[tweetmeme]Barcelona’s Primavera Sound 2013 festival is underway this weekend in Spain, and one of Friday’s highlights was an appearance by The Jesus and Mary Chain, who, as you can see from the video posted below (via fpapadim), brought My Bloody Valentine singer/guitarist Bilinda Butcher up on stage to sing backing vocals on the classic “Just Like Honey” — a role often reserved for actresses like Scarlett Johansson or “Mad Men” star Jessica Paré.

The full JAMC set was webcast by the festival, and should some kind soul upload a full rip of that to YouTube, we’ll share that, too. MBV plays Primavera today, but their set is not being webcast.

The Jesus and Mary Chain f/ MBV’s Bilinda Butcher, “Just Like Honey”

PREVIOUSLY ON SLICING UP EYEBALLS

• Primavera Sound webcast: Watch Jesus and Mary Chain, Dinosaur Jr, Dead Can Dance
• The Jesus and Mary Chain to headline Canada’s Sled Island festival this summer
• The Jesus and Mary Chain’s ‘Psychocandy’ reissued on ‘paint splatter’ vinyl for Record Store Day
• The Jesus and Mary Chain, Nick Cave, My Bloody Valentine, Blur headlining Primavera Sound
• Video: ‘Mad Men’ star Jessica Paré duets with The Jesus and Mary Chain in Buffalo, Toronto

[tweetmeme]Peter Murphy may be out on the road celebrating 35 years of Bauhaus with sets filled entirely by music performed by his old band, but he’s looking forward as well as he works on the follow-up to his 2011 album Ninth, a new record called Lion that’s being produced by Killing Joke bassist Youth and is expected to arrive sometime in early 2014.

Murphy this week told Billboard that the album sessions began after he got together with Youth — who also is set to work on the new Echo & The Bunnymen album — “just to see how it went.” He says: “We did it ourselves, just like a week to see what would go over, and basically we did the album in four and a half days. It was like dropping off the edge of a cliff and no turning back, and it was really exciting.”

As for the sound of Lion, Murphy tells Billboard:

“(It’s) a mixture of stuff, almost like operas for the dispossessed. It’s very romantic and very deep and emotional, quite symphonic in places, but then becomes, like, a rabble-rousing pirate sea shanty. It’s a mixture of ‘The White Album,’ which goes into ‘Helter Skelter,’ and kind of ‘I Am the Walrus’ type of arrangement stuff. It’s a lot — kind of like, ‘Who is that person? How can he imagine he can do all that?’ I just think I’m out of place, really. I’m like (David) Bowie, Iggy (Pop), Frank Sinatra, Elvis (Presley) all rolled into one, and it’s kind of like, ‘What planet did he come from?’”

The singer is expecting to reconvene with Youth for “a second round” of recording by this fall. According to fan accounts, Murphy has been playing some of the rough mixes of the Lion songs over the PA before his performances on the current Mr. Moonlight Tour. One attendee described the new music as having “more electronic elements” than the relatively straightforward rock sounds of Ninth.

Murphy — who still faces DUI and meth charges in Southern California — has just wrapped the first U.S. leg of his all-Bauhaus tour, and is now in Europe. He’ll return to to the U.S. for a second leg in July.

See full dates below.

Peter Murphy’s Mr. Moonlight Tour: Celebrating 35 Years of Bauhaus:

EUROPE
May 24: Komplex Klub, Zurich, CH
May 26: Orion, Rome, IT
May 27: Magazzini Generali, Milan, IT
May 29: Sala Arena, Madrid, ES
May 30: Coliseum, Lisbon, PT
June 1: Bikini Barcelona, Barcelona, ES
June 3: AB, Brussels, BE
June 5: Trabendo, Paris, FR
June 6: Effenaar, Eindhoven, NL
June 7: Knust, Hamburg, DE
June 8: Loppen, Copenhagen, DK
June 10: Debaser Medis, Stockholm, SE
June 12: Tayastia, Helsinki, FI
June 14: Rescue Rooms, Nottingham, UK
June 15: Oran Mor, Glasgow, UK
June 16: Zombie Hut, Corby, UK
June 17: Academy 2, Birmingham, UK
June 18: Academy, Bristol, UK
June 19: Islington Academy, London, UK

NORTH AMERICA
July 13: Crescent Ballroom, Phoenix, AZ
July 14: Tricky Falls, El Paso, TX
July 16: Summit Music Hall, Denver, CO
July 17: Urban Lounge, Salt Lake City, UT
July 18: Visual Arts Collective, Garden City, ID
July 19: Showbox Theatre, Seattle, WA
July 20: TBA, Vancouver, BC
July 21: Hawthorne Theatre, Portland, OR
July 23: The Fillmore, San Francisco, CA
July 24: Las Vegas Country Saloon, Las Vegas, NV
July 27: Fonda Theatre, Los Angeles, CA
July 28: Belly Up Tavern, Solana Beach, CA

PREVIOUSLY ON SLICING UP EYEBALLS

• Peter Murphy pleads not guilty to DUI, drug charges — vows to continue with Bauhaus tour
• Peter Murphy facing DUI, meth charges following Southern California hit-and-run
• Peter Murphy to play all-Bauhaus concerts in U.S. to mark band’s 35th anniversary
• Peter Murphy debuts ‘Velocity Bird’ video, will post rare footage to new YouTube channel

[tweetmeme]For this week’s “120 Minutes” Rewind, we travel back to 1988 for a Kevin Seal-hosted “120 X-Ray” segment on former Soft Cell frontman Marc Almond, who discusses his then-new album The Stars We Are and its single “Tears Run Rings,” as well as his next project, Jacques, which would be released in 1989. Watch the clip below via dpallen.

’120 X-Ray’ on Marc Almond, 1988

PREVIOUSLY ON SLICING UP EYEBALLS

• ‘120 Minutes’ Rewind: Trent Reznor spends Christmas Eve with Dave Kendall — 1989
• ‘120 Minutes’ Rewind: Joey Ramone, Debbie Harry, Tina Weymouth, Jerry Harrison — 1990
• ‘120 Minutes’ Rewind: Sinead O’Connor hangs out with host Kevin Seal — 1988
• ‘120 Minutes’ Rewind: Love and Rockets’ Daniel Ash talks to Dave Kendall — 1991
• ‘120 Minutes’ Rewind: Martha Quinn shines the ‘120 X-Ray’ on Hoodoo Gurus — 1986

[tweetmeme]For this week’s installment of Vintage Video, we present an early U.S. performance by The Sisters of Mercy in the form of this full 50-minute set filmed at Chicago’s Exit Club on April 15, 1984. The show comes nearly a year before the release of the Sisters’ debut album First and Last and Always, and is notable for its inclusion of “Walk Away” with different lyrics and for a rare performance of ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” — which Andrew Eldrtich introduces by saying, “Got any Swedes in the house? This one’s for the Swede in everybody…”

Watch the full set below via Roy Oh.

Setlist: The Sisters of Mercy, Exit Club, Chicago, IL, 4/15/84

1. “Burn”
2. “Heartland”
3. “Walk Away”
4. “Anaconda”
5. “Body And Soul”
6. “Floorshow”
7. “Emma”
8. “Adrenochrome”
9. “Alice”
10. “Gimme! Gimme! Gimme! (A Man After Midnight)”
11. “Body Electric”
12. “Sister Ray”

PREVIOUSLY ON SLICING UP EYEBALLS

• ‘120 Minutes’ Rewind: The Sisters of Mercy’s Andrew Eldritch talks to Dave Kendall — 1990
• The Sisters of Mercy take 30th anniversary tour to Australia, Mexico, South America
• The Sisters of Mercy extend 30th anniversary tour with 15 more European dates this fall
• The Sisters of Mercy continue 30th anniversary tour with concerts in Europe, Japan
• The Sisters of Mercy set 30th anniversary concerts in U.K., Europe in early 2011

[tweetmeme]Barcelona’s Primavera Sound 2013 festival is underway now, and the organizers have launched a live webcast of some of this weekend’s performances, including sets by The Jesus and Mary Chain, Dead Can Dance, Swans and Dinosaur Jr, as well as Phoenix, Hot Chip and Grizzly Bear. Unfortunately, many more are not being shown, including headliners My Bloody Valentine, Blur and Nick Cave & The Bad Seeds.

Watch the webcast and see the schedule below:

Primavera Sound 2013 webcast schedule (all times EDT):

Thursday, May 23
11:40 a.m: El Inquilino Comunista
12:25 p.m.: Wild Nothing
1:20 p.m.: Delorean
2:30 p.m.: Tame Impala
3:45 p.m.: Dinosaur Jr.
4:55 p.m.: The Postal Service
5:15 p.m.: Grizzly Bear
7:10 p.m.: Animal Collective

Friday, May 24
11:50 a.m.: Pony Bravo
12:40 p.m.: Nick Waterhouse
1:30 p.m.: Peace
2:30 p.m.: The Bots
3:35 p.m.: Manel
4:45 p.m.: The Jesus and Mary Chain
6:15 p.m.: James Blake
7:20 p.m.: Swans

Saturday, May 25
11:00 a.m.: Guadalupe Plata
11:50 a.m.: Extraperlo
12:35 p.m.: Adam Green and Binki Shapiro
2:00 p.m.: Poolside
3:00 p.m.: Dead Can Dance
4:20 p.m.: Wu-Tang Clan
5:45 p.m.: Orchestre Poly Rythmo De Cotonou
6:05 p.m.: Los Planetas
7:30 p.m.: Simian Mobile Disco
8:50 p.m.: Hot Chip

[tweetmeme]It’s Morrissey’s birthday today, and while the ever-dour singer celebrated by declaring war on foie gras, one of his fans took the opportunity to drop a real surprise, marking Moz’s 54th with a leak of ultra-rare, pro-shot video capturing the singer’s first-ever solo concert in full — the one and only solo show at which Morrissey was backed by former Smiths bandmates Andy Rourke and Mike Joyce, as well as the band’s onetime touring guitarist, Craig Gannon.

Video of the Dec. 22, 1988, concert at Wolverhampton Civic Hall — originally intended as a Smiths farewell concert, and filmed for an aborted release — was posted today to smithstorrents.co.uk, and it features the full 8-song, 39-minute concert at which Moz played a mix of latter-period Smiths songs and solo material. Mostly, though, he was accosted by a steady barrage of stage invaders.

The video was uploaded to YouTube by hipsterdisco2 — check it out below before it’s yanked.

Setlist: Morrissey, Wolverhampton Civic Hall, Wolverhampton, UK, 12/22/1988

1. “Stop Me If You Think You’ve Heard This One Before”
2. “Disappointed”
3. “Interesting Drug”
4. “Suedehead”
5. “The Last Of The Famous International Playboys”
6. “Sister I’m A Poet”
7. “Death At One’s Elbow”
8. “Sweet And Tender Hooligan”

PREVIOUSLY ON SLICING UP EYEBALLS:

• Listen to a robot read Morrissey’s Wikipedia entry out loud — for a full hour
• Morrissey to resume touring this summer with concerts set for Mexico, South America
• Rare tape of early The Smiths rehearsals surfaces — hear 40-minute set from May 1983
• Morrissey cancels U.S. tour over ongoing medical problems: ‘I hope this isn’t the end’

[tweetmeme]The Dream Syndicate opens its second run of European reunion concerts tomorrow, but bandleader Steve Wynn already is thinking bigger, raising the possibility of recording new music with his old band with a very specific goal in mind: making the “missing” album that bridges the gap between 1982′s The Days of Wine and Roses and 1984′s Medicine Show.

Last week, Slicing Up Eyeballs caught up with Wynn to talk about his decision to reunite The Dream Syndicate, why he thinks the new lineup is the “best possible” mix of players to resurrect the band’s sprawling sounds, and the prospects of making the group’s first new album since 1988′s Ghost Stories.

“There should have been a record between Days of Wine and Roses and Medicine Show,” Wynn says. “We evolved a lot during that time. We went through a lot of changes, and we didn’t necessarily show our work on paper. … So one thing I’d like to do is make the record that should have happened between those two records, and this would be a good band to do it. It’s kind of method recording.

“If we do a record, that would be the idea.”

The Dream Syndicate — Wynn, original drummer Dennis Duck, bassist Mark Walton (who joined after Medicine Show) and guitarist Jason Victor, who plays in Wynn’s current band, The Miracle 3 — open a nine-date European tour in Belgium tomorrow, followed by a slot at Wilco’s Solid Sound festival in North Adams, Mass., on June 22. Full tour dates are posted below.

Read our full Q&A with The Dream Syndicate’s Steve Wynn:

SLICING UP EYEBALLS: So you’re off to Europe next week.

STEVE WYNN:  The tour starts…  you know, I haven’t even packed my bag yet. The tour starts on Thursday, I think. We’re rehearing over in Holland for a couple days then getting started.

EYEBALLS: Have you guys played since the Spanish shows last year?

WYNN: No, not as the Dream Syndicate, no. We played those five shows over there and that was the last time we’ve all been together.

EYEBALLS: Why’d you pick Spain to launch this whole reunion?

WYNN: Well, that’s kind of how the whole thing got started. There was a festival in Bilbao put together by a friend of mine. I’d played it the year before and he wanted me to come back over and bring one my bands, the Miracle 3 or the Baseball Project, to do a show, and none of them were available. I really wanted to do the festival and I just sort of had this spontaneous impulsive decision to throw the Dream Syndicate out there without really thinking about it much.

EYEBALLS: He must have been surprised.

WYNN: He loved the idea. I thought, ‘Why not.’ I’ve been in contact with Dennis (Duck) and Mark (Walton) over the years. We’ve remained friends, and I’d talked to Jason (Victor) about the idea of sometime playing together in that form. I thought he’d be the perfect guitarist for the band. It took a catalyst of some sort to make it happen, and it was this festival. And once the festival got booked, other people in Spain wanted shows and all of a sudden we had a tour.

EYEBALLS: How’d you feel about the reception?

WYNN: It was great. And that’s the thing: It’s been a long time since the last time we played together, a long time since the last Dream Syndicate show, and you just don’t know if people are going to remember or have certain expectations or what they’re going to be looking for. And that’s why we just booked the five shows. I didn’t want to go beyond the Spanish shows for the first tour. I wanted to see how it sounded, how it felt, if felt exciting. If it felt, you know, both familiar enough to be the Dream Syndicate and new enough to be worth pursuing – and it was both of those things.

EYEBALLS: You’ve obviously been playing a lot of these songs in recent years with the Miracle 3. But what feeling did you get onstage performing  them with some of the original players?

WYNN: Well, for one thing, there were a lot of songs I hadn’t been playing. I focused pretty heavily over the years on The Days of Wine and Roses and Medicine Show, and had done those albums all the way through a few times. But there were a lot of songs I hadn’t played in years, and going back and playing those, that was kind of a new feeling.

The one thing I realize the more and more as I get older is that the combination of people you play with changes the kind of show you play instantly form band to band, and you can change one member of the band and all of a sudden you have a whole new thing.

The way I play with Mark and Dennis is just a very unique thing, which is the sound of the Dream Syndicate. It turns out that even though I’ve played a lot of these songs over the years with Jason Victor, having that rhythm section, those people the way we played back together in the ‘80s, the way we played on record and the way we played together hundreds of times back in those days, it really is a familiar fit once we hit the stage.

EYEBALLS: You feel Jason is playing differently in this configuration?

WYNN: Yeah. And, in fact, that’s one of the things I wanted to see how it would be in Spain. Look, I know Jason is an amazing guitarist. I know he and I play well together. I know he knows those songs inside and out. We’ve played them together over the years. But I was curious how that would fit in the context of the Dream Syndicate and if it would feel like something, if it would feel more like the Miracle 3 than the Dream Syndicate. And he really kind of tailored his playing just a little bit, and the way he interacts on stage to make it a new thing, it feels definitely like the Dream Syndicate.

I hate to put too much analysis into this, but I think he really has found a way to completely find the best things about all the guitarists who’ve played in the Dream Syndicate – Paul Cutler and Karl Precoda – and mix those together in a real cool way, and, at the same time, going somewhere else completely new.

One thing that was always very important to the Dream Syndicate, of every lineup with every show we did, was the potential for anything to happen each night, a lot of improvising, a lot of spontaneity, a lot of just going with the mood of the evening, of taking extreme chances sometimes to the point of self-sabotage, and other times to the point of complete nirvana. Not the band.

And we’ve allowed ourselves to be almost a free-form jazz band, trying to be as much John Coltrane as we were trying to be the Velvet Underground. We wanted to really stretch it out and improvise and Jason and I really have that chemistry together. He and I have played together probably as well as any guitarist I’ve ever played with – and that works great in the context of the Dream Syndicate.

EYEBALLS: How many different songs are you rehearsing?

WYNN:  Quite a few, actually. Right now we’ve got about 25 songs down. And when I saw quite a few, that’s a lot, considering the band only recorded about 40 overall over the years. We’re gradually getting to most of the songs we did, and I think we’re adding a few on this tour. Hopefully, as we go on – and I think we’ll keep doing this for a while – we’ll eventually probably have all of them down.

EYEBALLS: On some reunion tours like this, you’ll see a band figure out a pretty rigid set and stick to it. But I take it you’re mixing things up.

WYNN: Yeah, we do. The five shows we did in Spain were completely different, and a couple of the shows on this tour we’re doing the Days of Wine and Roses album straight through, with other songs, and other shows we’re just playing any combination of things. I think we’ll take it night by night.

One of the things I’m enjoying playing with this band, and I enjoyed with the old version, too, is “John Coltrane’s Stereo Blues,” which was always just an open canvas to do whatever we wanted. And this band plays it really well. We were really stretching it out. We played a version in Madrid that was, like, “Man, we’re flying and going wherever we want to go.” It was exciting and over before I knew it. Man, I could have just kept going. Somebody asked how long it was, and it was like 22 minutes.

EYEBALLS: What’s the longest you’ve ever played it?

WYNN: I’m not sure, but I do remember the original lineup played a show in Santa Cruz back in 1982 and we went up there thinking, “Oh man, Santa Cruz, it’s a hippie town. Let’s be the Grateful Dead for one night.” So we opened with “Mr. Soul,” which was like 3 minutes, maybe 4, and closed with “When You Smile, which was maybe another 3 or 4 minutes. And in the middle we did a 45-minute version  of “John Coltrane’s Stereo Blues” – and that was the whole set.  And I think they liked it.

EYEBALLS: Obviously you kept in touch with Mark and Dennis, but was there ever any effort to put the original lineup back together? Or are Karl (Precoda) and Kendra (Smith) out of music entirely?

WYNN: Neither of them are playing very much. I really have no contact with Karl, and very little with Kendra, so that wasn’t ever a possibility. I have stayed in touch with Paul Cutler, the second guitarist, and we’ve remained really good friends, but he wasn’t interested in doing any kind of reunion or a tour. We always get together for dinner and beers when I come to L.A., but we don’t play together. He didn’t want to do a Dream Syndicate tour.

So, really, if it was going to happen, this is the way it was going to have to be, and it goes back to why we tried the short tour in Spain. Because who knows? Even though it should work on paper, maybe it wouldn’t have worked. What was really exciting is I really do believe this is the best possible Dream Syndicate lineup there could be right now, in terms of representing what we did, what we were all about back then. It’s closer to the excitement, the sound, the ideal, the improvisation, the weirdness, the confidence, all the things I loved about the band.

EYEBALLS: Now, after this European tour, you’ve only got one U.S. show booked: Wilco’s Solid Sound Festival. And it’s being billed as your only U.S. appearance this year. You seem to be taking things slowly over here.

WYNN:  I think more will happen down the line. We really wanted to do the Wilco festival because it’s a great festival. We wanted it, and they wanted to have the exclusive for the first show we were going to do (in the U.S.), and that was fine by me.

EYEBALLS: It’s a good fit.

WYNN: Yeah, we’re fans of the band, and Nels (Cline, Wilco’s guitarist) and I are old friends. Nels and I were actually working together at Rhino Records in L.A. when Days of Wine and Roses came out, so it’s a nice kind of full circle thing to be able to play a show with them. Once we get through this show, we’ll probably do more down the line.

EYEBALLS: I’m sure there are fans around the country that would love to see that.

WYNN: Where are you based?

EYEBALLS: I’m in Denver, so that’s a long haul (to Solid Sound).

WYNN: We had some really fun shows out there. I remember some really cool shows. It would be great to do more. It would be natural to do a New York show and an L.A. show and take it from there.

EYEBALLS: What about a package tour with the Miracle 3, the Baseball Project, maybe the Minus 5?

WYNN: Those bands do play together a lot, and we’ve had package tours. But I think we’re going to keep (the Dream Syndicate) pretty separate. At this point, there’s a blurred line between all the bands you just mentioned, and in the midst of all the Dream Syndicate stuff, all of those band are fully active. I’m going to end up doing a show right after the tour in Norway, a Baseball Project/Minus 5/Peter Buck Band/Robyn Hitchcock and the Venus 3/Steve Wynn Band combo thing that’s really just eight or nine people wearing different hats throughout the evening. And that’s really fun. I love the variety show approach to bands. But I think the Dream Syndicate will exist as its own very limited thing.

EYEBALLS: What about making new music as the Dream Syndicate? You’ve said you’re open to it.

WYNN: Yeah, actually, the more I’ve thought about it, the more I think it would be fun to do a new record. One of the biggest regrets, probably one of the only regrets, because I’m pretty happy with how things have gone over the years, one regret is that we didn’t make more records than we did. It was a time in the ‘80s when things were very deliberate. You made demos and waited and waited and, you know, there was a distant time table. I think that band should have made at least two or three more records. In particular, there should have been a record between Days of Wine and Roses and Medicine Show. We evolved a lot during that time. We went through a lot of changes, and we didn’t necessarily show our work on paper. It’s a giant sonic, stylistic leap from the Days of Wine and Roses to Medicine Show. But while we were on the road, it was very gradual and understandable progress.

So one thing I’d like to do is make the record that should have happened between those two records, and this would be a good band to do it. It’s kind of method recording. If we do a record, that would be the idea.

EYEBALLS: How do you get yourself back in that mindset?

WYNN: You know, every time I go play these songs on stage, I’m back in that mindset. Every time I play with Dennis, who is the one person I played with the entire duration of the band, I’m back in that mindset. It’s easy to fall into that way of playing and that way of thinking.

EYEBALLS: Have you started writing new Dream Syndicate music?

WYNN:  The songs are being written in my head, very slowly in my mind. It’s a jumble in here with Baseball Project songs as well. I’ll let them duke it out.

EYEBALLS: I’d think with Baseball Project songs it’s easy to keep them separate, given how topical those have to be.

WYNN: Exactly.  The thing with the Baseball Project is, I know what I’m writing about all the time. The subject matter is very focused.

EYEBALLS: Has doing those Baseball Project records changed the way you approach writing other songs? I imagine it’s sort of a writing exercise.

WYNN: It is. It’s definitely a writing exercise. And, in fact, Scott (McCaughey) was just laughing about something, we were talking about the new songs, and when he has a song, I’ll say, “So what’s your angle?” It’s almost like we’re having an editors’ meeting for a newspaper. He’ll say, “I’m writing about Hank Aaron.” And I’ll say, “Great, Hank Aaron. So what’s the angle?”

I was a journalist and a sportswriter when I was in my teens, before Dream Syndicate and all that, so there’s always a bit of who, what, where, when and why, the solid lead, the development and then a snappy ending in the back of my mind, and that really plays into the Baseball Project. They’re all like little articles, short stories or whatever.

But then if I’m doing the Dream Syndicate thing, that process wouldn’t apply at all. Almost with the Dream Syndicate, it’s what kind of songs would allow us to do our big, beautiful, sprawling mess as well as possible. That was always the thing. I mean, sure, they were songs that worked well as folk songs on the back porch with an acoustic guitar, but really, the Dream Syndicate songs that were best were the ones that allowed the band to do its thing.

If I wrote a sweet little bubblegum song, a Tommy Roe song or something like that or an Archies song, it wouldn’t get the most out of the band. Something with two chords for 25 minutes would be the best kind of thing for the Dream Syndicate.

But it has to be the right two chords.

The Dream Syndicate tour dates:

May 23: Het Depot, Leuven, Belgium
May 24: Dingwalls, London, UK
May 25: Rockefeller Music Hall, Oslo, Norway
May 26: Stadtgarten, Cologne, Germany
May 28: Hana Bi, Ravenna, Italy
May 29: Bloom Club, Mezzago, Italy
May 30: Mylos, Salonica, Greece
May 31: Stage Club, Larissa, Greece
June 1: Gagarin 205 Live Music Space, Athens, Greece
June 22: Solid Sound Festival, North Adams, MA, USA

PREVIOUSLY ON SLICING UP EYEBALLS

• The Dream Syndicate to play ‘first U.S. show since 1988’ at Wilco’s Solid Sound festival
• Video: The Dream Syndicate reunites for 30th anniversary concerts in Spain
• The Dream Syndicate reuniting to mark 30th anniversary of ‘The Days of Wine and Roses’
• Q&A: Dream Syndicate’s Steve Wynn on Baseball Project, ‘Northern Aggression’

[tweetmeme]Exploring the legacy of ’80s college rock, the Slicing Up Eyeballs Music Hour airs Tuesdays at 10 p.m. Eastern/7 p.m. Pacific on Strangeways Radio. If you caught tonight’s episode, pop over to the Strangeways message board to leave comments or requests for future shows.

And if you missed tonight’s episode, it’ll rebroadcast at 2 p.m. Eastern/11 a.m. Pacific on Friday at strangewaysradio.com.

R.E.M., “Turn You Inside Out” (Live)
The Only Ones, “Another Girl Another Planet” (Peel Session)
Renegade Soundwave, “Biting My Nails”
The Damned, “Alone Again Or” (Mixed Again)

Black Flag, “Down in the Dirt” [NEW]
The Chameleons, “Inside Out”
Nick Cave & The Bad Seeds, “Jubilee Street”
Sad Lovers & Giants, “Landslide”

Echo & The Bunnymen, “Bedbugs and Ballyhoo” (Featuring Ray Manzarek)
X, “Soul Kitchen” (The Doors)
Jane’s Addiction, “L.A. Medley” (Featuring The Doors’ “L.A. Woman”)
The Cure, “Hello, I Love You” (The Doors)

Mark Mulcahy, “Let the Fireflies Fly” [NEW]
The Smiths, “Cemetery Gates”
Tears For Fears, “The Hurting”

British Electric Foundation f/ Boy George, “I Wanna Be Your Dog” [NEW]

[tweetmeme]Famously dubbed “the only band that matters,” punk icons The Clash return to record stores in a big way this September, with the release of a 12-disc box set called Sound System — featuring five of the band’s six albums, a DVD with unseen footage and three discs’ worth of demos, non-album singles, rarities and B-sides — as well as a new double-disc best-of set.

Due out Sept. 10 on Sony Legacy, the boom box-shaped Sound System — a pricey set, available for pre-order on Amazon.com for $290 — features newly remastered editions of the band’s first five albums, omitting 1985′s post-Mick Jones record Cut the Crap, which continues to be whitewashed from the band’s history. See full tracklist for the bonus material below.

The box set’s DVD will include “previously unseen footage” by both Don Lets and Julien Temple and original promotional videos and live clips. The collection also includes “an owner’s manual booklet,” reprints of the original “Armagideon Times” fanzine as well as a brand-new edition put together by Paul Simonon, plus dog tags, badges, stickers and a poster.

In announcing the set, Jones tells The Guardian newspaper:

“The concept of the whole thing is: best box set ever. Remastering’s a really amazing thing. That was the musical point of it all, because there’s so much there that you wouldn’t have heard before. It was like discovering stuff, because the advances in mastering are so immense since the last time [the Clash catalogue] was remastered in the 90s. … We had to bake the tapes beforehand – the oxide on them is where the music is, so if you don’t put them in the oven and bake them, that all falls off, because they’re so old.”

Also in September, the band will release The Clash Hits Back, a new 2CD, 33-track best-of sequenced with studio recordings to replicate the group’s July 10, 1982, concert in Brixton, plus eight additional tracks.

Below, check out details of Sound System, full tracklist for Hits Back and not one but two preview videos.

Tracklist: The Clash, Sound System box set

CD 1
The Clash

CD 2
Give ‘Em Enough Rope

CDs 3-4
London Calling

CDs 5-7
Sandinista!

CD 8
Combat Rock

CD 9
Sound System Extras 1
1. White Riot (Single version)
2. 1977 (B-side)
3. Listen (Capital Radio EP) / Interviews (Capital Radio EP)
4. Capital Radio (Capital Radio EP)
5. London’s Burning (Live B-side Remote Control)
6. Complete Control (Single version)
7. City Of The Dead (B-side)
8. Clash City Rockers (Original single version)
9. Jail Guitar Doors (B-side)
10. White Man In Hammersmith Palais (A-side)
11. The Prisoner (B-side)
12. 1-2 Crush On You (B-side Tommy Gun)
13. Time Is Tight (Black Market Clash)
14. Pressure Drop (B-side English Civil War)
15. I Fought The Law (Cost Of Living EP)
16. Groovy Times (Cost Of Living EP)
17. Gates Of The West (Cost Of Living EP)
18. Capital Radio (Cost Of Living EP)
19. Armagideon Time
20. Bank Robber (A-side)
21. Rockers Galore On A UK Tour (B-side)

CD 10
Sound System Extras 2
1. Magnificent Dance (12”) 5:36 (available on Singles box set)
2. Midnight To Stevens (Outtake)
3. Radio One (B-side Hitsville UK)
4. Stop The World (B-side The Call Up)
5. The Cool Out (US 12” B-side of The Call Up)
6. This Is Radio Clash (A-side)
7. This Is Radio Clash (B-side 7” – different lyrics)
8. First Night Back In London (B-side Know Your Rights)
9. Rock The Casbah (Bob Clearmountain 12” mix)
10. Long Time Jerk (B-side Rock The Casbah)
11. The Beautiful People Are Ugly Too (Outtake)
12. Idle In Kangaroo Court (Outtake listed as Kill Time)
13. Ghetto Defendant (Extended version – unedited)
14. Cool Confusion (B-side Should I Stay Or Should I Go 7”)
15. Sean Flynn (Extended ‘Marcus Music’ version)
16. Straight To Hell (Extended unedited version from Clash On Broadway)

CD 11
Sound System Extras 3
Extracts from The Clash’s first ever recording session at Beaconsfield Film School 1976. Recorded by Julien Temple
1. I’m So Bored With The USA
2. London’s Burning
3. White Riot
4. 1977
Polydor Demos – The Clash’s second recording session January 1977
Produced by Guy Stevens
5. Janie Jones
6. Career Opportunities
7. London’s Burning
8. 1977
9. White Riot
Live at The Lyceum, London 28th December 1979
10. City Of The Dead
11. Jail Guitar Doors
12. English Civil War
13. Stay Free
14. Cheapstakes
15. I Fought The Law

Bonus DVD
Julien Temple Archive – 6:20
White Riot Interview – 7:10
Promo and interviews with Tony Parsons
1977 1:87
White Riot 1:48
London’s Burning 2:05
Sussex University 1977
I’m So Bored With The USA 2:14
Hate & War 1:94
Career Opportunities 1:42
Remote Control 2:73
Don Letts Super 8 Medley 11:40
White Riot 1:52
Janie Jones 1:73
City of the Dead 2:04
Clash City Rockers 2:15
White Man in Hammersmith Palais 2:53
1977 1:41
Clash On Broadway – 19:50
London Calling
This Is Radio Clash
The Magnificent Seven
Guns Of Brixton
Safe European Home
Promo Videos
Tommy Gun 3:00
London Calling 3:20
Bankrobber 4:00
Clampdown (Live) 5:00
Train In Vain (Live) 2:10
The Call Up 3:10
Rock The Casbah 3:20
Should I Stay Or Should I Go (Live at Shea Stadium) 2:50
Career Opportunities (Live at Shea Stadium) 3:00

Tracklist: The Clash Hits Back

CD 1
1. “London Calling”
2. “Safe European Home”
3. “Know Your Rights”
4. “(White Man) In Hammersmith Palais”
5. “Janie Jones”
6. “The Guns of Brixton”
7. “Train in Vain”
8. “Bankrobber”
9. “Wrong ‘Em Boyo”
10. “The Magnificent Seven”
11. “Police on my Back”
12. “Rock the Casbah”
13. “Career Opportunities”
14. “Police & Thieves”
15. “Somebody Got Murdered”
16. “Brand New Cadillac”
17. “Working for the Clampdown”

CD 2
1. “Ghetto Defendant”
2. “Armagideon Time”
3. “Stay Free”
4. “I Fought the Law”
5. “Straight To Hell”
6. “Should I Stay or Should I Go?”
7. “Garageland”
8. “White Riot”
9. “Complete Control”
10. “Clash City Rockers”
11. “Tommy Gun”
12. “English Civil War”
13. “The Call Up”
14. “Hitsville UK”
15. “This Is Radio Clash”

The Clash – Sound System Cut Out Show

The Clash – Sound System and Hits Back Trailer

PREVIOUSLY ON SLICING UP EYEBALLS

• Vintage Video: The Clash rocks Tokyo on Jan. 28, 1982 — watch full hour-long set
• Joe Strummer & The Mescaleros releasing digital box set, expanded CD reissues
• The Clash’s ‘Sandinista!’ to receive 30th anniversary reissue with bonus DVD
• The Clash’s Mick Jones, Paul Simonon reunite on Gorillaz’s upcoming ‘Plastic Beach’
• The Clash’s ‘London Calling’ 30th anniversary reissue skimpier than 25th anniversary set

[tweetmeme]Because it’s increasingly true that you can indeed find anything on the Internet, here’s a brand-new way for Morrissey fans to kill an hour: by listening to a robot recite the former Smiths frontman’s full Wikipedia entry out loud over the course of 59 minutes and 54 seconds.

Yes, this is obviously a tool to help bring Wikipedia to those who can’t see or read — it’s part of a huge series of such videos posted to YouTube by wikispeak10 — but there’s just something oddly wonderful about hearing a disembodied, computer-assembled voice telling you about that time Moz “took up boxing and was accompanied everywhere by a skinhead named Jake.”

Check it out below (via Somedizzywhore):

PREVIOUSLY ON SLICING UP EYEBALLS:

• Morrissey to resume touring this summer with concerts set for Mexico, South America
• Rare tape of early The Smiths rehearsals surfaces — hear 40-minute set from May 1983
• Morrissey cancels U.S. tour over ongoing medical problems: ‘I hope this isn’t the end’