Tab Hunter with Billy Vaughn’s Orchestra and Chorus entered the UK charts at number one on the week beginning 22nd February 1957 and enjoyed its place on the top for seven weeks with the song young love.

The first recorded version of the song was was by one of the two eventual writers as a solo project, Ric Cartey. The Rockabilly singer, Sonny James, picked it up and when his version appeared in the charts, Randy Wood, the record label Dot Records owner, asked Tab Hunter to do another recording. They then raced up the US charts with vocals from Sonny James, looking like they might make the top first only to be replaced by Tab Hunter For six more weeks. Sonny however, only reached number 11 at best, but it did become one of the first ever songs to be in two places in the top twenty simultaneously.

Hunter did not have much of a singing voice but he could get by with this easy-listening song and some of its follow ups, ’99 Ways’ (US number 11, UK number 5). He continued to record almost sporadically and despite appearances in musicals, Damn Yankees, (1958) and The Life and Times Of Judge Roy Bean, as well as Grease 2 in the early 1990′s, he was somehow considered to appear in low budget and more down market roles.

Tab Hunter is currently narrating the TV series, Hollywood On Horses and published a best selling autobiography on 2004.

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The popular Rode NT2A large‑diaphragm condenser mic is now being shipped with a solid range of accessories as standard. The NT2A and the other bits, re-named on the shelves as The NT2A Studio Solution retails at £323 including VAT.

The pack comprises of the mic itself, plus a shockmount, dust pouch, XLR cable and a Recording Techniques DVD, featuring Grammy-nominated producer John Merchant.

For more acute information and details, browse the Rode store and walk around the site.

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Bon Jovi have admitted they are “toying” with the idea of playing next year’s Glastonbury festival.

The group are due to play their own UK dates next summer, and will be in the country when the event in Somerset takes place in June.

In an interview with the Daily Star, singer Jon Bon Jovi offered to perform at the festival.

“I’ve always toyed with the idea of playing there,” he said. “If they don’t have another old-timer like me, I’d love to go out and see it and perhaps do a set, sure.”

The headliners for next year’s Glastonbury festival have yet to be confirmed. The public speculate on this though after U2 announced they were excited about being asked to headline. Tickets have already sold out though.
For more details about Glastonbury and all next summer’s festivals, check out the Gigwise Festival Guide.

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Klaxons are to release a free five-track EP on Christmas Day featuring unreleased material the band recorded during early sessions for second album ’Surfing The Void’.

The EP, called ’Landmarks of Lunacy’, will be available to download via Klaxons.net on December 25. It was recorded with James Ford, formerly of the group Simian and the spin off Simian Mobile Disco who produced their debut album ’Myths Of The Near Future’, at the Black Box studio in Nantes in 2008. Ford also worked with the Arctic Monkey and The Last Shadow Puppets.

The guys said: “There are periods of time that we have spent together as a band that the only suitable word that comes close to describing them is ‘magical’. The three nocturnal weeks spent at Black Box studio in 2008 under the loving guidance of James Ford was undeniably the point where the magic was peaking.”

The tracklisting for ’Landmarks Of Lunacy’ is:

‘The Pale Blue Dot’
‘Silver Forest’
‘Ivy Leaves’
‘Wildeflowers’
‘Marble Fields’

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Sometimes I’m sure that the record companies just decide to crush yours souls an onslaught of this sort of rubbish, so when the X-factor comes around again, the dribble of pop we’re exposed to then seems less of a pain.

Check out the blonde, I’m gonna assume she’s the lead in this form of abuse, who seems to piss some funny string around the 2:12 mark.

A blue break-dancing (and badly I may add) dog later and we have found the reason behind so much childhood obesity and why we picked this gash for, the worst song of the week this week.

Can I take your order please?

Let’s eat to the beat

(Chorus)
A pizza hut a pizza hut
Kentucky fried chicken and a pizza hut
A pizza hut a pizza hut
Kentucky fried chicken and a pizza hut
McDonalds McDonalds
Kentucky fried chicken and a pizza hut
McDonalds McDonalds
Kentucky fried chicken and a pizza hut

You like it you love it
You know you really want it
The voices I hear
Whenever you’re around

I want it I need it
Nothing else can beat it
Hot and spicy
Whenever I’m in town (mm mm)

Enticing exciting
Aroma so inviting
And whenever it hits
Me, I wanna take you home

Trust me you must see
Just what you’re doing to me
Driving me crazy
Hungry to the bone

I think of you and lick my lips
You’ve got the taste I can’t resist
Can’t resist – can’t resist
Let’s eat to the beat

(Repeat Chorus)

Would you like that to go?

Any sauces?

You’re so sweet and you’re neat
You knock me off my two feet
You’re chunky and hunky
I’m coming back for more (Hot Dog)

Your taste all embraces
I gotta sing your praises
Just savour the flavours
Waiting at your door

I think of you and lick my lips
You’ve got the taste I can’t resist
Can’t resist – can’t resist
Let’s eat to the beat

(Repeat Chorus)

Does anyone fancy a shake?
Shake
Ooh ooh ooh ooh ooh
Shake it to the left – Shake it to the right – Let’s shake
Ooh ooh ooh ooh ooh

I think of you and lick my lips
You’ve got the taste I can’t resist
Can’t resist – can’t resist
Let’s eat to the beat

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Johnny Ray’s “Just Walkin’ In The Rain”, written by Johnny Bragg and Robert Riley, was number for at the time a record 7 weeks, starting the week beginning November 16th 1956. And the story behind it is equally amazing.

Johnny was born blind only to have his sight reveal itself to him when he was six years old. He was a tad wild while we was growing up and was, according to the local community at the time, stitched up by the police. Astonishingly he was accused of six separate rapes, each earning him a 99 year sentence and was sent to prison in Tenessee.

The Tennessee state State Prison is reported to be a vicious institution and he was occasionally beaten unconscious, until in 1953 a new warden brought about reforms and encouraged the inmates to form a band, The Prisonairres. They were to be booked for local functions and although it might be assumed that audiences would stay away. But it was exciting to go and see three murders a rapists and a thief with a following of armed guards! The crowds turned up.

The story goes that Bragg and Riley were walking across the courtyard in the prison campus on their way to the laundry room when Bragg says, “Look, here we are just walking in the rain and wondering what the girls are doing”. That was the magic. Riley decided that was a song and within ten minute had written the first two verse, the writing duo was created, he was illiterate and in exchange for Riley writing it for him he promised him credit. It became the first big hit for Sun Records in Memphis and, despite not being able to tour too much, made it to the top of the R&B chart.

The producer for US Columbia, Mitch Miler caught wind of the song and decided that it would be a hit for for Johnnie Ray. It was given a full orchestral accompaniment and became the No. hit we know today.

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Glastonbury organiser Michael Eavishas unveiled what he called the “best solar power system in the country” in the form of 1,116 solar panels fixed atop of the Worthy Farm cowshed.

Eavis has had the panels fitted to the roof of the shed which overlooks the festival’s Pyramid Stage. Although they will be used primarily to power the Farm, the panels can generate enough electricity to power the equivalent of 40 homes annually.

“We had to make a major statement because we use so much power. This has brought us one big step closer to our goal of operating the farm as ecologically as possible,” comments Eavis. Any leftover energy generated will go into the National Grid.

The installation will also help to feed energy to Worthy Farm during the Glastonbury festival, which in 2011 will take place from June 24-26, although additional power will still be needed to cater for the massive consumption during the event.

“We’ve got the best festival in the world and the best solar power system in the country – so far,” he added. “We’ve got to keep pushing, trying to do more.”

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Sex Pistols frontman John Lydon has announced details of a Willy Wonka-style golden ticket giveaway to coincide with the release of not his comeback tour, solo project of even Pistols reunion, but his new book. One hundred golden tickets will be placed randomly into copies of Mr Rotten’s Scrapbook, due out on December 1 and you can pre-order it now.

Each lucky recipient of the golden ticket will win a 10 minute webcam conversation with the singer, where they will be allowed to ask Lydon anything they want.

Lydon’s book, which is limited to 750 copies, has been dubbed an “exciting and intimate journey through John Lydon’s life”.

It includes pictures as well as a 12” picture vinyl that is hand built into the back cover of each book.

Mr Rotten’s Scrapbook is available now priced £379, or £449 after December 1. Something of a trend it seems in, still awesome but lets face it, has-been, rock stars. This or course follows the release of a book with reported never before seen images of Jimmy Page and the other Zeppelins that came out September this year.

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There’s not much doubt as to the biggest announcement at this year’s AES Show in San Francisco. As widely rumoured, Avid have reversed their long-standing insistence on tying their Pro Tools software to their own proprietary hardware.

Heading the many eyebrow-raising features in Pro Tools 9 is the ability to make full use of third-party interface hardware using its ASIO and Core Audio drivers. In essence, all you now need to run any version of Pro Tools 9 is an iLok licence: any further Avid hardware is just optional.

It part of the effort to simplify the Pro Tools product range, the previous LE and M-Powered versions have ceased to exist, as have some of the earlier add-on Toolkits. There is now but a single Pro Tools 9, with three options available (the URL below provides detailed comparisons of the new and earlier versions). The basic version replaces LE and M-Powered, and runs natively on Intel Macs with Snow Leopard or PCs with Windows 7 (earlier operating systems are no longer supported). This can be augmented by the new Complete Production Toolkit 2, which adds almost all the Pro Tools HD features that are not dependent on HD hardware. Pro Tools HD 9 remains at the top of the tree — but anyone with an HD 9 licence will now be able to install and run the application natively, again excluding only those features that require HD hardware. This opens up a wealth of new possibilities for HD users, most obviously the ability to record, edit and mix Pro Tools sessions on laptop computers with portable Firewire or USB interfaces.

There’s a lot more to the new release than that, however. Even the basic native version of Pro Tools 9 is now significantly more capable than previous LE and M-Powered releases. Many users have been clamouring for the inclusion of automatic compensation for processing delays caused by plug-in lookahead buffers and routing to external hardware and third-party DSP cards, and this is now standard in all versions of Pro Tools 9. And whereas LE and M-Powered offered a maximum of 18 inputs, Pro Tools 9 provides 32, whether using Avid’s own hardware or via ASIO or Core Audio. Basic track count has been doubled to a whopping 96 mono or stereo tracks, or 192 with the Complete Production Toolkit 2, and there are now 256 buses as standard.

Several other key features that were previously available in native systems only as expensive add-ons are now also standard. These include the full multitrack version of Beat Detective, file interchange using the OMF, AAF and MXF formats, MP3 export and the Timecode ruler. Meanwhile, the first fruits of Avid’s recent acquisition of Euphonix are apparent in the inclusion of support for the Eucon control protocol in all versions of Pro Tools 9.

The addition of the Complete Production Toolkit makes for what is undoubtedly the most powerful native version of Pro Tools yet, adding a number of features that have previously been available only in HD systems. The most notable of these are probably VCA groups, advanced automation and up to 192 audio tracks, but there are plenty of other additions, including support for Avid’s ICON range of controllers.

Pro Tools 9 should be available very soon — boxed versions are expected to ship by November 19th — and will cost £504.95 for the basic version and £1679.95 for the Complete Production Toolkit 2. Needless to say we’ll be reviewing it as soon as we possibly can!

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The weekly insulting onslaught of offensive drivel on your ears continues with something to do with Ketchup. The Spanish Trinny and Suzanna Lookie-Likies shake it like a polaroid picture! Enjoy.

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