Check it out here: http://www.myspace.com/jeffwootton
- A free download of "One Track Mind" can be found here.
25 July 2009
More collaboration tunes featurning Nick, Si, and Pete
Labels:
miscellaneous
Jeff Wootton, supporting musician during Nick McCabe's special set with Damo Suzuki (Can) at The Marquee Club last April in Manchester, has uploaded some tunes to his music player featuring Nick McCabe, Simon Jones, and Peter Salisbury.
Check it out here: http://www.myspace.com/jeffwootton
Check it out here: http://www.myspace.com/jeffwootton
New collaboration from Nick McCabe and Simon Jones, The Black Ships
Labels:
black submarine,
nick mccabe,
simon jones
The Black Ships is the new band by Verve's guitarist Nick McCabe and bass player Simon Jones, together with electric violinist and arranger Davide Rossi and drummer Mig Schillace.
Nick and Simon met Davide during the making of The Verve's last record Forth, where he helped with the string arrangements and some electric violin playing. They eventually joined on stage for some of their headlines at Glastonbury, V Festivals and Summercase, plus other appearances on TV and radio in the UK.
After the Verve finished touring in August 2008, it was decided that something new should emerge from such a meeting. That took shape in November 2008 in Copenhagen, Denmark, where the band met for the first time to play and record new material straight away.
It was then that Nick brought with him long time friend and collaborator Mig Schillace, to complete the rhythmic section and with it the core line-up of the band.
More news when it becomes available.
http://www.myspace.com/theblackshipsofficial
Nick and Simon met Davide during the making of The Verve's last record Forth, where he helped with the string arrangements and some electric violin playing. They eventually joined on stage for some of their headlines at Glastonbury, V Festivals and Summercase, plus other appearances on TV and radio in the UK.
After the Verve finished touring in August 2008, it was decided that something new should emerge from such a meeting. That took shape in November 2008 in Copenhagen, Denmark, where the band met for the first time to play and record new material straight away.
It was then that Nick brought with him long time friend and collaborator Mig Schillace, to complete the rhythmic section and with it the core line-up of the band.
More news when it becomes available.
http://www.myspace.com/theblackshipsofficial
Word from Simon Jones
Labels:
simon jones
Ok, Ok......Its Been a whole freakin year since I logged on to this bugger! What can i say, but sorry to all unanswered questions/requests etc.. but life gets in the way sometimes!!!!!
Anyway, keeping this short - Verve on 'Holiday' so check out The Black Ships, something special is brewing in the ocean - its all i'm saying as its in an embryonic state but i can hear "the ships" creaking................
Off on REAL holiday for two weeks, expect some new music on player soon - yes I know its been along time comin'!
23 July 2009
Two hours worth of music...
Labels:
richard ashcroft
Currently in the radio section of the official Richard Ashcroft website, there are a couple hour-long broadcasts of music. The broadcasts aren't named so their origin isn't known but by the sound of it, they're a mix of tracks by other artists or perhaps an album by a certain artist. Aside from that, no clue. The first one has some pretty neat psychedelic soul music.
There is also a previously unheard recording of the loop to "On A Beach" which sounds great. Its interspersed with the sounds of a radio flicking from station to station, giving it a rough feel.
On the RPA-TV link, there's a fantastic live version of "C'mon People" (the best I've seen) and also the humorous performance/interview on the Regis & Kelly Show in New York City promoting "Break The Night With Colour."
Its all on www.richardashcroft.com now.
There is also a previously unheard recording of the loop to "On A Beach" which sounds great. Its interspersed with the sounds of a radio flicking from station to station, giving it a rough feel.
On the RPA-TV link, there's a fantastic live version of "C'mon People" (the best I've seen) and also the humorous performance/interview on the Regis & Kelly Show in New York City promoting "Break The Night With Colour."
Its all on www.richardashcroft.com now.
John Leckie's exclusive Q+A
Labels:
miscellaneous
John Leckie, one of the British pop scene's most prolific and acclaimed producers, has signed up to the Gear Slutz forum to answer questions on the Stone Roses, Simple Minds, Verve, and others. Check it out here.
Music luminaries sign Fender Telecaster
Labels:
nick mccabe
Prior to the gig, Nick McCabe stopped off at Manchester's Dawson's Music and bought a Line 6 Echo Park [Delay pedal] and a PSU [Power Supply Unit].
Dawson's Music has a 'Famous People' guitar which they ask any famous customer to sign when they visit the store. The lucky Fender Telecaster (pictured left) has been signed by Gary Moore, Graham Coxon, and Nick McCabe as well as a host of others. Direct link here.
All Hail John Martyn! By The Verve's Nick McCabe, March 2009
Labels:
nick mccabe
"I was responsible for three days of John Martyn's misery," rues Verve guitarist in this exclusive interview with MOJO's Danny Eccleston
You worked with John Martyn on the On The Cobbles album [McCabe played on Walking Home], which was released in 2004. Was he still bi-pedal?
Yes, but not in great shape. I wasn't sure I wanted to do it at first - he was such a hero that I felt intimidated - but my partner said to me, 'You'll kick yourself if you don't.'
There did seem to be a constant traffic of people collaborating with him around that time. And I felt a bit like one of a series of pests. Although he was completely welcoming I got the impression that my presence was a record company motivated thing. There you go, I was responsible for three days of John Martyn's misery (laughs).
When did you first encounter his music?
That would have been through my brother. I'd have been about 12. My brother had all these tapes: Solid Air and One World and also Piece By Piece. I remember going to see my brother and hearing that really open-ended music drifting across a bedsit in Haydock. It was transporting music.
The soundscape aspect was the thing that did it for me, the textural work and his use of effects. A lot of guitarists talk about their "craft" and it's all about the guitar really - there's a lot of blinkerage involved - whereas John Martyn's sights were further flung and he talked about imitating the saxophone. He was a Debussy fan as well, and when I discovered that it made a lot of sense to me.
At root you've got this earthy, basically folk guitar that's in tune with his Scottish background, combined with this feeling that anything goes. He liked dub-reggae. Combining that with guitar, he could easily have ended up with some nasty, skanky sort of hybrid (laughs) but the man had taste.
Even when he was doing the soft-rock thing I liked a lot of it. Sapphire is a great record, Grace And Danger obviously. And again those show his taste and soul, which always shines through.
What are your favourite John Martyn songs?
Pretty much all of Inside Out is the essential John Martyn for me. The balance is just right; he can maintain control and also lose control within the space of a conventional song.
He's one of those musicians who invite you on a journey. You're not sure what the destination is and neither is he...
I totally agree. If you look at the earlier records with Beverley, it's kind of a fossilised version of what he did live. Later on I think he intentionally upset that process.
The story about Sunday's Child [1975] - according to Danny Thompson - is that they wrote and recorded it live, in the studio in 3 days. That wilful kind of 'avoiding structure' is what makes the listening experience. Knowing that things can take a left turn at any moment makes you listen to it more keenly. For me that open-endedness makes for better music. I realise that it stretches other peoples' patience!
I always thought you were influenced by John Martyn's attitude as much as his texturing. Whenever I would see The Verve back in the day you seemed almost happier if something went against the plan. There was a commitment to the moment...
I suppose people want different things out of music don't they? Some people want a replica of something that they already like... Other people want to explore. And accidents are a good vehicle for exploration; you can see why John Martyn was drawn to Lee "Scratch" Perry in that respect, because with Perry anything goes.
What will you miss most about John Martyn?
There are lots of regrets. I'll forever regret insisting that he played The Verve's Haigh Hall gig [1998] because he got such a vile reception. What I'd like to hear is his archive, all the stuff he played to Gary Pollitt and me at those On The Cobbles sessions...
It would've been nice to see what he came up with next. But we'll never know. It's hard to say if he was going to carry on anyway, as he seemed f***ed off with the business. He came across as completely charming but I don't think he was treated right. He wasn't afforded the kudos in his lifetime.
When I met him the music industry was getting him down. He seemed happier to me when he was dreaming up food. In the kitchen he was as reckless and impressionistic as his music. He'd be chucking a bit of this and a bit of that in, and in an hour's time you'd have this amazing meal. I had some brilliant meals with him.
Source: MOJO, interview by Danny Eccleston
You worked with John Martyn on the On The Cobbles album [McCabe played on Walking Home], which was released in 2004. Was he still bi-pedal?
Yes, but not in great shape. I wasn't sure I wanted to do it at first - he was such a hero that I felt intimidated - but my partner said to me, 'You'll kick yourself if you don't.'
There did seem to be a constant traffic of people collaborating with him around that time. And I felt a bit like one of a series of pests. Although he was completely welcoming I got the impression that my presence was a record company motivated thing. There you go, I was responsible for three days of John Martyn's misery (laughs).
When did you first encounter his music?
That would have been through my brother. I'd have been about 12. My brother had all these tapes: Solid Air and One World and also Piece By Piece. I remember going to see my brother and hearing that really open-ended music drifting across a bedsit in Haydock. It was transporting music.
The soundscape aspect was the thing that did it for me, the textural work and his use of effects. A lot of guitarists talk about their "craft" and it's all about the guitar really - there's a lot of blinkerage involved - whereas John Martyn's sights were further flung and he talked about imitating the saxophone. He was a Debussy fan as well, and when I discovered that it made a lot of sense to me.
At root you've got this earthy, basically folk guitar that's in tune with his Scottish background, combined with this feeling that anything goes. He liked dub-reggae. Combining that with guitar, he could easily have ended up with some nasty, skanky sort of hybrid (laughs) but the man had taste.
Even when he was doing the soft-rock thing I liked a lot of it. Sapphire is a great record, Grace And Danger obviously. And again those show his taste and soul, which always shines through.
What are your favourite John Martyn songs?
Pretty much all of Inside Out is the essential John Martyn for me. The balance is just right; he can maintain control and also lose control within the space of a conventional song.
He's one of those musicians who invite you on a journey. You're not sure what the destination is and neither is he...
I totally agree. If you look at the earlier records with Beverley, it's kind of a fossilised version of what he did live. Later on I think he intentionally upset that process.
The story about Sunday's Child [1975] - according to Danny Thompson - is that they wrote and recorded it live, in the studio in 3 days. That wilful kind of 'avoiding structure' is what makes the listening experience. Knowing that things can take a left turn at any moment makes you listen to it more keenly. For me that open-endedness makes for better music. I realise that it stretches other peoples' patience!
I always thought you were influenced by John Martyn's attitude as much as his texturing. Whenever I would see The Verve back in the day you seemed almost happier if something went against the plan. There was a commitment to the moment...
I suppose people want different things out of music don't they? Some people want a replica of something that they already like... Other people want to explore. And accidents are a good vehicle for exploration; you can see why John Martyn was drawn to Lee "Scratch" Perry in that respect, because with Perry anything goes.
What will you miss most about John Martyn?
There are lots of regrets. I'll forever regret insisting that he played The Verve's Haigh Hall gig [1998] because he got such a vile reception. What I'd like to hear is his archive, all the stuff he played to Gary Pollitt and me at those On The Cobbles sessions...
It would've been nice to see what he came up with next. But we'll never know. It's hard to say if he was going to carry on anyway, as he seemed f***ed off with the business. He came across as completely charming but I don't think he was treated right. He wasn't afforded the kudos in his lifetime.
When I met him the music industry was getting him down. He seemed happier to me when he was dreaming up food. In the kitchen he was as reckless and impressionistic as his music. He'd be chucking a bit of this and a bit of that in, and in an hour's time you'd have this amazing meal. I had some brilliant meals with him.
Source: MOJO, interview by Danny Eccleston
10 July 2009
Gallagher dedicates "Live Forever" to Ashcroft
Labels:
miscellaneous,
richard ashcroft
Oasis suffered a short sound problem during their Wembley Stadium show in London last night (July 9) – but Noel Gallagher was quick to quash any refunds.
The band suffered a loss of sound as they performed 'Wonderwall', although with the crowd in full voice the audience ably finished the song.
However following trouble at Manchester's Heaton Park when the band announced their would be refunds from the stage before managing to play most of their intended set, the guitarist was quick to quip there would be no money back offers this time.
"Last time this happened it cost us half-a-million quid, so just to be clear none of you are getting your fucking money back," he declared from the stage. "Not you, not you, not you with the glasses!"
However the problem proved to be just a blip in the set, which saw frontman Liam Gallagher dedicate 'Live Forever' to The Verve's Richard Ashcroft, who was at the gig.
The Gallaghers also had a pop at bandmate Andy Bell's sunglasses, suggesting he "looks like he's just come from the Jackson memorial".
Earlier Kasabian, The Enemy and Reverend And The Makers had all performed.
Source: NME
The band suffered a loss of sound as they performed 'Wonderwall', although with the crowd in full voice the audience ably finished the song.
However following trouble at Manchester's Heaton Park when the band announced their would be refunds from the stage before managing to play most of their intended set, the guitarist was quick to quip there would be no money back offers this time.
"Last time this happened it cost us half-a-million quid, so just to be clear none of you are getting your fucking money back," he declared from the stage. "Not you, not you, not you with the glasses!"
However the problem proved to be just a blip in the set, which saw frontman Liam Gallagher dedicate 'Live Forever' to The Verve's Richard Ashcroft, who was at the gig.
The Gallaghers also had a pop at bandmate Andy Bell's sunglasses, suggesting he "looks like he's just come from the Jackson memorial".
Earlier Kasabian, The Enemy and Reverend And The Makers had all performed.
Source: NME
06 July 2009
More from the Telegraph about Allen Klein and The Verve
Labels:
miscellaneous
"...Klein may no longer have been a significant power in the music business, but that didn’t stop him apparently enjoying making trouble. His last headline grabbing incident was seizing 100 per cent of the royalties of The Verve’s ‘Bittersweet Symphony’, over the use of a sample from an orchestral recording of The Rolling Stones ‘The Last Time’.
According to Verve bassist, Simon Jones, “We were told it was going to be a 50/50 split, and then they saw how well the record was doing. They rang up and said, ‘We want 100% or take it out of the shops.’ ” It was arguably songwriter Richard Ashcroft’s finest moment, a number one hit all over the world, but he never earned a penny from it.
The publisher rubbed salt into the wound by leasing the track for use in Nike and Vauxhall commercials. Ashcroft, however, remained admirably philosophical. He said he was tempted to take the sample out, but didn’t want to ruin the record. “It was a perfect piece of pop art with the sentiment that ‘you’re a slave to money then you die’ … and they all came running.”
Discussing his reputation, Klein once remarked: “Artists **** groupies, I **** the artists.”
Click here for the Telegraph obituary.
According to Verve bassist, Simon Jones, “We were told it was going to be a 50/50 split, and then they saw how well the record was doing. They rang up and said, ‘We want 100% or take it out of the shops.’ ” It was arguably songwriter Richard Ashcroft’s finest moment, a number one hit all over the world, but he never earned a penny from it.
The publisher rubbed salt into the wound by leasing the track for use in Nike and Vauxhall commercials. Ashcroft, however, remained admirably philosophical. He said he was tempted to take the sample out, but didn’t want to ruin the record. “It was a perfect piece of pop art with the sentiment that ‘you’re a slave to money then you die’ … and they all came running.”
Discussing his reputation, Klein once remarked: “Artists **** groupies, I **** the artists.”
Click here for the Telegraph obituary.
05 July 2009
Compilation update
Labels:
richard ashcroft
About that b-sides compilation, here's the latest from The Debating Chamber. Ashcroft writes "the debates over. Thanks for your involvement. I’ll keep you posted on the track list and release date. Love and peace, Rich"Check out the commentary and poll on the forum.
And for those tuning in for the first time, Ashcroft is contractually obligated to one more album. Presumably this is it as there hasn't been any word on a future album (non compilation) release.
04 July 2009
Former Beatles, Stones manager Allen Klein dies
Labels:
bitter sweet symphony,
miscellaneous
Infamous record label owner Allen Klein, who played a key role in the demise of the Beatles and also nabbed control of some of the Rolling Stones' best-known songs, died in New York on Saturday after a battle with Alzheimer's disease, a spokesman said. He was 77.
During a career spanning more than 50 years, the New Jersey-born accountant enjoyed a reputation as a savvy gangster-like figure. His ruthless business practices were reviled by many, but he also earned grudging respect for bullying labels into giving rich deals to his clients.
"Don't talk to me about ethics," he told Playboy magazine in 1971. "Every man makes his own. It's like a war. You choose your side early and from then on, you're being shot at. The man you beat is likely to call you unethical. So what?"
It did not hurt his reputation when he was sentenced to two months in prison in 1979 for tax evasion.
He once said John Lennon hired him to protect his interest in the Beatles because he and wife Yoko Ono wanted "a real shark -- someone to keep the other sharks away."
His company, ABKCO Music & Records, is one of the biggest independent labels in an industry controlled by multinational corporations. The spokesman said it would remain family-controlled. Two of Klein's three adult children work at the company, including son Jody who runs ABKCO. (The acronym stands for Allen and Betty Klein Co., Betty being his wife.)
Its assets include recordings by the Rolling Stones, the Animals, Herman's Hermits, Bobby Womack, the Kinks, Chubby Checker, Bobby Rydell and many others.
The publishing arm boasts more than 2,000 copyrights including compositions by Mick Jagger and Keith Richards of the Rolling Stones, Cooke, Womack, Ray Davies of the Kinks and Pete Townshend of the Who.
Klein broke into the music business by auditing record labels on behalf of clients including Bobby Darin and Connie Francis. When he found they were owed royalties, he took half of the difference as a fee.
His first big management client was Sam Cooke, for whom he negotiated a lucrative recording deal in 1963 that gave the soul star unprecedented control over his own catalogue.
Klein, who was already representing "British Invasion" artists such as the Animals, Dave Clark Five and Herman's Hermits, set his sights on the Rolling Stones, who were labouring under an onerous deal.
He renegotiated their pact in 1965, and ended up managing the group for about five years -- taking a 20 percent fee.
The Stones eventually tired of Klein. But the only way to break free of him was to give up the rights to their master recordings and rights to such timeless tunes as "(I Can't Get No) Satisfaction" and "Jumpin' Jack Flash."
"In some ways Allen Klein was very much ahead of his time," Jagger said in the 1989 Stones documentary "25x5." "We lasted about three or four years with him, really, though the ramifications of that still continue to this day."
Richards was more philosophical, describing their experience with Klein as "the price of an education."
By then, Klein was focussed on the ultimate prize, the Beatles. He offered his help to Lennon in early 1969, when the Fab Four's idealistic Apple Corps. label was fast draining the fractured group's coffers.
George Harrison and Ringo Starr also warmed to his pitch, but Paul McCartney was fiercely opposed. He preferred the expertise of his father-in-law, high-powered New York attorney Lee Eastman.
Amid a series of complex manoeuvrings that also have consequences to this day, Klein unsuccessfully tried to secure control of the Beatles' copyrights on behalf of the group. Michael Jackson ended up with the rights 16 years later.
Klein did score a rich recording deal for the Beatles, but relations within the group were past frayed, and it dissolved in 1970.
That year, Harrison "honoured" Klein in a rough version of his song "Beware of Darkness" with the line "beware of ABKCO." "It might have ended up being prophetic. But at the time it was just a little joke," Harrison told Reuters in 2000.
Indeed, Harrison and Klein reunited in 1971 to put on the all-star Concert for Bangladesh shows at Madison Square Garden in New York. It took a decade for the funds to reach the refugees because of complex tax problems.
In addition to his children and wife, Klein is survived by his long-time girlfriend Iris Keitel, an ABKCO executive. His funeral will take place in New York on Tuesday.
For more on Allen Klein's aggressive business practices and the infamous "five-note" orchestral sample used by The Verve from one of the Rolling Stones’ lesser hits, please see below:
Article by: Dean Goodman, Reuters
During a career spanning more than 50 years, the New Jersey-born accountant enjoyed a reputation as a savvy gangster-like figure. His ruthless business practices were reviled by many, but he also earned grudging respect for bullying labels into giving rich deals to his clients.
"Don't talk to me about ethics," he told Playboy magazine in 1971. "Every man makes his own. It's like a war. You choose your side early and from then on, you're being shot at. The man you beat is likely to call you unethical. So what?"
It did not hurt his reputation when he was sentenced to two months in prison in 1979 for tax evasion.
He once said John Lennon hired him to protect his interest in the Beatles because he and wife Yoko Ono wanted "a real shark -- someone to keep the other sharks away."
His company, ABKCO Music & Records, is one of the biggest independent labels in an industry controlled by multinational corporations. The spokesman said it would remain family-controlled. Two of Klein's three adult children work at the company, including son Jody who runs ABKCO. (The acronym stands for Allen and Betty Klein Co., Betty being his wife.)
Its assets include recordings by the Rolling Stones, the Animals, Herman's Hermits, Bobby Womack, the Kinks, Chubby Checker, Bobby Rydell and many others.
The publishing arm boasts more than 2,000 copyrights including compositions by Mick Jagger and Keith Richards of the Rolling Stones, Cooke, Womack, Ray Davies of the Kinks and Pete Townshend of the Who.
Klein broke into the music business by auditing record labels on behalf of clients including Bobby Darin and Connie Francis. When he found they were owed royalties, he took half of the difference as a fee.
His first big management client was Sam Cooke, for whom he negotiated a lucrative recording deal in 1963 that gave the soul star unprecedented control over his own catalogue.
Klein, who was already representing "British Invasion" artists such as the Animals, Dave Clark Five and Herman's Hermits, set his sights on the Rolling Stones, who were labouring under an onerous deal.
He renegotiated their pact in 1965, and ended up managing the group for about five years -- taking a 20 percent fee.
The Stones eventually tired of Klein. But the only way to break free of him was to give up the rights to their master recordings and rights to such timeless tunes as "(I Can't Get No) Satisfaction" and "Jumpin' Jack Flash."
"In some ways Allen Klein was very much ahead of his time," Jagger said in the 1989 Stones documentary "25x5." "We lasted about three or four years with him, really, though the ramifications of that still continue to this day."
Richards was more philosophical, describing their experience with Klein as "the price of an education."
By then, Klein was focussed on the ultimate prize, the Beatles. He offered his help to Lennon in early 1969, when the Fab Four's idealistic Apple Corps. label was fast draining the fractured group's coffers.
George Harrison and Ringo Starr also warmed to his pitch, but Paul McCartney was fiercely opposed. He preferred the expertise of his father-in-law, high-powered New York attorney Lee Eastman.
Amid a series of complex manoeuvrings that also have consequences to this day, Klein unsuccessfully tried to secure control of the Beatles' copyrights on behalf of the group. Michael Jackson ended up with the rights 16 years later.
Klein did score a rich recording deal for the Beatles, but relations within the group were past frayed, and it dissolved in 1970.
That year, Harrison "honoured" Klein in a rough version of his song "Beware of Darkness" with the line "beware of ABKCO." "It might have ended up being prophetic. But at the time it was just a little joke," Harrison told Reuters in 2000.
Indeed, Harrison and Klein reunited in 1971 to put on the all-star Concert for Bangladesh shows at Madison Square Garden in New York. It took a decade for the funds to reach the refugees because of complex tax problems.
In addition to his children and wife, Klein is survived by his long-time girlfriend Iris Keitel, an ABKCO executive. His funeral will take place in New York on Tuesday.
For more on Allen Klein's aggressive business practices and the infamous "five-note" orchestral sample used by The Verve from one of the Rolling Stones’ lesser hits, please see below:
Article by: Dean Goodman, Reuters
Subscribe to:
Posts (Atom)