The Black Keys - Tighten Up

The Black Keys live at BBC on the Zane Lowe Show.

Black Rebel Motorcycle Club - Spread Your Love

Amazing live version of 'Spread Your Love' from Black Rebel Motorcycle Clubs debut album B.R.M.C.

Led Zepplin - Rock N'Roll

Recorded live at Madison Square Garden, New York on their 1973 world tour supporting the release of their fifth album 'Houses of the Holy' .

Patti Smith - Horses

Patti Smith in a cool, short interview followed by 'Horses' live.

Elvis - Baby What You Want Me To Do

The "King of Rock and Roll" at his coolest singing 'Baby What You Want Me To Do' live on his 1968 Comeback Special.

Primal Scream's Bobby Gillespie: 'I asked Bez to replace Mani!'

Primal Scream's frontman Bobby Gillespie has revealed that he asked Happy Mondays' dancer Bez to replace their bass player Mani when he recently rejoined The Stone Roses. Gillespie revealed that he had asked Bez to step into their legendary bass player's shoes. "I asked Bez last month," said the frontman. He continued:

During the interview, which you can read in this week's issue of NME, Gillespie also revealed that Kevin Shields of My Bloody Valentine is working on the band's 10th album. He explained: "Kevin Shields is playing guitar on one song, and hopefully Kev's gonna mix a few too."

Gillespie also revealed that his band are currently without a record label, and said that they have to "get that sorted first" before they think about when they'll be releasing the record. He added: "Maybe we'll put it out ourselves!"

The Velvet Underground file lawsuit over iconic banana symbol.

The Velvet Underground have filed a lawsuit seeking to block its iconic Andy Warhol-designed banana being used on covers for iPads and iPhones. The defunct 1960's band has announced it is taking action against the Andy Warhol Foundation after reading newspaper reports in the past year that the foundation had agreed to license the banana design.

According to the lawsuit filed in Manhattan federal court, the group have claimed the iconic banana design is synonymous with The Velvet Underground, which features on their 1967 album 'The Velvet Underground And Nico'. The design, which was never officially copyrighted, "became a symbol, truly an icon, of The Velvet Underground for some 25 years", court papers added, reports Reuters.

The Velvet Underground is seeking an injunction blocking the use of the banana by third parties, a declaration that the Warhol Foundation has no copyright interest in the design, unspecified damages, and a share of the profits made by the Warhol Foundation from any licensing deals.

Noel Gallagher hates modern music so much he praises Blur.

Noel Gallagher has hit out at today's ­"talentless" pop stars... and claimed Oasis are as great as The Beatles. The ex-Oasis star says today's acts are rubbish and he misses the days when ­Britpop ruled the charts. He also claims that ­Oasis can line up with pioneers like The Beatles and the Sex Pistols among the greats of British music.

Gallagher is currently on tour in support of a new album, Noel Gallagher's High Flying Birds, his debut solo LP and first release since Oasis broke up in 2009. Almost to his surprise, it seems to be going very well.

"You wouldn't expect me to say anything other than it's been great," Gallagher says. "But I thought that I would be very frustrated and uneasy and awkward and a bag of nerves and very dissatisfied with it. I have to say that I'm taking to it like a duck to water. I find it very relaxing, walking onstage. I'm more at ease with this than I was with the Oasis thing, to be honest, because I know there's not somebody on the other side of the stage actively going out there ready to f… my s… up. I'm kind of just getting on with it; do you know what I mean?"

Noel Gallagher's High Flying Bird's play Croke Park on 26th June 2012 as support act to the Red Hot Chilli Peppers.

Michael Eavis says he has 'sorted' the headliners for Glastonbury 2013.

Michael Eavis has said that the headliners for Glastonbury 2013 are "already sorted". The festival will not take place this summer as it now takes a customary year off in every five, but the organiser has said that this has not stopped him from booking the festival's bill toppers for when it returns in 2013. Speaking to BBC Radio 1 Newsbeat, Eavis responded to a question about what stage he was at in booking his headliners for 2013 by saying that they were "already sorted", but gave no clues about who they might be.

Eavis' comments suggest he has reversed his opinion on the future of the festival after he said last year that Glastonbury may only take place for another "three or four years" and that music fans are generally growing bored of festivals.

The Glastonbury organiser was speaking before he was honoured with a Lifetime achievement award at the European Festival Awards ceremony in Groningen, Holland last night (January 11).

The Black Keys - El Camino

Over 10 years and seven albums, Dan Auerbach and Patrick Carney have turned their basement blues project into one of America's mightiest bands. Weaned on Stax 45s and Wu-Tang loops, the Black Keys smeared the lines between blues, rock, R&B and soul, with Auerbach's horny Howlin Wolf yowl bouncing off garage-y slashing and nasty body-rocking grooves. Like that other guitar and drums duo from the Rust Belt, the Akron, Ohio, guys brought raw, riffed-out power back to pop's lexicon. On 2010's Brothers, they found a perfect balance between juke-joint formalism and modern bangzoom. The result was a few Grammys and so many TV ad placements, The Colbert Report did a sketch about it.

El Camino is the Keys' grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair. It's an attempt at staying true to the spirit of that piece-of-shit minivan on the album cover – similar to their first touring vehicle – while reimagining it as a pimpmobile.

This is the Black Keys' third meeting – following 2008's Attack & Release and one track on Brothers – with Danger Mouse, a.k.a. Brian Burton. Here, the band essentially becomes a trio, with Burton as co-producer/co-writer throughout. His brilliance, as the planet heard on Gnarls Barkley's Crazy, is blowing details of classic pop up to Jumbotron scale. Listen to the keyboard part that kicks in the door of El Camino's "Gold on the Ceiling": a serrated organ growl backed up with a SWAT team of hand claps. It's Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.

The single "Lonely Boy" works the same way, launched on a gnarly, looped guitar riff whose last note slides down like a turntable that someone keeps stopping. Then a sugar-crusted keyboard comes in, along with what sounds like a boy-girl chorus, changing the swampy chug into a seductive singalong.

The Keys cited the Clash as an influence for El Camino, and that influence is evident in the increased zip of the grooves, and in the group hug between roots music and rock spectacle: See "Hell of a Season," whose choppy guitar chords and relentless beat twists into a dubby, uptight reggae pulse. Of course, you can just as easily hear Led Zeppelin in "Little Black Submarines," an acoustic blues that gets run over halfway through by electric riffs and brutish drums, Carney doing a hilariously great junkyard John Bonham.

There's still a strange jukebox anonymity to the Keys' approach; their vintage organ and guitar sounds often project larger personae than the band itself. But part of the reason Carney and Auerbach keep finding new ways to shake up that old-school blues-rock rumble is that they're workaday dudes smart enough to get out of the way of their own songs. Like Clark Kent's or Peter Parker's, their 99 percentness only seems to enhance their powers.

Coldplay - Mylo

In the three years since Coldplay's last album, the world's problems have gotten a little more urgent. A cratering economy, riots from Tahrir to Tottenham, the prolonged ubiquity of the Kardashians – these are things that can't be solved with a lullaby, even from the biggest band to emerge in the 21st century. Chris Martin knows this. But Coldplay's fifth album – and most ambitious yet – suggests Martin cares too much not to at least try to help.

Coldplay recently entered their second decade together – the same point Springsteen made Born in the U.S.A. and U2 made Achtung Baby – so it comes as no surprise they'd want a zeitgeist-y, big-statement album of their own. On Mylo Xyloto, the choruses are bigger, the textures grander, the optimism more optimistic. It's a bear-hug record for a bear-market world.

Aided again by Brian Eno, Coldplay are still dabbling in the kind of cool-weird artiness they truly went for on 2008's Viva La Vida. But where that album sometimes seemed like a self-conscious attempt to diversify their sound, with a world-music vibe and U2-style sound effects, this time Coldplay have integrated the "Enoxification" (as they call it) into their own down-the-middle core: Check out the cascading choral vocals that augment Martin's soaring refrain on "Paradise." Prominent elements prop up the sonic cathedrals: Jonny Buckland's guitar, which is riffier and more muscular than ever, and Euro-house synths that wouldn't sound out of place at a nightclub in Ibiza.

Explicit political statements aren't really Martin's thing; he's in the uplift business. Mylo Xyloto suggests he's fully embraced his role as a not-terribly-cool guy who's good at preaching perseverance, in a voice that's warm and milky like afternoon tea. By the time he croons, "Don't let it break your heart!" over "Where the Streets Have No Name"-style guitar sparkle near the album's end, you can't help but think he's an inspiration peddler who believes what he's belting.

Oddly enough, the best moments are darker ones. "Princess of China" is a ballad about loss and regret, co-starring Rihanna. It's a partnership that probably came together over champagne brunch at Jay-Z's, but its synth-fuzz groove is offhandedly seductive. It's followed by "Up in Flames," a minimalist slow jam. Martin sings nakedly about how breakups can feel like the end of the world, or maybe it's about the actual end of the world. Either way, as end-times lullabies go, it's pretty sweet.

Kasabian - Velopicrator

When asked recently why Kasabian had chosen to name their new album 'Velociraptor!' (that exclamation mark really makes it, don't you think?) guitarist and amateur palaeontologist Sergio Pizzorno gave us a wonderfully 'Serge' answer: "Velociraptors used to hunt in packs of four," he reasoned. "They were the rock'n'roll band of the dinosaurs."

You can laugh, but statements like that are a sizeable part of why Kasabian's existence is wholly necessary. In an age of safe, say-nothing musos concerned with how their every word will play to the blogorati, Tom and Serge stand tall as bullish, blowhard Rock Stars, unafraid to make silly proclamations with poker-straight faces. They may occasionally be more Tufnel and St Hubbins than Jagger and Richards, but they make for an unfailingly entertaining proposition nonetheless.

Calling their fourth album something so utterly ridiculous is simply an extension of that, right? Maybe. But there's a viable metaphor there, too: in real life, velociraptors were nothing like the sleek, six-foot killing machines depicted in the Jurassic Park films. Instead, they were about the size of a small dog and covered in fabulous, brightly coloured feathers – the RuPaul of late-Cretaceous carnivores.

Similarly, Kasabian have never really been the knuckle-dragging lad-rock Neanderthals their detractors continually dismiss them as; they've always been a bit more adventurous and – dare we say it – smarter than anyone cares to give them credit for.

Smarter, but not exactly cerebral. Like all Kasabian albums, 'Velociraptor!' is at its most satisfying when the gloves come off and the outright silliness ensues. 'Switchblade Smiles', which squares up to the listener like a kebab-queue psychopath over glowering synths and ill-tempered 'Immigrant Song' drums, is a classic example of Kasabian operating at All Systems Gonzo.

The title track is another: a lean cut of brutish alt-riffage of the sort infrequently dabbled in by Blur, topped with a gleeful kandy-rave chorus and Tom's brilliantly syncopated snarl of "Veloci-veloci-rap-TUH!" The exclamation mark is earned several times over on that line alone.

Generally speaking, however, the songs on 'Velociraptor!' are more structurally straightforward than those of its predecessor. 'West Ryder...' was a commercial success almost in spite of itself, but in times like these, Kasabian can ill afford to take the piss. Ergo, 'Let's Roll Like We Used To' is vintage '60s sophisto-pop so classicist it could almost be a Last Shadow Puppets song; the neo-Kinksian 'Man Of Simple Pleasures' is a variation on a theme established with 'West Ryder...''s 'Thick As Thieves'; even the Serge-sung 'La Fée Verte' (it's pretentious for 'The Green Fairy'), for all its talk of taking us "Down below, where insects run the show", is basically an accomplished piece of White Album mimicry. They're fine songs, and not unambitious in their own way, but they're a little more orthodox than you might expect.

It's the skewed-weird production of Dan The Automator, not to mention the little filmic flourishes – gong-bashing, Arabian strings, the subtle, Morricone-esque motifs – which (presumably) come courtesy of Serge, that keeps everything just unpredictable enough. The insistent, Krautrock-y synthesiser riff (and the insistent, unintentionally hilarious ad-lib of "You got the groove!") that underpins 'I Hear Voices' is terrific, while the garbled psychotic dribblings placed over the run-out of 'Days Are Forgotten' totally make the song. Chewing on monkey brains indeed, boys.

Back in June, Tom Meighan pricelessly declared that 'Velociraptor!' "will change people's lives". It's an admirable, characteristically old-school sentiment, but is it also too tall an order? Possibly. This is an album with much to love about it, but it falls just short of their real game-changer, 'West Ryder...'. There's no shame in that, though, and as long as they're around, Serge Pizzorno's metaphor for velociraptors being "the rock'n'roll band of the dinosaurs" is in no danger of extending to their extinction.

The Rolling Stones - Some Girls ( Remastered )

"I really like girls an awful lot," Mick Jagger confided to Rolling Stone in 1978. "And I don't think I'd say anything really nasty about any of them." And yet the eternal kick of Some Girls is that Mick has a deliciously nasty word or two for everybody. Just when the Stones seemed to be fading away, they shadoobied back to life with some of their toughest songs ever: the punk sleaze of "Shattered," the soulful Keithness of "Beast of Burden," the late-night-disco desolation of the chart-topping "Miss You." The result was the Rolling Stones' funniest, trashiest, bitchiest LP – an all-time classic that remains their biggest- selling record.

So how do you improve an album like this? How about making it twice as long? This edition has 12 outtakes, most of which have been hoarded on bootlegs by Stones fanatics for years. Some of the bonus tracks are nearly as hot as the originals; certainly they live up to the Some Girls spirit, from the cheeky piano lament "Petrol Blues" to Keith Richards' tender Nashville cover "We Had It All."

The Some Girls sessions were famously productive – mostly just the five Stones and engineer Chris Kimsey holed up in a Paris studio cutting dozens of songs. Some of the leftovers landed on later albums – see "Hang Fire" or "Black Limousine," both of which resurfaced on Tattoo You – while others were unfinished until now. The outtakes get refurbished with guitar overdubs and Mick's new vocals. But as on last year's Exile on Main St. reissue, the touch-ups usually improve bootleg versions – see "No Spare Parts," a twang-soul truck-stop reverie that finally gets the full-on Mick vocal it always deserved.

The best find is "Do You Think I Really Care," a countrified ramble through New York nightlife driven by Ronnie Wood's pedal steel and Charlie Watts' drums. Mick chases an erotic mirage all over the city, from the D train to Max's Kansas City. Who else but the Stones could blow off a song this great?

You can hear Mick and Keith rediscover their Glimmer Twins chemistry, whether it's a blues groove like "When You're Gone" or a romp through the rockabilly chestnut "Tallahassee Lassie." (And this is just a taste of the treasures still in the vault – where the hell is "Fiji Jim"?) The whole package catches the Stones on a roll, thriving on the punk and funk energy in the air, with Mick driving the music and playing more guitar than ever. It's the ultimate version of the album that invented the Stones we've known ever since: mean, vital, gloriously unrepentant.

Noel Gallagher

Noel Gallagher of Oasis is interviewed by Australian channel Video Hits in 2005 on 'Don't Belive the Truth' tour.

John Lennon

John Lennon and Yoko Ono on the Dick Cavett Show.

Bon Scott

Interview with Bon on Australian music show Countdown November 1977.

Paul Weller

Paul Weller interviewed in Amsterdam during the making of his 2005 'As Is Now' album.

Black Sabbath's Tony Iommi issues statement over cancer diagnosis.

Black Sabbath guitarist Tony Iommi has revealed that he has been diagnosed with the early stages of lymphoma and that they would now be moving the recording process for their new studio album over to the UK so the guitarist can undergo treatment. In a statement on his official website Iommi.com, the axeman wrote:

He continued: "It's really good that the guys are coming over so that we can continue working on the album as things are going great in the studio. Not much else to say at this time, so thanks again."

The band have not said if Iommi's condition affects their planned world tour as yet. The band are scheduled to tour Europe in the summer, with a headline slot at Download Festival among the dates.

Tom Petty announces June UK and Ireland shows.

Tom Petty has announced a short UK and Ireland tour for June. The singer, along with his band The Heartbreakers, will play gigs in Dublin, Cork and London in June. All three shows precede his headline slot at the Isle Of Wight Festival.

Petty will first play Dublin's O2 Arena on June 7, then Cork's 'Live At The Marquee' event on June 8 and finally London's Royal Albert Hall on June 20.

Petty headlines Isle Of Wight Festival two days after the London show on June 22, with Pearl Jam and Bruce Springsteen acting as the event's other headliners.

Tickets for the Royal Albert Hall show go onsale next Friday (June 20) at 10am (GMT). To check the availability of Tom Petty tickets and get all the latest listings, go to www.ticketmaster.ie.

Vote Now For Your Favourite Album of All Time.

Results from the poll will air on Channel Zero throughout the month of June 2012. Along with the full countdown we will be showing documentaries/interviews with all involved in the making of these albums from the bands/artists themselves to producers, sleeve designers etc.