the Baths Hall confirmed a "small number of tickets" for the show on
Tuesday, March 17 are now on sale.
for the Modfather sold out within three hours when they went on sale on
December 5 and pre-sale tickets sold out within 10 minutes.
sees Paul play a more varied selection of towns across the UK than the usual
run of arenas and the show at The Baths Hall is the only show he is doing in
the Humber region on this 14-date tour.
for the show are priced £38 (booking fee may apply).
behind the single includes Grammy Award Winning producer Steve Sidwell,
recording engineer Haydn Bendall (Van Morrison, Kate Bush), guitarist Adam
Goldsmith (Rod Stewart, Mick Hucknall) and pianist Pete Murray (John Legend,
Joss Stone). The track also features a smoking-hot horn section led by Paul
Spong (whose punchy trumpet can be heard, among many other hits, on Mark
Ronson’s “Uptown Funk”)
recorded at the world famous Air Studios, London, with vocal sessions at the
iconic Strongroom Studios in Shoreditch and mixed by Ben Lamdin at the Fish
Listen to ‘Ring
Ring’ now via the following URL: -
Townshend has announced details of a major reissue campaign.
11 of his
solo albums will be remastered ahead of a digital release on February 23. They
will then be released on CD in stages throughout the rest of 2015 and into
digital album releases cover Who Came First, Rough Mix – his collaboration with
The Faces’ Ronnie Lane – as well as his albums Empty Glass, All The Best
Cowboys Have Chinese Eyes and the live album Deep End Live, featuring David
will all be released on UMC/Universal Music are:-
Best Cowboys Have Chinese Eyes
the reissues arrives soon after The Who confirmed plans to release a 7″ singles
and all studio albums on vinyl.
later this year, Townshend will premier a new orchestral version of
Quadrophenia at London’s Royal Albert Hall.
are also due to play London’s Hyde Park on June 26, 2015.
Greaves is going to church — and Mark 'The Harp' is going with him. But the
tunes will be secular rather than sacred when two of the nation's top blues
musicians take to the stage.
World Unlimited are behind An Acoustic Evening with Nine Below Zero's frontmen
Dennis Greaves and Mark 'The Harp' Feltham at Kingskerswell Parish Church. The
gig takes place on March 14.
Dennis it's a chance to combine a date of his current live tour with a trip
home to see mum, who lives in Torbay. He said: "I have never played a gig
in a village church before. I'm really looking forward to it!"
Mark were founder members of rhythm and blues outfit Nine Below Zero in the
late 1970s, gigging in London's pubs and clubs and sharing bills with bands
such as The Who and Dr Feelgood.
TV exposure around that time included a starring role in the first episode of
The Young Ones, where they played Eleven Plus Eleven in the lounge of the flat
where the sitcom's main action took place.
first album, 1980's maximum-energy Live At The Marquee, consistently makes the
higher reaches of charts of the best-loved live albums of all time.
20 albums later, the band are being name-checked by a new generation of
rockers, with media favourites The Strypes the latest to acknowledge their
and Mark, whose harmonica playing has seen him work with artists as diverse as
Robbie Williams, Oasis and Ocean Colour Scene, are going back to their blues
roots for a series of intimate, acoustic concerts as a duo.
be the first 'old style' blues shows the pair will have performed in the 35
years they have been working together.
songs by blues legends such as Sonny Terry and Brownie McGhee, Jimmy Reed, Slim
Harpo and Leadbelly, they will also play unplugged versions of well-known Nine
Below Zero material.
said: "We will continue to play the bigger venues with the whole band, but
Mark and I are looking forward to getting up close with audiences who, like us,
are fans of the blues.
well as playing the songs, it will also be nice to talk about the artists who
inspired so many of the great British Blues Bands of the 1960s, who in turn
went on to inspire us."
of the blues began at an early age for both of them. Two of Dennis' uncles were
big fans, and both had big collections of blues albums.
listening to these records that encouraged Dennis to first pick up the guitar.
an uncle in the merchant navy, who used to bring him back harmonicas from his
first met in the late 1970s, during punk, when Dennis decided to form a blues
band and harmonica player Mark was recommended to him.
amazing coincidence, it turned out they were not only living on the same estate
in South London, but also just 14 houses apart.
said: "The rehearsals for the duo shows have been brilliant, some of the
are looking forward to playing this music live.
will be playing all sorts of things we heard as children, real American folk
blues from the likes of Hank Williams and Sonny Terry.
the first time we've really had the guts or the confidence to go out and play
these songs this way.
a tall order too, because that stuff is very difficult to do well.
see Mark perform in this environment is truly a master-class and it's a little
daunting for me, to be playing acoustic guitar.
no hiding behind the Marshall amp!"
if the performance can be a little stressful, there's always a relaxing side to
a trip to South Devon for Dennis.
looking forward to catching up with my mum!" he said. "It's a lovely
part of the world, and I'm looking forward to getting down there for a few days."
Package includes a ticket for The Who Hits 50 show at The O2 on 23rd March AND a priority entry ticket, for the price of a GA ticket, to see The Who at Barclaycard presents British Summer Time Hyde Park on 26th June. All booking fees included – combined fees cheaper than booking separately.
The O2: • Price level 2 seated ticket
Barclaycard presents British Summer Time Hyde Park: •Dedicated entrance for Priority Entry customers •Entry to the event up to one hour before the gates open to General Admission customers •Access to an extensive range of bars, food traders and toilets in the main arena •Opportunity to stand directly in front of the Great Oak Stage if you are early enough
spontaneous make-out sessions, front-row meltdowns, and of course, Kanye,
Fashion Week and awards season always make midwinter 100 times more exciting.
In the spirit of the Oscars this Sunday, we thought we’d turn our attention to
a more humble time for awards shows: the early 1960s. On British Pathé, a
newsreel archive, we came across this video of the first-ever Sunday Times
International Fashion Awards. The event took place in 1963, and boasts all the
shift dresses and thigh-high boots one could possibly desire.
models don Twiggy-esque eyeliner and strike poses in designs by Pierre Cardin
and Emilio Pucci. It's designer Mary Quant, however, who takes home the biggest
honor, the Sunday Times International Fashion Award for Britain. Her models
strut it out in buffalo-check apron dresses, prim pantsuits, and gold
this makes us wish every awards show came complete with trumpeters and a
Duchess presenter (paging Kate Middleton). Check out the video via the URL below to marvel
at Quant’s creations and see how these designers ignited the iconic mod
edition charity single is being released on 20th February to raise money for
Woking & Sam Beare Hospices.
titled 'Left, Right & Centre' was written by two members of punk rock band
the Jam. Paul Weller and Steve Brookes wrote it when they were 15 years old.
Falsetta is behind the fundraising project. He tells us what they have planned:
"We have got an after show party upstairs with a band called Coco La Funk.
"They're friends with Chris Cook who died last year in the (RideLondon-Surrey)
cycle ride. "It's going to be very emotional the whole evening, but
raising money for Woking & Same Beare Hospices is something we all like
tells us he is pleased he managed to persuade his old school friend, Paul, to
do it: "It was a surprise for me, and a relief when he said yes. "It
was something we put a lot of work in to beforehand to get the contacts."
was recorded by James Stone at his studio in Kent (Dusty Attic) and has been
mixed at Paul's own studio by his engineer Charles Rees. The release has
already attracted the attention of dedicated fans all over the UK.
adds: "Paul wanted us to use an unsigned local band to record his song so
The Special Guest was the perfect choice, and Steve Brooks had just finished of
his new single so it all came together nicely."
will be released in three editions; 200 on black vinyl; 50 on clear vinyl also
containing a copy of the handwritten lyrics on the cover; and 50 Deluxe copies,
which in addition to the lyrics will also include a CD with the acoustic and
live version of the Weller track.
Fundraiser Wendy Denty said: "It's a brilliant project and Vic is so
relentless in his Fundraising for our Hospice at no gain to himself and for
that we are really grateful. "We simply can't thank him enough."
range from £15 to £30 and all proceeds will go directly to Woking Hospice.
release will take place in the 100 Club in London and will be followed by a
concert at the HG Wells suit in Woking on the 21 February, featuring The
Special Guest, The Transmitters, The Lost Boys and many more.
drumming skills were taught to budding rhythm kings in Gloucester. Drummer
Steve White, who was Paul Weller’s sticksman for 25 years, first with the Style
Council, and was the youngest performer at Live Aid in 1985, dropped in for a
masterclass organised by city drum tutor Graham Twist.
said: “The event was an incredible success with a full house of 100 eager
drummers and their families in attendance. Steve kept everyone entertained with
his dazzling playing, anecdotes and quips about the music business, and help
and advice for not only us drummers but musicians in general. A particularly
great moment was when he invited one of my students Poppy Blake, aged nine, up
on to his drum kit to play a groove from one of her favourite Michael Jackson
songs. She received the biggest cheer of the night!”
played with Oasis, The Who, Sir Paul McCartney and many others in rock royalty.
with his brother. Hitting his wife with a phone. Running six miles across
London to thump his agent. And the day he tried to kill himself on stage. With
unprecedented access to his family, friends and rivals, Johnny Rogan delves
deep into the dark psyche of Ray Davies, the very controlling king of The Kinks
impresarios are often the hidden power behind the biggest acts, now two films
turn spotlight on Kit Lambert and Chris Stamp.
telling of rock’n’roll history, managers rarely claim centre stage. That is
about to change with a documentary about the relationship between Kit Lambert,
the aristocratic, homosexual son of the classical composer Constant Lambert,
and Chris Stamp, the son of a tugboat captain, as played out through the
creation and management of the Who.
has never shied away from crediting the pair – described by singer Roger
Daltrey as “the shell of the egg” – but their role in guiding the group from
their early days as guitar-smashing mods to their peak of 70s rock indulgence
has never been examined so clearly.
documentary, called Lambert & Stamp, is a reminder of the energy of social
upheaval that found expression in pop music. “We were both marginalised, him in
gayness and me in my class,” Stamp, who died in 2012, tells the film’s
director, James D Cooper. “It was a powerful bond defined creatively in the
by his brother, the actor Terence Stamp, as “a rough, tough fighting spiv”, Stamp
and the Oxford-educated Lambert had sought careers in film. Lambert had already
been a cameraman on an expedition to the Amazon during which the party had been
ambushed by natives and one of their number killed.
resolved to make a film about a band in the documentary style of the French New
Wave. What they found in the Who – “four complicated, difficult guys”, Stamp
recalled – met their needs. They filmed several concerts, but later abandoned
the film and became the band’s managers. Stamp says: “We didn’t know what we
wanted, but we knew what we didn’t want. It was really about us – some mad
concoction of stuff that looked like us.”
Lambert encouraged the band’s destructive antics, he also provided them with
intellectual cover. Sections of Lambert & Stamp are taken from their
would-be documentary and Lambert is filmed philosophising about the era’s
“beautiful and powerful” youth.
knows for sure where they are going. In 20 years, these young revolutionaries
could be arch-conservatives. But not me,” he says.
Motion noted in his biography The Lamberts, Kit fashioned the Who so that they
would speak for their audiences’ own sexual feelings.
later said: “They have to have a direct sexual impact. They ask a question: do
you want to or don’t you? And they don’t give their public a chance of saying
of the band’s routine destruction of their equipment – encouraged by Lambert –
necessitated new streams of income. They turned to recording and established
Track Records, the label that signed Jimi Hendrix and the Crazy World of Arthur
Brown to its roster.
fostered Pete Townshend to become the band’s resident composer, instilling him
with confidence to reach for grander goals, among them the rock operas Tommy
and Quadrophenia. Townshend says it was Lambert who understood the band’s
audience. “You don’t give them what they want – you allow them to be,” the
guitarist says. “You don’t try to change them – you affirm them.”
& Stamp is not the only project looking at the role of managers at the time
when the rock’n’roll business was still forming. Mojo magazine editor Pat
Gilbert, and Orian Williams, producer of the Joy Division biopic Control, are
working on a feature film of Lambert’s life that is expected to start filming
later this year. “Rock management was a new profession, and an interesting
thing for forward-thinking people to get into,” Gilbert said.
Fearnley-Whittingstall, a contemporary of Lambert’s in national service and
university, recalls that Lambert was interested in the Who from a creative
point of view. It was Lambert who suggested Daltrey’s stutter on My Generation
to mimic young fans on amphetamines. “He was a bit self-conscious standing
there in a suit, but I think he found there wasn’t such a gap between them.”
managers such as Elvis Presley’s Colonel Parker, the Sex Pistols’ Malcolm
McLaren or Led Zeppelin’s Peter Grant became well-known, their influence is not
always clearly acknowledged. Among the forthcoming studies is Barney Hoskyns’s
Smalltown Talk, a portrait of Albert Grossman’s creation of the Woodstock music
scene in the 60s.
tend to be a reflection of their managers, Yardbirds, T-Rex and Wham! manager
Simon Napier-Bell acknowledged to the NME in 1984: “The Beatles were really
Brian Epstein’s brushed-up, middle-class gay presentation of some pretty rough
boys, and Jagger was so fascinated by [Andrew Loog] Oldham’s campness that he
started adopting his mannerisms. The Who were of course an extension of Kit
Lambert’s manic attitude to life.”
life rose and disintegrated chasing these visions. His wayward lifestyle
contributed to both him and Stamp being sidelined by the band in the mid-70s.
His London home burnt down; and his palazzo in Venice was also damaged by fire.
Clearly unfit to manage his own affairs, he was made a ward of court to escape
a prison sentence after being arrested for drug offences.
not good,” recalled Fearnley-Whittingstall. “Everyone said he was bankrupt. He
said he was owed a lot of money from publishing. After his death [in 1981] that
was found to be so.”
and Stamp may now begin to acquire equal standing with Epstein and the other
behind-the-scenes architects of rock and roll.
Snow, currently penning a new illustrated book on the Who, said Lambert’s
self-implosion contributed to his being written out of the narrative. “The Who
were never as big as the Beatles or Stones, nor, unlike Oldham or Napier-Bell,
did Lambert write his memoirs,” he said. “Still, Townshend does not stint in
stressing how important he was as an artistic and cultural mentor, and
visionary for the group.”
Like It Like That, a new documentary premiering at SXSW that vividly tells the
story of the rise and fall of boogaloo, director Mathew Ramirez Warren uses
vintage footage, album covers and concert posters to create a film that brings
the New York barrio in the early '60s alive.
centers on interviews with Johnny Colon, Joe Bataan and other artists now
considered music legends, but who were pushed out of the spotlight after their
short and euphoric success by the coming of salsa.
current boogaloo fans, Warren, who is 32, discovered the music while digging
through flea-market crates.
were these songs that were half in English, they had the funky backbeat, kind a
of a soul R&B thing," says Warren, a native New Yorker and first-time
director whose background is in journalism. He supported the production of the
film with a successful Kickstarter campaign, as well as several grants.
"Growing up, to me, Latin music was kind of something foreign, from
somewhere else. Boogaloo particularly reflected for me this idea of New York
influencing the music."
documentary details boogaloo's rise from the streets to the clubs and the
charts, described by artists and fans in the film as a grassroots phenomenon
that gave voice to the children of Puerto Rican immigrants in East Harlem.
way boogaloo saved Latin music in New York," Warren says. "You had
these kids who were becoming more and more Americanized, who were assimilating,
because they were born and raised in New York. And at that time, in the early
'60s, most of them thought of [Latin music] as their parents' music and kind of
corny. So it took this fusion of soul music into the Latin sound to get them to
perk up their ears."
grooving freestyle songs performed by largely self-taught musicians with wild
hair and tight pants challenged the reign of the more buttoned-up mambo orchestras
in New York, who were identified with an elegant social elite that seemed out
of place as the youth revolution began.
have to understand the cultural times which played a role," Warren notes.
"You had the Black Power movement and the Latino Power movement going
on." The boogaloo was the perfect vibe as sex and drugs became part of the
scene; it was great music for dancing stoned.
were young kids charging a lot less but who seemed to be getting top billing
over people like Tito Puente," says Warren. "Prior to that there was
a process of how you would make your way as a musician, particularly in the
Latin music industry. You would become a player in a big band first, and maybe
in your 30s you could start your own band. [The boogaloo musicians] were
entirely breaking the mold."
title We Like It Like That riffs on Pete Rodriguez's "I Like it Like
That," the most enduring boogaloo track together with Joe Cuba's
"Bang, Bang." But as the film shows, many did not like it.
think there was a natural resentment once they started to have success from
certain people in the industry," Warren explains. "They were like,
'You're bastardizing our sound, you're making it black.'" As the film
explains, by the '70s, boogaloo had been effectively obliterated by salsa, the
new sound that was heavily promoted by Fania Records, which took control of New
York's Latin music scene.
no denying how important salsa is and what a huge mark that's left across the
world," Warren says. "But boogaloo helped create a space for that.
Boogaloo was almost so succesful that it caused its own demise. It got these
kids listening to Latin music, and it got them to a place where they say, 'I
want to listen to music in Spanish now, I want to be truer to my roots.'"
search for the boogaloo stars found that some, no longer able to make a living,
had left music altogether. Johnny Colon started a music school where salsa star
Marc Anthony, like other kids from the projects, studied as a child.
was hard for [the artists] to appreciate what they'd done [with
boogaloo]," Warren says. "Because there was this sense in the '70s
of, 'Don't do your music in English. If you're a real Latino you're going to do
salsa music now.'"
to the old neighborhood with Joe Bataan and Colon bring emotion as well as
historical value to the film. A postscript documenting a recent boogaloo
revival is less compelling, but odds are that after watching this movie you'll
be putting on some of those old boogaloo songs yourself. And dancing.
We Like It
Like That debuts Wednesday, March 18, at the Stateside Theater in Austin. You
can view a trailer at: -
Jones is a dynamo. The 58-year-old soul singer danced nonstop during her
90-minute set at the Merriam Theater Friday night, commanding the stage from
the first aggressive moments of "Retreat" to the last moments of a
funked-up version of Woody Guthrie's "This Land is Your Land." Her
energy is all the more remarkable because she's a cancer survivor: In May 2013,
about to release her fifth album, Give the People What They Want, Jones was
diagnosed with pancreatic cancer, and she spent half of 2013 undergoing chemo
returned to performing late in the year, and the delayed Give the People
finally came out in January 2014. It received a Grammy nomination for best
R&B album (losing to Toni Braxton & Babyface). "I may not have won
a Grammy," she said Friday night, "but I got me some Philly
testified about her cancer fight late in Friday's show, she came across as a
grateful hero, triumphant but humbled by the opportunity to be back on stage
before an audience that loves her. The former prison corrections officer
remains a fighter: In January, she had a tumor on her liver removed. Friday
night's performance, however, showed no lasting effects of her health
struggles. Jones was all boundless energy, ear-to-ear smiles, and earnest good
fronted the Dap-Kings - the same group, helmed by bass player Gabriel Roth and
guitarist Binky Griptite, that backed Amy Winehouse on Back to Black. The
five-piece band, plus three horns and two backing vocalists, moved through an
encyclopedic range of classic soul from the late '60s and early '70s. Nostalgia
is part of the thrill, and Jones paid tribute to Tina Turner, Gladys Knight,
James Brown, and even Shirley Bassey (with a snippet of
"Goldfinger"). During one segment, she demonstrated a catalogue of
mid-'60s dance moves - the Pony, the Swim, the Mashed Potato, the Boogaloo, the
Twist, and many others.
songs like "You've Been Lonely," "Making Up and Breaking
Up," and "People Don't Get What They Deserve" are anchored in
the past, Jones and the Dap-Kings make them fully alive in the present. Jones
brought up audience members to dance with her, directed the band with a cock of
her hip or a flip of her arm, and danced and grinned constantly.
so happy I'm alive and in Philly," she proclaimed, and that happiness was
are desperate to save The Ealing Club which they see as being the birth place
of British rhythm and blues and a missed opportunity for music tourism.
where the Rolling Stones "cut their teeth" will be torn down to make
way for a pedestrian route, if the plans submitted by a developer are approved.
are desperate to save The Ealing Club, which they see as being the birth place
of British rhythm and blues and a missed opportunity for music tourism.
It was at
the Ealing Club that Keith Richards and Mick Jagger met Brian Jones, giving
birth to the Rolling Stones.
developers Benson Elliot and their development managers Londonewcastle have
released plans - currently out for consultation - which show that The Ealing
Club will be demolished and turned into a walkway.
spokeswoman for Ealing Council said: “I can confirm that the Red Room doesn’t
have any listed or protected status. As you know, a blue plaque does not confer
any protected status.”
Young, Secretary For The Ealing Club Community Interest Company, said: “This is
the only venue in the UK which can claim to match Liverpool’s Cavern Club in
terms of its importance to the history of British music. Today the site of this
historic venue is threatened by property developers.
1962 the Rolling Stones ‘cut their teeth’ at the Ealing Blues Club, eventually
forming the legendary line-up of Mick, Keith, Brian, Bill, Ian and Charlie and
playing here together for the first time in January 1963.
the home of Alexis Korner’s Blues Incorporated and Eric Burdon (The Animals),
Manfred Mann, Rod Stewart, and The Who all played at The Ealing Club.”
Richards is quoted as saying: “Cyril Davies and Alexis Korner got a club going,
the weekly spot at the Ealing Jazz Club, where Rhythm and Blues freaks could
conglomerate. Without them there might have been nothing.”
Ketchell, Chief Executive and Founder of Music Heritage UK, said: “The fact
that the building is not listed, nor has been given any protected status, is
exactly the point! If the local council and its elected representatives are not
promoting the area’s heritage and preserving locations of cultural
significance, then who will?
is a huge opportunity to be grabbed in terms of developing music heritage
tourism if the council can see beyond the promise of a quick return from a
spokesman from Londonewcastle said: “We recognise that the borough has a
significant musical heritage and the original Ealing Club venue on Haven Place
was an important part of that. We have met the Ealing Club community group to
discuss their proposals for the site and there is an ongoing dialogue, out of
which we hope to arrive at a way to recognise what the current blue plaque,
placed there by fans, represents.
accessible and welcoming town centre pedestrian route we are proposing between
the station and The Broadway means it is not possible to keep the current
building that houses the Red Room club in its basement.”
investors Benson and Elliot bought a large swathe of Ealing town centre in 2012
and have since completed the transformation of the former Arcadia Shopping
Centre into 1-8 The Broadway.
about the consultation can be requested via info@9-42TheBroadway.com or
freephone 0800 881 5430. All consultation materials will be published on
www.9-42TheBroadway.com from January 29. A planning application will be
submitted in the Spring.