The design was inspired by that of the legendary City Lights Pocket Poets Series, conceived by poet and publisher Lawrence Ferlinghetti and specifically it’s an homage to the cover of “Howl and Other Poems” by Allen Ginsberg, published in 1956. The genesis of this idea began with Blue Note Records president Don Was who saw the connection between Costello’s lyrics and the presentation of the poetry of Ginsberg, Ferlinghetti and Corso by City Lights who graciously supported the use of their celebrated design.
A solo exhibition of artwork by the late musician Ian Dury is to go on show in London for the first time.
The show, which has been curated by Dury’s daughter Jemima, former manager of The Clash Kosmo Vinyl and graphic designer Jules Balme, brings together 30 artworks painted by the musician in the 1960s, before he went on to form his first band Kilburn & The High Roads in 1971.
Dury previously studied painting at the Royal College of Art between 1963 and 1966, where he developed a pop art style that combined text, bold colour, sequins and photographs.
Jemima Dury describes her father as a “serious art student, with a strong work ethic…albeit an insecure one uncertain of what medium to pursue”.
After graduating, Dury featured in the ICA’s group art show Fantasy & Figuration, and had some success as a freelance illustrator working for The Sunday Times and London Life magazines, among others. TBC HERE.
“I HOPE you’re having a nice time,” growled the “Modfather” Paul Weller towards the end of his turn on the Esplanade of Edinburgh Castle, and stands of admirers wearing Fred Perry shirts, feather-cut hair and smart bespoke suit jackets yelled their warm response back to him.
Edinburgh Castle Esplanade
Star rating: * * * *
To mark the 50th anniversary of The Beatles’ first shows in Bournemouth, on 19 August 1963 when they opened a six-day residency at the Gaumont (now the Odeon) cinema on Westover Road, a new exhibition celebrating their many connections to the town is to open.
The Beatles played more shows at the Gaumont than in any other UK theatre outside London, notching up no less than 16 shows between August 1963 and their final visit on 2 October 1964. The exhibition, at the Beacon Hotel on Priory Road, Bournemouth, includes dozens of photos of The Beatles in Bournemouth, as well as posters, handbills, reviews and programmes from the group’s four visits to the town.
There are various other photos from Robert Freeman’s photo shoot of the boys at the Palace Court Hotel on Westover Road that produced the iconic half-shadow sleeve shot for their second album, With The Beatles. Also at the Beacon Hotel you can find the main venue sign, a section of stage and some seats from the historic Winter Gardens theatre where The Beatles played on 16 November 1963 and were filmed for US television – the first footage America was to see of the Fab Four.
Much interest is bound to fall on the remarkable photo of John Lennon with his young son Julian and his Aunt Mimi at Sandbanks Ferry, just yards from the harbourside bungalow he bought for Mimi in 1965 and where he visited her many times before he left these shores for good in 1971. The exhibition tells an incredible story of how a small resort on the south coast of England came to play a significant part in the history of the greatest rock ‘n’ roll group of them all.
In conjunction with the exhibition there is a new restaurant opening at the Beacon Hotel in August. The Bournemouth Rock Cafe uses Harry Taylor’s iconic ‘Stick of Rock’ photo as part of its logo and will be serving gourmet burgers and a full menu in rooms that are adorned with Bournemouth music memorabilia from all eras and genres.
Provided by the authorized blog happinness' dealer: Simon Cooper.
What do you get when you cross the legendary group harmony of the Impressions, with the savvy production stylings of Daptone’s very own master of ceremonies and guitar dynamo, Binky Griptite? Easy, you get one of the finest collaborations that has ever been realized onto 7 inches of high quality vinyl. Ladies and gentlemen we present to the greater Daptone Universe, the first single by The Impressions in over 30 Years. Featuring original members, Fred Cash, Sam Gooden, as well as Reggie Torrian, who has been singing with the group since the early ‘70s – this single is the sweet soulful beauty you’d expect from the Impressions. No cheesy synthetic instruments or tryin-to-stay-contemporary 'beats' here. This is real soul music played by a real band and how sweet it is!
"Rhythm" the aptly titled A-Side, is a Curtis Mayfield penned tune that was a big hit for Major Lance in the Mid-Sixties. The Impressions revive this classic with their iconic sophisticated harmonies and a new horn arrangement by "The 4th Impression", Johnny Pate himself, that moves the song along at a laid back, yet dance friendly pace. This track is Soul of the highest order.
"Star Bright", written by Mr. Griptite is floaty mid-tempo mover, a prayer to love seasoned with a fluttering flute line that will have you longing for that romantic starlit night when the only thing between the one you love and you is, nothing.
Buy it here.
Buy it here.
Miles Kane has said that he would "love" to work with Paul Weller again in the future.
Kane recruited Weller to co-write the track 'You're Gonna Get It' for his most recent studio album 'Don't Forget Who You Are' - you can watch a video of the pair performing the song together at this year's NME Awards by scrolling down to the bottom of the page and clicking.
Now, in an interview with the Daily Star, Kane has said he would relish the prospect of working with the Modfather again. "I'd love to write more with Paul," he said. "We've become good friends over the past year. I can't speak highly enough of him and we've got a nice relationship."
Maybe it was down to the band not having played much this year, maybe it was just a sticky night and the sound was doing battle with the Guildhall's challenging acoustics, but we were some way south of prime Weller.
He did his bit though, leading from the front, jabbing fingers, nodding his head, pulling shapes, even windmilling his guitar a couple of times, yet not even such exertions could kick the band into life and the first half of this Hard Rock Calling warm-up was decidedly sluggish. Straight out of the blocks, Sunflower dragged a half beat behind where it wanted to be and by the time they got to Friday Street, a dozen or so songs in, it sounded like it was stuck in Thursday. Sea Spray and the rarely performed Going Places did little to advance the cause. TBC HERE