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So, here's the first of our features new to the CMU Daily. However, Xfm's Eddy Temple-Morris has been writing a column for theCMUwebsite.com for almost three years now. Already sporting a dedicated following, with musings on music and autobiographical tales, Eddy Says is often brutally honest and always entertaining. We kick things off with some thoughts about a possible Big Beat revival. more>>
Dubstep producer Joker announced his forthcoming debut album, 'The Vision', earlier this year with 'Here Come The Lights', a collaboration with Danish band Turboweekend's Silas Bjerregaard, which will be released as a single next week. But the latest track from the album to hit the internet features collaborators from closer to home. Around the corner, in fact, all of them hailing, like Joker more>>
- European Union extends sound recording copyright term
- EU copyright directive: Everybody comments
- Sony gets restraining order against man after death threats
- BASCA announces Gold Badge winners
- Yoko champions Imagine singer on Aussie X
- N-Dubz to split in two years
- Chris Martin discusses working with Rihanna
- DJ Shadow announces album details
- Kate Bush readies new album proper
- Drake debuts new tracks
- Example plots 2012 arena tour
- The Black Keys announce tour
- Theophilus to visit London
- BMG buys Bug
- Topspin VP becomes Mobile Roadie COO
- The Orchard compiles digital tools for marketplace
- Gary Barlow names Collective
- Mick Jagger wants Keith Richards to go away and Joss Stone to shut up
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So, copyright extension. After years of campaigning, in the end it all happened rather fast, didn't it? Though, I suppose, there is still the matter of this being incorporated into 27 separate copyright systems across the European Union, and presumably the UK industry will be on the phone to relevant British ministers already lobbying them to make sure it happens as quickly as possible over here (as we understand it, the extension won't apply retrospectively to 51 year old recordings already out of copyright, so time is of the essence, another chunk of tunage will go into the public domain each January).

Anyway, yes, the European Union's Council Of Ministers (or whatever it's called these days) yesterday approved proposals to extend the copyright term for sound recordings from the current 50 up to 70 years. The last UK government originally threw its support behind such an extension back in 2009, and the basic proposals were backed by the European Commission and European Parliament the same year. However the Council - which includes reps from each EU member state - was not initially convinced, but yesterday it backed an EU directive extending the sound recording copyright term, which was hammered out by civil servants from each member state last week.

Various arguments were put forward by the record business for extending their copyrights. The disparity between the 50-years-from-release sound recording term and that enjoyed by songwriters, composers and their publishers (life plus 70 years). The disparity between the European and US term (where it's 95 years). The extent to which record labels still rely on revenue from 1960s and 1970s hits to invest in new talent today. And the fact that some aging session musicians - earning via the automatic cut (oblivious of contract) they get of certain performance royalties, most lucratively broadcast royalties - relied on monies from 60s hits to survive.

It was the latter argument that convinced British ministers of the case for extension (the UK government's Gowers Review of copyright having not supported it in 2006), hence why they backed the 70 year term (despite it being less than in the US) based on the idea that that would see out the life of any musician living off royalties from a track.

Of course, in reality it is record companies, which generally take the lion's share of royalties from sound recordings, that will benefit the most from the term extension. EMI faced seeing the all important Beatles catalogue start to come out of copyright in 2013 - and one can't help thinking yesterday's news could have a tangible impact on the price Citigroup gets for the major when it's sold later this year.

But while most media coverage of the extension yesterday focused on the pop stars who stand to benefit, those who oppose the extension are more than aware that it is corporates who have the most to gain. They often argue that 50 years is more than enough time for a record company to recoup on its investment in an artist and album, though labels, of course, would point out that in a business where many more albums make losses than make a profit, the revenues from fifty year old hits are still needed to invest in new artists.

And there are some elements of the EU directive that will directly benefit performers. A 'use it or lose it' clause will obligate labels to ensure all 50 year old recordings are available somewhere for public purchase (so iTunes at least), otherwise the featured artist will be able to take control of tracks in the extended period. There will also be measures to ensure that both featured artists and session musicians benefit more in the final 20 years, oblivious of record contracts signed 50 years ago. Though few are likely to benefit as much as their former label partners.

Although term extension dominates in the new EU directive on copyright, there are some other matters hiding in there too, including a move to harmonise rules on publishing copyrights (so on lyrics and musical score) where songs are created by more than one person. These rights, of course, are linked to the death of the creator, and generally where there are multiple creators the 70 years start counting down when the last creator dies. However, where one creator wrote the lyrics and the other the score there was some variation across Europe as to when the countdown began, with some copyright systems treating lyrics and score separately, so that the lyrics could go out of copyright before the score if the lyricist died first.

But under the new directive all EU copyright systems will apply the same rule, so that lyrics and score will be linked, and the lyrical copyright will expire at the same time as score copyright even if the lyricist dies first, or vice versa. And if that doesn't make perfect sense, then you should probably all come the CMU copyright training course, where everything will be explained in depth, and in very user-friendly terms. Hurrah.

About 4009 music industry reps lined up yesterday to support the extension (some quotes are included below), generally drowning out comments from those who oppose the move. Though, you could argue that the same applies to term extension as the Digital Economy Act, on which IP lawyer Paul Carlyle recently remarked at Edinburgh's Festival Of Politics, that while there are good arguments in favour of the measures, and those arguments are generally accepted by rights-owners and politicians, the music industry has not really won the public debate on this issue.

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Geoff Taylor, boss of record label trade body the BPI: "This important decision comes not a moment too soon. An exceptional period of British musical genius was about to lose its protection. As a matter of principle, it is right that our musicians should benefit from their creativity during their lifetimes, and that they should not be disadvantaged compared to musicians in other countries. A longer copyright term is also good news for music fans, as it will ensure that UK record labels can continue to reinvest income from sales of early recordings in supporting new British talent and compete effectively in a global market".

Alison Wenham, boss of the Association Of Independent Music: "Providing near parity with other members of the music industry, in terms of how long their copyrights can continue to earn them income and enjoy protection throughout their careers has been the goal. Copyright term extension to 70 years achieves this goal, and gives the European music community a much needed boost".

Helen Smith, Executive Chair of pan-European indie labels trade body IMPALA: "Narrowing the copyright gap with the USA and other territories is an essential move for Europe to capitalise on its world-leading position in creating music. Those most affected by the extension will be hundreds of thousands of individual artists and performers, as well as thousands of micro, small and medium-sized music companies which produce so much of the innovative and diverse music released in Europe today (80% of all new music is released by independent labels). At a time when certain interests seek to weaken copyright for their own purposes, this sends a vital message that the right of creators to earn a living is taken seriously by the EU".

Plácido Domingo, in his new guise as Chairman of the International Federation Of The Phonographic Industry: "The decision to extend the term of protection for recordings in Europe is great news for performing artists. Artists at the start of their careers will benefit from an increased pool of revenue that will be available to invest in new talent. Established artists can benefit from their work throughout their lifetimes. This is especially important today when licensed digital services make music widely available online. Extension of protection also reflects the important role performers play in the success of songs by narrowing the gap between the protection offered to recorded performances and that offered to compositions".

Fran Nevrkla, CEO of UK recording rights collecting society PPL: "This is a tremendous development and we must recognise the goodwill of the politicians in Britain and other parts of Europe who understood that this key change in the copyright legislation was long overdue. I am delighted that we at PPL, jointly with our many thousands of individual performer and record company members, have been able to play an important role in this process. It is not possible to overstate the effectiveness of the sterling work by many individual PPL performers who signed copyright petitions, lobbied parliament here and in Brussels, and generally remained completely engaged and determined to succeed. This copyright change will mean that the PPL income streams will continue to flow through to the whole community of recording artists, orchestral players, session musicians, backing singers and other performers for an additional period of 20 years which is so important, especially when those individuals reach ripe old age and are no longer able to exercise their profession. The enhanced copyright framework will also enable the record companies, big and small, to continue investing in new recordings and new talent".

John Smith, General Secretary of the Musicians' Union: "This represents a major step forwards that will be welcomed by all recording musicians. It provides some acknowledgement of the important contribution that performers make to the European creative industries, as well as recognising the current discrepancy that exists between the copyright regime and performers rights. We have campaigned for this not on behalf of a handful of extremely rich, well-known artists, but on behalf of a huge number of highly skilled session musicians who were being short changed under the current system".

Feargal Sharkey, boss of cross-sector trade body UK Music: "This is great news. I'd like to thank all the politicians who have stuck at this and finally voted for companies and particularly jobbing musicians for whom the extra 20 years of revenue will mean a great deal. And beyond the important realities of the commercial considerations, it's great that recorded music gets the cultural recognition it deserves bringing those rights more in line with the rights of other areas of the creative arts".

Stephen Navin, chief at the Music Publishers' Association: "We welcome today's decision by the Council to adopt this important directive, and as the creators, promoters and guardians of musical works publishers will in particular welcome the move to harmonise the treatment of co-written works across Europe. Not only will this decision afford greater protection to these works, it will also help to clear the path towards more efficient multi-territorial licensing. This simplification provides clarity to the benefit of both rights owners and music users alike as we gather pace towards the creation of a global repertoire database for musical works. Harmony, clarity, growth, enlightened EU legislation - a unique combination!"

Patrick Rackow, CEO of the British Academy Of Songwriters, Composers And Authors: "BASCA welcomes any move which signifies a commitment to the ongoing importance of copyright. On behalf of our members, we thoroughly support this latest development".

Sheila Bromberg, a life-long session musician who worked with The Beatles among many others: "As a working musician who recorded with a number of well known artists, particularly in the 60s and 70s, this 20 year extension granted to recordings finally recognises and more fairly rewards the work I did all those years ago. It may not be huge sums of money but to an OAP as I am, it is welcome".

Les Reed, musician and composer: "To say that I was totally overcome by the wonderful news of the extension of copyright for performers, from 50 to 70 years is, without doubt, the understatement of the century! I know that I speak on behalf of all my fellow musicians/performers, when I say that without the tremendous work carried out by PPL on our behalf, against opposition, this situation would never have evolved. Thanks to PPL, we can all be assured that true justice has taken place and we will all be eternally grateful. Having personally been involved in session work as pianist/musical director/arranger since 1958, I now don't have to worry that our John Barry Seven, Adam Faith, Tom Jones and Engelbert Humperdinck recordings, amongst others, are jeopardised for at least another 20 years".

Jim Killock of the Open Rights Group, which advocates copyright reform in favour of users: "Term extension is a cultural disaster. Research showed that around 90% of the cash windfall from copyright levies will fall into the hands of record labels. Despite the rhetoric, small artists will gain very little from this, while our cultural heritage takes a massive blow by denying us full access to these recordings for another generation. The government examined the evidence on this question twice - in the Gowers Review and Hargreaves - and both were highly sceptical. Hargreaves - only a matter of months ago - pointed out that copyright policy needs to be based on evidence, and that for copyright term extension, there was no real evidence of benefit. While Hargreaves shied away, probably for political reasons, from recommending changing course back to rejection, the report was very damning".

Andrew Robinson, Culture Spokesman for The Pirate Party, which advocates radical copyright reform in favour of users: "There can be no justification for this change, other than sheer greed on behalf of record companies. Copyright law is normally justified by saying that artists need to be compensated for their work, or they wouldn't make music, but virtually the whole of modern pop music was produced under the 50 year term. Extending the rights of Elvis, Hendrix, and Amy Winehouse won't get them to produce more work. All this copyright extension will do is channel more money into the pockets of record company executives, at the cost of depriving the public access to work for which the record companies have already been paid. This change will simply mean the music industry will rely more on their back catalogue, rather than investing in new artists. While EU politicians may do what the IFPI wants, the public they are supposed to represent grow increasingly sceptical of perpetually extended copyright. Lobbyists may be able to buy the laws they want, but growth of the Pirate Party movement shows that the public will not put up with corruption forever".

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Sony Music in the US has obtained a temporary restraining order against a man who has made "deranged and escalating" threats against the record company, which he claims has released records about him without his permission.

According to reports, Jeff Choi has sent hundreds of threatening emails and made dozens of angry phone calls to Sony, and on one occasion showed up at their LA offices, with regards to his claims. The major applied for the restraining order after Choi threatened to shoot dead two Sony execs, industry veteran Clive Davis and CFO Kevin Kelleher, if they didn't pay him $800,000 in damages. He has also made threats against singer Ne-Yo, despite him being signed to Universal.

Sony initially contacted the FBI about the man, who investigated and took Choi into custody for psychiatric evaluation back in August. He was subsequently taken to a mental health facility, where he continued to bombard Sony with phone calls, resulting in the restraining order, which will stand to the end of the month when the music firm can reapply for it to stay in place.

The FBI are now reportedly planning to prosecute Choi over the threats.

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The British Academy Of Songwriters, Composers And Authors has announced that it will present another batch of its Gold Badge Awards on 19 Oct at the Savoy in London. The awards "celebrate the careers of people who have made a special contribution to Britain's music and entertainment industry, both those in the limelight and those who work behind the scenes often without public recognition".

The year's recipients are:
Joan Armatrading
Tony Burrows
Christina Coker
Ray Davies
Christopher Gunning
Mick Hucknall
John Leckie
Arlene Phillips
Mike Read
Mike Ross-Trevor
Clare Teal
Dennis Waterman

BASCA Chairman Sarah Rodgers told CMU: "The outstanding group of men and women whom we recognise for the 38th year of Gold Badge have all in their very individual ways given something special and memorable to the community which BASCA represents. As songwriters and composers, we rely on a network of other professionals for our music to be promoted, performed, recorded, broadcast and integrated into the work of others in ways too many to enumerate. These talented people bring our music to life and in so doing, entertain an entire nation, not to say the wider world!"

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Yoko Ono has thrown her support behind a contestant on the Australian version of 'X-Factor' who did a rendition of John Lennon's 'Imagine' for his initial audition in front of X judges.

The pro-peace song is particularly relevant given Emmanuel Kelly's back story. He was born in Iraq, with missing limbs seemingly as a result of chemical warfare, to unknown parents, and found by nuns in a park in a box. He and his brother were taken to Australia by Moira Kelly, initially to receive medical treatment, though she subsequently adopted both of them.

Writing on the imaginepeace.com website, Ono wrote" "Thank you, Emmanuel. You sang beautifully! Thank you. John would have been proud of you. Thank you, thank you, thank you".

The performance is at: www.youtube.com/watch?v=eCHS6geSs-k

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Well, here's an unusual way of doing things. Dappy has confirmed rumours that N-Dubz are to split, though says it won't happen for at least eighteen months.

He is quoted by the Daily Mirror as saying: "The band is definitely going to quiet down for the next year and a half to two years. We may release some stuff every six months but it will definitely be quieter. Then at the end of that period, we will do a 'Greatest Hits' or 'Best Of N-Dubz'. Then that'll be it: finished".

As previously reported, N-Dubz were recently dropped by Universal's Def Jam after their US launch didn't go as well as expected. Well, it didn't go as well as LA Reid, the then Def Jam chief who signed them, expected. I'm not sure anyone else expected them to translate to America in any way at all.

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Chris Martin has been speaking to The Sun about Rihanna's slightly unlikely appearance on the new Coldplay album, 'Mylo Xyloto'.

Martin said: "The album is designed as a whole piece. It has boy and girl lead characters and top of our list for the girl part was Rihanna, but it took a while to pluck up the courage to ask her. We did a show in Las Vegas and I met her and said: 'Do you think there's any chance?' I was very Hugh Grant-like and spluttering about it".

He continued: "She has such an amazing voice and it's so different to mine. When the vocal happened I thought: 'Wow, you sound different'. But I think that's also because she was singing a different song to what we are used to hearing from her, and it is written by a bloke from Devon".

'Mylo Xyloto' is due for release on 24 Oct.

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DJ Shadow has released full details of his forthcoming new album, 'The Less You Know, The Better', which is due for release via Universal/Island on 3 Oct. Shadow's fourth album proper, it will feature collaborations with Little Dragon, De La Soul's Posdnuos and Talib Kweli, plus Tom Vek, whose track, 'Warning Call', you can hear here: soundcloud.com/grillmarketing/dj-shadow-warning-call

Speaking about the album, Shadow told FACT: "In terms of where it fits in [with my back catalogue], it stands up really well to the rest of the records. I think it's a record that a lot of people will like. I haven't felt that way about every record I've made but I do feel with this one, I struck a good balance with making music I was at peace with and making music that my fanbase will like".

As for the process of finding new samples for his tracks, and the development of his sound, he said: "I can put a record on that I listened to five years prior and found nothing of interest and then maybe be totally amazed at what I didn't pay attention to last time. As with any instrument you can be a drummer for your entire life and then you can decide to approach how you do differently and it will lead to new innovations and I think the same is true with sampling. I think as I mature and my understanding of music grows and changes so does my source material in my own eyes".

Here's the full tracklist for the album:

Back To Front (Circular Logic)
Border Crossing
Stay The Course (feat Posdnuos and Talib Kweli)
I've Been Trying
Sad And Lonely
Warning Call (feat Tom Vek)
Enemy Lines
Going Nowhere
Run For Your Life
Give Me Back The Nights
I Gotta Rokk
Scale It Back (feat Little Dragon)
Circular Logic (Front to Back)
(Not So) Sad And Lonely

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Esteemed pop banshee Kate Bush has confirmed she's to release a brand new album, her ninth to date, through her own EMI imprint Fish People on 21 Nov.

'50 Words For Snow' follows Bush's rearranged 'greatest hits' LP of sorts, 'Director's Cut', which came out earlier this year. Clocking in at over 65 minutes long, the new seven-track record will be "set against a background of falling snow", whatever that might mean.

Here's the tracklist to scrutinise:

Lake Tahoe
Snowed In At Wheeler Street
50 Words For Now
Among Angels

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Bigwigs at Drake's label Universal Music will no doubt be delighted to learn of the wayward rapper's latest indiscretions, which, over the weekend, saw Drizzy take to his personal blog to deliver a couple of new tracks.

First up was 'Club Paradise', a meandering ode-to-ladies on which Drake showcases his distinctive quick-switching between rapped verses and a silkily-sung hook. Second in line was 'Free Spirit', a stronger cut inspired by a Princess Diana quote. Yes, really. Backed up by guest MC Rick Ross, Drake spits a string of encouragements ("tatt my name on you so I know it's real") to his female fans over woozy saxophone tones and a muted backing track, demonstrating a verbal mastery over snappier tempos as well as the slow, viscous flow he's better acquainted with.

No word yet as to whether either of these swear-laden offerings will feature on Drake's forthcoming album set 'Take Care' (after this, Universal reps would probably rather they didn't), but both are free to claim over at October's Very Own, along with Drizzy's fresh and free remix of Wacka Flocka Flame's 'Round Of Applause'. Stream 'Club Paradise' and 'Free Spirit' below.

'Club Paradise'

'Free Spirit'

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When he's not busy deriding Will Young or mumbling monotonously over identikit beats, pop-rap man Example tends to partake in the odd headlining tour. Since as we speak the Ministry Of Sound resident latest LP, 'Playing In The Shadows', is sitting atop the album charts, it seems only right to share details of his 2012 live itinerary.

So, those dates:

24 Apr: Aberdeen, Exhibition & Conference Centre
26 Apr: Nottingham, Capital FM Arena
27 Apr: London, Arena
28 Apr: Manchester, Evening News Arena
30 Apr: Bournemouth, International Centre

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Here's an early booking for next year's gig-going calendar, then. Roots-rock twosome The Black Keys are to head out on a run of UK dates come February 2012, thus doing a little promotional plugging of an untitled seventh LP that's due out towards the end of this year.

The duo are also set to reprise their 2009 'Blakroc' collaboration with hip hop mogul Damon Dash, working with such rap types as Wiz Khalifa, Talib Kweli, Jay Electronica and Curren$y on a forthcoming sequel LP. Check out the Keys cultivating some hazy in-studio vibes in this preview trailer: www.youtube.com/watch?v=l4U6Ee8VkgM

Now, those distant-seeming tour dates:

3 Feb: Nottingham, Capital FM Arena
4 Feb: Edinburgh, Corn Exchange
6 Feb: Manchester, Apollo
10 Feb: London, Alexandra Palace

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Theophilus London is slated to make an appearance at Notting Hill Arts Club night Yoyo on 29 Sep, his first UK booking since a slot at this year's Great Escape festival back in May. The much-touted MC, who deals in a hectic, eclectic line of retro rap/hip pop, will release his debut long player 'Timez Are Weird These Days' via Warner Bros on 3 Oct.

Look, here he is playing the role of harassed celebrity in the video for album track 'Why Even Try', which features Sarah Quin of Tegan & Sara:


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BMG has bought up US independent music publisher Bug Music, which put itself up for sale again (its current owners having aborted a bid to sell in 2010) back in July. The terms of the deal, expected to be completed by next month, are not known.

But BMG chief Hartwig Masuch did have this to say: "With the acquisition of Bug Music and its vast collection of evergreen and contemporary compositions, BMG further establishes itself as a leading music rights management company. We look forward to working with Bug Music's exceptional roster of artists and songwriters".

Whether the Bug Music purchase tells us anything about BMG's bid to buy some of EMI I don't know. Actually I do, it doesn't.

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Topspin's VP Sales & Marketing is moving over to phone app specialists Mobile Roadie, where he will be COO overseeing both business development, especially international growth, and day-to-day operations.

Andrew Mains did have a stint as a freelance consultant before joining Topspin, having originally worked on digital music projects for Universal's Interscope, and during that time as freelancer worked for a while with Mobile Roadie, so the company isn't totally new to him.

And anyway, if there's anything he's not sure about at his new employer, presumably there's an app that will tell him what he needs to know.

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Independent digital distributor The Orchard has launched a new service called Marketplace which brings together various digital tools that the artists and labels that use its distribution services might want to try to promote their music and engage and sell to fans. Among the tools that will sit in the Marketplace are FanBridge, Moontoast, BandRx, Ganxy and Songpier.

The Orchard's VP of Product Marketing, Jaclyn Ranere, told CMU: "Our clients frequently ask us to recommend tools and services to power their promotions, so we've built a one stop shop that offers a collection of apps. We're thrilled with the selection of apps available at launch, and look forward to expanding this list to give our clients access to new applications as they are developed".

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Right, now I'm not saying that Sun readers are rubbish at thinking up band names, but at the very least Gary Barlow is no good at selecting them from lists of suggestions from the tabloid's faithful.

As previously reported, Barlow asked for submissions to choose a moniker for his new urban music collective, who as previously reported have recorded this year's Children In Need charity single, last month. And now he's announced that he's gone with The Collective. Seriously, that's the one he thought was best.

Produced by Labrinth, and featuring Barlow, Tinchy Stryder, N-Dubz, Ms Dynamite, Wretch32, Ed Sheeran, Rizzle Kicks, Ms Dynamite, Mz Bratt and Dot Rotten, The Collective will release their cover of Massive Attack's 'Teardrop' on 13 Nov.

I can't believe he rejected my suggestion of The Group. Bastard.

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Mick Jagger seems to be preparing for the Rolling Stones' 50th anniversary celebrations by making a list of people he finds annoying. So far it features bandmate Keith Richards and Joss Stone, who appears on the debut album from his new super group, SuperHeavy. This is more of a problem for Richards, as it seems Jagger has gone as far as banning him from attending the Stones' birthday party.

Jagger was speaking to Live Magazine about the upcoming anniversary, and suggested that rather than a big expensive anniversary tour, perhaps getting his band together and having a blue plaque installed at the site of the band's first ever gig, at the Marquee Club in London, might be a nice touch. Of course The Marquee no longer exists, having tried out various different locations before its most recent demise. And the original line-up of Jagger's band couldn't be there in its entirety for various reasons up to and including death. But some band members could still rock up to the place where the Marquee used to be. Except Jagger is still angry with Richards about things he said about him in his autobiography.

Jagger said: "Maybe we could go back to the Marquee to accept a plaque for 50 years of service instead of a tour. That could work - except Keith obviously can't come. Charlie Watts [who joined the band a few months after their first show] can come but he wouldn't get the plaque, obviously".

I'm not sure if Joss Stone would be allowed to come and watch them getting the plaque. Presumably if she promised to be quiet she would. Because Jagger also revealed that he needed a break from hearing her voice occasionally when they worked together on some songs for SuperHeavy, which also features Dave Stewart, Damian Marley and AR Rahman amongst the line-up.

He said: "She talks all the time and she is always up and laughing spontaneously. She is not like some broody, moody kind of girl who sits in the corner and you don't know what she's thinking. She's telling you what she is thinking all the time, which is quite good really. And she sings all the time. She sings all her thoughts. I say: 'Joss, can I get five minutes off the singing? Joss, shut up. Joss!'"

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