Morrissey's guitarist Jesse Tobias has blasted the headliner's tour support act in a new online missive, revealing it has been "disheartening" to read her remarks after illness forced the singer to scrap a U.S. tour. The former The Smiths star cancelled the remainder of a U.S. tour after falling ill with a respiratory infection he claimed had been passed to him by opening act Kristeen Young.
Young responded by releasing a statement denying Morrissey's charges and claiming she was asked to leave the tour before it was scrapped.
Now Tobias is firing back at her remarks in a statement released to TruetoYou.com.
He writes, "It's been quite Disheartening to see the Facebook Hatred thrown about by Our Former Friends/Working Partners... I do feel that Someone needs to Speak Up for Moz (Morrissey) in this situation as it is unbearable to watch people you once trusted, Attack and Pick Away at your Friend.
"In my experience ANYONE associated with the Morrissey Camp know they are solely there because of Morrissey himself. He chooses to tour/work with certain people. For Kristeen... to go on about Her being better off now, without considering Morrissey's 9 years of help and promotion is Very Disappointing."
And the guitarist adds, "Only speaking from my experience, with the crew and Moz falling ill in Miami, for Kristeen to deny she was truly sick seems disingenuous. I was told after the show in Miami by Crew and Security that there was some concern because Kristeen was obviously unwell. Our crew then tried to keep her at a reasonable distance but being in such close quarters for months these things sometimes happen.
"I am Upset that in this situation Kristeen could not take the tour as a whole into consideration and just comply with the postponement announcement. One could only assume it was necessary for her to justify herself and ultimately receive some promotion out of the matter."
Tobias also takes aim at producer Tony Visconti, who 'liked' Young's Facebook post, adding, "This combined with Tony Visconti's Parrot Like affirmation on Facebook that 'she is better off, is Morrissey Capable of being handled?' is Repulsive. This is a MAN who worked closely with us on a record and several sessions that Suddenly flips into Schoolgirl mode with 'yeah, you tell em' Chatter...?"
He closes his statement with the words "Good Riddance to False Friends."
Former Spiders From Mars bandmates Tony Visconti and Mick 'woody' Woodmansey are reuniting to perform David Bowie's The Man Who Sold The World in tribute to the music legend and his guitarist Mick Ronson. The pair was recruited by Bowie to play alongside himself and Ronson on the iconic 1970 album, and they formed the nucleus of the line-up of his famous early 1970s backing band.
Ronson passed away in 1993 after a battle with cancer, and now bassist Visconti and drummer Woodmansey are reuniting to perform the album in full for the first time - with Bowie's blessing.
Woodmansey tells British newspaper The Guardian, "The Man Who Sold the World was the first album Mick Ronson and I played on, our first even in a proper London studio, yet it never got played live... It got critical acclaim, but we never toured it, and in the live shows the album tracks never got touched on. So the idea of being able to go out and finally play some of those great tracks live was just so exciting."
The pair will be joined by 10 other musicians, including Spandau Ballet saxophonist Steve Norman, for the concert at London's Garage venue on 7 September (14).
Captain America: The Winter Soldier is filled — and I mean jam-packed — with genre-bending, action-heavy, sportily tense and relentlessly sinuous, sky-high-concept and maniacally bonkers stuff. Polygonal mayhem that aims, and impressively so, to top the Marvel lot in ideas, deconstructing every thriller staple from government corruption to talking computers to odd couple agents gone rogue. But oddly enough, the moment in the Cap sequel that I find most arresting several weeks after seeing the film is our peaceful reunion with Steve Rogers, trotting merrily around the Washington Monument as the sun rises on our nation's capital.
The scene is shot from far overhead, a low pulse/high spirits Chris Evans reduced to a shapeless blur as he repeatedly (but politely!) laps fellow jogger and veteran Sam Wilson (Anthony Mackie)... and yet it might be the closest we feel to Cap throughout the movie.
The Winter Soldier has a lot to worry about in the delivery of its content. Managing a plot as ambitious and multifaceted as its own, with themes as grand as the scope of the American mentality — as represented by Steve Rogers, raised in the good old days of gee-golly-jingoism — it doesn't always have the faculties to devote to humanizing its central troupe. Cap isn't left hollow, but his battles with the dark cloud of contemporary skepticism play more like an intriguing Socratic discussion than an emotional arc. Scarlett Johansson's Black Widow, a character who ran circles around her Avengers co-players in flavor, feels a bit shortchanged in that department here (in her closest thing to a starring role yet, no less).
Mackie's Falcon, a regular joe who is roped into the calamity thanks largely to his willingness to chat with a fellow runner — a rare skill, honestly — is less of a problem. He doesn't have much to do, but he does it all well enough. Dynamic though he may be, Mackie keeps things bridled as Cap's ad-hoc sidekick, playing up the along-for-the-ride shtick rather than going full (or even half) superhero. We might want more from him, knowing just how fun he can be, but it's a sating dose. The real hunger is for more in the way of Black Widow, Cap, and — perhaps most of all — the titular villain.
Still, these palpable holes pierce through a film that gets plenty right. As elegantly as Joe Johnston did the Spielberg thing back in 2011, Joe and Anthony Russo take on the ballots of post-innocence. They aren't afraid to get wild and weird, taking The Winter Soldier through valleys that feel unprecedented in superhero cinema. We're grateful for the invention here — for Robert Redford's buttoned-up Tom Clancy villain, for the directors' aggressive tunneling through a wide underworld of subterranean corruption, and especially for one scene in an army bunker that amounts to the most charmingly bats**t crazy reveal in any Marvel movie yet. We might be most grateful, though, for a new take on Nick Fury; here, the franchise gives Samuel L. Jackson his best material by a mile.
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But in the absence of definitive work done in our heroing couple, a pair rich in fibers but relegated to broad strokes and easy quips in this turn, most of it amounts to a fairly good spy thriller, not an ace-in-the-whole neo-superhero masterpiece... which, justly or otherwise, is what we've come to expect and demand from these things.
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I know, that headline is trouble. You're always treading dangerous ground when you insist on defining what makes a good this or the right kind of that, as if there is no room for change or improvement when it comes to classic properties. Of course there is — Jason Segel's 2011 Muppet film approached the concept from an entirely different direction. It didn't hit all of its marks, but it prevailed overall in its conceit: make a movie not about Muppets, but about Muppet fandom. But Muppets Most Wanted, in absence of a clear mission statement and fueled largely by the monetary glimmers of the sequel game (the film's opening number admits this outright), has fewer marks readily available to hit. Landing in the ambiguity between the classic Muppet adventure formula and Segel's post-modern Henson appreciation party, Most Wanted feels like a failure on both counts. It doesn't know which kind of movie it wants to, or should, be. So it doesn't really be anything.
On the one hand, there's the half-cocked "get-the-band-back-together" through line, mimicking but not quite accomplishing the spirit of the 2011 picture. None of the Muppets are particularly likable or charming in this turn, and even fewer of them actually given anything to do. Kermit loses his s**t in the first act after a spat with Piggy and a barrage of insubordination from his troupe (provoked by the nefarious Dominic Badguy, Ricky Gervais), storms off in a huff, and gets swept up in a case of mistaken identity when his criminal doppelganger Constantine pulls the old switcheroo, landing Kermit in a Russian gulag. You'd think this would be a good opportunity for the second tier of Muppet favorites — Piggy, Fozzy, Gonzo, Scooter, Rowlf, et al — to go on a search and rescue... but save for a very brief sequence at the tail end of this achingly long film, none of the other Muppets are giving anything to do. They just hem and haw and perform the occasional "Indoor Running of the Bulls" while Dominic and Constantine scheme, rob banks, and bicker.
Meanwhile, Kermit has some fun in prison — a far more endearing plot that sees him befriending the merry convicts, organizing a penitentiary revue, and even winning the heart of the vicious warden Nadia (Tina Fey). If only we could spend more time with real Kermit and less time with fake Kermit and his second banana Gervais, an effectively boring pair.
On the other hand, though, there's the Muppet shtick that fans of The Great Muppet Caper and Muppet Treasure Island — and yes, The Muppet Show itself — will deem the movie's best material: CIA Agent Sam Eagle and Interpol Agent Jean Pierre Napoleon (Ty Burrell) hot on the trail of Constantine and Dominic. Here, we get a different type of Muppet movie entirely from what Segel and the A-plot in Most Wanted are opting: the old fashioned vaudeville act, with Sam standing as an independent entity from his googly-eyed brethren, on a goofy, musical prowl with Burrell that fuels the film with its best and most consistent chuckles. Their "Interrogation Song" number is outstanding, exemplifying the many talents of Flight of the Conchords' Bret McKenzie, who wrote all the music for this and the previous film.
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Unfortunately, Muppets Most Wanted isn't sure that it wants to be The Great Muppet Caper, beheld so stubbornly to its Segelian roots. There's a palpable compulsion to stick with this agonizingly self-aware, nostalgia-crazy, brimming-beacons-of-the-past-in-a-callous-today theme that doesn't work a fraction as well as it did in the 2011 film. Without a legitimate celebration of any of our favorite characters, how could it? With so much going on in this movie, and such a lengthy runtime at just under two hours, it's a sure sign of failure that we walk away feeling like we spent barely any time with the Muppets.
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Music legend David Bowie was honoured with a top prize at the Music Producers Guild (MPG) Awards in London on Thursday night (13Feb14). The Let's Dance hitmaker landed the Innovation Award in recognition of his 2013 comeback album The Next Day.
He was not present to pick up the trophy in person, so his producer Tony Visconti accepted it for him, telling the crowd, "On behalf of my friend David Bowie it feels absolutely great... No one believed that David Bowie was going to make another album and so the timing was perfect, because everyone kind of gave up on him. There were rumours of bad health and rumours of retirement, and I'm laughing my head off every time I hear them."
During the show, British producer/songwriter Trevor Horn was handed the Outstanding Contribution to UK Music award by his collaborator Seal and Radiohead producer Nigel Godrich.
Seal, who won three Grammy Awards with Horn for their hit 1995 track Kiss From A Rose, said of his mentor, "I don't think it would have been possible for me to have had the career that I've had and enjoyed the success that I continue to enjoy without Trevor Horn... being in my life. He is a huge influence. He pretty much taught me what I know in terms of my trade in the music industry."
The pair later took to the stage together to perform Kiss From A Rose.
Production duo Flood and Alan Moulder landed the U.K. Producer Of The Year prize, which automatically earned them a BRIT Award, and Disclosure brothers Guy and Howard Lawrence scooped the Breakthrough Producer accolade for their band's debut album Settle.
Everything Everything's hit track Kemosabe was named UK Single Of The Year, Nile Rodgers took the Inspiration Award, and International Producer Of The Year went to Rick Rubin.
Pop star Morrissey has attempted to make amends with iconic rocker David Bowie almost 20 years after they first fell out. The former The Smiths frontman was enlisted as the main support act on Bowie's 1995 European tour but he quit after a handful of gigs and later blamed Bowie for trying to overshadow his performances.
Since then he has made several cutting remarks about his former hero in interviews, and Bowie fuelled the bust-up by reportedly refusing to allow permission for Morrissey to use a photograph of them together on a release last year (13).
However, Morrissey has now spoken out to insist his catty remarks about the Starman hitmaker were merely "high ribbing" and even alleges he asked Bowie to duet with him on a version of You've Lost That Lovin' Feelin', but the offer was rejected.
In a question and answer session on the Truetoyou.net fansite, Morrissey writes, "When I made the (2006) record Ringleader of the Tormentors, the producer (Tony Visconti), who is a very close friend of David Bowie, tried to get both Bowie and I together to do our version of You've Lost That Lovin' Feelin', with David doing the deep Bill Medley parts, and me doing the Bobby Hatfield shrieks.
"I loved this idea, but David wouldn't budge. I know I've criticised David in the past, but it's all been snotnosed junior high ribbing on my part. I think he knows that."
We've still got another seven months to go before Valentine's Day (and frankly most of us are still wallowing in self-pity after this past Februrary's romantic misadventures) but that hasn't stopped David Bowie from releasing a music video for his newest single, "Valentine's Day."
Mere seconds into the video, it's clear that Bowie's "Valentine's Day" is not exactly a Hallmark card. We see the music legend amidst giant concrete columns in some sort of abandoned warehouse. As he sits on a stool and strums a red headless guitar, his facial expressions become increasingly more intense. The effect is augmented by closeups of his freaky mismatched eyes (the result of a scuffle over some girl during his teenage years) and the occasional shot of him dancing around like his awesomely weird David Bowie self.
Compared to his past clips, "Valentine's Day" is relatively toned down, relying on Bowie's naturally expressive countenance and distinctive voice as he croons lyrics like "It's in his scrawny hands / It's in his icy heart." It's truly chilling.
"Valentine's Day" is the fourth single off The Next Day, Bowie's first album in 10 years, and according to producer Tony Visconti, it's about a high school shooter. We're fans of the song, and the video is undeniably thrilling. But the next time we have a hankering for a February-14-themed tune from an aging but iconic musician, we'll go with Paul McCartney's "Valentine." At least that one appears to be about love.
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