Music

To understand Bob Dylan’s Fragments – Time Out Of Mind Sessions (1996-1997) – due to be released on Friday – you have to go back half a century to the release of the Beatles’s Let It Be. As millions of fans around the world bought the band’s final album, Paul McCartney was horrified. This was not the disc he had conceived: some of the most cherished songs in his oeuvre had been hijacked by superstar producer Phil Spector, who stamped his trademark ‘Wall of Sound’ during the album’s post-production process, filling it with lavish embellishments. Fast-forward to the mid-1990s and another legendary songwriter was at loggerheads with a different superstar

He was one of the most unlikely pop stars this country has ever produced: extraordinarily badly dressed and famously contrarian, with a voice that sounded more like an angry man shouting than anything recognisable as singing. But Mark E. Smith, front man of the Fall, became one of the most recognisable and eventually revered figures on the music scene. And five years on from his death at 60, his stock is higher than ever – his influence heard in the sound of newer bands such as Sleaford Mods and Idles, his name regularly evoked on the likes of BBC Radio 6 Music, and a giant tribute mural an unlikely tourist

‘Pitiful.’ That’s the verdict of Damian Green MP, acting chair of the digital, culture, media and sport committee, on the payouts that streaming companies such as Spotify and Apple Music provide to musicians. An update to the group’s Economics of Music Streaming report, published on Friday, calls on the government to take a ‘proactive strategic role’ to make sure Britain’s music industry – one of the few that truly is world-beating – gets the cash it deserves. With streaming now accounting for 84 per cent of UK recorded music revenues, its businesses model really matters. Spotify controls up to 60 per cent of the British streaming market (Apple Music and

This month our trivia-inspired tour of London’s postcode areas reaches NW, where Tim Burton snored, Madness caused an earthquake and Desmond Tutu asked policemen for directions even though he knew where he was going…

It’s hard to imagine how baffled the British public must have been by the arrival of David Bowie on to TV screens in the early 1970s. With his saffron hair, make-up and androgynous clothes, superficially he looked like a rejection of everything his post-war south London childhood had taught him. One of the most pivotal scenes in Moonage Daydream, the recent film about his life, is his 1973 interview with chat show host Russell Harty. Throughout this awkward cross-examination, Harty searches for a label he can stick on Bowie for the benefit of discomfited viewers. ‘Are those men’s shoes? Or women’s shoes? Or bisexual shoes?’ Harty inquires, looking down at Bowie’s strappy

Bankers and other assorted finance bros are an inescapable presence on the London nightlife scene. Industry, the British-made TV drama that follows a group of graduates on (and off) a City trading floor, begins its second series on BBC1 tonight and spares no detail of the drug-fuelled hedonism of its young bankers. One plot arc in the first series starts when the protagonist, exhausted after a long night on the powder, executes a trade in the wrong currency. Some in the field have protested that the on-screen excess is unrealistic. But much of it is apparently inspired by real-world experience. Mickey Down, one of Industry’s creators, spent just over a

For the finale of the #FreeBritney franchise, it seems that the 2000s Queen of Pop is to return to music. Recent reports have claimed that Britney Spears will be collaborating with Elton John on a song titled ‘Hold Me Closer’. As exciting as this is, I can’t help but think that – seeing as her conservatorship was ended less than a year ago by a court ruling – she may be biting off more than she can chew. I question if she is truly ready to return to the inevitable pressure that comes with being in the public eye. I’m no therapist, but the treatment that Britney has endured over

Beyoncé Knowles has always been sexy: naturally and consciously so. But her sexiness – those astonishing bottom-swooshing dance moves; the gleaming, undulating chest; the ever-changing, lustrous locks – sat alongside a moral substance that grew as her career progressed. She weighed in on politics, raising $4 million for Barack Obama and singing at his first inaugural ball. She weighed in on sexual morality, telling women in one of her most iconic songs that their man ought to, if he was to be taken seriously, ‘put a ring on it’. She is a committed Christian, having grown up in a Methodist household and frequently spoken of her faith. And she is

Along with films about real life authors, poets, comedians and artists, biographies of musicians are notoriously difficult to translate successfully to the cinema screen. Why? Writing and painting aren’t inherently cinematic; live music has more visual potential (hence the greater number of motion pictures). But the challenges of lip-synching and the existence in most cases of plenty of original concert footage raise the stakes for any actor prepared to take on such a role. There’s a real danger of performances falling into pastiche and mimicry. Directors face an even greater predicament when music rights are refused, as was the case with the recent Stardust (2021) where actor/musician Johnny Flynn had