The post Lamb of God Announces ‘Into Oblivion’ Album and Spring 2026 North American Tour Dates is published on Live Music Blog.
Key Takeaways Lamb of God announce first full-length album in four years, Into Oblivion, out March…
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Charli XCX has a new record coming out, and it’s a soundtrack album, but it’s not the soundtrack album to her movie. Instead, Charli made an LP’s worth of tracks for Emerald Fennell’s new Wuthering Heights adaptation, and both movie and soundtrack drop next month. Meanwhile, regular Charli collaborator A. G. Cook also has a…
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It was a busy, and controversial, start to 1967 for The Rolling Stones. On January 13, 1967, Decca released “Let’s Spend The Night Together,” backed by “Ruby Tuesday” and the following day it was released by London Records in America. The day after that, on January 15, The Rolling Stones appeared on The Ed Sullivan Show, and were forced to change the lyrics to the a-side of their single, so as not to offend the delicate sensibilities of American TV viewers.
In the weeks that followed, The Rolling Stones had the word “night” bleeped out of their record and some stations went as far as banning it altogether, which meant “Ruby Tuesday” got a lot more airplay. “Ruby Tuesday” ended up topping the charts, while “Let’s Spend The Night Together” could only make a lowly No.55.
In Britain, things were a little different, but as it proved, no less controversial. The Rolling Stones were greeted after the Ed Sullivan situation by the release of their new album, Between The Buttons. And, a few days later, on Sunday, January 22 they were at one of London’s most famous theaters to rehearse for an appearance on TV’s, Sunday Night at the London Palladium.
Having frequently been asked to appear, and never doing so, they had relented yet no one from The Rolling Stones can quite remember why they did so. According to Charlie at the time, “Personally I didn’t want to do it, and I’m not sure why we did. I suppose it was a challenge. It’s always done more harm than good to anybody I’ve ever seen on it.”
One reason for their appearance was that opportunities to appear on TV were less as Ready Steady Go!, the best of the 1960s pop programs had been taken off the air; it was also true that Sunday Night At The London Palladium had a huge audience, close to 10 million.
According to the show’s producer, “They arrived with all their music on a tape. Their manager Andrew Oldham sat alongside me checking the sound level. I was so disappointed in my dealings with them. Not only were they late for rehearsal, but I feel I was confronted with ill-mannered, studied rudeness.” But then again, according to Keith, “The show’s so bad we couldn’t rely on them to get the sound we wanted. It’s not as if we can’t play live,” is what he told Disc a week or so later.
On the TV show, The Stones mimed, while Mick sang live to “Ruby Tuesday,” “Let’s Spend The Night Together,” and “Connection,” the latter being a track from Between The Buttons. It was not the miming that was controversial, though. It was The Stones’ refusal to appear on the closing sequence of the TV show. They refused to stand on the revolving stage, when all the performers and the show’s host, Dave Allen, were expected to smile and wave to the audience. Andrew Loog Oldham had a row with Mick about it, and, in the following days, angry viewers took to writing letters to the press.
One lady from Oxford suggested that The Stones “should take a lesson from the real stars like Gracie Fields, Margot Fonteyn, Frankie Vaughan, etc., none of whom would dream of being so rude to either their fellow artists or the public.” While another disgruntled Home Counties viewer said, “It is too late to prevent this record going on the market, but for goodness sake let us ban any sequels before the entire business has a harmful effect on our nation as a whole.”
The row seemed to go on for weeks after. Those of a certain age couldn’t comprehend why The Stones had been invited to appear, younger people couldn’t care less, and some others probably wondered why The Stones had bothered at all. As Mick told the NME, “The only reason we did the show was because it was a good national plug. Anyone who thought we were changing our image to suit a family audience was mistaken.”
On the following week’s Sunday Night at the London Palladium, comedians, Peter Cook and Dudley Moore were the stars of the show. Pete and Dud had become friendly with the Stones and, to show their solidarity with the band, they went on the roundabout with life-size cardboard cutouts of all five Stones, created by Gerald Scarfe.
Oh. And how did The Rolling Stones do on the charts amidst all the Ed Sullivan controversy? “Let’s Spend The Night Together”/“Ruby Tuesday” made No.3 on the UK charts.
Shop The Rolling Stones’ music on limited edition vinyl and CDs here.
Look at that cover art. Look at it! It’s fucking awesome! That’s the cover of Johnny’s Dreamworld, the debut album from the London band Modern Woman. It’s an arresting glimpse of something fucked-up, and that’s also pretty much the aesthetic of the band’s very good new single “Dashboard Mary.” Modern Woman started out as a…
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My favourite Impressionist painter is, surprisingly to some, a woman, who was born 185 years ago this week on 14th January 14th 1841.
Berthe Morisot was the only woman among the founding Impressionists and a true innovator. Nobody imagined in the mid-19th century that a well-brought up young woman could ever become a famous professional artist.
An upper-class girl, Berthe and her sister Edma, chaperoned, of course, spent much of their time copying classical paintings in the Louvre but, because they were girls and despite their obvious talent, were excluded from studying at the Ecole des Beaux Arts, the usual way for artists to be noticed and supported.
At the Louvre, Berthe had met and became friends with other artists such as Manet and Monet. Another friend, Corot, introduced her to plein air (outdoor) painting at which she excelled. Like Degas, she often mixed media, sometimes combining watercolour, pastels and oil in a single painting.
Her subject matter was what she knew best and was part of, the private moments of women. She painted them without objectifying them, as was done by her fellow artists. Her technique was entirely her own though influenced by Degas, Renoir and especially her friend, Edouard Manet. Although she married his brother, Eugene, the love between her and Edouard was evident from their many letters. Even their techniques were in tune down to similar brushstrokes and use of colour.
Berthe Morisot’s paintings were accepted into the snooty Salon,the official art exhibition of the Académie des Beaux-Arts in Paris, for eight successive years until she changed direction in 1863 and opted to join the likes of Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley, James M. Whistler and Edouard Manet and show her work in the Salon des Refusés.
This was an exhibition held by order of Emperor Napoleon III to exhibit those works refused by the selection committee of that year’s official Paris Salon. They included such paintings as Édouard Manet’s Déjeuner sur l’herbe and James McNeill Whistler’s Symphony in White, No. 1: The White Girl.
It was an astounding success. More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung.
It had its detractors. The critic Albert Wolff wrote in Le Figaro that the Impressionists consisted of “five or six lunatics of which one is a woman…[whose] feminine grace is maintained amid the outpourings of a delirious mind.”
Morisot’s painting was recognised and admired by critics and fellow artists although her struggle to be taken seriously as an artist frustrated her. She wrote, “I don’t think there has ever been a man who treated a woman as an equal and that’s all I would have asked for, for I know I’m worth as much as they.”
She was. In February 2013, Morisot became the highest priced female artist of all time, when After Lunch (1881), a portrait of a young redhead in a straw hat and purple dress, sold for $10.9 million at a Christie’s auction, three times its upper estimate.
The post Ruth Leon recommends…Berthe Morisot History’s Forgotten Impressionist appeared first on Slippedisc.
Hater lovers, rejoice: The Swedish indie-pop band has a new album called Mosquito on the way. The group shared lead single “This Guy?” in November, and now they’re back with the brilliant “Angel Cupid.” It’s a ballad that finds Caroline Landahl throwing herself into the swooning refrain, “Oh, Angel Cupid/ You’re so fucking stupid.” The…
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When I heard Unwind Project’s music for the first time, I became an instant fan. And having him on Stereofox Records, for his debut today, is a pure blessing.
The Amsterdam-based, Italian producer & bass player shares “Does She Exist?”, featuring UK saxophonist Two Scents. This jazzhop gem drips with smoothness and is simultaneously groovy, thanks to the fine balance of jazzy drums, warm keys, and lush sax lines.
“Does She Exist?” is the 1st single off his upcoming Finding My Way EP.
Stream/buy it here.
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Sleater-Kinney still wanna be your Joey Ramone. For a little while, there have been rumblings about Carrie Brownstein and Corin Tucker starting a Ramones cover band with longtime friend Fred Armisen, Brownstein’s collaborator on the sketch show Portlandia. Now, this tribute band has an Instagram page, a first show booked, and a name. They’re called the Return Of Jackie And Judy, after a 1980 Ramones deep cut, and they’re promising “more to come in 2026.”
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Leagues O’Toole is a music promoter and label owner with Foggy Notions based in Dublin, and he puts on many…
Oscar voters are currently filing their nomination ballots, so all the people in contention for the big awards are making their big charm-offensive pitches. Some of the people who are trying to win those awards are really, really popular musicians. Take Ed Sheeran. (Please.) Last year, Sheeran contributed a song called “Drive” to the soundtrack of the Brad Pitt racing movie F1. He recorded that song with an all-star team of musicians, and he got that whole group together to perform on Wednesday night’s Jimmy Kimmel Live!
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