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Super Furry Animals downsize but still shine at End Of The Road

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The second time we saw Super Furry Animals was on their 'Rings Around The World' tour in 2001. They had complicated visuals, mostly taken from the album's accompanying DVD but screened in perfect time with the music, and a quadrophonic sound system all the better to transmit their electro wigouts. ...

The second time we saw Super Furry Animals was on their ‘Rings Around The World’ tour in 2001. They had complicated visuals, mostly taken from the album’s accompanying DVD but screened in perfect time with the music, and a quadrophonic sound system all the better to transmit their electro wigouts.

It was also at a large venue, resulting in an overwhelmingly loud and grand psychedelic AV feast. Seeing them last night at End Of The Road couldn’t really have been much more different.

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Super Furry Animals Wow End Of The Road With Hit-Packed Set

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Super Furry Animals Wow End Of The Road With Hit-Packed Set
Super Furry Animals closed the second day of Dorset's End Of The Road with a stunning hit-laden set tonight (September 15). The Welsh psychedelic rockers were nearly half an hour late coming on stage and battled through some early technical problems, but still managed to perform well-received versi...

Super Furry Animals closed the second day of Dorset’s End Of The Road with a stunning hit-laden set tonight (September 15).

The Welsh psychedelic rockers were nearly half an hour late coming on stage and battled through some early technical problems, but still managed to perform well-received versions of “Do Or Die”, “Ice Hockey Hair” and “Northern Lites”, among others.

The opening “Slow Life” saw singer Gruff Rhys performing the song in his customary Power Rangers helmet, before the band launched into popular singles “(Drawing) Rings Around The World” and “Golden Retriever”.

Tracks including “Show Your Hand” and “Into The Night” were also showcased from the group’s new “Hey Venus!” album, while at one point Rhys led the crowd in singing “Happy Birthday” in Welsh to guitarist Bunf, who was also presented with a cake topped with model Clangers.

Earlier today saw well-received sets from I’m From Barcelona, The Concretes, Joan As Policewoman and King Creosote.

End Of The Road continues tomorrow (September 16), with sets from Lambchop, Euros Childs and James Yorkston.

Stay with the Uncut Festivals blog for more news and reviews from End Of The Road here.

Flitting between King Creosote, Vandervelde and Reigns at End Of The Road

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The great thing about small festivals is that you can flit between stages in less time than it takes an I'm From Barcelona balloon to be passed around the crowd. That's what we did this afternoon at End Of The Road. After taking in some of Swedish oddballs I'm From Barcelona and Joan As Policewoman with a trusty cider in hand, we decided to stick around for Scottish folky King Creosote. KC, aka Kenny Anderson, played today with a three-piece band, which unfortunately seemed to limit his usually fluid performance. Only taking to his trademark accordion near the end of his set, the Fence Collective lynchpin didn't seem to really grab the crowd with his songs. Perhaps languid and subtle folk songs like 'There's None Of That' were never really going to excite the crowd out of their tipsy stupor, exhausted after the madness of I'm From Barcelona and the driving Scandi-pop of The Concretes. Another day, Kenny, another day. We then rushed over to the Big Top Tent to see David Vandervelde. Backed by his Moonstation House Band, the young singer, who channels 70s rock in the vein of Marc Bolan and Neil Young, was high on our must-see list. However, when we got there we found a group who most definitely weren't Vandervelde and co on stage. Hmm. Disappointed, we then dawdled over to The Local stage to see Reigns, an instrumental post-rock trio. Augmenting their drummer-less setup with a drum machine and some bizarre samples, their tranquil (if slightly disconcerting) glitch-indie was perfect for the fairy-lit, dry ice-filled tent. Definitely worth checking out if you like your post-rock especially glacial. Keep checking back to our Uncut blogs and news stories for more on End Of The Road Festival, including the definitive review of headliners' Super Furry Animals' performance. Words: Tom Pinnock

The great thing about small festivals is that you can flit between stages in less time than it takes an I’m From Barcelona balloon to be passed around the crowd. That’s what we did this afternoon at End Of The Road.

After taking in some of Swedish oddballs I’m From Barcelona and Joan As Policewoman with a trusty cider in hand, we decided to stick around for Scottish folky King Creosote.

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Joan As Police Woman and My Sad Captains: the new and the new-er

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While End of the Road has definitely got bigger since last year, the stages are still so close together that you can fall into a band without even realising it. If you were the band in devil outfits playing thrash metal at the Bimble Inn at 1am this morning, our photographer is dying to reach you. One of 10 unsigned(ish) bands to win a slot on The Local stage, Fortuna Pop signings My Sad Captains' almost implausible summeriness was a gift on an afternoon as baking hot as this one. 'Here and Elsewhere' and the title track from June's 'Bad Decisions' EP showed off slacker indie pop sensibilities that singlehandedly steal back the "doo-ron-ron" from McDonalds and herald an inevitable radio takeover in the next year. Over on the Garden stage, Joan Wasser, or Joan As Police Woman as she's known to her careers adviser, was grinning at the crowd through the most enormous pair of sunglasses. "I got a shock when I saw the peacocks," she said, in tones that could stone a hippie at 100 paces, "I didn't believe they existed in the real world." Leaving the rest of her band at home, Wasser's ensuing solo set proved that she's the focal point for a reason. Stripped down to piano, vocals and the occasional stamp of Wasser's foot, the idle strut of 'Save Me' gained new power, while the weakest track on last year's 'Real Life' album, 'Christobel', ("Once and for all, this song is not about Chris De Burgh") got a new lease of life on pared-down guitar. Dedicated by Wasser to its subject Elliott Smith, a heartbreakingly pure 'We Don't Own It' succeeded in silencing the crowd - or at least the first 20 rows - before 'Eternal Flame' ended the set. "I always think I'm Bob Dylan during this part," giggled Wasser during its introduction. Rare solo sets like this prove that she can handle an audience just as well. WORDS: KAT BROWN

While End of the Road has definitely got bigger since last year, the stages are still so close together that you can fall into a band without even realising it. If you were the band in devil outfits playing thrash metal at the Bimble Inn at 1am this morning, our photographer is dying to reach you.

One of 10 unsigned(ish) bands to win a slot on The Local stage, Fortuna Pop signings My Sad Captains’ almost implausible summeriness was a gift on an afternoon as baking hot as this one. ‘Here and Elsewhere’ and the title track from June’s ‘Bad Decisions’ EP showed off slacker indie pop sensibilities that singlehandedly steal back the “doo-ron-ron” from McDonalds and herald an inevitable radio takeover in the next year.

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I’m From Barcelona and The Concretes: childhood wins

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One of last year's unlikelier highlights was the hyperactive Swedish multi-piece I'm From Barcelona. A less creepy version of The Polyphonic Spree, their exuberance and catchy songs resulted in a forest of copy cat t-shirts roaming the grounds for the rest of the weekend. Things seem to have got mo...

One of last year’s unlikelier highlights was the hyperactive Swedish multi-piece I’m From Barcelona. A less creepy version of The Polyphonic Spree, their exuberance and catchy songs resulted in a forest of copy cat t-shirts roaming the grounds for the rest of the weekend.

Things seem to have got more serious this time round: gone are the school uniforms and Smurf outfits, to be replaced with black outfits and white braces. But this is one band for whom channelling The Strokes is never going to be a viable option.

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End Of The Road Gets Blazing Sunshine

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End Of The Road Gets Blazing Sunshine

End of the Road festivalgoers are enjoying an Indian summer in Dorset today (September 15) following rain yesterday and freezing temperatures during the night. Swedish multi-piece I'm From Barcelona, The Concretes and Joan As Police Woman have made the most of the weather with summery sets on the Garden stage, while New York rock project My Brightest Diamond and elegiac Brits Hush The Many Heed The Few played in the Big Top tent. Joan Wasser, aka Joan As Police Woman, played a pared down solo gig, dedicating "We Don't Own It" to Elliott Smith, and "Real Life" to the owner of her UK record label Reveal, Tom Rose. Still to come this evening are sets from King Creosote, Architecture In Helsinki and Super Furry Animals, so check in with the Uncut Festivals blog for more news and reviews from End Of The Road here. Pic credit: Miles Johnson

End of the Road festivalgoers are enjoying an Indian summer in Dorset today (September 15) following rain yesterday and freezing temperatures during the night.

Swedish multi-piece I’m From Barcelona, The Concretes and Joan As Police Woman have made the most of the weather with summery sets on the Garden stage, while New York rock project My Brightest Diamond and elegiac Brits Hush The Many Heed The Few played in the Big Top tent.

Joan Wasser, aka Joan As Police Woman, played a pared down solo gig, dedicating “We Don’t Own It” to Elliott Smith, and “Real Life” to the owner of her UK record label Reveal, Tom Rose.

Still to come this evening are sets from King Creosote, Architecture In Helsinki and Super Furry Animals, so check in with the Uncut Festivals blog for more news and reviews from End Of The Road here.

Pic credit: Miles Johnson

Yo La Tengo: Romance is a prog guitar solo

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Ten-minute thrash solos don't usually make the cut on romantic soundtracks so Yo La Tengo must have been doing something right during their Garden stage headline set last night. You couldn't move for couples wrapped around each other and for once the cold had nothing to do with it. This owed a lot ...

Ten-minute thrash solos don’t usually make the cut on romantic soundtracks so Yo La Tengo must have been doing something right during their Garden stage headline set last night. You couldn’t move for couples wrapped around each other and for once the cold had nothing to do with it.

This owed a lot to the atmosphere which was dictionary-defined romantic. Miles away from the nearest large town, the sky above Larmer Tree Gardens was mapped with stars which, combined with an excellent light show and a fairly drunk audience, turned the field into a psychedelic arena, and served to spur the band on to new frenzies of effort.

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Led Zep Legend And Yo La Tengo Close First Day Of End Of The Road

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Led Zep Legend And Yo La Tengo Close First Day Of End Of The Road

The first night of Dorset's End Of The Road Festival has drawn to a spectacular close with the epic post-rock of Yo La Tengo. The US stars, who have been together for over twenty years, performed a well-received and career-spanning set in the leafy surroundings of the Garden Stage, despite saying little to the audience. Yo La Tengo closed their set with 'Nuclear War' under a clear starry sky. Earlier in the evening saw a popular set from surrealist troubadour Robyn Hitchcock, accompanied by Led Zeppelin legend John Paul Jones. At one point during their performance, which featured a selection of songs from Hitchcock's many solo albums including "Balloon Man" and "I Often Dream Of Trains", the singer even joked: "This is just a taste of what you'll be seeing in the O2 tent on November 26th!" The night was rounded off in the Big Top Tent with a high-spirited jam session from the artists who had performed in the course of the day. Backed by Howe Gelb and his band, singers including Kate Maki and Hitchcock performed loose renditions of their songs as well as a cover of disco classic "King Fu Fighting", until Gelb rounded off the evening with a bizarre cover of Johnny Cash's "Ring Of Fire", mixing in sections from The Beatles' "Hey Jude". Take a look at our blogs from the first day of End Of The Road, and keep checking back for more updates on the second day of End Of The Road, which is set to feature performances from Super Furry Animals, British Sea Power, The Bees and King Creosote. Pic credit: Michael Chapman

The first night of Dorset’s End Of The Road Festival has drawn to a spectacular close with the epic post-rock of Yo La Tengo.

The US stars, who have been together for over twenty years, performed a well-received and career-spanning set in the leafy surroundings of the Garden Stage, despite saying little to the audience.

Yo La Tengo closed their set with ‘Nuclear War’ under a clear starry sky.

Earlier in the evening saw a popular set from surrealist troubadour Robyn Hitchcock, accompanied by Led Zeppelin legend John Paul Jones.

At one point during their performance, which featured a selection of songs from Hitchcock’s many solo albums including “Balloon Man” and “I Often Dream Of Trains”, the singer even joked: “This is just a taste of what you’ll be seeing in the O2 tent on November 26th!”

The night was rounded off in the Big Top Tent with a high-spirited jam session from the artists who had performed in the course of the day.

Backed by Howe Gelb and his band, singers including Kate Maki and Hitchcock performed loose renditions of their songs as well as a cover of disco classic “King Fu Fighting”, until Gelb rounded off the evening with a bizarre cover of Johnny Cash‘s “Ring Of Fire”, mixing in sections from The Beatles‘ “Hey Jude”.

Take a look at our blogs from the first day of End Of The Road, and keep checking back for more updates on the second day of End Of The Road, which is set to feature performances from Super Furry Animals, British Sea Power, The Bees and King Creosote.

Pic credit: Michael Chapman

Robyn Hitchcock & John Paul Jones: Forget Led Zep, tonight was JPJ’s moment

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We didn't realise quite how popular Robyn Hitchcock, the bard of all things surreal, is. The Big Top Tent at End Of The Road Festival was literally packed this evening. Or could the hordes have been there to see his sidekick, a meek man by the name of John Paul Jones? He's from some band called Led...

We didn’t realise quite how popular Robyn Hitchcock, the bard of all things surreal, is. The Big Top Tent at End Of The Road Festival was literally packed this evening.

Or could the hordes have been there to see his sidekick, a meek man by the name of John Paul Jones? He’s from some band called Led something. Anyway, this dude’s hot, you should check him out sometime. Let’s hope Robyn keeps him for more than one gig.

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Midlake’s jet lag lets them down

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With everyone tooled up on cider, rum and whatever else they've got stuffed in their pockets, the mood at End of the Road was little short of ebullient this evening: not that you'd know it from Midlake's set on the Garden stage. With band-crowd chat kept to a minimum and singer Tim Smith sitting ...

With everyone tooled up on cider, rum and whatever else they’ve got stuffed in their pockets, the mood at End of the Road was little short of ebullient this evening: not that you’d know it from Midlake’s set on the Garden stage.

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Midlake Kicks Off End Of The Road

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Midlake Kicks Off End Of The Road

Texan indies Midlake played the Garden Stage of End Of The Road Festival to a packed crowd tonight. Playing old favourites from 2004's "Bamnan And Silvercork" alongside tracks from last year's "The Trials of Van Occupanther", the band played a low-key set with the focus firmly on the songs rather than the band themselves. Crowd pleasers such as "Moscow", "Roscoe" and "The Jungle" were played alongside new song "Children of the Grounds" and "The Pills Won't Help You Now", the band's recent co-production with The Chemical Brothers, which received a more relaxed indie re-think here. Singer Tim Smith kept talk to a minimum, but joked with hecklers about his hair - "it's taken me 42 years to grow" - before going on to dedicate their now traditional set closer "Head Home" to festival organiser Simon Taffe. Read our review on the festival blog here. Yo La Tengo are set to close the first night of End Of The Road, so check back to www.uncut.co.uk for the lowdown on the group's set. Pic credit: Michael Chapman

Texan indies Midlake played the Garden Stage of End Of The Road Festival to a packed crowd tonight.

Playing old favourites from 2004’s “Bamnan And Silvercork” alongside tracks from last year’s “The Trials of Van Occupanther”, the band played a low-key set with the focus firmly on the songs rather than the band themselves.

Crowd pleasers such as “Moscow”, “Roscoe” and “The Jungle” were played alongside new song “Children of the Grounds” and “The Pills Won’t Help You Now”, the band’s recent co-production with The Chemical Brothers, which received a more relaxed indie re-think here.

Singer Tim Smith kept talk to a minimum, but joked with hecklers about his hair – “it’s taken me 42 years to grow” – before going on to dedicate their now traditional set closer “Head Home” to festival organiser Simon Taffe. Read our review on the festival blog here.

Yo La Tengo are set to close the first night of End Of The Road, so check back to www.uncut.co.uk for the lowdown on the group’s set.

Pic credit: Michael Chapman

Stephanie Dosen and John Doe: The singer-songwriter paradox?

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Being a singer-songwriter is a tricky business. Which route do you take? You can always attempt to bludgeon your audience into submission with the sheer power of your one act show, or you can entrance them with the ethereal magic of your fragile performance. So far, we've seen both sides of the singer-songwriter paradox (well, as we like to call it) in just a few hours at End Of The Road Festival, first with Stephanie Dosen's disturbing, delicate folk and then with John Doe's straight-down-the-line country blues. We catch Dosen on the main Garden Stage just as the rain is beginning to pour - so this is why Dorset is so green. While on record songs like 'Way Out' could easily be too sentimental, cloying or (god forbid) kooky, they're given enough raggedness and immediacy by her all-female band (including a cellist and a violinist) to survive unscathed. Dosen herself, with her nest of bleached blonde hair and torn black dress, is an engaging, if confusing, personality: gaps between her dark but sweet songs are taken up with her bizarre stage banter. At one point, while her string players are finding their music for the next song, Dosen introduces half her band then tells half a 'knock knock' joke, before exclaiming "that's because I'm a fucker!" No, us neither. Meanwhile, John Doe is kicking out the jams in the Big Top tent with his acoustic blues. While Dosen relies on her meticulously fingerpicked melodies, Doe just strums his guitar with the force of an ox. It may not be the most dynamic performance, but the singer keeps the crowd rapt with his low honeyed croon. The highlight of the set is undoubtedly his rendition of a 1920s-style murder ballad about 'the meanest man in the world'. Near the end of Doe's set he's joined by desert-folk legend Howe Gelb and his band for a few thrilling up-tempo hoedowns. It obviously doesn't matter which type of singer-songwriter you are, as long as you're a good one, that is. The paradox is solved. Words: Tom Pinnock

Being a singer-songwriter is a tricky business. Which route do you take? You can always attempt to bludgeon your audience into submission with the sheer power of your one act show, or you can entrance them with the ethereal magic of your fragile performance.

So far, we’ve seen both sides of the singer-songwriter paradox (well, as we like to call it) in just a few hours at End Of The Road Festival, first with Stephanie Dosen‘s disturbing, delicate folk and then with John Doe‘s straight-down-the-line country blues.

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End Of The Road Festival: Getting it together in the country

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The Dorset countryside - lush, green and verdant. Good for dairy farming and Thomas Hardy novels, but hardly the place for one of this summer's best folk, post-rock and Americana festivals? Well, we reckon it's perfect. Everyone at End Of The Road Festival seems to be enjoying the varied acts, re...

The Dorset countryside – lush, green and verdant. Good for dairy farming and Thomas Hardy novels, but hardly the place for one of this summer’s best folk, post-rock and Americana festivals?

Well, we reckon it’s perfect. Everyone at End Of The Road Festival seems to be enjoying the varied acts, relaxed atmosphere and country estate setting that equals Latitude Festival in the beauty stakes. The myriad stalls selling premium local cider are, of course, just a plus. Ahem.

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Babyshambles Free Delivery With NME

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Babyshambles Free Delivery With NME

The new Babyshambles single 'Delivery' is being given away exlcusively with the NME this week, ahead of it's official release on Monday (September 17). The exclusive acoustic version of the song was recorded during Babyshambles' renowned Stookie + Jim - Bumfest Demo sessions. The B-side features an exclusive audio interview with the band talking about the song. "It's good to give NME readers the chance to hear 'Delivery' as a raw, stripped-down demo," declared drummer Adam Ficek of the unique release, "and also give an insight into how the song grew, developed and finally emerged into the actual finished album version." The single is the first glimpse of Babyshambles' new album 'Shotter's Nation'.

The new Babyshambles single ‘Delivery’ is being given away exlcusively with the NME this week, ahead of it’s official release on Monday (September 17).

The exclusive acoustic version of the song was recorded during Babyshambles’ renowned Stookie + Jim – Bumfest Demo sessions. The B-side features an exclusive audio interview with the band talking about the song.

“It’s good to give NME readers the chance to hear ‘Delivery’ as a raw, stripped-down demo,” declared drummer Adam Ficek of the unique release, “and also give an insight into how the song grew, developed and finally emerged into the actual finished album version.”

The single is the first glimpse of Babyshambles’ new album ‘Shotter’s Nation‘.

Dylan To Start Work On New Album. . .

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Well, it’s all going off on Planet Bob. As if the Mark Ronson re-mix of “Most Likely You Go Your Way (And I’ll Go Mine)” and triple CD set that’s looming, plus Todd Haynes’ I’m Not There movie to follow, plus autumn dates across the US with Elvis Costello as special guest wasn’t quite enough to be going on with, there are now whispers that Dylan’s planning a new album in early 2008, and they are getting louder even as we speak. From what I hear, anyway, Dylan’s booked studio time in January with Rick Rubin at the controls. From his work alone with Johnny Cash, you’d think this wasn’t altogether bad news – and it probably isn’t. More contestable perhaps is the news that Dylan and Rubin will be working alongside Garret “Jacknife” Lee, whose work as producer and re-mixer with U2, Green Day, Snow Patrol, Bloc Party and The Editors we all, er, love and admire. Has anybody else heard anything at all about this?

Well, it’s all going off on Planet Bob.

As if the Mark Ronson re-mix of “Most Likely You Go Your Way (And I’ll Go Mine)” and triple CD set that’s looming, plus Todd Haynes’ I’m Not There movie to follow, plus autumn dates across the US with Elvis Costello as special guest wasn’t quite enough to be going on with, there are now whispers that Dylan’s planning a new album in early 2008, and they are getting louder even as we speak.

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Superbad

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Superbad

DIR: GREG MOTTOLA | ST: JONAH HILL, SETH ROGEN Yes, we have been here before: hormonally maladjusted teenagers embarking on a night they hope they’ll never forget. We’ve seen that comedy, too close to home probably, and most likely we’d rather draw a veil over the farcical humiliations that transpired. Scripted by Knocked Up star Seth Rogen and Evan Goldberg and produced by Judd “40-Year-Old Virgin” Apatow, the spectacularly lewd Superbad follows the misadventures of three geeks entrusted with laying in the booze for a high school graduation party – a responsibility that hinges on nerdy 18-year-old Fogell (Christopher Mintz-Plasse) passing himself off as a 25-year-old Hawaiian organ donor known only as ‘McLovin’. Things don’t quite go to plan. Instead McLovin spends the evening cruising with two disturbingly party-hearty cops (Rogen and Bill Hader), while his buddies attempt to boost some beer without getting their heads blown off. Along the way there’s much lurid speculation about the opposite sex, a close encounter with menstrual blood, and a momentous parade of cartoon dicks… Think American Graffiti meets American Pie at the crossroads where John Hughes meets John Landis. Much like adolescence itself, it’s embarrassingly funny, a bit spotty, and over all too soon. TOM CHARITY

DIR: GREG MOTTOLA | ST: JONAH HILL, SETH ROGEN

Yes, we have been here before: hormonally maladjusted teenagers embarking on a night they hope they’ll never forget. We’ve seen that comedy, too close to home probably, and most likely we’d rather draw a veil over the farcical humiliations that transpired. Scripted by Knocked Up star Seth Rogen and Evan Goldberg and produced by Judd “40-Year-Old Virgin” Apatow, the spectacularly lewd Superbad follows the misadventures of three geeks entrusted with laying in the booze for a high school graduation party – a responsibility that hinges on nerdy 18-year-old Fogell (Christopher Mintz-Plasse) passing himself off as a 25-year-old Hawaiian organ donor known only as ‘McLovin’.

Things don’t quite go to plan. Instead McLovin spends the evening cruising with two disturbingly party-hearty cops (Rogen and Bill Hader), while his buddies attempt to boost some beer without getting their heads blown off. Along the way there’s much lurid speculation about the opposite sex, a close encounter with menstrual blood, and a momentous parade of cartoon dicks… Think American Graffiti meets American Pie at the crossroads where John Hughes meets John Landis. Much like adolescence itself, it’s embarrassingly funny, a bit spotty, and over all too soon.

TOM CHARITY

Z Channel

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Z Channel

Without Jerry Harvey, it’s arguable whether you’d be reading these pages. But it’s a measure of his brilliant career, unfulfilled life, and tragic death, that few know his name, even though his early ’80s work paved the way for the DVD market and practically invented the Director’s Cut. Back then, Harvey was the main programmer on Z Channel, an LA-based cable channel so regional that even half of LA couldn’t get it. Harvey’s thing was film, and as this gripping documentary shows, what began as a passion soon became an obsession, as small-screen film festivals and seasons soon gave way to Harvey’s determination to unearth the original cuts of films such as Michael Cimino’s studio-bankrupting Heaven’s Gate and Bernardo Bertolucci’s 1900. Harvey’s taste was impeccable, as the likes of Jim Jarmusch, Quentin Tarantino and Alexander Payne queue up to testify, but this isn’t simply a History Channel portrait of a cineaste. Harvey also had demons, and what starts as an inspiring tale of devotion soon takes on a very dark hue as Harvey, squeezed out of his ailing channel, becomes depressed and dangerous, finally killing himself using a gun given to him by the late Sam Peckinpah. Directed by Xan Cassavetes, Z Channel is an extraordinary piece of work that succeeds simply because it buys into all that was once good about Harvey, and although the final stretch is depressing to say the least, what stays in the mind is Harvey’s impeccable and infectious enthusiasm. EXTRAS: Commentary with Cassavetes, photo gallery, archive radio interview with Harvey, AFI Tribute, commemorative reproduction of Z Channel Magazine. 4* DAMON WISE Pic credit: Kobal Collection

Without Jerry Harvey, it’s arguable whether you’d be reading these pages. But it’s a measure of his brilliant career, unfulfilled life, and tragic death, that few know his name, even though his early ’80s work paved the way for the DVD market and practically invented the Director’s Cut.

Back then, Harvey was the main programmer on Z Channel, an LA-based cable channel so regional that even half of LA couldn’t get it. Harvey’s thing was film, and as this gripping documentary shows, what began as a passion soon became an obsession, as small-screen film festivals and seasons soon gave way to Harvey’s determination to unearth the original cuts of films such as Michael Cimino’s studio-bankrupting Heaven’s Gate and Bernardo Bertolucci’s 1900.

Harvey’s taste was impeccable, as the likes of Jim Jarmusch, Quentin Tarantino and Alexander Payne queue up to testify, but this isn’t simply a History Channel portrait of a cineaste. Harvey also had demons, and what starts as an inspiring tale of devotion soon takes on a very dark hue as Harvey, squeezed out of his ailing channel, becomes depressed and dangerous, finally killing himself using a gun given to him by the late Sam Peckinpah.

Directed by Xan Cassavetes, Z Channel is an extraordinary piece of work that succeeds simply because it buys into all that was once good about Harvey, and although the final stretch is depressing to say the least, what stays in the mind is Harvey’s impeccable and infectious enthusiasm.

EXTRAS: Commentary with Cassavetes, photo gallery, archive radio interview with Harvey, AFI Tribute, commemorative reproduction of Z Channel Magazine. 4*

DAMON WISE

Pic credit: Kobal Collection

Led Zeppelin Ticket Registration Deadline Extended

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Led Zeppelin Ticket Registration Deadline Extended

Ticket demand for the one-off Led Zeppelin show taking place in November at the 02 Arena, has caused organisers to extend the registration period for fans applying for tickets. An unprecedented 80,000 fans a minute have been attempting to access the www.ahmettribute.com site since the announcement was made on Wednesday afternoon (September 12). Due to the expected high demand, fans have to register for a ballot in order to get hold of the £125 tickets. Yesterday alone (September 13) there were 89.5 million attempts to access the registration site in a 12 hour period, as fans constantly re-entered the address hoping to get through. The website has now been moved to its own server and is running more smoothly. The Tribute To Ahmet Ertegun show is due to take place on November 26, and will also feature other UK artists guided in their careers by Ahmet Ertegun, the founder of Atlantic Records who died last year. As prevoiusly reported, Robert Plant, Jimmy Page and John Paul Jones will be joined by Jason Bonham, the son of their late drummer John Bonham for the show. It will be their first full performance as a band for 27 years. Pete Townshend, Bill Wyman and the Rhythm Kings, Foreigner and Paolo Nutini will also all perform on the night. A message from the concert's promoter Harvey Goldsmith reads: " We urge people to be patient and to remember this is a ballot system and that all registrations will have equal standing regardless if they register first or last." He adds: "To the thousands of fans that have already registered, we thank you for your support of the Tribute To Ahmet Ertegun concert and we continue to do our best to ensure that tickets for this show go directly to you and don’t end up in the hands of the unscrupulous touts." Go to www.ahmettribute.com to register for Led Zeppellin tickets. Limited to one pair per household. All duplicate applications will be cancelled. Successful applicants will be informed from October 1.

Ticket demand for the one-off Led Zeppelin show taking place in November at the 02 Arena, has caused organisers to extend the registration period for fans applying for tickets.

An unprecedented 80,000 fans a minute have been attempting to access the www.ahmettribute.com site since the announcement was made on Wednesday afternoon (September 12). Due to the expected high demand, fans have to register for a ballot in order to get hold of the £125 tickets.

Yesterday alone (September 13) there were 89.5 million attempts to access the registration site in a 12 hour period, as fans constantly re-entered the address hoping to get through.

The website has now been moved to its own server and is running more smoothly.

The Tribute To Ahmet Ertegun show is due to take place on November 26, and will also feature other UK artists guided in their careers by Ahmet Ertegun, the founder of Atlantic Records who died last year.

As prevoiusly reported, Robert Plant, Jimmy Page and John Paul Jones will be joined by Jason Bonham, the son of their late drummer John Bonham for the show. It will be their first full performance as a band for 27 years.

Pete Townshend, Bill Wyman and the Rhythm Kings, Foreigner and Paolo Nutini will also all perform on the night.

A message from the concert’s promoter Harvey Goldsmith reads: ” We urge people to be patient and to remember this is a ballot system and that all registrations will have equal standing regardless if they register first or last.”

He adds: “To the thousands of fans that have already registered, we thank you for your support of the Tribute To Ahmet Ertegun concert and we continue to do our best to ensure that tickets for this show go directly to you and don’t end up in the hands of the unscrupulous touts.”

Go to www.ahmettribute.com to register for Led Zeppellin tickets. Limited to one pair per household. All duplicate applications will be cancelled.

Successful applicants will be informed from October 1.

Tori Amos Pens Musical Ode To Britney

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Tori Amos Pens Musical Ode To Britney

Tori Amos has sung a musical ode to troubled celeb popstar Britney Spears at a show in Australia earlier this week. During Amos's show in Sydney on Tuesday (September 11) - she improvised a verse in response to Spears' criticically panned performance at the MTV Music Video Awards. Amos has previously spoken out in support of Britney Spear's, saying that her 'head shaving' incident was an indication of who Spears really is. Speaking to contactmusic earlier this year, Amos said: "I don't think her sweet, saccharine image was close to who she really was, and she rebelled". The lyrics in full were: Britney, they set you up. But you drank from their cup, Britney, They set you up. Oh, but this is what it looks like, love. This is what is looks like. When a star falls down. When a star falls down. Well, maybe you're a mother. But you still need your mother. Yes, I may be a mother but I still need a mother, To pick me up. Yes, to pick me up... When it all falls down When it all falls down Britney, they set you up. Is your contract winding up? But you drank from the cup. Boy, this is what it looks like. Yes, I said, this is, this is what it looks like, Disney, yes. When a star falls down. When a star falls down. You may be a mother Baby, you still need a mother. Yes, I may be a mother but I still need a mother To pick me up, Yes, to pick me up. When it all falls down. When it all falls down. When it all falls, all falls down. When it all falls down.

Tori Amos has sung a musical ode to troubled celeb popstar Britney Spears at a show in Australia earlier this week.

During Amos’s show in Sydney on Tuesday (September 11) – she improvised a verse in response to Spears’ criticically panned performance at the MTV Music Video Awards.

Amos has previously spoken out in support of Britney Spear’s, saying that her ‘head shaving’ incident was an indication of who Spears really is.

Speaking to contactmusic earlier this year, Amos said: “I don’t

think her sweet, saccharine image was close to who she really was, and she rebelled”.

The lyrics in full were:

Britney, they set you up.

But you drank from their cup,

Britney, They set you up.

Oh, but this is what it looks like, love.

This is what is looks like.

When a star falls down. When a star falls down.

Well, maybe you’re a mother.

But you still need your mother.

Yes, I may be a mother but I still need a mother,

To pick me up.

Yes, to pick me up…

When it all falls down

When it all falls down

Britney, they set you up.

Is your contract winding up?

But you drank from the cup.

Boy, this is what it looks like.

Yes, I said, this is, this is what it looks like, Disney, yes.

When a star falls down.

When a star falls down.

You may be a mother

Baby, you still need a mother.

Yes, I may be a mother but I still need a mother

To pick me up,

Yes, to pick me up.

When it all falls down.

When it all falls down. When it all falls, all falls down.

When it all falls down.

Uncut’s 50 Best Gigs – Extra!

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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. ***** #25 | NEW ORDER Heaven Nightclub, Charing Cross, London, Feb 9, 1981 PAUL MORLEY: The thing about the transition from Joy Division to New Order is that nobody seemed to think about it. It had a weird inevitability. By the time it got here, it was the Heaven show, where there was this peak of expectancy. They came on in the early hours and I had about two hours to write it up for the NME. So I put down my first feelings, which did involve a mention of manly moisture. It was all incredibly moving, with a feeling of this whole thing being in flux. I think Hooky, even then, was still singing a bit. And there was this incredibly poignant gap onstage. Nobody dared move into the middle, where Ian Curtis should have been. And I suppose they still sounded like Joy Division. They hadn’t gone electronic or abstract. It was still very liquid. But you could tell it was going to work as they’d had the courage to carry on and, without playing any Joy Division songs at all, something interesting was happening. I liked the idea of New Order sounding heavily bruised, very tender and literally trying to come out of their own shock. That nervousness onstage definitely contributed to the reputation of the band. They looked like they hadn’t really talked to each other about what had happened with Ian, like they were yet to hear the news themselves somehow. ***** 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.

*****

#25 | NEW ORDER

Heaven Nightclub, Charing Cross, London, Feb 9, 1981

PAUL MORLEY:

The thing about the transition from Joy Division to New Order is that nobody seemed to think about it. It had a weird inevitability. By the time it got here, it was the Heaven show, where there was this peak of expectancy. They came on in the early hours and I had about two hours to write it up for the NME. So I put down my first feelings, which did involve a mention of manly moisture. It was all incredibly moving, with a feeling of this whole thing being in flux. I think Hooky, even then, was still singing a bit. And there was this incredibly poignant gap onstage. Nobody dared move into the middle, where Ian Curtis should have been. And I suppose they still sounded like Joy Division. They hadn’t gone electronic or abstract. It was still very liquid. But you could tell it was going to work as they’d had the courage to carry on and, without playing any Joy Division songs at all, something interesting was happening.

I liked the idea of New Order sounding heavily bruised, very tender and literally trying to come out of their own shock. That nervousness onstage definitely contributed to the reputation of the band. They looked like they hadn’t really talked to each other about what had happened with Ian, like they were yet to hear the news themselves somehow.

*****

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!

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