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Noel Gallagher: “Bonehead is the most appalling singer I’ve heard in my entire life”

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Noel Gallagher has labelled his former bandmate Bonehead as “the most appalling singer I’ve ever heard in my entire life”.

Speaking on Matt Morgan’s Funny How? podcast, the High Flying Birds musician spoke of how Oasis co-founder and guitarist Bonehead – real name Paul Arthurs – had been intended to provide lead vocals for a couple of the band’s early tracks.

Referring to how The Beatles would set aside “one [song] for Ringo”, Gallagher said: “We were always going to have one for Bonehead.

“We tried to do it on both albums and it turned out shit, which I know is kind of the point right, but it was like really shit.”

He continued: “And I kid you fucking not, [he was] maybe the most appalling singer I’ve ever heard in my entire life. Appalling. No sense of anything.”

Gallagher was then asked whether Liam had started out as a good vocalist. “As the songs got better, he got better,” he replied. “When I started writing the songs, I quickly sussed out that the entire key structure was too low for Liam.

“So when you hear the early stuff, the songs are not very good and he’s not very good. But as I’m starting to write better songs for him, we all got better at the same time.”

You can listen to the conversation from around the 40-minute mark via the above post.

Back in April, Bonehead suggested to Liam Gallagher that they should revive Oasis. “We really should get back together. What you saying @liamgallagher,” he tweeted during a ‘(What’s The Story) Morning Glory’ listening party.

Meanwhile, Liam has claimed that he once almost set fire to Noel‘s home in Ibiza. “[I] got a cig out, and it was like right on the sea, and I lit up and then I flicked it, it’s gone down the cliff… and the next minute there’s loads of fire,” he recalled.

The post Noel Gallagher: “Bonehead is the most appalling singer I’ve heard in my entire life” appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Neil Young condemns use of his music by Donald Trump

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Neil Young has condemned the use of his music by US President Donald Trump ahead of his Fourth of July speech at Mount Rushmore.

Before Trump’s speech, three of Young’s songs were heard blasting from the speakers – ‘Rockin’ in the Free World’, ‘Like a Hurricane’, and ‘Cowgirl in the Sand’. Young took to Twitter to voice his disapproval.

Young continued with a subsequent tweet, voicing his support with the native Lakota Sioux people.

This is not the first time Young has publicly denounced the association of his music with Trump. Five years ago, Trump similarly used ‘Rockin’ in the Free World’ to mark the launch of his US Presidential candidacy campaign.

Representatives of Young issued a statement soon after damning Trump’s use of the track. “Donald Trump was not authorized to use ‘Rockin in the Free World’ in his presidential candidacy announcement,” the statement read. “Neil Young, a Canadian citizen, is a supporter of Bernie Sanders for President of the United States of America.”

However, Trump’s camp later told TMZ that they “paid for and obtained the legal right” to use the song for their campaign launch.

Young has been particularly vocal in his distaste for Trump. Most recently, he shared a number of protest songs from across his career as part of the sixth episode for his Fireside Sessions series. The episode included his own song ‘Lookin’ For A Leader’, which saw Young editing his lyrics to criticise Donald Trump and his reaction to the recent Black Lives Matter protests.

This was preceded by an open letter penned by Young to his fans in early June that voiced his support for the Black Lives Matter movement while describing Trump as a “poor leader who is building walls around our house”.

Young released his 40th studio album ‘Homegrown’ on June 19. NME gave it a five-star rating, describing it as “a shimmering diamond well worth unearthing”.

The post Neil Young condemns use of his music by Donald Trump appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Jason Isbell shares his demo of ‘Maybe It’s Time’ from ‘A Star is Born’

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Jason Isbell

Jason Isbell has shared a demo version of ‘Maybe It’s Time’, the song he wrote for the 2018 film version of A Star is Born.

In the film, Bradley Cooper plays Jackson Maine, an alcoholic rockstar partly inspired by Eddie Vedder. Maine plays ‘Maybe It’s Time’ at several points throughout the film as his own song. His version of the song peaked at #93 on the Billboard charts, his first placing as a musical artist.

The new release is the first time Isbell’s version of the song has been made available. It’s out on Bandcamp today as an acoustic demo, alongside an unreleased song entitled ‘Alabama Sky’. It’s out in time for Bandcamp’s revenue waiver – stream/purchase it below:

Vedder performed a cover of ‘Maybe It’s Time’ during a gig in Arizona last year. Isbell later tweeted out his appreciation to Vedder for covering his track.

“Holy shit Eddie Vedder sang my Bradley Cooper song in his set tonight,” he wrote.

“That is by far the strangest sentence I’ve ever composed but it’s certainly a huge honour. I was 12 when ‘Ten’ came out and by god I learned how to play every song on it.”

Isbell and his band the 400 Unit released their last album ‘Reunions’ in March of this year.

The post Jason Isbell shares his demo of ‘Maybe It’s Time’ from ‘A Star is Born’ appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Prince’s sound engineer details how she created his infamous vault and saved his masters from the Universal Music Fires

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Prince sound engineer Susan Rogers has revealed how she created the artist’s infamous vault and saved his masters from the 2008 Universal Music Fires.

Rogers worked with Prince as an audio technician from 1983 to 1988. In an interview for Double J’s Take 5 podcast, Rogers revealed that she began to collate Prince’s vault as a “practical matter” when the artist would demand old reference tapes.

“When I first started working for him, he would sometimes say to me at 2 or 3 o’clock in the morning ‘bring me this tape or that tape’. I realised I have to know where all these things are, ’cause how would I know this obscure stuff that had never been released,” she explained.

“I started working with the women who worked in his office, and I asked for their help. Let’s collect all these tapes and start a database…With [a] personal computer we were able to start forming a database of all the tapes – the two inch, the quarter inch, the half inch – and then I got really ambitious. I started calling faraway places that might have some of his tapes.”

Rogers goes on to explain that her tape-amassing project expanded beyond the Minneapolis studio where she worked with Prince, contacting Sunset Studios, and Warner Brothers to retrieve his masters.

“Now, I did not know that you’re not supposed to do that,” Rogers laughed.

“Technically, if you’re under contract the label owns those masters. I would talk to the person in the tape closet and say – ‘Hey, Prince has asked me for this, he wants this for some thing or another, and I’ll send it right back’. We never sent it back.”

Rogers explained that it was this decision to keep copies of the tapes that prevented Prince’s masters from being lost in the 2008 Universal Music Group Fire, which wiped out tens of thousands of tapes from artists including Elton John, Nirvana, Queen Latifah, R.E.M, Beck, Tupac, and many more.

“It would have been a lot safer if people had their own vaults.”

The interview comes ahead of the archival release of Prince’s ‘Sign ‘O’ the Times’ Movie 4-Disc Deluxe Edition, set to feature 63 unreleased tracks when it arrives on September 25. Listen to the full chat with Rogers here.

The post Prince’s sound engineer details how she created his infamous vault and saved his masters from the Universal Music Fires appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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