Beatle bores are already crying “sacrilege” about Across The Universe, a new film musical – screenwritten by British script legends Dick “Porridge” Clement and Ian “The Likely Lads” La Frenais – that uses Beatles songs and music to guide the plot. Realism rubs up against Willy Wonka-style weirdness as Liddypool ship builder “Jude” (Jim Sturgess) moves to New York and gets caught up in the swinging ’60s with the help of peacenik chick, Lucy (Marilyn Manson squeeze Evan Rachel Wood). T-Bone Burnett and film music composer Elliot Goldenthal (Drugstore Cowboy, Heat) rework the tunes and the Broadway-trained Julie Taymor (Frida) directs. It sounds a bit rum to us, but check out the trailer and see what you think...

Posted by Danny Eccleston at 03:54PM | Leave a Comment (5)
Springsteen Hits The Road. Mojo Hears The New LP

Brucespringsteen Fans of The Boss prepare – a double-whammy of good news is coming your way. New Jersey’s favourite son is heading back out on the road this Autumn and, for the first time in over four years, the classic line up of The E Street Band will accompany Bruce Springsteen and his sweaty Telecaster every step of the way. And if that’s not enough to sate your Bruce appetite for the day. MOJO has been granted an exclusive first listen of his new album, Magic.

For the lowdown, click more.

Following last year’s Seeger Sessions, Magic (released on October 1), will be the first collection of new Springsteen material since 2005’s Devils And Dust and, happily, we can now report that MOJO’s initial impressions are very, very positive indeed. Of course, the record also marks a welcome return for The Boss’ old cohorts in The E-Street Band and thankfully producer Brendan O’Brien has managed to encapsulate the classic E-Street sound with pinpoint accuracy. The seeds of the reunion were sown earlier this year when Sony revealed that Springsteen was back in an Atlanta  studio with the likes of Nils Lofgren, Roy Bitten, Max Weinberg and Clarence Clemons. Authentic and contemporary, many of the album’s eleven tunes seemingly address America’s involvement in Iraq – unsurprising considering The Boss’ most recent output and his predilection for such righteous troubadours as Pete Seeger and Woody Guthrie.

Here’s that full Magic tracklisting

1. Radio Nowhere
2. You’ll Be Comin’Down
3. Livin’ In The Future
4. Your Own Worst Enemy
5. Gypsy Biker
6. Girls In Their Summer Clothes
7. I’ll Work For your love
8. Magic
9. Last to Die
10. Long Walk Home
11. Devil’s Arcade

Meanwhile, there’s the not so small matter of a new tour. The 31-date jaunt is set to kick off in October with a string of dates across the US – including two nights at Madison Square Garden – before hitting European shores with shows across the continent. It culminates with a celebratory return to London on December 19 at the 02 Arena – currently The Boss’ only UK appearance.

Springsteen will play:

Hartford, CT, Hartford Civic Center (October 2)
Philadelphia, PA, Wachovia Center (5)
East Rutherford, NJ, Continental Arena (9/10)
Ottawa, ONT, Civic Centre (14)
Toronto, ONT, Air Canada Centre (15)
New York, NY, Madison Square Garden (17/18)
Chicago, IL, United Center (21)
Oakland, CA, Oracle Arena (26)
Los Angeles, CA, Venue TBA (28)
St. Paul, MN, Xcel Energy Center (November 2)
Cleveland, OH, Quicken Loans Arena (4)
Auburn Hills, MI, Palace Of Auburn Hills (5)
Washington, D.C., Verizon Arena (11)
Pittsburgh, PA, Mellon Arena (14)
Albany, NY, Times Union Center (15)
Boston, MA, TD Banknorth Garden (18)
Madrid, Spain, Palacio De Deportes (25)
Bilbao, Spain, Bilbao Ex. Centre (26)
Milan, Italy, Datchforum (28)
Arnhem, Netherlands, Geldredome (30)
Mannheim, Germany, Sap Arena (December 2)
Oslo, Norway, Oslo Spektrum (4)
Copenhagen, Denmark, Forum Copenhagen (8)
Stockholm, Sweden, Globe Arena (10)
Antwerp, Belgium, Sports Paleis (12)
Cologne, Germany, Koln Arena (13)
Belfast, Ireland, Odyssey Arena (15)
Paris, France, Palais Omnisports (17)
London, UK, O2 Arena (19)

Posted by Ross_Bennett at 01:00PM | Leave a Comment (4)

Amycrop Amy Winehouse’s recent “lifestyle issues”, including her inability to attend rehab for more than a couple of days, are expected to affect her chances of bagging the Mercury Prize, the winner of which is to be announced Tuesday next week. Yesterday, a representative of online gambling group SkyBet reported that Winehouse’s album, Back To Black, had slipped from its position as favourite for the award, replaced by Bat For LashesFur And Gold.

Click MORE button for the full list of odds…

Although it seems absurd to suggest that the news surrounding Winehouse’s addiction-induced trough should affect the way the judges feel about her year-old album, this is exactly how punters appear to be leaning. Despite the Mercury panel’s insistence (as displayed on their web site) that “the music on the album is the only thing taken into account”, seasoned Mercury watchers have always noted political swings between relatively mainstream albums and trendier wild cards.

Although the panel do not appear ever to have been influenced by an act’s lifestyle (in fact Primal Scream were the inaugural winners back in 1991), it seems that punters are feeling that the judges may be loath to bestow a £20,000 cheque on an artist who may spend it all down the nearest crack house. No, really.

And how would the Mercury’s sponsors – middle-English bastion the Nationwide Building Society – feel if Winehouse’s public behaviour was to be condoned in their name?

Helen Jacob, entertainment manager at Sky Bet said, "Bat for Lashes seems to be this year's Richard Hawley - the critics’ favourite and shrewd money has seen her backed in from an opening 8/1 to 9/4 favourite. A more mainstream artist in Arctic Monkeys won last year, so it could be a more obscure outfit that emerges victorious this time around. We're still not ruling out Amy Winehouse. Although support for her has dwindled following recent bad press, the fact remains that Back To Black is superlative. However, I personally think Jamie T could come through the two to win on September 4th.”

As we write, William Hill also have Bat For Lashes ahead at 2/1, while Ladbrokes have Winehouse and Bat For Lashes tied at 5/2

Nationwide Mercury Prize, Sky Bet odds:

Bat For Lashes – Fur And Gold  9/4
Amy Winehouse – Back To Black  5/2
Jamie T  – Panic Prevention  5/2
Klaxons – Myths Of The Near Future  11/1
Fionn Regan – The End Of History  12/1
Arctic Monkeys – Favourite Worst Nightmare 14/1
Maps – We Can Create 16/1
Young Knives – Voices Of Animals And Men 18/1
The View – Hats Off To The Buskers 25/1
Dizzee Rascal – Maths and English 33/1
New Young Pony Club – Fantastic Playroom 33/1
Basquiat Strings – Basquiat Strings 40/1

Posted by Danny Eccleston at 12:22PM | Leave a Comment (1)

Tunngcrop_2 Intrigued by the feature in this month’s MOJO about Tunng, the laptop folk fraggles from Matlock, Derbyshire? If so, slake your curiosity further. Step 1) Click the MORE button download a free MP3 of their brilliant track, Take. Step 2) consider investing in their third and latest album – entitled Good Arrows and out this week. Step 3) Enjoy a moderately amusing story about last night’s v. unusual Tunng gig in Brighton.

Click MORE button to download track. And stuff.

Click here to download Take…

…And while you’re doing that, listen to the one about Tunng sharing a bill with an Elvis impersonator, a violin and electric keyboard duo and a teenager covering Smells Like Teen Spirit. These rum shenanigans occurred last night after the band’s instore show at Resident Records, Brighton. Members Mike Lindsay and Sam Genders (pictured) had repaired to nearby hostelry The George, only to find themselves in the middle of the pub’s open mic night. Cajoled into taking part, the two played acoustic versions of Bodies, Jenny Again and Fair Doreen, much to the chagrin of the amateurs present. Damn ringers!


Find out more about Tunng, including forthcoming gig news, at www.myspace.com/thisistunng or www.tunng.co.uk

Posted by Danny Eccleston at 04:14PM | Leave a Comment (0)

Perry Dub genius Lee “Scratch” Perry has been in touch to add his two penn'orth to our bucket of star frothings re: the very best of The Rolling Stones. (I Can’t Get No) Satisfaction is the track that gets him going, and it will not surprise seasoned Perry-watchers that his take is, shall we say, unique. “It’s a good meditation for spiritual people who are trying to get things to work,” says he, but what can he mean? And what is he on? Don’t answer the last question...

Click MORE to read Lee “Scratch” Perry on Satisfaction...

Lee Perry: “(I Can’t Get No) Satisfaction means I’m trying for good things to get, and it’s not working right, so that message is a good meditation for spiritual people who are trying to get things to work, they try everything and it’s not working. You’re trying, trying, trying, and ever more you try, but you still can’t reach your goal. The thing I like about Mick Jagger on that track is his energy. He has a real showman energy. And Keith Richards plays voodoo guitar; it is magic. Keith Richards dealing with magic, he’s a magician, you understand? He’s a wise guy, he deal with a positive rhythm and he play positive guitar, but his guitar is not just normal, because it’s real magic. The guitar is talking. He play singing guitar, talking guitar, magic guitar.
    “Mick Jagger is a very good showman, Keith Richards is a very good guitarist, the bass player is very good and the drummer is very good. Matter of fact, they are very good entertainers, top class entertainers. They are my fans, they listen to my records more than me listen to their own, that’s what I understand, and Keith Richards wanted to work on my next album, he send the message and I would like that to happen. Keith Richards would really like to play on one of my tracks on my next album, and that would be wonderful. He’s a super guitarist anyway, and Mick Jagger is a super artist. That is a very good band.”

Posted by Danny Eccleston at 03:43PM | Leave a Comment (0)
WIN LENNON DVD!22 Aug 2007

Lennonspeace On May 26th 1969, John Lennon & Yoko Ono moved into suite 1742 of Queen Elizabeth Hotel in Montreal for a historic seven days of lounging abed in the cause of peace, at the end of which, the couple led a star-studded recording of instant peacenik anthem Give Peace A Chance. Give Peace A Song, a DVD documentary out this month, is the definitive roundup of the shenanigans, containing exclusive rare film from the archive of the Canadian Broadcasting Corporation and outtakes from John and Yoko’s own movie of the event. MOJO has five copies to give away.

Click MORE button to enter competition...

For a chance to win one of five DVDs, mail us at Editor@mojo4music.com with the answer to this question. Which of the following DID NOT visit the Lennons in Montreal?

a) Timothy Leary
b) Paul McCartney
c) Petula Clark

Don’t forget to include postal address and contact details, and put Peace Competition in your subject line. Competition closes September 3. Give Peace A Song is out on August 27.


Those Terms & Conditions, one mo' time
• No prizes can be traded or exchanged for a cash alternative
• Closing date for this competition is September 3, 2007
• All entrants are responsible for including correct contact details
• The judges decision is final and no negotiation or debate will be entered into.
• All winners will be notified by email.
• This competition is open to all UK readers, except employees, associates and their families of Emap and Fabulous Films.

Posted by Danny Eccleston at 05:27PM | Leave a Comment (0)
THE BEST OF MAX ROACH, 1924-200721 Aug 2007

Maxcrop2 The death, last Thursday, of 83-year-old drumkit colossus Max Roach, set MOJO Towers a-rumbling in an ominous fashion as we mourned the departure of one of jazz music’s few remaining legends. While you may expect a fulsome tribute in a forthcoming MOJO, the office was flung in a quandary as to which records we should spin to properly salute his genius. Luckily, our resident trapsman Geoff Brown, was on hand with an expertly edited selection...

Click the MORE button for MOJO’s Max Roach playlist...

A genuinely innovative musician, Roach was the drummer who pioneered bebop rhythm section work as jazz evolved after the big band swing era. Superb technique, impeccable dexterity around the kit, inventive fills developed with a light-handed touch, his playing simply had everything as both ensemble drummer and soloist. In a long and prolific career as sideman and band leader, the style coalesced in 1947 when 23-year-old Roach was recruited along with Miles Davis for Charlie Parker‘s great quintet. He appeared on Billie’s Bounce, Koko, Parker’s Mood – any of their Savoy or Dial recordings are recommended. Here’s a very potted, starter-pack selection of Max’s greatest flams and paradiddles.

1. Bud Powell

Bud Powell Trio Plays (Roulette)
Roach plays on the eight 1947 recordings by the father of bebop piano, from standards reinvented (Somebody Loves Me, Nice Work If You Can get It) to Monk’s Off Minor and Powell’s own Bud’s Bubble.

2. Miles Davis

The Birth Of The Cool (Capitol Jazz)
When Davis first matured as a post-bebop leader in 1949, Roach was there, navigating the nonet through these gentler chilled jazz arrangements. Très cool indeed. Recorded in New York, but gave birth to the West Coast style.

3. The Quintet

Jazz At Massey Hall (Original Jazz Classics)
Bebop was well-established when, in 1953, five leaders of the movement – altoist Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, bassist Charles Mingus and Roach – reconvened to revisit Salt Peanuts, A Night In Tunisia, Perdido et al.

4. Clifford Brown/Max Roach Quintet

Clifford Brown/Max Roach Quintet (EmArcy)
Formed in 1954, Roach’s vital five-piece with the brilliant young trumpeter Brown heralds another change in style as Jordu and Joy Spring ease into hard bop. Tragically, Brown died in car crash in June 1956, two days after Roach’s monumental drumming on Sonny Rollins’ classic Saxophone Colossus album.

5. Duke Ellington

Money Jungle (Blue Note)
New York, 1962, no big band, just Duke at piano, Mingus on bass and Max. What‘s not to like?

As a leader, Roach’s albums became harder-edged with Deeds, Not Words (1958), Freedom No Suite (1960), and M’Boom (1979, named after the percussion collective he’d formed nine years earlier) standing out. He unearthed a prodigious number of fresh talents.

But remember, this is barely a snapshot of a truly great drummer’s contributions.

Posted by Danny Eccleston at 03:45PM | Leave a Comment (0)

Tapcrop As The Rolling Stones drag their death-defying, tax-exiled carcasses onto our shores this week for three London shows, that other rival for the title of Greatest Rock'n'Roll Band On Earth – Spinal Tap – weigh in with their views on MOJO’s current 50 Greatest Stones Songs feature. MOJO’s Sylvie Simmons was there to reel in their wit and... er, wisdom.

Click MORE button for exclusive Spinal tap interview!

MOJO: So what’s the best Rolling Stones song?
NIGEL TUFNEL: A Day In The Life, that's easy.
DAVID ST HUBBINS: That's The Beatles. My pick is My Obsession from Between The Buttons. It's a combination of the drum breaks with the bits of the fuzz bass underneath it and it's a good vocal.
NIGEL TUFNEL: It can't be A Day In The Life?
DAVID ST HUBBINS: No. Do you know what the only Beatles song the Stones covered is? In fact they did it first. I Wanna Be Your Man.
NIGEL TUFNEL: I also like Penny Lane
NIGEL TUFNEL: I'm out of this contest then.
DEREK SMALLS: For me it's Brown Sugar.
MOJO: Why?
DAVID ST HUBBINS: Because it's better than regular sugar.
DEREK SMALLS: No, because it's reminiscent of our song Bitch School, and I like the fact that they took our inspiration and ran with it.
DAVID ST HUBBINS: Even though they ran with it earlier, before we recorded it.
NIGEL TUFNEL: One more try. Paperback Writer.

The Rolling Stones play the O2 Arena on Tuesday, Thursday and Sunday. Spinal Tap play a benefit show for the International Myeloma Foundation (a bone cancer charity) at the Avalon Hollywood, August 27.

Posted by Danny Eccleston at 03:24PM | Leave a Comment (3)
Jarvis salutes Lee Hazlewood17 Aug 2007

Lee The death of Lee Hazlewood on August 4 brought to a close an extraordinary career indeed.  He wrote hits in the fifties and sixties. Then he sang some of them  with partner Nancy Sinatra. After that he swerved off into a knowing kind of obscurity that saw his albums inspire  Nick Cave, The Jesus and Mary Chain, Richard Hawley, Morrissey and Jarvis Cocker among others, before returning in the '90s as the irascible grandfather of alternative rock . Here is Jarvis Cocker's specially composed tribute to the man. "My own relationship with the music of the master began around 1987," says Jarvis. "Some well-meaning souls from Chesterfield had done me a fifth-generation cassette copy of Love & Other Crimes and Requiem for an Almost Lady reckoning they might “give me some ideas”.  They did more than that  - they blew my mind."

Click the MORE button for the full story:

500 words on Lee Hazlewood? I could just type “Genius, genius, genius……” the requisite number of times but that would probably piss the Mojo folks off  - plus I bet you’d never read them all anyway. So how to express the genius of the late Mr. Hazlewood? Maybe it would help to go back to the beginning….
    My own relationship with the music of the master began around 1987; some well-meaning souls from Chesterfield had done me a fifth-generation cassette copy of “Love & Other Crimes” & “Requiem for an Almost Lady” reckoning they might “give me some ideas”.  They did more than that  - they blew my mind. The first thing that got me was The Voice – the deepest voice known to Mankind: Deep & rich & strong & deep & warm & human & immense & sometimes he would talk bits or do intros to songs which might have been a bit corny but, Hell – if you’ve got a voice like that why not use it? Why not fill up those boring seconds of silence between tracks with it – like some kind of heaven-sent musical grouting! C’mon, trowel some more on. You could almost get drunk on that voice. Hic.
   Ironically, it wasn’t one of his own songs that got its claws into me first but his version of the Bonnie Dobson/Tim Rose classic “Morning Dew”. “Walk me out in the morning dew, my Honey” ,he sings over a stark bass, drum & piano arrangment - & it sounds like the most terrifying proposition you’ve ever heard. Then the song builds ‘til it explodes in the middle & then starts all over again; “Now there’s no more morning dew…..”. I played it about 5 times in a row to check that it was as brilliant as I thought it was. It was. I was hooked.
    Not all his songs were scary – in fact maybe one of the reasons he never got as famous as he should have been was that he refused to take himself too seriously (he did make an album called “Poet, Fool  or Bum” remember ) & songs such as “Dolly Parton’s Guitar” are downright FUNNY. But it was when his humour was at its darkest that things got really interesting. The chorus of “Dirtnap Stories” from “For Every Solution There’s a Problem” has to be one of his most darkly humorous moments ever: “It’s like dying on Christmas Day – before all the presents are open.” It’s like he looked at human life & relationships & saw all the imperfections & contradictions but then thought “Fuck it – what else are you gonna do with your time? “ - & so tried to express it in all its flawed, idiosyncratic, human beauty through his music.
   & I think in the end that that human touch was the true mark of his genius: every song felt like he was sat there telling you a story. The stories have now finished  - but at least there are plenty of them out there for us to revisit.

Posted by Ross_Bennett at 03:12PM | 

Scott One of the most enigmatic artists of his or indeed any generation, Scott Walker is not known for his prolific output. And yet he has completed a brand new album in double quick time. What’s more it’s a contemporary dance album!

Click MORE button for the full details…

Not one to worry about challenging his fans, Walker hasn’t made a dance record in the Fat Boy Slim sense of the word, but has instead recorded a work that was commissioned by the South Bank Centre in London to be staged and performed by a dance company.

The result is an instrumental piece in four movements entitled And Who Shall Go To The Ball? And What Shall Go To The Ball? The 25-minute long piece was written in the wake of his last studio album, The Drift, which was released in 2006 and which saw him collect the MOJO Icon Award at that year’s MOJO Honours List. 

Following its premier at Manchester’s Contact Theatre on April 26, the piece has been performed throughout Europe by the Candoco (pronounced Can-doo-co) dance company who return to these shows for a series of performances that will coincide with the album’s release.

Despite the album being a vocal-free work, Walker himself has commented on the subject matter which has inspired him.

“Apart from a slow movement given over to solitude, the music is full of edgy and staccato shapes or cuts, reflecting how we cut up the world around us as a consequence of the shape of our bodies,” he states. “How much of a body does an intelligence need to be potentially socialised in an age of ever-developing A.I. ? This is but one of many questions that informed the approach to the project.”

The album is out on 4AD on September 24 as a limited edition deluxe package that, according to the label, “will never be re-pressed”.

And Who Shall Go To The Ball? And What Shall Go To The Ball? will be performed at the following dates:

September 25 & 26 London, Southbank Centre, QEH
October 16 & 17 Poole, Lighthouse
October 23 Sheffield, Crucible
October 26 University of Herts, Hatfield
November 8 Leicester, Peepul Centre
November 15 Malvern Theatre
November 24 Newcastle Dance City

Posted by Ross_Bennett at 06:06PM |