New T Shirts In The Script Web Store

#3 T-Shirts are now available in the official webstore priced at £20.00

UK POSTAGE

EUROPEAN POSTAGE

REST OF THE WORLD QUOTES AVAILABLE IN THE STORE

Source: thescript.firebrandstore

Jingle Bell Ball 2012 Saturday Line-Up Announced

The likes of One Direction, Bruno Mars, JLS and Lawson will all play the first day of the Ball. 

The line-up for the opening night of this year's Capital FM Jingle Bell Ball in London has been announced. 

The event takes place at the O2 Arena on the 8th and 9th December, and this year will feature performances from the likes of Bruno Mars, One Direction and The Script. 

Little Mix, Lawson, Rizzle Kicks and JLS will also perform on the first day of the Jingle Bell Ball. 

Details about one more remaining act will be announced during Capital Breakfast on Monday (5th November). 

Jingle Ball Ball tickets go on general sale on Monday (5th November 2012) at 8am.

V.I.P Pre-Sale tickets sold out within 1 hour, so the presale has now closed

 Set your alarms and we will see you here at 8am on Monday - Don’t miss out!.

Keep your eyes and ears on the ball by visiting our special Jingle Bell Ball area for all the latest information on this year's hit music event. 

Source: capitalfm

The Script's Danny O'Donoghue on songwriting and reaching a larger audience The Voice UK

The Script’s 2008 breakthrough song “Breakeven” was everywhere four years ago. The well-crafted lyrics, catchy melody and infectious rhythm brought the band to a whole new level. Since then, the Irish band has been on a whirlwind ride; racking up hit songs around the world not only for themselves, but writing for others [Kris Allen’s “Live Like We’re Dying”], opening for U2 and Paul McCartney, and lead vocalist Danny O'Donoghue was recently a judge on The Voice UK. MSN caught up with Danny, the band’s vocalist/keyboardist/guitar player/writer/producer at a tour stop in Seattle to chat about songwriting, The Voice UK, and the band’s new record, #3.

Mark [Sheehan, guitar/vocals] was talking about “Breakeven” hitting big, and you guys get this massive success, and the economy collapses at the same time. Now instead of you being the starving musicians at the pub with friends buying you pints, it’s turned the other way around. That’s a very interesting thing to happen and informed a lot of the last record, Science & Faith.

Yeah, “For the First Time” was the first song that came along. We went back to Ireland and realized that everyone’s down and out. I’m glad we came home and shared the success of what we’d done worldwide. You almost just wanted to take a shovel and dig in, it was such a long time. We had been there 10-15 years, being very unsuccessful. We were borrowing money and doing the whole shebang. The tables turned, and we were enjoying success. Again, it’s at this period, where in two years’ time, it can all turn around and flip again. You never know. We’re broke, and everyone’s rich. You never know. For us, going back and actually writing about that, and being a part of it, that was really important for us, particularly on Science & Faith. I think now, even on the new record, on #3, we still have the sense of optimism. We may not have a pot to piss in, but at least we’re all here together. We still prescribe that.

Science & Faith is an interesting pairing. Can the two live together?

I’ll tell you now, Science & Faith, the ultimate question is can the two go together. I’ve talked to people. I’ve talked to men of science… doctors, etc… It doesn’t how far you go down one of the two roads; they always lead to the other one, because religion can only explain so much. Then science has to take over. Then science can only explain so much, and then religion has to take over. What I mean by religion, I just mean faith. It’s a crazy thing. A friend of mine, who is a brain surgeon, he wants to help people and start looking at the chaos of the human body. The more that he got involved, and the more that he gets involved on the molecular level, he sees that there’s a pattern to all of this. So he went away from religion, and went to science, and then came back to religion. There’s a pattern here. There’s a maker. There’s kind of an architect. I just thought that that was amazing. I just sat there, kind of, “Whoa!” it doesn’t matter how far you go down the road, you can only explain so much. Something else has to take over. It really is interesting. On Science & Faith, we kind of went, “Well, imagine science being a man, and faith being a woman.” Science being this logical guy. He thinks he has it all figured out, but then faith can say one or two words, and just the flatten the guy down. There is no real winner. I just thought it was a great kind of male energy / female energy. That’s why we have two hands on the front of the album. Which is basically saying, “Well, if her name was faith, and his name was science, there’s the two of them, but the two can’t live without each other either.” Although they are opposing ends, it’s like good and bad. You can’t live without either one. Not one can exist without the other. It sounds like we’ve over-thought it a lot, but I just love over-thinking stuff.

I don’t think you can over-think the “Where do we come from?” question.

I think we’re all made of music. Generally, we’re all made of frequency, and we’re all made of music. Even on tiny level, we’re still vibrating. Every part of your body vibrates, even on a tiny level. Walking around, you’re a piece of music.

I like that. Does that topic come across on the new record #3 anywhere?

Maybe “Kaleidoscope.” I like the lines of it. It basically means that my colours come alive when I’m alive with you. It’s basically about giving everything in this life… the pleasure and the pain. Absolutely everything, because that’s what makes life. That’s the good and bad with life.

“Kaleidoscope” has a very arena rock, Edge like guitar lick to it. It sounds like it’s built for stadiums.

Yeah. From playing in stadiums, you kind of learn a trick or two. We definitely envisioned ourselves playing arenas and stadiums this time around. You always go, “Sh*t, we’ve been to loads of rock shows, and loads of hip-hop shows. What are the best moments, and can we create that with our own music?” “Kaleidoscope” is one of those songs that we just went, “You know what? If it doesn’t make a single, we don’t give a sh*t, because it’s just such a great live song.” You can really sing it out when it comes to playing live. That’s the opportunity to just blast the crowd with a lot of colours. It’s just a really fun, up-tempo song. A lot of our songs are about the ins and outs of relationships, and general life stuff. That was just a fun song. Everyone can just kick off the boots and go crazy. It’s great.

Do you write with the stage show in mind?

We never do that. You can’t help when you’re in the middle of the song, and the chorus kicks in, and you lay down the vocal, you can’t help but dream. You’re kind of, “Oh sh*t, this is going to be f***ing great if...blank.” You know from conception to completion that you’ve done it before. When you find something you go, “Sh*t, this is really f***ing working.” You can’t help but shoot the video, shoot the live. Funny, even going back to Science & Faith, and “For the First Time,” there’s a part of the song where we go, “Oh, these times are hard, yeah, they’re making us crazy. Don’t give up on me, baby.” That part there, I generally heard as a crowd. When that part came, I heard it as a crowd. I could just hear thousands of people singing that part. We laid it down like that. Low and behold, you get to the stage, and that was the first time that I thought of something in the studio that the crowd can sing, and they did actually sing it [laughs]. So many times you go, “They’re really going to sing this bit!” and they don’t. They f***ing whistle the whistly bit.

When did you have time to write this? Because you basically got off the road and went right into the studio, right?

Yeah. We went right into the studio. I was a coach The Voice back in the UK. We just decided that we’re not in this to just f*** around. There are a lot of bands out there who are putting in a lot of legroom, and a lot of footwork. We can either do this: take time off, and I’ll go do the TV show. Obviously it’ll bring out the profile of the band, and give us a better chance, and platform for us to bring our music to people. I think people get misconstrued with The Script, that there’s another point to this band that we’re all about ourselves. 

What do you mean by that?

We don’t care about what we look like. We just care about the music. When we go on a show, like The Voice, I guess the real hard critics will go, “Well, they’re a band going on a reality show.” We just feel that that’s quite a pigheaded approach. We’re ¼ of the panel. There are no other bands on any of these shows. I’m in a band. I think it’s really important that bands don’t snub their noses at these opportunities to get their music out there, and to build up a profile. I guess we build up our own profile, but we also brought a band in general. Kids will come up to me, weeks after I’ve done The Voice, and say, “I’ve just picked up a guitar and want to play it like you do, or that U2 song. Or I just picked up the keyboard and play it just like you.” Nobody says, “Wow, I want to spin on my red chair just like you.” I was proud of that. I was proud of the fact that kids are actually watching that, and picking up instruments, and going, “I want to be like him.” I think that’s really, really important. There might be the next little Jimi Hendrix, but he hasn’t had a guitar in his hand yet, and he’s probably sitting the watching The X Factor. I’m just talking these days, because 14 million people are watching this thing, one of them is bound to be good at music. One of them is bound to pick up a guitar. I’m proud of that.

What about you? Do you gravitate towards piano or guitar?

I have a bunch of different stages. I used to spend all of my early days on guitar. That was my first instrument. There wasn’t always a piano in the room, so I’d always go to that.

What about for this record, for #3? Or was it more of a group dynamic, writing in the studio?

I think for this one, it was actually more guitar. There’s piano riffs all the way through like, “If You Could See Me Know,” “Hall of Fame,” etc… but they didn’t start on there. They just started on guitar. Actually, it was more or less logic. I think it was the instruments on there. Just f***ing around with samples. Messing around with bass lines. I play bass and keys as well, so sometimes I’ll write on the bass. “Kaleidoscope” was definitely a bass started song, as well.

“Hall of Fame” is the single and features Will.I.Am. who I assume you met doing The Voice UK?

Yeah that was exactly it. We were on the show, and I had been playing him a couple of tunes, and he just gravitated towards “Hall of Fame.” As soon as I played it, he was like, “This is dope. Dope, dope, dope. Can you play it again?” I was like, “Yes, absolutely.” He said, “Well, what do you think of the song?” I said, “It’s a possible first single.” He goes, “That needs to be a single. Can I have the song?” I was like, “No.” He was trying to get into a verbal headlock for me to agree to do the song.

Are those all your lyrics, or did he write them too?

There all our lyrics. The whole song was done. Literally, the whole thing was done. We brought it to Will, and he just literally wanted to sing it. So we brought the track to his hotel room, where he had his recording studio. It was cool. I thought he was maybe going to take a verse, but he did it line by line. I would sing a line. He would sing a line. It sounded really cool. It just kind of changes it up from the usual duets, where someone’s waffling in the middle of it. This is a proper duet. We’re classing it as a dudette.

You mentioned, “If You Could See Me Now.” A very deep song about you and Mark each having a parent pass recently. Mark has said he was going to have trouble playing it live, and he could barely listen to it in the studio. How are your feelings on that song?

I come from a different mentality. I love the song. The songs that are the most personal and the hardest, you have to play. If it is moving you enough that you can’t bring yourself to play it, then there’s obviously something there that needs to come out. You want to shy away from that. I think what he said was that he was unsure if we should play it every night, or when is the right time. We’ve played it a few times now on tour. We’ve played it three or four times, and it’s gone down incredible. The first night, we were all a bit nervous about doing it. At the same time, when we did it, you just see people who are in tears, just streaming down their face. You know with a song like that, it’s no longer our choice, whether we play it or not, because it means something to other people. For me personally, the more you sing something or talk about something, the better it gets. That’s only for me. That’s why I’m prepared to sing it every night. I love the song. When you’re on stage, it’s an out of body experience. You’re on stage, and you’re like, “OK, look at this person. Look over there. Walk over here.” You’re thinking in your head, but you can kind of get away from it. When you do, if you do zone in on the lyrics, and I do kind of concentrate, I’m on stage, Mark’s on stage, and he’s singing about missing his parents, I would go f***ing mad. It’s a hard song to get through.

“Six Degrees of Separation” needs to be a single and continues your poignancy for writing break up songs. Are these easy songs for you to write, to put them on to paper? You were just saying that you feel better when you talk about things more, so do these words come out easily?

Yeah, they do. It’s just in what order. That’s the conundrum. I’ve been writing songs for 20 years now. The easy part is knowing what you want to say. The hard part is how to say it. When you come from a songwriting background, and just as an artist in general, with songs like “Breakeven” and what I love about it is it manages to wrap up in 3 ½ minutes what I’ve been trying to say for four years to this one person. In the fashion that it wasn’t just me opening up a diary. It was like, Mark came in with the lyric “Breakeven,” and I was like, “F***ing hell, dude.” It was a point in time, where the perfect melody matched the perfect sentiment. I was ready to talk about. Also a lyric that stands above a lot of the people’s lyrics that were on the radio at the time, just happened to come along. I think that’s really where “Breakeven” came out of. It was the right time. It was one of the best lyrics that we’ve written. “Six Degrees of Separation” is no different. Obviously I was going through some crazy sh*t. It was my first time on television. I broke up with my girlfriend, and it was just a horrible time. For the lads being able to see that in me, and not only help me, I think through therapy f***ing writing songs, which is what it is at the end of the day. But then for another lyrics like “Breakeven” to come along. It’s just when you take a look at a lyric that already is something else, like the Six Degrees of Kevin Bacon. You kind of find yourself six degrees away from anybody in the world. It started off being the idea of, and it’s not a crazy thought that no matter who you’ve broken up with in your life, or how far anybody is away from you, there are only six people. That kind of started as, “Wow, that’s a bit sad.” You could be missing them, thinking that half way around the world, but you are still only six people away from them. I thought that was really interesting. Then we changed the lyrics to turn around to being the six degrees or six steps of a separation, then I was I like, “F***ing hell dude.” As a lyricist, and as a songwriter , when you can recognize a great lyric when you hear it, you’re just like, “F*** yeah.” I knew it was right for me to be able to open up and the to talk about, obviously what I did, because you feel comfortable enough know that this is a f***ing big one. Here’s a song, as you said, when we started the conversation, was about it going to be heard by a lot of people. A lot of people are really going, I think, gravitate towards it, because it’s so honest. It shows both sides. I think that’s a brilliant thing in the song as well. It’s when you forget about the songwriter, and you think about yourself.

One of you guys said that you’re still writing “The Man Who Can’t Be Moved.” As a songwriter, you’re still never happy with the finished product. There’s always more that you can improve on. Are you still working around that, or have you been able to separate yourself from that?

It’s kind of the same. It’s like, when is a painting done? When does the artist put the last lick of paint on it. I think deadlines are really good thing when it comes to musicians, because it’s never going to be done. A perfect example of that is when we were just doing “Kaleidoscope,” funny enough. It was time to mix. It was literally like two days before we sent it. I just went into the studio with Mark. We had a few whiskeys with us. I just turned around and said, “I think I come in late with that chorus.” He’s like, “Yeah, let’s rewrite the middle eight.” We’re two days from f***ing completing the album. It’s going to be mixed tomorrow. He was like, “Let’s just do it.” We went in and did the chorus, and a new middle eight. It was two weeks later that we had gone in to the studio to hear the final mixes. We got to “Kaleidoscope” as one of the last songs, and as we were listening, both me and Mark totally forgot that we changed the middle of the night, that we changed the middle eight. There was a lyric in there, and I went, “What the f*** is this?” we forgot that we changed it. He goes, “I don’t know, but I think it’s really good.” Neither of us remembered redoing the middle eight, but it was better consciously, than the one we remembered doing. [Laughs]

Five Questions. Five quick questions. One word answers. Road or studio?

Studio.

Lennon or McCartney.

McCartney.

When you hear a song, what usually hits you first: lyrics, melody, or rhythm?

Lyrics.

Song you’ve written that you’re the most proud of?

I can’t say that I have any idea.

What song are you the most excited to play live tonight?

“Six Degrees of Separation.”

And in one word, The Script.

Truthful. 

Source: MSN Canada

The Difficult Second Album - Chris Moyles

Release date: 5th November 2012 - Pre Order HERE

Price £9.00

Chris Moyles - radio DJ, stage performer, TV presenter and recording artist extraordinaire - will release his sophomore album The Difficult Second Album on 5th November, through Mercury Records. Chris Moyles spoofed Adele's 21 for his album's cover artwork.

The Difficult Second Album follows a hugely successful first album, the gold certified "The Parody Album" which has sold over 150k copies to date. The album included global hits such as the Britney Spears "Womaniser" spin off "Lorry Driver" and The Kaiser Chief's spoof "I Predict a Diet".

As Radio 1's longest serving breakfast presenter, pulling in the small matter of 8 million listeners, Chris has made a few friends along the way. Indeed, guests on The Difficult Second Album including Danny O'Donoghue

Track Listings 

1. An Album By Chris Moyles - Chris Moyles, Pixie Lott 

2. Too Old For This - Chris Moyles, Rizzle Kicks 

3. Not That Polite - Chris Moyles, Olly Murs 

4. Insane - Chris Moyles, Gary Barlow 

5. Track 5 (And A Bit) - Chris Moyles, Ricky Wilson, "Weird Al" Yankovic 

6. I.L.M.P - Chris Moyles, Robbie Williams 

7. Corden - Chris Moyles, James Corden 

8. Pissed (With Pie) - Chris Moyles, Ed Sheeran 

9. Beep Beep - Chris Moyles, Roy Walker 

10. Track 10 (And A Bit) - Chris Moyles, Suzanna 

11. Potty Training - Chris Moyles, Ms. G 

12. Charity Song - Chris Moyles, Davina McColl, Pixie Lott, Olly Murs, Gary Barlow, Ed Sheeran, Danny O'Donoghue, Robbie Williams, James Corden, Ricky Wilson. (A spoof charity record in the style of Band Aid)

Source: Various / Edited: DannyODonoghue.Net 

"HALL OF FAME" IS THE OFFICIAL THEME SONG FOR "KOKOWÄÄH 2

Kokowaah2 will be released on December 7th! and in German cinemas February 2013 "Kokowääh2” is the continuation of the hit comedy "Kokowääh" released in 2011. Like the first part, which drew 4.3 million viewers. Actor Til Schweiger is the lead actor, co-writer, producer and director.

The compilation of the soundtrack, is traditionally decided by Schweiger himself - and the choice of the theme song for Kokowääh 2 is "Hall Of Fame "by The Script ! (Featuring: Will.I.am) 

The single from their third album, "# 3 

Source: Cinemablend / Edited: DannyODonoghue.Net

The Script's Mark Sheehan's guide to London

From pubs to parks, The Script's Irish born Mark Sheehan shares his affection for the city he now calls home, London. 

Best thing about London is:

It's so multicultural and there's something to do all the time. 

Top 3 things to do:

1. Walk around central London, Piccadilly Circus area. 

2. Do the tourist thing and get on a double-decker tour bus — it seems cheesy but it's actually informative.

3. Go on a pub crawl. I always enjoy local pubs and live music, and London is a great place for that. 

Best free thing to do in London: 

Hyde Park is beautiful and a nice place to chill by the lake. Some people hang out drinking beer and there's always lots going on like free movie screenings. 

Favourite place for a bite: 

Chinatown has great food options — it's a great experience overall. 

Favourite hangout: 

I find West London has better pubs than other areas. 

Most over-rated place: 

Boozy night clubs and places that say, "Come in here, every celeb is going to be here," — they're the worst. 

What's London's best kept secret? 

I don't think London is known for its food like most places around the world but it's got a wonderful dining scene. You can find a hidden gem if you look at online restaurant reviews. 

Don't leave London without seeing or experiencing...

Pubs generally have a a blues night or a comedy festival, there's always some sort of event and that's what I like most. 

The cheeky lads from The Script are bringing their stadium show to our shores next year. See The Script play at Auckland's Vector Area on Friday 12th April 2013 

Source: Travel MSN NZ

Danny Scissorhands - Halloween 2011

A gem from last year's Halloween havoc! ;-)

Source: Twitter

Irish band The Script receives ‘warm and nurturing’ welcome in Chicago

The Irish roots of Chicago run deep. It’s no surprise then that The Script — an alternative rock group that comprises three Ireland natives — received plenty of support for their Oct. 27 show at the Aragon Ballroom.

Lead singer Danny O’Donoghue worked his way into the crowds to provide the band’s fans just what they wanted.

“We always try and connect with the fans,” said Glen Power, The Script’s drummer. “Danny has the opportunity as the frontman to be mobile. I’m on the kit. With Twitter @TheScript, it is possible to stay connected with the fans. Without the fan base we don’t have a career.”

O’Donoghue, Power and Mark Sheehan — the band’s guitarist — see many of their countrymen when stateside. 

“This is our fourth or fifth time in Chicago,” Power said. “In general, in America, we meet a lot of Irish.” 

The intimate setting of the Aragon fit the demographic of the band’s fans perfectly. Attendees of the show ranged from children to seniors. 

“It’s great to see a mother and a father at a show with their young kids,” Power said. “A lot of times kids like a certain kind of music but their parents would hate it. 

“Great vibe at Aragon,  It’s a great venue. Warm and nurturing.” 

On their United States tour, the band is traveling around the country via bus and do not get to enjoy many of the cities they stop in. 

While in Chicago, they were able to enjoy a drink or two with some friends that live in the city. 

“We went to The Green Mill where Al Capone used to drink,” Power said. “We have a lot of friends in Chicago.” 

Source: Sun-Times Media

MUSIC REVIEW The Script return to a fanatical crowd at the Orpheum Theatre

Fans of Irish band The Script packed the Orpheum Theatre Friday evening October 26 and were lucky to be present for one of those shows where you get back what you give. Seems like you hear it at every show, but when charismatic frontman Danny O’Donoghue praised the Minneapolis audience for being one of the best on their tour so far, it was believable. The crowd’s roar was deafening as the band walked on stage to purple beams of light shooting up like searchlights while a bass note rumbled behind recorded words spoken like a breaking news report. The theater felt alive as fans rose to their feet for the opening number Good Ol’ Days, the first track off the band’s third studio album appropriately called #3. 

A fancy light show included a backdrop consisting of three panels of white light bulbs that lit up in a variety of ways giving the appearance of light flowing across or dripping down the display. The stage was set up effectively with all three band mates inline near the front for equal visibility. O’Donoghue’s custom keyboard stand was in the center although he was constantly on the move doing an excellent job of making eye contact and pointing to fans in all parts of the theater. Mark Sheehan spent most of the evening near his guitar setup stage right straying to the other side occasionally to rock out with drummer Glen Power who delightfully was not hidden behind his drums as they were setup at an angle so he could face the crowd when singing. 

The Script played songs from their entire catalog, the second of the evening being their first ever single We Cry. O’Donoghue noticed a large Irish flag that fans draped over the balcony and cracked a smile before coming down into the audience picking people at random to sing into his microphone “together we cry.” The crowd got even more fired up for current single Hall of Fame, a tune heavy with their style of rap trading phrases back and forth like the Beastie Boys. The studio track was recorded with Black Eyed Pea’s singer Will.i.am, who being a rival judge of O’Donoghue’s on the European version of The Voice was a surprising choice to contribute. 

One quality that makes The Script such a great live band is that so many of their songs have an anthem-like hook in the chorus that just begs fans to join in and sing along. That’s just what happened during the title track from Science & Faith. One standout performance came after O’Donoghue remarked, “Last time we played this song here the crowd took over and it would be an absolute honor if you would do so again.” He sang the first few notes from one of their biggest hits The Man Who Can’t be Moved and the crowd did take over in full voice filling up the theater with the infectious melody. 

It’s hard to put any one label on The Script’s unique sound, but many influences can be identified. The high energy performance of Talk You Down, had hints of U2 with some guitar riffs resembling the Edge and vocal phrasing very Bono-esq. Sheehan spoke about the band's love for the US and their extensive travels here in which they have seen much of the country looking out the windows of busses and hotel rooms, something they call the fishbowl effect. This inspired them that evening to dedicate the catchy If You Ever Come Back to the audience. 

A short drink break and a few jokes about drunk dialing led into the much anticipated Nothing. A fan in the front row handed her cell phone up to O’Donoghue who proceeded to give the lucky person on the other end a personal concert as he sang the first verse into the phone to everyone’s delight. You will notice this band is also very serious about writing relatable lyrics as heard during the performance of Six Degrees of Separation, one of the best tracks on the new album and already familiar to many fans. 

The set ended strong as Sheehan asked the crowd to “raise the roof off on this one” and O’Donoghue appeared at the back of the venue and walked down the center isle singing You Won’t Feel a Thing. In response to the crowd’s thunderous display of appreciation, the band returned for an epic encore of their two biggest hits Break Even and For the First Time. As they were exiting the stage, Sheehan stopped at his microphone to start an acapella chant with the audience “Oh these times are hard there making us crazy don’t give up on me baby.” Such a cool way to end the memorable performance. 

The opening performance by Tristan Prettyman was well received and should not be overlooked. The San Diego native is known for writing songs of a very personal nature and fit the bill nicely. 

Source: tcdailyplanet

HAPPY BIRTHDAY MARK

Wishing you a very Happy 36th Birthday

From all at DannyODonoghue.Net