Former Boston Celtics big man Kendrick Perkins can't seem to get over the fact that Kyrie Irving simply didn't want to play in Boston any longer. Perkins has vented about his issues with Irving on numerous occasions, the most recent coming Tuesday night when he sat in as an analyst on the Celtics-Rockets NBC Sports Boston broadcast.
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As the first half came to a close, Perkins noted how many Celtic supporters were in the building at the Toyota Center in Houston, and how it makes him "want to throw up" thinking of how Kyrie chose to play for the Brooklyn Nets instead.
Says Perk (H/T Yahoo Sports):
"When I was playing for the Celtics I never really focused on the crowd or the fans. I was so locked in," he said. "Now that I'm an analyst, I'm retired, it's amazing how many Celtics fans there are around the world.
"Do you hear these chants right now? Let's go Celtics. And Kyrie Irving didn't want to play here. Every time I think of that guy, I want to throw up."
As mentioned, this isn't the first time that Perkins has publicly criticized the 27-year old All Star. Following Boston's playoff exit last season, Perk described Kyrie as a "bad leader" and someone who can't carry his own team. A month later, he said he "lost all respect" for Irving.
We're sure this isn't the last time we'll hear the retired enforcer bash the Nets' point guard, or his teammate Kevin Durant.
Nardia’s New Single “Is It You” Is a Dreamy Slow Burn About Longing, Mystery—and Emotional Mastery
Some songs don’t just hit the ears—they hit the heart, hard. And “Is It You,” the latest single from Australian artist Nardia, doesn’t ask for your attention—it quietly demands it.
Released as the first taste of her upcoming album Own Every Scar, “Is It You” is a slow-burning meditation on connection, curiosity, and the disarming vulnerability of asking: Could you be the one? With minimalist production and sultry restraint, Nardia’s voice floats front and center—stripped and powerful. There’s nothing extra here. No vocal acrobatics for show. Just pure feeling, delivered with the type of honesty that makes time slow down.
Bob Dylan’s Bootleg Series albums… ranked!
The unparalleled exemplar of back catalogue management…
What record companies back then used to do with their artists’ back catalogues was wait until enough of the artists’ records had charted and then re-release them all again as Greatest Hits collections. When the artists started to run out of hits, there were Best Of compilations.
Either way, content was re-cycled, with little annotation and nothing so grand as contextualisation, beyond in those days an occasional sleeve note from a fan on the music press (“… some of the best music known to mankind…”), a cheery note from a band PR (“…the boys hope you ‘dig’ listening to these ‘hits’ again as much as they do…”) or for the heads a trippy endorsement from John Peel (“…the sad and scattered leaves of an older summer…”).
Fans turned out to have an unusual appetite for music they’d already heard, had bought on release and seemed happy to pay for again in re-packaged form. The best-selling American album of the last century was The Eagles’ Their Greatest Hits (1971-1975), released in 1976. It was a cheap and easy way for record companies to make lots of money. It was also cynical, exploitative and unimaginative. Everything you’d expect from a major label, really.
This all changed in 1985 with the release of Bob Dylan’s Biograph. On its original release, it was a 5LP or 3CD retrospective, 53 tracks covering 1962-1981, handsomely packaged with rare photographs, a Dylan interview and his own track-by-track commentary. Of them, 18 were previously unreleased, three of them available until now as singles. Biograph wasn’t so much an anthology as a monument. Pretty soon everyone had something similar in the works. Archives were pillaged. Rehearsal tapes exhumed. You could build a couple of full-scale pyramids from the number of boxsets since released and still have enough left over for a life-size model of the Sydney Opera House.
The Bootleg Series has continued to be the unparalleled exemplar of back catalogue management, highlighting historic albums, tours, concerts, listed here in an order that owes less to scientific calculation than personal preference.
15 Travelin’ Through – The Bootleg Series Vol 15 1967-1969
A 3-CD set covering John Wesley Harding, Nashville Skyline, 1969 sessions with Johnny Cash and his band, featuring Carl Perkins, Dylan’s appearance on The Johnny Cash Show, a couple of out-takes from Self Portrait and a great session with Earl Scruggs. Dylan knew exactly what he wanted on John Wesley Harding. The whole thing was recorded in nine hours. The seven alternative versions included here from the sessions varied little from the album versions, apart from a spritely “I Pity The Poor Immigrant” with a different tune. The Nashville Skyline out-takes are similarly scant. The Cash Sessions are to say the least informal, Dylan and Cash for the most part sounding like old pals moved to song by drink. For all the fun they evidently had, what we were left with sounded like an opportunity missed.
14 The Witmark Demos: 1962-1964 – The Bootleg Series Vol 9
The 47 tracks on this 2-CD set were recorded by Dylan between January 1962 and January 1964 as song-writing demos for his first two music publishers, Leeds Music and M Witmark & Sons, Dylan accompanied by either guitar or piano. Many of them appeared on subsequent Dylan albums, some of them era-defining classics, including “Blowin’ In The Wind”, “A Hard Rain’s A-Gonna Fall”, “Masters Of War”, and “The Times They Are A-Changin’”. There were 15 tracks that remained unheard for nigh on 50 years, strikingly among them “The Ballad Of Emmett Till”, dropped from his debut album, and a lovely version of “Tomorrow Is A Long Time”. Listening to these tracks, you imagined Dylan as the boy he was, writing “Blowin’ In The Wind”, that bombshell moment. Could he possibly have imagined the impact these songs would shortly have on the world and what would become of him then?
13 Bob Dylan Live 1964 – The Bootleg Series Vol 6
The complete set on two CDs from Dylan’s Halloween concert at New York’s Philharmonic, Dylan caught in transition from inspired young folkie, the darling of that night’s crowd, to the yet more challenging visionary of Bringing It All Back Home, when he would write songs that didn’t make hm feel so much like a hack songwriter at an agit-prop Brill Building turning out tunes to be sung on Civil Rights marches, sit-ins and anti-war demos.
Dylan sings confidently throughout, usually loudly, and at his most piercing on nearly every track. A distance between singer and song was sometimes suggested. It’s not at all that he sounded distracted, the performances were first-rate and committed. It was more that what he was playing wasn’t the new music he could hear in his head, although “Mr Tambourine Man”, “It’s Alright Ma” and “Gates Of Eden” were in the set list, hints of what came next.
12 Trouble No More 1979-1981 – The Bootleg Series Vol 13
Slow Train Coming, the first of Dylan’s so-called Born-Again trilogy, was a great success, selling more in nine months than Blood On The Tracks sold in a decade. Dylan was not yet regarded as a demented Bible-thumper. That reputation came with the shoddily recorded Saved and the self-sabotaged Shot Of Love. Fans deserted him like they were fleeing a burning building. Contemporary bootlegs like Knoxville Grail suggested, however, that the live shows from the time were a blast, powerful reworkings of songs sometimes shabbily rendered on recent albums. Over eight discs and a bonus DVD, Trouble No More reinforced that impression with 100 previously unreleased tracks, culled from rehearsals, soundchecks, concerts and studio out-takes. For the less committed, there was a handy 2-disc version.
11 Springtime In New York 1980-1985 – The Bootleg Series Vol 16
This 5CD, 57-track set focused on Dylan’s three early-80s’ albums, Shot Of Love, Infidels and Empire Burlesque, all of them shadows of the albums they could have been. Shot Of Love was largely panned on release, but what a different reception it might have had if Dylan hadn’t jettisoned three key tracks, Groom’s Still Waiting At The Altar, Angelina and the epic Caribbean Wind or any of the cover versions on CDs 1 and 2, recorded during album rehearsals, including a sensational take on The Temptations’ I Wish It Would Rain.
With producer Mark Knopfler’s digital trickery thankfully redacted there were glimpses on CDs 3 and 4 of a different kind of Infidels, with fabulous versions of Jokerman, Blind Willie McTell and Foot Of Pride. Similarly, with the deft elimination of Arthur Baker’s era-specific production effects on Empire Burlesque, CD5 presents glorious versions of I Remember You, Emotionally Yours and When The Night Comes Falling From The Sky, on its way to becoming the barnstorming take recorded with members of The E Street Band that appeared on The Bootleg Series Vols 1-3. The jewel here, though, was New Danville Girl, later reworked in blockbuster style as Brownsville Girl on Knocked Out Loaded.
10 No Direction Home: The Soundtrack – The Bootleg Series Vol 7
A 2-CD set compiled to coincide with the Martin Scorsese documentary that followed Dylan from 1961 to 1966. The set followed the film’s chronology. From Gerdes Folk City to the Albert Hall; “A Song For Woody” to “Like A Rolling Stone”. Along the way, Dylan was transformed almost from scene to scene. Fresh-faced hobo folkie. Gaunt-faced protest singer. Tab-collared hepcat. Almost the last time we saw him in the film, just before the final date of the 1966 world tour, he was pale, trembling, done in. As likely to fall off his chair as a motorbike. There were gems galore. A Newport ’64 version of “Chimes Of Freedom” and out-takes from Highway 61 Revisited and Blonde On Blonde alone made it essential.
9 Fragments – Time Out Of Mind Sessions (1966-1977) – The Bootleg Series Vol 17
1997’s Time Out Of Mind raised the curtain on Dylan’s extraordinary third act creative renaissance, although fans were divided about the noirish mugginess of Daniel Lanois’ original production, about which Dylan also evidently had misgivings. This 5CD boxset included a remix of the entire album that endeavoured to strip it of what some claimed was Lanois’ murkier studio atmospherics, making it sound closer to the albums that immediately followed, 2002’s “Love And Theft” and 2006’s Modern Times.
The music lost some of its primordial mystery in the process but highlighted anew the singular majesty of tracks like “Tryin’ To Get To Heaven”, “Not Dark Yet”, “Make You Feel My Love” and “Highlands”. There were two discs of alternative takes from preliminary sessions with Lanois, including a striking country soul version of “Not Dark Yet”, plus a largely sensational live disc. Disc 5 recycled tracks that had already appeared on Tell Tale Signs: Rare And Unreleased (1989-2006) – The Bootleg Series Vol 8.
8 Another Self Portrait – The Bootleg Series Vol 10
In one version a 2-CD set, with 35 tracks from 1969-1971 and covering three Dylan albums, Nashville Skyline, Self Portrait and New Morning. Among them were good alternative cuts of songs from the first and third of those albums. Mostly, though, the set was an attempt to rehabilitate Self Portrait, a double album, covers of mainly C&W and pop standards that on release had appalled nearly everyone. Stripped back versions of some of these tracks were especially welcome on the updated Bootleg Series version. But the real revelation was nine previously unheard versions of old country and folk favourites from the Self Portrait sessions, including a sublime reading of the traditional “Pretty Saro” and a quite magical “Tattle O’Day”. The deluxe edition was a 4-CD set adding a revelatory full account of Dylan’s appearance with The Band at the 1969 Isle Of Wight festival.
7 Bob Dylan Live 1975, The Rolling Thunder Revue – The Bootleg Series Vol 5
Apart from two Rolling Thunder tracks on Biograph, the only record of Dylan’s fabulous Bicentennial caravan prior to this 2-CD set was his 1976 live album, Hard Rain, recorded on the unhappy second leg of the tour, the one Dylan played to pay off the production costs of Renaldo & Clara. The hats and scarves were gone, the music mostly sour.
Live 1975 was a 22-track compilation, culled from tapes of five concerts professionally recorded by a mobile unit on the tour’s first leg, assembled to run as if according to the show’s set list. It was thrilling stuff. “Tonight I’ll Be Staying Here With You”, with re-written lyrics and a rampaging new arrangement, “A Hard Rain” recast as a storming roadhouse blues, many more. For the real beef, however, you needed the 14CD The Rolling Thunder Revue: The 1975 Live Recordings, two discs of rehearsals, 10 from shows, one of rarities.
6 The Basement Tapes Complete – The Bootleg Series Vol 11
Seven songs that Dylan and The Band recorded in the summer of 1967 in Woodstock that would enter legend as The Basement Tapes appeared in 1969 on Great White Wonder, rock’s first bootleg. In 1975, Robbie Robertson’s self-serving compilation of tracks from those sessions added overdubs and a bunch of later Band tracks, recorded long after the doors of Big Pink were closed. Fans had to wait 40 years, however, for The Basement Tapes Complete, a 6CD set.
Five collected all the 1967 tracks logged by Garth Hudson, the other separately discovered tracks. It was on the whole mind-blowing stuff, Dylan and The Band blowing through old favourites, before getting stuck into the vast phantasmagoria of Dylan’s new tunes. Most of the songs on CD3 and CD4 were inevitably familiar – so many big hitters! – but elsewhere on the set the legendary “I’m Not There”, a whisper as much as a song, finally got an official release.
5 Tell Tale Signs: Rare And Unreleased 1989-2006 – The Bootleg Series Vol 8
In its box set iteration, a 3CD set featuring 39 rare and unreleased tracks. They were mostly from the sessions that produced Oh Mercy and Time Out Of Mind, plus two startling Modern Times alternative takes, eight live tracks, a first hearing for two songs from unreleased 1992 sessions with guitarist David Bromberg and a marvellous duet with Bluegrass icon Ralph Stanley. Three tracks were retrieved from film soundtracks, including the epic “’Cross The Green Valley”. The set overall was awash with evidence of the myriad ways Dylan sees a single song, his determination even in the studio to repeat himself as little as possible, re-takes serial re-imaginings rather than an opportunity for tweaking and refinement. It was easy to feel swept away by it all.
4 More Blood, More Tracks – The Bootleg Series Vol 14
There were already eight previously unreleased tracks from the original New York sessions for Blood On The Tracks available across The Bootleg Series. Then this arrived, 87 tracks in its Deluxe Edition, spread over five CDs, with everything recorded in New York and the five tracks re-recorded in haste in Minneapolis that appeared on the album released in January 1975. Six hours of musical in all. Listening to the songs as they develop, take shape via constant on-the-hoof revisions, with and without other musicians, was like eavesdropping on genius.
Like looking over Sam Peckinpah’s shoulder as he assembled the final cut of The Wild Bunch, Robert Lowell adding the last words to For The Union Dead, Pynchon putting a full stop to Gravity’s Rainbow or Phil Spector applying the finishing touches to “You’ve Lost That Lovin’ Feeling”. You felt like a witness to a masterpiece being assembled from rough beginnings to final triumph.
3 The Cutting Edge 1965-1966 – The Bootleg Series Vol 12
The accelerated pace of Dylan’s transformation from strumming folkie to full- blown far-out rocker was documented in pretty much its available entirety on this session-by-session account of the making of the three albums he made in 18 months, between January 1965 when he started Bringing It All Back Home, through Highway 61, to the morning in March 1966 when he walked out of Nashville’s Studio A after the final 13 hour session for Blonde on Blonde, a couple of months shy of turning 25.
It remains the most lavishly packaged of the Bootleg Series releases, available as a 5000 limited edition 18-CD set with 379 tracks, roughly the equivalent of 40 albums, that took longer to listen to than it took Dylan to record Bringing It All Back Home. The Deluxe Edition had a more modest 122 tracks. A 36-track CD, The Best Of The Cutting Edge was a reasonable taster.
2 Bob Dylan Live 1966: The “Royal Albert Hall Concert” – The Bootleg Series Vol 4In
Dylan’s 1966 world tour was a nightly contest between the artist and fans made angry and perplexed by his new music. Loud electric blues for the most part, not a Scottish ballad or protest song in sight. English crowds were especially vocal in their disapproval. Things came to a head on May 17, 1966, at a concert at Manchester’s Free Trade Hall, for years thought to have been recorded at London’s Royal Albert Hall, a bootlegger’s mistake. The acoustic first half of the show was well enough received, the audience listening politely to even recent songs like “Visions Of Johanna” and “Mr Tambourine Man”. After an interval, Dylan and The Band plugged in, blasted off. Large parts of the crowd recoiled. There was slow-handclapping, booing, a notorious cry of “Judas!” Dylan and The Band replied with some of the most brain-shredding live rock music ever heard. Play fucking loud, indeed.
1 Rare And Unreleased 1961-1991 – The Bootleg Series Vols 1-3
Six years after Biograph, the Bootleg Series introduced itself with a 3-CD set, released around Dylan’s 50th birthday and featuring an extraordinary 58 previously unreleased tracks. What a haul it was! Many of the tracks would have been crowning achievements in the careers of most other songwriters and you wondered again at the contrarian whims that had consigned them to the archives, that dead place.
The breadth and quality of the songs was breath-taking and for the number of top-tier previously unavailable Dylan material it collected, the set remains unbeatable. It reminded us from the start that Dylan’s habit of leaving key tracks off his albums started early, with a dramatic version of the traditional ballad “House Carpenter”, dropped from his first album. Nearly 30 years after it was replaced on Freewheelin’ by the just written “A Hard Rain’s A-Gonna Fall”, we finally heard “Let Me Die In My Footsteps”. There were tracks everywhere making their official debuts that made your head spin. Fabled cuts like “Walls Of Red Wing”, “Farewell, Angelina”, “No More Auction Block” and “Seven Curses”, “I’ll Keep It With Mine”. Alternative versions of “Subterranean Homesick Blues” and “It Takes A Lot To Laugh, It Takes A Train To Cry” and songs from Blood On The Tracks.
CD3 was astonishing in itself, every track a back-of-the-net match winner. The abandoned Shot Of Love masterpiece, “Angelina”; “Someone’s Got A Hold Of My Heart”, an early version of “Tight Connection (To My Heart”) from Empire Burlesque; the E-Street Band version of the same album’s “When The Night Comes Falling From The Sky”, the raging Infidels out-take “Foot Of Pride”. At last, the hallowed “Blind Willie McTell”, dropped from Infidels. The collection ended with the five-minute fever dream of “Series Of Dreams”, a track Daniel Lanois had desperately petitioned Dylan to include on Oh Mercy, Dylan having none of it. For once, it was an argument you wished Lanois had won. Perhaps the most remarkable thing about it all was the feeling that there was a lot more of this to come. That there were many more tracks, unheard, waiting to be discovered, dusted off and offered to the world.
Jane’s Addiction’s Dave Navarro: “There’s no chance for the band to ever play together again”
Jane’s Addiction guitarist Dave Navarro has said there is “no chance” the band will play together again after their on-stage fight last year.
The original line-up of Navarro, singer Perry Farrell, drummer Stephen Perkins and bassist Eric Avery reformed in 2024 and released the single ‘Imminent Redemption’, their first new music together for 34 years.
However, during a show in Boston on their North American tour in September, Farrell punched Navarro in the face, leading to the immediate cancellation of the tour and the band’s hiatus due to “a continuing pattern of behaviour and the mental health difficulties” of Farrell.
Navarro has now discussed the band’s status in an interview with Guitar Player, speaking in public for the first time about the Boston incident.
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“There was an altercation onstage, and all the hard work and dedication and writing and hours in the studio, and picking up and leaving home and crisscrossing the country and Europe and trying to overcome my illness — it all came to a screeching halt and forever destroyed the band’s life, ” he said.
“And there’s no chance for the band to ever play together again. I have to say that’s my least favorite gig, without throwing animosity around, and without naming names and pointing fingers, and coming up with reasons.”
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He went on to say that the band had been getting on well during their European dates, but the positive energy did not last.
“And that gig, September 13th, in Boston, ended all of that. And for that reason, that is my least favorite gig that I have ever played… The experiences are there, but the potential of having those types of experiences ended that night. And so, you know, it is what it is. And that’s my answer.”
At the start of the year, Navarro, Avery and Perkins appeared to be back in the studio together without Farrell. In a video posted to Avery’s Instagram in which he tagged in his former bandmates, the bassist said: “Writing some more new lines to some of Stephens drumming. Look forward to getting some Mr Navarro on them. 2025!”
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The post was then shared by Perkins, but no further information about any collaboration has been shared. Navarro and Avery did form the band Deconstruction in 1993 after the initial dissolution of Jane’s, so it is possible that the musicians are referring to a potential revival of that group.
NME was present for Jane’s Addiction visit to London’s Roundhouse last summer, and wrote in a four-star review: “Jane’s use the set at The Roundhouse to showcase some new material. This time around, only unreleased track ‘Imminent Redemption’ makes the setlist — a percussive, tribal-inspired belter that is soon to become a classic at their live shows. ‘Ocean Size’ and ‘Three Days’ follow, with the latter becoming a nearly 15-minute-long proggy rendition that transforms an already impressive song into a force of its own.
“This is the last one because I don’t need you to give me a fucking hand to get me to come back out,” Farrell nonchalantly says, confirming there will not be an encore and introducing final track ‘Stop!’. And like that, without any further bells or whistles, the band leave the stage proving that nearly four decades after forming, they’re still a force to be reckoned with.”
Elsewhere, Navarro married his partner Vanessa DuBasso in a gothic-inspired wedding in Scotland in March.
Bob Marley Album By Album
From Uncut’s March 2019 issue [Take 262]. Bob Marley’s bandmates and collaborators chart the musical evolution of a reggae superstar…
“All the albums are great,” proclaims Aston ‘Family Man’ Barrett as he casts an eye over The Wailers’ mighty back catalogue. “I played on them all, and I love them all.” Still touring with an incarnation of the band that includes guitarist Donald Kinsey, the original Wailers’ bassist guides Uncut through the records that delivered reggae from the ghettos of Kingston to stadia around the world, making Bob Marley a superstar in the process. Featuring rifts, shootings, spliff-related studio disasters exile, fish curries and ultimately tragedy, with supporting roles for Chris Blackwell and his Island team, as well as latter-day Wailers’ guitarist Junior Marvin, the band’s story is hardly lacking in drama. Through it all, the music developed and deepened.
“With each album, we changed something,” says Family Man, who has lived up to his nickname by fathering 14 children. “I and I were in deep meditation of the works we were doing. We rehearsed, meditated, prepared ourselves every day to record, making sure we never missed a beat.”
THE WAILERS
Catch A Fire
(Island, 1973)
Having recorded with Lee Perry, The Wailers sign to Island and make their international debut, a ground-breaking blend of roots reggae and Western rock textures
ASTON ‘FAMILY MAN’ BARRETT [BASS]: We’d been working with Lee Perry at Randy’s Studio, 17 North Parade, Kingston. It was a wonderful vibe, nice, no complaints. Bob and Lee got along great, until we moved to the next stage! The first time I met Chris Blackwell was at his house at 56 Hope Road, where Bob later lived. It was a musical conversation. His interest was in the music, he had records piled up to the ceiling. We listened to music he had and talked about the music we would develop together, a crossover of pop and R&B. I liked it.
TONY PRATT [ENGINEER]: Chris had hatched this idea of merging reggae with rock, to appeal to FM-listening rock audiences. Accessibility was important; I think that’s the view Bob took. Bob was already in charge. He was the focal point, with his special charm and personality. His ability to tell a story was very special.
BARRETT: Bob was the leader. My memories of recording the album are of a togetherness vibe. The singers would write songs along with input from the musicians. We smoked a little herb and drink Red Label wine, got the vibes while we laid the tracks down. My favourite is “Rock It Baby”, one of the newer songs we did.
PRATT: Bob arrived in London with the tapes and we started from that point. They were on eight-track, a couple on four-track, so we dubbed them up to 16-track and kept recording. There were vocals that Bob wanted to do again, and keys player ‘Rabbit’ Bundrick played a big part. When Wayne Perkins came in, he struggled with the beat. We were trying to put guitar on “Midnight Ravers”. We ran the track a couple of times, then he waved at me to stop and said, “Rabbit, can you tell me where the fuck the one is?!”
FIND THE FULL INTERVIEW FROM UNCUT MARCH 2019/TAKE 262 IN THE ARCHIVE
Members of Jane’s Addiction tease new music without Perry Farrell
The members of Jane’s Addiction appear to working on new music together – but without frontman Perry Farrell.
The band had a tumultuous 2024. After reforming with their original line-up of singer Farrell, guitarist Dave Navarro, drummer Stephen Perkins and bassist Eric Avery, they released their first new music together for 34 years in the form of the single ‘Imminent Redemption’.
However, during a show in Boston on their North American tour in September, Farrell punched Navarro in the face, leading to the immediate cancellation of the tour and the band’s hiatus due to “a continuing pattern of behaviour and the mental health difficulties” of Farrell.
Now, it seems that Navarro, Avery and Perkins might be back in the studio together again. In a video posted to Avery’s Instagram in which he tagged in his former bandmates, the bassist said: “Writing some more new lines to some of Stephens drumming. Look forward to getting some Mr Navarro on them. 2025!”
The post was then shared by Perkins, but no further information about any collaboration has been shared. Navarro and Avery did form the band Deconstruction in 1993 after the initial dissolution of Jane’s, so it is possible that the musicians are referring to a potential revival of that group.
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NME was present for Jane’s Addiction visit to London’s Roundhouse last summer, and wrote in a four-star review: “Jane’s use the set at The Roundhouse to showcase some new material. This time around, only unreleased track ‘Imminent Redemption’ makes the setlist — a percussive, tribal-inspired belter that is soon to become a classic at their live shows. ‘Ocean Size’ and ‘Three Days’ follow, with the latter becoming a nearly 15-minute-long proggy rendition that transforms an already impressive song into a force of its own.
“This is the last one because I don’t need you to give me a fucking hand to get me to come back out,” Farrell nonchalantly says, confirming there will not be an encore and introducing final track ‘Stop!’. And like that, without any further bells or whistles, the band leave the stage proving that nearly four decades after forming, they’re still a force to be reckoned with.”
Bob Dylan The Philosophy Of Modern Song
When people talk about Bob Dylan’s “born again period,” they can miss the point. If there was a determining spiritual rebirth, it didn’t happen in the late-1970s, but two decades earlier, when the Hibbing kid with a headful of Hank Williams and Little Richard vowed to dedicate his life to song. It became a never-ending baptism; he immersed himself in that river and never emerged, just swum deeper, followed the river to the sea and got tangled up in a polygamous marriage with all the siren mermaids. Speak to anyone who has spent time playing music with him, and chances are they’ll eventually tell you something like this: “Bob knows more songs than anyone I know.”
- ORDER NOW: Bob Dylan is on the cover of the latest issue of Uncut
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You should be careful what you rely on in his memoir, Chronicles, but you can believe Dylan when he writes in there about the fervour that gripped him as a young performer: “Songs to me were more important than just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic.”
Speaking with Newsweek around 1997’s Time Out Of Mind, Dylan was unambiguous: “Here’s the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don’t find it anywhere else.” He reiterated the point to The New York Times: “Those old songs are my lexicon and my prayer book. All my beliefs come out of those old songs […] You can find all my philosophy in those old songs.”
But what kind of religion, what philosophy is this? The answer comes blowing like a desert wind through the 300-odd pages of his genuinely extraordinary new publication, The Philosophy Of Modern Song.
When it was first announced, this book, billed as Dylan writing “essays focusing on songs by other artists,” sounded intriguing enough. But even those who knew to take that description with a pinch (or a pillar) of salt might be unprepared for what lies between the covers. Glancing at the contents page tells you Dylan writes about Marty Robbins’s light, waltzing 1950s pop-western ballad “El Paso”. But it doesn’t set you up you for lines like this: “In a way, this is a song of genocide…” Similarly, knowing that there’s a chapter on Webb Pierce’s 1953 recording of “There Stands The Glass” doesn’t lead you to expect a nightmare jam on the My Lai massacre that leads to the image of a dead astronaut buried in a Nudie suit.
There are sixty-six songs covered – and it’s the kind of book that leaves you twitchy and itchy wondering just why that particular number was chosen – ranging across the musical map without any obvious design, from Carl Perkins’ “Blue Suede Shoes” to Johnnie Ray’s “Little White Cloud That Cried”; from “London Calling” to Nina Simone owning “Don’t Let Me Be Misunderstood”.
Sometimes, in passing, Dylan offers concise, almost-straight pen-portraits of the singers and writers in question, sketching out touching tributes to the likes of Townes Van Zandt and John Trudell, the cosmic greatness of Little Walter. Mostly, though, his essays are strange, hypnotic sermons: “The song of the deviant, the pedophile, the mass murderer,” he suddenly lets fly over Rosemary Clooney’s kooky mambo “Come On-A My House”.
Often the chapters are split into two sections, with the consideration of the song prefaced by a riff that looks to get inside the feel of it, like warm-up exercises for a method actor building a character, or an attitude of performance. Some of these are just hilarious, like the relentlessly escalating incantation explaining exactly how extremely mighty and not-to-be-trod-upon those blue suede shoes actually are. Many more become intense, obsessive little narratives, delivered in a voice that suggests a defrocked hellfire preacher caught in a doomed noir parable. “Desire fades but traffic goes on forever,” muses the drained, desperate protagonist of the perfect micro-fiction Dylan offers up to serve Ray Charles’ “I Got A Woman”.
The night time in the big city feel marks this as a development from Dylan’s Theme Time Radio Hour show. His collaborator on that, Eddie Gorodetsky, is thanked up front, and the Theme Time vibe is unavoidable in the audiobook, with Dylan’s host joined by an all-star gallery of narrators including the Big Lebowski reunion of Jeff Bridges–John Goodman–Steve Buscemi alongside giants like Rita Moreno and Sissy Spacek.
But the physical book, quite beautifully designed by Theme Time’s Coco Shinomiya, is the prime artifact. Dylan’s copious illustration selections build a parallel world that sets his words vibrating, while guarding their secrets, and cracking weird deadpan jokes. None of the images are captioned. You either know that’s Sam Cooke with his arm around Gene Vincent, or you don’t. You pick up Julie London calling on the telephone, or not. Deborah Kerr and Burt Lancaster roll eternally in their surf, Jack Ruby steps in when you least expect, Richard Widmark goes for his gun, Johnnie Ray crumbles up and cries, and, yes, there goes Supercar soaring into the blue.
Other names recur repeatedly in the text – Frank Sinatra becomes a particularly persistent phantom – but the figure you almost catch sight of most here is Bob Dylan himself, slipping between pages like a fugitive reflection in a shattered hall of mirrors. The mischievous feeling that he’s writing about himself – or, perhaps, all the ideas of himself he’s had to put up with – flickers again and again, and not merely when he suggests Elvis Costello “had a heady dose of Subterranean Homesick Blues” while writing “Pump It Up”.
“There’s lots of reasons folks change their names,” Dylan offers, while discussing Johnny Paycheck. “Like with many men who reinvent themselves, the details get a bit dodgy in places,” he writes about the “Ukranian Jew named Nuta Kotlyarenko.”
Want to know what Dylan thinks about divorce? About getting old? About switching style? About alienating a fanbase? How it feels to try and explain a song? Why he tours so much? It’s all here, or seems to be. Wonder what happened to the protesty guy? Well, here he is, comparing modern times to a fat undernourished child, or pretending he’s writing about Edwin Starr’s “War”: “And if we want to see a war criminal all we have to do is look in the mirror.”
Serious, playful, insightful, outrageous, disturbing, hilarious and sly, foul-mouthed and angelic, steeped in blood and lusty thoughts, it’s less musicology than a gnostic gospel with a literary tap-dancing routine thrown in. It’s a church built in a funfair, filled with trapdoors. It’ll set your hair on fire.
The Philosophy Of Modern Song by Bob Dylan is published by Simon & Schuster
Robert Plant says the idea of reuniting Led Zeppelin doesn’t “satisfy my need to be stimulated”
Robert Plant has discussed playing Led Zeppelin songs live and the idea of reuniting the band, saying it wouldn’t “satisfy my need to be stimulated”.
- READ MORE: Led Zeppelin – rank the albums
The legendary band split up in 1980 following the death of drummer John Bonham. They have since reunited several times, most recently in 2007, but only for one-off gigs. At his solo shows, Plant often performs Zeppelin songs though.
Speaking to The Los Angeles Times in a new interview, Plant, who released a new collaborative album with Alison Krauss this year, discussed revisiting the songs and one particular performance of ‘Immigrant Song’ a few years ago in Iceland.
“I know that the full, open-throated falsetto that I was able to concoct in 1968 carried me through until I was tired of it,” he said of his voice. “Then that sort of exaggerated personality of vocal performance morphed and went somewhere else.
“But as a matter of fact, I was playing in Reykjavík, in Iceland, about three years ago, just before COVID. It was Midsummer Night and there was a festival, and I got my band and I said, ‘OK, let’s do ‘Immigrant Song’.’ They’d never done it before. We just hit it, and bang — there it was. I thought, ‘Oh, I didn’t think I could still do that.'”
Asked whether he would reunite Led Zeppelin to do more of the same, he responded: “Going back to the font to get some kind of massive applause — it doesn’t really satisfy my need to be stimulated.”
Last year, Plant commented on heritage bands who stay together for decades, likening them to “hanging onto a life raft”.
He said: “Most musicians form a band, then they stay in the band until it’s over – 20 years, 30 years, 50 years, whatever it is – and it starts to look sadly decrepit. It’s like people hanging onto a life raft, or staying in a comfortable place.”
Earlier this year, the frontman opened up about Led Zeppelin‘s reputation for rock ‘n’ roll excess, saying that much of what’s reported is “incredible exaggeration”. He said: “I can’t get my head around it now, I’m so far away from [it]. You can read bits and pieces media-wise but it was so far removed from what it was. The best thing to do was imagine that a lot of it was an incredible exaggeration and most importantly we were able to go home and get new perspective and grow up.”
In other Zeppelin news, former bassist John Paul Jones recently re-recorded the band’s 1971 version of ‘When The Levee Breaks’, with assistance from 17 musicians from around the world including Jane’s Addiction drummer Stephen Perkins, as well as husband-and-wife duo Derek Trucks and Susan Tedeschi of the Tedeschi Trucks Band.
Ringo Starr unveils details of new EP, ‘EP3’
Ringo Starr has unveiled details of a new EP called ‘EP3’.
The Beatles drummer has said the project will be released on September 16 via Universal.
A press statement said that Starr recorded the four new songs that make up ‘EP3’ at his Roccabella West home studio. He said he worked with long-time collaborators on the project including Steve Lukather, Linda Perry, Dave Koz, José Antonio Rodriguez, and Bruce Sugar.
After its digital release, physical copies of ‘EP3’ will be available from November 18 on CD, 10-inch vinyl, and a limited-edition translucent royal blue cassette. You can pre-order the album here.
‘EP3’ Tracklist:
1. ‘World Go Round’
2. ‘Everyone and Everything’
3. ‘Let’s Be Friends’
4. ‘Free Your Soul’
The project is described as a collection of “feel-good lyrics” and “easy-breezy melodies”. Starr also sings and drums on every track.
Speaking about the project, he said: “I am in my studio writing and recording every chance I get.
“It’s what I have always done and will continue to do, and releasing EPs more frequently allows me to continue to be creative and give each song a little more love.”
Meanwhile, late Foo Fighters drummer Taylor Hawkins and Starr are set to set to feature in a new documentary.
Let There Be Drums!, which is due to be released in cinemas on October 28, is being directed by Justin Kreutzmann, son of The Grateful Dead’s drummer Bill Kreutzmann.
According to Deadline it “examines the essential role drumming plays in great bands and how music passes from generation to generation.” It is set to feature one of Hawkins’ final interviews before he died in Bogotá, Colombia on March 25 at the age of 50.
Along with Starr, it will also include Stewart Copeland of The Police, Stephen Perkins from Jane’s Addiction, Red Hot Chili Peppers drummer Chad Smith and ex-Guns N’ Roses sticksman Matt Sorum.
Kreutzmann took on the project “to talk to the world’s most influential drummers in hopes of better understanding his father and the instrument that defined his life.”
Perry Farrell’s Porno For Pyros reunite at Welcome To Rockville
Perry Farrell‘s Porno For Pyros reunited on stage at Welcome To Rockville festival last night (May 22) – see what went down at their first full show in 26 years below.
The band, who have been periodically active since the 1990s, were filling in for Jane’s Addiction, who pulled out of their set at the last minute due to Dave Navarro’s ongoing battle with COVID, as Farrell explained in a statement.
Discussing Navarro’s “long bout with COVID,” Farrell revealed that the Porno For Pyros line-up for their first full show in over 25 years – they reunited in 2020 for a Lollapalooza livestream – would feature himself, Stephen Perkins, Peter DiStefeno and Mike Watt.
“Rockville, although we are blue that Jane’s cannot be with you at this time due to Dave’s long bout with COVID, I am still coming to Daytona,” Farrell said in the statement.
“We’ll play some Jane’s songs for you as well, but for now let’s recall: My boat’s capsized it’s gonna sink to the bottom. I can see the lights on the shore…”
See footage from the set below.
View this post on InstagramView this post on InstagramView this post on InstagramAdvertisementA large portion of Welcome To Rockville this weekend ended up being cancelled due to bad weather conditions, with sets from Guns N’ Roses, Korn and more unable to go ahead.
“Tonight’s cancelation at Welcome To Rockville was a massive disappointment,” Slash tweeted. “We were really looking forward to the show. But the weather had other ideas. We sympathise with all you guys who got rained out along with us, it fucking sucks. Another time, sooner than later!”
Later this year, Perry Farrell’s Jane’s Addiction will tour the arenas of the United States with another Welcome To Rockville headliner, The Smashing Pumpkins.
General sale tickets to the ‘Spirits On Fire’ tour are on sale now and available to buy here.
MC5 announce first album in over 50 years and US tour dates
MC5 have announced their first album in over 50 years and a series of US tour dates.
- READ MORE: The Rock & Roll Hall of Fame has turned into a museum. Time for change
The band took to Instagram earlier today (March 9) to post a video, which you can view below, featuring old footage of the punk veterans and a snippet of the album’s title track ‘Heavy Lifting’. The song also features Rage Against The Machine‘s Tom Morello.
MC5 have reformed with original member Wayne Kramer, Pollo Elastica’s Brad Brooks, Stephen Perkins (Jane’s Addiction), Vicki Randle (Mavis Staples) and guitarist Stevie Salas.
AdvertisementThe new LP, which is due to drop later this year, will be the band’s first proper studio effort since 1971’s ‘High Time’ and sees Kramer collaborating with Morello, Kesha, Jill Sobule, Tim McIlrath, and Alejandro Escovedo.
The band will also hit the road for a US tour in May, dates for which you can view below.
View this post on InstagramTickets for the shows will go on sale this Friday (March 11) and further information is available via Kramer’s Facebook page here.
Meanwhile, MC5 were recently nominated for this year’s Rock & Roll Hall Of Fame alongside Eminem, Kate Bush, Beck, Eurythmics, Duran Duran, Dolly Parton, Lionel Richie, Rage Against The Machine, A Tribe Called Quest, Carly Simon, Judas Priest, Fela Kuti, New York Dolls, Dionne Warwick, DEVO and Pat Benatar.
It is the Detroit rockers’ sixth nomination over the years ahead of the final shortlist in May.
AdvertisementA body of more than 1,000 artists, industry members and historians will help decide which five acts out of the 17 will progress into the final round of induction consideration. Fans also have the chance to contribute to the selection process by voting every day here or at the museum in Cleveland, Ohio.
Foo Fighters, Jay-Z and Tina Turner all featured in the 2021 cohort of inductees alongside The Go-Go’s, Carole King and Todd Rundgren in the Performers category. Kraftwerk, Gil Scott-Heron and Charley Patton, meanwhile, each received the Early Influence Award.
Bob Dylan With Special Guest George Harrison 1970: 50th Anniversary Edition
On his return from the Isle Of Wight festival in September 1969, Bob Dylan moved himself, his wife and their three children – Sara was heavily pregnant with a fourth – from Woodstock to Greenwich Village. Settling into a townhouse on MacDougal Street, he tried to reconnect with the sort of life he had known after first arriving in New York from Minnesota. Early in 1970 he began recording the tracks that would not only complete Self-Portrait in time for a June release but provide the material for New Morning, which made its appearance in October. There would be enough left over for Columbia Records to issue a rag-bag album called Dylan in 1973 in response to his defection to David Geffen’s Asylum label.
All that activity, achieved in 10 sessions between March and August, resulted in some of his most widely reviled music. He even reviled it himself, with brisk thoroughness, in the pages of Chronicles Vol 1: “I just threw whatever I could think of at the wall and whatever stuck, released it.” So much for Self Portrait. He was barely kinder to New Morning, even though it was hailed in some quarters as a return to the truth path: “Maybe there were good songs in the grooves and maybe there weren’t – who knows? But they weren’t the kind where you hear an awful roaring in your head. I knew what those kind of songs were like and these weren’t them.”
In that mood, goodness knows what he would make of this latest archival trawl. Collecting further offcuts and floor-sweepings from those sessions in a compilation originally given a very limited release as part of his management’s continuing exercise in extending his copyright holdings, it acts as an appendix to Vol 10: Another Self Portrait (1969-1971), released in 2013.
AdvertisementThe more perspective we gain on the long arc of Dylan’s career, the more clearly we understand his lifelong habit of trying things out, discarding some discoveries, metabolising others. This is his own process, beholden to no-one, enabling him not just to converse with the spirits of all those who went before but to commune with himself, reshaping his gleanings into 60 years’ worth of self-expression.
The 74 tracks included in these three CDs, recorded at 10 separate sessions between March and August, are not the work of a man gripped by inspiration. In scale they range from isolated fragments to several absorbing takes of a song – “Went To See The Gypsy” – on its way to near-greatness. There are covers, from a single verse of Buffy Sainte-Marie’s “Universal Soldier” to a mercifully truncated stab at Jay And The Americans’ “Come A Little Bit Closer”, via an ardent version of Eric Andersen’s “Thirsty Boots”, an intense but sludgy “Long Black Veil”, a likeable “Come All You Fair And Tender Ladies”, “Can’t Help Falling In Love” touchingly crooned against Al Kooper’s funeral-parlour organ, and a cheerful “Jamaica Farewell” that most clearly reveals the presence of the heavy cold that affected his singing throughout the New Morning sessions. “Spanish Is The Loving Tongue”, with David Bromberg on guitar, sits somewhere between the sublime voice-and-piano take used on the B-side of “Watching The River Flow” and the kitsch flourishes of the band-and-voices version on Dylan.
He takes another look at some of his own older songs. “Tomorrow Is A Long Time” is recast as a slow blues over a “Smokestack Lightnin’” riff, its wistfulness replaced by raw hurt. Other novelties include a harmonica intro to “Winterlude” and a lolloping Nashville-style full-band arrangement of “Song To Woody”. His inveterate fondness for trying songs in different time signatures reaches a bizarre peak in a version of “Just Like Tom Thumb’s Blues”, which he sings in 6/8 over a 4/4 rhythm section.
Those looking forward to the results of the May 1 session with George Harrison had better restrain their excitement. Lively versions of two Carl Perkins rockabilly songs, “Matchbox” and “Your True Love”, are the highlights of a session that it would be a kindness to describe as informal. There’s a Harrison guitar solo on “Time Passes Slowly” and his harmony can be heard on “All I Have To Do Is Dream”. Dylan’s respectful treatment of McCartney’s “Yesterday”, although marred by a missed chord change, is also from the Harrison session, but the guitar solo may be by an uncredited Ron Cornelius.
The return to New York turned out to be a mistake. “It was a really stupid thing to do,” Dylan said 15 years later. The hippie stalkers who had made the young family’s life a misery in Woodstock were now laying siege to his MacDougal Street home and the egregious AJ Weberman was rooting through his garbage. “Everything had changed,” he concluded. This music – transitional and provisional, both tentative and revealing, such a puzzle at the time – was his response.
Dion Blues With Friends
Tear-stained teen idol in the 1950s, fringe-jacketed folk troubadour in the ’60s, streetwise urban soul poet in the ’70s, pew-rattling gospel testifier in the ’80s. Dion Francis DiMucci has worn coats of many colours during his lengthy career, but his most favoured tones have always been blue. Despite the unassuming title, it’s clear this album is a long-standing passion project, which, in all honesty, may not have garnered anywhere near as much attention were it not for the level of A-list assistance.
It’s by no means the first time Dion’s corralled famous pals and fans to boost a record’s profile. In 1989, shortly after his induction into the Rock And Roll Hall Of Fame, DiMucci released Yo Frankie, produced and arranged by Dave Edmunds, with contributions from Lou Reed, Paul Simon, kd lang and Bryan Adams. Almost inevitably, Edmunds’ trademark retro sound palette resulted in an overly slick exercise in nostalgia, but Blues With Friends, while inescapably imbued with bygone vibes, is much more personal, more organic.
The Edmunds role here is handed to Wayne Hood, the Florida-based producer, engineer, arranger and session musician whose CV swings from Richie Sambora to Pink to Les Paul. It’s to Hood’s eternal credit that after handling multiple overdubs of guitars, basses, keyboards and drums himself, the 14 tracks (all written or co-written by Dion) manage to sound like the work of a tight-knit combo playing in unison. It’s the strength of this sonic backdrop that allows the big-name guests to dovetail into the party with ease.
AdvertisementResisting the temptation to fill the album with familiar blues standards might have seemed risky on paper, but DiMucci’s original songs (some first heard on previous albums) serve as illustrations of what can be done by taking tentative strolls away from the genre’s template. “Can’t Start Over Again” is blues at its most hayseed and rustic, Jeff Beck’s dextrous picking complementing the laconic back-porch country groove.
There’s a swampy, Southern menace to “My Baby Loves To Boogie”, with John Hammond Jnr’s harmonica trading off DiMucci’s self-mocking lascivious growl, an emotionally affecting yearning to the Van Morrison duet “I Got Nothin’” (with added Joe Louis Walker guitar for good measure), and a wide-grinned rockabilly yelp to “Uptown No 7”, with Stray Cat Brian Setzer riding shotgun and channelling both Carl Perkins and Louis Jordan.
It was originally written in a more straightforward gospel style, but as with many cuts on the record a fresh perspective was found during the recording process, singer and producer receptive to the various hues of light and shade each guest brought with them. “Hymn To Him” was first recorded by DiMucci in the mid-’80s for a gospel project, and suffered from suffocating blanket of synthetic drums in keeping with the prevalent production techniques, but its transformation here is remarkable.
Initially intended as a straight duet with Patti Scialfa, DiMucci claims he was surprised when her superstar spouse Bruce Springsteen turned up as well, offering to add a guitar solo. The result is an overhaul that transports the song to the dark, mythic Americana that ran through last year’s Western Stars, a much better fit for the lyric’s soul-searching and taking stock: “Do you walk in the shadows?/Are you dreams swept with fears?/Does your heart will with sadness/With the night drawing near?”
It’s perhaps unavoidable that the far-reaching star power of Springsteen and Paul Simon means their contributions to Blues With Friends will attract the most media attention, but that’s not a problem when they happen to be arguably the best two tracks. Simon’s contribution to Yo Frankie was a harmony vocal on “Written On A Subway Wall”, its title lifted from a line in “The Sound Of Silence”, although it’s another iconic figure from the decade of seismic social change that both men acknowledge here. The soft shuffle of “Song For Sam Cooke (Here In America)” is inspired by conversations Dion had with the soul crooner and civil rights activist in 1962, and the hostile looks they drew walking together in public: “Down the block I saw the people stop and stare/You did your best to make a Yankee boy aware.” It’s a powerful taking of America’s political temperature, in keeping with much of Simon’s own writing, not to mention Cooke’s landmark “A Change Is Gonna Come”.
In many ways, the use of “blues” in the title is a misnomer. A tidy catch-all pivot, maybe; a starting point for rich exploration of the variety of American popular music by a veteran who has previously tried most of them on for size.
AdvertisementThird Man Records to release unearthed 1973 Johnny Cash live album
Third Man Records, the label founded by Jack White of The White Stripes, has announced that it will be releasing a newly unearthed Johnny Cash live album.
Read more: Go behind the scenes in the childhood home where Johnny Cash grew up
Recorded in 1973 as part of ‘A Week To Remember’ – a week of concerts put on by Columbia Records and record executive Clive Davis – the man in black’s performance at the Ahmanson Theater in Los Angeles will be made available for the first time ever on July 31.
Entitled ‘A Night To Remember’, the 2 LP set features a gold foil LP jacket, a “double vintage white LP,” a gold 7″ featuring two “unreleased Forever Words pieces by Ruston Kelly and a mystery artist,” and a DVD of the performance.
AdvertisementThe collection features guest appearances from June Carter Cash and Carl Perkins, a cover of Kris Kristofferson’s ‘Sunday Morning Coming Down’ and some of Cash’s biggest hits at the time like ‘I Walk The Line’ and ‘Hey Potter’.
‘A Night To Remember’, which will be released as Third Man Records’ Vault Package No. 45, will also include behind-the-scenes, backstage footage from the 1973 show. You can pre-order it here.
Third Man Records, in conjunction with Sony Music and the estate of Johnny Cash are ecstatic to release @TMRVault 45- Johnny Cash, A Night to Remember. Learn more and subscribe here: https://t.co/BlVZyGoFbp pic.twitter.com/TBkkZL6NQ4
— Third Man Records (@thirdmanrecords) June 29, 2020
‘A Week to Remember’, which started on April 29, 1973, also included performances from Miles Davis, the Staple Singers, Bruce Springsteen, and Earth, Wind and Fire.
The album’s tracklisting is as follows:
1. ‘Big River’
2. ‘Sunday Morning Coming Down’
3. ‘The City Of New Orleans’
4. ‘Ballad Of Barbara’
5. ‘A Boy Named Sue’
6. ‘Going To Memphis’
7. ‘That Silver Haired Daddy Of Mine’ with Carl Perkins
8. Medley: ‘Hey Porter/ Folsom Prison Blues/ Wreck Of The Old 97/Orange Blossom Special’
9. ‘I Walk The Line’
10. ‘Jackson’ with June Carter Cash
11. ‘If I Were A Carpenter’ with June Carter Cash
12. ‘Help Me Make It Through The Night’
13. ‘Help Me’ with June Carter Cash and Larry Gatlin
14. ‘Lord, Is It I?/The Last Supper’
15. ‘If I Had A Hammer’ with June Carter Cash
16. ‘Will The Circle Be Unbroken’ with June Carter Cash and Carl Perkins
17. ‘Daddy Sang Bass’ with June Carter Cash and Carl Perkins
18. ‘Folsom Prison Blues (outro)’Advertisement
Elsewhere, a live recording of the last concert performed by The Stooges’ original lineup will be released by Third Man Records on August 7. The release celebrates the 50th anniversary of the concert, which took place on August 8, 1970.
Entitled ‘Live At Goose Lake: August 8th 1970’, Third Man claim to have found the recording “buried in the basement of a Michigan farmhouse.”
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