curated by Pitchfork Media at the original ATP site of Camber Sands Holiday Camp.

The event will take place from May 9 -11 – and the first band’s confirmed to play are Ween, Sebadoh, Man Man, Dirty Projectors, Pissed Jeans, Fuck Buttons, Apse, Glass Candy, Caribou, Los Campesinos and Of Montreal.

ATP May 2008 Weekend Two, will take place at Butlins Resort at Minehead on May 16 – 18. Details will be announced shortly.

Tickets, priced at £140 for 3-days incl. accomodation for the All Tomorrow’s Parties can be purchased directly through www.atpfestival.com and are available in blocks of 4,5,6,7 or 8.

Brett Anderson To Play Special Orchestral Shows

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Brett Anderson is to perform two special shows at London Southbank's Queen Elizabeth Hall later this month. The former Suede frontman is hosting two special evenings where he will perform songs from his whole back catalogue, from Suede, through Tears to his more recent solo material, all backed by a string ensemble. The shows on October 20 and 21 will be recorded, with concert goers able to buy a live album immediately after each show. More information and tickets are available from www.southbankcentre.co.uk.

Brett Anderson is to perform two special shows at London Southbank’s Queen Elizabeth Hall later this month.

The former Suede frontman is hosting two special evenings where he will perform songs from his whole back catalogue, from Suede, through Tears to his more recent solo material, all backed by a string ensemble.

The shows on October 20 and 21 will be recorded, with concert goers able to buy a live album immediately after each show.

More information and tickets are available from www.southbankcentre.co.uk.

The Hold Steady Release Special Edition LP

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Uncut's band of the Summer festivals, The Hold Steady are to release a special edition of their accalaimed album Boys & Girls In America next month. The re-release of their acclaimed album will come with a bonus disc of live tracks recorded at Fingerprints, an independent record shop in Los Angeles. The eight tracks include recent single 'Chips Ahoy' as well as 'Modesto's Not That Sweet' which is not available on any other Hold Steady album. A five-track EP from the same acoustic show was released in the US only this Summer. The bonus disc tracklisting is: 'Cattle And The Creeping Things' (Live @ Fingerprints) 'Your Little Hoodrat Friend' 'Chips Ahoy' 'Modesto's Not That Sweet' 'First Night' 'You Can Make Him Like You' 'Citrus' 'You Gotta Dance With Who You Came To The Dance With' This month also see's Craig Finn and the band embark on the NME's first Rock'n'Roll Riot tour, headlining in the US. Support acts will be the 1990s and Art Brut. The band, who release new single 'Massive Nights' on October 22, are currently finishing writing their fourth album which will be completed and released by early next year.

Uncut’s band of the Summer festivals, The Hold Steady are to release a special edition of their accalaimed album Boys & Girls In America next month.

The re-release of their acclaimed album will come with a bonus disc of live tracks recorded at Fingerprints, an independent record shop in Los Angeles.

The eight tracks include recent single ‘Chips Ahoy’ as well as ‘Modesto’s Not That Sweet’ which is not available on any other Hold Steady album.

A five-track EP from the same acoustic show was released in the US only this Summer.

The bonus disc tracklisting is:

‘Cattle And The Creeping Things’ (Live @ Fingerprints)

‘Your Little Hoodrat Friend’

‘Chips Ahoy’

‘Modesto’s Not That Sweet’

‘First Night’

‘You Can Make Him Like You’

‘Citrus’

‘You Gotta Dance With Who You Came To The Dance With’

This month also see’s Craig Finn and the band embark on the NME’s first Rock’n’Roll Riot tour, headlining in the US. Support acts will be the 1990s and Art Brut.

The band, who release new single ‘Massive Nights‘ on October 22, are currently finishing writing their fourth album which will be completed and released by early next year.

The Horrors To DJ In London Tonight

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Starting to gather momentum, it’s the third of Natt Weller’s ‘Dangerous to Know’ club nights tonight (October 5). Spinning 'dirty rock and electro' beats The Horrors and The View will all be in the DJ booth from 10.30pm. The monthly club night which was launched with a Dirty Pretty Things set in August, is run by Paul Weller's son Natt, and also features a Berlin cabaret theme with burlesque dancers in the mix. Kasabian are rumoured to be playing the D2K night next month. 'Dangerous To Know' takes place at Camouflage, 84 - 86 Wardour Street, London, W1. Head to www.myspace.com/clubd2k or Clubdangeroustoknow.com here.

Starting to gather momentum, it’s the third of Natt Weller’s ‘Dangerous to Know’ club nights tonight (October 5).

Spinning ‘dirty rock and electro’ beats The Horrors and The View will all be in the DJ booth from 10.30pm.

The monthly club night which was launched with a Dirty Pretty Things set in August, is run by Paul Weller‘s son Natt, and also features a Berlin cabaret theme with burlesque dancers in the mix.

Kasabian are rumoured to be playing the D2K night next month.

‘Dangerous To Know’ takes place at Camouflage, 84 – 86 Wardour Street, London, W1.

Head to www.myspace.com/clubd2k or Clubdangeroustoknow.com here.

Win! A Fender Strat! With Eric Clapton

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To celebrate the release of 'Complete Clapton' on October 8 -- a 2-disc career retrospective from the man universally known as Slowhand -- Uncut.co.uk and Polydor Records have joined forces to run an exclusive competition to win a Fender Stratocaster electric guitar! All you need to do to be in with a chance of winning this exclusive prize is to simply upload a video to YouTube of yourself or your friends performing to a clip of an Eric Clapton classic track such as 'Sunshine Of Your Love', 'Layla' or 'Wonderful Tonight'. Just choose any track from 'Complete Clapton' and get creative! We're looking for anything from an air-guitar mime, simple acoustic guitar rendition, karaoke sessions with all your friends or full-band reinterpretations of any great song, the more entertaining the better! These videos should be uploaded to this specially-created YouTube Group with the winning entry being selected on October 22. TO ENTER CLICK HERE: www.youtube.com/group/completeclaptoncomp Why not get some inspiration from the great man himself via this link? You can also pre-order your copy of 'Complete Clapton' by clicking on this link. The full tracklisting is: Disc: 1 1. I Feel Free: Cream 2. Sunshine of Your Love: Cream 3. White Room: Cream 4. Crossroads: Cream 5. Badge: Cream 6. Presence of the Lord: Blind Faith 7. After Midnight 8. Let It Rain 9. Bell Bottom Blues 10. Layla See all 19 tracks on this disc Disc: 2 1. I've Got a Rock 'n' Roll Heart 2. She's Waiting 3. Forever Man 4. It's in the Way That You Use It 5. Miss You 6. Pretending 7. Bad Love 8. Tears in Heaven 9. Layla Unplugged 10. Running on Faith (Unplugged)

To celebrate the release of ‘Complete Clapton’ on October 8 — a 2-disc career retrospective from the man universally known as SlowhandUncut.co.uk and Polydor Records have joined forces to run an exclusive competition to win a Fender Stratocaster electric guitar!

All you need to do to be in with a chance of winning this exclusive prize is to simply upload a video to YouTube of yourself or your friends performing to a clip of an Eric Clapton classic track such as ‘Sunshine Of Your Love’, ‘Layla’ or ‘Wonderful Tonight’.

Just choose any track from ‘Complete Clapton’ and get creative! We’re looking for anything from an air-guitar mime, simple acoustic guitar rendition, karaoke sessions with all your friends or full-band reinterpretations of any great song, the more entertaining the better!

These videos should be uploaded to this specially-created YouTube Group with the winning entry being selected on October 22.

TO ENTER CLICK HERE: www.youtube.com/group/completeclaptoncomp

Why not get some inspiration from the great man himself via this link?

You can also pre-order your copy of ‘Complete Clapton’ by clicking on this link.

The full tracklisting is:

Disc: 1

1. I Feel Free: Cream

2. Sunshine of Your Love: Cream

3. White Room: Cream

4. Crossroads: Cream

5. Badge: Cream

6. Presence of the Lord: Blind Faith

7. After Midnight

8. Let It Rain

9. Bell Bottom Blues

10. Layla

See all 19 tracks on this disc

Disc: 2

1. I’ve Got a Rock ‘n’ Roll Heart

2. She’s Waiting

3. Forever Man

4. It’s in the Way That You Use It

5. Miss You

6. Pretending

7. Bad Love

8. Tears in Heaven

9. Layla Unplugged

10. Running on Faith (Unplugged)

Win! Tickets To Dylan Newport Film Premiere

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As previously reported, the first ever DVD of Bob Dylan's performances at The Newport Folk Festival is to be released at the end of the month. Featuring 80 minutes of previously unseen footage, the film by Murray Lerner chronicles Dylan's transformation in successive years from '63 to '65. The BBC...

As previously reported, the first ever DVD of Bob Dylan‘s performances at The Newport Folk Festival is to be released at the end of the month.

Featuring 80 minutes of previously unseen footage, the film by Murray Lerner chronicles Dylan’s transformation in successive years from ’63 to ’65.

The BBC, Columbia and British Film Institute are hosting a world premiere gala screening next Tuesday (October 9) at the BFI Southbank (formerly the NFT) – and Uncut.co.uk has got three pairs of tickets to giveaway!

The screening, which starts at 6.30pm will be followed by a Q&A with Murray Lerner.

To be in with a chance of winning, simply go to the competition here.

Competition closes at noon on Monday (October 8) – winners will be contacted from Monday afternoon. Please include your daytime contact number and email where possible.

More details are available from www.bfi.org.uk.

Tony Wilson To Get Manchester Honour

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Music legend Tony Wilson is to be honoured by Manchester City Council next week. The Factory records founder and Manchester hero, who died in August, is to have his name carved into the wall of the city's Town Hall - an honour usually reserved for honorary freeman. The council are to declare next week that Wilson would `undoubtedly' have been worthy of honorary freedom of the city had he still been alive reports Manchester Evening News. A motion is expected to be unanimously passed saying Wilson will `always be known as Mr Manchester' with a request made to chief executive Sir Howard Bernstein to arrange for his name to be inscribed on the wall alongside the freemen of the city. Only 75 individuals and six regiments have previously been given honorary freedom. Wilson's name will be inscribed next to Sir Alex Ferguson (granted honorary freedom in 1999) and near Sir Matt Busby (1967) - both heroes of his beloved Manchester United. The motion will say the council `wishes to record its deepest regrets on the sudden death of Tony Wilson'. The council wants `a special memorial of appreciation to the outstanding contribution Tony Wilson made to the life of the city, its music and culture over many years'. It will describe him as `the inspiration to a generation of young musicians who put Manchester centre stage in the world of music'. "Many charitable and arts organisations across Greater Manchester called on Tony Wilson to support their efforts. He always responded." To read UNCUT's full obituary, click here.

Music legend Tony Wilson is to be honoured by Manchester City Council next week.

The Factory records founder and Manchester hero, who died in August, is to have his name carved into the wall of the city’s Town Hall – an honour usually reserved for honorary freeman.

The council are to declare next week that Wilson would `undoubtedly’ have been worthy of honorary freedom of the city had he still been alive reports Manchester Evening News.

A motion is expected to be unanimously passed saying Wilson will `always be known as Mr Manchester’ with a request made to chief executive Sir Howard Bernstein to arrange for his name to be inscribed on the wall alongside the freemen of the city.

Only 75 individuals and six regiments have previously been given honorary freedom.

Wilson’s name will be inscribed next to Sir Alex Ferguson (granted honorary freedom in 1999) and near Sir Matt Busby (1967) – both heroes of his beloved Manchester United.

The motion will say the council `wishes to record its deepest regrets on the sudden death of Tony Wilson’.

The council wants `a special memorial of appreciation to the outstanding contribution Tony Wilson made to the life of the city, its music and culture over many years’.

It will describe him as `the inspiration to a generation of young musicians who put Manchester centre stage in the world of music’.

“Many charitable and arts organisations across Greater Manchester called on Tony Wilson to support their efforts. He always responded.”

To read UNCUT’s full obituary, click here.

Windsor Gets Set For Joe Strummer Inspired Festival

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A weekend of new music and arts presented by Strummerville: The Joe Strummer Foundation For New Music is to take place from October 19. Taking place at the Windsor Arst Centre, the Riot On The Radiofestival will celebrate music, film, art and spoken word by artists inspired by the late Clash man Joe Strummer. Highlights of the weekend include Spiritualized's Sean Cook's project The Flies and a Rock'n'Roots night DJ'ed by Andy Weatherall and DJ Scratchy. The opening night party includes a screening of recent acclaimed biopic Joe Strummer: The Future Is Unwritten. The weekend will also be a platform for new artists to perform, as festival director Sascha Evans says:"This festival is not just a celebration of Joe’s life but a celebration of artists, established and new, who have been inspired by him. Riot on the Radio is about giving emerging artists a platform to perform alongside more experienced ones." Strummerville is a registered charity aiming to create opportunities for aspiring musicians. For more information check out the charity's website here: www.Strummerville.com.

A weekend of new music and arts presented by Strummerville: The Joe Strummer Foundation For New Music is to take place from October 19.

Taking place at the Windsor Arst Centre, the Riot On The Radiofestival will celebrate music, film, art and spoken word by artists inspired by the late Clash man Joe Strummer.

Highlights of the weekend include Spiritualized‘s Sean Cook’s project The Flies and a Rock’n’Roots night DJ’ed by Andy Weatherall and DJ Scratchy.

The opening night party includes a screening of recent acclaimed biopic Joe Strummer: The Future Is Unwritten.

The weekend will also be a platform for new artists to perform, as festival director Sascha Evans says:”This festival is not just a celebration of Joe’s life but a celebration of artists, established and new, who have been inspired by him. Riot on the Radio is about giving emerging artists a platform to perform alongside more experienced ones.”

Strummerville is a registered charity aiming to create opportunities for aspiring musicians. For more information check out the charity’s website here: www.Strummerville.com.

Control

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DIR: ANTON CORBIJN | ST: SAM RILEY, SAMANTHA MORTON, ALEXANDRA MARIA LARA Anton Corbijn’s Control is not, strictly speaking, a rock biopic. Nor is it anything like the history of Joy Division as it appeared in Michael Winterbottom’s 2002 film, 24 Hour Party People, with its knockabout comic-strip history of Factory Records. Rather, this is an intimate portrait of the band’s singer Ian Curtis, who hanged himself on May 18, 1980, aged 23. Beyond that, Control is a sober contemplation of the dreams and fantasies that come as part of the package with a rock career, often wrecking the people that cherish them most. Based on Touching From A Distance, the memoir by the singer’s widow Deborah Curtis – played here by Samantha Morton – Corbijn’s film traces how a sensitive young man with poetic dreams got trapped in the divide between the person he wanted to be and the realities of a humdrum existence of work and marriage. In this story, singing in a band – even one as exalted and innovative as Joy Division – isn’t a glorified fantasy, but an altogether mundane occupation that brings its own pressures. Yet at the same time, Control magnificently evokes the intensity of Joy Division on stage and on record, and reminds you that Curtis was one of the most mesmerising performers that the British music scene ever produced. It’s an unusually realistic-feeling film, too, and not just in the way that the four young actors cast as Joy Division, and playing their own instruments, catch the band’s sound and stance. Sam Riley is a dead ringer for Curtis, down to the stare and the windmilling elbows on stage. Most importantly, his performance doesn’t play into the myth of the rock star as an otherworldly figure, too big or too intensely alive for the world. Curtis comes across as an intelligent but vulnerable and somewhat gauche young man, totally out of his depth when faced with adulthood. The film opens in Macclesfield in 1973, with pale teenage dreamer Curtis in love with glam rock, striking Iggy poses in his bedroom mirror. He has a distinct literary bent, too: his bedroom is stacked with Burroughs and Ballard paperbacks and files for his poetry, songs and planned novels. He’s a lover rather than a geeky loner: meeting his mate’s girlfriend Deborah, he quotes Wordsworth at her, and she’s hooked. They marry, but before long, his literary and musical dreams are brought down to earth by the day job at the Employment Exchange, and eventually the pram in the hall. When punk happens, Curtis and his friends form Warsaw, then Joy Division. They meet manager Rob Gretton (a scene-stealingly abrasive Toby Kebbell), sign to the new label set up by local TV presenter Tony Wilson (Craig Parkinson, less clownish than Steve Coogan in the Winterbottom film), and record the Unknown Pleasures album. But while Joy Division is going places, Curtis’ own life falls apart. He’s diagnosed with epilepsy and prescribed a punishing regime of medication. He becomes increasingly estranged from Deborah and starts an affair with Annik Honoré (Alexandra Maria Lara), a Belgian fanzine writer who represents all the exotic European ‘otherness’ that he yearns for. Corbijn was one of the leading NME photographers in the late-’70s, who made a major contribution to the look and image of Joy Division. He’s recaptured some of that feel in this black-and-white film – beautifully shot by Martin Ruhe – but he’s also captured an era of British life that now looks oddly distant. There’s neither glamour in the film, nor fake grim-up-North dourness, but a profound sense of the everyday that the inexperienced Curtis couldn’t quite handle. Control is a trenchant, intelligent exercise in stripping away the many myths surrounding both Curtis and the music world generally. But it’s also a film that Joy Division and New Order fans will relish, even though some of the characterisations aren’t all that flattering: James Anthony Pearson, as Bernard Sumner, comes across as a callow geek, and Joe Anderson’s Hooky is a study in terse belligerence. There’s also a terrific cameo by John Cooper Clarke, barking out his “Evidently Chicken Town” with the same wiry urgency as ever. Whether or not this film is strictly accurate about Curtis’ life and death, it certainly has the ring of intimacy. It also gives a sensitive account of what it’s like to be the woman left out of the picture when the boys go pursuing dreams. Though hers is essentially a supporting role, Samantha Morton is extremely affecting as Deborah. With the recent death of Tony Wilson making it even more poignant, Control is one of the best films about music made in a long time. JONATHAN ROMNEY

DIR: ANTON CORBIJN | ST: SAM RILEY, SAMANTHA MORTON, ALEXANDRA MARIA LARA

Anton Corbijn’s Control is not, strictly speaking, a rock biopic. Nor is it anything like the history of Joy Division as it appeared in Michael Winterbottom’s 2002 film, 24 Hour Party People, with its knockabout comic-strip history of Factory Records. Rather, this is an intimate portrait of the band’s singer Ian Curtis, who hanged himself on May 18, 1980, aged 23. Beyond that, Control is a sober contemplation of the dreams and fantasies that come as part of the package with a rock career, often wrecking the people that cherish them most.

Based on Touching From A Distance, the memoir by the singer’s widow Deborah Curtis – played here by Samantha Morton – Corbijn’s film traces how a sensitive young man with poetic dreams got trapped in the divide between the person he wanted to be and the realities of a humdrum existence of work and marriage. In this story, singing in a band – even one as exalted and innovative as Joy Division – isn’t a glorified fantasy, but an altogether mundane occupation that brings its own pressures. Yet at the same time, Control magnificently evokes the intensity of Joy Division on stage and on record, and reminds you that Curtis was one of the most mesmerising performers that the British music scene ever produced.

It’s an unusually realistic-feeling film, too, and not just in the way that the four young actors cast as Joy Division, and playing their own instruments, catch the band’s sound and stance. Sam Riley is a dead ringer for Curtis, down to the stare and the windmilling elbows on stage. Most importantly, his performance doesn’t play into the myth of the rock star as an otherworldly figure, too big or too intensely alive for the world. Curtis comes across as an intelligent but vulnerable and somewhat gauche young man, totally out of his depth when faced with adulthood.

The film opens in Macclesfield in 1973, with pale teenage dreamer Curtis in love with glam rock, striking Iggy poses in his bedroom mirror. He has a distinct literary bent, too: his bedroom is stacked with Burroughs and Ballard paperbacks and files for his poetry, songs and planned novels. He’s a lover rather than a geeky loner: meeting his mate’s girlfriend Deborah, he quotes Wordsworth at her, and she’s hooked. They marry, but before long, his literary and musical dreams are brought down to earth by the day job at the Employment Exchange, and eventually the pram in the hall.

When punk happens, Curtis and his friends form Warsaw, then Joy Division. They meet manager Rob Gretton (a scene-stealingly abrasive Toby Kebbell), sign to the new label set up by local TV presenter Tony Wilson (Craig Parkinson, less clownish than Steve Coogan in the Winterbottom film), and record the Unknown Pleasures album. But while Joy Division is going places, Curtis’ own life falls apart. He’s diagnosed with epilepsy and prescribed a punishing regime of medication. He becomes increasingly estranged from Deborah and starts an affair with Annik Honoré (Alexandra Maria Lara), a Belgian fanzine writer who represents all the exotic European ‘otherness’ that he yearns for.

Corbijn was one of the leading NME photographers in the late-’70s, who made a major contribution to the look and image of Joy Division. He’s recaptured some of that feel in this black-and-white film – beautifully shot by Martin Ruhe – but he’s also captured an era of British life that now looks oddly distant. There’s neither glamour in the film, nor fake grim-up-North dourness, but a profound sense of the everyday that the inexperienced Curtis couldn’t quite handle. Control is a trenchant, intelligent exercise in stripping away the many myths surrounding both Curtis and the music world generally.

But it’s also a film that Joy Division and New Order fans will relish, even though some of the characterisations aren’t all that flattering: James Anthony Pearson, as Bernard Sumner, comes across as a callow geek, and Joe Anderson’s Hooky is a study in terse belligerence. There’s also a terrific cameo by John Cooper Clarke, barking out his “Evidently Chicken Town” with the same wiry urgency as ever.

Whether or not this film is strictly accurate about Curtis’ life and death, it certainly has the ring of intimacy. It also gives a sensitive account of what it’s like to be the woman left out of the picture when the boys go pursuing dreams. Though hers is essentially a supporting role, Samantha Morton is extremely affecting as Deborah. With the recent death of Tony Wilson making it even more poignant, Control is one of the best films about music made in a long time.

JONATHAN ROMNEY

Up Close & Personal: Sam Riley

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Q&A with Sam Riley, who plays Ian Curtis in the Anton Corbijn directed Joy Division biopic Control UNCUT: When was the first time you heard the name Ian Curtis? SAM RILEY: I was 18, just starting with my band 10,000 Things, playing a pub in Leeds. Under our name on the wall it said, “Ian Curtis fronts The Rolling Stones”. Someone explained to me: “Y’know, the ones who did ‘Love Will Tear Us Apart’.” So I immediately borrowed a copy of Unknown Pleasures and played “Transmission” in the car a lot – yeah, the most obvious track! But it’s probably an advantage that Ian wasn’t one of my idols. Now, obviously, I love Joy Division. But it would have meant added pressure. I have a lot of respect for him, not necessarily reverence. It’s a delicate balance. I definitely didn’t try to play him as an icon. Most young men aren’t particularly charming, and he wasn’t an ideal husband or father. The same goes for New Order – I don’t blame them for not really spotting his problems. Young guys tend to ignore one another beneath the surface. As it’s based on [Ian’s wife] Deborah Curtis’ book, hopefully it’s fair. He was a flawed individual. I can relate to that. Who can’t? So how did you land the part? When my band were offered a deal, I told my agent I hated acting! I’d had one line as Mark E Smith in 24-Hour Party People, which was cut, after I’d auditioned as Stephen Morris! Anyway, after three years my band got dropped. I was working in a warehouse back in Leeds. Acting had to better than that, and by coincidence Anton was looking for someone like... me. Did you impersonate Curtis? Well, while I was waiting I saw the guy auditioning before me go past the window dancing and shaking like Ian. I thought, ‘Fuck’. So I ran downstairs to the toilet and practised the dance in the mirror. Anton tied an iPod to my arm and said, “Can I see you move?” I’d read that the likes of Jude Law were up for this, so thought I had no chance. Then they rang me on my 26th birthday – January 8, same birthday as Elvis and Bowie, which as a kid I thought might “mean” something – to tell me that I’d got it. How anxious are you and Anton about the reaction to the film from Joy Division fans? They’re sceptical before seeing it, I can understand that. When they announced I’d got the part, I went on a Joy Division online forum, which was pretty stupid of me. It was all: “What the fuck? Who is this? Doesn’t look anything like him! He’s a singer in a shit band! Is he American? Why didn’t they get Christopher Eccleston?” While I knew I couldn’t please everybody, this was the best opportunity anyone had ever given me, and I wasn’t about to turn it down out of risk of upsetting people. Ian is precious to people, almost like a saint, and they don’t want to see somebody come in and ruin it. But I knew Anton wouldn’t follow the usual formula: it’s a film about a young man, not a rock star. Even icons go to the toilet! New Order love it. Bernard Sumner’s advice to me was: “Have fun, we did.” If illusions get shattered, that’s real life. The live performances are very powerful. Wasn’t the original plan to mime? Yes, but we’d rehearsed so hard, we were desperate to play. It’d be more convincing that way. OK I don’t have the exact voice, or moves, but we’re trying to get the essence of this band, not an identikit. We weren’t just a bunch of poncey actors clocking in. We were also lucky that Joy Division were never the tightest band live! When I first heard the bootlegs I couldn’t believe it. I’m sure Bernard’s playing a different song from Hooky most of the time! Some of the extras had come all the way from America. One guy in the front row says, “Are you Ian?” Which is a weird question anyway. He glares at me: “This’d better be fucking good.” Another guy lifts his shirt and he’s got Ian’s face tattooed, life-size, across his chest. No pressure, then. I was terrified. But we wanted to show them we were taking it seriously. As far as we were concerned, during takes, we were Joy Division up there. How did you deal with the more harrowing scenes within the Curtis marriage? Thank God Samantha Morton was there for both me and Anton: neither of us knew how to approach rehearsals at first, but she brought such experience and dedication, and was lovely. INTERVIEW by CHRIS ROBERTS

Q&A with Sam Riley, who plays Ian Curtis in the Anton Corbijn directed Joy Division biopic Control

UNCUT: When was the first time you heard the name Ian Curtis?

SAM RILEY: I was 18, just starting with my band 10,000 Things, playing a pub in Leeds. Under our name on the wall it said, “Ian Curtis fronts The Rolling Stones”. Someone explained to me: “Y’know, the ones who did ‘Love Will Tear Us Apart’.” So I immediately borrowed a copy of Unknown Pleasures and played “Transmission” in the car a lot – yeah, the most obvious track!

But it’s probably an advantage that Ian wasn’t one of my idols. Now, obviously, I love Joy Division. But it would have meant added pressure. I have a lot of respect for him, not necessarily reverence. It’s a delicate balance. I definitely didn’t try to play him as an icon.

Most young men aren’t particularly charming, and he wasn’t an ideal husband or father. The same goes for New Order – I don’t blame them for not really spotting his problems. Young guys tend to ignore one another beneath the surface.

As it’s based on [Ian’s wife] Deborah Curtis’ book, hopefully it’s fair.

He was a flawed individual. I can relate to that. Who can’t?

So how did you land the part?

When my band were offered a deal, I told my agent I hated acting! I’d had one line as Mark E Smith in 24-Hour Party People, which was cut, after I’d auditioned as Stephen Morris! Anyway, after three years my band got dropped. I was working in a warehouse back in Leeds. Acting had to better than that, and by coincidence Anton was looking for someone like… me.

Did you impersonate Curtis?

Well, while I was waiting I saw the guy auditioning before me go past the window dancing and shaking like Ian. I thought, ‘Fuck’. So I ran downstairs to the toilet and practised the dance in the mirror. Anton tied an iPod to my arm and said, “Can I see you move?” I’d read that the likes of Jude Law were up for this, so thought I had no chance. Then they rang me on my 26th birthday – January 8, same birthday as Elvis and Bowie, which as a kid I thought might “mean” something – to tell me that I’d got it.

How anxious are you and Anton about the reaction to the film from Joy Division fans?

They’re sceptical before seeing it, I can understand that. When they announced I’d got the part, I went on a Joy Division online forum, which was pretty stupid of me. It was all: “What the fuck? Who is this? Doesn’t look anything like him! He’s a singer in a shit band! Is he American? Why didn’t they get Christopher Eccleston?”

While I knew I couldn’t please everybody, this was the best opportunity anyone had ever given me, and I wasn’t about to turn it down out of risk of upsetting people. Ian is precious to people, almost like a saint, and they don’t want to see somebody come in and ruin it. But I knew Anton wouldn’t follow the usual formula: it’s a film about a young man, not a rock star. Even icons go to the toilet! New Order love it. Bernard Sumner’s advice to me was: “Have fun, we did.” If illusions get shattered, that’s real life.

The live performances are very powerful. Wasn’t the original plan to mime?

Yes, but we’d rehearsed so hard, we were desperate to play. It’d be

more convincing that way. OK I don’t have the exact voice, or moves, but we’re trying to get the essence of this band, not an identikit. We weren’t just a bunch of poncey actors clocking in. We were also lucky that Joy Division were never the tightest band live! When I first heard the bootlegs I couldn’t believe it. I’m sure Bernard’s playing a different song from Hooky most of the time! Some of the extras had come all the way from America.

One guy in the front row says, “Are you Ian?” Which is a weird question anyway. He glares at me: “This’d better be fucking good.” Another guy lifts his shirt and he’s got Ian’s face tattooed, life-size, across his chest. No pressure, then. I was terrified. But we wanted to show them we were taking it seriously. As far as we were concerned, during takes, we were Joy Division up there.

How did you deal with the more harrowing scenes within the Curtis marriage?

Thank God Samantha Morton was there for both me and Anton: neither of us knew how to approach rehearsals at first, but she brought such experience and dedication, and was lovely.

INTERVIEW by CHRIS ROBERTS