Fifteen-year-old, John Lennon McCullagh was one of the first signings to Alan McGee’s new label 359 Music. At the time of his signing, McGee said of the singer:

“John is an amazing talent for such a young kid! To be honest, he’s just a natural!“

But it’s not just his record label who are enthusing about this prodigious young talent, John has been receiving rave reviews for his live performances, and has been described as a teenage Bob Dylan, which even led Courtney Love to ask:

“Who is this 15-year-old kid doing Dylan better than Dylan?”

Singer/writer/author John Robb has also been equally impressed and wrote the following appraisal on his music and culture blog Louder Than War:

You know when you hear someone really good that it blows you way- it transcends influences and decades and makes something old sound brand new?

John Lennon McCullagh is a prodigiously talented 15-year-old who has got that early Dylan folk blues thing so down that it sounds like a lost demo of some American troubadour of the times that we don’t know about yet. With a middle name like ‘Lennon’ you really are going to have to be able to back it up and he does.

Don’t take their words for it, have a listen to the stunning first single from John Lennon McCullagh “North-South Divide.”

John’s debut album, North-South Divide will be released on 359 Music on October 13th, details here.
 

 
 
Bonus track ‘Slipping Away’ played live, after the jump…

 
I heard this rumor that Oasis will reform. So, I contacted Alan McGee, former head of Creation Records, and present boss of 359 Music, to find out if it was true…

You know it’s summer when they appear. Crowds of youngsters with rucksacks, tents, and crates of beer gathering at train terminals and bus stations. Their faces relieved by the finish of another academic year, and excited by the promise of distant, euterpean delights. This is the season of music festivals across Britain, from the farm fields of Glastonbury, in Somerset, to the disused airfield in Kinross, where T in the Park is held. The television and print media is saturated with these events, sending chipper young presnters to gush and gawp, or disgruntled, older reporters to dig in with all the young things, and send back epistles full of bile.

Some of their ire is understandable, as the festivals have changed so dramatically from their make-do beginnings, into near corporate enterprises. You can also see it with the acts. Once it was bands or artists on their way-up. Nowadays, it’s mainly a showcase of for aged stars to perform their greatest hits.

At T in the Park, the headliners this year were The Killers, Rihanna and the terrifyingly bland Mumford and Sons, who also (unbelievably) headlined at Glastonbury, along with The Arctic Monkeys and, of course, the oldest rockers in town, The Rolling Stones.

McGee didn’t go to any of the Festivals this year. He watched them on TV.

Alan McGee: “I despise Glastonbury because it’s like a middle class festival,” he tells me over the phone. “If you were from Glasgow, and you were going to Glastonbury, you need five-hundred-quid to get there. Who’s got five-hundred-quid to go to a fucking gig?

“I think it’s really middle class, and has little to do with what music should be about.”

I asked McGee about The Stones, the one band Glastonbury organizer, Michael Eavis had tried to book since the festival began in 1970. The Stones took to the Pyramid Stage and, depending on your age, were either electrifying or disappointing relics.

Alan McGee: “I think, to be honest, The Stones are now probably far too old. I love them, don’t get me wrong. When I saw them at Twickenham in 2007, they were only about 63, and they were still tight, they still had it. But hitting 70, they are losing their power now. It’s probably an unfashionable thing to say, because you’re expected to say, ‘Yeah, they’ve still got it.’  I know Bobby [Gillespie], saw them at Hyde Park and he was was raving about them. But for me personally, watching them on the TV, I thought they were losing power.

“The thing is Keith is busking it a bit because he’s got arthritis, and Ronnie’s carrying the whole thing. Keith only really plays offbeat chords, and you can see he’s not on form.”

Rock journalist Charles Shaar Murray summed-up The Stones performance as a magnificent, great ruin, that had to be seen. He also highlighted Mick Taylor’s cameo, which only limned the lack of Keith’s playing. But what about Jagger? His energy is incredible and he often carries the band with him, but at times, I feel that Jagger performs at the audience rather than to them. McGee thought differently.

“I think Mick Jagger is beyond criticism,” he said. “Mick Jagger is the show. He carries it absolutely.

“I think Mick Jagger and Ronnie Wood are still tough. Ronnie Wood is playing for both himself and Keith, and Mick, well they need Mick to keep the show going, he’s just bursting.” 

Keith does some stuff, “Satisfaction” was good, but I think he’s busking it, and I think we need Mick on stage, because I don’t think Ronnie can do the whole thing, it’s impossible to play all Keith’s parts and his parts.”

Alan McGee is on a wave of success at the moment. He has confirmed his first six signings to his new label 359 Music, and his autobiography Creation Stories, which comes out in November with Pan/MacMillan, is being raved about, and having seen an unedited version I can only agree with the praise. It is also been rumored that Creation Stories is about to be optioned for a feature length film. Indeed, there’s another rumor about Oasis reforming I want ask Alan about. But that can wait. we talked more about festivals and the difference in audiences.

Alan McGee: “I love Scottish audiences, I must admit. Probably biased, but there you go. The only thing that is better than Scottish audiences are Mexican audiences—they’re more mental, believe it or not. I’m not taking the piss, they’re great, but they get that mental that at some gigs they cage in the audience.

“I’ve seen Nine Inch Nails and Placebo both play to 20,000 people in Mexico City, and there is a wire in front of the bands, all the way round. That’s not to keep the band in, that’s to cage in the audience. It’s a bit like the Barrowlands [a famous venue in Glasgow] except it’s not 2,000 people, it’s 20,000 people.”
 
More from Alan McGee on his new signings, and whether Oasis will reform, after the jump…
 

 
Alan McGee thanks all of the bands, musicians and artists who submitted their demos to his new label 359 Music over the past month. The response was incredible, and the range of music impressive. Now McGee has made his first selection of 20 artists, who will be officially signed over the coming weeks.

“On 359, we will be making an announcement in the next ten days,” McGee exclusively tells Dangerous MInds. “I can tell you, we’re in talks with 20 new acts. Five contracts have already been signed, and we’re waiting on one coming in from Canada, and these will be the first six signings.

“There will be a second wave and a third wave of signings to follow. We’re already scheduling the next batch, but you won’t really be able to get the full idea of 359 Music until next Christmas, when we will have all of the records out.

“The second batch is entirely off the Internet, as is the third batch and we’re in talks with these artists to different degrees.

“The first batch of bands are ones I’ve kind of known about—like one of the artists is a girl from Canada. She’s a model who writes songs, and I met her on the Svengali shoot. I mean we’ve got fifteen-year-old kids on there and 44-year-old men. So there ain’t no rules.

“I was in London last week, and I met with three artists that I am going to sign, and one manager. The vibe I am getting back is that people are so happy that somebody is out signing bands again.

“The reaction has been great and I am so pleased I’m doing it with Cherry Red because they are completely the right partner for me, because they have genius expectations, they’re tuned-in and they want to build something new—though they know old fuckers like me still buy CDs.

“The most fascinating thing about the label is that at a time when people weren’t signing bands, to get 20 great things, and to think that there were 20 good things out there that couldn’t get signed is incredible. You know what, they’ve either been shut-out or people just aren’t listening.”

McGee has found the Music Industry has changed considerably in his five-year sabbatical. He finds the business as being like ‘a new industry,’ but one that he is exciting because of the changes in technology that make the process of finding new music far more immediate.

“You can listen to two-and-half thousand MP3s sitting in your bedroom,” he explains. “I mean all the music, the record company, the book, the film stuff, it’s all getting run out of my fucking bedroom in Wales. It’s bonkers, but you know what, it’s exciting.”

Earlier this month, McGee premiered Dean Cavanagh‘s film Kubricks, which was well received even though there was a slight hiccough with the screening, as McGee reveals.

“We premiered Kubricks in Leeds. In true Creation fashion it was—I’d like to say it was an overwhelming success—it was a success because basically James Allan [of Glasvegas] came down from Glasgow, and Lee Mavers, [who was in the The La’s] came over from Liverpool. And people were so amazed that they had come to it, in this little Arts Bar in Leeds.

“We got away with it, because we had some fucking rock stars there that had traveled. On another level, we had all gone up to Leeds to show the film because Dean lives there. But the thing is, the actual club itself had a screen that was two-thirds the size of the film. The smartest cookie in the room, to be fair, was Mavers who said, ‘What the fuck’s going with that fucking screen?’

“I had presumed, as you do, someone would have sorted it out before we started showing it. But, it ended-up, we premiered Kubricks to 80 people, where they could only see two thirds of the movie. The entire third of the right-hand side of the screen you could not see. It was truly quantum-we were in two different dimensions.”

Though McGee finds the incident funny, he is still proud of Cavanagh’s movie and has been hustling deals all over the world for its release.

“We did an I-tunes deal for Kubricks, and it’s going to come out in October in Europe and Australia on I-tunes. Next month, I’m going over to New York to do a private screening, and we’re also working on a deal in Japan.”

McGee’s film career doesn’t stop with Kubricks. He is guest star in Johnny Owen’s “5-star film” Svengali.

“I’m over the moon for Johnny Owen—he’s absolutely pulled it fucking off. It looks like it’s going to be a hit.”

Owen, who wrote and stars in Svengali as “Dixie” a pop manager on the make, has received glowing reviews from the UK press for his debut movie. The film has been nominated for an award at this year’s Edinburgh Film Festival, and to cap it all, The Hollywood Reporter  has given Svengali great review:

Essentially an excuse for audiences to spend 90 minutes with one of the most genially loveable protagonists in recent memory, Svengali is a showbusiness satire of the breezily gentle variety.

While Owen rightfully is receiving all the plaudits for the film, McGee’s performance and his sartorial attire have come in for their own critical appraisal. 

Finding time amid his extensive Middle Earth commitments, meanwhile, Martin Freeman pops up now and again as a bumptious record-shop-owning “Mod.” His fleeting contributions are fun, but arguably better value is provided by McGee, who enjoys a surprising amount of screen-time and, in what is perhaps a deliberate in-joke, is never seen without his Trilby hat.

“I read The Hollywood Reporter this morning,” McGee continues, “And people think because this is the fourth Svengali film to come out, it’s based on a story by George du Maurier. But it’s not.

“Now, I didn’t know this, but weirdly there’s some character called Trilby in that original story, who inspired the hat. And because I wear a trilby in the film everyone thinks it’s some kind of in-joke to the Du Maurier’s story. No, it’s not, it’s because I’m bald!

“I’ve never seen the other movies, and didn’t know about Trilby until Johnny sent me a link to it. We were joking because in that Hollywood Reporter review they said I got more laughs than Martin Freeman, but we thought it was mental about the hat. At the Edinburgh Film Festival everyone was asking Johnny questions about the trilby, saying you know, you guys knew that, and he said, ‘No, Alan wears a hat, he’s bald, he’s worn one for ten years.’”

With all this going on, it’s hard to believe McGee has time for anything else, but he is finishing-off his autobiography Creation Stories, which will be published in November.

“It’s at the first edit stage, and I’ve let some people see it, some close pals like Irvine Welsh, and the reaction has been really, really good. I’m happy. It was a rocky start to begin with, the original deal fell through, but I’ve got a new deal with the publisher, and it’s all good now. We’re going to call it Creation Stories, it’s the story of my life, from me being a kid right through to what I’m doing now, and stories of the bands I’ve worked with, because we thought that was the best way to tell the story.”

In the meantime, Alan is forging ahead with 359 Records, and planning to release the first batch of records soon. Though submissions are closed for this year, he will be looking for more artists next year.

 
Alan McGee has been in touch with Dangerous Minds to give an exclusive update on his new record label 359 Music.

Less than a month since he launched 359, Alan has received an incredible range of music demos from unsigned musicians and bands.

‘It’s been very good,’ says McGee, ‘I’ve had over 2,000 MP3s to listen to, and I have still about 600-hundred-odd to go. So, for anybody reading this, I will be getting back to you.

‘There’s a lot of good stuff and at least, 15 very good things I’ve found from people sending in their MP3s, which is pretty fucking incredible—considering I expected to find only about 1-or-2.

‘What’s really good is the range of the music. I expected to get 2,000 bands all trying to be like the Gallaghers, but that is not the case—it’s all over-the-shop.’

While the initial response was high, Alan noticed there were very few demos from female musicians. Therefore, he posted a further request specifically asking for more women to send in their music.

‘We put out the YouTube clip asking for more girls to send in music, because it was all blokes sending in stuff. After that post, we received about 300 girl bands out of the next 500 that were sent in and the standard of music was very high.

‘Overall, the music has been incredible. There’s a lot of stuff I hadn’t expected, especially from people who have been ignored by the system.

‘I suppose if anything, 359 is a launch pad for people. Whether they stay with us or not isn’t important—if they do, they do, if they don’t, they don’t. We are essentially a launch pad to give people a shot at it, a chance to show what they can do.

‘There is no label sound, which will become apparent after about a year-and-a-half-to-2-years. The last thing I wanted to do was create Creation Records Part 2.

‘359 is more for people who are into music. It’s more of an attitude, you know? It’s like a vibration that draws you in, do you know what I mean? Music is a vibration, it’s like why do we all love “Get Lucky” by Daft Punk? It’s because it vibrates within us and makes us feel good.

‘I’m not saying we’re going to have the next Daft Punk, but maybe one day. Musically the label is going to be all-over-the place, because it will be about creating moods, creating music that is good, and I think this will become apparent after we’ve released about 15-20 albums or so.’

359 is a partnership between Alan McGee and Iain McNay, the chairman of Cherry Red Records.

‘I think Iain is the best person to be doing this with. I mean Iain is just fucking cool. Any guy that can deal with me saying, “I’m never come to your office ever again. I’m never going to come to a marketing meeting. I am never going to go to a gig in London. And I am never going to go to an awards ceremony. As long as you can deal with me on that basis, then we’re partners.” And we are.

‘We could have gone with a Japanese major, with a 6-figure salary, but you know what, I’ve gone with Iain and it’s like, half the company, no wage, and I don’t think I could get a better deal. Can you imagine turning round to Warners Japan and saying, “I’m never going to come to a marketing meeting. I’m never going to come to your office. I’m never going to go to a gig in London, and I’m never going to go to an awards ceremony.” They would stop before I finished my first sentence!

‘Iain is the only person in the music business who can put up with my fucking demands on that! Everyone else would go, “Go fuck yourself!” But Iain can put up with that.’

‘The best thing I ever did was going away for 5-years. Where I live is completely spiritual. I can sit in my room, look at the Black Mountains, and I can just decide should I or should I not go and do this or go and do that? I find in London that everything is like a bum rush every single time. It’s just too much.

‘I think I’m averse to London. It eats your fucking soul. It’s not people’s fault, it’s just there’s no spirituality in London.  There may be creativity, but there’s no spirituality. People are on the bread-line, and they’re just used up as a resource. People just end up using each other, you know, eating each other, it’s a kind of cannibalism. It freaks me out. All I ever want to do in London is get in and get the fuck out of it.

‘With the technology now, it means you can run everything from home. I’ve got a book coming out, I’ve got a record company, a publishing company and 2-films all coming out, and I’m running it from my fucking bedroom in Wales.

‘The bottom-line is: if I can do it on a Blackberry and a computer, any fucker can do it—because I’m not that bright. You’ve got to have the confidence, but once you go after it and do it, then you realize you can do it.’

Alan also mentioned that his first film as producer, Kubricks, written and directed by Dean Cavanagh will having a special screening in Leeds this month.

‘It’s just for friends and family, but we have a plan to show it in New York, and we have a distribution deal for Europe on the table, which we’re probably going to do.’

He has almost finished his autobiography, and will be making his second appearance as an actor in the film Svengali, which stars Johnny Owen and Martin Freeman, and has been nominated for an award prior to its premiere at the Edinburgh Film Festival, later this month.

If you are an artist and want to be considered for 359 Music send an mp3 to INFOAT359MUSIC@AOL.COM

For more information, visit the site 359 Music, or follow 359 updates on Facebook.
 

 
Previously Dangerous Minds

Alan McGee unveils his new label 359 Music

 
Legendary music impresario and Creation Records founder, Alan McGee has announced details of his new record label 359 Music, which will be a joint venture with respected indie Cherry Red

In a statement issued with co-founder of Cherry Red Iain McNay, McGee said he hoped 359 Music will provide “an outlet for new music artists that have been shut out by the system.”

McGee has also pledged to listen to all submissions personally.

The joint statement reads in full.

Alan McGee:  ‘Recently I found myself reinvigorated by new music again after being 5 years away from music living in rural Wales, and from which there has been much talk about how I will return to music. As recently talked about in the press, my original plan was to do a deal with major label backing in Japan. But when it came down to it I realised that I didn’t want to come back to music through a major music label - that’s not what I want to be part of. That’s when I had a chat with Iain McNay from Cherry Red and we quite quickly put our heads together and developed between us a much better deal for 359 Music which will be a joint venture with Cherry Red.

The first ever person to ever approach me about music when I was 19 was Iain McNay from Cherry Red. That was 1980 and 33 years later Cherry Red still continues to send me publishing cheques for songs I wrote then. To me that just proves nothing but honesty and diligence. To me it makes sense and it excites me - it’s where it all started and where I will have my, more than likely, last record label. 

My vision for 359 Music is a launch pad for new talent and some ignored older talent. We intend to release on average a dozen new bands per year every year - maybe more if I find a lot of new talent I like. Hopefully some of the artists will stick around and make numerous albums with 359 but some will go on to other things and that is just nature of the musical beast.

Due to technology the world is much smaller these days and 359 Music will be run from rural Wales by phone and computer and the day to day engine room will be run by the Cherry Red team in London. So basically the day to day logistics of 359 Music will be handled by Cherry Red Records and the A&R signing policy and creative decisions will be my domain.

There is no agenda of ‘let’s be the biggest like Creation Records’ - if in 5 years’ time people who I respect and who love music can turn round to me and say 359 Music has put out some great music then that to me will be success. There really needs to be an outlet for new music artists that have been shut out by the system and I hope 359 Music will be that outlet.

If you are an artist and want to be considered for 359 Music send an mp3 to INFOAT359MUSIC@AOL.COM and I will personally listen.

“So there you have it - 359 Music. I am extremely happy to be working again with my friend Iain McNay and to be again involved in the Cherry Red family after 33 years’”

Iain McNay:  ‘Alan and I go back a long time, over 30 years in fact.  Cherry Red celebrate their 35th birthday next month and we just continue to grow and grow. We released 623 albums (all on CD) last year, mostly catalogue but with an increasing number of new recordings.  I only know of two other labels that have survived the late ‘70s Independent breakthrough intact in the UK; that’s Ace and Beggars. I like to think of the three of us as the ‘A,B and C’ of British Independent labels.

I have always admired Alan’s passion and belief in the music he loves. His maverick side will sit well with Cherry Red’s committed Independent stance. I have no doubt we will have a great adventure together. One thing is for certain, working with Alan McGee is never going to be boring…..’

Iain McNay talks about Cherry Red Records