Kasabian Crush New York: Behind the U.K. Band’s Terminal 5 Invasion

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Backstage and onstage at an explosive show supporting their most recent U.K. Number One, ’48:13′

Kasabian released 48:13, their fourth consecutive U.K. Number One album, and played a headlining set in a pyramid stage at the country’s Glastonbury Festival in June. Three months later, they returned to the U.S., bringing the North American leg of their tour to New York’s Terminal 5 on September 27th. Rolling Stone caught up with the group in Manhattan, documenting their busy day in the Big Apple from the pool hall to the front row of their sold-out show.

BeforeKasabian’ssoundcheck, the band went to the Green Door in Hell’s Kitchen, a cozy bar where guitarist Sergio “Serge”Pizzorno (left) and singer TomMeighan (right) could shoot pool.

Having finished the game – solids appears to have won – Meighan and Pizzorno sit at the bar.

Soundcheck begins, and the band faces an empty Terminal 5.

The lights turn pink and (from left to right) bassist Chris Edwards, Pizzorno and guitarist Tim Carter discuss the set list.

The agreed-upon set list.

Drummer Ian Matthews warms up on the ledge that overlooks the Terminal 5 stage.

A crew member bringsPizzorno’s guitars to the stage.

Meighan mugs for the camera. The band’s pre-show playlist includes, at this moment, theBeastie Boys’ “Intergalactic” and up next, the Beatles.

About to go on.
Meighan onstage. The band would open with one of their new tracks, “Bumblebee,” before turning toward “Shoot the Runner” (from 2006) and “Underdog” (2009).

Meighan addresses the sold-out crowd. A set highlight came when the band turned the intro from “The Doberman” into 2009 track “Take Aim” midway through the show.

Pizzorno and Meighan work it.
A rock star’s rock star,Pizzorno knocks out a big riff in front of the drum riser.

The band laughs about the first portion of the show while catching their breath before the encore.

Pizzorno leaps during an encore performance of “Vlad the Impaler.” They would follow the song with a cover of Fatboy Slim‘s “Praise You.”

The view from the front of stage asKasabian took their final bow after closing with 2004’s breakout single, “L.S.F. (Lost Souls Forever).”

Exhausted, Pizzorno walks offstage. Kasabian’s 48:13 tour would continue the next night with a show in Washington, D.C.

Flashback: The Clash Rock Against Racism in 1978

The Clash – White Riot Live (1978 Victoria Park London)

Taken from the film Rude Boy

 

In August 1976 a heavily intoxicated Eric Clapton blurted out some very unfortunate remarks onstage at the Birmingham Odeon in England. “England is overcrowded,” he said. “I think we should send them all back.” He went on to add that England was in danger of becoming a “black colony.” Around the same time, David Bowie caused an even greater uproar when he shared some surprising political beliefs. “I believe very strongly in fascism,” he told Playboy. “The only way we can speed up the sort of liberalism that’s hanging foul in the air. . .is a right-wing totally dictatorial tyranny. . .Rock stars are fascists, too. Adolf Hitler was one of the first rock stars.”

The Animals: The British Invasion That Wasn’t

The Animals - Photo: ABKCO records

The Animals – Photo: ABKCO records

 

In 2012, gave the , where he surprised a lot of listeners by declaring that — although he grew up admiring and — the group that really made him want to form a band was . The rough-and-tumble quintet from Newcastle-Upon-Tyne is largely ignored today, although it did pretty well during the British Invasion. A box of the band’s four classic albums has just been released, titled The Mickie Most Years & More.

The Animals came into being when Eric Burdon, born during an air raid in 1941, joined the Alan Price Combo — a group which, like so many others in Britain in 1962, was playing American rock ‘n’ roll and blues. The band quickly got a regular slot at the Downbeat club in Newcastle, where the local teenagers loved its wild stage show and began calling its members “the animals.” The name stuck, their reputation grew, and by May 1963, they were following in The Beatles’ footsteps by playing the Star Club in Hamburg. By the end of the year, they’d recorded a four-song EP for their fans and pressed 500 copies, a few of which found their way to London. By Christmas, the band had been invited to move there so record companies could bid for its services.

Mickie Most, a British singer who’d been a star in South Africa and had just moved back to Britain, had caught the band at a hometown show. Once it relocated, Most got the group a record deal. The Animals’ first single, “Baby Let Me Take You Home,” almost made the British Top 20.

The vocalist, Eric Burdon, had plenty of charisma, but keyboard player Alan Price was the musical center of the band. He proved it with the next single, “House of the Rising Sun,” where he took a song everyone had heard a million times and changed it utterly. Hilton Valentine created the guitar part, but Price got writer and arranger credit for the international smash-hit record which led to The Animals’ first U.S. tour, starting in York, Penn., in September 1964.

 

 

An album was rushed out, and they were signed to MGM Records in America. They continued to tour and, when they had a minute, they dropped into a studio to lay down tracks for Most, who assembled another album from them, The Animals on Tour. It wasn’t a live album, but the fans didn’t care.

Unlike a lot of the other British Invasion groups, The Animals didn’t write any of the material on those early albums, and Mickie Most got some of the young Brill Building songwriters to send them material. Their next hit was a cover of a song had recorded, “Don’t Let Me Be Misunderstood.” It almost cracked the Top 10 in the U.S., and did better in Britain. Burdon started to write material with Price, but tensions were high: With an album almost completed, Price split to form his own band, the Alan Price Set. But, much to Mickie Most’s relief, the mail brought a demo (“We Gotta Get Out of This Place”) the band could cut with its new keyboardist, Dave Rowberry.

Although co-writer Cynthia Weil later said “We Gotta Get Out of This Place” was the worst version of one of her songs ever recorded, it’s unlikely she refused to cash the checks it generated. It also became an anthem for American soldiers in Vietnam — and, just maybe, young Bruce Springsteen, who certainly echoed its theme in his own songs.

 

 

Things were changing. Mickie Most had other production commitments, and MGM handed The Animals a new producer, the enigmatic Tom Wilson, who’d produced everyone from The Mothers of Invention to to . The band had a new demo from New York, a -Gerry Goffin song called “Don’t Bring Me Down.”

But shortly after it came out, drummer John Steel announced he was worn out and left the band. Just as his replacement, Barrie Jenkins, was settling in, bassist Chas Chandler was walking down MacDougal Street in New York when he heard some wild sounds coming out of a club; he went in and introduced himself to the man making them, . Chandler quit The Animals and took Hendrix back to England, and Hilton Valentine came up with the name The Jimi Hendrix Experience for the band Chandler put together around him. Then Valentine, too, quit The Animals. There was another single, the old blues tune “See See Rider,” and it did well. But The Animals at this point basically consisted of Eric Burdon. The next chapter in the band’s story belongs to him.

 

Watch: The Kooks reveal ‘Down’ video

The Kooks

The Kooks

The Kooks have revealed the video for their comeback single ‘Down’. You can watch the clip at the bottom of the page via Digital Spy.

76_kooksbuttonL_091208The band have worked with hip-hop producer and performer Inflo on the track, which was co-written and co-produced by singer Luke Pritchard.

“With this record we didn’t do any rehearsing beforehand,” Pritchard said in a statement. “I’d write a song with Inflo or on my own, put it up and we’d all play over it. There was a real freedom to the process.”

The band announced earlier this week they will play four shows in May, making appearances in London, Glasgow, Manchester and Birmingham. Starting at Glasgow’s ABC on May 6, the band will then play shows at Manchester Ritz and London’s Electric Ballroom on May 8 and 9 before ending the short jaunt on May 9 at Birmingham Institute.

The Kooks will play:

Glasgow, ABC (May 6)
Manchester, Ritz (7)
London, Electric Ballroom (8)
Birmingham, Institute (9)

Arctic Monkeys cover The Beatles at their biggest ever US gig

Alex Turner

Alex Turner

Arctic Monkeys played their largest headlining US gig of their career to date last night (February 8) at Madison Square Garden in New York.

While they’ve played MSG twice previously in 2012 supporting The Black Keys, this eighth date of their current US tour, which started in Miami, Florida on January 30, was the first time the Sheffield band had topped the bill at the prestigious venue.

Supported by Deerhunter, Alex Turner and co took to the stage just about 9.15pm and played for an hour and a half. With a giant ‘A’ and ‘M’ made out of lights behind them, the four-piece – augmented for most of the evening by touring keyboardist Tom Rowley – began their set with ‘Do I Wanna Know?’, off last year’s ‘AM’. In all, the band played 20 songs, which included all but three of that fifth record’s 12 songs, ‘No. 1 Party Anthem’, ‘I Want It All’ and ‘Mad Sounds’ being the ones they left out.

As he has been for a few of the other gigs on the tour so far, Miles Kane was in attendance, and Turner’s Last Shadow Puppets bandmate joined the band on electric guitar for ‘505’, the last song of the main set. He also walked back onstage with them for the start of the encore for a slow, moody cover of The Beatles’ ‘All My Loving’, played to commemorate, a night early, the 50th anniversary of the Fab Four’s first appearance on The Ed Sullivan Show and the legendary group’s first ever US tour.

Only two songs – ‘Dancing Shoes’ and ‘I Bet You Look Good On The Dancefloor’ – were played from their debut album, ‘Whatever People Say I Am, That’s What I’m Not’, but there was a smattering of tunes from their other records, including ‘Brianstorm’, ‘Fluorescent Adolescent’ , ‘Crying Lightning’ and ‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’, the only song from 2011’s ‘Suck It And See’ to make an appearance. The encore was rounded out with ‘One For The Road’ and ‘R U Mine?’.

Arctic Monkeys played:

‘Do I Wanna Know?’
‘Brianstorm’
‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’
‘Snap Out of It’
‘Crying Lightning’
‘Old Yellow Bricks’
‘Fireside’
‘Knee Socks’
‘Why’d You Only Call Me When You’re High?’
‘Arabella’
‘Dancing Shoes’
‘Pretty Visitors’
‘I Bet You Look Good on the Dancefloor’
‘Cornerstone’
‘I Wanna Be Yours’
‘Fluorescent Adolescent’
‘505’ (with Miles Kane)
‘All My Loving’ (with Miles Kane)
‘One for the Road’
‘R U Mine?’

New Video: Mumford & Sons, “I Will Wait” – American Songwriter

Members of the UK band Munford & Sons

American Songwriter

The wait is almost over for Babel, the new album from British folk phenoms Mumford and Sons.

To tide you over, watch the official live video for lead single “I Will Wait,” which surfaced on YouTube last night at midnight.

Directed by Fred and Nick (Laura Marling, Gentelmen of the Road series), the video was filmed in front of a massive audience at Red Rocks Ampitheater in Morrison, Colorado, a mere two weeks ago, during the band’s first visit to the legendary venue.

“I Will Wait” is now available to download in the US, Canada, and the UK. Babel hits stores in the States September 25. Mumford and Sons have scheduled a CMT Crossroads show with Emmylou Harris, to air September 20.

The single ‘I Will Wait’ is now available from iTunes
Pre-order the new album ‘Babel’ released on Sep 24th 2012 at http://www.mumfordandsons.com

Video directed by FRED&NICK