MUSIC FROM THE CRYPT Pt.2 - HALLOWEEN CLIP SPECIAL31 Oct 2007

Beatles Run! It's The Zombealtes!

More Halloween video nasties for you, from The Tomb Of The Moptop...

Click MORE for A Hard Day's Night Of The Living Dead.

 

The Zombealtes - A Hard Day's Night Of The Living Dead

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NEWS DIGEST - WEDNESDAY, OCTOBER 31

Replicas Gary Numan, New Wave's king of synth, will perform the whole of his classic breakthrough album Replicas (plus B-sides) on a 15 date UK tour throughout March 2008. Signed to Beggars Banquet in 1979, Numan - then operating under the ensemble title Tubeway Army - was responsible for writing all of the record's 16 tracks.

Click MORE for the full list of dates.

He'll play:

Bristol Academy (Feb 29)
Sheffield Corporation (March 1)
Glasgow ABC (2)
Belfast Spring & Airbrake (3)
Dublin Tripod (4)
Nottingham Rock City (5)
Newcastle Academy (7)
Manchester Academy (8)
Norwich UEA (9)
Wolverhampton Wulfren Hall (10)
Cambridge The Junction (11)
Brighton The Dome (12)
Oxford Academy (13)
Southampton University (14)
London indig02 (25)

- EMI and Natwest have struck a new deal which will offer chip and PIN holders the opportunity to personalise their cards with album artwork. Lily Allen, Athlete and Supergrass are all allowing their sleeve designs to adorn the cards of Adapt account holders (11-18 year olds, charge of £5). MOJO have come up with the top five EMI acts we’d like to see grace our own, utterly useless, pieces of plastic:

1. Van Der Graaf Generator
2. Groundhog
3. Kraftwerk
4. Iron Maiden
5. Talk Talk

- Rufus Wainwright is set to cement his title as the world's number one Judy Garland fan as he gears up to release a double-whammy of tribute extravagance on CD and DVD. The Rufus Does Judy at Carnegie Hall disc will document the singer's June 14, 2006 show at the infamous New York venue, while the Rufus! Rufus! Rufus! Does Judy! Judy! Judy! Live at the London Palladium DVD will present the man on screen in all his feathery pomp. The CD will be in the shops before Christmas, with the DVD to follow in the new year.

- Frank Callari, the co-founder of Lost Highway Records, has died. He was 55. Callari started the label in 2001 with Universal's Luke Lewis, eventually going on to sign some of Americana's leading lights - Ryan Adams, Junior Brown and Lucinda Williams all ended up under Callari's wing. A funeral with take place in Nashville tomorrow.

- Krautrock comes to London. Neu!'s Michael Rother and Dieter Mobius of Cluster will perform together at the Audioscope festival in Oxford next month (November 10). The gig follows the recent reunion of supergroup Harmonia, the mid-seventies project involving Rother, Mobius and other Cluster member Hans-Joachim Roedelius. For more on Harmonia's comeback pick-up the new issue of MOJO - on sale tomorrow! (November 1)

- Coldplay have said that work on their fourth album is coming to a close. A new post on the band's official site reads: "It feels like a dense record. There are so many melodies and colors packed into a relatively short space (42 minutes). As you'd expect with [producer] Brian Eno, there's experimentation and exploration. But the music still has integrity. It's real and honest. There's no posturing or bombast." The as yet untitled LP, will be released next year.

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VICTOR SPINETTI ON THE JOY OF HELP!

Victor_crop The Beatles’ second feature film, Help!, emerges for the first time ever on DVD next week, and to augment a revealing piece by Director Richard Lester in the current MOJO magazine, we have a rip-roaring interview with Victor Spinetti exclusive to MOJO4music.com. Read the Beatle-endorsed actor-raconteur, as he tells MOJO’s Danny Eccleston how the first scene filmed was nearly the end of the band and – gulp! – what he really thought about Yoko...

Click MORE for the interview, and come back tomorrow for Part 2!

42 years on, what does Help! mean to you?

Help!’s been very good to me. Recently, I was invited [to Las Vegas] as a guest of honour to go and see the musical Love, and then after that I was asked to attend a Beatles convention for three days, at which I gave a talk on what it was like to be in those films. I was paid and there was first class travel, and then the same thing happened to me in Chicago – I did three talks there. It’s taken me three times on the QE2 (laughs).

So, what are those fan conventions like – a bit barmy?

Oh, they’re sweet; the Beatles ones are sweet.  They’re the nicest people. There are people in their early teens, to people who are 80 or 90. They’re so polite. You see, the thing is, those songs were like a reservoir of poetry and melody that flooded all over the world. And so the people who plug into that, don’t plug into any of that rap hate stuff.  There’s no hatred in the music, and there’s joy in it.

What was it like being back with them again?

When we got on the plane at London to go to The Bahamas, you couldn’t hear the engines because the screams were so loud. We didn’t know it was taking off. On the way to the Bahamas, we landed in New York to refuel – we weren’t allowed to get off. This policeman came on the plane and said: “Is there a Victor Spinetti on this plane?” And John said: “They’re deporting you, you fucking wop, you’ve been thrown off!” (Laughs) The policeman said: “Will you come to the door of the plane, please, your fan club are at the airport...” (Laughs) And it was true! I walked to the door of the plane and I received jelly babies and teddy bears, and The Beatles were absolutely astonished. The Beatles and Brian Epstein became card-carrying members of the Victor Spinetti Fanclub Of America (laughs).

What was different this time?

Well, the accommodation was different. In the Bahamas, we were all split up. The stars and all the top rank people, and their families, went to the posh places, and the actors went to various dumps. It didn’t last long because I complained bitterly and we were moved (laughs).

Surely, Equity would have something to say about that?

I remember poor old Roy Kinnear [who played Spinetti’s assistant] saying “Don’t make waves, don’t make waves”, and I said, “Oh fuck off, we’re filming tomorrow; they’re lying around by the pool.”

The first scene shot was you, Roy, Eleanor Bron and Ringo on a yacht…

…And it was nearly the end of The Beatles! It’s when Ringo had to jump into the water and I, as the mad scientist, was meant to try and cut his finger off to get his ring. He dives into the water and comes out all shivering because of course it was cold and there were shark nets – very dangerous. So they dried him off, and then they said “action” and Ringo dived off again. The third time he was being dried off – no private dressing room, just a hair drier – and he said: “Oh, Victor, I don’t want to do this again.” I said, “Why”, and he replied, “I can’t bloody swim.”

How did you rate The Beatles as actors?

Well, they never thought of themselves as actors.

No?

Acting was too interpretive; they were creative. I mean, to sit around all day on a set to go and do ten lines is tedious for most actors, but we’re being paid and we sit there. But when you’re creative, rather than interpretive… I don’t think they would have liked it too much. They might have done it occasionally. I mean, Ringo in A Hard Day’s Night was marvellous, when he was just walking along. And I remember the opening night of Help!, at the end of the Ticket To Ride sequence, the audience just burst into applause. I remember saying to them: “It’s because you have the [ring] of truth – you don’t look like liars.”

Was honesty the key to how they came across on screen?

I think so. Certainly in A Hard Day’s Night, they were just themselves, with four or five cameras running at once, observing them. With Help!, it was much more structured – much more of a proper movie. But they still didn’t look like liars. They might have looked self-conscious. John said to me once: “Whenever the director shouts ‘Action!’ all the actors change but you stay the same. Does that mean you’re as terrible as we are?” (laughs)

Did it surprise you that Ringo was the one who went onto have a film carrier?

No, not at all – look at that face. I remember one interviewer asked him why he didn’t smile more and he said: ‘I don’t have a smiling face.’ He’s in there, looking out. That’s why he didn’t appear to be self-conscious. Like Lawrence Olivier said: “I never want to know who’s out front. Because if I know who’s out front, I’m up there watching me instead of doing it.”

Are you fond of Professor Foot, your mad scientist character? You seemed to have a lot of fun with him?

I did, indeed. Although Dick [Lester] said to me: ‘You don’t appear to be doing anything with this one,’ and I said: ‘I did my lot in A Hard Day’s Night, I’m calming down a bit.’ (Laughs) But it was a good combination of Roy and I because we’d worked together on stage before, so we were used to each other and that came across.

Had The Beatles been changed by another year of the crazy fame?

They hadn’t changed; the people around them had. In the middle of this great whirlwind of Beatlemania, there was this still, small centre where they sat. In the middle of it, you felt like you were sitting in the kitchen, do you know what I mean? The others were in the sitting room, or the drawing room, or the front room, but if you sat with them in the kitchen, they were just the same. The constant putdowns between each other kept everyone sane.

They were as down-to-earth and approachable as they were in the previous film. But, like I said, the people around them were causing tension. I remember driving along in a car – they were all given loan cars on The Bahamas – with their hair flying in the wind and George singing, “When you walk through a storm, hold your head up high!” They were the same. What changed them eventually was the split when, you know, there’s somebody else there who doesn’t say hello or smile at you. She’s smiling a lot now, I notice…

Meaning who?

(Pauses) You know who I mean.

You mean Yoko?

Don’t mention her name! (Laughs)

Was she not very friendly to you?

Well, she didn’t speak! Alright, you come into a room, OK, and then someone says ‘This is my new girlfriend’ and they just look at you and they don’t say ‘hello’ or ‘John’s told me so much about you.’ Nothing. And she made John defend her all the time.

Tune in tomorrow for more fireside Beatle chat, Spinetti-style. And on Friday for an exclusive tête-à-tête with Eleanor Bron.

And here’s a reminder of that Ticket To Ride sequence...

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MUSIC FROM THE CRYPT Pt.1 - HALLOWEEN CLIP SPECIAL

Thriller "Darkness falls across the land / The midnight hour is close at hand / Creatures crawl in search of blood / To terrorize your neighbourhood". Vincent Price had it pretty much spot on when he added this foreboding soliloquy to Michael Jackson's ode to the undead in 1982. As the witching hour approaches, MOJO thought it would be appropriate to congeal some of our favourite monster melodies from the bone-rattling dark side of music.

Click MORE for the first six of today's spectral delights.

 

Screamin' Jay Hawkins - I Put A Spell On You

Bobby Pickett - Monster Mash

The Misfits - Dig Up Your Bones

The Cramps - I Was A Teenage Werewolf

Warren Zevon - Werewolves Of London

Howlin Wolf - Evil

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COSTELLO: “I DON’T DIG ENGLAND”30 Oct 2007

Elviscrop Elvis Costello may never play another show in Britain, he tells MOJO magazine in a forthright interview this month. Speaking in his tour bus while on tour with Bob Dylan, the 53-year-old songwriter told us that “I don’t care if I ever play England again”, before questioning the worth of record-making in the post-MP3 landscape.

Click MORE for Costello’s anti-England outburst...

Asked about his experience of Glastonbury 2005, where he played an early-Friday-evening set, Costello replied, “Fucking dreadful! I don’t care if I ever play England again. I'll say that right now. That gig made up my mind I wouldn’t come back.”

It transpires that Costello’s disillusionment with his homeland runs deep.

“I don't get along with it. We lost touch. It’s 25 years since I lived there. I don’t dig it, they don’t dig me. A lot of good new bands still come out of England, but I just don’t feel part of it. Music fans don’t have the same attitude to age as they do in America where young people come to check out, say, Willie Nelson; they feel some connection with him and find a role for that music in their lives.”

Costello played a gig at Liverpool’s Picket club in July, but he won’t be hurrying back.

“On that tour the BBC asked Allen [Toussaint] and me to do an interview. They kept us waiting in reception for ages and then they said they didn’t want Allen on the show, they only wanted me. So I said, ‘OK, I won’t do it!’ Then they relented. What the fuck? This guy is a guest in what used to be my country and you're just embarrassing yourselves.”

Costello goes on to speculate that he may never make another studio album (“Making a record requires me to take all the money that the label advances me and give it to other people”) before outlining his reasons for appearing in an ad for Visa (“Everything’s for sale… The boy’s gotta have shoes”).

The full version of this revealing interview can be read in MOJO 169, which is out on Thursday.

Oh, and here’s the Glastonbury performance from 05. See if you can tell what got him so riled up, because it beats the hell out of us…

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NEWS DIGEST - TUESDAY, OCTOBER 30

Noel_gallagher_mojo_honours_list_20 Oasis are to enter Abbey Road studios on November 5, as sessions begin for their next studio album. Noel Gallagher has told BBC 6music that initial recording began six weeks ago. Two tracks have already been completed. "We start in Abbey Road a week on Monday" he said. "Then we'll probably work through a couple of months there, have Christmas off, then go and mix it and see where we're at."

Click MORE for extra Gallagher talk and the rest of today's news.

Looking back to 2005's Don't Believe The Truth, Oasis' head honcho stated that, "the last album was quite 'songy'," and "quite British, retro, '60s sounding". This time around he revealed the band have been "focusing round the grooves more". "I've been re-visiting some of my more psychedelic trips of a younger man" he added.

Never one to hide his constant struggle to nail the next set of lyrics, Noel confessed he's "literally got nothing left to write about. I've written about being a youth, and I've written about being a rock star, and I've written about living life in the big city."

Oasis' seventh studio album (lyrics included) is due for release next year.

- It could easily be the title of the next Harry Potter spin-off series, but the tale of Cliff Richard And The Variable Download Album is very much rooted in reality. Cliff, 67, is set to launch himself into the digital domain next month, as he prepares for the release of his 700th* LP, Love (due November 12). But Cliff, who has apparently been “getting a buzz from creative marketing”, has given proceedings a bit of twist - the more pre-orders the record receives, the lower the price will fall, meaning the album could sell for the princely sum of only £3.99. Cliff told The Mirror: "As artists we face a stark choice. We either keep one step ahead of the technology or we throw up our hands and quit. Personally I'm not for quitting."

*statistic unconfirmed.

- The Magnetic Fields are to release their new album, Distortion, through Nonesuch Records on January 14, 2008.  Tour dates are expected to be announced shortly. For more info head over to: www.houseoftomorrow.com

- Calling all Beatles fans! The Oxford Dictionary Of National Biography has posted a new interactive Sgt. Pepper cover. Simply click on one of the 87 images to be taken to a detailed bio page.

Here’s the link: The People Of Pepper

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NEWS DIGEST - MONDAY, OCTOBER 2929 Oct 2007

Music_feature81 Porter Wagoner 1927-2007

US country legend Porter Wagoner has died in Nashville at the age of 80. He had been battling lung cancer. As one of the Grand Ole Opry’s most cherished stars, the Nudie-suited Wagoner presented his own TV show for 21 years between 1960 and 1981, galvanising the career of Dolly Parton (his most famous vocal partner) in the process. Earlier this year, he had returned to the stage, supporting The White Stripes at NYC’s Madison Square Garden.

Click MORE for the rest of today's happenings.

Pete Fisher, the manager of the hallowed Nashville auditorium, said: "His passion for the Opry and all the country music was truly immeasurable", while fellow country star Dierks Bentley added, "The loss of Porter is a great loss for the Grand Ole Opry and for country music, and personally it is a great loss of a friend I was just getting to know."

Here's Wagoner and Parton in their rhinstoned prime on The Porter Wagoner Show in 1973.

Run That By Me One More Time

- Keith Richards has been out over the weekend adding the sound of his "marching, charging feet" to a parade protesting possible Sussex hospital cuts. The Stones' riffmaster was joined by 15,000 other protestors as they wended their way through the streets of Chichester on Saturday. New NHS restructuring plans will mean that only one of the three currently functioning West Sussex hospitals will remain open. Richards has owned Redlands - his infamous West Wittering residence and site of rock's most notorious drug bust - since the mid '60s. A spokeswoman for the 63-year-old said: "Keith Richards is a long-standing member of the West Wittering community and is pleased to lend his support to local efforts to save St Richard's Hospital."

- You can download a free track from Robert Plant and Alison Krauss' new album Raising Sand, by heading over to The Telegraph site. Do just that by clicking here.

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AN EVENING WITH HENDRIX26 Oct 2007

Hendrixatmonterey To celebrate the 40th anniversary of The Jimi Hendrix Experience's epoch defining performance at the Monterey Pop Festival, Mitch Mitchell and Billy Cox - two of the great man's most trusted musical compadres - were in London last night to attend a huge simulcast screening of the newly restored gig footage. MOJO's Mark Paytress was at The Hippodrome to witness the wild man of rock, once again, tear the place apart.

Click MORE to read the full report.

A night out with Jimi Hendrix? Having spent hundreds of thrill-packed nights indoors with him over three decades, this was an experience not to miss.

And there he was, inevitably larger than life, the most beautiful, gifted and intoxicating man ever to grace a rock stage, blasting an unsurpassed set of psychedelicised blues-rock into the rock’n’roll history book. As the St Winifred’s’ School Choir so pleasingly put it, “There’s no one quite like Hendrix”. Or did I hear wrong?

There were no such mistaken hearings at The Hippodrome, London’s most celebrated popular niterie, as the 40th anniversary release (and simulcast) of Hendrix’s Monterey performance played out to an overwhelmingly male audience of 500 or so mainly 40- and 50-somethings. The age range was disappointing. For a new generation, weaned on rehashed Beatles, Clash, post-punk and Britpop styles, performed by a seemingly endless queue of mystifyingly charmless 20-somethings, seeing Hendrix on BBC’s Seven Ages Of Rock series earlier this year gave a rare and fascinating glimpse of something that cast career-option rock in a wholly new light. It’s a pity, then, that few of them could afford the costly privilege of seeing and hearing the remastered, re-edited Monterey footage in its full, big-screen glory. But then who, Microsoft executives aside, would think of forking out £175 for a VIP ticket for a film – even if the promised appearance of two Experience members was dangled as bait?

And, indeed, Gary Moore, the man given the unenviable task of following Hendrix’s inflammatory Monterey climax for the second half of the night’s proceedings. Oddly, judging by the reception he received as he ambled on stage, a sizeable section of the audience was actually here for grimacing Gary. And he didn’t let them down. In three decades of gig-going, never have I seen a man with such a repertoire of “pained guitarist” expressions. Just what is he on? Organic prunes? Close your eyes, though, and there’s no getting away from it: Moore makes a ferociously faithful fist of Hendrix’s catalogue – from the opening Purple Haze and Manic Depression to the Voodoo Chile finale.

As the night drew on, the likelihood of Mitch and Billy replacing Moore’s rhythm section grew increasingly distant. Then veteran journo Keith Altham popped up to introduce  “Jimi’s engine-room”, and the pair were instantly transported back to 1970 by Moore’s introduction to a long and winding Red House. While Cox looked comfortable in his superfly hat and outsized Jimi merchandise shirt, Mitch seemed bemused by the occasion. Now tinier than ever, he sat behind a small kit and took a while before finding his bearings. After 15 minutes, though, as Moore graciously steered the pair towards a tense climax, glorious flashes of Mitchell’s jazz-inflected syncopation began to shine through. The crowd, which you could feel virtually willing him on, responded with the night’s biggest cheer. Two more songs – a blistering Stone Free and a soulful Hey Joe thanks to a bubbling Billy bassline – and the engine room was gone. Not necessarily graceful . . . but, in its way, beautiful.

Mark Paytress

The Jimi Hendrix Experience - Monterey Pop Festival - Sunday, June 18, 1967


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WIN WARCHILD EVENT TICKETS!

War_child_logo2 On November 1, London's Brixton Academy is set to become a shimmering hive of rock and pop joy as Keane, The Magic Numbers, Pet Shop Boys, Lily Allen, Guillemots, Brendan Benson and Teddy Thompson lead the way through the launch night of War Child's Iraq Appeal.

Click MORE for a chance to win a pair of tickets.

We have one pair of tickets up for grabs. For a chance to win this fantastic prize and attend the show on November 1, please answer the following question:

What was the name of Guillemots debut album?

a) Hopes And Fears
b) Alright Still
c) Through The Windowpane

All answers are to be emailed to editor@mojo4music.com (Please ensure your subject heading is 'Warchild Comp'). Closing date: October 30.

Competition Terms & Conditions
• No prizes can be traded or exchanged for a cash alternative
• Closing date for this competition is October 30
• 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 and associates of Emap. And their families. And pets.

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SIGUR RóS - UNPLUGGED AND ON FILM

Sigur_ros_live MOJO was on hand this week to witness Sigur Rós’ elegant opening night of this year’s BBC Electric Proms season. Playing their first ever UK acoustic gig, the Icelandic quartet played to a packed Cecil Sharp House in London for nearly three hours, following their acoustic set with a screening of the band’s new film Heima and a typically awkward but hilarious question and answer session.

Click MORE for extra Icelandic goodness.

Led by the singular Jonsi Birgisson, post-rock’s most reluctant heroes swapped instrumental roles throughout the night to tiptoe their way through a setlist which all but duplicated the film’s soundtrack and proved that, as important as the production process is to the Sigur Rós sound, the songs still stand on their own feet when stripped down. 

Heima itself, a mixture of full live songs, interviews and gorgeous scenery footage, is a love letter to the Icelandic landscape and people. Directed by Canadian Dean DeBlois (of Lilo and Stitch fame!), it captures the essence of the band, humanising without demystifying them, and makes Iceland looks like God's very own country.

The Q&A that followed the movie was less enlightening – Sigur Ros are notoriously interview shy – but it did serve to convey the mischievous personalities that make up one of the world’s most cinematic bands.

Heima is released on DVD on November 5th alongside the companion album Hvarf-Heim. Read MOJO’s full review of the film in our January issue - on sale December 1.

Wednesday’s live performance can be seen by clicking here. 

And, on another note, here's the band showing that they can sometimes be the world’s least enthusiastic interviewees...

Sigur Ros Interview

Stuart Williams

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