DETROIT (Billboard) - Robert Plant and Alison Krauss are hoping to turn their platinum-certified, Grammy Award-winning "Raising Sand" into a going concern.
"I'm in no hurry to go anywhere," Plant told Billboard.com during a teleconference with reporters Thursday (June 12). "I want to stay very close. This is a font of knowledge, and I'm sticking as close to it as I can."
Krauss concurred. "We're all having a wonderful time, and I hope and I think all three of us (Krauss, Plant and producer T Bone Burnett) are hoping to continue this and that it go on and on." But she added that the central duo's association shouldn't bring the curtain down on any of their other projects.
"That doesn't mean we've lost any love for who we've played for and play with," she said. "The guys in Union Station, that's like home. So I hope to continue this and go back home, too."
And while no firm plans are in motion yet for a "Raising Sand" sequel, Burnett, who's also the musical director for the Plant-Krauss concert tour, said in a separate conversation that he hopes to get another shot at the collaboration.
"I feel like we're just starting to know what we can do with it," Burnett said. "The two of them are so incredibly good that I would hate to not continue to work with both of them."
Plant and Krauss are working together through July 19, when the tour wraps in Nashville (they also stop at the Bonnaroo Music Festival on Sunday). And both said that they're enjoying the opportunity to expand and enhance their musical partnership on the road.
"I'm surprised at the varying of the performances show to show," Krauss said. "Because of the personalities within the band, it has changed the show night to night -- not only the show overall, but each tune takes on a different character. Everything has its own identity from night to that. That's very exciting for all of us."
Wednesday, 25 June 2008
Monday, 16 June 2008
Heavy metal vision
LONG-TIME British heavy metal act Judas Priest has released the comedy album of the year, regardless of whether they meant to.
Their new double-CD opus Nostradamus (Sony) is based on the life of the famed Middle Ages seer, but it immediately brings to mind the over-the-top, pretentious and silly heavy-metal spoof band, Spinal Tap.
Just as in This is Spinal Tap, it wouldn't surprise to see a miniature Stonehenge lowered on stage as Judas Priest performs Nostradamus.
Two-and-a-half years in the making, the album brings together the original members of the band from 1970, including charismatic leather man and vocalist Rob Halford.
Audio: Listen to Judas Priest's, Vision
Songs on the double album include such cheerful ditties as Death, Prophecy, Pestilence And Plague, Visions, Future Of My Kind and War.
Complete with a choir of "heavenly angels", an orchestra, over-the-top imagery about knights, swords, druids and death and heavy rock riffs, this is laugh-out-loud music.
Surely, they could not have been serious when they recorded it.
Halford, apparently straight-faced, said of Nostradamus: "It contains new frontiers explored and defined. The sense of adventure and the journey we undertook brings the man's life alive with metal and was a real labor of love for us."
Guitarist K.K. Downing described the album as"a musical journey without comparison".
"The mystery and intrigue that surrounds this revered man has expanded my perception of heavy metal to the highest plateau and enabled me to reach the outer limits of my imagination and transport unique feelings and emotions to the instrument," he said.
Affable bass player Ian Hill admitted the band had left itself open to parody.
"I suppose a band like Spinal Tap are pretty close to the bone with us," he said.
"No, we won't be having any miniature Nostradamuses lowered from the roof during our show.
"In fact, our upcoming Australian tour will have a 'best of' set with only a few of the tracks from Nostradamus thrown in."
Judas Priest formed in 1970 and became one of the most acclaimed heavy metal bands, releasing 15 albums with sales of 35 million.
The band made headlines in the US in 1990 when they were accused in a civil action of causing a number of young people to commit suicide with "hidden" messages in their music.
"People were reading things into our music and lyrics which just weren't there," Hill said.
"We always get a lot of 'nutters' at our US concerts. There are certain areas in the Bible belt that are just over the top with religious fanatics."
Judas Priest play Vodafone Arena on September 13.
Their new double-CD opus Nostradamus (Sony) is based on the life of the famed Middle Ages seer, but it immediately brings to mind the over-the-top, pretentious and silly heavy-metal spoof band, Spinal Tap.
Just as in This is Spinal Tap, it wouldn't surprise to see a miniature Stonehenge lowered on stage as Judas Priest performs Nostradamus.
Two-and-a-half years in the making, the album brings together the original members of the band from 1970, including charismatic leather man and vocalist Rob Halford.
Audio: Listen to Judas Priest's, Vision
Songs on the double album include such cheerful ditties as Death, Prophecy, Pestilence And Plague, Visions, Future Of My Kind and War.
Complete with a choir of "heavenly angels", an orchestra, over-the-top imagery about knights, swords, druids and death and heavy rock riffs, this is laugh-out-loud music.
Surely, they could not have been serious when they recorded it.
Halford, apparently straight-faced, said of Nostradamus: "It contains new frontiers explored and defined. The sense of adventure and the journey we undertook brings the man's life alive with metal and was a real labor of love for us."
Guitarist K.K. Downing described the album as"a musical journey without comparison".
"The mystery and intrigue that surrounds this revered man has expanded my perception of heavy metal to the highest plateau and enabled me to reach the outer limits of my imagination and transport unique feelings and emotions to the instrument," he said.
Affable bass player Ian Hill admitted the band had left itself open to parody.
"I suppose a band like Spinal Tap are pretty close to the bone with us," he said.
"No, we won't be having any miniature Nostradamuses lowered from the roof during our show.
"In fact, our upcoming Australian tour will have a 'best of' set with only a few of the tracks from Nostradamus thrown in."
Judas Priest formed in 1970 and became one of the most acclaimed heavy metal bands, releasing 15 albums with sales of 35 million.
The band made headlines in the US in 1990 when they were accused in a civil action of causing a number of young people to commit suicide with "hidden" messages in their music.
"People were reading things into our music and lyrics which just weren't there," Hill said.
"We always get a lot of 'nutters' at our US concerts. There are certain areas in the Bible belt that are just over the top with religious fanatics."
Judas Priest play Vodafone Arena on September 13.
Tuesday, 10 June 2008
Par Vantage taps Friedenson
Reporting to Vantage president Nick Meyer
CANNES -- Paramount Vantage has tapped Shyama Friedenson as senior vp international marketing, reporting to Vantage president Nick Meyer.
Friedenson, who previously served as international marketing topper at Lionsgate, will oversee marketing and publicity campaigns as well as distribution strategies for Vantage titles internationally.
She'll also work on campaigns for Paramount titles released through the studio's overseas PPI label. Among the prominent international releases for Vantage are coming-of-age story "Son of Rambow" and, next year, Michael Moore's sequel to "Farenheit 9/11," which was announced at the start of the festival as a joint domestic-international release with Overture.
See Also
Country music treasures make Stagecoach special
Strolling the grounds of the Empire Polo Field on Sunday afternoon in the final hours of the three-day Stagecoach country music festival, Paul Tollett the man behind the event and its older sibling, the Coachella Valley Music and Arts Festival, stopped at the Palomino stage to hear 80-year-old singer Charlie Louvin.
He surveyed the audience of a few dozen fans. The vast majority of Stagecoach-goers were half a mile away at the main stage listening to 6-foot-6 singer Trace Adkins. Country Music Hall of Fame member Louvin noticed, and politely commented, "Maybe it will start to fill up in a little bit."
Rather than grimacing, Tollett smiled.
"I know a lot of people aren't going to buy a ticket to Stagecoach just to see this," said Tollett, head of concert promoter Goldenvoice. "But for the people who know who he is, this is what will make them remember this festival."
Unlike Coachella, where the giddy factor for Tollett often comes from landing a stellar headliner -- Prince filled that bill this year -- at Stagecoach, he often finds the heart and soul of the event in the supporting acts, the veterans in particular.
This year that joy came from booking Louvin, half of the influential Louvin Brothers duo, along with 81-year-old mountain-music patriarch Ralph Stanley, 84-year-old banjo pioneer Earl Scruggs and, the youngster of the bunch, 76-year-old George Jones.
As Jones sang "Choices," a song about coming to terms with one's failures in life, a woman who'd been whooping and hollering a few minutes earlier started sobbing. "They played that song at my dad's funeral," she explained.
For his part, Jones looked genuinely startled by the rock-star roar his appearance inspired. Midway through his hour set, he said, "You're the best audience we've played for in a lot of years."
Mixing it up
Fans and performers benefited mutually from Stagecoach's catholic philosophy. Rather than relying exclusively on acts that are country radio friendly, like George Strait, Kenny Chesney and Brooks & Dunn, Stagecoach brought an impressively wide range of performers together across its three stages: young and old, mainstream and fringe, traditional and experimental.
The scale ran from acts at their commercial zenith (Tim McGraw, Rascal Flatts, Carrie Underwood) to those at the very beginning, such as 8-year-old Haydn Jones of Tehachapi. The children's division winner of the California State Old Time Fiddlers Assn. Contest, who's on her way to the national championships next month in Idaho, played at Stagecoach's smallest performance venue, a tiny corner of a musical equipment vendor's booth that had room for only about a dozen chairs.
The talent lineup also tested the limits of what defines "country" music. Its stylistic umbrella was broad enough to encompass the early 20th century African American string band music of the Carolina Chocolate Drops, the avant-bluegrass of Sam Bush, the outlaw punk energy of Social Distortion leader Mike Ness and the sanitized pop with a twang of Rascal Flatts.
The result was a refreshing blending of audiences not unlike that of the annual outdoor Hootenanny Festival in Orange County, which unites punk, roots-rock and car-culture communities. Along with regulars such as Social Distortion, X and the Blasters, each Hootenanny has had an early rock or country icon. Over the years that role has been filled by the likes of Chuck Berry, Jerry Lee Lewis and Buck Owens.
Indeed, Hootenanny's spirit is reflected in many ways at Stagecoach, such as the sight of tattooed and pierced punk fans happily standing alongside country dudes with beer guts and beards at Ness' bristling performance Friday.
Tollett's experience helping put together Hootenanny also led to his urge to act now in booking country icons for Stagecoach before it's too late.
"If I could, I'd bring in every one of these 80-year-old guys who are still playing," he says. One of the first acts he confirmed for this year's lineup was Porter Wagoner, who subsequently died last fall.
"These are American treasures," he says, "and there are not very many of them. It's a small club."
Despite its size, there was a small-club feel in some respects to the Stagecoach community, stemming from the fact that many of those involved in mounting it are alumni of the L.A.-Orange County punk community of the 1980s. Bob Forrest of Thelonious Monster raved about the Carolina Chocolate Drops on his way across the lawn to the tent where Louvin was playing.
"It's good they have those big acts who keep everybody else over there," he said, nodding toward the Tundra Mane Stage where the headliners played.
randy.lewis@latimes.com
He surveyed the audience of a few dozen fans. The vast majority of Stagecoach-goers were half a mile away at the main stage listening to 6-foot-6 singer Trace Adkins. Country Music Hall of Fame member Louvin noticed, and politely commented, "Maybe it will start to fill up in a little bit."
Rather than grimacing, Tollett smiled.
"I know a lot of people aren't going to buy a ticket to Stagecoach just to see this," said Tollett, head of concert promoter Goldenvoice. "But for the people who know who he is, this is what will make them remember this festival."
Unlike Coachella, where the giddy factor for Tollett often comes from landing a stellar headliner -- Prince filled that bill this year -- at Stagecoach, he often finds the heart and soul of the event in the supporting acts, the veterans in particular.
This year that joy came from booking Louvin, half of the influential Louvin Brothers duo, along with 81-year-old mountain-music patriarch Ralph Stanley, 84-year-old banjo pioneer Earl Scruggs and, the youngster of the bunch, 76-year-old George Jones.
As Jones sang "Choices," a song about coming to terms with one's failures in life, a woman who'd been whooping and hollering a few minutes earlier started sobbing. "They played that song at my dad's funeral," she explained.
For his part, Jones looked genuinely startled by the rock-star roar his appearance inspired. Midway through his hour set, he said, "You're the best audience we've played for in a lot of years."
Mixing it up
Fans and performers benefited mutually from Stagecoach's catholic philosophy. Rather than relying exclusively on acts that are country radio friendly, like George Strait, Kenny Chesney and Brooks & Dunn, Stagecoach brought an impressively wide range of performers together across its three stages: young and old, mainstream and fringe, traditional and experimental.
The scale ran from acts at their commercial zenith (Tim McGraw, Rascal Flatts, Carrie Underwood) to those at the very beginning, such as 8-year-old Haydn Jones of Tehachapi. The children's division winner of the California State Old Time Fiddlers Assn. Contest, who's on her way to the national championships next month in Idaho, played at Stagecoach's smallest performance venue, a tiny corner of a musical equipment vendor's booth that had room for only about a dozen chairs.
The talent lineup also tested the limits of what defines "country" music. Its stylistic umbrella was broad enough to encompass the early 20th century African American string band music of the Carolina Chocolate Drops, the avant-bluegrass of Sam Bush, the outlaw punk energy of Social Distortion leader Mike Ness and the sanitized pop with a twang of Rascal Flatts.
The result was a refreshing blending of audiences not unlike that of the annual outdoor Hootenanny Festival in Orange County, which unites punk, roots-rock and car-culture communities. Along with regulars such as Social Distortion, X and the Blasters, each Hootenanny has had an early rock or country icon. Over the years that role has been filled by the likes of Chuck Berry, Jerry Lee Lewis and Buck Owens.
Indeed, Hootenanny's spirit is reflected in many ways at Stagecoach, such as the sight of tattooed and pierced punk fans happily standing alongside country dudes with beer guts and beards at Ness' bristling performance Friday.
Tollett's experience helping put together Hootenanny also led to his urge to act now in booking country icons for Stagecoach before it's too late.
"If I could, I'd bring in every one of these 80-year-old guys who are still playing," he says. One of the first acts he confirmed for this year's lineup was Porter Wagoner, who subsequently died last fall.
"These are American treasures," he says, "and there are not very many of them. It's a small club."
Despite its size, there was a small-club feel in some respects to the Stagecoach community, stemming from the fact that many of those involved in mounting it are alumni of the L.A.-Orange County punk community of the 1980s. Bob Forrest of Thelonious Monster raved about the Carolina Chocolate Drops on his way across the lawn to the tent where Louvin was playing.
"It's good they have those big acts who keep everybody else over there," he said, nodding toward the Tundra Mane Stage where the headliners played.
randy.lewis@latimes.com
R. Kelly trial: 'Braces' defense could have some teeth
If R. Kelly's mole defense doesn't set him free, the defense clearly hopes the alleged victim's braces can.
Shortly before the lunch break, the defense showed the jury a photo of the alleged victim with orthodontia gear in her mouth. A former family friend testified the victim, now 23, had braces in the late 1990s--about the same time authorities say the video was made.
Tjada Burnett, who worked with the alleged victim's mother and knew the alleged victim since she was 4, identified the girl in the video as her friend's daughter. She also testified that she recognized the male participant as Kelly, whom she had met on a few occasions.
The female participant, however, does not appear to be wearing braces in the video. Burnett testified the alleged victim wore braces at some point between 1997 and 1999, but she could not provide an exact date.
Still, she was adamant the female in the video was the alleged victim.
"It's her cheek, her nose, her facial structure," she said.
The missing-braces revelation comes a week after the defense showed the jury a police photograph of a dark mole on Kelly's back. The male participant in the video appears to have no such mole when the video is played in real time.
Stacy St. Clair
May 27, 2008 1:52 PM: R. Kelly trial: What did she hear, and when did she hear it?
As has been the case with just about all of the state's witnesses in the R. Kelly trial, the real action came during cross-examination.
In this case, it was another old friend of the alleged victim who was treated to a caustic cross-examination by defense attorney Sam Adam Jr.
Adam has made his presence known in the trial, giving a passionate opening statement and punishing witnesses with tough questions and charged accusations.
His cross-examination of Raven Gengler, a recent Loyola University graduate and former friend of the alleged victim, was no different.
Gengler, who went to junior high with the alleged victim and played on the same basketball teams with her then, testified that she recognized the alleged victim in the tape and also Robert Kelly from their faces and their voices.
While Gengler acknowledged she never saw the two act in an "inappropriate way," and that the alleged victim never told her about any sexual relationship with the singer, she was certain it was her friend and Kelly in the tape.
"I mean it was absolutely [the victim]. ... It was just her facial features, the expression on her face, you could vaguely kind of hear her voice even," she said under direct examination.
But Adam, after congratulating Gengler first on her graduation this month, had a problem with that.
"So when you went down to see [the investigators] you told [them] you recognized the voice, didn't you?" he asked.
"At that time, I don't believe I spoke about her voice," she said. "I can't recall, it was a long time ago."
Adam then asked about the man's voice on the tape.
Shortly before the lunch break, the defense showed the jury a photo of the alleged victim with orthodontia gear in her mouth. A former family friend testified the victim, now 23, had braces in the late 1990s--about the same time authorities say the video was made.
Tjada Burnett, who worked with the alleged victim's mother and knew the alleged victim since she was 4, identified the girl in the video as her friend's daughter. She also testified that she recognized the male participant as Kelly, whom she had met on a few occasions.
The female participant, however, does not appear to be wearing braces in the video. Burnett testified the alleged victim wore braces at some point between 1997 and 1999, but she could not provide an exact date.
Still, she was adamant the female in the video was the alleged victim.
"It's her cheek, her nose, her facial structure," she said.
The missing-braces revelation comes a week after the defense showed the jury a police photograph of a dark mole on Kelly's back. The male participant in the video appears to have no such mole when the video is played in real time.
Stacy St. Clair
May 27, 2008 1:52 PM: R. Kelly trial: What did she hear, and when did she hear it?
As has been the case with just about all of the state's witnesses in the R. Kelly trial, the real action came during cross-examination.
In this case, it was another old friend of the alleged victim who was treated to a caustic cross-examination by defense attorney Sam Adam Jr.
Adam has made his presence known in the trial, giving a passionate opening statement and punishing witnesses with tough questions and charged accusations.
His cross-examination of Raven Gengler, a recent Loyola University graduate and former friend of the alleged victim, was no different.
Gengler, who went to junior high with the alleged victim and played on the same basketball teams with her then, testified that she recognized the alleged victim in the tape and also Robert Kelly from their faces and their voices.
While Gengler acknowledged she never saw the two act in an "inappropriate way," and that the alleged victim never told her about any sexual relationship with the singer, she was certain it was her friend and Kelly in the tape.
"I mean it was absolutely [the victim]. ... It was just her facial features, the expression on her face, you could vaguely kind of hear her voice even," she said under direct examination.
But Adam, after congratulating Gengler first on her graduation this month, had a problem with that.
"So when you went down to see [the investigators] you told [them] you recognized the voice, didn't you?" he asked.
"At that time, I don't believe I spoke about her voice," she said. "I can't recall, it was a long time ago."
Adam then asked about the man's voice on the tape.
Autamata - Colours Of Sound
Ireland has never been a fertile hunting ground for electronica lovers. Whereas over the water there have always been a myriad of bands and producers bubbling away, you'd struggle to think of any Irish act that's made any significant impression over the past decade.
'Colours Of Sound', the third album released by Autamata, also known as Ken McHugh, should do its bit to redress that balance. Four years since debut album 'My Sanctuary' and two years after 'Short Stories', 'Colours of Sound' finds Mr McHugh in an up-beat and positive mood.
The band's first two releases were subsequently raided for film soundtracks and TV ads and it wouldn't come as a big surprise if the same was done for this one. Painting soundscapes is what Autamata seem to have a knack for, and tracks like 'Inter-railing', 'Watching the World Go By' and 'A Drive through the Countryside' with their themes of travel could be the perfect accompaniment for long bus journeys.
When it's turned up a notch however, the band truly gets into their swing and get feet tapping. 'What You All About', 'Come Party at my House' and in particular 'Music's All We Need' all benefit from the increase in tempo.
Earlier incarnations of Autamata contained the notable vocals of Cathy Davey. Now a successful artist in her own right, Davey guests on 'Cloud-Seekers', a hectic two minute forty three seconds of electro-pop which despite the catchy verses is let down by the chorus.
Elsewhere on the album, opening track 'Effervescent' does its best to lull the prospective listener into a false sense of security, a wispy instrumental with a decent melody, you get the feeling it could have better served the album appearing at the end.
Strings, provided by the Cora Venus Lunny Violin Orchestra, and McHugh's own talents as a multi-instrumentalist combine well, particularly on the last two songs of the album.
Irrepressively up-beat in nature, 'Colours Of Sound' is a solid album, made all the more commendable for the lonely task of flying the flag of Irish electro-pop.
'Colours Of Sound', the third album released by Autamata, also known as Ken McHugh, should do its bit to redress that balance. Four years since debut album 'My Sanctuary' and two years after 'Short Stories', 'Colours of Sound' finds Mr McHugh in an up-beat and positive mood.
The band's first two releases were subsequently raided for film soundtracks and TV ads and it wouldn't come as a big surprise if the same was done for this one. Painting soundscapes is what Autamata seem to have a knack for, and tracks like 'Inter-railing', 'Watching the World Go By' and 'A Drive through the Countryside' with their themes of travel could be the perfect accompaniment for long bus journeys.
When it's turned up a notch however, the band truly gets into their swing and get feet tapping. 'What You All About', 'Come Party at my House' and in particular 'Music's All We Need' all benefit from the increase in tempo.
Earlier incarnations of Autamata contained the notable vocals of Cathy Davey. Now a successful artist in her own right, Davey guests on 'Cloud-Seekers', a hectic two minute forty three seconds of electro-pop which despite the catchy verses is let down by the chorus.
Elsewhere on the album, opening track 'Effervescent' does its best to lull the prospective listener into a false sense of security, a wispy instrumental with a decent melody, you get the feeling it could have better served the album appearing at the end.
Strings, provided by the Cora Venus Lunny Violin Orchestra, and McHugh's own talents as a multi-instrumentalist combine well, particularly on the last two songs of the album.
Irrepressively up-beat in nature, 'Colours Of Sound' is a solid album, made all the more commendable for the lonely task of flying the flag of Irish electro-pop.
Anduin Announces New LP
Despite being a side-project of Souvenir's Young America's Jonathan Lee, Anduin is taking on a life of its own. Debut full-length "Forever Waiting" is slated for a Summer release (with a pre-order date due to commence in July) through SMTG Limited in both CD and vinyl formats.
It will feature a number of mouth-watering guest appearences, including Xela and Jasper TX, while showcasing local talent from Lee's hometown of Richmond, Virginia. The Dark Ambient overlord's sound blurs the line between shadowy soundscaping and claustrophobic atmospherics, and this news follows the excellent River's Path 3" disc.
The Tracklisting is as follows:
1. For Francis Bacon (Part 1) - 2nd mix with Noah Saval
2. Makepiece In Pieces - Anduin remix with Caustic Castle and Clifford Schwing
3. The Black Line (Forever Waiting) - with Noah Saval
4. Rain Cloud, Storm Cloud
5. Reason In Exile (Part 1)
6. Reason In Exile (Part 2) - Jasper TX remix
7. For Francis Bacon (Part 2) - Xela remix
8. The River's Path - with Bryan Walthall
Further announcements concerning future collaborations and live appearences are expected in the near future.
See Also
Schoolyard Heroes
Artist: Schoolyard Heroes
Genre(s):
Rock: Punk-Rock
Discography:
Schoolyard Heroes
Year:
Tracks: 11
Take tercet geeky but music-smart guys from the high school AV club, bring their Winona Ryder-gone-punk dream date, feed them all a unwavering diet of Judas Priest, the Buzzcocks, and movies selected from The Psychotronic Encyclopedia of Film, and there's a good chance the results mightiness resemble Seattle's Schoolyard Heroes. The Schoolyard Heroes story begins in 2000, when vocaliser Ryann Donnelly, guitarist Steve Bonnell, bassist Jonah Bergman, and drummer Brian Turner were all attending the same individual schooling in Tacoma, WA. Bonnell and Bergman had but started the band when Donnelly, world Health Organization had taken classical voice lessons as a kid, annoyed them to have her sing, and when a local youthfulness club announced they'd be property a Battle of the Bands, they distinct to enter, with Donnelly belting out their cover of the Misfits' "Last Caress." However, they were unaware the competition was sponsored by a Christian younker mathematical group, and midway through their performance the song's lyrics caused the promoters to overstretch the plug.
From this adverse beginning, Schoolyard Heroes stirred forward, blending the band's precise punk metal attack with Donnelly's full bodied, theatrical outspoken elan and lyrics that much cited the titles and themes of pulp novels and horror movies, and before long they were playacting kayoed regularly. Too danton True Young to appear at most Seattle clubs (Donnelly was 14 when she joined the band), Schoolyard Heroes became a regular secureness at all-ages shows in the Pacific Northwest, as well as competing in the Experience Music Project's "Sound Off" talent lookup (they came in second) and The Seattle Stranger's "Handsome Shot" Contest (they were finalists). In 2003, Schoolyard Heroes signed with the main label The Control Group and released their first record album, The Funeral Sciences. Following lashings of regional gigs and a spell scuttle for Vendetta Red, Schoolyard Heroes released their second gear record album, 2005's Wild Wounds, which fueled the flame of their growing following. In 2007, Schoolyard Heroes jumped ship to Stolen Transmission Records, home of the Horrors and the Photo Atlas; the label released the band's third record album, Abominations, in mid-September of that year.
Phil Collins - Collins To Collaborate With Akon Pharrell Williams
My Bloody Valentine Announce Intimate London Club Dates
My Bloody Valentine will play two intimate shows at the ICA in London later this month.
The two dates – on June 19th and 20th – have been described as “warm up rehearsal” shows for the band's UK tour, which gets under way at London's Roundhouse on June 21st.
Tickets for all the band's dates, which also include shows in Manchester and Glasgow, are on sale now and available through Gigwise here.
Alternatively, you can call our ticket hotline on 0871 230 1098 for more details.
For all the latest information on gigs and tours in your area, check out our new look Gig Guide.
See Also
Lionel gushes about Nicole's new baby
Singer Lionel Richie has spoken about how "happy and proud" he feels on the birth of his new granddaughter Harlow Winter.
The singer's daughter Nicole is celebrating the birth of her first child with her rocker boyfriend Joel Madden.
Her father said in a statement: "While it may take me a moment to adjust to being called granddad, I am extremely happy and proud of Nicole and Joel."
He continued: "Harlow Winter Kate Madden, the newest and most beautiful addition to the Richie clan, is a lucky little girl."
He added: "She was surrounded by a great deal of love at that hospital as she entered the world. Nicole and Joel are going to be wonderful parents."
The singer's daughter Nicole is celebrating the birth of her first child with her rocker boyfriend Joel Madden.
Her father said in a statement: "While it may take me a moment to adjust to being called granddad, I am extremely happy and proud of Nicole and Joel."
He continued: "Harlow Winter Kate Madden, the newest and most beautiful addition to the Richie clan, is a lucky little girl."
He added: "She was surrounded by a great deal of love at that hospital as she entered the world. Nicole and Joel are going to be wonderful parents."
Jack Black wants to do more nude scenes
Jack Black is desperate to lose weight so he can star in more nude scenes.
The 38-year-old actor - who has just become a father for the second time - is determined to shed his excess pounds to be more attractive to his fans when he sheds his clothes on the silver screen.
He said: "When I saw my rear end in my nude scene in Margot at the Wedding, it actually had a double chin. I’ve joined a gym because the next time you see me naked I’ll be trim."
Jack also said he wanted to slim down because he was getting worried about his health.
He added to America’s OK! magazine: "I want to feel good too. Now if I eat a cheeseburger and fries, it tastes so good at the time and then right after it’s like, 'What did I do? Why?’"
Jack - who unwittingly confirmed his Kung Fu Panda co-star Angelina Jolie was expecting twins recently - revealed he used to be a martial arts enthusiast.
He said: "When I was a kid, I took karate and judo classes. I even won a trophy in a judo tournament, but I confess I outweighed the competition by 20lbs.
"I never took any kung-fu classes though, I just saw it on TV and in the movies."
See Also
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