Subscribe
Home Blog Page 956

Josh Ritter Announces UK Tour

Uncut
-
0
Josh Ritter Announces UK Tour

American singer-songwriter Josh Ritter has announced a UK tour for November, visiting eight major cities. The musician, who features in the new issue of Uncut out tomorrow (September 27), is set to play a massive show at London’s Shepherd’s Bush Empire towards the end of his tour. Ritter is visiting the UK in support of his forthcoming fifth album "The Historical Conquests Of Josh Ritter", which is released on October 1. The full dates are: Nottingham Rescue Rooms (November 16) Newcastle Sage (17) Manchester Academy 2 (18) Glasgow Classic Grand (19) Birmingham Glee Club (21) London Shepherd’s Bush Empire (22) Brighton Concorde (23) Bristol Trinity (24)

American singer-songwriter Josh Ritter has announced a UK tour for November, visiting eight major cities.

The musician, who features in the new issue of Uncut out tomorrow (September 27), is set to play a massive show at London’s Shepherd’s Bush Empire towards the end of his tour.

Ritter is visiting the UK in support of his forthcoming fifth album “The Historical Conquests Of Josh Ritter”, which is released on October 1.

The full dates are:

Nottingham Rescue Rooms (November 16)

Newcastle Sage (17)

Manchester Academy 2 (18)

Glasgow Classic Grand (19)

Birmingham Glee Club (21)

London Shepherd’s Bush Empire (22)

Brighton Concorde (23)

Bristol Trinity (24)

Steve Earle – Washington Square Serenade

Uncut
-
0
Steve Earle – Washington Square Serenade

Like Tom Russell and Dave Alvin, Earle is a songwriter who sharpens with age. Recent albums “Jerusalem” (2002) and 2004's “The Revolution Starts...Now” found him politically charged, tilting at Bush & Co. with undisguised revulsion. It was reflected in the music too, which was gruff, tetchy, raw. Now, a move to New York (Greenwich Village to be specific) has given Earle fresh impetus. Produced by Dust Brother John King at Electric Lady Studios, “Washington Square Serenade” feels far more personal. Layering acoustic and electric guitars over vaguely hip-hop beats, much of it sounds like Earle taking stock of his new home and nodding his approval. New York, he admits, was where he was always headed. Nashville just happened to get in the way. "Tennessee Blues" directly addresses his decision to quit Nashville two years ago. Set to bright guitar and skeletal beats, Earle growls "Sunset in my mirror / Pedal on the floor / Bound for New York City / And I won't be back no more". And why would you, when you're nestled in a garden apartment on the street depicted on the sleeve of “The Freewheelin' Bob Dylan”? Elsewhere, there's a new thrust to most of the other songs too. "Satellite Radio", bizarrely enough, begins like Portishead, then opens out into an improbable kind of folk rap that's one of the best moments here. And with traditional Brazilian rhythms courtesy of Forro In The Dark, "City Of Immigrants" finds Earle plugging in to a new strain of urban tropicalia. Of course, this is hardly wholesale reinvention. Wife Alison Moorer duets on "Days Aren't Long Enough", while the country boy shines through on the banjo-heavy "Oxycontin Blues" and an old-timey "Jericho Road". It's all invigorating, wonderful stuff. Wherever he goes, Earle finds a rich seam of song to mine. ROB HUGHES

Like Tom Russell and Dave Alvin, Earle is a songwriter who sharpens with age. Recent albums “Jerusalem” (2002) and 2004’s “The Revolution Starts…Now” found him politically charged, tilting at Bush & Co. with undisguised revulsion. It was reflected in the music too, which was gruff, tetchy, raw.

Now, a move to New York (Greenwich Village to be specific) has given Earle fresh impetus. Produced by Dust Brother John King at Electric Lady Studios, “Washington Square Serenade” feels far more personal. Layering acoustic and electric guitars over vaguely hip-hop beats, much of it sounds like Earle taking stock of his new home and nodding his approval. New York, he admits, was where he was always headed. Nashville just happened to get in the way.

“Tennessee Blues” directly addresses his decision to quit Nashville two years ago. Set to bright guitar and skeletal beats, Earle growls “Sunset in my mirror / Pedal on the floor / Bound for New York City / And I won’t be back no more”. And why would you, when you’re nestled in a garden apartment on the street depicted on the sleeve of “The Freewheelin’ Bob Dylan”?

Elsewhere, there’s a new thrust to most of the other songs too. “Satellite Radio”, bizarrely enough, begins like Portishead, then opens out into an improbable kind of folk rap that’s one of the best moments here. And with traditional Brazilian rhythms courtesy of Forro In The Dark, “City Of Immigrants” finds Earle plugging in to a new strain of urban tropicalia.

Of course, this is hardly wholesale reinvention. Wife Alison Moorer duets on “Days Aren’t Long Enough”, while the country boy shines through on the banjo-heavy “Oxycontin Blues” and an old-timey “Jericho Road”. It’s all invigorating, wonderful stuff. Wherever he goes, Earle finds a rich seam of song to mine.

ROB HUGHES

SHACK – Time Machine: The Best Of Shack

Uncut
-
0
SHACK – Time Machine: The Best Of Shack

To those who've not heard it, the story of Shack can't help but sound a little bit like “Great Expectations”. From humble beginnings, a band has some interesting adventures, and endures some hairy moments. A promise of great wealth seems it will emerge from one source - but in the end, their salvation comes from a surprising, but generous benefactor. If there weren't drugs involved, you could almost see it being serialized at Sunday teatime, on BBC2. As it is, a different kind of domesticity pervades the work of Mick and John Head. For the twenty years that the pair have made music as Shack - they were once part of the fragile, bossa-nova-centric Pale Fountains - they have specialized in wringing amazing beauty from the humdrum. Lyrically, their songs take their starting points from experiences as everyday as having a cup of tea ("Cup Of Tea"), picking up dry cleaning (the great single "Al's Vacation"), or being spooked by the television ("Neighbours"). Where the band take them from there, however, is where their magic lies. “Time Machine” collects some hugely strong examples of their transformative art. "Cosmic Scousers" is a rather demeaning epithet, but Shack's talents - which stylistically pay a homage to the works of Love and The Byrds – is for creating a poetic, indoor psychedelia. The resulting music, propelled by Mick Head's soft mumbling and rich with his brother's impressive lead guitar is empathetic, at times (like 1998's "Pull Together") anthemic, but without any kind of bombast. Instead, the songs here feel as though they're less being performed, more being shared. Worthy contemporaries of The Stone Roses in one era, and Oasis in another, Shack remain now as they have for years: a band you'd hope more people would know about. Why they don't (a blend of tragicomic misfortune, lost tapes, self-inflicted obstacles, and what must simply be bad luck) is something we can only hope that this great record, released on Noel Gallagher's own label, might help re-address. Whatever, you suspect the trappings of fame wouldn't particularly turn their heads – Shack have already seen so much, without even leaving the house. JOHN ROBINSON Q and A: Mick Head UNCUT: How did the association with Noel Gallagher come about? MH: Noel turned up at a gig in Birmingham, and we had a chat, and we got on from there. It was like: "Let's try and do something one day". And when we were looking round, he said did we want to do something, and we said, "Yeah, definitely." He's a total kindred spirit, he's a beautiful man. I'm his brother - we played with them: if we were fucking up, they'd pull us aside and say like, "behave yourselves". UNCUT: There's nothing from “The Magical World Of The Strands” album on there? MH: Is that a fact? Oh d'you know what, I thought there was. Bloody hell! Oh, I know: it's because we were The Strands. It was a very different thing to Shack, a different time of our lives: it started off as a solo album, but I needed some guitar, and I thought, "Why not ask our John, he's the best guitarist in the world?" INTERVIEW: JOHN ROBINSON

To those who’ve not heard it, the story of Shack can’t help but sound a little bit like “Great Expectations”. From humble beginnings, a band has some interesting adventures, and endures some hairy moments. A promise of great wealth seems it will emerge from one source – but in the end, their salvation comes from a surprising, but generous benefactor. If there weren’t drugs involved, you could almost see it being serialized at Sunday teatime, on BBC2.

As it is, a different kind of domesticity pervades the work of Mick and John Head. For the twenty years that the pair have made music as Shack – they were once part of the fragile, bossa-nova-centric Pale Fountains – they have specialized in wringing amazing beauty from the humdrum. Lyrically, their songs take their starting points from experiences as everyday as having a cup of tea (“Cup Of Tea”), picking up dry cleaning (the great single “Al’s Vacation”), or being spooked by the television (“Neighbours”). Where the band take them from there, however, is where their magic lies.

“Time Machine” collects some hugely strong examples of their transformative art. “Cosmic Scousers” is a rather demeaning epithet, but Shack‘s talents – which stylistically pay a homage to the works of Love and The Byrds – is for creating a poetic, indoor psychedelia. The resulting music, propelled by Mick Head‘s soft mumbling and rich with his brother’s impressive lead guitar is empathetic, at times (like 1998’s “Pull Together”) anthemic, but without any kind of bombast.

Instead, the songs here feel as though they’re less being performed, more being shared. Worthy contemporaries of The Stone Roses in one era, and Oasis in another, Shack remain now as they have for years: a band you’d hope more people would know about.

Why they don’t (a blend of tragicomic misfortune, lost tapes, self-inflicted obstacles, and what must simply be bad luck) is something we can only hope that this great record, released on Noel Gallagher‘s own label, might help re-address. Whatever, you suspect the trappings of fame wouldn’t particularly turn their heads – Shack have already seen so much, without even leaving the house.

JOHN ROBINSON

Q and A: Mick Head

UNCUT: How did the association with Noel Gallagher come about?

MH: Noel turned up at a gig in Birmingham, and we had a chat, and we got on from there. It was like: “Let’s try and do something one day”. And when we were looking round, he said did we want to do something, and we said, “Yeah, definitely.” He’s a total kindred spirit, he’s a beautiful man. I’m his brother – we played with them: if we were fucking up, they’d pull us aside and say like, “behave yourselves”.

UNCUT: There’s nothing from “The Magical World Of The Strands” album on there?

MH: Is that a fact? Oh d’you know what, I thought there was. Bloody hell! Oh, I know: it’s because we were The Strands. It was a very different thing to Shack, a different time of our lives: it started off as a solo album, but I needed some guitar, and I thought, “Why not ask our John, he’s the best guitarist in the world?”

INTERVIEW: JOHN ROBINSON

FOO FIGHTERS – Echoes, Silence, Patience And Grace

Uncut
-
0
FOO FIGHTERS – Echoes, Silence, Patience And Grace

Like some movie assassin, Dave Grohl is a man leading a double life. On the one hand, he's the mild mannered musician and contented family man who disarms all who meet him. On the other, he's the Foo Fighters' songwriter, who goes to work doing something much more aggressive: the heavy, cathartic business of casting his demons out. This sees him doing that (not least in the excellent opener "The Pretender"), but it also attempts to reconcile more of his contrary impulses. On the last Foos album, "In Your Honour" rock and acoustic music were exiled to different discs. Here, a satisfactory compromise is brokered between the two: the excellent "Summer's End" is easy on the ear, easier still on the brain, and sets him up in the radio-friendly “Wonderwall” district one imagines is his spiritual home. JOHN ROBINSON

Like some movie assassin, Dave Grohl is a man leading a double life. On the one hand, he’s the mild mannered musician and contented family man who disarms all who meet him. On the other, he’s the Foo Fighters‘ songwriter, who goes to work doing something much more aggressive: the heavy, cathartic business of casting his demons out. This sees him doing that (not least in the excellent opener “The Pretender”), but it also attempts to reconcile more of his contrary impulses. On the last Foos album, “In Your Honour” rock and acoustic music were exiled to different discs. Here, a satisfactory compromise is brokered between the two: the excellent “Summer’s End” is easy on the ear, easier still on the brain, and sets him up in the radio-friendly “Wonderwall” district one imagines is his spiritual home.

JOHN ROBINSON

BRUCE SPRINGSTEEN – MAGIC

Uncut
-
0
BRUCE SPRINGSTEEN – MAGIC

Probably as early as his fifth album, 1980's “The River”, Springsteen reached that sparsely populated stratosphere of artists recognised by surname alone, with a personal mythology so well entrenched that his newest records were best described in terms of their predecessors. “Magic”, then, Springsteen's 15th studio album, is “Born To Run” crossed with “Tunnel Of Love”, an attempt to recover the indomitable youthful fury of the former, astutely tempered by the older, wiser, sadder resignation of the latter. The album's more exuberant intentions are telegraphed by opening track "Radio Nowhere", a glorious signature E Street Band tear-up in the manner of "No Surrender", clearly written in anticipation of shaking the seats at the back of the hangars they'll be touring in. The succeeding cuts possess similar swagger - "You'll Be Comin' Down" a withering evocation of fading beauty set to a pulsing "Glory Days" strum, "Livin' In The Future" anchored by a Clarence Clemons sax riff cheerfully recycled from “310th Avenue Freeze-Out". It's on this latter tune that a thematic undertow begins to pull. There's a lot of decay and corruption freighted in the busy lyrics, and when Springsteen sings "My faith's been torn asunder, tell me is that rollin' thunder/Or just the sinking sound of something righteous going under?", he's well aware that Rolling Thunder was both a riotously bohemian and optimistic Bob Dylan revue, and a monstrous American military rampage. Springsteen's uneasy - but increasingly assertive - self-appointed role as America's conscience is given further rein on "Last To Die", the chorus paraphrasing the question put by a young John Kerry in 1971: "Who'll be the last to die for a mistake?" For all that, the album's best moment is its most restrained and contemplative. "Girls In Their Summer Clothes" is a gorgeous, heartbreaking lament, the simple man-in-love content of, say, "All That Heaven Will Allow" now soured by the cruel inevitabilities: it sounds, as it was, written by a man pushing 60, watching balefully as those girls "pass me by". The references to breezes crossing porches, and seeking solace in a place on "the edge of town" affectingly personalise the best mid-life crisis anthem since Don Henley's "Boys Of Summer". As such, the song perfectly encapsulates “Magic”'s rather oddly mixed tone. It trades in giddying, irresistible, full-steam-ahead-and-damn-the-torpedoes rock'n'roll. But at its heart, it's essentially a thoughtful wander in search of personal and national innocence. ANDREW MUELLER

Probably as early as his fifth album, 1980’s “The River”, Springsteen reached that sparsely populated stratosphere of artists recognised by surname alone, with a personal mythology so well entrenched that his newest records were best described in terms of their predecessors. “Magic”, then, Springsteen‘s 15th studio album, is “Born To Run” crossed with “Tunnel Of Love”, an attempt to recover the indomitable youthful fury of the former, astutely tempered by the older, wiser, sadder resignation of the latter.

The album’s more exuberant intentions are telegraphed by opening track “Radio Nowhere”, a glorious signature E Street Band tear-up in the manner of “No Surrender”, clearly written in anticipation of shaking the seats at the back of the hangars they’ll be touring in. The succeeding cuts possess similar swagger – “You’ll Be Comin’ Down” a withering evocation of fading beauty set to a pulsing “Glory Days” strum, “Livin’ In The Future” anchored by a Clarence Clemons sax riff cheerfully recycled from “310th Avenue Freeze-Out”.

It’s on this latter tune that a thematic undertow begins to pull. There’s a lot of decay and corruption freighted in the busy lyrics, and when Springsteen sings “My faith’s been torn asunder, tell me is that rollin’ thunder/Or just the sinking sound of something righteous going under?”, he’s well aware that Rolling Thunder was both a riotously bohemian and optimistic Bob Dylan revue, and a monstrous American military rampage. Springsteen‘s uneasy – but increasingly assertive – self-appointed role as America’s conscience is given further rein on “Last To Die”, the chorus paraphrasing the question put by a young John Kerry in 1971: “Who’ll be the last to die for a mistake?”

For all that, the album’s best moment is its most restrained and contemplative. “Girls In Their Summer Clothes” is a gorgeous, heartbreaking lament, the simple man-in-love content of, say, “All That Heaven Will Allow” now soured by the cruel inevitabilities: it sounds, as it was, written by a man pushing 60, watching balefully as those girls “pass me by”. The references to breezes crossing porches, and seeking solace in a place on “the edge of town” affectingly personalise the best mid-life crisis anthem since Don Henley‘s “Boys Of Summer”.

As such, the song perfectly encapsulates “Magic”’s rather oddly mixed tone. It trades in giddying, irresistible, full-steam-ahead-and-damn-the-torpedoes rock’n’roll. But at its heart, it’s essentially a thoughtful wander in search of personal and national innocence.

ANDREW MUELLER

Sex Pistols Add More Dates In London And Manchester

Uncut
-
0
Sex Pistols Add More Dates In London And Manchester

The Sex Pistols will play a gig in Manchester as well as another at London’s Brixton Academy, they have announced. The Manchester date, to be held on November 17 at the MEN Arena, will be the group's first in the city for over 30 years. The reformed group's new London gig will take place on November 12, and tickets for the two shows are set to go on sale at 9am on September 28. The Sex Pistols’ now play the following dates: London Brixton Academy (November 8-10, 12) Manchester MEN Arena (November 17)

The Sex Pistols will play a gig in Manchester as well as another at London’s Brixton Academy, they have announced.

The Manchester date, to be held on November 17 at the MEN Arena, will be the group’s first in the city for over 30 years.

The reformed group’s new London gig will take place on November 12, and tickets for the two shows are set to go on sale at 9am on September 28.

The Sex Pistols’ now play the following dates:

London Brixton Academy (November 8-10, 12)

Manchester MEN Arena (November 17)

Jarvis Cocker Teams Up With The Beastie Boys

Uncut
-
0
Jarvis Cocker Teams Up With The Beastie Boys

Jarvis Cocker is among a host of British singers set to contribute to a remake of The Beastie Boys’ recent instrumental album "The Mix-Up". Other musicians in talks with the legendary New York troupe include Lily Allen and MIA. Speaking to Billboard, Adam Yauch said that the album will feature “a bunch of British people”, and also revealed that the group may create a film to go along with the reworked record. “While we were in Singapore we filmed stuff, and in Australia and different places. We're talking about cutting it together into a full-length film that kinda goes the length of the album," he explained.

Jarvis Cocker is among a host of British singers set to contribute to a remake of The Beastie Boys’ recent instrumental album “The Mix-Up”.

Other musicians in talks with the legendary New York troupe include Lily Allen and MIA.

Speaking to Billboard, Adam Yauch said that the album will feature “a bunch of British people”, and also revealed that the group may create a film to go along with the reworked record.

“While we were in Singapore we filmed stuff, and in Australia and different places. We’re talking about cutting it together into a full-length film that kinda goes the length of the album,” he explained.

Oasis To Release Brand New Single Online

Uncut
-
0
Oasis To Release Brand New Single Online

Oasis have announced they are to release the title track of their road movie, "Lord Don’t Slow Me Down", as a digital-only single. Marking the first time the group has put out a download-only release, the track will be released on October 21, while the two-disc DVD of "Lord Don’t Slow Me Down" follows a week later. The single package is available from Oasisinet.com, and also includes live renditions of "Don’t Look Back In Anger" and "The Meaning Of Soul" recorded at the band’s City Of Manchester Stadium shows in 2005. Describing the track to NME.COM, Noel Gallagher said: "It's quite rocking. It's just 12 bar blues really, but it's good." The DVD release of "Lord Don’t Slow Me Down" features a fan question and answer session with Noel Gallagher and a film of the group performing at Manchester's Eastlands Stadium in 2005, as well as the main feature, the full version of Baillie Walsh's road movie documenting Oasis' world tour of 2005/6.

Oasis have announced they are to release the title track of their road movie, “Lord Don’t Slow Me Down”, as a digital-only single.

Marking the first time the group has put out a download-only release, the track will be released on October 21, while the two-disc DVD of “Lord Don’t Slow Me Down” follows a week later.

The single package is available from Oasisinet.com, and also includes live renditions of “Don’t Look Back In Anger” and “The Meaning Of Soul” recorded at the band’s City Of Manchester Stadium shows in 2005.

Describing the track to NME.COM, Noel Gallagher said: “It’s quite rocking. It’s just 12 bar blues really, but it’s good.”

The DVD release of “Lord Don’t Slow Me Down” features a fan question and answer session with Noel Gallagher and a film of the group performing at Manchester‘s Eastlands Stadium in 2005, as well as the main feature, the full version of Baillie Walsh‘s road movie documenting Oasis‘ world tour of 2005/6.

Radiohead To Release New Album In March?

Uncut
-
0
Radiohead To Release New Album In March?

There has been fevered speculation amongst Radiohead fans that the band’s eagerly-awaited new album could be released in March 2008, after a set of codes on their website were partially deciphered. The series of hieroglyphic codes have been appearing on Radiohead’s site over the last week following word from guitarist Jonny Greenwood that they have completed their album. While earlier code postings are thought to be lyrics from the band’s new songs, the most recent code has been translated as ‘march wax’, which has led fans to believe the record will be unveiled in March 2008. However, some on the Ateaseweb message board believe that the final ‘x’ symbolises a kiss, thus rendering the ‘wa’ as the number ‘24’, which would suggest the album is set for a release date of March 24 next year - there is speculation this could be an elaborate hoax, however, appearing as it does on a different website, Radioheadlp7. According to fans, other postings have been translated as: ‘yes we’re still alive’ ‘blink your eyes one for yes two for no code code code’ ‘xendless’ ‘plausible deniability’ ‘might not operate properly’ Radiohead have been working on the follow-up to 2003's "Hail To The Thief" without a label, having fulfilled their obligations to EMI.

There has been fevered speculation amongst Radiohead fans that the band’s eagerly-awaited new album could be released in March 2008, after a set of codes on their website were partially deciphered.

The series of hieroglyphic codes have been appearing on Radiohead’s site over the last week following word from guitarist Jonny Greenwood that they have completed their album.

While earlier code postings are thought to be lyrics from the band’s new songs, the most recent code has been translated as ‘march wax’, which has led fans to believe the record will be unveiled in March 2008.

However, some on the Ateaseweb message board believe that the final ‘x’ symbolises a kiss, thus rendering the ‘wa’ as the number ‘24’, which would suggest the album is set for a release date of March 24 next year – there is speculation this could be an elaborate hoax, however, appearing as it does on a different website, Radioheadlp7.

According to fans, other postings have been translated as:

‘yes we’re still alive’

‘blink your eyes one for yes two for no code code code’

‘xendless’

‘plausible deniability’

‘might not operate properly’

Radiohead have been working on the follow-up to 2003’s “Hail To The Thief” without a label, having fulfilled their obligations to EMI.

Uncut’s 50 Best Gigs – Number One!

Uncut
-
0
Uncut’s 50 Best Gigs – Number One!

In this month's UNCUT, our writers, friends and favourite musicians reminisced about their favourite gigs. We've been publishing an account everyday throughout the month - including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek's favourite live memories too. Now here's our NUMBER ONE: 1 | JIMI HENDRIX Monterey Pop Festival, California, June 16-18, 1967 Keith Altham: In the summer of ’67, I fly out to America to cover Monterey for the NME. On the plane I sit next to a quietly spoken, lanky musician with frizzed-out hair, wearing headphones, reading a copy of the sci-fi classic, Stranger In A Strange Land, and holding up four long, slender fingers to indicate the channel number on the in-flight entertainment on which we can all find one of his heroes, T-Bone Walker, playing guitar. Hendrix is flying home to see if he can justify the accolades bestowed on him by Clapton, Beck and Page in England as “King Guitar” and I’m going with him and coming back with The Who. The Jimi Hendrix Experience and I fly to LA and take a short flight to Monterey where we go direct to the festival site to get our passes. I’m driven around by a golden-haired goddess called Mama Michelle from The Mamas & The Papas, assigned to me by festival organiser and label boss Lou Adler, who mistakenly thinks I’m important. Hendrix played a warm-up sound check version of “Sgt Pepper” underneath the stage at Monterey through a little practice “Bulldog” amp before going on. Janis Joplin, Paul Simon, Roger Daltrey and myself watched in wonder. Brian Jones floated across from the festival hospitality tent in his diaphanous white lace and ruffles, gives me a shy, dreamy smile looking just like Keith Richards’ later description of “a ghost leaving a séance.” I ask him if he was enjoying the spirit of free love and flower power in the air. “Sure,” replies Brian in a whisper. “Except it’s not “free” and it’s not “love.” Brian was many things, not all of them pleasant, but he was no fool. I was paralysed in the press pit by the lung power of Janis Joplin when she sang “Ball And Chain”. Otis Redding almost brought me to tears as he delivered “Dock Of The Bay” in the warm late night rain on the second night, and Simon & Garfunkel sang “Sound Of Silence” in angelic close harmony, while a new group called Buffalo Springfield showed enough potential for me to mark two of their number, Steve Stills and Neil Young, in my review. But the festival was almost stolen by The Who, a four-man demolition squad. Backstage, I congratulated Keith Moon on their breakthrough and he said in his mock public schoolboy tones: “You may quote me as saying we have become an underground success overnight and mine is a large brandy.” It was ever thus. Just as the audience were recovering from The Who’s sensational havoc, on comes the unknown Hendrix, in feathers, frills and black hat and takes rock guitar one step beyond to leave the press open-mouthed. Following his extraordinary version of “Wild Thing”, he finishes by setting fire to his guitar. This was actually my idea, and something he never completely forgave me for. It worked as a publicity stunt, but it became something of a bane to Jimi thereafter, as he was expected to commit guitar flambé at every gig. On the last occasion at the Saville Theatre he turned on me rather balefully and suggested I “set fire to my bloody typewriter”. It was the last occasion he complied with the guitar pyre. As the flames died back at Monterey, a young hippy reporter who had just turned up in the press pit asked me incredulously, “Who and what the hell was that?” “That,” I informed him portentously, “is James Marshall Hendrix. I suggest you note the name.” COMING TOMORROW: UNCUT'S WORST GIGS

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

We’ve been publishing an account everyday throughout the month – including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek‘s favourite live memories too.

Now here’s our NUMBER ONE:

1 | JIMI HENDRIX

Monterey Pop Festival, California, June 16-18, 1967

Keith Altham:

In the summer of ’67, I fly out to America to cover Monterey for the NME. On the plane I sit next to a quietly spoken, lanky musician with frizzed-out hair, wearing headphones, reading a copy of the sci-fi classic, Stranger In A Strange Land, and holding up four long, slender fingers to indicate the channel number on the in-flight entertainment on which we can all find one of his heroes, T-Bone Walker, playing guitar.

Hendrix is flying home to see if he can justify the accolades bestowed on him by Clapton, Beck and Page in England as “King Guitar” and I’m going with him and coming back with The Who. The Jimi Hendrix Experience and I fly to LA and take a short flight to Monterey where we go direct to the festival site to get our passes. I’m driven around by a golden-haired goddess called Mama Michelle from The Mamas & The Papas, assigned to me by festival organiser and label boss Lou Adler, who mistakenly thinks I’m important.

Hendrix played a warm-up sound check version of “Sgt Pepper” underneath the stage at Monterey through a little practice “Bulldog” amp before going on. Janis Joplin, Paul Simon, Roger Daltrey and myself watched in wonder. Brian Jones floated across from the festival hospitality tent in his diaphanous white lace and ruffles, gives me a shy, dreamy smile looking just like Keith Richards’ later description of “a ghost leaving a séance.” I ask him if he was enjoying the spirit of free love and flower power in the air. “Sure,” replies Brian in a whisper. “Except it’s not “free” and it’s not “love.” Brian was many things, not all of them pleasant, but he was no fool.

I was paralysed in the press pit by the lung power of Janis Joplin when she sang “Ball And Chain”. Otis Redding almost brought me to tears as he delivered “Dock Of The Bay” in the warm late night rain on the second night, and Simon & Garfunkel sang “Sound Of Silence” in angelic close harmony, while a new group called Buffalo Springfield showed enough potential for me to mark two of their number, Steve Stills and Neil Young, in my review. But the festival was almost stolen by The Who, a four-man demolition squad. Backstage, I congratulated Keith Moon on their breakthrough and he said in his mock public schoolboy tones: “You may quote me as saying we have become an underground success overnight and mine is a large brandy.” It was ever thus.

Just as the audience were recovering from The Who’s sensational havoc, on comes the unknown Hendrix, in feathers, frills and black hat and takes rock guitar one step beyond to leave the press open-mouthed. Following his extraordinary version of “Wild Thing”, he finishes by setting fire to his guitar. This was actually my idea, and something he never completely forgave me for.

It worked as a publicity stunt, but it became something of a bane to Jimi thereafter, as he was expected to commit guitar flambé at every gig. On the last occasion at the Saville Theatre he turned on me rather balefully and suggested I “set fire to my bloody typewriter”. It was the last occasion he complied with the guitar pyre.

As the flames died back at Monterey, a young hippy reporter who had just turned up in the press pit asked me incredulously, “Who and what the hell was that?” “That,” I informed him portentously, “is James Marshall Hendrix. I suggest you note the name.”

COMING TOMORROW: UNCUT’S WORST GIGS

Foo Fighters Add Extra Date To Their Sold Out UK Tour

Uncut
-
0
Foo Fighters Add Extra Date To Their Sold Out UK Tour

Foo Fighters have added another date to their November UK tour, after fans snapped up tickets to the rest of the jaunt. Dave Grohl and co will now call at Nottingham Ice Arena on November 14 before they head to London’s O2 Arena for the final two nights of their UK shows. Tickets are set to go on sale on September 28 at 9am. Foo Fighters released their new album "Echoes, Silence, Patience And Grace" last Monday (September 24). The band’s full UK dates are now as follows: Manchester Evening News Arena (November 3) Newcastle Metro Radio Arena (5) Birmingham NEC (6) Glasgow SECC and Clyde Auditorium (9) Aberdeen Exhibition Centre (10) Sheffield Hallam FM Arena (12) Cardiff International Arena (13) Nottingham Ice Arena (14) London O2 Arena (17, 18)

Foo Fighters have added another date to their November UK tour, after fans snapped up tickets to the rest of the jaunt.

Dave Grohl and co will now call at Nottingham Ice Arena on November 14 before they head to London’s O2 Arena for the final two nights of their UK shows.

Tickets are set to go on sale on September 28 at 9am.

Foo Fighters released their new album “Echoes, Silence, Patience And Grace” last Monday (September 24).

The band’s full UK dates are now as follows:

Manchester Evening News Arena (November 3)

Newcastle Metro Radio Arena (5)

Birmingham NEC (6)

Glasgow SECC and Clyde Auditorium (9)

Aberdeen Exhibition Centre (10)

Sheffield Hallam FM Arena (12)

Cardiff International Arena (13)

Nottingham Ice Arena (14)

London O2 Arena (17, 18)

Cut Of The Day: The Greatest Krautrock Clip Of All Time?

Uncut
-
0
Cut Of The Day: The Greatest Krautrock Clip Of All Time?

Our Cut Of The Day is a mind-blowing performance of "Paperhouse" by Germany’s greatest sonic explorers Can. As far as krautrock clips go, it doesn't get much better than this, as the band, including wild vocalist Damo Suzuki move from a gentle lilt to a full-on psychedelic jam in just over six minutes. The original – and we think inferior – version of "Paperhouse" can be found on the band’s album "Tago Mago", which was released in 1971. Check it out here: http://www.youtube.com/watch?v=x76CeJBbJs8

Our Cut Of The Day is a mind-blowing performance of “Paperhouse” by Germany’s greatest sonic explorers Can.

As far as krautrock clips go, it doesn’t get much better than this, as the band, including wild vocalist Damo Suzuki move from a gentle lilt to a full-on psychedelic jam in just over six minutes.

The original – and we think inferior – version of “Paperhouse” can be found on the band’s album “Tago Mago”, which was released in 1971.

Check it out here:

http://www.youtube.com/watch?v=x76CeJBbJs8

Springsteen Previews New Album At Homecoming Show

Uncut
-
0
Springsteen Previews New Album At Homecoming Show

Bruce Springsteen gave fans a taste of his new album “Magic”, performing seven new songs at the first of his warm-up gigs in New Jersey. The gig at Asbury Park’s Convention Hall (September 24) saw The Boss reunited with the E Street Band for the first time in three years. Taking to the stage, Springsteen promised the audience “a few new ones, a few old ones, maybe a few mistakes, but I doubt it”, before launching into “Magic”’s first single “Radio Nowhere”. Throughout the course of the gig, which also featured staples like “Born To Run” and “The Rising”, Springsteen performed several new tracks, including “Gypsy Biker”, “Girls In Their Summer Clothes” and “Last To Die”. Springsteen and the E Street Band are set to begin their full US tour on October 2 at Hartford Civic Center. They played: “Radio Nowhere” “No Surrender” “Gypsy Biker” “Empty Sky” “Something In The Night” “Girls In Their Summer Clothes” “Night” “The Promised Land” “Livin' In The Future” “Devil's Arcade” “Candy's Room” “She's The One” “Lonesome Day” “My Hometown” “The Rising” “Last To Die” “Long Walk Home” “Thundercrack” “Born To Run” “Darlington County” “American Land”

Bruce Springsteen gave fans a taste of his new album “Magic”, performing seven new songs at the first of his warm-up gigs in New Jersey.

The gig at Asbury Park’s Convention Hall (September 24) saw The Boss reunited with the E Street Band for the first time in three years.

Taking to the stage, Springsteen promised the audience “a few new ones, a few old ones, maybe a few mistakes, but I doubt it”, before launching into “Magic”’s first single “Radio Nowhere”.

Throughout the course of the gig, which also featured staples like “Born To Run” and “The Rising”, Springsteen performed several new tracks, including

“Gypsy Biker”, “Girls In Their Summer Clothes” and “Last To Die”.

Springsteen and the E Street Band are set to begin their full US tour on October 2 at Hartford Civic Center.

They played:

“Radio Nowhere”

“No Surrender”

“Gypsy Biker”

“Empty Sky”

“Something In The Night”

“Girls In Their Summer Clothes”

“Night”

“The Promised Land”

“Livin’ In The Future”

“Devil’s Arcade”

“Candy’s Room”

“She’s The One”

“Lonesome Day”

“My Hometown”

“The Rising”

“Last To Die”

“Long Walk Home”

“Thundercrack”

“Born To Run”

“Darlington County”

“American Land”

Cut Of The Day: The White Stripes Cover Dylan

Uncut
-
0
Cut Of The Day: The White Stripes Cover Dylan

In honour of Jack White's appearance onstage with Bob Dylan in Nashville last week, feast your eyes on this stunning cover of Dylan's "Love Sick" from Jack and Meg. "Love Sick" first appeared on Dylan's 1997 "Time Out Of Mind" record and has been regularly covered by the Detroit duo since. Check it out here: http://www.youtube.com/watch?v=Z1CmZ2adpnk

In honour of Jack White’s appearance onstage with Bob Dylan in Nashville last week, feast your eyes on this stunning cover of Dylan’s “Love Sick” from Jack and Meg.

“Love Sick” first appeared on Dylan’s 1997 “Time Out Of Mind” record and has been regularly covered by the Detroit duo since.

Check it out here:

http://www.youtube.com/watch?v=Z1CmZ2adpnk

Uncut’s Best 50 Gigs – Extra!

Uncut
-
0
Uncut’s Best 50 Gigs – Extra!

In this month's UNCUT, our writers, friends and favourite musicians reminisce about their favourite gigs. The October issue, onsale now, features our best 50 - including Jimi, U2, The Band and Oasis - with rare photos from the shows too. Now here’s some more – we'll publish one everyday this month - including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek's favourite live memories too. ***** 34 | HAPPY MONDAYS Maracanã Stadium, Rio De Janeiro, Brazil, January 1991 James Brown, Loaded founder: As we touched down in Rio, I watched as Wham! (reformed) and Bananarama japed around with the giddy comfort that accompanies large parties of friends flying first class. The Mondays were going World Scumbag Class and, if their drug-fuelled reputation wasn’t bad enough, the evening paper had announced the band were bringing in 10,000 ecstasy pills. Most countries would have banged them up on touchdown, but we were swiftly escorted past the first classers, through a back door, and out onto a bus. No one even looked at our passports. The next four days were like being on a school trip to heaven with the inmates of Strangeways: we danced with Prince at his private party, where you had to pay to get out, not in, bought hundreds of cheap Lacoste shirts (Shaun alone bought 40), and we visited Ronnie Biggs, where we met Tim O’Toole, who is currently charged with importing the greatest ever haul of cocaine into Europe. Then the band finally got to play their gig, where they were bottom of the bill. That was until someone pointed out their instruments hadn’t shown up. Anywhere else, they’d have been booted off. Instead they were elevated to play last, after Guns N’Roses and Wham! To 150,000 people. That’s twice the size of Live Aid at Wembley. By the time the Mondays came on, about 30,000 people started drifting away. Then when they realised they didn’t know any of the bands’ songs, another 20,000 fucked off, while the rest started throwing tied-up plastic bags full of rubbish. The band just sidestepped the missiles as they went through the set. Three songs in, the thunder cracked and the heavens opened. Most stars would have legged it but the Mondays just moved back a foot or so and put their hooded tops up. The crowd loved it, they couldn’t believe a band would do that. I stood on the side of the stage looking out at what looked like an explosion at a council tip, dodging the rubbish bags and dancing to “24 Hour Party People”. It was a little different to the first time I’d seen them, at a pub in Great Portland Street. ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every great show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com, or share your memories in the comments box below, of the ones we might have missed, and we’ll publish the best in a future issue!

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

The October issue, onsale now, features our best 50 – including Jimi, U2, The Band and Oasis – with rare photos from the shows too.

Now here’s some more – we’ll publish one everyday this month – including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek‘s favourite live memories too.

*****

34 | HAPPY MONDAYS

Maracanã Stadium, Rio De Janeiro, Brazil, January 1991

James Brown, Loaded founder:

As we touched down in Rio, I watched as Wham! (reformed) and Bananarama japed around with the giddy comfort that accompanies large parties of friends flying first class. The Mondays were going World Scumbag Class and, if their drug-fuelled reputation wasn’t bad enough, the evening paper had announced the band were bringing in 10,000 ecstasy pills. Most countries would have banged them up on touchdown, but we were swiftly escorted past the first classers, through a back door, and out onto a bus. No one even looked at our passports.

The next four days were like being on a school trip to heaven with the inmates of Strangeways: we danced with Prince at his private party, where you had to pay to get out, not in, bought hundreds of cheap Lacoste shirts (Shaun alone bought 40), and we visited Ronnie Biggs, where we met Tim O’Toole, who is currently charged with importing the greatest ever haul of cocaine into Europe. Then the band finally got to play their gig, where they were bottom of the bill. That was until someone pointed out their instruments hadn’t shown up.

Anywhere else, they’d have been booted off. Instead they were elevated to play last, after Guns N’Roses and Wham! To 150,000 people. That’s twice the size of Live Aid at Wembley.

By the time the Mondays came on, about 30,000 people started drifting away. Then when they realised they didn’t know any of the bands’ songs, another 20,000 fucked off, while the rest started throwing tied-up plastic bags full of rubbish. The band just sidestepped the missiles as they went through the set. Three songs in, the thunder cracked and the heavens opened. Most stars would have legged it but the Mondays just moved back a foot or so and put their hooded tops up. The crowd loved it, they couldn’t believe a band would do that. I stood on the side of the stage looking out at what looked like an explosion at a council tip, dodging the rubbish bags and dancing to “24 Hour Party People”. It was a little different to the first time I’d seen them, at a pub in Great Portland Street.

*****

plus WERE YOU THERE?

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

Email Allan_Jones@ipcmedia.com, or share your memories in the comments box below, of the ones we might have missed, and we’ll publish the best in a future issue!

First Look — Robert Rodriguez’ Planet Terror

Michael Bonner
-
0

Settling down into my seat at last night's press screening for Planet Terror, I overheard the chap sitting next to me giving his friend a crash course in the film's back story. "You know Quentin Tarantino's Death Proof was originally part of a double-feature called Grindhouse? Well, this is the other bit." Quite how Robert Rodriguez would respond to having his film referred to as the "other bit", I don't care to imagine, the Mexican temprament being notoriously fiery. It's a stroke of luck, then, that his name appears 7 times on the opening credits, just to reinforce the fact that there's more to Grindhouse than just Tarantino's movie. In fact, Planet Terror is far and away the better of the two movies, Rodriquez cannily remembering to include some of those elements in his film Tarantino left out -- plot, character, humour, simple things like that. Though, thankfully, Planet Terror conspicuously lacks the rather nasty, misogynistic streak that made Death Proof such an uneasy viewing experience for me. As it goes, Tarantino himself turns up in Planet Terror, cameoing as an army guard who -- rather too gleefully for my liking -- tries to force Rose McGowan to go-go dance for him. After the disturbing levels of enthusiasm with which he subjected women to all manner of psychological, sexual and physical abuse in Death Proof, I'm left wondering quite exactly Tarantino's head is at. Anyway, Planet Terror isn't by any stretch a great film, but it is pretty funny. It's certainly in the style of many a bad Seventies' horror film (and they're all pretty bad in my book), with a troop of soldiers led by Bruce Willis releasing, perhaps by accident, a noxious chemical into a small Texas town that turns nearly all the residents into flesh-eating zombies. It falls to a small band of survivors to try and make it out of the city limits to safety. Rodriquez cheerfully throws as much gore at us as he can -- heads explode, entrails are duly snacked upon, limbs are lost (and, in the case of McGowan's leg, replaced by automatic weaponry) -- and there's an energy and exuberance to the whole thing that, at the very least, is a lot of fun. Rodriquez is a big fan of Jim Thompson, so there's a something of a noirish sensibility at work in the characterisations. There's Freddy Rodriquez' loner El Wray (a Thompson nod if ever there was); his former girlfriend Cherry Darling (McGowan), who now works as a go-go dancer; Michael Biehn's crusty sherriff Hague. Sure, they're all rather reductive archetypes, but they sit easily in Planet Terror's trashy, two-dimensional aesthetic. A friend of mine asked after the screening, is this meant to be homage or parody? Certainly, some of the biggest laughs in the film come when Rodriquez deliberately undercuts the genre. One scene sees a character trying to make a getaway from hoardes of lumbering zombies on a mini-motorbike. A lot of the time, Freddy Rodriquez and McGowan seem on the verge of winking knowingly at each other. It all just ads to the laughs. Anyway, I'll be interested to see how it does when it opens in the UK in November. Anecdotal reports aren't good for Death Proof -- I heard a Friday evening screening in Brighton last week had only six people in the audience, and this the day after the film opened. But I can almost imagine Planet Terror doing better business on DVD anyway -- it has that (admittedly very deliberate) culty, Shaun Of The Dead vibe about it that I suspect will endear it to the teenage market.

Settling down into my seat at last night’s press screening for Planet Terror, I overheard the chap sitting next to me giving his friend a crash course in the film’s back story. “You know Quentin Tarantino’s Death Proof was originally part of a double-feature called Grindhouse? Well, this is the other bit.” Quite how Robert Rodriguez would respond to having his film referred to as the “other bit”, I don’t care to imagine, the Mexican temprament being notoriously fiery. It’s a stroke of luck, then, that his name appears 7 times on the opening credits, just to reinforce the fact that there’s more to Grindhouse than just Tarantino’s movie.

In fact, Planet Terror is far and away the better of the two movies, Rodriquez cannily remembering to include some of those elements in his film Tarantino left out — plot, character, humour, simple things like that. Though, thankfully, Planet Terror conspicuously lacks the rather nasty, misogynistic streak that made Death Proof such an uneasy viewing experience for me.

Continue

Sex Pistols To Play Two More London Dates

Uncut
-
0
Sex Pistols To Play Two More London Dates

The Sex Pistols have confirmed that will now play three shows this November, after their original reunion concert date sold-out within ten minutes of going on sale. As reported last week, the punk legends have decided to reunite in celebration of their 30th anniversary since releasing their defining album´Never Mind The Bollocks... Here Come Sex Pistols. The band will now play November 9 and 10, in addition to the originally announced gig at London´s Brixton Academy on the 8th. Original members John Lydon, Steve Jones, Paul Cook and Glen Matlock will perform at the concerts. This is the not the first time the band have reformerd - The Sex Pistols, who split in 1978, first reformed for a world tour in 1996 and last performed together in the US in 2003.

The Sex Pistols have confirmed that will now play three shows this November, after their original reunion concert date sold-out within ten minutes of going on sale.

As reported last week, the punk legends have decided to reunite in celebration of their 30th anniversary since releasing their defining album´Never Mind The Bollocks… Here Come Sex Pistols.

The band will now play November 9 and 10, in addition to the originally announced gig at London´s Brixton Academy on the 8th.

Original members John Lydon, Steve Jones, Paul Cook and Glen Matlock will perform at the concerts.

This is the not the first time the band have reformerd – The Sex Pistols, who split in 1978, first reformed for a world tour in 1996 and last performed together in the US in 2003.

Arctic Monkeys Set For Huge End Of Year Shows

Uncut
-
0
Arctic Monkeys Set For Huge End Of Year Shows

Arctic Monkeys have just announced that they will round off 2007 with some huge UK shows. What will be the Sheffield band´s biggest UK tour so far - will see them play two nights at London´s Alexandra Palace on December 8 and 9. Alex Turner and co played two hugely successful shows this Summer at Manchester´s Old Trafford cricket ground. Support for Arctic Monkey´s December dates will come from The Rascals. Tickets go on sale this Thursday (September 27) at 9am. The band will play: London Alexandra Palace (December 8 / 9) Manchester Central (11 / 12) (formerly G Mex) Aberdeen AECC (14 /15)

Arctic Monkeys have just announced that they will round off 2007 with some huge UK shows.

What will be the Sheffield band´s biggest UK tour so far – will see them play two nights at London´s Alexandra Palace on December 8 and 9.

Alex Turner and co played two hugely successful shows this Summer at Manchester´s Old Trafford cricket ground.

Support for Arctic Monkey´s December dates will come from The Rascals.

Tickets go on sale this Thursday (September 27) at 9am.

The band will play:

London Alexandra Palace (December 8 / 9)

Manchester Central (11 / 12) (formerly G Mex)

Aberdeen AECC (14 /15)

Today’s Uncut Playlist plus Radio 1: Established 1967

John Mulvey
-
0

Now that the India vs Pakistan cricket has finished, I can turn my attention to a blog. We've also just spent an hour dipping into the Radio 1 birthday album, which features 40 of today's Top 20 habitues covering 40 years of hits. Some grim moments here, as you might imagine: Robbie Williams does "Lola"; our era's pre-eminent power trio The Fratellis having a crack at "All Along The Watchtower"; Razorlight's particularly masochistic "Englishman In New York". On the plus side, there are a handful of good efforts: Foo Fighters get the thud and pomp of "Band On The Run" just right; Franz Ferdinand are suave, if a bit lightweight, on "Sound And Vision"; and the Klaxons sound eerily like Blackstreet on "No Diggity" (one of my favourite singles, I think, incidentally). Here's the other stuff we sat through, anyway. One or two more iffy ones in here, to be honest: 1 Beachfield - Brighton Bothways (Tuition) 2 Vernon Elliott - Ivor The Engine/ Pogle's Wood (Trunk) 3 Lula Cortes E Ze Ramalho - Paebiru (Mr Bongo) 4 Correcto - Joni (Domino) 5 Levon Helm - Dirt Farmer (Vanguard) 6 Various - Radio 1: Established 1967 (Universal) 7 Menomena - Wet And Rusting (City Slang) 8 Vic Chesnutt - North Star Deserter (Constellation)

Now that the India vs Pakistan cricket has finished, I can turn my attention to a blog. We’ve also just spent an hour dipping into the Radio 1 birthday album, which features 40 of today’s Top 20 habitues covering 40 years of hits. Some grim moments here, as you might imagine: Robbie Williams does “Lola”; our era’s pre-eminent power trio The Fratellis having a crack at “All Along The Watchtower”; Razorlight’s particularly masochistic “Englishman In New York”.

Continue

Uncut’s 50 Best Gigs – Extra!

Uncut
-
0
Uncut’s 50 Best Gigs – Extra!

In this month's UNCUT, our writers, friends and favourite musicians reminisce about their favourite gigs. The October issue, onsale now, features our best 50 - including Jimi, U2, The Band and Oasis - with rare photos from the shows too. Now here’s some more – we'll publish one everyday this month - including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek's favourite live memories too. ***** 10 | THE CLASH The Palladium, New York, February 17, 1979 Thusrton Moore, Sonic Youth: I saw dozens of incredible gigs in my first few years after arriving in New York. Certainly some of the early CBGBs gigs were incredible. But The Clash took this kind of back-room stuff to a whole other level. When they first came over to America and announced that they were playing the Palladium, everyone thought that this was a monumental act of hubris. The Palladium was a huge, sit-down venue that didn’t seem intimate for the music that The Clash made. But I remember them just incinerating the place. I understand much later that everyone was there, or claimed to be there – Lester Bangs, Andy Warhol, Springsteen, Paul Simon, Robert De Niro. I wasn’t aware of that at the time, just the whole crowd on their seats and they seemed to stay there for two hours. I walked away completely invigorated and enthused. They were so good, and on such a bigger level than anyone that we were into had attained at that point. I hope I’m not just romanticising this because I’ve just seen the Julien Temple film about Joe, which I loved. But the gig was incredible. Paul and Joe were pogoing around the stage, using every square inch of space, Joe snarling and screaming and leering. Everything seemed faster and louder and meaner than anything I’d heard before. ***** plus WERE YOU THERE? Not even UNCUTs war-weary gig-hounds have been to every great show in history – but you lot probably have. Email Allan_Jones@ipcmedia.com, or share your memories in the comments box below, of the ones we might have missed, and we’ll publish the best in a future issue!

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

The October issue, onsale now, features our best 50 – including Jimi, U2, The Band and Oasis – with rare photos from the shows too.

Now here’s some more – we’ll publish one everyday this month – including online exclusives on gigs by Manic Street Preachers,The Stone Roses, Pixies, Beach Boys, and Stereophonics’ Kelly Jones and Babyshambles’ Adam Ficek‘s favourite live memories too.

*****

10 | THE CLASH

The Palladium, New York, February 17, 1979

Thusrton Moore, Sonic Youth:

I saw dozens of incredible gigs in my first few years after arriving in New York. Certainly some of the early CBGBs gigs were incredible. But The Clash took this kind of back-room stuff to a whole other level. When they first came over to America and announced that they were playing the Palladium, everyone thought that this was a monumental act of hubris. The Palladium was a huge, sit-down venue that didn’t seem intimate for the music that The Clash made. But I remember them just incinerating the place.

I understand much later that everyone was there, or claimed to be there – Lester Bangs, Andy Warhol, Springsteen, Paul Simon, Robert De Niro. I wasn’t aware of that at the time, just the whole crowd on their seats and they seemed to stay there for two hours. I walked away completely invigorated and enthused. They were so good, and on such a bigger level than anyone that we were into had attained at that point.

I hope I’m not just romanticising this because I’ve just seen the Julien Temple film about Joe, which I loved. But the gig was incredible. Paul and Joe were pogoing around the stage, using every square inch of space, Joe snarling and screaming and leering. Everything seemed faster and louder and meaner than anything I’d heard before.

*****

plus WERE YOU THERE?

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

Email Allan_Jones@ipcmedia.com, or share your memories in the comments box below, of the ones we might have missed, and we’ll publish the best in a future issue!

1...955956957...1,270Page 956 of 1,270

SHOP UNCUT