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Watch a new preview of Peter Jackson’s Beatles documentary ‘The Beatles: Get Back’

Peter Jackson has shared a new preview of his forthcoming documentary about The Beatles, The Beatles: Get Back.

The Lord of the Rings director is overseeing the new film, which has already had its release date moved from 2020 to August 27, 2021 as a result of the coronavirus pandemic, which aims to “take audiences back in time to The Beatles’ intimate recording sessions during a pivotal moment in music history”.

A preview clip of Get Back has been released today (December 21) to tide fans over until its summer release next year.

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The video begins with Jackson explaining that he and his production team in New Zealand have resumed work on the film after the coronavirus outbreak was largely contained in the country, with editing of the 56 hours of never-before-seen footage currently ongoing.

Jackson adds that he and his team are “about half-way” through the editing process, and that they decided to share this sneak peek to showcase “the vibe and energy” of their film – you can see the clip, which includes in-the-studio footage of The Beatles recording ‘Get Back’, above.

In an additional statement about the trailer, Jackson said: “We wanted to give the fans of The Beatles all over the world a holiday treat, so we put together this five-minute sneak peek at our upcoming theatrical film The Beatles: Get Back.

“We hope it will bring a smile to everyone’s faces and some much-needed joy at this difficult time.”

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In a recent interview, Paul McCartney reflected on the death of his Beatles bandmate John Lennon 40 years on from his killing.

“It’s very difficult for me, and I occasionally will have thoughts and sort of say: ‘I don’t know, why don’t I just break down crying every day?’ Because it’s that bad.”

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Paul McCartney says he still struggles with John Lennon’s death: “It was just so senseless”

Paul McCartney has reflected on the death of his Beatles bandmate John Lennon, 40 years on from his killing.

Lennon was shot and killed outside his apartment building in New York on December 8, 1980 by Mark Chapman.

  • Read more: Every John Lennon solo album ranked in order of greatness

During a new interview with CBS, McCartney was asked how he was processing Lennon’s murder 40 years on. “I’m not sure I am,” he replied. “It’s very difficult for me, and I occasionally will have thoughts and sort of say, ‘I don’t know, why don’t I just break down crying every day?’ Because it’s that bad.”

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Asked whether he did sometimes cry about his friend’s death, McCartney responded: “Not every day, you know? There will be times that I just have memories and just think, ‘Oh my God, it was just so senseless.’”

 

The Beatle also discussed the band’s legacy, saying he was “amazed” at how their music can continue to reach and connect with people. “I’m not sure I have an answer,” he said when asked what it was about their songs that touches people so deeply.

“Something to do with the structure of the song. There’s no spare stuff that shouldn’t be in there. It’s the exact amount of stuff that should be on that record.  But I am amazed at how it keeps going. I’m amazed, maybe I’m amazed.”

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McCartney released his latest album ‘McCartney III’ on Friday (December 18) – the third record in a solo trilogy following 1970’s ‘McCartney I’ and 1980’s ‘McCartney II’.

In a four-star review, NME said: “If future archaeologists take this three-album series as a significant marker of his solo half-century, they’ll conclude that Paul McCartney never stopped liberating.”

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Paul McCartney opens up about friendship with John Lennon in new interview

Paul McCartney has opened up about his friendship with John Lennon in a new interview.

  • Read More: The Big Read – Paul McCartney: “The Beatles were brothers arguing, that’s what families do”

Speaking to The Sunday Times, McCartney opened up about his friendship with Lennon in the period following The Beatles split.

On being asked if he thought the Beatles would have ever worked together again, McCartney said: “We made a decision when the Beatles folded that we weren’t going to pick it up again. So we switched off from the Beatles. You talk about something coming full circle that is very satisfying; let’s not spoil it by doing something that might not be as good. It was a conscious decision to leave well enough alone, so I don’t really think we would have. But who knows? We could have.”

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Going on to speak about a potential reunion in light of his repaired friendship with Lennon, McCartney then added: “We had certainly got our friendship back, which was a great blessing for me, and I now will often think, if I’m writing a song, ‘OK, John — I’ll toss it over to you. What line comes next?’ So I’ve got a virtual John that I can use.”

Paul McCartney, Ringo Starr, John Lennon, George Harrison of The Beatles. CREDIT: Getty

Elsewhere in the interview, McCartney, whose forthcoming new solo album ‘McCartney III’ is due to arrive on December 18, went on to reveal more about the group’s early days. Explaining that he’d just seen some footage from Peter Jackson’s upcoming film about the group, The Beatles: Get Back, McCartney said the footage helped him remember the friendships of the band.

He said: “It was so reaffirming for me…Because it proves that my main memory of the Beatles was the joy and the skill…The proof is the footage. I bought into the dark side of the Beatles breaking up and thought, ‘Oh God, I’m to blame.’ I knew I wasn’t, but it’s easy when the climate is that way to start thinking so.

“But at the back of my mind there was always this idea that it wasn’t like that, but I needed to see proof. There’s a great photo Linda took, which is my favourite, of me and John working on a song, glowing with joy. This footage is the same. All four of us having a ball.”

The Beatles with Ed Sullivan in 1964. Credit: Express Newspapers/Getty Images

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When asked if the group experienced any mental health issues, McCartney said: “Yes, I think so…But you talked about it through your songs. You know, John would. ‘Help! I need somebody,’ he wrote. And I thought, ‘Well, it’s just a song,’ but it turned out to be a cry for help.

“Same kind of thing happened with me, mainly after the break-up of the band. All of us went through periods when we weren’t as happy as we ought to be. Ringo had a major drinking problem. Now he’s Mr Sober of the Year! But you know there were a lot of things we had to work through, but you’re right — you didn’t talk about mental health.

“It was something really that, as four guys, you were more likely to make fun of than be serious about. And the making fun of it was to hide from it. But having said all that, we were reasonably well adjusted, I think.”

McCartney recently delayed the release of his upcoming solo album due to “unforeseeable production delays”.

The record is the long-awaited final part of the ‘McCartney’ solo album trilogy, following on from ‘McCartney’ in April 1970 and ‘McCartney II’ in May 1980.

After previously setting a December 11 release date, ‘McCartney III’ will now arrive a week later on December 18.

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Elton John will be joining Dua Lipa’s ‘Studio 2054’ livestream as a special guest

Elton John has been announced to appear as a special guest on Dua Lipa‘s Studio 2054 livestream this Friday (November 27).

  • Read more: Dua Lipa: “If somebody told me not to discuss issues I’m passionate about? I wouldn’t listen”

He joins a host of guests who have been confirmed for the upcoming show, broadcast from a warehouse filled with custom-made sets including Kylie Minogue, Miley Cyrus, FKA Twigs, Bad Bunny and J Balvin.

“It’s my absolute pleasure and honour to announce Elton John will be joining me at Studio 2054 this Friday,” Lipa said. “A one of a kind global musical icon, singer-songwriter and flawless performer, it’s going to be spectacular! He is truly musical royalty and I am elated that we will be appearing together.”

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John added: “I loved speaking to Dua when we met up to talk on Instagram Live a few weeks ago, she is incredibly smart and talented. So when she asked me to be part of Studio 2054 I said ‘yes!’ in a heartbeat.

“It’s amazing to be part of a live performance when live music just isn’t happening right now and especially in such a colourful and creative way. If you’re going to do virtual live music then this is the way to do it.”

Credit: Press

As well as performing songs from her latest album ‘Future Nostalgia’, its remix ‘Club Future Nostalgia’ and her self-titled debut, a press release said fans can expect to see Lipa “move through custom-built sets, surreal tv shows, roller discos, ecstatic raves, trashy rocker hangouts, voguing ballrooms and diva style dressing rooms”.

Earlier this week, Lipa gave a celestial performance of ‘Levitating’ at the American Music Awards 2020, rising up into the sky on wires as glitter rained down around her. On Friday (November 20), she also released her long-awaited collaboration with Cyrus, ‘Prisoner’.

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Paul McCartney reveals he uses a teleprompter to remember old Beatles songs

Paul McCartney has revealed that he uses a teleprompter at his live shows in case he forgets the lyrics to The Beatles‘ songs.

  • The NME Big Read: Paul McCartney: “The Beatles were brothers arguing, that’s what families do”

The rock icon, 78, was speaking on a recent edition of the SmartLess podcast when he explained: “Sometimes I’ll be doing a song, like ‘Eleanor Rigby’ [released in 1966] or something, and I’m on autopilot.

“And I’m starting to think, ‘Oh, what am I gonna have for dinner? Maybe you won’t have the soup but maybe you’ll just go for the main course’.

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“Then I go, ‘Stop!’ because I’m singing ‘Eleanor Rigby’! I’ve separated myself not only from Paul and fame, but a couple of bits in my head are going in different places.”

He added: “Sometimes that breaks down and I forget the song. I have a teleprompter.”

McCartney said in an interview last year that he had to “re-learn everything” from The Beatles’ extensive catalogue, with some of the material dating back 55 years.

John Lennon, Paul McCartney, The Beatles
The Beatles’ John Lennon and Paul McCartney CREDIT: Fox Photos/Getty Images

“We go in rehearsal and I’m like, ‘Oh yeah, that’s how it goes’,” he explained.

“Some of the old songs you say, ‘Oh, that’s clever, I wouldn’t have done that’. It’s exciting to think that still works. We were a little rock and roll group from Liverpool, it just kept going.”

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McCartney announced his long-awaited ‘McCartney III’ album last month. Following on from ‘McCartney’ (released in 1970) and ‘McCartney II’ (1980), the new record is set to arrive on December 18.

A press release explained that the musician initially hadn’t planned to release an album in 2020, “but in the isolation of ‘Rockdown’ he soon found himself fleshing out some existing musical sketches and creating even more new ones”.

“Before long an eclectic collection of spontaneous songs would become ‘McCartney III’: a stripped back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s ‘McCartney’ and 1980’s ‘McCartney II’.”

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The album John Lennon signed for Mark Chapman is set to be auctioned

The album John Lennon signed for Mark Chapman hours before the man murdered him is being put up for auction.

Chapman asked Lennon to sign a copy of ‘Double Fantasy’, his collaborative album with partner Yoko Ono, outside The Dakota apartment building in New York on December 8, 1980. Five hours later, he fatally shot the Beatle as he returned to his home.

  • Read more: Check out previously unseen photos of John Lennon and Yoko Ono from new book John & Yoko / Plastic Ono Band

The signed copy was submitted as evidence in the NYPD’s investigation into Lennon’s murder. According to the listing by Goldin Auctions, police markings from the investigation appear on both the front and back of the record sleeve.

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Bidding on the record will open on Monday (November 23) at 12am ET (5am GMT) and begins at $400,000 (£301k). More information is available here.

John Lennon
John Lennon at a rally in Hyde Park in 1975. CREDIT: Rowland Scherman/Getty Images

Earlier this year, Chapman apologised to Ono “for the pain that I caused to her”. “I think about it all of the time,” he said at a hearing in New York, where he was denied parole for the 11th time.

At the hearing, he said he deserved the death penalty, although that punishment was abolished in New York in 2007. He will remain behind bars for at least two more years, when he is scheduled for his next parole hearing.

On what would have been Lennon’s 80th birthday on October 9, his biographer Kenneth Womack claimed the late star would have given Donald Trump “hell” if he was still alive.

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“I think in a lot of ways he would have been like David Bowie, very moved by the internet,” he said. “He would be an influencer in that way… he’d be right there on Twitter giving Trump hell.”

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John K’s Love + Everything Else Has A Song For Every Mood

Here is the responsibility of the pop artist: taking a complex yet universal emotion or experience — heartbreak, loneliness — and boiling it down to a savory stock of addictive hooks and simplified lyrical motifs. That recipe may seem easy enough to outsiders, but some topics, as vast and generative and difficult as love, need ample time to cook, then digest. Perhaps that’s why John K, an emerging singer from Orlando, Florida, has dedicated himself to exploring that feeling in all its delicious complexity.

The fruit of that work is Love + Everything Else, a collection of nine sweet songs and one delectable remix that K refers to as a “project,” a word that hints at the in-progress nature of his sound and a collaborative way of songwriting. Crafting tracks with a close-knit team of friends through candid recording sessions and thought-starting games, his break came in 2017 when “OT,” an electro-pop musing over a missed connection, amassed over 50 million streams despite its independent release. A debut EP, If We Never Met, followed, and he signed with Epic Records in 2019 with the support of Diplo and Ricky Remedy.

Now, with Love + Everything Else, K lays it all on the table, whether navigating the difficulties of moving on from a relationship (“Let Me Let You Go”), deploying clever metaphors for his own shortcomings as a partner (“Cheap Sunglasses”), or transposing vows into lyrics tailor-made for his wife (“I.L.Y.M.”). His soulful delivery feels at home over EDM basslines, and though he has often been compared to the crooners of yesteryear, many of his songs feel perfectly primed to capture the anxiety and isolation of the coronavirus era (“6 Months”). For MTV News, he breaks down the project track by track and mood by mood.

  1. “Let Me Let You Go”
    https://youtu.be/saWwodCbEF4

    Listen to it when you’re feeling: “at a crossroads and have to make a decision.”

    Key lyric: “Baby, let me love you / Oh baby, let me let you go”

    “‘Let Me Let You Go’ was kind of a jam session. And it's always going to be, until something takes its place, the song that we open every show with. So, I really want it to be true to that, and that is why I chose it to be the first song on the project.”

  2. “Parachute”
    https://youtu.be/wdcy-U01l3Q

    Listen to it when you’re feeling: like you “want to vibe out.”

    Key lyric: “If that's the consequence of lovin’ you / Then I will fall without a parachute”

    “My favorite song we've ever worked on. We tapped into something different, something special. I'll never forget the session. We were all just standing on our feet, just really all singing the same — it already felt like a chorus. Sometimes in creation, you get a glimpse of something and can see and feel and hear what the final needs to sound like. That song had so much personality in it, it was such a great collective effort, and everybody was just in the zone. It was a beautiful thing.”

  3. “If We Never Met”
    https://youtu.be/9cAbp_plXNM

    Listen to it when you’re feeling: “thankful.”

    Key lyric: “I wouldn't even know what love is / If we never met”

    “‘If We Never Met’ is my anthem. It's the love of my life, a nod to all the people that have made me better. ‘If We Never Met’ started this project. It's truly my story, and it's so special because the song that's truly about the story of how we all met, ends up being the song that kind of takes off first. And it was a really nice full-circle moment.”

  4. “6 Months”
    https://youtu.be/1Rpz5VcKb9U

    Listen to it when you’re feeling: “longing.”

    Key lyric: “Feels like it's been six months and seven days / When I’m without you”

    “I spent a lot of time in Los Angeles last year, working on all this music. Sometimes, I was gone for three to four weeks at a time, and I had to go back to being in a long-distance relationship. So, 6 months was purely coming from a homesick, I-miss-my-girl place, and we just explored that.”

  5. “Cheap Sunglasses”
    https://youtu.be/ZbPir0si4so

    Listen to it when you’re feeling: “ready to make a TikTok dance.”

    Key lyric: “This is why I can’t have nice things / ‘Cause I break ‘em”

    “We started the session and one of the writers looked at the table and saw this pair of expensive sunglasses that the producer had. And he was like, ‘Dude, I was going to buy these. They were in my cart and I just couldn't push the button because every time I buy a new pair of sunglasses, I always lose them.’ And then we just spit it out. We found this whole deeper side of it where we related it to how I always mess up relationships.”

  6. “Learning How to Love”
    https://youtu.be/J6HNTu68MmI

    Listen to it when you’re feeling: like “a work in progress. I’m always going to be a work in progress.”

    Key lyric: “Baby, you're perfect / But I can't say the same for me”

    “I feel like it might be the dark horse of the record. I take some time away from it and then I listen to it again and I'm just like, wow, this is pretty dope. There's a lot of growth throughout the record. It starts off very stripped and really, really grows into something where in, that final chorus, we tried to really go somewhere.”

  7. “Happiness”
    https://youtu.be/oUcYb0iOivU

    Listen to it when you’re feeling: “sad. It’s okay to not be okay.”

    Key lyric: “I feel like my daydreams are nightmares / I feel like a prisoner in my head, yeah”

    “We used to do this thing, a big group of friends, and we called it the song game. We would basically give each other homework and we had to turn in an idea, whether it be a voice note, a fully produced song, or calling them on the phone and just saying something into it. Just as long as you were creative in some way. We would set a theme on Monday and the next Sunday something was due. One week it was ‘happy.’ So that song came out of the song game."

  8. “Days Like This”
    https://youtu.be/sPcZnHf_3MQ

    Listen to it when you’re feeling: “a hopeful, summer-day kind of mood.”

    Key lyric: “'Cause days like this, make me wish / We had more days like this, oh yeah”

    “We wrote that one in quarantine, so we were exploring how to write songs via Zoom. I got on with some friends and we were just talking about how we missed all the things we used to take for granted. We can't be together. We can't write. We can't go to the beach. The only goal for that day was to write about better times. Let's write about what we wish we could do and keep it super lighthearted and fun and upbeat.”

  9. “I.L.Y.M.
    https://youtu.be/vZo6gCmtVOE

    Listen to it when you’re feeling: “in love, just all things love.”

    Key lyric: “I’m not sayin’ it’s a competition / All I’m saying is”

    “The melody feels like it could be a wedding song... Once we made that connection, it was the chance to just truly dive into a message that I could give to my wife that she would have forever. If there's ever a bad day or something that we go through, she can listen to a record that says everything that I wish I could say over and over again. It's almost like a pact that you can listen to.”

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Celeste shares new song ‘A Little Love’ for John Lewis Christmas advert

The annual John Lewis Christmas advert has arrived for 2020, and it’s soundtracked by Celeste.

For this year’s edition of the now-famous annual tradition, Celeste has written a new song called ‘A Little Love’, with the advert being named ‘Give A Little Love’.

  • READ MORE: Celeste live in London: Haunting and unforgettable

The new, largely animated advert focuses on kindness and charity over the series’ usual premise of gift-giving. John Lewis says it deliberately commissioned eight different animators as a way to support the struggling creative community during the coronavirus pandemic.

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The campaign around the advert also sees the launch of the ‘Give A Little Love’ charity initiative, which aims to raise £5 million over Christmas and help 100,000 families in partnership with food redistribution charities FareShare and Home-Start.

Watch the new advert, soundtracked by Celeste, below.

The John Lewis Christmas advert has become a staple of the festive period in recent years. Back in 2018, Elton John revealed he was paid £5 million to star in the advert, while viewers in 2017, unimpressed with Elbow’s cover of The Beatles’ ‘Golden Slumbers’, complained that they weren’t brought to tears by the advert, as had become customary with past editions.

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Back in August, Celeste shared a song called ‘Little Runaway’. “It’s a song about losing your faith, even if just momentarily, and seeking answers from spirits and ghosts as nothing seems to make sense on this planet,” she explained.

After winning the BBC Sound of 2020 award in January, the singer has also debuted another new track called ‘I Can See The Change’ which was produced by Billie Eilish‘s brother and collaborator, Finneas.

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A Tribe Called Quest and OutKast ‘VERZUZ’ battle in the works, says Swizz Beatz

A VERZUZ battle between A Tribe Called Quest and OutKast could be on the way, according to the virtual series’ co-founder Swizz Beatz.

  • Read more: Timbaland and Swizz Beatz on VERZUZ battle series: “We want to celebrate the architects of good music”

Speaking to DJ Kid Capri on Instagram Live, the super producer let it slip that he and the VERZUZ team have been working on getting the two iconic groups together for the series.

“We got A Tribe Called Quest and OutKast. [It’s] pending,” Swizz said. “I wasn’t even supposed to say, I might have just fucked that all up,” he added, realising that perhaps he wasn’t supposed to reveal the news yet.

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He then said: “Q-Tip is my brother, but that man. Andre 3000, but that man.”

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Whoa! @qtiptheabstract @outkast Great talk with my guy @therealswizzz @alishaheed @jarobiwhite @constv #kidcapri #verzuz #swizzbeats shout to @timbaland #atribecalledquest #outkast

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VERZUZ is the popular entertainment series that pits producers, songwriters and artists against each other in a rap battle style format on Instagram Live and Apple Music.

Competitors take it in turns playing a song from a list of 20 from their discography, as fans, friends and fellow artists watch on. A winner is later decided by Timbaland and Swizz Beatz.

Kicking off in March after Timbaland and Swizz Beatz issued challenges to one another, artists that have taken part so far have included: T-Pain, Alicia Keys, John Legend, Brandy, Monica, Rick Ross, DMX, Snoop Dogg and many more.

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The second season of VERZUZ is set to take place later this month – the first battle will see T.I. face off with Jeezy.

The pairing comes after T.I. initially challenged 50 Cent to a VERZUZ battle, which was later shot down by the G-Unit rapper.

“For your birthday, I offer you a challenge, sir,” T.I. said to 50 Cent in an Instagram video. “Pull your ass up with 20 of your records, sit across from me, and get this work, man.”

50 jokingly responded to the proposal, referencing Chris Tucker’s character Smokey from the film Friday, writing: “yo somebody passed TI the weed they gave smokey in Friday. LOL.”

Meanwhile, OutKast have shared Zack de la Rocha‘s remix of ‘B.O.B (‘Bombs Over Baghdad)’, which is featured on the 20th anniversary reissue of their fourth ‘Stankonia’.

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John Frusciante discusses writing new music with Red Hot Chili Peppers

John Frusciante has discussed his return to Red Hot Chili Peppers in a new interview, revealing he’s currently writing new music with the band.

Speaking to Australian radio station Double J, the guitarist said that while the COVID-19 pandemic had forced the Peppers to cease getting together for a time, they’re now back and working on new material.

“We were rehearsing for a couple months, then the quarantine started, and we stopped rehearsing for a couple months, then we went back to rehearsing,” Frusciante said. “We’re moving ahead with what we’re doing, writing new music.”

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Talking to host Tim Shiel, Frusciante spent a large part of the interview discussing his electronic-based solo work, specifically new breakbeat album ‘Maya’, which is out today (October 23).

The guitarist discussed keeping the two projects separate from one another when Shiel asked whether Frusciante’s solo influences would find their way into the band’s new material.

“That’s what I do on my own. I’ve tried to do some of that kind of thing myself, breakbeats but with a rock music chord progression or whatever. I just think it’s kind of cheesy, and that’s not what I’m trying to do with the Chili Peppers,” he explained.

“In the Chili Peppers, what I found exciting when I started playing with them… is to just see what I can do with a guitar… It was that idea of just how many different worlds you can pull out of a Stratocaster.”

The guitarist also said he’s working more closely with drummer Chad Smith than before, saying they have an “interactive” musical relationship.

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Frusciante also opened up about what it was like returning to the Chili Peppers last year, over a decade since he parted ways with the band and was replaced by Josh Klinghoffer.

“It’s just returning to family. I’m extremely comfortable with those people. It was as if no time had gone by at all when we started playing, pretty much, with a couple of minor exceptions, like how Chad and I gradually got our communication together in a new way,” Frusciante explained.

“But basically, we’re all just as comfortable with each other as we ever were, and it just felt like that right off the bat.”

Red Hot Chili Peppers announced that Frusciante would be rejoining the band back in December of last year, some 12 years after he last performed with the group.

In January, the band revealed they were working on a new album with Frusciante. The following month, the guitarist performed live with the band for the first time since leaving the outfit in 2008.

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Letter written by The Beatles’ manager confirming Pete Best’s sacking is going up for auction

A letter written by The Beatles’ manager Brian Epstein following the sacking of the band’s drummer Pete Best is going up for sale at auction.

Best was originally signed with the three long-standing members of The Fab Four — John Lennon, Paul McCartney and George Harrison — but he was let go by Epstein and replaced by Ringo Starr in August 1962.

  • Read more: The Beatles’ split 50 years on: the best songs from the solo careers

A letter written by Epstein to the “secret Beatle” Joe Flannery, who served as The Beatles’ booking manager between 1962 and 1963, has been put up for sale by the latter’s family following his death last year.

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Written and sent on September 8, 1962, Epstein wrote to Flannery: “I read from the Mersey Beat Pete Best has now joined THE ALL STARS and I though [sic] I’d let you know that I have sent today, to him a certificate of release from his obligations under contract to myself.

“I would like to add, incidentally, our sincere wishes for Pete’s and the group’s continued success”.

Brian Epstein
Brian Epstein (Picture: Bettmann)

The letter had been kept by Flannery’s family in the years since but is now being sold via Omega Auctions. The sale will take place on October 27, and it is estimated that the lot will reach between £650 and £1000.

“From 1959 onwards, Joe was a close friend and associate of The Beatles and played a major part in guiding them to their meteoric rise to success in 1963,” Omega auctioneer Paul Fairweather said (via BBC News).

“It is on record that they all felt bad when Pete was ousted, so I am sure it was pleasing for them to see he had joined a new band.”

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Earlier this month, Paul McCartney reflected on meeting John Lennon and their subsequent songwriting partnership in The Beatles during an interview to mark what would’ve been Lennon’s 80th birthday.

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John Frusciante drops new single and music video ‘Brand E’

John Frusciante has shared the third taste of his forthcoming album – a new track titled ‘Brand E’.

The track premiered alongside an abstract, sci-fi music video, which was directed by Amalia Irons and shot in various locations in Los Angeles.

Frusciante and Lee Bootee star in the visual, as well as a cat named Tanya – a stand-in for Frusciante’s late cat Maya, which his forthcoming album is named after.

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Watch the music video for ‘Brand E’ below:

The new track follows previous singles ‘Amethblowl’ and ‘Usbrup Pensul’, which will all feature on Frusciante’s forthcoming album, ‘Maya’. It is slated for an October 23 release via Timesig, a label owned by Venetian Snares.

In a statement, Frusciante said the album was personal to him, which led him to use his real name over his moniker, Trickfinger.

“Maya was with me as I made music for 15 years, so I wanted to name it after her,” Frusciante said in a statement.

“She loved music, and with such a personal title, it didn’t seem right to call myself Trickfinger, somehow, so it’s by John Frusciante.”

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In similar fashion to Frusciante’s recent album, ‘She Smiles Because She Presses The Button’, ‘Maya’ is inspired by jungle, hardcore and breakbeat music.

“I don’t have that interest in singing or writing lyrics like I used to,” Frusciante said of the musical style of the new album.

“The natural thing when I’m by myself now, is to just make music like the stuff being released this year. I really love the back and forth with machines and the computer.”

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Willie Nelson and sons pay tribute to John Lennon with ‘Watching The Wheels’ cover

Willie Nelson and sons Lukas and Micah have paid tribute to John Lennon on his birthday with a cover of ‘Watching The Wheels’ – you can watch it below.

  • Read more: The Beatles’ split 50 years on: the best songs from the solo careers

Yesterday (October 9) marked what would have been the Beatles legend’s 80th birthday and among the celebrations were numerous tributes by fans and fellow artists.

The Nelson family, joined by Promise of the Real’s Anthony LoGerfo, Corey McCormick, Logan Metz, and Tato Melgar, performed the ‘Double Fantasy’ track, which was released as a single in 1981 after Lennon’s murder, on stools as part of the day-long celebrations.

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Lukas and Micah can be seen trading off lines in the first verse, while Willie takes the second: “Well they shake their heads and they look at me/ As if I’ve lost my mind/I tell them there’s no hurry/I’m just sitting here doing time.”

Watch the video tribute below:

As part of the birthday celebrations, a new collection called ‘Gimme Some Truth: The Ultimate Mixes’ has been released. The record was executive produced by Yoko Ono Lennon and produced by Sean Ono Lennon, and contain’s 36 of Lennon’s best-loved songs from his solo career.

Meanwhile, Sean Ono Lennon has spoken about John Lennon returning his MBE to the Queen, calling it “maybe more punk than anything the punks did.”

The Beatles were each given the honour in 1965, but Lennon returned his award a year later in protest against the Vietnam War and Britain’s involvement in the conflict in Biafra.

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Speaking on George Stroumboulopoulos’ Apple Music Hits show STROMBO, Ono Lennon reflected on his dad’s actions, which happened just after the release of the track ‘Cold Turkey’.

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Watch Elton John’s psych-tinged video for previously unheard song ‘Regimental Sgt. Zippo’

Elton John has shared the video for his previously unreleased, psych-tinged track ‘Regimental Sgt. Zippo’.

The song was the title track of what was intended to be his debut album in 1969, but the record was never released.

  • Read more: Elton John’s New York leg of his farewell tour is a reflective and stunning tribute to a great artist’s career

Now, the star has shared the rarity with fans for the first time ahead of the release of his new eight-disc collection ‘Elton: Jewel Box’.

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The song and the video both showcase inspiration from The Beatles during their psychedelic era. The track tells the story of a boy wanting to be like his army father “if he can”.

“From the album that never was… Regimental Sgt. Zippo was going to be the title track of my unreleased debut album in 1969,” John wrote on Twitter. “You can find it on my upcoming Jewel Box!” Watch it below now.

 

‘Jewel Box’ marks John’s 50th anniversary in music and will feature demos, rarities and deep cuts, including over 60 previously unreleased tracks. It will be released on November 13.

“To delve back through every period of my career in such detail for ‘Jewel Box’ has been an absolute pleasure,” John explained when the release was announced last month. “Hearing these long lost tracks again, I find it hard to comprehend just how prolific Bernie [Taupin] and I were during the early days.”

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Earlier this week, meanwhile, Rod Stewart said the musician had turned down his offer to end their ongoing feud. The two stars fell out after Stewart criticised John’s farewell tour and said his Rocketman biopic was “not very flattering”.

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Tame Impala’s Kevin Parker shares ‘Jealous Guy’ cover for John Lennon’s birthday

Tame Impala’s Kevin Parker has shared a cover of John Lennon’s ‘Jealous Guy’ to mark the legendary singer-songwriter’s birthday.

  • Read more: John Lennon – his 10 greatest solo tracks

The late Beatle, who would have turned 80 today (October 9), died on December 8, 1980 after he was shot in New York by Mark Chapman.

Posting the cover to Instagram, Parker wished Lennon a happy birthday, tagged his son Sean Ono Lennon and included the hashtag #gimmesometruth. The video sees the musician playing the song on an acoustic guitar from his bed.

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See Parker’s rendition of the song below:

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#gimmesometruth @sean_ono_lennon

A post shared by Tame Impala (@tameimpala) on

 

‘Jealous Guy’ was originally released in 1971 as part of Lennon’s album ‘Imagine’. It was later released as a single in 1985 and again in 1988. Roxy Music scored a Number One on the Official UK Singles Chart with their cover in 1981.

Meanwhile, Sean Ono Lennon has spoken about his dad returning his MBE to the Queen in 1969. The Beatle sent the honour back to Buckingham Palace in protest of the Vietnam War and Britain’s involvement in the Biafra conflict – something his son described as “maybe more punk than anything the punks did.”

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Lennon’s biographer has also reflected on what the icon would be like were he still alive today. “I see no reason why he wouldn’t still be here,” said Kenneth Womack. “I think in a lot of ways he would have been like David Bowie, very moved by the internet. He would be an influencer in that way. He’d be right there on Twitter giving Trump hell.”

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John Lennon The Deluxe Ultimate Music Guide

“You may say I’m a dreamer…” Every album reviewed. Unmissable archive interviews rediscovered. A revolutionary solo journey, in full. Presenting the definitive 148-page tribute to the former Beatle, on what would have been his 80th birthday.

Order a copy here.

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John Lennon’s son Sean to interview Paul McCartney for new radio show

John Lennon‘s youngest son, Sean Ono Lennon, is to interview Paul McCartney for a new special two-part radio show to mark what would have been his late father’s 80th birthday.

In the new BBC radio show, McCartney reflects on his earliest days of making music with Lennon – admitting that “there were a few songs that weren’t very good”.

He said: “Eventually, we started to write slightly better songs and then enjoyed the process of learning together so much that it really took off.”

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When asked on their final meeting, he revealed: “I look back on it now like a fan, how lucky was I to meet this strange Teddy Boy off the bus, who played music like I did and we get together and boy, we complemented each other!”

Other interviewees for the new show include Lennon’s oldest son, Julian, and Elton John – who was a close friend of the singer.

Sean Lennon (Picture: Getty)

John Lennon At 80 airs on October 3 and 4 at 9pm on BBC Radio 2.

Yesterday, it was revealed that Lennon’s murderer, Mark Chapman, has apologised to the late singer’s widow Yoko Ono almost 40 years after his death.

Chapman shot the former Beatle four times outside his Manhattan apartment as Ono watched on in December 1980.

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He was denied parole at a hearing in New York on August 19, as the Press Association confirms. During the hearing, Chapman said he deserved the death penalty for his shocking crime and revealed that he killed the 40-year-old Beatle for “glory”.

“I just want to reiterate that I’m sorry for my crime,” Chapman told the parole board at New York’s Wende Correctional Facility. “I have no excuse. This was for self-glory. I think it’s the worst crime that there could be to do something to someone that’s innocent.

“He was extremely famous. I didn’t kill him because of his character or the kind of man he was. He was a family man. He was an icon. He was someone that spoke of things that now we can speak of and it’s great.”

He is next eligible for parole in two years.

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John Lennon’s killer Mark Chapman apologises to Yoko Ono for “despicable act”

Mark Chapman, the man who murdered John Lennon, has apologised to the late singer’s widow Yoko Ono, almost 40 years after his death.

Chapman shot the former Beatle four times outside his Manhattan apartment as Ono watched on in December 1980.

He was denied parole at a hearing in New York on August 19, as the Press Association confirms. During the hearing, Chapman said he deserved the death penalty for his shocking crime and revealed that he killed the 40-year-old Beatle for “glory”.

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“I just want to reiterate that I’m sorry for my crime,” Chapman told the parole board at New York’s Wende Correctional Facility. “I have no excuse. This was for self-glory. I think it’s the worst crime that there could be to do something to someone that’s innocent.

“He was extremely famous. I didn’t kill him because of his character or the kind of man he was. He was a family man. He was an icon. He was someone that spoke of things that now we can speak of and it’s great.”

Mark Chapman parole
Mark Chapman in 2010. CREDIT: Getty

He added: “I assassinated him, to use your word earlier, because he was very, very, very famous and that’s the only reason and I was very, very, very, very much seeking self-glory, very selfish.

“I want to add that and emphasise that greatly. It was an extremely selfish act. I’m sorry for the pain that I caused to her [Ono]. I think about it all of the time.”

According to the Press Association, Chapman’s appeal was rejected on the grounds that it “would be incompatible with the welfare of society.”

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Chapman added that he deserved the death penalty, although it was abolished in 2007.

John Lennon. CREDIT: Getty

“When you knowingly plot someone’s murder and know it’s wrong and you do it for yourself, that’s a death penalty right there in my opinion,” he said. “Some people disagree with me, but everybody gets a second chance now.”

He added: “I deserve zero, nothing. If the law and you choose to leave me in here for the rest of my life, I have no complaint whatsoever.”

Chapman was 25 at the time of the crime, but is now married with a wife who lives near the facility where he is currently incarcerated.

He is next eligible for parole in two years.

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The Beatles to publish official hardback book ‘The Beatles: Get Back’

The first official The Beatles book since the turn of the millennium has been announced, telling the story of the band’s final studio album ‘Let It Be.

  • READ MORE: How Peter Jackson’s new version of ‘Let It Be’ will shatter your view of The Beatles

The Beatles: Get Back, a 240-page hardback, will be published worldwide on August 31, 2021. You can see a trailer for it below.

The book begins at the start of 1969, shortly after the release of their chart-topping ‘The White Album’, and covers sessions for their final LP as well as their now-iconic rooftop performance – their last ever gig.

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It features transcribed conversations drawn from the band’s 120 hours of studio recording sessions, as well as hundreds of previously unpublished images from the archives of Linda McCartney and acclaimed photographer Ethan A. Russell, whose pictures feature on the sleeve of ‘Le It Be’.

It features a foreword from director Peter Jackson, whose documentary about the album, also titled The Beatles: Get Back, will be released shortly before the book on August 27. Novelist Hanif Kureishi has written the introduction.

While the Let It Be sessions have often been described as fractious, Kureishi writes: “In fact this was a productive time for them, when they created some of their best work. And it is here that we have the privilege of witnessing their early drafts, the mistakes, the drift and digressions, the boredom, the excitement, joyous jamming and sudden breakthroughs that led to the work we now know and admire.”

It’s the first standalone Beatles book officially released by the band since The Beatles Anthology, which was a bestseller when published in the year 2000.

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Meanwhile, John Lennon‘s 80th birthday is set to be marked with the release of a new remix album called ‘Gimme Some Truth. The Ultimate Mixes’ next month.

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Watch Miley Cyrus cover The Beatles for Global Citizen’s Global Goal concert

Miley Cyrus has covered The Beatles for Global Citizen’s Global Goal: Unite For Our Future concert.

  • Read more: Ashnikko is the Miley Cyrus-approved bubblepunk pop-star who refuses to take herself seriously

The event was hosted by Dwayne “The Rock” Johnson and featured performances from Christine And The Queens, Coldplay, J Balvin, Usher, Justin Bieber and Quavo, Shakira and more.

Performing at Pasadena, California’s Spieker Field At The Rose Bowl Stadium, Cyrus covered The Beatles’ ‘Help!’ The pop star delivered her version of the track from the dot of an exclamation mark at the end of a sign on the field spelling out the song’s title.

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The video of her performance was overplayed with the message that it was “dedicated to those who are tirelessly working on testing, treatment and vaccines so all of us can come together in places like this empty stadium again…” Watch the performance below now.

The Global Goal concert was streamed online and broadcast on TV networks around the world today (June 27) and was set up to raise money to “combat the disproportionate impact of COVID-19 on vulnerable and disadvantaged communities”. A total of $6.9 billion (£5.6b) has been pledged to the cause by governments, the private sector and foundations so far.

Speaking ahead of the event, Cyrus said: “This moment requires all of us to act. As Global Citizens, we’re calling on leaders around the world to combat the disproportionate impact COVID-19 has on marginalised communities by committing funds to develop and deliver tests, treatments, and therapeutics.

“Because of this global effort, we will be more able to ensure that everyone, everywhere has access to COVID-19 testing and treatment, regardless of their income or where they live.”

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In May, Global Citizen teamed up with Lady Gaga for the One World: Together At Home live-streamed concert. The Gaga-curated event saw artists from around the world, including Paul McCartney, Bruce Springsteen, Billie Eilish and more, perform from their respective homes to raise money for coronavirus relief efforts.

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Alicia Keys & John Legend Partaking In Special Juneteenth "Verzuz" Battle


Alicia Keys and John Legend will be going hit-for-hit on the piano in a special Juneteenth edition of “Verzuz” next week.

Alicia Keys and John Legend are celebrating the historic holiday of Juneteenth with a special edition of the “Verzuz” battles. Timbaland and Swizz Beatz‘s “Verzuz” series has become a pivotal source of entertainment these past few months in quarantine, giving us musical duels from pairs of opponents like Lil Jon and T-Pain, RZA and DJ Premier, Erykah Badu and Jill Scott, Babyface and Teddy Riley, Mannie Fresh and Scott Storch, Nelly and Ludacris, and more. The most recent battle took place between gospel singers Kirk Franklin and Fred Hammond at the end of last month, and after a brief hiatus, “Verzuz” is back with a piano face-off for the ages.

On Saturday (June 13th), “Verzuz” announced that the special Juneteenth battle between the two master pianists would (of course) be taking place next Friday, June 19th, at 8:00pm (EST). The idea of a piano battle against Alicia had been floated by John prior to the official announcement. “I think that would be the best thing,” John said about the prospect at the time.

Alicia Keys & John Legend Partaking In Special Juneteenth "Verzuz" BattleKevin Winter/Getty Images for NARAS

This special Juneteenth battle coincides with the release of John’s new album, Bigger Love, which also drops on the 19th.

Will you be tuning in?

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HNHH & TuneCore Present "Heat Seekers" Artist Spotlight: Big Dawg Johnson


Following the reveal of Tye Harris, HNHH & TuneCore are pleased to announce Big Dawg Johnson as the latest “Heat Seekers” artist.

Last year, HNHH and TuneCore partnered up to launch the extensive “Heat Seekers” contest, an eleven-week showcase designed to highlight some of the game’s best unsigned talent. After a lengthy search and plenty of submissions, Mr. Lightupp was ultimately declared to be the winner. Now, we’re back with another edition of the “Heat Seekers” challenge, picking up with our new format designed to highlight some of the twelve competitors. After all twelve are revealed, the winner will be chosen from there. Should you be interested in trying your luck, you can submit your own music right here

With Tye Harris setting things off last week, now is the time for Dallas’ own Big Dawg Johnson, otherwise known as Big Hud. No stranger to putting in work, Big Dawg has crossed paths with several notable rappers, including Too $hort, Chance The Rapper, OMB Peezy, Rittz, Yelawolf, Yella Beezy, Scott Storch, and more. Now, Hud is looking to continue his ascent, bringing his Southern influence to the fold on standout tracks like “Wipe The Slate Clean.” Drawing inspiration from the game’s top moguls, Big Dawg’s ambitions are matched only by his potential.  

If you’re looking to get a better understanding of Big Dawg Johnson, his music, his goals, and those who helped shape him, we’ve got an exclusive Q&A for your benefit below. 

HNHH: Where are you from? How has your home influenced your sound and style?

Big Dawg Johnson:I’m from Dallas, Tx. My sound was heavily influenced by southern artists like T.I. & UGK & Future.

Describe your sound in three words.

Feel Good Music

How old are you? Does age matter in music?

Age doesn’t matter as long as you can relate & get your message across to your targeted demographic.

What’s the last album you listened to?

Dej Loaf new project It’s A Setup. My production team actually produced a record on it called “Technical Foul”.

Name your top three biggest influences.

Too Short, Diddy, Master P all for mogul & pioneer reasons.

Name your dream collaboration.

To Rap on a Dr. Dre/Scott Storch beat.

If you could only listen to one album for the rest of your life, what would it be?

UGK’s Riding Dirty.

What’s your favorite hip-hop sub-genre at the moment?

Drill Rap. RIP Pop Smoke.

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John Legend Imagines "Verzuz" Battle With Alicia Keys: "I Think We Will"


John Legend hints that he and Alicia Keys may engage in a “Verzuz” Instagram Battle that may include “dueling pianos.”

The Verzuz battles are the new wave, and artists are wanting their pie of the pie. From writers to producers to artists, millions of people have tuned into Instagram Live to watch Swizz Beatz & Timbaland‘s Verzuz series. This weekend (May 9) we’re all set to watch Erykah Badu and Jill Scott celebrate their hits with R&B-soul fans, and in a recent interview with Nick Cannon, John Legend hinted that he and Alicia Keys may have something cooking up, as well.

John Legend Imagines "Verzuz" Battle With Alicia Keys: "I Think We Will"
Rich Polk / Stringer / Getty Images

“I think that would be the best thing,” he told Cannon. “Honestly, if we do it, like a dueling pianos—” Nick Cannon jumped in excitedly co-signing the idea. “That would be crazy! I would love to see that. I mean, obviously I’m a huge fan of both of you. Not just your songs and your artistry, but really, your musicianship,” Cannon said. “I feel like you guys don’t get the opportunity to show that off. Especially for this generation who needsd to understand musicality and the importance of theory and putting all of that together for people to be as successful as you and Alicia. We gotta see that.”

John Legend hinted that it actually may be in the works. “I think we will,” he replied. “What I do like with the way it’s been going so far is we’re seeing producers and writers, more than just artists. The producers and writers, what’s so cool about it is, maybe you didn’t know that they produced this song. For me and Alicia, you know it’s our songs ’cause we are the front person for them. We were on the radio singing them, but for all of these producers like Teddy [Riley], Babyface, and all these other producers, ‘Oh, I didn’t know they were behind that song.”‘ 

He added that the best part of the Verzuz series is the ability for audiences to learn about the music history behind the jams that we hold near and dear to our hearts. Watch John Legend chat with Nick Cannon below about his home life, quarantining, his forthcoming album, and new music.

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Jeannie Mai Talks Wedding Reception Music Plans: "The Beats Have To Be Sickening!"


Jeannie Mai and Jeezy haven’t mapped out the exact plans for their wedding, but “The Real” host revealed some must-haves for their big day.

Although it seems as if Jeannie Mai and Jeezy‘s relationship has been moving rather quickly, the couple has been together since November 2018. They reportedly met on the set of The Real and ever since then, they’ve been inseparable. Their match-up seemed like an unlikely romance to fans, but they’ve been flaunting their love on social media after going public with their relationship.

Jeannie Mai Talks Wedding Reception Music Plans: "The Beats Have To Be Sickening!"
John Sciulli / Stringer / Getty Images

Like many engaged couples, Jeezy and Jeannie Mai have been finding their wedding plans put on pause because of the COVID-19 pandemic. In a recent chat with HollywoodLife, Jeannie shared bits about what she and her rapper fiancée have envisioned for their big day. “The beats have to be sickening,” Jeannie said of their reception’s music selection. “So yes, it’s going to be a dance fest. We love R&B and of course, we love jazz and hip hop. We love 80s, too. We always said our wedding would be one fat party of love, so definitely that.”

Jeannie admitted that she and Jeezy haven’t laid out well-made plans for their trip down the aisle just yet. “We talk about things that we like,” she added. “All I know is I’m going to tell you one thing for sure that is going to happen at my wedding — Mama Mai is absolutely going to perform. She is absolutely going to sing!” 

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Denzel Curry & Kenny Beats’ "Unlocked" Getting Comic Book Treatment


Denzel Curry and Kenny Beats are gearing up to bring “Unlocked” to the wonderful world of comic books.

Sometimes a creative vision can be enjoyed in a variety of different ways. Kendrick Lamar‘s DAMN, for example, took on a second life with a reversed tracklist; Run The Jewels went full crazy-cat-lady with the batshit insane Meow The Jewels. Now, the dynamic duo that is Denzel Curry and Kenny Beats have decided to offer up a different take on their popular Unlocked projected, which arrived back in February complete with an extensive companion film. 

Denzel Curry & Kenny Beats' "Unlocked" Getting Comic Book Treatment

Jason Mendez/Getty Images

Today, Denzel Curry and Kenny Beats have revealed their plans to expand on their recently established world, announcing an official Unlocked 48-page comic book and instrumental album by way of their “dark” counterparts. With Psycho Films handling the plot and illustrations from Sam Hochman, Joey Prosser, Forrest Whaley, Justin Johnson, Chaz Bottoms, Malik Bolton, Rachel Headlam, Borboev Shakhnazer, and Asekov Tilek, it’s likely that Unlocked will continue to take on a life of its own. Should you be interested, check out the trailer below, and be sure to place your orders right here

If that wasn’t enough, the pair will also be delivering an instrumental version of the album, as Kenny Beats believes that the beats can stand comfortably on their own. “UNLOCKED is so much more than a few songs, it’s a feeling we all have,” Kenny told Complex. “For the first time I’m releasing my instrumentals because I truly believe these beats can live on their own. Put them on while you read the comic and stay tuned for part 2!” Look for that to land on May 1st. 

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Young Dolph Wants A Dr. Dre Beat


Young Dolph offers Dr. Dre a healthy sum in exchange for one of his signature bangers.

Though Young Dolph recently contemplated retirement from the game, it would appear an unfinished bucket list has kept from making the commitment. As it happens, Dolph has been actively seeking a collaboration with the legendary Dr. Dre, who has remained one of the game’s most selective producers, opting to work almost exclusively with Aftermath artists like Eminem and Anderson .Paak. Yet Dolph is not one to be deterred from his efforts, going so far as to dip into the reserves and present the good Doctor with a sizeable offer.
 Young Dolph Wants A Dr. Dre Beat

John Lamparski/Getty Images

“Everybody go over to @drdre page rite now and tell him I said I got 100k for him for one of those hard-ass beats,” writes Dolph, taking to Instagram to issue a call-to-action. And while the support was indeed heavy, as was the appreciation for Dolph’s musical taste, so too was the skepticism; as many were quick to point out, the notorious perfectionist isn’t exactly firing off new beats on a willy-nilly basis, and a one-hundred thousand dollar offer might not be enough to pull the near-billionaire into the studio.

On the other hand, it’s entirely possible that Dre respect’s Dolph enough to acquiesce. Should that be the case, the potential for an incredible song is certainly high — Dre is no stranger to hard-hitting gangsta-rap bangers, and seeing him take it back to those days for a Dolph duet would be a welcome turn of events. What do you think — do these two need to link up ASAP?

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JayDaYoungan Beats Up Drug Dealer For Selling Him Fake Pills


Louisiana rapper JayDaYoungan posted a video of himself throwing punches at a man he accuses of selling fake Percocet.

21-year-old Louisiana native JayDaYoungan has been rising in the rap ranks for the last year and a bit, releasing his debut studio album Misunderstood late last year. The budding star has a troubling legal history but his time in the streets has forced him to smarten up when it comes to the shotty activity he raps about in his music. 

Uploading a video to Instagram this week, JayDaYoungan proved that he has street smarts, calling out a drug dealer for allegedly trying to sell him fake Percocet, beating him up on camera.

“You sold me fake Perc, bitch!” says the rapper, mounting the man and throwing punches left and right. Jay is surrounded by his homies but he is the only person getting physical, teaching the man a lesson and showing him to never try and sell him fake pills again.

JayDaYoungan Beats Up Drug Dealer For Selling Him Fake Pills
Johnny Nunez/Getty Images

The video does not have a caption and fans are unable to leave comments. However, it’s pretty clear that the 21-year-old is mad about fake Percs. 

When the video was initially uploaded, JayDaYoungan supposedly had the following caption: “RIP @macmiller & @juicewrld999.”

Both Mac Miller and Juice WRLD died of drug overdoses, which could be confirming the reason why Jay was throwing punches.

Watch the clip below.

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U.K. Prime Minister Boris Johnson Tests Positive For Coronavirus

The U.K. Prime Minister, Boris Johnson, has tested positive for coronavirus, as has Britain's Health Secretary, Matt Hancock.

The Prime Minister of the U.K., Boris Johnson, has tested positive for coronavirus, along with the country's Health Secretary, Matt Hancock. More and more public figures have been coming forward recently to announce that they've contracted coronavirus, and it looks like the leader of the United Kingdom is among them. Johnson addressed his diagnosis in a tweet on Friday, revealing that he has mild symptoms and is currently self-isolating.

"Over the last 24 hours I have developed mild symptoms and tested positive for coronavirus," the PM wrote. "I am now self-isolating, but I will continue to lead the government’s response video-conference as we fight this virus. Together we will beat this. #StayHomeSaveLives." In the video attached, he described his symptoms as "a temperature and a persistent cough," and assured everyone that he will still be able to fulfill his duties as prime minister from home. “Be in no doubt that I can continue–thanks to the wizardry of modern technology–to communicate with all my top team to lead the national fightback against coronavirus," he said. He then makes sure to thank the National Health Service (NHS) for all their hard work, along with the police, social care workers, teachers, and the Department for Work and Pensions (DWP) staff. He also shows his appreciation for "every member of the British public who's volunteering" and "everybody who is working to keep our country going through this epidemic."

U.K. Prime Minister Boris Johnson Tests Positive For CoronavirusJulian Simmonds - WPA Pool/Getty Images

"The way we're going to get through this is, of course, by applying the measures that you'll have heard so much about," he continues. "The more effectively we all comply with those measures, the faster our country will come through this epidemic and the faster we'll bounce back. Thank you to everybody who is doing what I am doing–working from home. Stop the spread of the virus from household to household. That’s the way we are going to win. We are going to beat it, and we are going to beat it together. Stay at home. Protect the NHS and save lives.” Johnson's diagnosis comes just one day after another prominent British figure, Prince Charles, was revealed to have tested positive as well. Fellow world leader, Justin Trudeau, the Prime Minister of Canada, had also gone into self-isolation earlier this month, after his wife, Sophie Grégoire, tested positive for coronavirus.

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Timbaland & Swizz Beatz Have Epic Producer Battle On IG Live

Timbaland and Swizz Beatz face off with some of their greatest hits in an IG Live battle that has hip hop fans bopping all over the world.

Geniuses are at work on Instagram Live. We haven't watched so many live streaming concerts, contests, and celebrity Q&As in the history of social media, but this period of COVID-19 quarantine has spiced up online interactions. DJ D-Nice recently hosted multiple Instagram Live parties that reached upwards of 100K viewers including Lenny Kravitz, Justin Timberlake, Kevin Hart, and Michelle Obama. Erykah Badu, John Legend, and Keith Urban hosted live concerts from the comforts of their homes. Earlier today, Tory Lanez got a few of his famous friends on his Live before added dozens of fans who wanted to drop it low for his twerk contest. Now, Timbaland and Swizz Beatz hopped on Live to share a few beats with the world in an epic showdown.

Timbaland & Swizz Beatz Have Epic Producer Battle On IG Live
Paras Griffin / Stringer / Getty Images

The internationally renowned producers-artists had fans bopping along to a few fire tracks. "Attention, attention, attention," Timbaland said in his announcement video. "It's official. We doing this for the culture. Me and Swizzy gon' go at it 10 o'clock, baby. IG Live. Hoo, hoo, hoo. I done had that red blood in me. Whoo, it's gonna be a good one."

The "battle" is, of course, all done in love, and it's certainly a sight to see. The pair is currently a trending topic on Twitter, so check out a few clips from their session, read through a few reactions, get ready to jam to some hits, and let us know who you think is taking the top spot.

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Singaporean Student Wrongfully Beat Up Over Coronavirus


A Singaporean student was wrongfully assaulted in London over the coronavirus.

23-year-old, Jonathan Mok, was wrongfully beaten and assaulted after being accused of bringing the coronavirus to London. The UCL (University College London) student was walking down Oxford Street last Monday (Feb. 24), when he heard shouting about the novel coronavirus. After hearing remarks about his race and the COVID-19 virus, Mok decided to stand up for himself and was met by three to four men and woman who unleashed a surprise attack on the Singaporean collegiate student. 

Singaporean Student Wrongfully Beat Up Over Coronavirus Anthony Kwan/Getty Images

Mok has been living in London for the past two years for his collegiate studies and frequently returns to Singapore during holidays. During the incident, the student was instantaneously punched in the face twice and kicked by a group of unknown Londoners near the Tottenham Court Road station. London’s Metropolitan Police Service confirmed on Tuesday (March 2) that they are investigating the assault, but have made no arrest. During a brief interview with Channel News Asia, Jonathan Mok stated:

“I felt really angry … It is ridiculous people are being targeted for being Asian.”

Since Mok’s attack, the Singapore High Commission urged all Singaporeans to take precautions while in the UK and report any type of abuse to the local authorities. John Wok took to his Facebook page to write in-depth soliloquy about being racially discriminated against, part of his post reads:

“Last Monday, at roughly 9.15pm on Oxford Street in London, I walked past a group of young men, when I saw one of them look at me (just as he walked past me) and said something to me, which I could make out the word ‘coronavirus’. I was stunned and turned around to have a look at the man made the statement. He was still staring at me as he walked past and realised I was looking at him. He shouted ‘Don’t you dare look at me, you ____’ (I could not catch the last word because of the accent). Within 3 seconds, he was in my face, together with 3/4 other young men, and a young lady (all of whom seemed no older than 20 years old, but were all more than a head taller than me). I was shocked and angry because he directed a racist remark at me and had the audacity to shout at me like I had wronged him. All of a sudden, the first punch was swung at my face and took me by surprise. When I was still shocked by the first hit, the guy delivered the second sucker punch. By then, a few passers-by had stopped and one of them tried to reason with them that 4 on 1 was not fair. The attacker’s friend tried to swing a kick at me as I was explaining to the passer-by that I hadn’t done anything at all. I tried to react in self-defence but couldn’t do anything substantial because I was still recovering from a broken finger in my master hand. The guy who tried to kick me then said, ‘I don’t want your coronavirus in my country’”

While the President of the United States may believe the coronavirus is a hoax, major corporations have been taking hits from the spread from the disease and is leaving American citizens dead from the virus. Jonathan Mok’s targeted attack is not what society needs in order to battle this current pandemic, but is a result of ignorance about the deadly virus. With a vaccine allegedly developed, hopefully, humanity will be able to move past this egregious disease and move forward amicably. 

Check out Johnathan Mok’s bruised and battered face in the Facebook post provided below. 

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Magic Johnson Reveals Truth Behind Michael Jordan’s Shrug

Magic Johnson provides new details about Michael Jordan's infamous shrug, and what went down the night before Game 1 of the 1992 Finals.

Michael Jordan delivered an endless amount of memorable moments during the course of his Hall of Fame career, including one perfectly-timed shrug during Game 1 of the 1992 NBA Finals. That iconic moment came after Jordan buried his sixth three-pointer in the first half, as he hung 35 on Clyde Drexler and the Portland Trail Blazers in the first two quarters.

As it turns out, Magic Johnson says he is the one to blame for Jordan's red hot performance on that night.

Magic Johnson Reveals Truth Behind Michael Jordan’s Shrug

During the NBA All Star weekend in Chicago, Johnson revealed that he, MJ and some others had played cards at Jordan's house the night before Game 1. As the legend goes, Magic and MJ's pops teamed up to beat Jordan while playing bid whist, which prompted his destruction of the Blazers.

Says Magic (H/T Brandon Robinson):

“The night before he hit all of them threes against Portland, we’re playing bid whist at his house. His dad and I, we bust him up, we tore him up, I’m running six nose and five specials on Michael.”

“So we play and I say: ‘Michael I gotta go home, you gotta go home, you’ve got a game. He said: ‘nah MJ' [Magic Johnson] because Mike was just so competitive. When he loses, he don’t want you to leave.”

The next night, Magic was calling the game for the NBA on NBC and he had a front row seat as Jordan took out his frustrations from the night before. Says Magic, “He was turning to me. He was so hot that night so he owed me a lot because I’m the one he was mad at. That’s why he took it out on Clyde Drexler the next day in the game."

Check out his recollection of events leading up to MJ's infamous shrug below.

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Machine Gun Kelly Crew Members Indicted By Grand Jury Over Beatdown


In 2018, Machine Gun Kelly’s entourage was involved in a fight with an actor who called the rapper a “p*ssy” over Eminem beef.

The court case against two members of Machine Gun Kelly‘s crew is heating up as it’s being reported that indictments have been issued against them. Back in 2018, a physical altercation was captured on surveillance footage that allegedly shows a man named Gabriel “G-Rod” Rodriguez getting beaten by two men affiliated with MGK. Both parties were at an Atlanta restaurant when G-Rod decided to yell at MGK, calling him a “p*ssy” over his ongoing verbal spat with Eminem.

Machine Gun Kelly Crew Members Indicted By Grand Jury Over Beatdown
Charley Gallay / Stringer / Getty Images

Later, the parties just happened to reconnect at a Hampton Inn where two people in Machine Gun Kelly’s entourage reportedly unleashed a beatdown onto G-Rod. The victim was battered and bruised, so he decided to sue the rapper. Because MGK wasn’t involved in the fight personally and witnesses reportedly backed up his story, the rapper doesn’t believe he’s at fault. In his lawsuit, G-Rod stated that MGK told his crew members to attack him so he should be held responsible.

In October 2019, Brandon Allen and John Cappelletty were arrested on two counts of felony aggravated battery causing substantial physical harm. They quickly made bail and according to TMZ, they’ve now been indicted by a grand jury. They’re not expected to receive the maximum sentence, but the outlet states they’re facing 20 years in prison.

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Lil Wayne Beats Elvis Presley For Second-Highest Number Of Top 40 Hits In History


Lil Wayne surpassed Elvis Presley’s number of Top 40 Billboard Hot 100 hits, making him the second artist with the most Top 40 hits in the chart’s history next to Drake.

When Lil Wayne dropped Funeral a week-and-a-half-ago, he reminded everyone how he has managed to make such a lasting impression on hip-hop. Now, his musical longevity has been proven even further with his latest Billboard feat: Weezy has officially surpassed Elvis Presley’s number of Top 40 Billboard Hot 100 hits, with a total of 82. This officially makes Lil Wayne the artist with the second highest number of Top 40 hits in history, next only to his former fellow Young Money man, Drake, who has exactly 100.

Lil Wayne Beats Elvis Presley For Second-Highest Number Of Top 40 Hits In HistoryJeff Schear/Getty Images for Young Money/Republic Records

With his 13th studio album, Funeral, which debuted at No. 1 on Billboard, Wayne managed to nab himself four Billboard Hot 100 hits. According to Nielsen Music/MRC Data, the album’s title track sits at No. 88, followed by “Mamma Mia” at No. 87, and Mahogany at No. 61. With the Big Sean and Lil Baby-featured song, “I Do It,” is sitting at No. 33, however, Weezy has secured his 82nd Top 40 hit of his career, allowing him to surpass Elvis Presley’s record as having the second highest number of Top 40 hits in the chart’s history. In total, Wayne has 167 career entries on the Billboard Hot 100 chart, the third-highest number of hits besides Drake and the Glee cast, who are tied at 207 each.

Lil Wayne Beats Elvis Presley For Second-Highest Number Of Top 40 Hits In HistoryJohn Phillips/Getty Images

Funeral managed to debut at No. 1 after moving an impressive 139,000 equivalent album units during its first week on streaming services. This includes 38,000 traditional album sales, the equivalent of 134 million on-demand streams. Check out full list of artists with the most Top 40 hits in history below:

Most Top 40 Hot 100 Hits
100 – Drake
82 – Lil Wayne
81 – Elvis Presley
63 – Taylor Swift
57 – Elton John
56 – Kanye West
54 – Nicki Minaj
51 – Eminem
51 – Glee Cast
50 – The Beatles
50 – Jay-Z
50 – Rihanna

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"Birds Of Prey" Described As A Batsh*t Crazy "John Wick" Funhouse Ride By Fans

Fans are receiving the new Harley Quinn, "Birds of Prey" film pretty well.

Following the lackluster reception of Suicide Squad (2016) upon its release, Warner Bros. needed a film to help reenergize the movie franchise which is set to release its second installment in 2021. The DC Universe team went to work curating a Suicide Squad spin-off centered around the Joker's accomplice and lover, Harley Quinn, entitled, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) which is set to hit theaters around the globe next week. Now, with press screenings and Warner Bros. in full promo mode for their latest creation, viewers of the early screenings are claiming that Birds of Prey is some of the best work to come out of the DC Universe in recent history. 

According to one member early viewer, the film is comparable to that of the lastest John Wick film, delivering on promises of pure chaos, anarchy, girl gangs, and intense fighting scenes. From the scores of film critics that were able to see the film early, their reviews were surprisingly upbeat urging movie fans to see the film for themselves. Check out some of the reviews below:

 

 

 

 

Birds of Prey featuring the reformed Dr. Harleen Quinzel highlights the aftermath of her supposed 'mutual' breakup with the Joker. The film then surrounds its plot around Harley Quinn (played by Margot Robbie) and her girl-gang as they terrorize Gotham City in all ways imaginable. The cast also includes stars Mary Elizabeth Winstead as Huntress, Jurnee Smollett-Bell as Canary, Rosie Perez as Renee Montoya, and Ewan McGregor as Black Mask. 

With The Batman starring Robert Pattison officially in production, and James Gunn at the helm of directorial duties for the new Suicide Squad 2 film, DC and Warner Bros. have the opportunity to kick off the decade in the right direction for the studio house. Check out the trailer to Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) below and if interested, catch the film in theaters Thursday, Feb. 6. 

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Dwayne "The Rock" Johnson Announces Autobiographical Sitcom "Young Rock"


Dwayne “The Rock” Johnson is teaming up with NBC to release an autobiographical sitcom entitled “Young Rock.”

Dwayne “The Rock” Johnson is by far the most successful entertainer to step outside of the professional wrestling ring. Over the past decade and a half, The Rock has been able to become one of Hollywood’s elite personalities and executive entrepreneurs. Now, the eight-time WWF/WWE Champion is adding to his already extensive resume by partnering up with NBC to produce an autobiographical sitcom about his childhood entitled, Young Rock

The pilot for Young Rock will be written by Fresh Off the Boat co-executive producers Nahnatchka Khan and Jeff Chiang and has been greenlit for a total of eleven episodes in its inaugural season. The announcement of The Rock’s reintroduction to the television space came at the Television Critics Association Winter Press Tour directly from the athlete turned actor’s mouth as he stated:

“We’re going to find young Rock wreaking havoc in the streets of Hawaii, when I was a teenager, getting arrested seemingly every single week, doing things I shouldn’t have been doing, but still a good kid. Then we got evicted off the island, and moved to, of all places Nashville, Tennessee, where I continued to get in trouble.”

“Just imagine me at 15 in downtown Nashville, listening to honky-tonk, buying my first car from a crackhead for $70 – I did talk him down so I was a pretty good negotiator. Then we go into high school years and then I became a University of Miami football star, if you will until I got beat out of my position by a guy by the name of Warren Sapp, who went on to become one of the greatest defensive tackles of all time,” he added. 

Surprisingly, Dwayne Johnson’s upbringing isn’t reflective of his successful wrestling and acting career where he was arrested for assault, theft, check fraud, and more all before the age of seventeen. With a television series on the way depicting The Rock’s troublesome childhood, his fans and critics will be able to have a better understanding of the humble beginnings that helped shape him into the man he is today. 

With Dwayne Johnson confirmed to join the DC Universe in the upcoming Black Adam film, The Rock is continuing his streak as one of the biggest stars of this generation to grace the silver screen. Stick with HNHH as more details unfold on The Rock’s Young Rock sitcom. 

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Former Nazareth frontman Dan McCafferty has died aged 76

Dan McCafferty, a founding member of the Scottish rock band Nazareth, has died.

News of the singer’s death at the age of 76 was confirmed today (November 8) by Nazareth bassist Pete Agnew.

“This is the saddest announcement I ever had to make,” Agnew wrote on Facebook. “Maryann and the family have lost a wonderful loving husband and father, I have lost my best friend and the world has lost one of the greatest singers who ever lived. Too upset to say anything more at this time.”

McCafferty was the singer for Nazareth from their formation in 1968 through to 2013, when the band announced his retirement from touring due to health issues. He appeared on all of Nazareth’s albums up to 2014, beginning with 1971’s self-titled effort, and toured with the group for 45 years.

The last Nazareth album McCafferty was involved with was 2014’s ‘Rock ‘n’ Roll Telephone’.

Dan died at 12:40 today.

Posted by Nazareth on Tuesday, November 8, 2022

In 2019, McCafferty released ‘Last Testament’, his third and final solo album, which followed 1975’s ‘Dan McCafferty’ and 1987’s ‘Into The Ring’.

Nazareth are known best for their 1975 album ‘Hair Of The Dog’, which featured the title track and a cover of The Everly Brothers ballad ‘Love Hurts’.

The band remained active, with Agnew as its only original member, and new lead singer Carl Sentance.

Earlier this year, founding member Manny Charlton passed away at the age of 80. News of the guitarist’s death was confirmed by his grandson, Jamie Charlton, who shared a photo on social media with the caption “RIP Grandad.”

Ricky Warwick, frontman of Black Star Riders and Thin Lizzy, was among those who paid tribute to McCafferty.

He wrote on Twitter: “Very sad to hear of the passing of Nazareth’s Dan McCafferty today. I was honoured to be in his company on the Rock Meets Classic Tour in 2016. My thoughts and condolences to his family and close friends.”

See more tributes to the frontman below.

Very sad news. The world lost one of the greatest singers in Rock History, my friend and Rock Meets Classic family member Dan McCafferty ?

Posted by Mat Sinner on Tuesday, November 8, 2022

The world has lost one of the greatest singers ever alive and one of the loveliest, funniest chaps I ever had the honor…

Posted by Alexander Beyrodt on Tuesday, November 8, 2022

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Uncut Review Of The Year 2024

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

All print copies come with two gifts: a 32-page, A5 book, My Year In Music, where the stars of 2024 share their albums, books, gigs and other musical highlights from the last 12 months; and also a 15-track Best Of 2024 CD starring Jack White, Gillian Welch & David Rawlings, Nick Cave & The Bad Seeds, Beth Gibbons, The Smile, Richard Thompson, Bill Ryder-Jones and more!

NICK CAVE: After a period of carnage and contemplation, Wild God found the legendary band in rip-roaring form, powered by their leader’s emotional candour and renewed lust for life. Back in Berlin, a location that looms large in the group’s lore, Cave and cohorts consider their ongoing transformation: “It’s really about the present moment…”

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UNCUT’S REVIEW OF THE YEAR: Standby for the definitive look back at 2024. The 80 Best New Albums Of 2024, 30 Best Archive Releases, 20 Best Films, 10 Best Books and 10 Best Music Documentaries… plus Bruce Springsteen, Waxahatchee, Beak> and English Teacher speak!

ALICE COLTRANE: Since her death in 2007, the reputation of this spiritual jazz pioneer has continued to grow to the point where it now matches that of her esteemed husband John. In what has been designated The Year Of Alice, we hear from those who worked, lived and prayed alongside the musician and teacher to discover what drove her to create such transcendent music: “There was an energy around her, a sacredness”…

ELVIS COSTELLO: With an enhanced reissue of his much-loved King Of America album, EC explores the new shoots in the old routes that have taken him around America’s greatest music cities for the last 40 years. “I’m grateful for the trip I’ve been on,” he tells us.

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KRIS KRISTOFFERSON: Singer, film star, soldier, academic and activist, KRIS KRISTOFFERSON, who died last month, could seemingly turn his hand to anything – not least songwriting, where he helped take country music in bold new directions. But as we discover, success sat awkwardly with his rebel spirit. “Mark Twain was special, Bob Dylan’s special, all The Beatles are special. Kris fits in with that lot, you know?”

CASSANDRA JENKINS: The singer-soungwriter’s latest record My Light, My Destroyer is one of the breakthrough albums of this year: a rich, emotional blend of warmth and melancholy set against cosmic awe. In Portland, Oregon, she explains how she overcame self-doubt and grief to discover truths about herself and her songwriting. “I’m just a delicate flower,” she explains. “So it’s pretty funny tothrow a delicate flower into a tornado.”

AN AUDIENCE WITH… JOE BOYD: The folk-rock super-producer talks Syd, Sandy, 6am calls from Kubrick and ping-pong with John Cale.

THE MAKING OF “WILD THING” BY THE TROGGS: A “weird demo with cuckoo noises” touted by a country songsmith flops for The Wild Ones but catches the ear of Hampshire’s beat hopefuls. “It had something about it…”

ALBUM BY ALBUM WITH MICK HEAD: The rocky road from The Pale Fountains to Shack to Strands to the New Elastic Band and back.

MY LIFE IN MUSIC WITH JULIA HOLTER: LA’s musical magical realist on her loud city songs: “There’s sorrow and ecstasy and all the feelings…”

REVIEWED: White Denim, Bonzo Dog Doo-Dah Band, Father John Misty, Joni Mitchell, Michael Kiwanuka, Randy Newman, Dusty Springfield, Jeff Parker, Paul Simon, The Shovel Dance Collective, George Harrison, David Gilmour, Haley Heynderickx, Silk Road Ensemble with Rhiannon Giddens, Ray Charles, Trees Speak and more.

PLUS: Phil Lesh and Barbara Dane RIP, Blur, John Peel’s record collection, Jesse Malin, an REM/Black Crowes/Screaming Trees supergroup and introducing… Fievel Is Glauque.

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Quincy Jones: “I learned the difference between music and the music business”

This article originally appeared in Uncut Take 163 from December 2010

Quincy Jones keeps Uncut waiting for an hour before we’re finally ushered into his presence. Thankfully, this proves to be the only evidence of prima donna behaviour from the legendary producer and arranger – when we finally meet, he’s charming and affable, brandishing photos of his kids and relating tales of his extensive travels (China is a current obsession). As we talk through a handful of his many career highs, “Q” heads off on entertaining tangents: numerology, the banning of slave drums in 1692 America, the similarity between Chinese and African languages, the emotional pull of a major seventh chord and why Pro-Tools will never replicate his sound. In passing, he name-drops the Stones, Brando, Picasso and David Beckham. At 77, with a credit on over 100 albums, we have to ask what the secret is to his success. “The sequence is very important,” he says. “That’s the architecture of an album…”

THE CURE, BRYAN FERRY, THE MC5, RADIOHEAD, KIM DEAL, PAUL WELLER AND MORE STAR IN THE NEW UNCUT – ORDER A COPY HERE

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QUINCY JONES
THE BIRTH OF A BAND

(MERCURY, 1959)

Jones’ third album was recorded half in New York, half in Paris – a reflection of how important the latter city had become to him in the late 1950s

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JONES: I first came to Europe with the Lionel Hampton band when I was in my early 20s. In 1957 Eddy Barclay offered me the job of musical director at Barclay Records in Paris, which was great firstly because I also got to study under Nadia Boulanger, who had been mentor to Stravinsky, Aaron Copland and many other classical musicians. She was the lady. I learned so much from her – in New York they wouldn’t let you arrange strings if you were black – only horns or rhythm section.

Paris at that time was hot. Bardot was 24, Jeanne Moreau 23, I got to meet people like Pablo Picasso and James Baldwin. Lots of American jazz musicians went and lived in Paris because they loved the freedom and respect they got compared to back home. France nurtured jazz.

I went back to Paris in 1959 with an all-star band for the European tour of a Broadway show, Free And Easy. The band was terrific – guys like (trumpeters) Clark Terry and Harry Edison and (alto sax) Phil Woods, all the guys on Birth Of A Band!, but after the show bombed I lost a lot of money trying to hold the band together. That’s when I learned the difference between music and the music business.

RAY CHARLES
THE GENIUS OF RAY CHARLES

(ATLANTIC, 1959)

In previous years Charles had scored a string of R&B hits but after signing with Atlantic the scene was set for crossover success. Who better to help arrange than Ray’s old sidekick…

That was the first time I worked with Ray in the studio, though we had been friends since we were teenagers. He had wanted to get as far away from Florida as he could and that was Seattle, which in 1946 was on fire.  It was a port for the Pacific Theatre in WW2.  You could hear R&B, be-bop, any kind of music. The Chicago pimps moved there ‘cos that’s where the business was. We used to wear sailor suits because the sailors got the girls. That was an amazing time to come up.

After our paying gigs playing pop hits, Ray and I would go down to the Elks Club and play bebop all night for free. Ray sang like Nat Cole and Charles Brown and played alto sax like Charlie Parker. By 1959 he was a big star but controversial in the black community because he had taken gospel music and made it into pop records like “I Got A Woman”. Then he broadened out into big band jazz like Genius, with people from the Basie and Ellington bands playing. We did it again a few years later on Genius Plus Soul = Jazz, which has a great arrangement of “One Mint Julep”.

QUINCY JONES
BIG BAND BOSSA NOVA

(MERCURY, 1961)

A trip to Brazil in 1961 furnished Quincy with a new source of inspiration and another signature tune, “Soul Bossa Nova”, a swaggering big band blast still familiar two generations on through the Austin Powers soundtrack

We had previously made a State Department trip to the Middle East with Dizzy Gillespie, and it got back to Washington that we had done a good job. They said “We’re gonna send you to Latin America.” We went to Ecuador, Montevideo, Buenos Aires and finally to Brazil. Lalo Schiffrin (pianist and composer) had told me, ‘Wait until you get there!’ It was during the time that Antonio Carlos Jobim and Joaos and Astrid Gilberto and the rest of the bossa nova – ‘new wave’ – were happening. When you listen to it (hums Jobim’s “She’s A Carioca”) – all those flattened fifths in bossa, you can see how influenced it was by jazz. Everyone caught the bug – Stan Getz obviously, and Sinatra did an album with Jobim.

I still go every year to Carnival in Rio and then to see my friends up in Bahia for the carnival in Salvador de Bahia. Next year we’re planning a float in the Rio carnival parade for New Orleans musicians, have them meet up with Brazilians, and we’re gonna have William Friedkin [director of The Exorcist] shoot a film there for an IMAX movie, because a lot of Americ`ns don’t know about carnival, which is a spectacular and spiritual event. Imagine – all those girls dancing on a giant screen!

FRANK SINATRA
SINATRA AT THE SANDS

(REPRISE, 1966)

In 1964 Quincy had arranged a Sinatra hit, “Fly Me To The Moon”, which appeared on It Might As Well Be Swing, with backing from the Count Basie orchestra. When Sinatra decided to cut his first live album, Basie and Quincy were his go-to guys

I first met Frank when I was playing a gig for one of Princess Grace Kelly’s events in Monaco in the late ‘50s. He had me playing “Man With The Golden Arm” as he came on stage and worked the crowd, which included people like Cary Grant and David Niven, then he just took off into “Fly Me To The Moon”. Sensational. Then I worked with him and the Count Basie orchestra in 1964. Those were the days when singers were expected to deliver words like musicians played notes. Frank was actually the one who started calling me “Q”. When we were flying out to Vegas, he asked if we could play “Shadow Of Your Smile”. I said, Sure, as long as you know the lyrics. Then he wrote out the words over and over again and the next night he hit it perfectly – just check the record. And I worked with him again on ”LA Is My Lady”, one of his last records, in 1984.

Sinatra had certain catchphrases. He would say; “Q, live every day like it’s your last and one day you’ll be right.”

THE ITALIAN JOB
MUSIC FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK

(PARAMOUNT, 1969)

Quincy had scored a dozen films by the time the call came to soundtrack The Italian Job – among them The Pawnbroker, In Cold Blood and In the Heat Of The Night. From The Italian Job an English national anthem would emerge …

I recall it well, as that was the time my son (Quincy Jones III) was born – he was born in London. We had a lot of fun doing the score – we were recording in the daytime at Olympic Studios where the Stones were cutting Sympathy For The Devil at night. Michael Caine would come by every day, then we’d go eat spaghetti con vongele in the King’s Road. Michael and I became great friends – I was with him and Shakira [Caine’s wife] just last month – and I discovered we were born the same year, day and hour – we’re celestial twins. Michael taught me cockney rhyming slang – “Watch the boat on the ice cream and check out the bristols on the richard.” No-one knows what you’re talking about.

I got an Ivor Novello award a couple of years ago and Elton John told me that only a Brit could write “Self Preservation Society”, which became the anthem of the movie, and I said wrong! Don Black did the words but I did the melody. I heard that they play it at every English soccer game – David Beckham told me that!

MICHAEL JACKSON
OFF THE WALL

(EPIC, 1979)

Prior to producing Off The Wall, Quincy was known as a jazz man and soundrack composer – the nearest he had come to making a crossover black pop record was working with guitarist George Benson on Give Me The Night. That was about to change

My connection with Michael came through love, like everything else y’know! I met him when he was twelve at Sammy Davis’s house. Then Michael played the part of the scarecrow in The Wiz (1978 Motown adaptation of Wizard Of Oz) where I was the musical director. On a musical the most important thing is the pre-recording because the movie is shot to that, at least the songs are, the score comes later.

Michael asked me for suggestions on who might produce his first solo album. I didn’t know how intuitive he was; he knew everyone’s lines, dance steps, he didn’t miss a thing. They were rehearsing one day and Michael’s thing was to read a famous quote – he pronounced Socrates as ‘so-crates’ and when I corrected him he looked like a deer in the headlights he said ‘Really?’. At that point I said I’d like to take a shot at his solo album and he said ‘Really?’ in the same way.

The record company said “No, Quincy’s too jazzy,” but that record saved half the A&R jobs there because it sold 12 million copies. I got Michael to sing “She’s Out Of My Life”, a song I was saving for Sinatra, and he cried during every take. The tears are there on the record, man.

MICHAEL JACKSON
THRILLER

(EPIC, 1982)

Where Off The Wall had been been recorded quickly, making Thriller sprawled over months, with obsessive attention to detail. Matters were complicated by the decision to make another album concurrently – E.T. , a ‘storybook’ of Spielberg’s feature film that Quincy scored and Michael narrated (it was soon wthdrawn as at Epic’s insistence). Deadlines loomed

In the summer of 1982 I had too many projects on the go. I was working on Thriller with Michael, working with the McCartneys, and working on E.T. To record Thriller I had three studios on the go – there would be Michael in one, Eddie Van Halen in another (Guitarist on “Thriller”), Bruce (Swedien, Q’s engineer and mixer) in another. We recorded a huge amount of material for the album. Then when we’d assembled nine tracks I took out the weakest cuts and put in “Beat It” and “Human Nature”, that really turned the album upside down cos we had “Billie Jean”, “Starting Something” and “Thriller”. It was incredibly strong. The sequence is very important – that’s the architecture of an album. When you have multi-producers you end up in trouble ‘cos they don’t have any sense of overal architecture and the dramatic sequencing.

Eventually we finished at nine in the morning after putting the overdubs on “Beat It”. I took Michael to my house and said Bruce is going to take the tape to get it mastered, so I got three hours sleep. When it came to the playback the album wasn’t working, so Michael starts to cry.

I’d been telling ‘em all along that if you want big grooves, you have to have 18 or 19 minutes a side, not 24 or 27 cos it won’t hold it, you get a tinny sound. I’d been asking Michael to cut down the introduction to ”Billie Jean” ‘cos it’s 11 minutes long and he’s saying “But it makes me want to dance,” and who are we to argue with him, us fat belly guys? Anyway we had to cut it down, take out a verse.

I’ve always tried to make records that have six exits and six entries so you can’t hear all of it at once; you have the bass line here, the backing singers there and so forth and you can’t hear it all, so you play it until the vinyl wears out and have to buy another copy.

Nobody knew Thriller would become the biggest album in the history of music, nobody, because that’s what God sends.

It never ceases to shock me that wherever in the world I go – and I travel constantly, man, I love it – that at twelve o’clock you are going to hear “Billie Jean” or “Wanna be Starting Something”. Else it will be “Ai No Corrida” from my album The Dude, or George Benson’s “Give Me the Night”. Absolutely everywhere!

MILES DAVID & QUINCY JONES
MILES & QUINCY IN MONTREAUX

(WARNER BROS, 1991)

Jazz’s dark prince finally acceded to Quincy’s request to revisit the tunes he’d recorded with producer Gil Evans in the 1950s on classic albums like Miles Ahead and Sketches of Spain. It proved to be Miles’ final album

Miles never wanted to do that concert. It took me 15 years to talk him into that. He was never one to look back, always wanted to keep moving forwards. His early stuff, though, has to be some of my all time favourite music. People always ask me how to get kids into jazz and I say “Give em Kind Of Blue’ and make them take it every day, like orange juice.” But I also liked Bitches Brew. People were telling us not to mix jazz with rock, that myopic mentality. That’s bullshit. Miles, Cannonball Adderley Herbie Hancock and myself used to talk about this, how you should try everything. We’d talk about rock bands. I used to say, “How come we’re drinking on a Saturday night and they’re the ones with the gigs?” One by one we expanded – Herbie wrote “Watermelon Man,” Cannonball did “Mercy Mercy Mercy”, I did “Walkin Into Space” in 1969 and Miles did Bitch’s Brew in 1970. See, the electric bass changed everything. That instrument was the one changed the genre – there would be no rock and roll, no Motown, no nothing without an electric rhythm section.

Montreux was the first time I ever saw Miles smile at the audience! He waved a towel at the audience and smiled. Once Miles had done the show he loved it. He said “We should take this shit all over the world.” I don’t know why he was so resistant, man, that was Miles. He was mad on technology, like Brando – they were complex guys.

QUINCY JONES
BACK ON THE BLOCK

(QWEST, 1989)

After three Jackson albums and We Are the World, had Quincy run out of road? Uh-uh. Back On The Block mixed old school talents like Ella Fitzgerald and Ray Charles with cutting edge rappers and mixed genres into a seamless whole. It won seven Grammys, including best album

We’d won Grammys on other albums like The Dude and Smackwater Jack, but nothing like Back On The Block. It had the widest range – be-bop, zulu music, soul…that’s my speciality, I love that conglomerate. It kind of ushered in hip-hop too, ‘cos we had Ice T, Daddy Kane, Melle Mel, Kool Moe Dee.

I’m all for the rappers, because the spoken word is the third genre after music and singing, right? It’s like praise songs in Africa. The lyrical skills are astounding but the lyrical content is often a problem and sampling is also a bad habit. I understand the fascination with gangsterism because I grew up in Chicago, the home of that stuff.

So a lot of hip-hop’s problems have a social source and that’s why I’m working hard now to build a consortium to get to the kids in school to know their roots. It’s crazy that kids don’t know about Duke Ellington and The Cotton Club. It’s starting to turn round – a lot of young guys come to me and say “I want you to teach me how to be a musician.” That’s the attitude we want.

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Uncut’s New Music Playlist for October 2024

As you furiously carve those pumpkins and meticulously apply the zombie make-up, why not dig into our latest playlist?

THE CURE, BRYAN FERRY, THE MC5, RADIOHEAD, KIM DEAL, PAUL WELLER AND MORE STAR IN THE NEW UNCUT – ORDER A COPY HERE

Below, you’ll find terrifyingly good new tunes from the likes of King Gizzard, Kim Gordon, Panda Bear (feat Cindy Lee), Rose City Band, Bonnie ‘Prince’ Billy, Dot Allison & Anton Newcombe (stepping out together as All Seeing Dolls), Sharon Van Etten, TV On The Radio’s Tunde Adebimpe and plenty more besides. Plus a few Hallowe’en frights…

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KING GIZZARD & THE LIZARD WIZARD
“Phantom Island”
(p(doom))

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PANDA BEAR
“Defense (feat Cindy Lee)”
(Domino)

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SHARON VAN ETTEN & THE ATTACHMENT THEORY
“Afterlife”
(Jagjaguwar)

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KIM GORDON
“Bangin’ on the Freeway”
(Matador)

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EDDIE CHACON
“Empire” (ft. John Carroll Kirby)
(Stones Throw)

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TUNDE ADEBIMPE
“Magnetic”
(Sub Pop)

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MOGWAI
“Lion Rumpus”
(Rock Action)

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MANIC STREET PREACHERS
“Hiding In Plain Sight”
(Sony)

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ROSE CITY BAND
“Lights On The Way”
(Thrill Jockey)

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BONNIE ‘PRINCE’ BILLY
“Our Home (feat. Tim O’Brien)”
(Domino)

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RICHARD DAWSON
“Polytunnel”
(Weird World)

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BLUE LAKE
“Oceans”
(Tonal Union)

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BABA ZULA
“Pisi Pisi Halayı” 
(Glitterbeat)

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BONNIE TRASH
“Red Right Hand”
(Hand Drawn Dracula)

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JESSE MALIN
“Argentina”
(Wicked Cool)

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TUNNG
“Didn’t Know Why”
(Full Time Hobby)

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OUIJA
“The Man Who Would Not Die”
(Agent Anonyme)

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ALL SEEING DOLLS
“That’s Amazing Grace”
(A Recordings)

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PENELOPE TRAPPES
“Sleep”
(One Little Independent)

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CLAIRE ROUSAY
“VIII” (from The Bloody Lady)
(Viernulvier)

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Simon Raymonde My Life In Music

The Cocteau Twin turned Bella Union boss itemises his aural treasures: “It sounds like it’s from another universe”

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PUBLIC IMAGE LTD

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Metal Box

VIRGIN, 1979

Me and my friends were obsessed with punk. Of course, it burned out rather quickly. John Lydon was such a divisive figure, but at that point in time I still loved him. The stuff he said was confrontational but always tinged with a certain amount of intelligence. I don’t feel like that about the latter part of his career, I should add! I wasn’t a fan of anything after Metal Box, really. But when that came out, it was like, ‘What is this? What are these sounds?’ They were subverting everything they’d been in other bands. It’s such an anarchic record because they’re literally making stuff up in the studio as they go along. There isn’t another record in history that is comparable sonically to Metal Box.

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CULTURE

Two Sevens Clash

JOE GIBBS RECORD GLOBE, 1977

Reggae was as important to many of us as punk. I think it was The Clash who brought this record to our attention. Joe Gibbs was the producer, and having him at the controls was really important. I love Lee Perry, I love King Tubby, but this is not a dub record – these are beautiful songs where the lyrics are really important. The singer Joseph Hill had a vision that on the seventh of July 1977, an apocalypse would happen. Back in Jamaica, people actually believed this, and all the businesses shut! It’s almost like a pop record, the songs are so catchy and memorable, and I think that’s why it’s lasted so long in people’s minds. It’s just a proper, proper, great reggae album.

THE BIRTHDAY PARTY

Prayers On Fire

4AD, 1981

I’m sure Nick Cave has probably said a million times that he can’t listen to those early records and they’re embarrassing or whatever. But I don’t look at it like that. For me, it’s a little time capsule. When I hear those songs, I’m back in the in the Moonlight Club in West Hampstead, thinking, ‘Fuck me, this the greatest thing I’ve ever seen.’ It’s so visceral and in-your-face, just pure energy and aggression, but done in such an artful way. I was madly in love with The Birthday Party for a brief period of time, and it helped my friendship with Robin and Elizabeth from Cocteau Twins because they were huge fans too. We had this little bond immediately.

TELEVISION

Marquee Moon

ELEKTRA, 1977

I’ve probably bought this 20 times over the years. It’s an immaculately made record – it’s hard to believe there’s only four four people playing on it. What’s interesting to me is that Eno was touted as a producer. He did some demos and Tom Verlaine hated the coldness of the sound. He did not want to go in the studio with somebody that would tell him what to do, that was his biggest fear. And I can totally relate to that from our career. Weirdly enough, we did meet Brian Eno with a view to him producing Treasure and that didn’t work out either! Not really anything that Brian did, more because we all realised that we should just do it ourselves.

THE ASSOCIATES

Sulk

ASSOCIATES / BEGGARS BANQUET, 1982

My first job was working at the Beggars Banquet record shop in South Kensington. Billy MacKenzie would ask me to walk his dogs for him while he was having his meetings with the label upstairs. So I already had a deeper connection with The Associates before Sulk came out. It’s one of the best-sounding records ever. I used to listen to it and think, ‘How did they do that? What instruments are they?’ It does sound like it’s from another universe. After Billy died, I got a call to ask if I’d be interested in co-producing the unfinished tracks that Billy had left behind. It was obviously very sad working on songs by someone who’s not there anymore, who you’ve idolised for twenty years. But it was a massive privilege.

PRINCE

Lovesexy

PAISLEY PARK / WARNER BROS, 1988

Here’s a bit of an outlier. I don’t know if your readers know this, but Prince was a huge Cocteau Twins fan. He wanted to sign us to Paisley Park, and he said some really lovely things about us in the press. So there was obviously a kind of mutual admiration there. I went to see the Lovesexy tour at Wembley when he played in the round. He drove a car onto the stage, it was so over the top! It was delightfully camp and very theatrical – I’d never seen anything like that before. But if you strip all that away, what he’s actually doing on those records is very pioneering and adventurous. He’s a phenomenal musician, and one of the greatest guitarists I’ve ever seen.

RICHARD H KIRK

Virtual State

WARP, 1993

When this came out, it was a very difficult period in the Cocteau Twins’ history. We’re on tour around the US in a big bus, Robin and Elizabeth have split up, and I’m stuck in the middle. When I was 17, music was all about expanding my awareness of what’s going on, energy, emotions, all that stuff. But at this point I am definitely using music as a way of just getting out of my head. I only bought this CD because I was like, ‘Oh, that’s the guy from Cabaret Voltaire.’ But it got me through that tour. It uses lots of found sounds and beats and textures from other cultures. I would lay in my bunk and it would take me off into other worlds where I could be at peace.

VINCE GUARALDI TRIO

A Charlie Brown Christmas

FANTASY, 1965

This is partly inspired by my wife, because she was like, ‘Oh, you’re gonna pick some cool records again. Why don’t you look at the ones by the turntable that you’ve been playing constantly?’ So I found A Charlie Brown Christmas. I’ve probably listened to that album more than any other – it comes out every single Christmas, without fail. It’s so joyous: the children’s choir, the jazz feel. It’s one of the biggest-selling Christmas albums of all-time, which is weird if you think about it, because there’s not really any songs you can sing along with. Obviously the motifs are very memorable, but it’s not like Slade, is it? It’s just an exceptionally evocative record. Listening to it makes you happy.

Simon Raymonde’s memoir In One Ear is out now, published by Nine Eight Books

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Anna Butterss Mighty Vertebrate

‘Jazz.’ It’s a funny old word, isn’t it? Encompassing over a century of music, it conjures a mass of styles, from Dizzy Gillespie’s bebop to Ornette Coleman’s freeform extemporisation to Nubya Garcia’s afro-futurism, and all stops in-between. Even Jamiroquai is classed as, of all things, ‘acid jazz’, and like ‘classical’ – which embodies Beethoven, Shostakovich, Cage and Max Richter – and, of course, ‘indie’, ‘jazz’’s almost limitless scope has rendered the word strangely meaningless.

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Indeed, the genre’s become such a broad church its associations can seem bewildering, contradictory and even occasionally off-putting. These days it’s often used as a mere nod to instrumentation, but to some it’s a signal of free-thinking improvisation, to others technical discipline, while it’s as good as a red flag to those whose prejudices are based on limited experience (or The Fast Show’s Louis Balfour).

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Nonetheless, it covers 2022’s Activities, Anna Butterss’ acclaimed debut, and Jeff Parker’s gently free-wheeling Mondays At The Enfield Tennis Academy, released the same year and on which Butterss also performs. Then there’s last year’s Lados B, recorded by Daniel Villareal with Parker and Butterss, and this year’s fusion-filled Small Medium Large by quintet SML, which Butterss co-founded in her adopted Los Angeles hometown.

Now it’s to be applied to Mighty Vertebrate, which provokes an urge – albeit unnecessary – to be defensive of Butterss’ second solo album. Not that it’s undeserving of the label. The bassist studied jazz at the University of Adelaide, the city where they were born, and afterwards received a scholarship to earn a Master of Music at Indiana University. In addition, aside from the aforementioned Parker, to whom the 33-year-old is something of a protégé, they’ve worked with, among others, Grammy-nominated Larry Goldings and Grammy-winning Meshell Ndegeocello.

Certainly, “Ella” is a nocturnal number on which SML bandmate Josh Johnson’s breathy saxophone casts a smoky spell, and “Lubbock” explores brighter but similar territory, a lilting tremolo guitar joining co-producer Ben Lumsdaine’s brushed cymbals and, again, Johnson’s saxophone. But any emphasis on such traditions risks overlooking other influences – afrobeat, hip-hop, post-rock, funk – with which this record’s been ‘jazzed up’.

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Given the nature of others who’ve called upon Butterss’ talents, this is hardly surprising. They include Phoebe Bridgers, Bright Eyes and both Yeah Yeah YeahsKaren O and MGMT’s Ben Goldwasser, to whose Where Is Anne Frank? soundtrack the Australian contributed. Each has found something in Butterss’ work that aligns closely with their own, and it’s most likely a shared innovatory spirit. Of Activities, they told online zine Off Shelf, “I didn’t want to make a jazz record, or that if there were jazz elements in the music – which there definitely are – that we filtered them through a different lens.”

Thus, like their debut, Mighty Vertebrate exhibits broad but blurred horizons on which jazz is just one of many features, often only a shade more prevalent than on, say, Tortoise’s TNT (on which Parker himself played in 1998, and whose Johnny Herndon provides this album’s artwork). Opener “Bishop”’s intoxicatingly airy shuffle starts with Butterss’ winding bassline, easily mistaken for one from The Smile’s Wall Of Eyes – like “Read The Room”’s or “Friend Of A Friend”’s – but adds Latin percussion and flashes of a guitar riff recalling TNT’s “In Sarah, Mencken, Christ And Beethoven There Were Women And Men”. There are also hints of the latter in the fragile “Pokemans”, while “Breadrich” is built around a simple riff and a lumbering, looped rhythm which patiently develops into a dramatic, funk-and prog-fuelled feast of soaring synths and haphazard guitar solos which Lalo Schifrin might have admired.

There’s a hint of Schifrin, too, in the delightfully meandering “Shorn”, whose polyrhythms spur on Johnson’s often racing saxophone lines, while a muted, pastoral breakdown heralds a return to Butterss’ first instrument, flute. The brooding “Seeing You” builds in the manner of Every Day-era Cinematic Orchestra, and “Dance Steve” opens like a track from the same band, adding spartan programmed drums to cultivate a daylight comedown before Parker steps in on guitar, energising the track with pleasingly breezy melodies in a soulful, almost ’80s vein.

Mighty Vertebrate concludes with “Saturno”, whose complex rhythm carries another smooth sax solo over Butterss’ solid bass. It’s ‘jazz’ through and through, and yet not long ago this progressive approach might also have been called post-rock – had the right ’90s Chicago band, for instance, performed it – while nowadays one might be tempted instead to call this ‘post-jazz’. Nonetheless, perhaps the best way to think of Butterss’ work is as simply ‘jazz plus’. It’s suitably inclusive and ultimately most reflective of her sweeping ambitions.

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Michael Shannon and Jason Narducy to tour R.E.M.’s Fables Of The Reconstruction

Following the success of their tour this year, performing R.E.M.‘s debut album Murmur in full, Michael Shannon and Jason Narducy have announced plans to play the band’s third album Fables Of The Reconstruction next year to mark it’s 40th anniversary.

THE BEATLES, JONI MITCHELL, VAN MORRISON, MICHAEL KIWANUKA AND MORE STAR IN THE NEW UNCUT – ORDER YOUR COPY HERE!

Shannon and Narducy — along with Superchunk/Mountain Goats/Bob Mould drummer Jon Wurster, Wilco’s John Stirratt on bass, guitarist Dag Juhlin and keyboardist Vijay Tellis-Nayak — begin their tour in February.

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The tour dates are:

Friday, February 14 – Pioneertown, CA @ Pappy & Harriets
Saturday, February 15 – Los Angeles, CA @ Bellwether
Sunday, February 16 – Solana Beach, CA @ Belly Up
Tuesday, February 18 – San Francisco, CA @ The Fillmore
Friday, February 21 – Seattle, WA @ Neptune Theatre
Saturday, February 22 – Portland, OR @ Revolution Hall
Monday, February 24 – Indianapolis, IN @ The Vogue
Tuesday, February 25 – St. Louis, MO @ Delmar Hall
Thursday, February 27-28 – Athens, GA @ 40 Watt
Saturday, March 1 – Carrboro, NC @ Catʼs Cradle
Monday, March 3 – Richmond, VA @ The National
Tuesday, March 4 – Washington, D.C. @ 9:30 Club
Thursday, March 6 – Philadelphia, PA @ Union Transfer
Friday, March 7 – Boston, MA @ Royale
Saturday, March 8 – Brooklyn, NY @ Brooklyn Steel
Wednesday, March 12 – Minneapolis, MN @ First Ave
Thursday, March 13 – Milwaukee, WI @ Turner Hall Ballroom
Friday, March 14 – Chicago, IL @ Metro

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All of Magazine’s studio albums to be reissued on vinyl

The entire studio catalogue of pioneering post-punks Magazine will be reissued on vinyl by PIAS Catalogue this autumn.

Their first three albums, Real Life (1978), Secondhand Daylight (1979) and The Correct Use of Soap (1980) will be available on November 15. Magic, Murder And The Weather (1981), No Thyself (2011) and Rays & Hail 1978-2011 – a compilation being released on vinyl for the first time – will follow on December 13.

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The tracklistings of the original studio albums remain unchanged, while Rays & Hail 1978-2011 is now augmented to 19 tracks, having originally been released in 1987 as a 14-track CD, Rays & Hail 1978-1981.

All six reissues feature new sleevenotes curated by Rory Sullivan-Burke (the author of The Light Pours Out Of Me, the recent biography of Magazine guitarist, John McGeoch), with different Magazine band-members talking about one particular album each. The audio featured on the reissues is the 2000 remastered versions, and each release is pressed on coloured vinyl.

Additionally, special exclusive coloured marble vinyl editions are available via Rough Trade Shops. There will also be a limited run of 500 box sets housing all six albums along with bonus ephemera (art prints, lyric sheets, unseen photographs, posters, postcards, etc) available exclusively from Wire-Sound.

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The The Ensoulment

The The’s excellent 1983 album, Soul Mining, captured a feeling of deep, pronounced, soul searching like few other debuts have managed. Nearly 40 years on from that record Matt Johnson found himself engaging in a similar form of intense reflection and contemplation, as he navigated getting over a serious illness, grappling with the pandemic, dealing with grief and witnessing a rapidly changing world as AI boomed. It’s been 24 years since The The’s last studio album, with Johnson largely retreating into soundtrack work in the intervening years, but after a surprise return single in 2017 and the band’s first tour in 17 years, a full comeback was put into place.  

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During the making of this album, Johnson found himself reflecting on the current state of the world, which he called “fascinating” yet also “strange, inverted and hallucinogenic”. These are all feelings that have found their way onto Ensoulment, an album that tackles many of life’s big questions, topics and subjects – albeit one that is at its strongest when it steps back from those and offers up something more personal.

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Tracks such as “I Want To Wake Up With You” – a slow-burn piano-based number which unfurls with an almost smokey jazz bar groove – is as tender as it is mournful and longing, with the production rich, warm and enveloping in tone. This continues on album highlight “Risin’ Above The Need” as Johnson purrs, over an almost soul groove, “I’m searching in the mirror for who I have become.” This is before it reaches its chorus via the titular refrain, which sparkles gloriously as Barrie Cadogan’s beautiful guitar melody glides underneath Johnson’s resonant yet uplifting, and quietly triumphant, vocal delivery.

When Johnson tackles bigger, broader, societal and political issues, though, things don’t quite hit with the same punch, clarity or warmth. “Cognitive Dissident” is clumsy, heavy-handed and very on-the-nose lyrically with themes around authoritarianism, control and herd mentality. Given Johnson’s spreading of conspiracy theories about Bill Gates and Covid during lockdown, it’s hard not to read certain lyrics here – “The consensus? Created/Reality? Curated” or “the unthinkable is now thinkable/The poison? It’s drinkable” – through a similar kind of truther lens.

Similarly, “Kissing The Ring Of POTUS” is pretty hard work as it reels off lines like “a psychopathic superpower spies from the sky, transmitting viruses into the mind’s eye”.  Yet Johnson’s voice sounds great on tracks like this, and he glides around the words with real deftness, grace and skill. It’s just a shame about some of those words: “Zen And The Art Of Dating” sets out to be about finding human connection in a world of superficial encounters, but ultimately it’s just a very cringe depiction of life on dating apps. At times it’s difficult to ascertain whether it’s intended to be ironic or sincere, but lines like “breasts are yearning, loins are burning” fail on both counts.

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It’s when Johnson looks inwards that he produces his most stirring work. “Where Do We Go When We Die?” is a beautiful tribute to his late father that wrestles with life after death, while pondering the cycles and meanings to be found in life while experiencing grief. There’s more emotional weight carried in the two lines he sings about taking his father’s clothes and books to the charity shop than can be found in any of the state of the world addresses heard elsewhere on the record.

I Hope You Remember (The Things I Can’t Forget)” unfolds with an almost Tom Waits-like shuffle, with Cadogan’s snaking guitar lines matching the woozy percussion. Johnson leans into a slightly more gruff voice too, as he imagines a world on the brink but dives deep into the comfort of nostalgia, basking in the scent of his grandmother’s perfume and the engulfing haze of old tobacco smoke. It’s these kinds of moments and details that are needed to lift the album up from the bleakness and paranoid leanings.

Historically, The The have always been a difficult band to label. Over the years, they’ve hovered around art-rock, synth-pop, post-punk and new wave yet they’ve never really belonged to any of them. On Ensouled, things feel equally as tricky to nail down, but generally things are slower and less musically direct, and so you have an amalgamation of alt.rock, leftfield folk, pop, jazz and touches of electronica. However, while stylistically varied, it can feel a little lacking in variety and dynamism at times, as it very much sits in mid-tempo mode for much of the 12 tracks, the sprightly pop of their early period rarely appearing. Johnson feels nicely in sync with his band though, who possess both precision and personality in their playing.

Regardless of a few wrong turns, it’s wonderful to have such a natural songwriting talent as Johnson back on record again. It’s just a shame he doesn’t always seem to realise that the most interesting soul he could mine here is his own.

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Harold Budd, Elizabeth Frazer, Robin Guthrie, Simon Raymonde The Moon And The Melodies (reissue, 1986)

There is something characteristically perverse about the fact that the Cocteau Twins’ greatest hits aren’t credited to them. In their lifetime, their biggest single was their uncanny, half-million selling, independent-chart-topping cover of Tim Buckley’s “Song To The Siren”, released under the aegis of 4AD boss Ivo Watts-Russell’s This Mortal Coil project. Since the group’s demise in 1997 the song that has risen to the top of the streaming stats is, remarkably, “Sea, Swallow Me”; never a single when it was released at the tail-end of 1986, yet currently racking over 100 millions plays on Spotify alone, and officially credited to Harold Budd, Elizabeth Fraser, Robin Guthrie and Simon Raymonde.

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This collaboration was almost an afterthought. A production company had floated the idea for a TV series that fostered pan-genre collaborations – metalheads and reggae rhythm sections, rockers and dance producers (such cross-fertilisation would ultimately lead to 4AD’s biggest hit, MARRS’ “Pump Up the Volume”). The documentary got bogged down in development purgatory, but the idea stuck with Robin Guthrie and Simon Raymonde, who hooked up with LA-based ambient composer and pianist Harold Budd.

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The Cocteaus were by then coming nicely to the boil, insulated from commercial expectations, enjoying the creative freedoms of having their own studio in distinctly un-ethereal North Acton. They seemed perfectly at liberty to follow their whims: from sundry EPs (Aikea-Guinea, Tiny Dynamine, Echoes in a Shallow Bay and Love’s Easy Tears in 1985-86 alone), a greatest hits compilation (The Pink Opaque) and a nominally “acoustic album” featuring just Robin and Liz, the gorgeous iridescent ice-floes of Victorialand.

But the collaboration wasn’t completely out of the blue. The Cocteaus had met Brian Eno in 1984 with a view to him producing Treasure. In one of rock history’s great missed opportunities he demurred, but the encounter was suggestive of the ways that various mid-’80s worlds were converging. Having begun somewhere deep in Siouxsieverse, orbiting the planet Juju, by 1985, with Victorialand, the Cocteaus had drifted to a becalmed latitude on the fringes of New Age. Budd meanwhile had begun his own musical journey much earlier, in the late ’50s cool jazz worlds of Chet Baker and Pharoah Sanders, voyaging through the late ’60s negative zone of John Cage and Morton Feldman, before washing up on the beach of Enoverse with 1978’s Pavilion Of Dreams.

It was an encounter that could only have happened in the mid-’80s on a label like 4AD. There was much talk at the time of how sampling was making possible hitherto unimaginable culture clashes (the now quaint “This Is Crush Collision!” by Age Of Chance was typical of the time). By contrast, The Moon And The Melodies is a gentle drift, a snow crash, the sound of two musical universes passing softly through each other like clouds of perfume.

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The exchange was like a subtle shift of specific gravities. On The Pearl, Eno had set Budd’s piano in a pellucid green world, the air humming and the streams alive with bright fish. Here, on a track like “Memory Gongs” the cavernous reverb of Robin Guthrie’s production transplants Budd somewhere altogether more sinister – it’s like a grand piano playing Satie onboard the Nostromo as Riley enters sleep stasis at the end of Alien. Budd himself fades discretely into the background of more conventionally Liz-focused grottoes like “Eyes Are Mosaics”, while “The Ghost Has No Name”, featuring the saxophone of Dif Juz’s Richard Thomas and some fretless bass from Simon Raymonde, feels like it might have calved from the lazy-calm glacier of Victorialand.

Within the larger cartography of the Cocteau discography, The Moon And The Melodies is a curious but charming backwater, overshadowed by the more obvious peaks of Blue Bell Knoll and Heaven Or Las Vegas. Within Budd’s discography it’s arguably important as the first step on the more fully collaborative Guthrie/Budd projects including After The Night Falls/Before The Day Breaks (2007) and Bordeaux/Winter Garden (2011).

So how to explain the freak breakout success of “Sea Swallow Me”? Is it simply an algorithmic glitch, like the one that resurrected Pavement B-side “Harness Your Hopes”? Is it down to the way the opening bars have become a jingle for emo TikTokkers (Jane Schoenbrun’s phantasmagoric film I Saw The TV Glow is arguably a 100-minute elaboration of this vibe). Or is it simply the most accessible portal into the rich and strange world of the Cocteau Twins?

Brian Eno was fond at the time of talking of his work as research and development, as opposed to the General Motors mass production lines of Pink Floyd or U2. You might see The Moon And The Melodies perhaps as one of the R&D seed projects that eventually led to the formation of Peaceful Piano, the limpid, ever-growing playlist that now rules from the heart of the Spotify world. It’s testament to the enduring artistry of Budd, Fraser, Guthrie and Raymonde, that it continues to sound as magically mysterious as ever, whatever its shifting context.

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Remember His Name

Critically panned on release in 1971, David Crosby’s If I Could Only Remember My Name is now rightly acknowledged as a masterpiece, its hallucinatory psych-folk emblematic of the shifting West Coast spirit of the times. “I didn’t hear it until about ten or fifteen years ago,” admits The Waterboys’ Mike Scott. “But I loved its spontaneity. It captures a moment of freedom and stoned optimism.”

THE BEATLES, JONI MITCHELL, VAN MORRISON, MICHAEL KIWANUKA AND MORE STAR IN THE NEW UNCUT – ORDER YOUR COPY HERE!

This October, Scott will take his place alongside a number of artists – Hothouse FlowersLiam Ó Maonlaí, Kris Drever and The Staves – for the first ever live performance of Crosby’s signature solo album as part of Llais, Cardiff’s annual international arts festival. “If I Could Only Remember My Name holds a special place in my heart,” says musician and arranger Kate St John, who devised the concept and will lead the accompanying band. “I’ve had the idea of realising this for years and have been playing around with ideas in my head. I’m not interested in a slavish reproduction, I want to throw it open to the singers and the band and for us to channel the spirit of the music. I want to recreate that feeling, to make it a kind of happening.”

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The band will include guitarists Neill MacColl and Robbie McIntosh, Ed Harcourt on keyboards and three backing vocalists: St John, Margo Buchanan and Michelle Willis, Crosby’s latter-day collaborator in the Lighthouse Band. The whole thing is very much attuned to the essence of the original album sessions, which saw Crosby joined by a host of friends: Jerry Garcia, Graham Nash, Joni Mitchell, Neil Young and various members of Jefferson Airplane and Santana.

It was a particularly difficult time for Crosby, grieving the death of girlfriend Christine Hinton in a car crash and self-medicating heavily as a result. “Even though it’s clearly a snapshot into a deeply personal time, a kind of reflection of grief and recovery, it’s also extremely collaborative,” notes The Staves’ Camilla Staveley-Taylor, for whom Crosby/CSNY are a formative presence. “You can feel that he’s surrounded by a bunch of people who are helping him heal through making that music. So I think it’s really fitting that the Llais show is going to be collaborative too.”

The second half of the gig will draw from Crosby’s time with The Byrds, CSN and his later solo works, with St John promising “some hidden gems”. Most recently involved in orchestrating segments of the Nick Drake celebration at London’s Albert Hall, St John is keen to “have all or most of the singers on stage all the time, singing together and on each other’s songs. I picked the singers carefully. It’s so important to get that right when shaping the soul of a show.”

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Meanwhile, the cross-generational appeal of Crosby, who passed away in January 2023, continues to endure. Staveley-Taylor recalls how she and her sister/bandmate Jess “were in New York about ten years ago, in the audience for Jimmy Fallon’s TV show. Crosby was playing and we ended up bumping into him backstage. He was very cool and charming. I don’t get starstruck easily, but it felt like I was outside my body a little. It was like meeting Gandalf!” Mike Scott never met Croz, but sees him as something of a touchstone: “I liked his headstrong personality. He sang better than ever in his last years, wrote beautifully, was soulful, made music with younger people, and honoured his own younger self without shame or surrender while moving forward. A wonderful example of how to age well creatively.”

If I Could Only Remember My Name: The Music Of David Crosby takes place at BBC Hoddinott Hall, Cardiff on October 11 as part of Llais Festival; click here for more details

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Matt Berry announces new studio album, Heard Noises

Matt Berry has announced a new album, Heard Noises, which is coming on January 24, 2025 from Acid Jazz Records. You can hear “I Gotta Limit (Feat. Kitty Liv)”, from the album, below.

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He is joined by long-time collaborator, neo-progressive drummer Craig Blundell, and guests including Pokerface’s Natasha Lyonne and back with Matt is The Shins/Fruit Bats’ Eric D. Johnson (acoustic guitar, autoharp and backing vocals on ‘Why On Fire?’, ‘To Live For What Once Was’ and ‘Snakes That Slide’), Phil Scraggs (lap steel guitar on ‘To Live For What Once Was’ and ‘Snakes That Slide’), Rosie McDermott (vocals on ‘Sky High’) and the S. Club 60s Choir featuring Berry’s mother.

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An Acid Jazz exclusive gatefold-sleeve psychedelic swirl colour vinyl is available to pre-order here.

The tracklisting is:

Side One

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  1. Why On Fire?
  2. Silver Rings
  3. Interlude
  4. Be Alarmed
  5. I Gotta Limit (featuring Kitty Liv)
  6. Wedding Photo Stranger
  7. Stay On The Ground

Side Two

  1. I Entered As I Came (featuring Natasha Lyonne)
  2. There Are Monsters
  3. To Live For What Once Was
  4. Canada Dry
  5. The Snakes Will Slide
  6. Interlude 2
  7. Sky High

I Entered As I Came (featuring Natasha Lyonne)

  1. There Are Monsters
  2. To Live For What Once Was
  3. Canada Dry
  4. The Snakes Will Slide
  5. Interlude 2
  6. Sky High
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Uncut November 2024

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

THE BEATLES: With a new boxset collecting the Fabs’ ’64 US LPs, eyewitnesses and contemporaries relive the mania of the British Invasion. “In music, there is The Beatles and then there is everybody else…”

VAN MORRISON: The Celtic soul guru on jamming with The Band, recording with Cliff, why he no longer performs “Brown Eyed Girl”, old songs and new arrangements, Veedon Fleece at 50, the nature of creativity and more. “I am nostalgic. But it’s my nostalgia, you know…”

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MICHAEL KIWANUKA: Drawing inspiration from Gene Clark and “obsessed” with David Gilmour’s guitar phrasing, the Mercury Prize winner is once again upping the stakes with his consciousness-raising, widescreen soul party. “You’ve gotta keep speaking up,”

PETER PERRETT: Clean and healthy, the Only One is on a career roll with The Cleansing – a gloriously ambitious and death-defying double that’s his third album in seven years. “I have a mantra: each day we survive is a revolutionary act!”

SPACEMEN 3: Psychedelic outsiders on the ’80s UK indie scene, they were on the cusp of success before combusting spectacularly. “We were a pretty dysfunctional group of people. We recognised that in each other.”

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CHRISTOPHER OWENS: The former Girls frontman reflects on his journey back from heartbreak and loss to find catharsis in a powerful new album. “You find yourself going from the best place in your life to the worst.”

AN AUDIENCE WITH… STEVE CROPPER: The Stax legend talks Memphis water, John Belushi on acid and Friday night “schwimps” with Eddie Floyd.

THE MAKING OF “THE WILD ONES” BY SUEDE: As Dog Man Star took shape, a ray of shining romantic beauty shone through a crack in the stormclouds.

ALBUM BY ALBUM WITH THE LIJADU SISTERS: Merging Afrobeat with jazz, rock and disco, the Nigerian siblings made waves sonically and socially.

MY LIFE IN MUSIC WITH SIMON RAYMONDE: The Cocteau Twin turned Bella Union label boss itemises his aural treasures

REVIEWED: Laura Marling, Bright Eyes, Anna Butterss, Fat Dog, Wayne Graham, Geordie Greep, Naima Bock, Joni Mitchell, Bob Dylan & The Band, Kevin Ayers, Dorothy Ashby, End Of The Road Festival, PJ Harvey, Lush, ’70s reggae, Neneh Cherry and more

PLUS: Farewell Catherine Ribeiro and Alain Delon, David Bowie, Gruff Rhys vs Bill Ryder-Jones, Doc’n Roll festival, Chuck Prophet, King Hannah and… rock’s holy relics!

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

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Exclusive! Listen to a previously unreleased Neil Young recording from Archives III

Neil Young has shared his previously unreleased original version of “Razor Love” with Uncut.

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This version was recorded at Young’s Broken Arrow Ranch in early January 1984. It features Young on LinnDrum, Simmons drums, Synclavier and vocals. It was produced by Young and Tim Mulligan.

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While Young went on to debut the song live during the International Harvesters tour that same year, he didn’t release a studio version until 2000, when a re-recorded version appeared on his Silver & Gold album.

This previously unreleased original version appears on Disc 13: Evolution (1983-1984) of Neil Young’s Archives Vol III: (1976-1987), which is released on September 6 via Reprise Records.

The 17-CD limited edition boxed set of Archives Vol III features a total of 198 musical tracks, including 121 previously unreleased versions of live, studio, mixes, or edits, plus 15 previously unreleased songs.

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The music covers live performances with Crazy Horse, solo, with Nicolette Larson and with Devo and with The International Harvesters, along with unreleased studio recordings and outtakes.

In addition, a double vinyl LP-only set titled Takes, will also be available on September 6. Takes is a 16-track compilation featuring one track from each of the 16 out of the 17 CDs in the Archives Vol III box set. This collection will include 3 unreleased songs and 12 previously unreleased versions and will be the only vinyl edition to feature these songs.

A US-only limited edition 22-disc Deluxe Edition box set will also be available via the Greedy Hand Store. It features all 17 CDs, and 5 Blu-Rays which compile 11 films, 4 of which are previously unreleased. The Blu-Rays include 128 tracks, over 14 hours of film. The Deluxe Edition box also includes a 176-page book and a poster.

Click here to read Uncut’s review of Archives Vol. 1: 1963–1972

Click here to read Uncut’s review of Archives Vol. II: 1972–1976

NEIL YOUNG ARCHIVES VOL III Tracklisting:

Disc 1: Across The Water I (1976) Neil Young & Crazy Horse

1. Let It Shine (previously unreleased live version)

2. Mellow My Mind (previously unreleased live version)

3. Too Far Gone (previously unreleased live version)

4. Only Love Can Break Your Heart (previously unreleased live version)

5. A Man Needs a Maid (previously unreleased live version)

6. No One Seems to Know (previously unreleased live version)

7. Heart Of Gold (previously unreleased live version)

8. Country Home (previously unreleased live version)

9. Don’t Cry No Tears (previously unreleased live version)

10. Cowgirl in the Sand (previously unreleased mix)

11. Lotta Love (previously unreleased live version)

12. The Losing End (When You’re On) (previously unreleased live version)

13. Southern Man (previously unreleased live version)

14. Cortez the Killer (previously unreleased live version)

Disc 2: Across The Water II (1976): Neil Young & Crazy Horse

1. Human Highway (previously unreleased live version)

2. The Needle And The Damage Done (previously unreleased live version)

3. Stringman (previously unreleased mix)

4. Down By The River (previously unreleased live version)

5. Like a Hurricane (previously unreleased live version)

6. Drive Back (previously unreleased live version)

7. Cortez the Killer (previously unreleased live version)

8. Homegrown (previously unreleased live version)

Disc 3: Hitchhikin’ Judy (1976-1977): Neil Young

1. Rap

2. Powderfinger (previously released on Hitchhiker)

3. Captain Kennedy (previously released on Hawks & Doves, Hitchhiker and Hawks & Doves)

4. Hitchhiker (previously released on Hitchhiker)

5. Give Me Strength (previously released on Hitchhiker)

6. The Old Country Waltz (previously released on Hitchhiker)

7. Rap

8. Too Far Gone (previously released on Songs For Judy)

9. White Line (previously released on Songs For Judy)

10. Mr. Soul (previously released on Songs For Judy)

11. A Man Needs A Maid (previously released on Songs For Judy)

12. Journey Through the Past (previously released on Songs For Judy)

13. Campaigner (previously released on Songs For Judy)

14. The Old Laughing Lady (previously released on Songs For Judy)

15. The Losing End (When You’re On) (previously released on Songs For Judy)

16. Rap

17. Helpless (previously released on The Last Waltz)

18. Four Strong Winds (previously released on The Last Waltz (2002 edition))

19. Rap

20. Will To Love (previously released on American Stars ‘n Bars and Chrome Dreams)

21. Lost In Space (previously unreleased original)

Disc 4: Snapshot In Time (1977): Neil Young with Nicolette Larson & Linda Ronstadt

1. Rap

2. Hold Back The Tears (previously released on Chrome Dreams)

3. Rap

4. Long May You Run (previously unreleased version)

5. Hey Babe (previously unreleased version)

6. The Old Country Waltz (previously unreleased version)

7. Hold Back the Tears (previously unreleased version)

8. Peace of Mind (previously unreleased version)

9. Sweet Lara Larue (previously unreleased version)

10. Bite the Bullet (previously unreleased version)

11. Saddle Up the Palomino (previously unreleased version)

12. Star of Bethlehem (previously unreleased version)

13. Bad News Comes To Town (previously unreleased version)

14. Motorcycle Mama (previously unreleased version)

15. Rap

16. Hey Babe (previously released on American Stars N Bars)

17. Rap

18. Barefoot Floors (previously unreleased version)

Disc 5: Windward Passage (1977) The Ducks 

1. Rap

2. I Am A Dreamer (previously released on High Flyin’)

3. Sail Away (previously unreleased original)

4. Wide Eyed and Willin’ (previously released on High Flyin’)

5. I’m Tore Down (previously released on High Flyin’)

6. Little Wing (previously released on High Flyin’)

7. Hey Now (previously released on High Flyin’)

8. Windward Passage (previously unreleased edit)

9. Cryin’ Eyes (previously unreleased original)

Disc 6: Oceanside  Countryside (1977): Neil Young 

1. Rap

2. Field of Opportunity (previously unreleased mix)

3. It Might Have Been (previously unreleased version)

4. Dance Dance Dance (previously unreleased version)

5. Rap

6. Pocahontas (previously unreleased mix)

7. Peace of Mind (previously unreleased mix)

8. Sail Away (previously unreleased mix)

9. Human Highway (previously unreleased mix)

10. Comes A Time (previously unreleased version)

11. Lost In Space (previously released on Hawks & Doves)

12. Goin’ Back (previously unreleased mix)

Disc 7: Neil Young & Nicolette Larson Union Hall (1977):

1. Comes A Time (previously released on Comes A Time)

2. Love/Art Blues (previously unreleased version)

3. Rap

4. Are You Ready For the Country? (previously unreleased version)

5. Dance Dance Dance/Love is a Rose (previously unreleased version)

6. Old Man (previously unreleased version)

7. The Losing End (When You’re On) (previously unreleased version)

8. Heart Of Gold (previously unreleased version)

9. Already One (previously unreleased version)

10. Lady Wingshot (previously unreleased song)

11. Four Strong Winds (previously unreleased version)

12. Down By The River (previously unreleased version)

13. Alabama (previously unreleased version)

14. Are You Ready For the Country? (reprise) (previously unreleased version)

15. Rap

16. We’re Having Some Fun Now (previously unreleased song)

17. Rap

18. Please Help Me, I’m Falling (previously unreleased version)

19. Motorcycle Mama (previously released on Comes A Time)

Disc 8: Boarding House I (1978): Neil Young 

1. Rap

2. Shots (previously unreleased live version)

3. Thrasher (previously unreleased live version)

4. The Ways of Love (previously unreleased live version)

5. Ride My Llama (previously unreleased live version)

6. Sail Away (previously unreleased live version)

7. Pocahontas (previously unreleased live version)

8. Human Highway (previously unreleased live version)

9. Already One (previously unreleased live version)

10. Birds (previously unreleased live version)

11. Cowgirl in the Sand (previously unreleased live version)

12. Sugar Mountain (previously unreleased live version)

13. Powderfinger (previously unreleased live version)

14. Comes a Time (previously unreleased live version)

Disc 9: Devo & Boarding House II (1978): Neil Young and Devo

1. Rap

2. Hey Hey, My My (Into The Black) (previously unreleased version)

3. Back to the Boarding House

4. My My, Hey Hey (Out of the Blue) (previously unreleased live version)

5. Homegrown (previously unreleased live version)

6. Down by the River (previously unreleased live version)

7. After the Gold Rush (previously unreleased live version)

8. Out Of My Mind (previously unreleased live version)

9. Dressing Room

Disc 10: Sedan Delivery (1978): Neil Young with Crazy Horse 

1. Bright Sunny Day (previously unreleased song)

2. The Loner (previously released on Live Rust)

3. Welfare Mothers (previously released on Rust Never Sleeps)

4. Lotta Love (previously released on Live Rust)

5. Sedan Delivery (previously released on Rust Never Sleeps)

6. Cortez the Killer (previously released on Live Rust)

7. Tonight’s the Night (previously released on Live Rust)

8. Powderfinger (previously released on Rust Never Sleeps)

9. When You Dance, I Can Really Love (previously released on Live Rust)

10. Hey Hey, My My (Into the Black) (previously released on Rust Never Sleeps)

Disc 11: Coastline (1980-1981): Neil Young 

1. Coastline (previously released on Hawks & Doves)

2. Stayin’ Power (previously released on Hawks & Doves)

3. Hawks And Doves (previously released on Hawks & Doves)

4. Comin’ Apart at Every Nail (previously released on Hawks & Doves)

5. Union Man (previously released on Hawks & Doves)

6. Winter Winds (previously unreleased song)

7. Southern Pacific (previously released on RE-AC-TOR.)

8. Opera Star (previously released on RE-AC-TOR.)

9. Rapid Transit (previously released on RE-AC-TOR.)

10. Sunny Inside (previously unreleased original)

11. Surfer Joe and Moe the Sleaze (previously released on RE-AC-TOR.)

12. Get Up (previously unreleased song)

Disc 12: Trans (1981) & Johnny’s Island (1982): Neil Young 

1. Rap

2. Sample and Hold (previously released on Trans)

3. Mr. Soul (previously released on Trans)

4. Computer Cowboy (previously released on Trans)

5. We R In Control (previously released on Trans)

6. Computer Age (previously released on Trans)

7. Transformer Man (previously released on Trans)

8. Rap

9. Johnny (previously unreleased song)

10. Island In The Sun (previously unreleased song)

11. Rap

12. Silver & Gold (previously unreleased version)

13. If You Got Love (previously unreleased version)

14. Raining in Paradise (previously unreleased song)

15. Big Pearl (previously unreleased song)

16. Hold On To Your Love (previously released on Trans)

17. Soul Of A Woman (previously unreleased original)

18. Rap

19. Love Hotel (previously unreleased song)

Disc 13: Evolution (1983-1984): Neil Young 

1. California Sunset (previously unreleased original)

2. My Boy (previously unreleased original)

3. Old Ways (previously unreleased version)

4. Depression Blues (previously released on Lucky 13)

5. Cry, Cry, Cry (previously released on Everybody’s Rockin’)

6. Mystery Train (previously released on Everybody’s Rockin’)

7. Payola Blues (previously released on Everybody’s Rockin’)

8. Betty Lou’s Got A New Pair Of Shoes (previously released on Everybody’s Rockin’)

9. Bright Lights, Big City (previously released on Everybody’s Rockin’)

10. Rainin’ In My Heart (previously released on Everybody’s Rockin’)

11. Get Gone (previously unreleased original)

12. I Got A Problem (previously unreleased original)

13. Hard Luck Stories (previously unreleased original)

14. Your Love (previously unreleased version)

15. If You Got Love (previously unreleased version)

16. Razor Love (previously unreleased original)

Disc 14: Grey Riders (1984-1986): Neil Young with The International Harvesters 

1. Amber Jean (previously unreleased original)

2. Get Back To The Country (previously unreleased original)

3. Are You Ready For The Country? (previously released on A Treasure)

4. It Might Have Been (previously released on A Treasure)

5. Bound For Glory (previously released on A Treasure)

6. Let Your Fingers Do the Walking (previously released on A Treasure)

7. Soul of a Woman (previously released on A Treasure)

8. Misfits (Dakota) (previously unreleased live version)

9. Nothing is Perfect (previously unreleased version)

10. Time Off For Good Behavior (previously unreleased song)

11. This Old House (previously unreleased original)

12. Southern Pacific (previously released on A Treasure)

13. Interstate (previously unreleased live version)

14. Grey Riders (previously released on A Treasure)

Disc 15: Touch The Night (1984): Neil Young with Crazy Horse

1. Rock (previously unreleased song)

2. So Tired (previously unreleased song)

3. Violent Side (previously unreleased live version)

4. I Got A Problem (previously unreleased live version)

5. Your Love (previously unreleased song)

6. Barstool Blues (previously unreleased live version)

7. Welfare Mothers (previously unreleased live version)

8. Touch The Night (previously unreleased live version)

Disc 16: Road Of Plenty (1984-1986): Neil Young 

1. Drifter (previously released on Landing On Water)

2. Hippie Dream (previously released on Landing On Water)

3. Bad News Beat (previously released on Landing On Water)

4. People On The Street (previously released on Landing On Water)

5. Weight of the World (previously released on Landing On Water)

6. Pressure (previously released on Landing On Water)

7. Road of Plenty (previously unreleased song)

8. We Never Danced (previously unreleased original)

9. When Your Lonely Heart Breaks (previously unreleased original)

Disc 17: Summer Songs (1987): Neil Young 

1. Rap

2. American Dream (previously unreleased original)

3. Someday (previously unreleased original)

4. For The Love Of Man (previously unreleased original)

5. One Of These Days (previously unreleased original)

6. Wrecking Ball (previously unreleased original)

7. Hangin On A Limb (previously unreleased original)

8. Name Of Love (previously unreleased original)

9. Last Of His Kind (previously unreleased original)

10. Rap

Blu-Ray 1:

Across The Water

Blu-Ray 2:

Boarding House

Rust Never Sleeps

Blu-Ray 3:

Human Highway

Trans

Berlin

Blu-Ray 4:

Solo Trans

Catalyst

A Treasure

Blu-Ray 5:

In A Rusted Out Garage

Muddy Track

Takes (vinyl only) Tracklisting: 

Side A: 1.Hey Babe (previously unreleased version) (From: Snapshot In Time: Neil Young with Nicolette Larson & Linda Ronstadt)

2.Drive Back (previously unreleased live version) (From: Across The Water II: Neil Young & Crazy Horse)

3.Hitchhikin’ Judy (From: Hitchhikin’ Judy: Neil Young) 4.Let It Shine (previously unreleased live version) (From: Across The Water I: Neil Young & Crazy Horse)

Side B:

1. Sail Away (previously unreleased original) (From: Windward Passage: The Ducks)

2. Comes A Time (previously unreleased version) (From: Oceanside Countryside: Neil Young)

3. Lady Wingshot (previously unreleased song) (From: Union Hall: Neil Young & Nicolette Larson) 

4. Thrasher (previously unreleased live version) (From: Boarding House I: Neil Young)

Side C:

1. Hey Hey, My My, (Into The Black) (From: Boarding House II: Neil Young)

2. Bright Sunny Day (previously unreleased song) (From: Sedan Delivery: Neil Young with Crazy Horse)

3. Winter Winds (previously unreleased song) (From: Coastline: Neil Young)

4. If You Got Love (previously unreleased version) (From: Trans/Johnny’s Island: Neil Young)

Side D:

1. Razor Love  (From: Evolution: Neil Young)

2. This Old House (previously unreleased original) (From: Grey Riders: Neil Young and The International Harvesters)

3. Barstool Blues (previously unreleased live version) (From: Touch The Night: Neil Young with Crazy Horse)

4. Last Of His Kind (previously unreleased original) (From: Summer Songs: Neil Young)

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Inside our free Big Star CD

HAVE A COPY SENT DIRECT TO YOUR DOOR

“Rock’n’roll,” sang Alex Chilton on 1972’s “Thirteen”, “is here to stay…” We couldn’t agree more, so it’s a real honour to present Out Past Midnight: A Big Star Sampler, a compilation of hand-picked tracks from one of the greatest bands of all time. With this CD, we’re celebrating the 50th anniversary of Big Star’s Radio City, along with the live tribute shows later this year, and marking a half-century since Chris Bell set out on his solo career with I Am The Cosmos – but really, there’s no need for an excuse to immerse yourself in Big Star.

You can read more about Chris Bell and that incredible, harrowing solo record in the same issue, dated October 2024 (it’s out in UK shops now, or available to buy online), but in the meantime spin these 10 tracks and chart the group’s journey from power-pop perfection on 1972’s #1 Record to the more unhinged, rawer grooves of 1974’s Radio City, and finally the expansive, avant-garde obliteration of Third, recorded in late ’74 and first released four years later.

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We hope you dig this sampler as much as we do, whether you’re revisiting these cuts, discovering the rarities or making your first ventures into the world of Chilton, Bell and co. As the former sang on “Thank You Friends”, it’s “never too late to start…

1 IN THE STREET
AVAILABLE ON THE CRAFT ALBUM, #1 RECORD

We kick off with perhaps the best-known Big Star track, a joyous, effervescent power-pop song sung by Chris Bell. Much like Chilton’s “Thirteen”, it finds the group looking back to their youth, the days of freedom first tasted but not yet captured: “Wish we had a joint so bad…” Under it all, masterfully arranged guitars, some neatly chiming and others phased and double-tracked, pick out the off-kilter, sugar-sweet riff and lyrical solo.

2 WHEN MY BABY’S BESIDE ME (ALTERNATE MIX, 1972)
AVAILABLE ON THE OMNIVORE SOUNDTRACK, NOTHING CAN HURT ME

Here’s an early mix of the group’s first single, a power-pop ur-text sung by Alex Chilton, which also served as the opener of #1 Record’s second side. This mix is rawer and airier than the final version, with the drums flung across the stereo spectrum; and yet this emptiness allows us to hear the sublime interlocking guitars of Bell and Chilton, sparring and taking turns to step up.

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3 TRY AGAIN
AVAILABLE ON THE CRAFT ALBUM, #1 RECORD

Smack bang in the heart of the acoustic section that closes the group’s debut, “Try Again” is perhaps the Big Star song that most keenly throws forward to I Am The Cosmos, which Bell would begin two years later. With its pained, heartfelt pleas to the Lord, wall of strummed acoustics and harmonised slide guitars, there’s also more than a hint of George Harrison’s solo work here. That it stands up to that comparison is a mark of its quality.

4 YOU GET WHAT YOU DESERVE (ALTERNATE MIX, 1973)
AVAILABLE ON THE OMNIVORE SOUNDTRACK, NOTHING CAN HURT ME

A spiky highlight of second album Radio City here, recorded by the trio of Alex Chilton, drummer Jody Stephens and bassist Andy Hummel after the commercial failure of their debut and the departure of Chris Bell. The middle eight, Chilton’s howl and ensuing Stratocaster solo remain one of the most thrilling parts of the group’s catalogue, and this rare mix only serves to better highlight the raw dynamism of the trio’s sound.

5 DAISY GLAZE
AVAILABLE ON THE CRAFT ALBUM, RADIO CITY

With writing credits for the whole trio, this suite seems to capture all sides of Big Star: it begins as a morose ballad, the group unsteady, swaying and under the influence, Chilton crying out in abandonment; by the end it’s erupted into a pounding rock juggernaut, the singer having found his strength, even if it’s just to score and proclaim “you’re gonna decease!

6 O MY SOUL
AVAILABLE ON THE CRAFT ALBUM, RADIO CITY

Their second album’s opener – only ever available in mono – gives a rare glimpse of Big Star’s heritage; they were, after all, a Memphis band, and on the strutting R&B of the verses they sound it. This is basically a live take, with Chilton’s lead and rhythm guitar part especially stunning, and the overdubbed Mellotron adding some Beatles-y psychedelia to the swampy funk.

7 KANGA ROO
AVAILABLE ON THE OMNIVORE ALBUM, COMPLETE THIRD

This floating hallucination of a song was recorded by Chilton – on 12-string acoustic and vocals – on one track, and famously given to producer Jim Dickinson as a kind of mischievous dare, to see what he could add to it. The result is sublime, with Mellotrons, guitar feedback and phased drums elevating the original recording into a symphonic, scarred masterpiece.

8 KIZZA ME (FRY ROUGH MIX)
AVAILABLE ON THE OMNIVORE ALBUM, COMPLETE THIRD

A raging rock number pledging devotion to Chilton’s girlfriend Lesa Aldridge, this opens some versions of Big Star’s third album, recorded when the group were down to the duo of Chilton and Stephens. With its psychedelic punk swirl of sawtooth guitars, cello and barroom piano, this early mix by engineer John Fry is even more manic than the final version; in the strange world of Third, then, a bona fide success.

9 TAKE CARE (FRY ROUGH MIX)
AVAILABLE ON THE OMNIVORE ALBUM, COMPLETE THIRD

After the nihilism and pain of Third – check out, of course, the crushing “Holocaust” for a really bad time – this acoustic waltz is a tonic, a tender hymn of kindness in the face of darkness. This mix is stumbling and starker, with accordion and eerie whistling foregrounded, and no sign of those romantic violins that tug on the heartstrings in the final version.

10 THANK YOU FRIENDS (FRY ROUGH MIX)
AVAILABLE ON THE OMNIVORE ALBUM, COMPLETE THIRD

The most uplifting track on Third, and perhaps in the band’s entire body of work, is even more affecting in this rawer form; before the strings, spangled guitar solo and cooing gospel backing singers, was this perfect live take. As with the previous 10 tracks here, there’s something wonderfully organic about the performance, a humanity that’s kept Big Star’s music so beloved for half a century and counting.

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Mark Lanegan Band Bubblegum XX

The urge to disentangle certain charismatic artists from the mythos that clings to them is as eternally irresistible as it is futile. Interviews and memoirs are useful for this only if the subject/narrator is 100% reliable; the internet, teeming with wild opinions and purported truths, is no place to look for verification. Which is why a combination of cultural romanticism and institutionalised trust still has us looking to an artist’s songs for clues as to who they “really” are. As someone drawn to the dark side – well documented, not least of all in his unflinching autobiography Sing Backwards And Weep Mark Lanegan is often the subject of “authentic self or projected character?” enquiry, as if the entire value of his recordings post-Screaming Trees rests on the answer. 

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It’s an odd thing to ask of someone who didn’t exactly burn through a wide range of personas in their career and barely tweaked their artistic expression. If Lanegan’s years of sombre reflection, the bleak and unshowy poeticism of his lyrics and borderline uncomfortable live performances point to anything, it’s hardly a carefully constructed other. Talking to Uncut about his writing process in 2012, he said, “I always start from some personal place. Some [albums] are more fictional, some are more based on reality, but they all do start from something real.” As for the vast majority of artists, then, so for Lanegan, who steps metaphorically into the spotlight again with this all-formats reissue of his sixth album, Bubblegum

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It lands as a 20th-anniversary release that includes an expanded 2003 EP Here Comes That Weird Chill (Methamphetamine Blues, Extras & Oddities), a 13-track Unreleased Songs & Demos and (in the 4LP boxset) a 64-page hardcover book featuring memorial essays by confreres including Greg Dulli, Josh Homme, Alain Johannes and Troy Van Leeuwen. Released under the name Mark Lanegan Band and co-produced by Johannes and Chris Goss, Bubblegum sits between the bare-boned, almost rootsy Field Songs and the drum machine- and synths-augmented mixed bag that is Blues Funeral. In his book I Am The Wolf, Lanegan revealed the dark turmoil of Bubblegums genesis: “I had been awake for days and nights, crazed from no sleep and illegal stimulants. While I had been out of my mind making records in the past, this was a new peak… or low, depending on one’s perspective.” Mixer Rick Will compared the experience to a scene from A Beautiful Mind, while it caused Lanegan’s manager, Brian Klein, to quit before the record was finished. However tortuous the process, though, the tenebrous self at the centre of Bubblegum certainly enthrals, portrayed in a mix of first-person narrative, potent metaphor and flash-card imagery, against a backdrop of haunted blues, charged alt.rock, country and grunge, flecked with psychedelia. The record also clearly shows the influence of Queens Of The Stone Age, whose Homme, Johannes and Van Leeuwen all make major contributions of a resolutely gnarly and turbo-charged kind.

Did you call for the night porter/Smell the blood running warm/I stay close to this frozen border/So close I can hit it with a stone.” As album openers go, “When Your Number Isn’t Up” is quite the establishing shot – a stark portrait of drug addiction and the singular hell endured by those existing on the knife edge between life and death, set to a soundtrack of cavernous, slow-mo beats, shivering droplets of piano and a lugubrious organ motif. “The night porter” was Kurt Cobain’s nickname for Mark Lanegan, due to his willingness to deliver dope in the small hours, and deemed so fitting it appears on the latter’s gravestone. Lanegan may have been that netherworld stalker, but it hardly defines him: with the roaring “Hit The City”, one of two songs here featuring PJ Harvey, he exudes the escapee’s mix of relief and awareness that the promised land seldom delivers, while both “Strange Religion”, a Spiritualized-style shimmer of psychedelic gospel soul and the strikingly spare intimacy of “Bombed”, which just scrapes over the one-minute mark, show him as the defeated lover at the end of a turbulent relationship. In the poignant and languorous “One Hundred Days”, Lanegan is both the optimist high on hopes of what the future could hold and the realist who knows it’s not for him. There’s a sudden mood switch with “Sideways In Reverse”, a trashy, punk-pop charge centred on compulsion and bad decisions, which is twin to the pedal-to-the-metal squall of “Driving Death Valley Blues”, where Lanegan is behind the wheel, impelled by addictions to both love and “medicine”.

The additional discs in this boxsetare solid inclusions, albeit with different functions. Necessarily less revealing is Here Comes That Weird Chill…, the EP of songs recorded at the same time as those that comprise Bubblegum and released the year before. It sees Greg Dulli and Dean Ween joining Homme, Johannes and Nick Oliveri, among other players, and since it’s often passed over in any appreciation of Lanegan’s catalogue, it’s worthy of a dust-off. Notable are the fragmentary, almost hallucinatory “On The Steps Of The Cathedral”, a cover of Beefheart’s “Clear Spot” – no great stretch for anyone here, perhaps, but a satisfyingly gruff, rough-necked hammering with some fine guitar vamps – and the blasted, desert-rock workout that is “Skeletal History”. Three bonus tracks feature – “Sympathy”, previously only available on the Has God Seen My Shadow? anthology and the two flips of “Hit The City”, “Mud Pink Skag” and “Mirrored”. The first of those is a raucous stomper with a Stones-y thread running through, the other a tender, Cash-like rumination on love’s perception errors, for fingerpicked acoustic guitar and close-mic’d voice.

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As is so often the case with reissue extras, the punctum of Bubblegum XX is its unreleased songs and demos. One disc features seven outtakes from the original sessions plus half a dozen tracks Leeuwen recorded with Lanegan in various hotel rooms during downtime on QOTSA’s tours of Japan and Australia, in February 2003. Chief among the outtakes is the breezy, largely acoustic “Union Tombstone”, which now features a newly recorded Beck on harmonica. This collaboration was part of Lanegan’s original plan, but for various logistical reasons at the time, it didn’t pan out. Here, by the sourcing of song stems over 20 years after he wrote it, that’s been rectified. The hotel sessions see Leeuwen playing all instruments, while Lanegan’s unvarnished vocals are the focus. The fact that these recordings survive in their original rough mixes is surprising in itself – “nobody knew those existed and [Troy] forgot about them,” Klein tells Uncut – but they are strikingly intimate and pack an understatedly powerful emotional punch. The standouts here are a charming cover of Johnny Cash’s “You Wild Colorado” (a first-time recording), the Appalachian folk-flavoured “St James Infirmary” and the penultimate “Little Willie John”, a terrific shortened version of Bubblegum’s “Like Little Willie John”. Here, Lanegan’s voice, thickened and so close the moisture in his mouth is almost palpable, is at its most tenderly haunting, as against the sparest acoustic guitar he croons, “Where’s Willie John, been dead so long/Born to fall, for nothin’ at all/ And who’s gonna grieve when you’re gone?” It may be a projective stretch to claim that Lanegan is drawing a direct parallel between his own life and that of a black, R&B-soul singer who died aged 30 in prison while serving time for manslaughter, not least of all because the song is largely a lament to lost love, but Lanegan’s compassion is writ large as his despair. He certainly had no need to piggyback on another’s tragedy for the sake of authenticity. Bubblegum XX not only amplifies its maker’s profile as a heavy hitter in his artistic field, it reveals a newly raw expression of his life and particular times.

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Wayne Shorter JuJu / Odyssey of Iska (reissue, 1965 / 1971)

Wayne Shorter’s career contains virtually the entire history of the second half of 20th century jazz. He cut his teeth with Art Blakey & The Jazz Messengers and eventually became the band’s musical director; he helped crystallise the emerging new sounds of Miles Davis’ Second Great Quintet and often composed for Davis; and he co-founded the pioneering jazz fusion group Weather Report. Not only was he an absolute master of the saxophone (originally on the less common soprano, then switching his focus to tenor) but he also redefined jazz composition, penned a number of pieces that have since become beloved standards, and has won numerous awards, including several Grammys. He died at the age of 89 in 2023, but his spirit lives on in the music he composed and the exploratory outlook of the many musicians he influenced.

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This year sees the reissue of two major Shorter albums in the Blue Note catalogue: 1965’s JuJu, as part of their Classic Vinyl Series and 1971’s Odyssey Of Iska, as part of their Tone Poet Vinyl Series. JuJu, recorded in 1964, is squarely post-bop, showcasing Shorter’s facility as a bandleader and composer, exploring the edges of modal jazz with a melodic rush and a fired-up rhythm section of musicians best known for working with John Coltrane: pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones. In an interview with the writer Jim Macnie, Shorter explained that Coltrane wanted to get together because they were playing “not the same way, but in the same areas of the horn.” Shorter also described his own view of the rhythm section as the vessel; if Coltrane was the leader, Tyner would accompany him as the navigator. Together, they were the frontline. All of which is to say that Shorter was incredibly well-suited to work with Coltrane’s rhythm section – not in the same way as Trane, but perhaps in the same areas.

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Tyner is navigator on JuJu too, a commanding presence with impressive solos. The ensemble’s energy is instantaneous on the title track that opens the record, Tyner’s piano and Shorter’s horn dancing with one another in agile formation while the rhythm section builds the foundation. Shorter’s post-bop work is characterised by distinctively melodic sax lines in a variety of moods, and this is evident from the jump on JuJu. He’s upbeat on the excellent “Deluge” but gets melancholy on “House Of Jade”. Then there’s “Mahjong”, another gorgeous song on an album full of stand-outs. Every musician gets their chance to shine, while Shorter’s horn channels sophistication and grace, tinged with a meditative edge. JuJu was Shorter’s fifth album as leader and second for Blue Note, but perhaps the first to really show the potential of his capability, not merely hinting but announcing further greatness.

Odyssey Of Iska is a nearly perfect bookend, not only because it was one of two final albums Shorter recorded for Blue Note (until a return in the 2010s) but also because it marks a shift in his style. The album was recorded in 1970, right around the time that Weather Report was formed by Shorter and keyboardist Joe Zawinul. The band would go on to define jazz fusion, alongside Chick Corea’s Return To Forever and Herbie Hancock’s Headhunters. Slivers of the forthcoming fusion can be heard on Odyssey Of Iska, which consists of four moody Shorter originals and a handsomely gentle take on “Depois Do Amor, O Vazio (After Love, Emptiness)”, a bossa nova-flavoured tune by Bobby Thompson.

The album is exploratory and atmospheric, the musicians working with a dense palette as they trace impulses both spiritual and avant-garde. The personnel includes iconic bassist Ron Carter and drummer Billy Hart (a member of Herbie Hancock’s Mwandishi band), alongside a broader selection of instrumentation that includes guitar, vibraphone and marimba. Misty percussion sets the mood on “Storm”, but when Shorter’s horn enters the fray, it’s a call to arms that matches the freneticism of the guitar. Iska is a reference to Shorter’s daughter, born around the time the album was recorded, but to continue the metaphor of vessels and navigation, Iska may well be a majestic ship carrying these sonic travellers on a freely flowing journey. Taken together, the albums are a striking showcase for Shorter’s development as a bandleader and composer. From modal jazz and post-bop to fusion and the avant-garde to his orchestral explorations later in life, Shorter’s legacy is undeniably far-reaching. His contributions are forever woven into the very fabric of jazz.

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Milton Nascimento & Esperanza Spalding Milton + Esperanza

The genre of collaborative albums between a younger fan and an older hero has started to take on several distinct forms in recent years. Sometimes the artists collaborate as equals, writing new songs together – take Franz Ferdinand and Sparks’ 2015’s album FFS, or Elton John’s 2010 LP with Leon Russell, The Union. Sometimes, the younger fan coaxes the older legend into writing new songs, as Jack White did with Loretta Lynn on Van Lear Rose in 2004, or as Dan Auerbach did with Dr John on 2012’s Locked Down. Then there are those collabs where the ageing legend seems barely aware he’s making an album at all, as with Richard Russell’s <Bowfinger>-style LP with Gil Scott Heron in 2010, I’m New Here.

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There’s also the collaboration that’s actually a tribute in disguise, like Elvis Costello’s 2005 album with Allen Toussaint, The River In Reverse, where Costello revived seven obscure old Toussaint songs and co-wrote a few hymns to his hero. This is very much the approach that Esperanza Spalding has adopted here with Milton Nascimento.

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Nascimento has been a legend of Brazilian music since the late ’60s. He absorbed some of the psychedelic innovations of his more provocative contemporaries, like Caetano Veloso and Gilberto Gil, but was more musically adventurous, mixing samba and bossa nova with the religious music of Minas Gerais where he grew up, the folksongs of Brazilian cowboys and the music of indigenous people. He also engaged with American jazz, recording several albums with Herbie Hancock and Wayne Shorter from the 1970s onwards, and has collaborated with everyone from Peter Gabriel to Duran Duran.

Now aged 81, Nascimento is pretty much retired. He no longer plays live and his only album in the last decade was another collaboration with a bass player – 2015’s Tamarear, where Dudu Lima and his jazz-rock trio persuaded Nascimento to revive some of his 1970s material. Singer and bassist Spalding, one of the leading breakout stars of American jazz in recent years, adopts a similar approach. Backed by her regular band, she duets on some of her favourite Nascimento songs, singing an octave apart from him, imitating his deliciously chewy brand of Brazilian Portuguese.

Cais” is a track from Nascimento’s landmark 1972 album Clube Da Esquina. The original is slow and dreamy, just an acoustic guitar and light percussion; here it acquires a sense of urgency with a minimalist piano backing. “Outubro”, a dramatic, string-drenched psychedelic ballad from Nascimento’s 1969 album Courage, is transformed into a piece of mid-’70s CTI-style style funk, complete with a propulsive bassline and a terrific flute solo from Elena Pinderhughes. “Morro Velho”, a delicate, guitar-led ballad from 1967’s Travessia, becomes a dreamy piece of chamber jazz, as does “Saudade Dos Avioes Da Panair”, from the 1975 album Minas.

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There are several delightfully odd cover versions. Nascimento’s world-weary growl adds a wonderful piquancy to the John Lennon section of “A Day In The Life”, here presented as a crazed, Os Mutantes-style orchestral wig-out. He duets with Dianne Reeves on a slightly overwrought version of Michael Jackson’s “Earth Song”, but one that drives home the environmental message. “When You Dream”, from Wayne Shorter’s 1985 album Atlantis, is taken into Rio carnival territory. Even better is “Saci”, a ballad by the Brazilian songwriter Guinga (who also guests on guitar), whose title refers to the black, one-legged highwayman of Brazilian myth. Guinga’s lyric presents Saci as a mysterious, gleefully disruptive spirit, here evoked by the delicate, unresolved guitar and piano chords.

Spalding has also written several songs inspired by Nascimento. Some are just fragments – “Late September” is a one-and-half-minute freakout, featuring a garrulous Shabaka Hutchings tenor sax solo; “The Way You Are” is an intriguing 44-second mantra intoned over quizzical piano chords – while others feature snippets of in-studio conversation between Spalding and Nascimento. But some are superb pieces in their own right. “Wings For The Thought Bird” is based around a flute riff that resembles birdsong, and taps into Nascimento’s most magical, folkloric material. “Get It By Now”, meanwhile, is a dense, proggy piece that recalls early ’80s Kate Bush.

Best of all is “Um Vento Passou”, a dreamy ballad filled with traditional percussion and sweeping strings, where Nascimento duets with his longtime collaborator Paul Simon: two croaky octogenarian geniuses singing in Portuguese and bringing decades of wisdom and warmth to a fine song.

This is much more of an Esperanza Spalding album than a Milton Nascimento one. But what Spalding has been able to do successfully is subsume herself into the world that Nascimento has created over the last 50 years – a dream-like realm of folkloric myth, plugged into nature’s heartbeat.

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Hear Bryan Ferry’s cover of Bob Dylan’s “She Belongs To Me”

Bryan Ferry has announced details of his first, career-spanning solo compilation – Retrospective: Selected Recordings 1973-2023.

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Totalling 81 tracks, the collection is due for release on October 25 via BMG.

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The set includes “Star“, Ferry’s first original song to be released in over a decade, and a cover of Dylan’s “She Belongs To Me” which you can hear below.

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Retrospective: Selected Recordings 1973-2023 will be released in multiple formats, including a 5CD deluxe box set featuring 81 songs, accompanied by a 100-page hardback book containing extensive new liner notes, rare and unseen photographs and imagery. A 2LP gatefold edition presents The Best Of Bryan Ferry, containing 20 songs pressed to black vinyl with variants including a green/blue vinyl pressing and a clear vinyl pressing. A 1CD version will also feature the same 20 songs and a booklet containing liner notes and photographs. An 81-track edition of the album will be released digitally.

Retrospective: Selected Recordings 1973-2023 5 CD Track Listing:

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Disc One: The Best Of Bryan Ferry

1. A Hard Rain’s A-Gonna Fall

2. These Foolish Things

3. The ‘In’ Crowd

4. Smoke Gets In Your Eyes

5. Casanova

6. Let’s Stick Together

7. Sign of the Times

8. Slave To Love

9. Don’t Stop The Dance

10. Windswept

11. Kiss and Tell

12. As Time Goes By

13. Your Painted Smile

14. I Put A Spell On You

15. Which Way To Turn

16. Knockin’ On Heaven’s Door

17. Make You Feel My Love

18. You Can Dance

19. Love Letters

20. Johnny and Mary

Disc Two: Compositions

1. Can’t Let Go

2. Tokyo Joe

3. This Island Earth

4. Love Me Madly Again

5. Limbo

6. When She Walks In The Room

7. Boys and Girls

8. Zamba

9. Chain Reaction

10. Bête Noire

11. I Thought

12. The Only Face

13. Valentine

14. Loop De Li

15. Reason or Rhyme

Disc Three: Interpretations

1. The Price of Love

2. Shame Shame Shame

3. Hold On (I’m Coming)

4. Just One Look

5. Girl of My Best Friend

6. What Goes On

7. That’s How Strong My Love Is

8. You Go To My Head

9. Where or When

10. The Way You Look Tonight

11. One Night

12. Simple Twist of Fate

13. Positively 4th Street

14. Song to the Siren

15. Fooled Around and Fell In Love

Disc Four: The Bryan Ferry Orchestra

1. Virginia Plain

2. Do The Strand

3. While My Heart Is Still Beating

4. This Island Earth

5. Bitter-Sweet

6. Dance Away

7. Zamba

8. Reason or Rhyme

9. Avalon

10. Back To Black

11. Limbo

12. Young and Beautiful

13. Love Is The Drug

14. Sign of the Times

15. Chance Meeting

Disc Five: Rare and Unreleased

1. Feel The Need

2. Mother of Pearl (Horoscope Version)

3. Don’t Be Cruel

4. I Don’t Want To Go On Without You

5. I Forgot More Than You’ll Ever Know

6. Crazy Love

7. Whatever Gets You Through The Night

8. Bob Dylan’s Dream

9. He’ll Have To Go

10. A Fool For Love

11. Lowlands Low

12. Is Your Love Strong Enough

13. Sonnet 18

14. She Belongs To Me

15. Oh Lonesome Me

16. Star (with Amelia Barratt)

Retrospective: Selected Recordings 1973-2023 Digital Track Listing:

1. A Hard Rain’s A-Gonna Fall

2. These Foolish Things

3. The ‘In’ Crowd

4. Smoke Gets In Your Eyes

5. Casanova

6. Let’s Stick Together

7. Sign of the Times

8. Slave To Love

9. Don’t Stop The Dance

10. Windswept

11. Kiss and Tell

12. As Time Goes By

13. Your Painted Smile

14. I Put A Spell On You

15. Which Way To Turn

16. Knockin’ On Heaven’s Door

17. Make You Feel My Love

18. You Can Dance

19. Love Letters

20. Johnny and Mary

21. Can’t Let Go

22. Tokyo Joe

23. This Island Earth

24. Love Me Madly Again

25. Limbo

26. When She Walks In The Room

27. Boys and Girls

28. Zamba

29. Chain Reaction

30. Bête Noire

31. I Thought

32. The Only Face

33. Valentine

34. Loop De Li

35. Reason or Rhyme

36. The Price of Love

37. Shame Shame Shame

38. Hold On (I’m Coming)

39. Just One Look

40. Girl of My Best Friend

41. What Goes On

42. That’s How Strong My Love Is

43. You Go To My Head

44. Where or When

45. The Way You Look Tonight

46. One Night

47. Simple Twist of Fate

48. Positively 4th Street

49. Song to the Siren

50. Fooled Around and Fell In Love

51. Virginia Plain

52. Do The Strand

53. While My Heart Is Still Beating

54. This Island Earth

55. Bitter-Sweet

56. Dance Away

57. Zamba

58. Reason or Rhyme

59. Avalon

60. Back To Black

61. Limbo

62. Young and Beautiful

63. Love Is The Drug

64. Sign of the Times

65. Chance Meeting

66. Feel The Need

67. Mother of Pearl (Horoscope Version)

68. Don’t Be Cruel

69. I Don’t Want To Go On Without You

70. I Forgot More Than You’ll Ever Know

71. Crazy Love

72. Whatever Gets You Through The Night

73. Bob Dylan’s Dream

74. He’ll Have To Go

75. A Fool For Love

76. Lowlands Low

77. Is Your Love Strong Enough

78. Sonnet 18

79. She Belongs To Me

80. Oh Lonesome Me

81. Star (with Amelia Barratt)

Retrospective: Selected Recordings 1973-2023 2LP / 1CD Tracklist: 

1. A Hard Rain’s A-Gonna Fall

2. These Foolish Things

3. The ‘In’ Crowd

4. Smoke Gets In Your Eyes

5. Casanova

6. Let’s Stick Together

7. Sign of the Times

8. Slave To Love

9. Don’t Stop The Dance

10. Windswept

11. Kiss and Tell

12. As Time Goes By

13. Your Painted Smile

14. I Put A Spell On You

15. Which Way To Turn

16. Knockin’ On Heaven’s Door

17. Make You Feel My Love

18. You Can Dance

19. Love Letters

20. Johnny and Mary

Retrospective: She Belongs To Me EP Track Listing

1. She Belongs To Me

2. Let’s Stick Together

3. Slave to Love

4. I Put A Spell On You

5. Make You Feel My Love

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Read the tracklisting for Neil Young’s Archives Vol III (1976 1987)

Neil Young has released a trailer for his massive upcoming boxset Archives Vol III: 1976 – 1987, due for release on September 6 via Reprise Records in a number of configurations.

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First, here’s the video…

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The 17-CD limited edition boxed set of Archives Vol III features a total of 198 musical tracks, including 121 previously unreleased versions of live, studio, mixes, or edits, and 15 previously unreleased songs, available here for the first time ever. 62 tracks have been available on various recordings. The set will be packaged in a slim folding box with a poster. Pre-order here.

Click here to read Uncut’s review of Archives Vol. 1: 1963–1972

Click here to read Uncut’s review of Archives Vol. II: 1972–1976

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In addition, a double vinyl LP-only set titled Takes, will also be available on September 6. Takes is a 16-track compilation featuring one track from each of the 16 out of the 17 CDs in the Archives Vol III box set. This collection will include 3 unreleased songs and 12 previously unreleased versions and will be the only vinyl edition to feature these songs.

A US-only limited edition 22-disc Deluxe Edition box set will also be available via the Greedy Hand Store. It features all 17 CDs, and 5 Blu-Rays which compile 11 films, 4 of which are previously unreleased. The Blu-Rays include 128 tracks, over 14 hours of film. The Deluxe Edition box also includes a 176-page book and a poster.

The music covers live performances with Crazy Horse, solo, with Nicolette Larson and with Devo and with The International Harvesters, along with unreleased studio recordings and outtakes.

NEIL YOUNG ARCHIVES VOL III Tracklisting:

Disc 1: Across The Water I (1976) Neil Young & Crazy Horse

1. Let It Shine (previously unreleased live version)

2. Mellow My Mind (previously unreleased live version)

3. Too Far Gone (previously unreleased live version)

4. Only Love Can Break Your Heart (previously unreleased live version)

5. A Man Needs a Maid (previously unreleased live version)

6. No One Seems to Know (previously unreleased live version)

7. Heart Of Gold (previously unreleased live version)

8. Country Home (previously unreleased live version)

9. Don’t Cry No Tears (previously unreleased live version)

10. Cowgirl in the Sand (previously unreleased mix)

11. Lotta Love (previously unreleased live version)

12. The Losing End (When You’re On) (previously unreleased live version)

13. Southern Man (previously unreleased live version)

14. Cortez the Killer (previously unreleased live version)

Disc 2: Across The Water II (1976): Neil Young & Crazy Horse

1. Human Highway (previously unreleased live version)

2. The Needle And The Damage Done (previously unreleased live version)

3. Stringman (previously unreleased mix)

4. Down By The River (previously unreleased live version)

5. Like a Hurricane (previously unreleased live version)

6. Drive Back (previously unreleased live version)

7. Cortez the Killer (previously unreleased live version)

8. Homegrown (previously unreleased live version)

Disc 3: Hitchhikin’ Judy (1976-1977): Neil Young

1. Rap

2. Powderfinger (previously released on Hitchhiker)

3. Captain Kennedy (previously released on Hawks & Doves, Hitchhiker and Hawks & Doves)

4. Hitchhiker (previously released on Hitchhiker)

5. Give Me Strength (previously released on Hitchhiker)

6. The Old Country Waltz (previously released on Hitchhiker)

7. Rap

8. Too Far Gone (previously released on Songs For Judy)

9. White Line (previously released on Songs For Judy)

10. Mr. Soul (previously released on Songs For Judy)

11. A Man Needs A Maid (previously released on Songs For Judy)

12. Journey Through the Past (previously released on Songs For Judy)

13. Campaigner (previously released on Songs For Judy)

14. The Old Laughing Lady (previously released on Songs For Judy)

15. The Losing End (When You’re On) (previously released on Songs For Judy)

16. Rap

17. Helpless (previously released on The Last Waltz)

18. Four Strong Winds (previously released on The Last Waltz (2002 edition))

19. Rap

20. Will To Love (previously released on American Stars ‘n Bars and Chrome Dreams)

21. Lost In Space (previously unreleased original)

Disc 4: Snapshot In Time (1977): Neil Young with Nicolette Larson & Linda Ronstadt

1. Rap

2. Hold Back The Tears (previously released on Chrome Dreams)

3. Rap

4. Long May You Run (previously unreleased version)

5. Hey Babe (previously unreleased version)

6. The Old Country Waltz (previously unreleased version)

7. Hold Back the Tears (previously unreleased version)

8. Peace of Mind (previously unreleased version)

9. Sweet Lara Larue (previously unreleased version)

10. Bite the Bullet (previously unreleased version)

11. Saddle Up the Palomino (previously unreleased version)

12. Star of Bethlehem (previously unreleased version)

13. Bad News Comes To Town (previously unreleased version)

14. Motorcycle Mama (previously unreleased version)

15. Rap

16. Hey Babe (previously released on American Stars N Bars)

17. Rap

18. Barefoot Floors (previously unreleased version)

Disc 5: Windward Passage (1977) The Ducks 

1. Rap

2. I Am A Dreamer (previously released on High Flyin’)

3. Sail Away (previously unreleased original)

4. Wide Eyed and Willin’ (previously released on High Flyin’)

5. I’m Tore Down (previously released on High Flyin’)

6. Little Wing (previously released on High Flyin’)

7. Hey Now (previously released on High Flyin’)

8. Windward Passage (previously unreleased edit)

9. Cryin’ Eyes (previously unreleased original)

Disc 6: Oceanside  Countryside (1977): Neil Young 

1. Rap

2. Field of Opportunity (previously unreleased mix)

3. It Might Have Been (previously unreleased version)

4. Dance Dance Dance (previously unreleased version)

5. Rap

6. Pocahontas (previously unreleased mix)

7. Peace of Mind (previously unreleased mix)

8. Sail Away (previously unreleased mix)

9. Human Highway (previously unreleased mix)

10. Comes A Time (previously unreleased version)

11. Lost In Space (previously released on Hawks & Doves)

12. Goin’ Back (previously unreleased mix)

Disc 7: Neil Young & Nicolette Larson Union Hall (1977):

1. Comes A Time (previously released on Comes A Time)

2. Love/Art Blues (previously unreleased version)

3. Rap

4. Are You Ready For the Country? (previously unreleased version)

5. Dance Dance Dance/Love is a Rose (previously unreleased version)

6. Old Man (previously unreleased version)

7. The Losing End (When You’re On) (previously unreleased version)

8. Heart Of Gold (previously unreleased version)

9. Already One (previously unreleased version)

10. Lady Wingshot (previously unreleased song)

11. Four Strong Winds (previously unreleased version)

12. Down By The River (previously unreleased version)

13. Alabama (previously unreleased version)

14. Are You Ready For the Country? (reprise) (previously unreleased version)

15. Rap

16. We’re Having Some Fun Now (previously unreleased song)

17. Rap

18. Please Help Me, I’m Falling (previously unreleased version)

19. Motorcycle Mama (previously released on Comes A Time)

Disc 8: Boarding House I (1978): Neil Young 

1. Rap

2. Shots (previously unreleased live version)

3. Thrasher (previously unreleased live version)

4. The Ways of Love (previously unreleased live version)

5. Ride My Llama (previously unreleased live version)

6. Sail Away (previously unreleased live version)

7. Pocahontas (previously unreleased live version)

8. Human Highway (previously unreleased live version)

9. Already One (previously unreleased live version)

10. Birds (previously unreleased live version)

11. Cowgirl in the Sand (previously unreleased live version)

12. Sugar Mountain (previously unreleased live version)

13. Powderfinger (previously unreleased live version)

14. Comes a Time (previously unreleased live version)

Disc 9: Devo & Boarding House II (1978): Neil Young and Devo

1. Rap

2. Hey Hey, My My (Into The Black) (previously unreleased version)

3. Back to the Boarding House

4. My My, Hey Hey (Out of the Blue) (previously unreleased live version)

5. Homegrown (previously unreleased live version)

6. Down by the River (previously unreleased live version)

7. After the Gold Rush (previously unreleased live version)

8. Out Of My Mind (previously unreleased live version)

9. Dressing Room

Disc 10: Sedan Delivery (1978): Neil Young with Crazy Horse 

1. Bright Sunny Day (previously unreleased song)

2. The Loner (previously released on Live Rust)

3. Welfare Mothers (previously released on Rust Never Sleeps)

4. Lotta Love (previously released on Live Rust)

5. Sedan Delivery (previously released on Rust Never Sleeps)

6. Cortez the Killer (previously released on Live Rust)

7. Tonight’s the Night (previously released on Live Rust)

8. Powderfinger (previously released on Rust Never Sleeps)

9. When You Dance, I Can Really Love (previously released on Live Rust)

10. Hey Hey, My My (Into the Black) (previously released on Rust Never Sleeps)

Disc 11: Coastline (1980-1981): Neil Young 

1. Coastline (previously released on Hawks & Doves)

2. Stayin’ Power (previously released on Hawks & Doves)

3. Hawks And Doves (previously released on Hawks & Doves)

4. Comin’ Apart at Every Nail (previously released on Hawks & Doves)

5. Union Man (previously released on Hawks & Doves)

6. Winter Winds (previously unreleased song)

7. Southern Pacific (previously released on RE-AC-TOR.)

8. Opera Star (previously released on RE-AC-TOR.)

9. Rapid Transit (previously released on RE-AC-TOR.)

10. Sunny Inside (previously unreleased original)

11. Surfer Joe and Moe the Sleaze (previously released on RE-AC-TOR.)

12. Get Up (previously unreleased song)

Disc 12: Trans (1981) & Johnny’s Island (1982): Neil Young 

1. Rap

2. Sample and Hold (previously released on Trans)

3. Mr. Soul (previously released on Trans)

4. Computer Cowboy (previously released on Trans)

5. We R In Control (previously released on Trans)

6. Computer Age (previously released on Trans)

7. Transformer Man (previously released on Trans)

8. Rap

9. Johnny (previously unreleased song)

10. Island In The Sun (previously unreleased song)

11. Rap

12. Silver & Gold (previously unreleased version)

13. If You Got Love (previously unreleased version)

14. Raining in Paradise (previously unreleased song)

15. Big Pearl (previously unreleased song)

16. Hold On To Your Love (previously released on Trans)

17. Soul Of A Woman (previously unreleased original)

18. Rap

19. Love Hotel (previously unreleased song)

Disc 13: Evolution (1983-1984): Neil Young 

1. California Sunset (previously unreleased original)

2. My Boy (previously unreleased original)

3. Old Ways (previously unreleased version)

4. Depression Blues (previously released on Lucky 13)

5. Cry, Cry, Cry (previously released on Everybody’s Rockin’)

6. Mystery Train (previously released on Everybody’s Rockin’)

7. Payola Blues (previously released on Everybody’s Rockin’)

8. Betty Lou’s Got A New Pair Of Shoes (previously released on Everybody’s Rockin’)

9. Bright Lights, Big City (previously released on Everybody’s Rockin’)

10. Rainin’ In My Heart (previously released on Everybody’s Rockin’)

11. Get Gone (previously unreleased original)

12. I Got A Problem (previously unreleased original)

13. Hard Luck Stories (previously unreleased original)

14. Your Love (previously unreleased version)

15. If You Got Love (previously unreleased version)

16. Razor Love (previously unreleased original)

Disc 14: Grey Riders (1984-1986): Neil Young with The International Harvesters 

1. Amber Jean (previously unreleased original)

2. Get Back To The Country (previously unreleased original)

3. Are You Ready For The Country? (previously released on A Treasure)

4. It Might Have Been (previously released on A Treasure)

5. Bound For Glory (previously released on A Treasure)

6. Let Your Fingers Do the Walking (previously released on A Treasure)

7. Soul of a Woman (previously released on A Treasure)

8. Misfits (Dakota) (previously unreleased live version)

9. Nothing is Perfect (previously unreleased version)

10. Time Off For Good Behavior (previously unreleased song)

11. This Old House (previously unreleased original)

12. Southern Pacific (previously released on A Treasure)

13. Interstate (previously unreleased live version)

14. Grey Riders (previously released on A Treasure)

Disc 15: Touch The Night (1984): Neil Young with Crazy Horse

1. Rock (previously unreleased song)

2. So Tired (previously unreleased song)

3. Violent Side (previously unreleased live version)

4. I Got A Problem (previously unreleased live version)

5. Your Love (previously unreleased song)

6. Barstool Blues (previously unreleased live version)

7. Welfare Mothers (previously unreleased live version)

8. Touch The Night (previously unreleased live version)

Disc 16: Road Of Plenty (1984-1986): Neil Young 

1. Drifter (previously released on Landing On Water)

2. Hippie Dream (previously released on Landing On Water)

3. Bad News Beat (previously released on Landing On Water)

4. People On The Street (previously released on Landing On Water)

5. Weight of the World (previously released on Landing On Water)

6. Pressure (previously released on Landing On Water)

7. Road of Plenty (previously unreleased song)

8. We Never Danced (previously unreleased original)

9. When Your Lonely Heart Breaks (previously unreleased original)

Disc 17: Summer Songs (1987): Neil Young 

1. Rap

2. American Dream (previously unreleased original)

3. Someday (previously unreleased original)

4. For The Love Of Man (previously unreleased original)

5. One Of These Days (previously unreleased original)

6. Wrecking Ball (previously unreleased original)

7. Hangin On A Limb (previously unreleased original)

8. Name Of Love (previously unreleased original)

9. Last Of His Kind (previously unreleased original)

10. Rap

Blu-Ray 1:

Across The Water

Blu-Ray 2:

Boarding House

Rust Never Sleeps

Blu-Ray 3:

Human Highway

Trans

Berlin

Blu-Ray 4:

Solo Trans

Catalyst

A Treasure

Blu-Ray 5:

In A Rusted Out Garage

Muddy Track

Takes (vinyl only) Tracklisting: 

Side A: 1.Hey Babe (previously unreleased version) (From: Snapshot In Time: Neil Young with Nicolette Larson & Linda Ronstadt)

2.Drive Back (previously unreleased live version) (From: Across The Water II: Neil Young & Crazy Horse)

3.Hitchhikin’ Judy (From: Hitchhikin’ Judy: Neil Young) 4.Let It Shine (previously unreleased live version) (From: Across The Water I: Neil Young & Crazy Horse)

Side B:

1. Sail Away (previously unreleased original) (From: Windward Passage: The Ducks)

2. Comes A Time (previously unreleased version) (From: Oceanside Countryside: Neil Young)

3. Lady Wingshot (previously unreleased song) (From: Union Hall: Neil Young & Nicolette Larson) 

4. Thrasher (previously unreleased live version) (From: Boarding House I: Neil Young)

Side C:

1. Hey Hey, My My, (Into The Black) (From: Boarding House II: Neil Young)

2. Bright Sunny Day (previously unreleased song) (From: Sedan Delivery: Neil Young with Crazy Horse)

3. Winter Winds (previously unreleased song) (From: Coastline: Neil Young)

4. If You Got Love (previously unreleased version) (From: Trans/Johnny’s Island: Neil Young)

Side D:

1. Razor Love  (From: Evolution: Neil Young)

2. This Old House (previously unreleased original) (From: Grey Riders: Neil Young and The International Harvesters)

3. Barstool Blues (previously unreleased live version) (From: Touch The Night: Neil Young with Crazy Horse)

4. Last Of His Kind (previously unreleased original) (From: Summer Songs: Neil Young)

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Eiko Ishibashi Evil Does Not Exist

Watch Ryusuke Hamaguchi’s new film, and you’ll see the countryside that Eiko Ishibashi and her partner Jim O’Rourke call home: the snow-capped extinct volcanoes, the dense forests and grassy meadows, frozen lakes and icy mountain streams. Yet it’s not by chance that the setting of Evil Does Not Exist matches the area west of Tokyo where the composer lives – in fact, the film is deeply interlinked with Ishibashi’s work and life, the visuals and the music both serving as inspirations to each other.

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After Hamaguchi heard Ishibashi’s 2018 LP The Dream My Bones Dream, the pair began working together on 2021’s Drive My Car. It picked up an Oscar for Best International Feature Film, and Ishibashi’s jazzy, verdant soundtrack – at once accessible and experimental – was a big part of its success. When she then asked Hamaguchi to create visuals she could perform to onstage, he came to the area where she and O’Rourke live and began to film, initially inspired by a handful of electronic instrumentals she had created. The director enjoyed what he’d filmed so much, though, that he turned it into a full film, with dialogue and storyline, and requested more musical material that Ishibashi then wrote to the finished edit.

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The final version of Evil Does Not Exist isn’t exactly full of Ishibashi’s music – you’ll need to search out Ishibashi’s live shows featuring the shorter, silent version, entitled Gift, for that – but when it does appear it’s the most bewitching, powerful element of the film. The more electronic pieces are those that Ishibashi wrote first, inspirations for Hamaguchi’s visuals and story: “Hana V.2”, for instance, is all gently pulsing electronic tones that slowly form shifting chords, like shapes glimpsed in clouds. Vaporous strings and the kind of harsh cymbal drones heard in Neu!’s “Sonderangebot” briefly appear, alongside the sounds of the film’s troubled protagonist Takumi chopping wood.

Smoke” and “Fether” are perhaps the most familiar pieces here, faintly reminiscent of the Drive My Car soundtrack or Ishibashi’s 2022 release For McCoy, and also to O’Rourke’s masterful music for Kyle Armstrong’s Hands That Bind. The former is driven by fluttering drums and Ishibashi’s layered flute, once again demonstrating her love for the measured, quicksilver jazz found on the ECM label, while the latter briefly mixes granulated textures with leaf-falls of piano. The longest piece here is the most ambient, the 12-minute “Missing V.2”, which begins with what seems like a Japanese train announcement; the film, however, reveals this to be a chilling public information message about a young girl lost in the forest as night begins to fall. Low strings hum and ominous piano chords toll, as important as the abstract electronics; gradually, clattering cymbals and a warped, synthetic heartbeat raise the tension, almost unbearably. The effect is stunning and enveloping.

The remaining three tracks are the most striking, both in the film and on the album. These were composed for the completed film, and find Ishibashi writing for strings (in fact overdubbed by two performers to simulate a lush orchestral ensemble). Her albums have included strings for years, but not like this: here, huge suspended chords hang like rock buttresses, showing Ishibashi’s childhood love of Bach and her more recent appreciation of modernist pioneer Charles Ives. At times, though, the harmonies seem to stall and, as if caught in the gravity of some unseen body, they spin off into eerie discord, before finally returning to the theme. It’s a stunning trick, and the power is all in the flow: these pieces snake as organically as the streams in Evil Does Not Exist, or twist like the antlers of the stag that plays such a mysterious, pivotal part in the film.

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Quite how these pieces will exist as a live soundtrack to Gift will be revealed, but as a standalone soundtrack Evil Does Not Exist is a fine addition to Ishibashi’s singular work – the mood is darker and eerier than her feted Drive My Car, but it’s the stronger album nonetheless. What’s more, this astonishing record perfectly lays the groundwork for the song-based follow-up to The Dream My Bones Dream, due to float out of those deep forests in the tantalisingly near future.

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Sean Ono Lennon: “Mind Games is my dad getting back on track”

The August 2024 issue of Uncut is packed full of goodies for the discerning John Lennon fan. As well as our cover story – a deep dive into Lennon’s creative but turbulent 1973/’74 – there’s a stunning Collector’s Cover, a mini Ultimate Music Guide to all Lennon’s solo albums and a unique, ultra-collective CD featuring new mixes, outtakes and more from the upcoming Mind Games deluxe edition box set.

We also spoke to Sean Ono Lennon about his work on the Mind Games release, but due to space restrictions could only run part of the interview. Here it is now in full…

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UNCUT: Can you start by giving me your personal overview of Mind Games, the period in which it was recorded and where you feel it stands in your father’s canon? 

SEAN ONO LENNON: Mind Games was always one of my favourite of dad’s albums. I grew up listening to it without realising it had to some degree been overlooked when it came out. So to me it has always been one of his strongest records. The title track alone lives on the very top shelf of my favourite John Lennon tunes. It’s an absolute masterpiece. 

To me it sounds like he was working very hard to make a more polished record after what had been a period of raw rock n roll activism with Sometime In New York City, (an album that was difficult for some fans to appreciate). The fact that he was producing himself, and doing an incredible job without Phil Spector’s help, while in the midst of a separation with my mother — it must of been a difficult time for him, and I think he really stepped up to the plate and did an amazing job. The music may not have been in sync with where the world was at commercially, but the songs stand for themselves and after all these years have come to represent some of his best work to many fans. I had an amazing time overseeing the mixes, and was really struck by the level of musicianship throughout. The band is exceptional, and you can tell (perhaps unlike on Sometime In New York City), that the musicians are really trying their best at every moment, and working hard to bring as much musicianship and beauty to each song as they can manage. My father famously made the album cover himself, an amazing collage with my mother as a mountain hovering over him as he recedes into the distance — a visually striking image that says a lot about the time period and what they were going through personally.

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Unlike his previous solo albums, I think Mind Games strikes a beautiful balance between being raw and personal, speaking to his political philosophy, while also inserting a much needed feeling of fun and humour throughout. I think the chemistry of these elements is well balanced on this album, making for an extremely moving, while also extremely enjoyable musical journey.

What are the album’s biggest strengths?

The biggest strength of the album are his production and his singing. He’s really at his best. Some of the his best vocal performances are on this record. Especially the outro of Mind Games, he slides up effortlessly to a falsetto on the word ‘love’ that is as haunting and inspiring as anything he ever sang with the Beatles.

There’s a sense this record has been unfairly overlooked – why do you think that might have been?

There was a sense at the time that the album was overlooked. I think that kind of thing happens a lot for whatever reason. Rolling Stone didn’t like Led Zeppelin. The Beatles never really winning any Grammys for best album. Sometimes the world isn’t ready to give certain music a chance, or even understand it. I don’t think that’s a reflection of the music’s quality, but more about where the world is at. My parents had just confused a lot of people between Two Virgins and Sometime In New York CIty, they had thrown people off a bit—and frankly had thrown themselves off too, getting mixed up with some questionable characters (Jerry Rubin), and getting surveilled by the FBI, and then realizing many of the so called revolutionaries they had linked up with were actually not the best people. It was a strange time and I think the music and the reception of it were connected to the changes that were happening. But I do think Mind Games is clearly my dad getting back on track, after what was a very experimental, and volatile period that was very creatively fruitful, but at times went a bit out of control. Plus it was a very competitive time, with a whole new generation of talented young artists dominating the charts. But what does that say about Mind Games as an album? Not much in my view. People for whatever reason were not in the right mood for it. But looking back and listening I think we can all see it for the incredible album that it is. I do consider it a masterpiece.

What were your objectives for Mind Games when you began working on the reissue?

Well for me it’s about trying to find the most interesting and creatives ways I can of revisiting the music. If I’m going to spend time working on Dad’s music I want to work as hard as I can to innovate and be creative. So I had all sorts of potentially out-there ideas: launching citizenofnutopia.com launching the meditation mixes with Lumenate, working on the deluxe and super deluxe sets for 2 years trying to making them something memorable, something you’d never seen before. Now more then ever an artist like my dad is competing against a whole new world of music and entertainment. In order to get him the attention he deserves I feel I have to really work hard on trying new things. I want to get as much attention for his music and make it as fun as humanly possible for the fans. We have a lot of other stuff coming too that are in the works this year for Mind Games. To me there’s no point in rereleasing his music if I don’t try and push it as far as I can in terms of creativity.

As you worked on Mind Games did you learn anything new, or did anything surprise you, about this period in your parents’ life?

Listening to Ken Asher’s tracks really blew me away. I’m such a big fan of his work with Jim Henson, it was really amazing realising all the little tricks he pulled with the keys. The musicianship generally speaking is truly stellar on this album throughout. And truthfully I didn’t realise what a good song Aisumasen was until I worked on bringing out the best bits. Suddenly the song sounds like one of the best tracks off Plastic Ono Band. So I have to admit remixing did make me rediscover some songs I’d never paid as much attention to.

The Mind Games box is out-of-this-world – please tell me how this came about, which elements you are most proud of and if there is anything you wanted to do that didn’t quite make it….

We’ve been working on the box set for years now. Initially I thought, Mind Games… game, what if we ‘gamified’ mind games? So that’s all I’ll say but there are many levels to this launch including and far beyond the box set that I hope will potentially entertain and engage fans for possibly years to come. My main goal was to just do something really different. To blow minds so to speak. I think when people actually see how far we went with it, they will understand how it all fits together, and why they are as they are. The websites. The box sets. The music. They all intertwine in a way that is ready to be discovered.

What was your favourite part of the process?

My favourite part is mixing. I love getting to be that intimate with my dad’s music. It feels like an honor, but also I’ve spent my whole life getting good at that type of thing, and it’s a great feeling to be able to put those skills to work while spending time in my father’s world. I really enjoy and feel very lucky.

We are very excited to have nine exclusive Mind Games tracks on our covermount CD from the Mind Games CD. Could you please introduce this for our readers in around 100 words?

This Uncut mix shows examples of the types of mixes we’ve included. I think listening to these mixes will give you a sense of the broad scope you can expect from the box sets. From very polished and what I would consider ‘ultimate’ mixes, to raw elements, and outtakes. We’ve really tried to include everything we possibly can. Really looking forward to hearing people’s feedback. I’m very proud of the work we’ve done on an album that has always meant a lot to me personally.

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Robyn Hitchcock’s guide to 1967: “‘Let’s get the kaftans out…’” listen

Robyn Hitchcock’s first book, a memoir titled 1967: How I Got There and Why I Never Left, is out now. In Uncut’s July issue, he spoke about the book and his memories of that pivotal year in his youth – from the strange customs of Winchester College to the mind-blowing new music he was hearing – and here Hitchcock exclusively takes us through a playlist of some of his favourite tracks from ’67.

Comprising 10 songs by British artists and another nine by Americans, the list has been curated by the singer-songwriter to best encapsulate the feel of that psychedelic period. He’s also kept away from the songs he covers on his accompanying album, 1967 – Vacations In The Past.

Take a listen here, and scroll down to read Robyn’s commentary…

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ROBYN HITCHCOCK: These are not necessarily the best songs by those artists. Like “Hole In My Shoe” isn’t my favourite Traffic song from that period – I’d rather listen to “Mr Fantasy” or “Heaven Is In Your Mind”, and I cover “No Face, No Name, No Number” on my [1967] record – but “Hole In My Shoe”, with the sitar and those high harmonies at the end, is the most 1967 track, you know? And “Flying” by The Beatles, I’ve always felt that really encapsulated Magical Mystery Tour more than any of the other songs on it. Again, it’s not one of their better-known pieces. It’s a four-way co-write too!

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It was kind of obvious that Satanic Majesties was a response to, or slight rip-off of, Sgt Pepper. But the atmosphere of the music was so different. And I’m one of those Stones fans who actually really likes Satanic Majesties. I don’t know if Keith Richards disowned it or not, but I think they get the dark side of psychedelia. It’s still got that Stones pulse, but they are probably quite cynically just going, ‘Okay, psychedelia is what’s happening this year… come on, folks, let’s get the kaftans out… oh, we can use Brian on this, wake up Brian! Come on. Put that down, you can have it after the session…’ I do think “She’s A Rainbow” is a really beautiful piece, and that’s largely down to Nicky Hopkins playing the piano. There’s a point when Charlie Watts and everybody comes in at the end, and you’ve got that Stones thrash underneath, and you’ve got Jagger being sort of Prince Michael on the occasions he gets fey.

I think the Stones did their best stuff when Brian Jones was still in the band, before Keith became dominant. I think they did actually write some pretty good songs, but there’s just something about them that they didn’t get taken as seriously as Ray Davies and The Beatles. There’s some pretty good stuff on things like Aftermath and Between The Buttons.

Talking of The Kinks, Ray Davies has got that fabulous ambivalent smile, sort of crinkled… there’s an awful lot of doubt in him, but he also had written these appallingly catchy songs and he still was quite a showman. These days he’s one of those guys that will play his old songs just as they were, like McCartney does, like Donovan does, he doesn’t do a Dylan on them. You get “Dead End Street” and “Autumn Almanac” and “Waterloo Sunset” as they were, and that’s just beautiful.

It was hard to know what to pick from Forever Changes, but “The Red Telephone” is pretty creepy. Extraordinary chords as well. I play it from time to time, and I have to relearn them all every time. I don’t know how Arthur Lee came up with that. It’s quite amazing. He was an influence on Syd Barrett as well – Barrett was a big Arthur Lee fan.

Most people in the UK hadn’t heard The Velvet Underground in 1967, although probably Brian Eno had, seeing as he was doing that thing with the electric violin in the basement [a story told in Hitchcock’s book]… that makes me think that he had got a copy [of The Velvet Underground & Nico] from somewhere, and he was thinking of John Cale. We had kids at school from the States, and it was an American kid who brought in that first copy of Highway 61… that I heard, it was an American one with a red label. Somebody else had a copy of the first Byrds album, which I bought from them. I’ve still got it! And there were people who had the first Velvet Underground album, so I heard it – actually just over the border into 1968. The Velvet Underground is now seen as kind of what came after hippies. All the other songs on my playlist are sort of hippie music, and I deliberately put The Velvet Underground at the end to go, ‘And here’s the next chapter folks, this is where it gets really dark…’

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The Folk Implosion Walk Thru Me

For those who’d been hankering after a Lou Barlow/John Davis status update, it came in 2022 with the (unannounced) release of “Feel It If You Feel It”. Hatched during pandemic isolation and featuring two tracks plus a remix of each, it was their first recording of new material in 23 years. This constituted a fair-sized tremor on the US indie-rock landscape, yet it landed without fanfare, its familiar mix of lo-fi synth-pop, heartfelt alt.rock and beats-based atmospherics packaged under a title both gnomic and diffident. It also arrived with the promise that a full album was on the way.

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This 10-song set, then, is the follow-through, though last year there was a limited-edition EP, “It Just Goes With…”, which rather than a cautious edging forward suggests that after such a long lapse, the pair saw no reason to rush. However, they’ve also made it clear that Walk Thru Me is part of a continuum, by riffing on the title of their debut EP, 1993’s “Walk Through This World With The Folk Implosion”. That emphatic intent is underlined by the music, which pushes rhythm to the fore and expands Davis’s arsenal of non-traditional rock instruments. It also hits perhaps the sweetest spot yet between reflective soul with underground-rock roots and lithe art pop with intriguing detail. As always, there’s a deep emotional burn in play, whether songs examine the militarisation of sports culture (“Bobblehead Doll”) or what it means to be a father (“My Little Lamb”).

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Since they started work on what would become the new album 670 miles apart, Davis (in North Carolina) and Barlow (Massachusetts) took on different areas of responsibility – respectively, soundscaping and texture, and vocal melodies and lyrics, with remote support from producer Scott Solter. The pair were relaxed about allowing the songs to develop over time; in fact, both “Crepuscular” and “My Little Lamb” appeared on “It Just Goes With…” as works in progress. Working in fits and starts, by April 2022 the pair had 11 basic songs, which they spent the rest of the year finishing with Solter.

“Crepuscular” opens the set, reintroducing the unforced, grainy yearning of Barlow’s voice and the brooding, warmly melancholic melodic lines, tipped slightly off their axis by playful counterpoints, that have long been part of The Folk Implosion’s appeal. The song is aptly titled: around lyrics that express the sheer futility of being imprisoned by his own mindset (“Can’t fight the daylight/Gotta let it all in”), swirls a faintly wyrd-folk air of unsettlement. “The Day You Died” follows, sombre in a very different way, Davis’s distinctively reedy voice recalling the death of his father in straight-talking yet hugely touching detail. “Your mind once so acute, so strange and so astute/Couldn’t even tell your tongue what to do/Couldn’t swallow, couldn’t whistle, couldn’t chew,” he sing-speaks, to a strikingly upbeat tune, rippled with saz, tar and setar and carried by cantering beat patterns. After the title track, with its easy, faintly military swing and Barlow’s tender, Peter Gabriel-ish voice musing on the importance of self-love in a romantic partnership, comes “My Little Lamb”, with his reflections on fatherhood: “If they believe, that’s not up to me/They gotta wonder on their own”. Davis’s “Bobblehead Doll”, which opens with sweet saz trills and a light, Talking Heads-like energy, is the set’s midpoint; on the other side sits Barlow’s “The Fable And The Fact”, his musings on a dying relationship and the “classic”, urgently whining four-string electric guitar suggesting an older song. Then comes “Right Hand Over My Heart”, an irresistible number with moody Omnichord and synth motifs, and at the opposite end of the emotional spectrum, the sinuous “Water Torture”, in which a disgusted Davis addresses his country’s barbarity practised in the name of world order. “Moonlit Kind” closes the set, an existential hymn with an agreeably lazy, Yeasayer-ish groove: “I’m the moonlit kind that can’t say no/I don’t unwind I just go high/And touch the sky,” croons Barlow, and later, “Always wanted to believe/That there’s a reason”, before the song drifts off into the ether as a light, psychedelic reel.

Life’s “reason” of course, lies in its living, and via dispatches, however fitful, sent from their individual frontlines across three decades now The Folk Implosion have done that to the creative full. During their time apart, Barlow carried the torch with two new Folkies; Davis may have quit at one point but in 2020, it was him who initiated the reconnection. They’re alt.rock solid, it would seem.

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Willie Vlautin interviewed: “When my life got bad, I disappeared into records”

When Willy Vlautin says The Horse is his most autobiographical book, it’s a cause for alarm. As a novelist and songwriter with The Delines and Richmond Fontaine, Vlautin has always mined a deep seam of melancholy. But The Horse’s embrace of bleakness is startling. The story centres on Al, a jobbing songwriter living alone in the high desert in winter, whose depressive isolation is punctured when a blind horse appears outside his shack.

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It was inspired by the time Vlautin went camping in central Nevada. “My friend and I were driving out in the middle of nowhere, near a salt flat,” he explains. “There were no trees, not even sagebrush, no water for 20-50 miles, and suddenly there’s this blind horse. It stopped me in my tracks. A couple of days later we came across an old mining claim, and this old shack that you could tell somebody lived in for a while. I was feeling pretty rough anyway. I was like, ‘Man, I think I’m gonna stay here and call it a life.’ My friend laughed at me. That’s where the book started, with those two things, and my own problems with booze and songwriting.”

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The underlying theme of the book is compulsion. “I was interested in that idea: what do you do when you can’t quit? You can’t quit writing songs. You can’t quit alcohol. Al’s idea was to hit escape and disappear, which you can do literally by running out into the middle of nowhere. It’s easy to connect the dots on me. I mean, for maybe 20 years, every day when I opened my eyes, I’d say: ‘Would you rather have a Denver omelette or French toast? Or would you rather have a tequila and ice cold beer? My answer would tell me how my day was going to be.”

The more obvious parallel between Vlautin and his troubled hero is the way the story evokes the hardscrabble life of a working musician, firstly around the casino circuit, then with younger musicians in a cowpunk band. Al’s emotional state is tracked in his lyrics, reflecting Vlautin’s unbending belief in the power of song. “My brother had a stereo that could shake our house, it was so loud, and he was always playing records. A friend of his, a really cool guy, came over. I was 11, he was 15. I was a beat-up kid, not the most stable little guy. He said, ‘If you find the right song, you can live inside that song. Just hum it, and you’ll never be alone.’ He didn’t say it quite as romantic as that, maybe. But that’s what I got out of it. When my life got bad, I disappeared into records.”

Around a dozen of the fictional song titles in The Horse have grown into actual songs, a couple of which will feature on the next Delines album, due next January. Vlautin says it’s the group’s most cinematic record, and it includes some upbeat material, at the insistence of singer Amy Boone. “Amy will grab me, and she’ll go, ‘Can you just write me a romantic song where no one gets killed, for fuck’s sake?’ She likes the romance. So it has a few of those.”

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“With Fontaine,” he adds, “the only time that I’ve ever seen those guys pissed at me was when I’d bring in eight ballads in a row. They’re like, ‘Eight ballads with no chorus? Could you just write us something catchy and fast?’ But I’ve always loved the big country-soul ballad, so I got to lean into that.”

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We’re New Here Landless

If traditional music from Dublin seems to be having its moment in the spotlight – most notably as a result of Lankum’s recent critical and commercial success – it’s only because the world is starting to pay attention. Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch have been performing together as Landless for more than a decade, their paths crossing in college, through Dublin’s Sacred Harp traditional singing community and in the clubs that hosted the likes of Lankum and Lisa O’Neill in the early 2010s.

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In 2018, they released their debut album Bleaching Bones, an extraordinary, entirely unaccompanied collection of traditional songs, helmed by False Lankum producer John “Spud” Murphy (you may have heard their stunning version of “The Well Below The Valley” on the recent Uncut covermount CD, The Planet That You’re On). Forthcoming follow-up Lúireach, again produced by Murphy, is no less extraordinary, with its careful use of instruments – pump organ, shruti box, fiddle and banjo from Lankum’s Cormac MacDiarmada, plus Alex Borwick’s trombone on album opener “The Newry Highwayman” – augmenting the four-part harmonies that remain the heart of the work.

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“We recorded Bleaching Bones in churches and other interesting spaces, so we chose to leave it like that so that you could hear those acoustics,” says contralto singer Meir. “This one was recorded in the studio, and using other instruments gave it the depth those spaces gave the first album.”

“We’ve found ourselves singing in churches a lot over the years, because it really suits the music,” adds Clinton. “And if there’s an organ there, because I’m a pipe organist, it’s hard to resist playing it.” She uses the instrument to haunting effect on “Death And The Lady”, a supernatural 17th century folk song popularised by Norma Waterson and Martin Carthy.

Another evolution in the quartet’s sound comes from the inclusion of more recent commissions alongside more traditional fare. Of these, “Lúireach Bhríde” (“St Brigid’s Breastplate”) stands out: the lyrics, set to music by Clinton, come from a poem by the Donegal poet Annemarie Ní Churreáin, which was commissioned for the inaugural RTÉ Folk Awards in 2018 and is dedicated to the children born at the Bon Secours Mother And Baby Home for unmarried mothers at Tuam, Galway “The invitation was to reflect on 100 years since women had gotten the vote in Ireland, and the poem is about Brigid and her various powers of healing, smithcraft and poetry,” says Clinton. “The word lúireach by itself can also mean a protective song, or hymn, so it also worked as a standalone album title.”

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“We’ve all been singing different traditional songs for a long time, and sometimes what we’ll do is bring one of those to Landless and write harmonies for it,” continues Meir. “‘My Lagan Love’ is one of those for me – a really well-known song I’ve been singing since I was a child, that sounds so different with the harmonies added.”

A particular favourite of the band is another song based on a poem, “The Wounded Hussar” by 18th century Scottish poet Thomas Campbell. “It’s what we call a ‘big’ song in traditional music, it has everything you want from a folk song,” says Power. “We first heard it performed by Rita Gallagher, who’s a big influence on us, and it’s one of the first songs I ever heard Maeve sing.”

Having recorded the album in February 2020 – with babies, house moves and the small matter of a global pandemic getting in the way of their original release plans – the band are taking some time to figure out their next steps after signing to world music label Glitterbeat (Gaye Su Akyol, Altın Gün). “Those guys are super cool,” says Lynch, “and we’re really excited to see what might come up outside of Ireland.”

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Uncut August 2024

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John Lennon, Blondie, Steve Marriott, Love, Linda Thompson, Joanna Newsom, Irma Thomas, Sebadoh, The Last Poets, Rich Ruth, Mike Campbell, Jake Xerxes Fussell, Pearl Jam, Sebadoh, Drive-By Truckers, Sex Pistols, Stax, Lambchop and more all feature in Uncut‘s August 2024 issue, in UK shops from June 21 or available to buy online now.

All print copies come with a free, ultra-collectable John Lennon CD – featuring nine tracks from the upcoming deluxe Mind Games box set – plus an Ultimate Music Guide sampler to all John Lennon’s solo albums

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INSIDE THIS MONTH’S UNCUT:

JOHN LENNON: Amid the turbulence of 1973, the troubled ex-Beatle found creative sustenance in Mind Games – an album steeped in cosmic benevolence, emotional heft, introspection and love. “Its my dad getting back on track,” Sean Ono Lennon tells us

BLONDIE: In an exclusive extract from his memoir Under A Rock, Chris Stein remembers a high life and hard times in NYC: 1974

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LOVE: Talismanic guitarist Johnny Echols and more explore the rich legacy of America’s most mercurial band

LINDA THOMPSON: The British folk siren finds new outlets for her creative spirit

IRMA THOMAS: The Soul Queen of New Orleans sets the record straight on the Stones, Otis Redding and Hurricane Katrina

RICH RUTH: The sonic pathfinder blasting cosmic jazz-rock into the future

AN AUDIENCE WITH… MIKE CAMPBELL: On Tom Petty, Bob Dylan and touring Britain in a bread van

THE MAKING OF “WHEN THE REVOLUTION COMES” BY THE LAST POETS: How a radical call to arms became one of the earliest influences on hip hop

ALBUM BY ALBUM WITH LOU BARLOW: From Dinosaur Jr to ‘folkcore’!

MY LIFE IN MUSIC WITH JEFF AMENT: The Pearl Jam bassman on the records that really matter to him

REVIEWED: Jake Xerxes Fussell, Milton Nascimento & Esperanza Spalding, Shellac, Deep Purple, Beak>, American Aquarium, Liana Flores, Mabe Fratti, Red Kross, Suss, Drive-By Truckers, Neil Young with Crazy Horse, Louis Armstrong, Wayne Shorter, Stax, Joanna Newsom, Lambchop and more

PLUS: The Sex Pistols go back to Bollocks, Steve Marriott vs AI, Bob Dylan’s unseen 1964, The Cimarons, Chrystabell and… introducing Jacken Elswyth

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

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Françoise Hardy interviewed: “The truth? We will discover it after we die”

To Paris, then, for a rare meeting with FRANÇOISE HARDY. There is a splendid new album to discuss, of course – her first for six years. But the pioneering chanteuse also reflects on her remarkable career, recounts run-ins with The Beatles, Dylan and Nick Drake, and shares her own hard-won philosophies. “In my head,” she tells Tom Pinnock, “I’m still very young.”

Originally published in Uncut’s June 2018 issue

Follow Tom on Twitter: @thomaspinnock

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Tucked away on the back cover of 1964’s Another Side Of Bob Dylan is a poem. “For Françoise Hardy,” writes Dylan. “At the Seine’s edge/A giant shadow/Of Notre Dame/Seeks t’ grab my foot…

Hardy has known about Dylan’s untitled poem for the past 54 years, but it was only a few months ago that she really began to understand it.

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“Earlier this year, two Americans got in touch with me,” she says. “They had inherited some drafts of the poem that Dylan had left in a café. They sent me these drafts, and I was very moved. This was a young man, a very romantic artist, who had a fixation on somebody only from a picture. You know how very young people are… I realised it had been very important for him.”

It is early spring when Uncut meets Hardy at the chic Hotel De Sers, not far from the Arc De Triomphe. She prefers not to venture out of central Paris if she can help it, so our rendezvous is near Hardy’s home, and just two miles from the ninth arrondissement where the singer grew up. Just turned 74, Hardy is still slim and bright-eyed, quick to laugh and as stylish as ever – today she’s wearing dark skinny jeans, a black top and a fitted blazer, with a bright-red scarf and gold necklace her only accessories.

Bob Dylan’s not the only artist to have been captivated by Hardy and her work, of course – The Beatles, The Rolling Stones, Nick Drake, David Bowie, Richard Thompson and Graham Coxon have all paid tribute to her considerable musical gifts.

“My sister had a Françoise Hardy single,” remembers Richard Thompson. “I think it was ‘Tous Les Garçons Et Les Filles’. My sister had other French records of the period – Richard Anthony, Hugues Aufray – so I was used to the intimacy of style. [But] this was sexier! If you put it together with the pictures of Françoise, it was a powerful package.”

Yet Hardy is not just a muse, but a compelling artist in her own right. She first came to prominence in 1962, aged just 18, with a mostly self-penned debut of infectious yé-yé – Europe’s pop take on rock’n’roll – and swiftly scored a massive hit with “Tous Les Garçons…”, which even cracked the UK Top 40.

“It was my first and most important hit,” Hardy says. “Unfortunately, as it’s not my best song!”

The tune was sprightly, but the lyrics were better suited to one of Émile Zola’s more miserable heroines than a young purveyor of Gallic pop: “I go alone through the streets,” Hardy sang. “The soul in pain… I go alone, because nobody loves me.”

“She was the opposite of all the French new artists trying to look and sound American,” explains renowned photographer Jean-Marie Périer, Hardy’s partner for much of the ’60s. “And her melodies were sad, she didn’t try to make them dance the twist.”

Hardy continued mining this seam of melancholy through a run of albums that quietly and tastefully explore styles from Brazilian jazz to English folk-rock. We’re in Paris to discuss these records, along with Hardy’s unexpected new album, Personne D’autre, in which she examines mortality and spirituality; in many ways, the record’s closest cousin may be Leonard Cohen’s final album, You Want It Darker.

“At my age the lyrics you are singing cannot be the same as the ones you were singing when you were 30 or 40 or even 50,” explains Hardy. “They have much to do with your past, but also with the idea of another life, in another universe.”

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As a teenager in late-’50s Paris, Françoise Hardy found herself carried away by the pop music of the time, much of it British and American. “It was extraordinary, because every week you had tremendous new songs,” she says. “I was very fond of The Shadows and Cliff Richard, and also Marty Wilde. In the States, Elvis Presley, Paul Anka, Neil Sedaka, all these young people. I was only interested in that.”

As intoxicating as this new music was, these pop stars also acted as something of an escape for Hardy, whose childhood was “humble”, as Jean-Marie Périer puts it: her parents were unmarried – scandalous at the time – and her father was mostly absent, “married to I-don’t-know-who”, as Hardy explains.

“She lived in a very small family circle,” recalls Périer. “Her grandmother was always telling her that she was nothing, not even beautiful. When we started seeing each other, she had never even been in a theatre to see a movie.”

Hardy was intelligent, though, and by the time she passed her Baccalaureate at a younger age than usual, her interest in music was absolute. Her mother asked her father to buy her a gift, but Hardy had trouble deciding between a small radio and a guitar.

“I finally made up my mind for the guitar,” Hardy laughs. “Why did I want a guitar? I didn’t know anything about music! But I got the guitar, and I found out that with three chords I could make up quite a lot of tunes which were bad copies of the songs I was listening to all the time on Radio Luxembourg – ‘your station of the stars’!”

That Hardy then began writing her own songs is impressive – this was an era when pop stars generally employed professional writers (such as a young Serge Gainsbourg) and The Beatles were yet to release their first single. That much of her work still sounds strangely modern, eschewing the gaucheness of many of her yé-yé counterparts, is even more striking.

“At this time, the new artists in France used to sing American lyrics badly translated,” says Périer. “Let’s face it, the translators were not Marcel Proust. So she had no choice but to write her own – plus, she had things to say.”

Hardy believes her desire to write came from French singer Barbara. “She was a great artist, who was writing all her own songs. I was a great fan of hers; I went to see her live, and I always brought a rose to her.”

After signing with Vogue in late 1961, her debut – like almost all her albums, self-titled, but known by its most famous song, in this case “Tous Les Garçons…” – appeared in 1962. Within three months, Hardy was a major name in France, with her fame spreading throughout Europe. Despite the hits, though, Hardy was unhappy.

“I heard The Shadows behind songs like ‘Tous Les Garçons…’, but I had such bad musicians, such a bad producer… I thought those recordings were terrible. But I was on tour with Richard Anthony, and he said to me, ‘You have to record in England!’ My first recordings had such a huge success that my recording company didn’t want to change it, but finally we went to London, and for the first time I had a musical production I was happy with.”

From 1964’s Mon Amie La Rose onwards, Hardy was a regular at Marble Arch’s Pye Studios, working with arrangers Charles Blackwell, Arthur Greenslade and John Paul Jones and musicians including Jimmy Page. Hardy is effusive in her praise for most of those she’s worked with, but Jones’ arrangements come in for some stick. “Terrible production, terrible! He wanted to do a French production, and I was expecting exactly the contrary.”

As the decade swung into the mid-’60s, Hardy’s music began to sound lusher and richer, from the 12-string jangle of “Ce Petit Coeur” and the glacial, orchestral glide of “Il Se Fait Tard” (both written by Hardy) to the maverick fuzz-tone blues of “Je N’Attends Plus Personne”, featuring Page.

“From when she was 18, she knew she was different,” says producer Erick Benzi, who has worked regularly with Hardy over the past 20 years. “She was capable of going in front of big artists like Charles Aznavour and saying, ‘Your song is crap, I don’t want to sing it.’ She never made compromises.”

Accessible, but never pandering to trends, her first five albums were enough for Hardy to be seen as a serious artist, but it was her refusal to play the showbusiness game that made her something of an icon. She modelled, sure, but only for the most modern designers such as Paco Rabanne or André Courrèges, and it’s a fair bet that she would have been welcome at almost any high-society party; but Hardy preferred to mix in quieter circles, or stay at home and read.

“My job as photographer used to bring me into contact with acts like The Beatles and the Stones very often,” says Jean-Marie Périer. “All the Anglo-Saxons used to ask me to introduce them to Brigitte Bardot and to Françoise! When I toured with Bob Dylan he was asking me questions about her all the time.”

While she was performing a residency at London’s Savoy in the mid-’60s, Périer organised a dinner with Paul McCartney and George Harrison. “I remember this day because Jean-Marie had no tie,” says Françoise, “and so we couldn’t get into the club, one The Beatles used to go to often. It was a huge stress! Finally, somebody found a tie and gave it to him.”

Another sartorial debacle stymied a meeting with Burt Bacharach during Hardy’s Savoy run in 1965 – it seems the UK wasn’t quite ready for the futurist fashion Hardy preferred.

“In the audience was Burt Bacharach,” Hardy recalls. “I was a huge fan of his beautiful songs, and he wanted to meet me. I was in my stage dress, which was magnificent – it had been made by André Courrèges, and it was trousers and a top, all white, so elegant and modern, even today. I went down to the audience to see Burt, but the people from the Savoy didn’t let me in – I had been singing for three-quarters of an hour, but I couldn’t have a drink with Burt Bacharach because I was in trousers! Things have changed!”

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On May 24, 1966, Hardy met Bob Dylan for the first time when he played the Paris Olympia. Hardy was now a huge admirer of Dylan’s songs, but the American’s opening acoustic set was a disaster, with Dylan visibly unwell and struggling to tune his guitar. During the interval, Hardy was told that the singer would only return for the second half if she came to see him in the interval.

“So I went to meet him,” says Hardy. “[After the concert] we were with some other French artists, like Johnny Hallyday, in Bob Dylan’s suite at the Georges V Hotel. Usually I never do this, it’s very embarrassing! Bob Dylan was already in his room, he wanted me to come in, and he played me two songs from his last album, which wasn’t yet released in France [Blonde On Blonde’s ‘Just Like A Woman’ and ‘I Want You’]. And that was it! I never saw him again.”

Alongside the hippest artists of the day, Hardy attended the Isle Of Wight festival in 1969. “I wanted to go and congratulate Bob Dylan after his set, but it was so crowded, it was impossible. I’m very surprised myself that I made the trip to an island for it, in the worst conditions! Was I camping? No, I don’t think so!”

If her presence in the festival’s VIP enclosure was the pinnacle of her acceptance by the international rock scene, Hardy soon moved out of its circles altogether. By this point, she was in a relationship with the more rebellious Jacques Dutronc, singer and songwriter and, as the ’70s dawned, Hardy pursued a rarer, stranger sound.

In autumn 1970, Françoise Hardy flew to Rio De Janeiro to sit on the jury for the city’s Fifth Popular Song Festival. Her fellow judges included Lalo Schifrin, Marcos Valle, Ray Conniff and Paul Simon, with the latter acting as chair. “Every personality had a hostess,” she explains.

“I had, I don’t know why, a very bad reputation, so the festival sent me their best hostess. But we very quickly became the best friends in the world.”

Hardy’s hostess, Lena, soon introduced the singer to a Brazilian singer-songwriter, Tuca, then performing in a Parisian restaurant, La Feijoada. Hardy fell in love with her music, especially the song “Même Sous La Pluie”, and the two began writing a new album together. The result, La Question, driven by Brazilian-influenced nylon-string guitar, double bass and strings, introduced a new sound for Hardy: heady, sensual and atmospheric, with her voice floating above the meandering baroque backings.

“This album is one of my best souvenirs,” says Hardy. “We started with Tuca on the guitar and a very good jazz bass player – I recorded the voice at the same time as them, then we went to Corsica on holiday with Tuca to decide if we would have strings or not on this record. When we were back in Paris, she played all the songs and for each song she proposed ideas to me for the strings. It has been the only time I have worked like that.”

While she was working with Tuca, Hardy was also on the lookout for other musicians to collaborate with. One songwriter that interested her was Nick Drake. “He had read how enthusiastic I was about one of his albums,” Hardy explains, “and so he came to the studio where I was recording in London, and he sat in the corner, almost hidden, and he never said one word. I was so full of admiration for his work, so I didn’t dare to say anything, and he didn’t dare to say anything [laughs].”

“Joe Boyd came up with this brilliant idea that Nick was going to write an album of songs for Françoise,” says producer and arranger Tony Cox. “I was going to produce it. So we travelled over to Paris – it was all pretty weird because Nick was a painfully shy bloke. Françoise is incredibly neurotic. She won’t do things like shaking hands, because she’s scared of catching germs from people.”

The Drake collaboration never happened, but Cox was keen to work with Hardy regardless. So, in late 1971, the singer travelled once again to London, this time to Chelsea’s Sound Techniques, to record a full album with Cox and a crack team of British folk-rockers, including Richard Thompson and Pat Donaldson.

“I remember they were all very keen to play on the Françoise sessions,” remembers Cox. “Particularly Richard Thompson, which was kind of surprising because he wasn’t someone who really volunteered to play on sessions much.”

“We did the tracks as a trio,” recalls Thompson, “and strings were overdubbed later. Françoise sang guide vocals on all tracks. We all got to hang out during breaks, in the Black Lion pub across the street. She was friendly and charming.”

Chosen songs included Trees’ “The Garden Of Jane Delawney”, Neil Young’s “Till The Morning Comes” and two Beverley Martyn songs. The results were akin to an English version of the Brazilian-influenced La Question: intimate, moonlit, eerie and quietly experimental, as shown by the backwards guitar running through her take on Buffy Sainte-Marie’s “Take My Hand For A While”.

“‘If You Listen’ was a pretty enough song, but there wasn’t anything to really get your teeth into. So I gave all the string instruments a choice to play any notes in any order, but playing col legno, with the wooden back of their bow, and it sounded great. I remember everyone, including Françoise, getting very excited when that sound emerged.”

Shy, reserved, yet strong-willed – it’s this peculiar combination of qualities that seem to have sustained Hardy throughout her career. There are certainly analogues with Nick Drake, in their personalities, voices and even a similar taste in chords and harmony. Yet, while Drake didn’t have the chance to even try his hand at real fame, Hardy has survived decades of it. “The last time I saw Nick Drake,” she says, “he called me at the end of one afternoon. I had always been feeling there was something wrong with him, but I didn’t know exactly what. I was going that evening to the restaurant of the Tour Eiffel to have dinner, because Véronique Sanson was performing there. But I felt I couldn’t leave him alone, so I said, ‘Come, and I’ll take you to the Tour Eiffel.’

“I don’t recall how the night ended, probably in a very normal way. But I was not surprised when I heard… He had everything going for him; he was very good-looking, mysterious and talented. There are always many reasons [for depression], but maybe one of them is the fact he had no success at all. C’était la goutte d’eau qui a fait déborder le vase [it was the straw that broke the camel’s back]…”

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Hardy has remained something of a trésor national even as she’s experimented with multiple genres – jazz on 1980’s Gin Tonic, alternative rock on 1996’s Le Danger and orchestral arrangements on 2012’s fragile L’amour Fou – and collaborated with the likes of Air, Iggy Pop and Blur.

“She doesn’t take the past as a burden,” says Erick Benzi. “She’s very precise. She knows what she doesn’t like, so after a few times working with her I knew exactly what she expects from me and the music. First it’s about the capabilities of her voice – she has a very small range – and then it’s about the sensibility. There is a certain style that she likes.”

“Françoise was good in that she liked things to be slightly more adventurous than the norm,” says Tony Cox. “There was a bit of the Left Bank about her – she’s not your average pop singer, that’s for sure.”

Personne D’autre, Hardy’s new album – her 28th – came from trying times, with the singer suffering from health problems over the last few years. “I almost died,” she says, bluntly.

“There are always heartbreaking songs on her albums,” says Benzi, “but on this one in particular, because of her recent history. She was nearly dead, she came back to life, so on two or three songs it’s about this – like ‘Train Special’.”

“I thought, at my age, to take a ‘special train’ can only be a train which brings me to the infinite, to the cosmos,” explains Hardy. “I’m afraid of dying, because most of the time you’re suffering very much physically, but it’s not sad – for me, death is only the death of the body. I’m sure that the link between the soul, and the loved ones who are still alive, stays.”

“She likes it when the chords are a little weird,” adds Erick Benzi, “she likes things not to be too simple. So there are restrictions – but at the same time she is capable of doing a duet with Julio Iglesias!”

Personne D’autre was unplanned by its creator until she stumbled upon “Sleep”, a song by Finland’s Poets Of The Fall on YouTube, and was inspired to work on her own French adaptation. The speed of the new album’s production – Hardy only began writing last April – bodes well for more new music in the future.

“It’s the first time in my life I am so quick writing lyrics, recording the songs and releasing them,” she explains. “I didn’t think I’d do anything else, but a lot of tunes and melodies came to me and I couldn’t resist. I don’t understand English enough to understand Leonard Cohen’s words,” admits Hardy, when Uncut compares the subject matter of some of Personne D’autre with Cohen’s final work. “But I know he believed in spirituality, and I also have read a lot my whole life. There are many forms of spirituality, but when it is clever, there are many common points. I think Buddhism is very near to the truth… But the truth? We will discover it after we die.”

The interview almost over, Hardy takes Uncut’s pen to excitedly write down for us the name of Oren Lavie, an Israeli singer-songwriter who she admires, and who reminds her of Nick Drake. “My body is very old, but in my head I’m still very young,” she says, as she spells out his name in capitals. “I have a fan’s heart, still.”

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INITIALS FH

Françoise remembers Serge Gainsbourg

“He was a close friend, but I didn’t work very much with him, no. After he died, [Gainsbourg’s partner] Bambou told me, ‘Serge said sometimes that he didn’t understand why you never asked him to make a whole album with you.’ I was very flattered – but I had never asked him because I preferred to make my own album, even if it was not as good as an album written and produced by him – because when you were recording with Serge, it was his album, not yours. He was a very strong personality; he was absolutely charming, almost like a child sometimes when he had not drunk anything, but when he had drunk alcohol – he was very fond of cocktails, sweet liquor – he could be very different [laughs]. Yes, when he was a little drunk, he became ‘Gainsbarre’.”

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MY MY, YÉ-YÉ

The finest of Hardy’s long-players

TOUS LES GARÇONS ET LES FILLES
VOGUE, 1962
As primitive as it sounds, Hardy’s debut is packed full of rock’n’roll and yé-yé songs as infectious as her favourite tracks on Radio Luxembourg, chief among them the sashaying “Ton Meilleur Ami”. 7/10

L’AMITIÉ
VOGUE, 1965
Accompanied by the Charles Blackwell Orchestra, Hardy was perhaps at the peak of her pop powers on this lush, varied LP. The title track is sublime, and Hardy’s own “Tu Peux Bien” reaches Morricone levels of melancholy. 8/10

MA JEUNESSE FOUT LE CAMP…
VOGUE, 1967
Hardy begins to embrace subtler, folkier textures on her sixth album proper, with the title track (‘My Youth Is Flying Away’) and the grand torch song “Voilà” especially devastating. 8/10

LA QUESTION
SONOPRESSE, 1971
The masterpiece, an otherworldly mix of French chanson and bossa nova, wonderfully stripped down to fully show off Hardy’s voice and peerless delivery. 9/10

IF YOU LISTEN
KUNDALINI, 1972
Lazily titled 4th English Album in some territories, this is Hardy’s take on British folk-rock. Her version of Trees’ “The Garden Of Jane Delawney” is particularly striking. 7/10

LE DANGER
VIRGIN, 1996
Teaming up with writer Alain Lubrano, Françoise discovers the power of the electric guitar and retains her true character at the same time. 7/10

L’AMOUR FOU
VIRGIN/EMI, 2012
The Macedonian Radio Symphonic Orchestra join Hardy for this low-key, piano-heavy set of melodramatic, super-Gallic ballads, including “Si Vous N’Avez Rien À Me Dire…”. 7/10

PERSONNE D’AUTRE
PARLOPHONE/WARNER FRANCE, 2018
Death, regret, the usual, this time featuring gorgeously gauzy and reverb-heavy textures; closer “Un Mal Qui Fait Du Bien” does recall La Question, though. 7/10

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The Decemberists As It Ever Was, So It Will Be Again

It’s a bold statement, 24 years into your career, to label an album your band’s best, as Colin Meloy, the songwriter behind The Decemberists, has described As It Ever Was, So It Will Be Again. Assembled with the vinyl revival in mind – fitting across four “sides”, each with a distinct sonic feel – it’s an album that riffs on over two decades’ worth of operatic literary references, shape-shifting indie-folk whimsy and prog-rock experimentation, offering sonic easter eggs to long-term fans while both charming and bamboozling newcomers to their world.

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In 2020, the Portland-based five-piece – Meloy, multi-instrumentalists Chris Funk and Jenny Conlee, bassist Nate Query and drummer John Moen – were poised for a celebratory 20th-anniversary year. The band, Meloy in particular, were exhausted from promoting 2018’s I’ll Be Your Girl: the John Congleton-produced album was written amid the turbulence of the 2016 US Presidential election, and reliving that despair onstage every night (sample lyric: from “Everything Is Awful”, “What’s that crashing sound following us around?/It’s the sound of all things good breaking”) had taken a toll. An anniversary tour was ultimately cancelled, and their 2022 live re-emergence (titled, in true Decemberists style, “Arise From The Bunkers!”) featured no new material, pulling as heavily from 2011’s The King Is Dead and 2006’s arguable career peak The Crane Wife as from their most recent release.

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Meloy had written throughout lockdown: another children’s book and his first adult fiction book; a soundtrack for the film adaptation of Wildwood, based on the series of YA fantasy novels by Meloy and his illustrator wife Carson Ellis; a theatrical project “still in too much of a development stage to talk about”. Writing to these specific directions unblocked something, and by the time The Decemberists were ready to work on new material together Meloy had a notebook of song fragments ready for the band to explore.

The finished work is a smorgasbord of all of their best bits: deceptively upbeat indie-rockers “Burial Ground” and “Oh No!”; haunted folk tales like “Long White Veil” and “Don’t Go To The Woods”; the languid and lovely “Never Satisfied” in which hustle culture loses out to the simple pleasures of wasting time and watching the sunrise; at least one lyric that uses the word “rumpus”. And, taking up a full side of vinyl, and perversely released as the lead single, the 19-minute prog-rock masterpiece “Joan In The Garden”, inspired by artistic and literary depictions of Joan of Arc’s hallucinatory visitations. It’s the longest song The Decemberists have recorded: 2004’s “The Tain” only managed 18 and a half.

Roughly sequenced as four sonic “islands”, it’s an album that, when experienced as intended, takes the listener on an emotive journey: through whimsical to maudlin, tender and jocular and just plain weird. The band sound like a group of long-term collaborators cutting loose and having fun: Funk’s jangly guitar and Moen’s dancing drums combining with giddy backing vocals from James Mercer of The Shins to turn the ending of “Burial Ground” into a darkly humorous punchline; layers of additional brass and percussion giving “Oh No!” the cadence of a night at the circus. “The Reapers” sneaks in a reference to a character “born in a brothel”, like a tip of the hat to early deep cut “My Mother Was a Chinese Trapeze Artist”. “William Fitzwilliam”, described by Meloy as a “pandemic fever dream” written while immersed in Hilary Mantel’s Thomas Cromwell trilogy, is a tender character study that plays out like a sea shanty ghost-written by John Prine.

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Shepherding them through all this detail is long-time co-producer Tucker Martine, who has worked on almost every Decemberists album since The Crane Wife. After the band abandoned an earlier attempt at self-production, Meloy and Martine reunited to effectively reverse-engineer the songs, stripping the best of an excess of material back to vocal-guitar demos and sketching in where the other parts might fit.

That approach, one of careful curation, extended even to the 19-minute album closer, despite its freewheeling feel. “Joan In The Garden” misdirects by taking what initially sounds like the riff from “Passenger Side” by Wilco and spinning it, stretching it and layering it with butchered vocal samples, funereal chimes, Query’s black metal bassline and ethereal backing “hosannah”s from REM’s Mike Mills. Bonkers, brilliant and completely without precedent, it’s The Decemberists themselves in miniature.

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Ezra Feinberg Soft Power

Every so often, an ageing agit-rocker will crawl out of the woodwork to bemoan that the abject state of our governments is not being met with suitable ire from the current generation of songwriters. Where are our Bob Dylans, our Joe Strummers, our Rage Against The Machines? Obviously this is a load of old cobblers: pop is as diverse and engaged as it’s ever been, with young musicians at the vanguard of campaigns for racial equality, social justice and a ceasefire in Gaza. You don’t need to literally write a song about it.

JONI MITCHELL IS ON THE COVER OF THE NEW UNCUT – ORDER YOUR COPY HERE!

This clamour for old-fashioned punk dissent overlooks the fact that it’s also the job of music to create utopias; that the quest for bliss is also an act of resistance. Hence the current yearning for ambient and New Age atmospheres that has united musicians from the fields of jazz, folk, electronica, neo-classical and, in this case, psychedelic rock. This mass retreat to calmer terrain is more than mere escapism – it’s an attempt to dream a better world based on principles of compassion, contemplation and consideration of beauty.

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As with most of the musicians currently occupying this liminal space, Ezra Feinberg is no lightweight; his soothing prescriptions are effective precisely because they carry the wisdom of years of thoughtful musical study and exploration. Back in the 2000s, he led the psychedelic folk-rock band Citay, who were Bay Area contemporaries of Comets On Fire and Wooden Shjips. Beginning with 2018’s Pentimento And Others, his solo albums have ditched the band set-up for a series of more intimate and specific drone-folk surveys.

On Soft Power it feels like Feinberg’s finally broken through to the other side, jettisoning the last remnants of psych-rock fuzz and emerging with a fresh, shimmering palette of electric piano, woodwind, cosmic synths and a fingerpicked acoustic guitar that, in the absence of traditional rock beats, often provides the metronomic undertow. Opener “Future Sand” is mildly psychedelic in its own way, like stepping out into a bright spring morning after the first coffee of the day. “Soft Power” itself is a perfect beach sunset, twin flutes dipping and rising purposefully out of the rippling haze. “Flutter Intensity” (with a knowing glance in Stereolab’s direction) is a candy-floss confection of vibraphone jazz, modular synth-pop and the lightest of yé-yé grooves. And even while the motorik throb of album centrepiece “The Big Clock” hints at a sense of urgency, it never becomes hasty or insistent. This is a place where time is suspended, rather than something to be counted or chased.

Feinberg now lives in New York’s Hudson Valley, but his music retains a West Coast sensibility, placing it in the lineage of both The Beach Boys and The San Francisco Tape Music Center. You can imagine it playing in a minimalist Malibu apartment overlooking the ocean, sofa by Charles & Ray Eames, Richard Diebenkorn painting on the wall. There is an unashamedly functional quality to Soft Power that brings obvious comparisons with Brian Eno’s Ambient series and the Japanese genre of kankyō ongaku (‘environmental music’). But as with the best of those records, it’s so meticulously and lovingly crafted that it quickly transcends its background listening functionality to offer a glimpse of the sublime via rapt contemplation of the everyday.

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You will certainly dig this album if you enjoyed Arp’s terrific 2018 album Zebra, on which Feinberg played guitar and marimba, alongside several other musicians who reprise their roles here. John Thayer acted as Feinberg’s primary creative foil on Soft Power, furnishing his basic tracks with simpatico synth and drum patterns. David Lackner then added the crucial flute and clarinet parts, with Jefre Cantu-Ledesma sprinkling his signature synth magic over a couple of tracks.

Other carefully chosen guests include Bing & Ruth’s David Moore on keys, tracing similar celestial arcs to those he drew on last year’s Steve Gunn collab Let The Moon Be A Planet; and harpist Mary Lattimore, whose presence is almost always an indicator of tasteful repose. On the wryly titled album closer “Get Some Rest”, she answers Lackner’s quizzical flute motifs with reassuring rolled chords, deferring any anxiety for another day. The sense of restraint is as palpable and powerful as it would have been had Feinberg spent these 40 minutes thrashing at a Stratocaster or raging wildly against the machine. Softness is his superpower.

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Bruce Springsteen will postpone Prague and Milan shows due to “vocal issues”

Bruce Springsteen has announced he will postpone his Prague and Milan shows due to “vocal issues”.

Springsteen, who is currently embarking on his UK/EU tour, recently postponed his show in Marseille citing “vocal issues and under doctor’s direction”.

Now, the musician has announced via social media that he will reschedule his upcoming shows at Airport Letnany in Prague (May 28) and San Siro Stadium in Milan (June 1 and 3), with new dates to be announced shortly.

“Following yesterday’s postponement in Marseille due to vocal issues, further examination and consulting has led doctors to determine that Bruce should not perform for the next ten days,” a statement from the musician read.

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“Bruce is recuperating comfortably, and he and the E Street Band look forward to resuming their hugely successful European stadium tour on June 12 in Madrid at the magnificent Civitas Metropolitan.”

The Boss previously had to reschedule his 2023 US tour dates following his continuing battle with peptic ulcer disease.

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A statement posted to social media noted that while Springsteen had “continued to recover steadily”, he had been advised to “continue treatment through the rest of the year” per consultations with his doctor.

We caught Springsteen at his Hyde Park shows last July, giving his concert a full five stars: “A force of personality like no other, if Springsteen’s ultimate goal really is to change lives by night, then it’s mission accomplished here. Punctuated with lessons of life, love and loss, he’s hit another home run at Hyde Park.”

Springsteen also recently became the first international Fellow of the Ivor Novello Academy, following in the footsteps of Elton JohnKate BushAnnie Lennox and Paul McCartney.

In his speech, the New Jersey rocker admitted “while I was stone-cold born in the USA, at 16 I desperately yearned to be British”: “I had a pretty good fake British accent – that’s what the checkout girls at the local supermarket thought. But I have had a lot of wonderful history here.”

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The night also saw Beatles legend Paul McCartney jokingly roast him before introducing him to the stage, claiming: “He’s never worked a day in his life”.

Elsewhere, The Simpsons voice actor Hank Azaria recently announced that he is starting his own Bruce Springsteen tribute band, named Hank Azaria & The EZ Street Band.

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Inside Bob Dylan’s Masked And Anonymous

Originally published in Uncut Take 85 [June 2004]

It’s 1964, and the singer is alone on the stage of New York’s Philharmonic Hall, talking to the darkness: “It’s just Halloween. I have my Bob Dylan mask on. I’m masquerading.”

It’s 1965, and the singer is in a black and white Britain, reading about himself in a newspaper: “God, I’m glad I’m not me.”

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It’s 1972, and the singer stands in the dust in Durango, saying his name: “Alias anything you please.”

It’s 1975, and the stage lights go up to reveal the singer is hiding his face behind a transparent Richard Nixon mask.

Now it’s 2003, and the singer is wearing a blonde wig and a woolly hat at the Sundance Film Festival, watching a movie he wrote under the alias Sergei Petrov. In the film he plays a singer who looks like him but calls himself Jack Fate. He’s called the movie Masked And Anonymous.

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The film is stuffed with more stars than any since Robert Altman‘s The Player. Despite – or maybe because – of this, the screening becomes one of the most infamous premieres in Sundance history, provoking walkouts and a firestorm of negative reviews. In the damning piece that sets the pace, veteran critic Roger Ebert decries the singer’s movie as “a vanity production beyond all reason”.

The critics’ objections ultimately boil down to one question: who the hell does Bob Dylan think he is?

It’s a good question. Here’s another: who the hell do we think Bob Dylan is? Hell, does anyone even think about Bob Dylan at all any more?

These are some though by no means all of the questions kicked up by Masked And Anonymous – the bewildering, beautiful, incisive, incoherent, intriguing and infuriating trashcan mystery which marks Dylan’s first serious sortie into cinema since 1987’s universally reviled Hearts Of Fire.

In fact, Masked And Anonymous reaches back further, almost 30 years, to Renaldo And Clara, the mixed-up confusion of hats, masks, mirrors and music Dylan shot on 1975’s Rolling Thunder Revue, and the way that film reached back to Dont Look Back, DA Pennebaker‘s seminal document of Dylan’s 1965 UK tour. Like those, Masked And Anonymous ends up being about a lot of things, but, like those, it starts off being about Bob Dylan.

“In a weird way, the movie is very autobiographical for Bob,” says Larry Charles, the Seinfeld writer/producer who co-wrote and directed Masked And Anonymous. “He’s a man of many masks. But looking at the mask is the way to understand him. If you’re willing to look deeply at the movie – at the mask, through the mask – you will learn all you need to know about who Bob Dylan is. It’s done with a code, but it’s all there.

“The movie’s like a puzzle. You’re the last piece. You have to put yourself into it.”

Here’s the puzzle, then. Masked And Anonymous describes an alternative universe in which the USA has degenerated into a filthy banana republic, ravaged by ceaseless civil war, dominated by a dying dictator whose image wallpapers the streets.

In a slum LA, a huckster music promoter, Uncle Sweetheart (John Goodman), up to his neck in debt, hooks up with TV producer Nina Veronica (Jessica Lange), herself under pressure from gangster-like bosses at the government-affiliated Network, to stage a televised benefit concert to aid – or distract – victims of the war.

Of course, they all plan skimming the profits. Thing is, they can’t attract anyone to play. So Sweetheart produces a tattered trump: his former client Jack Fate, a burned-out legend, currently rotting in the kind of overcrowded subterranean prison in which the Romans used to store the Christians until the lions were hungry.

Hearing Fate is involved, a seen-it-all journalist, Tom Friend (Jeff Bridges), rouses himself to get the story behind the concert – or rather, the story on Fate. Everyone vaguely remembers Fate, even if no one remembers why, or believes anyone would want to hear him sing. He has a reputation for making songs unrecognisable. Still, the show must go on.

That’s the plot. The texture is something else. Like Fate, Masked And Anonymous seems a relic of another era, a time when there was still the option of doing things differently. It plays like the Dennis Hopper of The Last Movie has ambushed Robert Altman’s Nashville. It might be the first sci-noir-bordertown-western-musical-art-movie.

In places, it looks like news footage, in others a post-apocalyptic sci-fi interzone, in others a carnival. The camera tracks around eavesdropping on characters as though the film were a documentary, but, while they act natural, they speak a stylised language, mingling hardboiled one-liners with streams of rhetorical, beat-generation blank verse.

Every now and then the film stops for a speech, a gag or a song (caught by a single, locked-off camera, a style modelled on Hank WilliamsGrand Ole Opry appearances and Johnny Cash‘s ’60s TV shows). It’s hard to tell if it’s replaying nouvelle vague distancing techniques or the rag-bag vaudeville of a Marx Brothers movie.

And in the middle of the mayhem, there’s Bob Dylan, walking his stiff, jiggling walk, extraordinary in grey Civil War duds and a pencil moustache reminiscent of a ’30s matinee idol. Squinting like Clint Eastwood, he doesn’t say much, as though he can’t decide whether he should be Bogart, Brando or Groucho. It’s Last Tango At The Circus In Casablanca.

Whatever it is, Masked And Anonymous began on the road in 2001. “At that time,” Charles reveals, “Bob had gotten very heavily into comedy. When he was touring, he’d watch a lot of comedy, got interested in that, and television. So, he decided maybe he’d do a comedy show on TV.

“Yeah, I know. Bob Dylan? A comedy show? On TV? But that’s what he wanted to do. So he started meeting writers.”

Charles, who with his dude’s shades and wizard’s mane has been described by Peter Farrelly as “a cross between Jerry Garcia and Charles Manson“, was introduced to Dylan by his friend, long-time Dylan associate Jeff Rosen. “Jeff said, ‘We’ve been setting up these meetings with writers, but nothing’s really coming – you wouldn’t consider sitting down with Bob would you?’ I was like, ‘Are you kidding?’

“I figured, I’ll have one meeting with Bob – he really insists on being called Bob, because Bob is the person; ‘Dylan’ is your problem – and I can tell all my friends, and that would be it. But we just immediately started riffing, and it developed into this very exhilarating verbal jam session. By the end of that meeting, we were working together. He walked me to my car, and I felt like I was on a *date*. Cars are driving by, I’m thinking, ‘Will someone please look and see – I’m with Bob Dylan!'”

Masked And Anonymous is officially credited to phantom screenwriters Rene Fontaine and Sergei Petrov. When the movie first opened in the US last July, Charles made a gallant effort to maintain the pretence that these ciphers really existed, but that’s one mask which has since slipped. The seeds of the script were found in a box of scrap paper Dylan produced: a pile of scribbled notes, names and lines, apparently the byproduct of his writing for “Love and Theft”. In fact, the film shares that album’s mysterious sense of weird, lost and hidden American history, of Tin Pan Alley echoes merging with plantation moans. The very title seems to call out to Charley Patton, the bluesman who recorded as “The Masked Marvel”, to whom Dylan dedicated “Love and Theft”‘s stunned apocalyptic bluegrass knees-up, “High Water“.

“Bob dumped all this paper on the table,” Charles remembers, “and said, ‘I dunno what to do with these.’ I looked through and said, ‘Well you could take this, and put it together with this, and that could be a character who says this‘ – almost like a William Burroughs, cut-up technique. We would just throw ideas out, attach them to other ideas. There was no plan. The film began to emerge naturally.”

That technique is reflected in the shape of the movie: a series of moments bumping into and bouncing off one another rather than connecting in any linear way. Charles says, “It’s a fascinating way of working.”

But it’s also anathema to Hollywood. When it came to raising the “shockingly small amount of money” needed to make the movie – around $7 million for a 20-day digital-video shoot, shoehorned into Dylan’s touring schedule – Charles says, “We got a lot of incredibly rude comments. People would be very cold, ruthless. They’d say: ‘Well, Bob Dylan’s never sold a movie ticket.’ I mean, we’re talking about possibly the only American artist who will survive the collapse of civilisation.”

This, too, fed into the shape of the film. “The reason we wound up with the cast we did,” Charles reveals, “is we thought we have to surround Bob with enough stars to make the people who are going to give us money comfortable they’re going to get it back.”

The extraordinary cast has been dismissed by many reviewers as simply the result of actors scrambling to associate themselves with Dylan. But as Charles points out, “These are all risk-taking actors. Jeff Bridges has always sought rigorously and vigorously independent movies. Mickey Rourke is an amazing, intense, unique American actor. It was a fight to get him in the movie. People were like, ‘Oh, he’s trouble.’ Bob and I actually fought to make sure Mickey was in, because he says something about the movie.

“Then there’s John Goodman and Jessica Lange, who often do Shakespeare or Brecht in theatre. These are great connoisseurs of language. They were attracted to the script’s language, which is very different from what you find in American cinema today, and the ideas. These actors are looking for that kind of experience, some kind of challenge. Some kind of spiritual quality to their work. We couldn’t give them money. But we could give them that.”

The film’s eventual producer, Nigel Sinclair of Spitfire Films, responded for similar reasons. “I got involved,” he says, “because this film addressed some human and political issues that are really important, and are becoming more important, at the beginning of the 21st century in terms of social groups, friction and bloodshed, and what happens to us as a human tribe.

“That’s what this film is about: the link between our existential, individual experience, and, if you will, the political, group experience – the kind of battle that has gone on since Marxism was first introduced, as to whether the individual or society in the end is most important.”

In all the potshots fired at Dylan for daring to make a movie, there seemed a reluctance to acknowledge that, wrapped in the film’s woolly ball of confusion, there are indeed hard questions. About America; about political mayhem; about race; about business, government and the media; about the co-opting of the counterculture; about corruption and greed; about image and reality and how they get mistaken for each other; about the artist’s responsibility; about individuals with their own problems, caught up in all this, finding themselves unable to understand, let alone help each other.

Still, more than anything, the film is about Dylan. He’s the filter through which everything else is viewed. How else to explain why, when we first glimpse Jeff Bridges as the journalist who would be Fate’s nemesis, he’s hiding inside a hooded sweatshirt exactly like the one Dylan wore while recording Under The Red Sky? Why, before going after Fate in the film’s most extraordinary scene, turning on him with a creepy, hectoring rap about Jimi Hendrix, Fate/Dylan’s absence at Woodstock, and the meaning of Hendrix’s epochal reordering of “The Star Spangled Banner“, Bridges changes costume, re-emerging as a black-leather-jacketed xerox of the Dylan of Dont Look Back?

“Yes. He’s dressed exactly like Bob Dylan 1965,” Charles confirms. “Down to the *shoes*. Most people don’t pick up on that. The film is littered with those kinds of details. In some sense, everybody is a reflection of Bob. But it occurred to me very vividly that Jeff was also playing the young journalist Bob gets into the argument with in Dont Look Back, 40 years later.

“Bob is constantly competing with the younger versions of himself. That, I think, is one of his big issues with the media, not accepting him for what he is, whatever that might be. He’s constantly fighting his own past. He can’t really enjoy his own music, in a sense. He has to keep moving forward.

“‘Don’t look back’ becomes a theme. Of this film, and his life.” 

Accompanied by a soundtrack of Dylan covers – familiar songs rendered as Japanese punk or Italian rap until they blur into a babbling muzak Esperanto, pierced occasionally by Dylan’s own lacerating performances – Masked And Anonymous is, finally, Dylan talking to himself, about himself, where he’s been, where he is and what he sees. If that’s a vanity project, then that’s what his work has always been.

“I was always a singer, maybe no more than that…” Jack Fate concludes. “I stopped trying to figure everything out a long time ago.” Maybe this is just another song. Maybe it’s just Halloween.

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Introducing the new Uncut: Joni Mitchell, Paul Weller, Kraftwerk, Stevie Nicks and more

AT the time of writing, Bruce Springsteen, Neil Young and The Rolling Stones are all on tour, either in Europe or America. As you can read from various reports on these outings in this issue, the artists continue to go about their business with commendable vigour, delivering performances that spectacularly reaffirm music’s unifying power. After seeing the Stones’ opening show in Houston, Stephen Conn – one of our subscribers – emailed to me to say: “In a world where Paul McCartney is still revising a Beatles saga that wrapped up decades ago and we now spend most of our lives trapped in a 16-year-old’s diary on Planet Taylor, that old totems like the Stones are still capable of ecstatic musical transcendence like this is a remarkable thing.”

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The road figures a lot in this new issue of Uncut, in one form or another. To the Grateful Dead, it was a place where songs reinvented themselves, every night for 30 years. To Kraftwerk, it signified functional elegance. And to our cover star Joni Mitchell, it was a place to escape. In all three instances, the road is also a place of transformation. “The refuge of the road is a real thing,” Natalie Mering aka Weyes Blood tells us, as part of our cover story dedicated to Joni’s Hejira album. “She is singing about having a weary, wandering soul and realising that when you are wandering you have your greatest sense of belonging.”

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There’s an abundance of goodness elsewhere. John Cale, Arooj Aftab, Warren Ellis, Stevie Nicks, Bonny Light Horseman, Inspiral Carpets with Mark E Smith and plenty more.

As ever, let us know what you think.

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Beth Gibbons Lives Outgrown

In recent times, we have tended to place great faith in late-life albums by revered artists. Johnny Cash’s releases on American Recordings, begun in 1994, perhaps set the course; since then has come, if not an explosion, at least a soft bloom of such records, from David Bowie’s Blackstar to Leonard Cohen’s You Want It Darker, via Bob Dylan’s Rough and Rowdy Ways and even Tom Jones’s run of recordings with Ethan Johns. These are records we covet for their sense of retrospection and accumulated wisdom, for the light they seem to cast on our callow years.

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We accord less fanfare to music that addresses the thoughts and sensations of midlife. And this is odd, because midlife can prove a fascinating shift for those once caught up in the hedonism of the music world – they are, in effect, break-up records of the self. Consider Paul Simon’s Graceland, Frank Black’s Honeycomb, Bonnie Raitt’s Nick Of Time; their push away from youth, their sense of recalibration in the face of detour or disappointment, is every bit as compelling as the oak-aged material of the older musician.

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The middle years can also be a distinctly illuminating time in a woman’s life; the stage at which she often becomes more like herself than whatever others expect her to be. Out of this, great songwriting grows. On her first proper solo outing, Beth Gibbons explores precisely this terrain, its sweep of motherhood, anxiety, menopause, mortality; its sometimes bewildering trajectory. “When you’re young, you never know the endings, you don’t know how it’s going to pan out,” Gibbons has said of these 10 songs. “You think: we’re going to get beyond this. It’s going to get better.” But this is not always the case. “Some endings are hard to digest.”

Gibbons is now 59. Her career began 30 years ago as the singer and lyricist for Portishead, uniting with Adrian Utley and Geoff Barrow to record a series of songs that came to define both an era and a place. Above and around Barrow and Utley’s music wrapped Gibbons’ voice: a vaporous, lost and lonely sound, like some thin place between this world and another. To hear it back in 1994 was something akin to first hearing Karen Dalton or Julee Cruise or Elizabeth Fraser of the Cocteau Twins; otherworldly and strange, unsettling and beautiful.

In the mid-’90s, the trio recorded two studio albums, Dummy and Portishead, then took a hiatus until 2008’s Third. In the off years, Barrow and Utley have ploughed on with other projects, and Gibbons has appeared occasionally, contributing to soundtrack work and as a guest vocalist for artists such as Jane Birkin and Kendrick Lamar, or joining 99 others in an audio installation made up of the voices of 100 women to commemorate the 100th anniversary of the end of World War I.

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In 2002 she collaborated with Rustin Man, the pseudonym of Talk Talk bassist Paul Webb, to record Out Of Season, a jazzy-folky hybrid that drew considerable acclaim. In 2019 came Symphony Of Sorrowful Songs, a recording of Henryk Gorecki’s Symphony No 3 with the Polish National Radio Symphony Orchestra. And then, once again, a quiet retreat.

There has been no explanation for Gibbons’ absence or re-emergences. She loathes interviews, feels little compulsion to justify her creative decisions. The effect is that when Gibbons sings, one has the sense that she has Something To Say.

On Lives Outgrown there is much that needs to be said. Gibbons has worked on these songs for a decade, and they come with a sense of depth and distillation. The album begins with “Tell Me Who You Are Today”, a glowering song of eerie strings and pagan drums, and of Gibbons’s opening lines: “I can change the way I feel/I can make my body heal” – a reckoning of sorts with the physical self. Those anticipating the voice of Portishead era may be surprised to find Gibbons launch out with something that leans more towards recent Lucinda Williams: low, half-caught, moving here between sorcery and incantation.

This album sees the first time the singer has used backing vocals, and it proves a clever decision; not only is it sonically arresting, but it gives the sense of Gibbons singing with various selves, those titular outgrown lives rising up and sinking down — the familiar tones of her ’90s self, the Gibbons of Out Of Season’s “Show” and Gorecki’s “Lento e Largo”, all seem to show their faces. The result is a song that captures some of the disorientation of midlife womanhood, when body, purpose, identity feel in disarray.

“I realised what life is like with no hope,” as Gibbons has explained. “And that was a sadness I’d never felt. Before, I had the ability to change my future, but when you’re up against your body, you can’t make it do something it doesn’t want to do.”

While the songs that follow return to these ideas, the album does not stay in this sonic space, instead it pulses on through “Floating On A Moment”, with its shades of Sufjan Stevens’ in Illinois mode, through the punky, prickly “Rewind” and on to “Beyond The Sun”, which seems to nod to Nick Drake’s Five Leaves Left era. “Whispering Love” closes the album with a kind of radiance. 

Working alongside Gibbons were producer James Ford, and Lee Harris, best known as the drummer from Talk Talk. Harris has spoken of the album’s unorthodox drum kit: Tupperware, and wooden drawers, and tin cans filled with peas; a cowhide water bottle, a paella dish, a kick drum conjured from a box of curtains. He has talked, too, of how quietly the record was played – soft timpani beaters leading the music around Gibbons’ voice.

Ford, too, joined the unconventional approach: playing recorders and chopsticks and hammers; climbing inside a piano to strike the strings with spoons; joining Gibbons and Harris as they whirled tubes around their heads and made animal noises to create a gathering, ominous sound.

It’s a clever trick. Not only is the listener continually unbalanced by the strangeness of the album’s sounds, there is also a sense of the recognisable world re-thought, familiar objects in new places, and life dampened down and muted.

Lives Outgrown is a quite different prospect to Gibbons’ previous work – more intimate, more personal, coloured by the grief and goodbyes she has weathered in recent years. But it is still possible to find a thread that runs from here to Out Of Season, and back to Portishead. There is a kind of ‘outness’, that these various stages of her career all share; a sense of dislocation or disembodiment, a repeated desire to find the self. “Who am I, what and why?” she sang on “Sour Times”. Three decades on, it’s a question that Gibbons is still driven to explore.

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Michael Lindsay-Hogg interviewed: “Let It Be was misunderstood”

With The Beatles’ Let It Be back on our screens – at last! after an absence of over 50 years, director Michael Lindsay-Hogg talks to Uncut about his memories of the original shoot, earlier attempts to bring it back into circulation and it’s relationship to Peter Jackson’s Get Back…

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“I feel so pleased it is coming out again. It has been 50 years and thank God some of the principles are still alive, including me. Peter Jackson’s Get Back was very influential in getting Let It Be reissued because Peter always saw Let It Be as the cherry on top of the cake. He thought it needed to be seen to complete the Beatles experience of that particular time.

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“When the film originally came out, it was collateral damage from the Beatles breaking up. When we shot the movie, edited the movie, made the rough cut and the final cut, there were four Beatles. We screened the movie to the band, and then we all went for a fancy dinner. There was a discotheque and we all went down and danced. This was November 1969 and everybody was very happy. But then, unbeknownst to everybody, a little earthquake went off at Apple. Let It Be was the next project, it was ready to go, but then it sat on the shelf as they were breaking up.

“When it was eventually released to fulfil the United Artist contact it came out a month after they broke up. None of them went to the London premiere or supported the film, and everybody who went to see it assumed it had been made as they were breaking up rather than more than a year before. That simply wasn’t true. It was minimised as a movie because of that whole experience.

“It played in cinemas in 1970, appeared on the BBC a couple of times and then Apple put it on VHS, but that quickly got pulled because of an issue around music licensing. The movie was withdrawn. When I asked Apple why it wasn’t re-released after that issue was settled, they told me it was because of the state of play in the Beatles. There was no appetite to release Let It Be.

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“This meant that the only way people could see it was bootlegs from the few BBC broadcasts, which tended to have very poor sound quality and really dark visuals. Not only was Let It Be misunderstood when it came out, when people did get the chance to see it, it looked shitty. Over the years that followed, I made videos with Wings and every so often I’d ask Paul about Let It Be. Paul would always say he’d like to see it come out, but nothing ever happened. Then after a while, every time he saw me there’d be a panicky look in his eyes.

“In the late 90s after Anthology, Apple made some in-house documentaries about the making of Let It Be. They wanted to do something but weren’t sure what. I was interviewed by Mark Lewisohn and it was so long ago I still had gelled hair. But the Beatles were all doing their own things and it never happened.

“Then Peter Jackson got involved. Apple said that Peter Jackson wanted to take a whack at re-editing the original footage and making a longer version of the movie. They were interested in how I’d feel about that, and worried I might throw a wobbly but I was thrilled. I had made this in 1969 and didn’t really want to go and look at it all myself. Peter and I had completely different briefs. When I made the film, I was planning to shoot a concert – the rehearsal footage was really meant to be a sort of trailer for the concert. Then when George left, part of his proviso when he came back was there should be no more talk about a TV special. He just wated to make an album. It suddenly became a different thing. We could have stopped filming after the concert idea was dropped but we kept going because I needed to figure out an ending for the movie and create something that could play in theatres. We eventually compromised with the rooftop concert.

“Peter had all this footage and spent three years working on it. He lost a year through Covid but that allowed him to make it for streaming rather than the cinema – so he made an eight-hour movie over three episodes. This was twice as long as Gone With The Wind. Get Back was amazing and won an Emmy but it was a different thing.

“While Peter was working on Get Back he was looking at the Let It Be footage and he was always very respectful. He’d ask questions, he’d send me clips and he’d ask about technical stuff and we’d talk about things I couldn’t do at the time. One example is the conversation between Paul and John about George round the table in the canteen. Back in 1969, there was tension brewing and Paul, John and I had lunch. I had a feeling something might come up so I put a mic in the flower pot. I left them and they had this conversation about George, but when I played it back later all I could hear was cutlery and plates clanging.

“Peter was able to isolate the conversation using his technology. He could also separate guitar and voice, which was really useful because guitar players are always strumming when they talk so you can’t hear anything. Pete sent me the audio clips of the Beatles talking without any of the other noises. He had developed this technology where we could hear these conversations for the first time.

“Peter has always liked Let It Be and seen it for what it is. He understands that Get Back and Let It Be are completely different movies, made for completely different reasons with different technology at different times for a different audience. He has been very effective at putting the idea of Let It Be out there. Paul and Ringo and the families of John and George were very happy with Get Back but Peter kept telling Apple that they needed to also release Let It Be.

“They figured they could restore the print. They were originally working off an old print but we wanted a more filmic look, so they worked on that while also working on Get It Back and helped to restore the print. Peter didn’t run off with my baby the way other directors with more ego might have done. He really was a collaborator. Peter and the Apple team have been very helpful. It looks and sounds great and now you can look at without the cloud that hung over the movie when it first came out.

“The film is about four men who loved each other but were no longer the Fab Four. They hadn’t performed for three years and were nearly in their 30s. They were looking at life differently to those glorious years when they changed the world. They were trying to work out what their expectations were. It was about four men growing up. That’s how I cut it. You see great affection, but you also see them staking out their own turf. It was a frustrating time for George in particular. He knew he was a great songwriter and was trying to figure out how to get his work looked at with more attention by John and Paul.

“The relationship between Get Back and Let It Be is unparalleled. There’s no equivalent to compare it with. And you can’t compare Let It Be with Get It Back. This is a film that hasn’t been seen by most people for 50 years so it’s totally out of a time capsule, while Peter could make Get It Back with 50 years of hindsight.

“Was it tempting to make a different edit? No, although I did think about it. But I felt I didn’t need to as Peter’s film covered a lot. I thought Let it Be should be seen for what it was when I made it. I wanted to just let it be.

“We originally had one edit that was 30 minutes longer that we screened for them on the day Neil Armstrong landed on the moon. I knew that was too long. There was repetition, longueurs. A lot of it was just footage of them rehearsing which is great but after a while it got a bit boring. I had to show them collaborating more. Because the Beatles weren’t on the road together, they weren’t writing together. You could see that when Paul is recording ‘Maxwell’s Silver Hammer’ and he just gave them the chords.

“In the first rough cut I had some of George leaving. We had Paul, John and Ringo talking without George. The Beatles themselves did not offer a lot of input during the edit but sometimes you would hear from another person what might work better, just occasionally. On this occasion, Neil Aspinall suggested we didn’t need the stuff without George as it was confusing for the viewer. They saw that The Beatles were very powerful as an entity and didn’t want to go into the stuff about George. That meant that in Let It Be there were always four Beatles. You have to realise that at the time, there was no real sense they were actually going to break up. We felt they might go and do solo projects – they were already starting to do that – but they would always come back as the Beatles, as it was such a powerful force.

“We showed the first cut and that evening I had dinner with Paul and Linda, John and Yoko and Pete Brown from Apple. We didn’t talk about the movie so my understanding was that they were very happy. We had a lovely evening, very civilised, then Pete Brown called a couple of days later and said he was wondering if there was too much John and Yoko in the film. I didn’t think there was – I had tried to keep John and Yoko in most of the shots as that was what it was like in the room. Pete said, “Let me put it like this, I have had three phone calls this morning from three different people all suggesting there is too much Yoko.” I knew what that meant. So I made the change.

“Generally, they interfered very little and when they did, I understand exactly why they wanted what they wanted. It always made sense and I was okay with it. The sequence of George and Paul arguing, which everybody thought was controversial, they never even blinked at – this was, for them, regular talk between musicians about a song. It happens. It’s a conversation about creativity. People took it for a sign that something was rotten but at the time, it didn’t seem that way.

“I am very proud of the concert footage. Coming up with the idea and then pulling it off. They were thrilled when they did it. They were so happy on that roof, even though it was so cold and windy. They were so happy to be playing together for an audience even though they couldn’t actually see them. And then you get the blue meanies coming up to stop the concert right at the end – what could be better?

“What is the right order to watch it in – Get Back or Let It Be? I have no idea. I was fascinated by the story that Peter was telling and had a lot of fond memories of some of the shots as I had taken them myself. He was able to explore the story about George that I had taken out. I was very touched by the way Peter always talked about Let It Be. He said it was a wonderful movie that had a bad rep and needed to be seen again. We weren’t in cahoots, he’s just been an advocate and he believes the two need to be seen together.

“Peter was dealing with different Beatles to me. I had all four of them at a difficult time in their lives, while he was working with Paul and Ringo, both around 80 with very different views of things back then. Now, Paul and Ringo were very excited about seeing all that old footage that Peter was able to use. They weren’t interested in that at all in 1969 and they might not even have watched Let It Be since it came out.

“Will they enjoy it? I think it’s a very valuable picture and I was always sad that it came off the market. People were always asking about it but lot of people who asked that question are now dead. This is a completely new audience. It does look pretty good now, and that will make a difference – it looks and it sounds great. I am fascinated to see how people receive it.”

Let It Be launches exclusively on Disney+ on May 8

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Vampire Weekend Only God Was Above Us

Cleverness gets you only so far in life, and its limits become clearer with age. Vampire Weekend’s first album in roughly five years deals with that kind of reckoning. Its opening line: “Fuck the world” – spoken in context of a lovers’ sparring match, a geo-political negotiation, maybe both. Ezra Koenig’s vocals are dirty with distortion, draped in coiled feedback, and they build to a panic attack of galloping drums, presto orchestral strings and guitar squeals amid talk of soldiers, police, war and weaponised language. The song, “Ice Cream Piano” (note the “I scream” homophone), is bunker-mentality neorealism, and quite a way from the scenes of privileged youth “in the colours of Benetton” on the band’s 2008 debut, blithely spilling kefir on an accessorising keffiyeh and second-guessing last night’s hookup en route to class.

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Fair enough: Vampire Weekend are nearly 20 years in, and these are dark times. Gone too is the wistfully upbeat jam-band vibe of 2019’s Father Of The Bride, an impressive pivot after the departure of co-founder Rostam Batmanglij, long on laidback guitar spirals, pedal steel sparkles, Danielle Haim vocals and their trademark boutique internationalism. By comparison, Only God Was Above Us is off its meds – grimier, sonically and spiritually; more compressed, more stressed. Lyrically, conflict is everywhere, and nothing is stable.

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Of course, anxiety, true perhaps to the band’s New York City roots, suits them nicely. Indeed, Big Apple nostalgia infuses Only God Was Above Us, though it’s not especially comforting. The packaging signals it straightaway with surreal, late-’80s images (by noted urban street photographer Steven Siegel) of wrecked train cars in a subway graveyard. The LP title comes from a 1988 tabloid headline in the cover image, teasing a story about a mid-flight airline explosion. In another image, a magazine cover trumpets a story on “prep school gangsters”, which here titles a song that seems less about junior hooligans than the full-grown ones who fail upwards into staterooms. “Call it business/Call it war/Cutting class through revolving doors,” Koenig sings sweetly over staccato bass and guitar suggesting early New Order, as Dev “Blood Orange” Hynes bashes out abstracted new wave drumbeats.

Flashbacks get conjured everywhere, quite cannily. Koenig has cited admiration for the late-’80s/early ’90s masters of sample surgery, particularly those with NYC pedigrees: RZA’s early Wu Tang work, Paul’s Boutique-era Beastie Boys. Here, abetted by producer and de facto fourth member Ariel Rechtshaid (Haim, Charli XCX, Cass McCombs), the band fold old-school allusions into a sort of OCD indie-rock hyper-pop. “Classical” opens on breakbeats like a vintage Coldcut remix, flanking cartoon electric guitar graffiti, Johnny Marr-ish acoustic strums and a sax solo that conjures a train station busker. “The Surfer”, a holdover co-written with Batmanglij, is a dubby mash-up of David Axelrod orchestral hallucinations, vintage George Martin gestures and King Tubby-ish drum fills.  

This approach reaches its peak on “Mary Boone”, cheekily named for the NYC gallery owner who helped make downtown artists like Jean-Michel Basquiat and Julian Schnabel superstars in the ’80s. Koenig sketches a bridge-and-tunnel wannabe watching from the sidelines as art-scene money gets printed, while the arrangement samples Soul II Soul’s indelibly elegant “Back To Life” groove, adding a “You Can’t Always Get What You Want” choir just for the hell of it. It would all be so much showing-off if the narrative ache Koenig displays wasn’t so palpable, and the craft wasn’t so meticulous. These guys listen hard, sometimes applying different processing effects on each word, even syllable. It’s clear why they’ve begun taking roughly five years between albums.

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Of course, busy work can help rein in bleak thoughts about the state of things, a dynamic that plays out across Only God Was Above Us. “Blacken the sky and sharpen the axe/Forever cursed to live unrelaxed,” Koenig croons over crisp punk drumming on “Gen X Cops”, whose title nods to the comic Hong Kong action film franchise, while its lyrics suggest how subsequent generations kick social crises down the years, disastrously. The album ends on a hopeful note, rather self-awarely titled “Hope”. It’s a folksy invocation proposing that the only way forward is to, well, move forward. It may be realistically cold comfort, but it’s comfort nonetheless.

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The Rolling Stones NRG Stadium, Houston, April 28, 2024

Usually, the hits inside the 72,000+ capacity NRG Stadium in Houston, Texas, are delivered courtesy of beefy men colliding against one another in the gladiatorial contests of the National Football League. Tonight, however, it is The Rolling Stones who deliver them, in an energetic and life affirmative two-hour set that kicks off their 19-date Hackney Diamonds tour of the States and Canada.

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60 years on from their first American tour, the band also tentatively navigate some nooks and crannies of their catalogue via lesser-played cuts and a handful of tunes from the album that gives this tour its name. As it transpires, the three tracks from Hackney Diamonds that make their tour debuts tonight all fit seamlessly into the wider set list. An energetic “Angry” seems to ignite a whirling, bitter-tongued Mick Jagger, while “Mess It Up” proves an uptempo jolt of contemporariness (though the raw, pile-driving “Bite My Head Off”, played at a New York record release gig, would have elevated this evening). Although Lady Gaga isn’t around to reprise her part on “Sweet Sounds Of Heaven”, the powerful and charismatic Chanel Haynes more than fills the role with gospel fervour and some testifying in Texas.

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Haynes’ also proved a skitteringly evil and slinky duet partner to Jagger as they came down the runway for “Gimme Shelter“, a song has lost none of its apocalyptic edge over the years. “Sympathy For The Devil” (with its hellish-looking graphics on the back and side stage projection screens) and an ominous “Paint It, Black” also stood out. Not for the first time, when the band went “dark”, they were at their peak.

Jagger, of course, remains the consummate rock ‘n’ roll frontman, striding the lengths of the stage – including the main runway that juts into the floor seats. Strutting, swerving, swaying, shedding shirts (only to replace them) and using every inch of his toned and lean physique, he’s a powerful electric conduit to the audience.

For the most part, Keith Richards and Ronnie Wood remain happy supporting players to Jagger’s magnetism. Wood takes a particularly hot solo on an emotional “You Can’t Always Get What You Want”, which also features some fine work by longtime keyboardist Chuck Leavell. The stage band is filled out at times by backing vocalist Bernard Fowler – (there since 1989!), an additional keyboardist and a horn section.

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Richards – surprisingly sedate this evening – seems more intently focussed on his instrument than anything else throughout the show. He got his solo spot on a rote “Little T & A”.

Pity poor bassist Darryl Jones – 30+ years of service to the Stones and yet still not an “official” member. Nevertheless, he gets a much-deserved spotlight with an extended deep bottom run on audience favourite “Miss You”. Jones locks in with drummer Steve Jordan, who brings a more muscular tone to the backbeat than his predecessor, Charlie Watts.

A couple of deeper cuts received an airing, including a frenetic “Rocks Off” from Exile On Main Street and – going back even further – the mid-‘60s pop vibe of “Out Of Time”, which Jagger says has never been played before on American soil.

As this was the opening date of the tour, of course, there are some things to iron out. Jagger mentions some Houston rehearsals (in between his Instagrammed visit to NASA’s Johnson Space Center and under a giant armadillo). There is also some confabbing amongst members onstage. The working-it-out tenativeness shows in a slightly draggy “Beast Of Burden”, while “Honky Tonk Women” feels surprisingly disjointed.

The set closer, predictably, is “(I Can’t Get No) Satisfaction”. While the Stones would likely have been stoned by the audience if it wasn’t included, it ended the evening on a high note inside the stadium. Though a better ending for future gigs might have just Jagger and Richards, alone on stools with harmonica and acoustic guitar, reprise Hackney Diamonds’ album closer “Rolling Stone Blues”: the Muddy Waters‘ number from which they took their name bringing it all back home.

In 2024, the Rolling Stones are alone among their ’60s contemporaries who continue to put on a rock ‘n’ roll circus at this scale. And as big tent shows go, this one hasn’t lost any of its magic to enthral and entertain.

Houston set-list:

Start Me Up
Get Off My Cloud
Rocks Off 
Out Of Time 
Angry
Beast Of Burden
Mess It Up
Tumbling Dice 
Can’t Always Get What You Want 
Little T&A
Sympathy For The Devil
Gimme Shelter
Honky Tonk Women 
Miss You
Paint It Black
Jumping Jack Flash

Encore:
Sweet Sounds Of Heaven 
(I Can’t Get No) Satisfaction 

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Wings unveil first official release of 1974 live studio album, One Hand Clapping

The official album of Paul McCartney & Wings’ 1974 film One Hand Clapping, featuring songs recorded live in the studio at Abbey Road, is to be officially released for the first time on June 14.

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Some of the material has previously appeared on official McCartney releases, but this is the first time the audio for the film – plus several additional songs recorded off-camera – have been officially issued.

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One Hand Clapping showcased Wings’ new 1974 line-up, with Paul & Linda McCartney and Denny Laine joined by guitarist Jimmy McCulloch and drummer Geoff Britton. Additionally joining the band in the studio were orchestral arranger Del Newman and saxophonist Howie Casey.

One Hand Clapping features live-in-studio renditions of “Live And Let Die”, “Band On The Run”, “Jet” and “Maybe I’m Amazed”, plus reworked extracts of Beatles’ classics “Let It Be”, “The Long And Winding Road” and “Lady Madonna”, and the Moody Blues’ “Go Now” with Denny Laine singing.

An online exclusive 2LP + 7” package features an exclusive vinyl single of previously unreleased solo performances recorded on the final day of the sessions in the backyard of Abbey Road studios. These include the unreleased track “Blackpool”, The Beatles’ “Blackbird”, Wings B-side “Country Dreamer”, and cover versions of Eddie Cochran’s “Twenty Flight Rock” (the first song Paul played to John Lennon when they met in 1957) and Buddy Holly’s “Peggy Sue” and “I’m Gonna Love You Too”.

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You can view the full tracklistings for the various formats of One Hand Clapping and pre-order here.

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Uncut’s New Music Playlist for April 2024

We’ve just dispatched another top-quality issue of Uncut to the printers – if we do say so ourselves – and while we can’t reveal too much about its contents until next week, this playlist of our current raves should give you a few clues. 

There’s more from the superb Beth Gibbons solo album; the auspicious return of Fontaines DC; a scorching live performance from Mdou Moctar; a new single from Cassandra Jenkins, one of the smartest new singer-songwriters of recent years; the first sighting of Eiko Ishibashi‘s latest soundtrack; Altın Gün’s last ever tune with singer Merve Daşdemir; and lashings of ambient bliss courtesy of Carlos Niño, Chihei Hatakeyama and SUSS.

DAVID BOWIE IS ON THE COVER OF THE LATEST UNCUT – ORDER YOUR COPY HERE

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Plus! Guided By Voices and Belle And Sebastian doing what they do best, and two appearances by the inspirational Warren Ellis – the first leading Dirty Three’s ecstatic comeback; and the second with Nick Cave, sharing their heart-rending tribute to Amy Winehouse from the Back To Black biopic. Dig in…

BETH GIBBONS
“Reaching Out”
(Domino)

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CASSANDRA JENKINS
“Only One”
(Dead Oceans)

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MYRIAM GENDRON
“Terres Brûlées”
(Thrill Jockey / Feeding Tube)

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RICHARD THOMPSON
“Freeze”
(New West)

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ALTIN GÜN
“Vallahi Yok”
(Glitterbeat)

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FONTAINES DC
“Starburster”
(XL)

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HOLLOW SHIP
“Music In Motion”
(PNKSLM)

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MDOU MOCTAR
“Imouhar – Live Outside The School (Agadez, Niger)”
(Matador)

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GUIDED BY VOICES
“Serene King”
(Guided By Voices Inc)

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STRAND OF OAKS
“Party At Monster Lake”
(Western Vinyl)

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BELLE AND SEBASTIAN
“What Happened To You, Son?”
(Matador)

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GIRL AND GIRL
“Mother”
(Sub Pop)

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KING HANNAH
“Davey Says”
(City Slang)

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AARON FRAZER
“Payback”
(Dead Oceans)

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O.
“176”
(PIAS)

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SHABAKA
“Insecurities (feat. Moses Sumney)”
(Impulse!)

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DIRTY THREE
“Love Changes Everything Part 1″
(Bella Union)

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BLACK DECELERANT
“Two”
(RVNG Intl)

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EIKO ISHIBASHI 
“Smoke”
(Drag City)

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EZRA FEINBERG
“Future Sand”
(Tonal Union)

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KAMASI WASHINGTON
“Dream State (feat. André 3000)”
(Young)

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LANDLESS
“The Fisherman’s Wife”
(Glitterbeat)

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JAKE XERXES FUSSELL
“Going To Georgia”
(Fat Possum)

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GROUP LISTENING
“Shopping Building”
(PRAH)

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JOHN GRANT
“The Child Catcher”
(Bella Union)

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LOMA
“How It Starts”
(Sub Pop)

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CARLOS NIÑO & FRIENDS
“Love To All Doulas!”
(International Anthem)

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CHIHEI HATAKEYAMA & SHUN ISHIWAKA
“M4 (feat. Hatis Noit)”
(Gearbox)

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SUSS
“Flight”
(Northern Spy)

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NICK CAVE & WARREN ELLIS
“Song For Amy”
(UMR/Island)

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“I’m still kicking!”

As she celebrates the 60th anniversary of “Shout” with a new book and tour – and Glastonbury slot – Lulu talks Bowie, The Beatles and R&B

DAVID BOWIE IS ON THE COVER OF THE LATEST UNCUT – ORDER YOUR COPY HERE

Hi Lulu. How are you doing today?

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I’m good. So what are we talking about this time? You know me, I could talk forever!

How about we start with current plans?

I’m putting out a book that’s going to be, how can I say it, different. The same goes for my Champagne For Lulu tour in April. You’ll have never seen or heard me like this before. I don’t want to say too much, because I want everything to be a surprise.

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The tour coincides with the 60th anniversary of “Shout”. You recorded the song after seeing Alex Harvey, right?

It was totally inspired by him. I’d never heard The Isley Brothers version before I saw Alex sing it in a dingy little club in Glasgow. I was only 13 and went along with the other boys in my band, who were quite a bit older. It was so exciting. The place went wild when Alex started singing it. I think he’d been in Germany around the same time as The Beatles.

Talking of which, The Beatles were big fans of your version…

John and Paul said that Lulu’s “Shout” was their favourite record of the week when they were on Ready Steady Go!. That blew my goddamn mind. But they liked the same music as me. We were into black American music: Motown, R&B, the blues, gospel.

Is that what drew you to the States to record 1970’s New Routes and Melody Fair with Jerry Wexler and Tom Dowd?

Yeah. I was working with people like the Dixie Flyers, the Memphis Horns, Duane Allman, Dr John, Cornell Dupree.But I struggled with a lot of it, maybe because we didn’t have enough great songs. My biggest hit was “Oh Me Oh My”, which actually came from Scotland. I don’t think the producers really understood me. When I met David Bowie a few years later, he said, “The record companies don’t get you, Lu. And they don’t get your voice either.” I aspired to be like Big Mama Thornton rather than being called the pop princess of Saturday night TV.

Bowie co-produced, sang and played on your 1974 cover of “The Man Who Sold The World”. Then you recorded more together. Can you explain the connection you had?

I was blown away by his talent. He was challenging, exhilarating, new. And I was astonished that Bowie saw me and heard me. We went to New York and recorded two or three songs. But then I left. He was into so many different things and substances, his life was going into a whole kind of wild trajectory and it made me feel anxious. I don’t believe in regret, but it’s maybe the one thing where I think, ‘Who knows what would’ve happened had I stayed?’

One of those songs was “Can You Hear Me”, which Bowie redid for Young Americans

He said, “I’ve written this for you.” I’d love to hear [my version] again, but I can’t get hold of any of those tracks now. I think they’ve all disappeared.

Is it true you’re currently working on a collaborative album, similar to 2002’s Together?

I’ve put out feelers and I’ve got a few really great people who’ve said yes. But I’m keeping that a surprise for now, like the contents of the book and tour. I’m working on several things. I’ve been studying acting for seven years and did a film last summer, Arthur’s Whisky, with Diane Keaton. And there’s a documentary that’s in talks. So there’s lots of stuff. I’ve lived longer than I thought I would. And I’m still kicking, I still have ambition. Let’s just say I have big plans!

The Champagne For Lulu tour runs throughout April, see luluofficial.com for dates and ticket info

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Worlds of echo

“There are a great many interesting things about Arthur Russell, one of which is that he was rediscovered through his music being made available for the first time, in many cases. So he was similarly simultaneously discovered and rediscovered. There’s very little biographical information in terms of him speaking about himself to the press. Consequently, there’s an element that Arthur can be whoever you want him to be, enhanced by the fact that he was adept at so many different forms of music.

DAVID BOWIE IS ON THE COVER OF THE LATEST UNCUT – ORDER YOUR COPY HERE

“He was a complicated person, of the type who have different versions of themselves. He practised Buddhism, but he was also wildly ambitious. He made avant-garde music, but he also made very warm and accessible music that he hoped would be commercial. I found that going through his archive in great detail just further enhanced the idea that he was an enigma.

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“I’ve seen much of his record collection, and he did have things like Tommy James & The Shondells records. And he did like ABBA! But I don’t know how many Beatles or Beach Boys records he had. In the archive, there’s a letter from him aged 16 and he’s writing about John Cage and Ferlinghetti and Allen Ginsberg, so he had quite developed tastes for the counterculture. His approach – of not being limited by being a composer or a cellist or a disco producer – obviously hindered him in his lifetime, but it’s actually the approach a lot of people now take. I think one of the reasons for his popularity is that he’s so confident in his ability and he’s unrestricted by the idea of staying in your lane.

“In everything he did, there’s a degree of integrity. In the later period, when he’s making music like ‘Make 1, 2’ or ‘Wild Combination’, they are very catchy, potentially commercial songs. But there’s the same attention to detail that there is in some of his more abstruse compositions. There is a relationship to quality and rigour no matter what sort of musical dialogue he’s engaged in. That is very rare, and is probably one of his defining features.

“Arthur was encouraged by figures like Ginsberg and Philip Glass, but they weren’t facilitators, because I don’t think he’d let people facilitate for him. He was hyper-creative, obviously, but I don’t know how good he was at networking. I don’t think he had the kind of character that could quite get to that point. He only played outside of New York two or three times under his own name, and he could have probably walked to the majority of shows he ever played. So I think it’s very much a nest he built for himself in East 12th Street – a nest bordering on a cocoon. 

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“At the point he was diagnosed with HIV in 1986, he’d just released World Of Echo and he had a contract with Rough Trade. Whatever frustrations he’d had, he was probably the best place he’d been in terms of the opportunities ahead. So there is a tragedy that he got sick just as he reached a point where he could have gone on to do whatever he wanted.

“The reason Arthur’s music still sounds so fresh today is partly down to his skill in recording. In most cases, you can’t tell the era in which it was made – could have been made yesterday, it just doesn’t sound like anything else. There’s a sense of escape in a lot of his music: the escape of dancing in a club, but also the escape of hearing a very soft voice and a cello, drawing you back to the womb. Not many people sing like him or sound like him. So I do think there is some sort of genius at work.”

Travels Over Feeling: Arthur Russell, A Life is published by Faber on April 18

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Andrew Scott’s new Netflix series is getting rave reviews

The new Netflix show, Ripley, aired today, and is already receiving positive reviews from critics.

Starring Fleabag’s Andrew Scott in the titular role, the eight-episode series is an adaptation of Patricia Highsmith’s 1955 novel The Talented Mr Ripley.

The story follows Scott’s character as he takes on a job assignment to take a trip to Italy in an attempt to persuade his employer’s son, Dickie Greenleaf (played by Johnny Flynn), to return home from Europe.

As the series progresses, Tom Ripley works his way into the lives of Dickie and his girlfriend Marge (Dakota Fanning) and the story takes a dark turn.

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The novel has been adapted several times before, most famously in 1999 with a feature film starring Matt Damon, Jude Law and Gwyneth Paltrow in the lead roles.

Now, the psychological thriller story takes its form in a television series, shot entirely in black and white.

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The Guardian’s five-star review, written by Lucy Mangan, praises the talent of the star-studded cast, saying on Scott: “At the heart of it all, and in virtually every scene, is Scott … There is something for everyone to relate to in him – a dark everyman figure. There is the natural envy of the fortunate … Scott’s Tom is everything and nothing, and mesmeric either way.”

Mangan also described the supporting cast as “uniformly excellent”, adding that “you can’t take your eyes off either of them.”

Meanwhile, Empire’s John Nugent’s four-star review celebrated the cinematography captured in Steven Zaillian’s writing and directing: “Zaillian’s camera establishes and stresses the moody, mysterious tone by finding visual tension in an outwardly beautiful place.”

Nugent also praised Scott’s performance, as well as Zaillian’s adaptation of the story into an eight-part series: “Zaillian makes the most of the long-form format here, luxuriating in the time spent with this psycho, and there is an assuredness to the slow unfolding of it all”.

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The series adaptation captures the story’s darker tones, according to Nugent who wrote: “Inevitably, this is a less obviously inviting take on this tale. It is darker, literally and figuratively, and Tom Ripley — so often the scoundrel you love to hate — is less paradoxically likeable here than ever.”

On the other hand, The Independent’s Adam White disapproved of Scott’s casting and performance, writing: “Ripley falters because of its leading man, the typically very good Andrew Scott, who feels all wrong for this. Where Highsmith envisaged Ripley as an eerily calm social climber, who is charming and naive when he’s not beating people around the head with the oar of a boat, Scott plays him as more of an overt ghoul – someone oozing sociopathic menace in the corners of fancy ballrooms.”

Andrew Scott
Andrew Scott and Dakota Fanning at the premiere of Netflix’s ‘Ripley’ on April 3, 2024 in Los Angeles, California. CREDIT: Getty/Photo by Michael Buckner/Variety via Getty Images

White continued: “Dressed in a leather jacket and sporting greased-up hair, he looks more like a lost Mitchell brother than a high society interloper. You never quite get used to it.”

Similarly in Variety’s review, Aramide Tinubu raised issue with the age of the cast: “Since the characters are older than in previous adaptations (both Scott and Flynn are over 40), it’s implausible that the Greenleafs would send a man they don’t know in search of their adult son.”

The review continued: “Ultimately, Ripley fails to offer a new or intriguing perspective on the infamous scammer.”

However, most critic reviews of the series so far have been positive. In a five-star review by the BBC, Caryn James wrote: “Anyone who has seen the glorious, sun-drenched film The Talented Mr Ripley … will be astonished at how this new series transforms the same story into something completely different but just as masterful.”

“Writer and director Steven Zaillian makes his smart script compulsively watchable. Ripley plays as if it were a Hitchcock series Hitchcock never made,” James added.

Ripley is available to stream now on Netflix.

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Julia Holter Something In The Room She Moves

Pop music used to be the preserve of the autodidacts, the high-school dropouts who taught themselves a few chords on the guitar and worked things out instinctively. The odd classically trained figure would sometimes crop up here and there – a Mick Ronson scribbling string arrangements on the back of a cigarette packet, a Donald Fagen writing out complex extended chords for his session musicians to improvise over, a Sean Moore from the Manic Street Preachers playing the occasional trumpet flourish over a punk track – but, by and large, pop and rock musicians would eschew formal learning and play by ear.

PINK FLOYD ARE ON THE COVER OF THE NEW UNCUT – ORDER YOUR COPY HERE

But something odd seemed to happen around the millennium, when an entire sub-genre of classically trained art-rock figures started to emerge across the US and Canada, including the likes of Joanna Newsom, Sufjan Stevens, St Vincent, Owen Pallett, Janelle Monae, Caroline Polachek, Mary Lattimore, Oneohtrix Point Never, Andrew Bird and members of Vampire Weekend, Antony And The Johnsons, Dirty Projectors, The National, Yeah Yeah Yeahs, Deerhoof, Battles, Midlake and many more. Where the art school had been the breeding ground for so much British rock music of the 20th century, the 21st saw the music conservatoire producing a peculiar brand of North American pop oddballs.

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In many ways, you could see Julia Holter as the apotheosis of this trend. She studied classical piano and composition at the University of Michigan and CalArts, and still teaches at music schools and summer camps. She also makes ultra-literate, conceptual records that are confidently and knowingly recherché. Holter hates seeing music described as cerebral, but she certainly doesn’t seem to wear her highbrow references lightly – there have been albums inspired by Euripides’ Hippolytus and Colette’s Gigi; songs about the medieval romance between Heloise and Abelard; music based on field recordings from antique furniture stores and the temple songs of Buddhist monks; references to the poetry of Sappho and Frank O’Hara; songs inspired by the films of Alain Resnais and Andrei Tarkovsky. She has written a live soundtrack to a 1926 silent film about Joan of Arc with an opera chorus, and used John Cage’s methodology to create music from a 1920s church-club cookbook. She creates dark piano ruminations, upholstered with lavish string arrangements, with nods to everyone from Ligeti to Alice Coltrane. This is a long way from a-wop-bop-a-loo-bop-a-lop-bam-boom.

Some musicians, from Status Quo to The Fall, Philip Glass to Tinariwen, largely just do one thing really well: they define their own peculiar genre, and do it over and over again. Julia Holter is not that kind of artist. There’s an eternal restlessness about her music, one that flits between different genres, different idioms, wildly varied and wilfully eccentric lineups. Her last album, 2018’s Aviary, was an epic trawl that took us through medieval plainsong, 17th-century madrigals, early classical music, field recordings and snatches of minimalism and free jazz. Such is Holter’s sense of musical confidence, and her control over these elements, that these references never sounded forced, they’re simply elements of her sonic arsenal.

Something In The Room She Moves – started under lockdown, and written and recorded either side of the birth of her daughter in 2020 – is even more varied than Aviary, but it seems to filter out some of Aviary’s transitional elements and instead take us on a voyage that alights on 10 very different and intense soundworlds. It is both poppier – in that there are some immediately appealing grooves – and more self-consciously experimental – in that there are arcane moments of sonic exploration – than anything Holter has ever done.

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The poppier moments include “Spinning”, an insistent waltz, set to a thumping glam beat, with lyrics that turn Holter’s abstract poetry into the thrilling nonsense of early rock’n’roll. “What is delicious and what is omniscient/And what is the circular magic I’m visiting,” she coos, over a tangle of woodwind improvisation, fiddly fretless bass and strident synths. “Sun Girl” is wonderfully wobbly and disjointed – Holter conjures up an arresting, summery image by singing wistfully about a sun-obsessed girl who “dreams in golden yellow”, while bassist Dev Hoff sounds like Japan’s Mick Karn jamming with a West African drum troupe, while flautist Maia freaks out like Eric Dolphy over the top.

The title track is a terrific, slow-burning, Kate Bush-style ballad, where Holter recites seemingly abstract lyrics (“if there’s anything I know, I can intuit stucco”), over a warm sonic bath of electric piano, fretless bass, soaring flute and massed synths. “These Morning” is another dreamy, largely drumless ballad set to a complex tangle of Wurlitzer electric piano chords, which gets even better when it slows to an agonising pace as Holter repeats “just lie to me”.

But there are places where Holter is also at her most uncompromisingly experimental. “Meyou” is an a cappella piece where a choir sings a series of simple four-note plainsong-style riffs that alter very slightly each time, the singers constantly twisting the melody a little and employing an ever-widening palette of extended effects, howls and shrieks as the song progresses. “Ocean” is another wordless, self-consciously avant-garde piece, a slice of BBC Radiophonic Workshop-style experimentation where Chris Speed’s clarinet sounds like a swanee whistle slowly soaring over a patchwork of analogue synth drones. The hymn-like “Materia” sets Holter’s cut-glass voice over electric piano: “This version of love I can dwell on in the musing,” she sings, cryptically.

More often than not, the poppy and the experimental co-exist. “Who Brings Me” seems to fuse the Radiophonic-style abstraction – played live on flutes, bowed bass and Fender Rhodes – with a limpid poem of death. “Evening Mood” starts with a gorgeous kaleidoscope of synth voicings and wobbly electronic drones, before settling on a gentle ballad, romantic and unsettling, like Joni Mitchell backed by an ECM band. A woozy recollection of midsummer romance is interrupted by the refrain “daylight hits me” and a wonderfully wayward clarinet solo. Best of all might be “Talking To The Whisper”, a slow-burning seven-minute epic with a maddeningly off-kilter drum loop, a constant Hammond organ drone and a repeated double bass figure. “Love can be shattering,” Holter sings, before the song itself shatters into a Sun Ra-style freak out.

Experimental albums like this can sometimes be more laudable than enjoyable: easier to admire than to love. But there is something about Holter’s approach – her use of dynamics, her muted accompaniment, her sonic balance – that draws the listener in and keeps them beguiled. For a very Californian album, it draws comparisons with two peculiarly English releases – Kate Bush’s The Dreaming and Robert Wyatt’s Rock Bottom – like them, there is something about this music that is warming, aqueous, immersive and endlessly engaging.

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Introducing…The 172-page Definitive Edition Ultimate Music Guide to The Smiths 

Strange to think about it in these terms now that Johnny Marr is a solo artist and Morrissey is doing his best to please only himself; after the lawsuits and the contractual revelations. Still: the driving principle and greatest strength of The Smiths was always unity – the unique quality they had as a band.  

Forty years on from the release of their debut album, it’s that which we celebrate with our the 172-page Definitive Edition of our Ultimate Music Guide to The Smiths. As Mike Joyce writes in his introduction to the magazine, the band had a quality which remained mysterious even to those closest to it. 

“The music we were playing was so different, and it stayed like that throughout the Smiths’ career,” Mike says. “It wasn’t punk or reggae or vaudeville, or something with big anthemic tunes but at the same time it was all of that. The band was never about the four individuals. You could say the same about the Beatles or the Stones: how did it work? Why did it work? It just happened that way, as a unit. What we were creating was so magical and diverse it drew us all in.”

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As you’ll read in the magazine or in the limited edition hardback with an exclusive cover that you can also get from us, this chemistry wasn’t short-lived. Collected here are incisive and in-depth reviews of all the band’s albums, and a selection of the best interviews from the archives. Not only that, we follow the band’s chief instigators into their solo careers, to find Johnny Marr an occasionally mystical maker of stirring electro-rock and Morrissey satiating his constituency with an increasingly robust view of current events. In the new eight-page foldout miscellany timeline, meanwhile, you’ll find stats, maps, and insightful miscellany.

The past year has seen the passing of Andy Rourke, and it’s testimony to him and abiding ties of what The Smiths created together that Johnny Marr and Morrissey have both been of one mind in expressing their sadness and gratitude for his life. Marr knew Rourke as a close friend. Morrissey, as an admiring bandmate: “nothing that he played had been played by someone else,” he wrote.

It’s the same unique quality that Mike Joyce praises in the band’s music as a whole in his introduction to the magazine. “What we did is bigger than us as individuals,” he says. “We changed the perception of what indie bands were supposed to be.”

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Enjoy the magazine. You can get yours here.

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Oren Ambarchi: album by album

Oren Ambarchi’s future path was defined by a serendipitous mix-up in his grandfather’s Sydney junkshop. Taking home what he thought was a copy of Iron Maiden’s Number Of The Beast, the record inside turned out to be Miles Davis’s even more nefarious Live-Evil. “I was really confused,” recalls Ambarchi. “The music was just bizarre. To my ears it sounded completely chaotic and didn’t make any sense. But I stuck with it, and became really obsessed with [Davis’s] music from that point onwards. It opened the door to a lot of things.” Not only did his grandad’s shop inculcate an early love of freaky sounds, it provided the tools for Ambarchi’s first sonic investigations: “I was bringing home effect pedals and reel-to-reel machines, so I started fooling around with that stuff at home.” He spent his teenage years drumming in free-jazz and noise-rock bands, but was always intrigued by the possibilities of pure sound. When a bandmate abandoned an old guitar in their rehearsal studio, he couldn’t resist picking it up, incorporating its buzzes and clangs into his vivid sound collages. “I always loved guitar, I always loved rock music, but I think I came at it from a different route.”

And so began a remarkably prolific and unconventional recording career, making abstract electronica with guitars or propulsive kraut-jazz freakouts with a “virtual band” that has at times included everyone from Arto Lindsay to BJ Cole. “I love making records,” he enthuses. “It can be tormenting, but it’s really addictive when it works. Just pushing myself to do something different each time really fires me up.”

PINK FLOYD ARE ON THE COVER OF THE NEW UNCUT – ORDER YOUR COPY HERE

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OREN AMBARCHI

INSULATION

TOUCH, 1999

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For his international debut, Ambarchi challenges himself to emulate glitchy European electronica using just a guitar

I’d been in a lot of noise-rock bands – I’d already been to Japan twice and worked with people like Masonna and members of The Boredoms. Then around ’98, I started listening to a lot of the electronic music that was happening in Europe at the time. The Mego label was absolutely huge for me, and also groups like Pan Sonic. I found myself with an old electric guitar, this instrument that was not associated with those worlds at all. But I was really determined to explore those inspirations – and also the older electronic music I was discovering, like musique concrète – and just see what I could do with the guitar. I was quite extreme in the sense that I was not going to use anything else; I was going to limit it to just these primitive effects pedals and see how far I could push it. Most of that record was recorded to cassette, I was just fooling around at home. I loved the Touch label at the time – I sent a demo to them and they got back to me. I couldn’t believe it. I think they wrote: “We really hate the guitar, but we really like this.”

OREN AMBARCHI

GRAPES FROM THE ESTATE

TOUCH, 2004

A hazy, hypnotic pleasure, employing warm organic textures for the first time

Around the time of [2001’s] Suspension, I found something that was a bit more personal. I remember consciously being like, ‘Wow, I’m letting melody into these abstract guitar pieces.’ I felt a little uncomfortable about that, but it just felt real. So I slowly started tapping into that more, because I grew up listening to a lot of pop music, and I love melody too. I’m not religious about being experimental or anything. There was a studio in Sydney called Big Jesus Burger, run by a very close friend of mine. He had a whole bunch of stuff in his studio that I could play, it was really fun. I thought, ‘Wait a second – why am I being so hardcore, just playing the guitar?’ It was liberating to have other colours going on. He had tuned bells in the studio, and I loved using that. I bought an acoustic guitar for “Remedios The Beauty”, because I didn’t have one. I think the only time I ever used it was to make that track. It sounds like a very relaxed record, but in those days I didn’t have a lot of money to go into the studio, so it was done really quickly and quite stressfully.

OREN AMBARCHI & JIM O’ROURKE

INDEED

EDITIONS MEGO, 2011

The first of three great records created as a duo with O’Rourke

I met Jim in New York in the ’90s. I had a Merzbow T-shirt on from his old label, Dexter’s Cigar. I was walking down the street and someone across the road yelled, “We only sold two of those, you know!” – and it was him. And then we just kept bumping into each other and clicking about stuff. We’re the same age and we love a lot of the same things. The Indeed thing was weird because I was in Japan doing a gig with Mika Vainio and Thomas Brinkmann. Jim wrote to me and said, “Oh, you should come to my house in Tokyo to record.” The night before, I was singing karaoke ’til about four in the morning and I’d drunk way, way too much. I remember emailing Jim: “I’m not in a good way, maybe we shouldn’t do this.” And he was like, “I’ve got coffee, just come over.”

He had a crazy modular synth set-up, and they’re all flickering. Pro Tools was ready to record, and then he hands me Kim Gordon’s guitar! I’m left-handed, it was right-handed, and I’m feeling horrible. I was like, ‘What is going on here?!’ I felt really self-conscious, so I said, “Can you make me sound like David Behrman on Leapday Night?” He jumped up and started patching all these cables into the modular in 30 seconds, it was insane. I remember as I was playing, he was pumping his fist in the air really excitedly. I recorded about 25 minutes’ worth of stuff. And then we literally made the album over the next hour or two in a frenzy of overdubs. He grabbed a banjo, there was marimba, a woodblock – it was just really fun and quick and it made sense.

OREN AMBARCHI

AUDIENCE OF ONE

TOUCH, 2012

Ambarchi expands his horizons in all directions: from ‘proper songs’ to 30-minute kraut-jazz jams to… Kiss covers!

I’d made so many records where it all began with me playing the guitar, and I started to lose inspiration. The big centrepiece of this record is called “Knots”, which came from when I was jogging and listening to a Terje Rypdal record that he made with Miroslav Vitouš and Jack DeJohnette. The drums were jazzy, but very propulsive – almost krautrock. As I was jogging, I thought, ‘I’m going to ask Joe Talia to play in that style for as long as he can, as intensely as he can, and build it over 30 minutes if possible.’ And he did, and then he sent it to me, and I reacted to it on the guitar at home. It was a really liberating thing to have me reacting to someone else’s playing for the first time, and then shaping it into a composition. And then the last piece is a cover of a track [“Fractured Mirror”] by Ace Frehley from Kiss. The Ace Frehley solo album was really big for me when I was eight or nine, and I still love it. In my head, I thought it could sound like an American minimalist piece. An installation artist asked me to do this thing where a guitar was tied to a rope in a huge aircraft hangar building. They wanted me to basically destroy this guitar by violently smashing it against a wall. I tuned all the strings to the same note and it sounded incredible. So the clangy guitar stuff on that Ace Frehley cover comes from me smashing a guitar against the wall.

OREN AMBARCHI

SAGITTARIAN DOMAIN

EDITIONS MEGO, 2012

Oren rocks out over an extended motorik groove, partly inspired by “Purple Rain”

A different installation artist wanted me to make sound for some films, and there was a budget that allowed me to go into probably the best studio in Melbourne for a day. It’s always a luxury for me to work in a studio, I feel like a kid in a candy store. He was very vague about what he wanted, so I went, “OK, well, I’m gonna go into this amazing studio and try to make an album in a day.” I had this recurring backbeat in my head, so I just played drums for about half an hour, and then built it from there. I didn’t even know if it would turn into a record – I was just having fun in the studio.

I remember falling asleep on a long-haul flight from Australia while listening to Prince’s “Purple Rain”. At the very end of it, there’s these strings that come in. It’s so beautiful, but it’s so short. I thought, ‘Imagine doing this extended “Purple Rain” string thing, like Prince meets Gavin Bryars or something.’ It’s also totally inspired by my adolescent Mahavishnu Orchestra fixation.

KEIJO HAINO/JIM O’ROURKE/OREN AMBARCHI

Only Wanting To Melt Beautifully Away Is It A Lack Of Contentment That Stirs Affection Or Those Things Said To Be As Of Yet Unseen

BLACK TRUFFLE/MEDAMA, 2014

The best of many live recordings Ambarchi and O’Rourke have made with legendary Japanese maverick Keijo Haino

The fun thing with that trio is, you never know what Haino is going to show up to the gig with. He has a crazy instrument collection and he grabs something different every time. Haino is always tripping you up – he’s always doing something to change what’s going on, or make things uncomfortable for himself and for us, which pushes you into another area. At that show, I remember thinking, ‘This is so beautiful’: the harp, the 12-string guitar, this very kind of folky otherworldly thing. I just had brushes, I was playing very quietly, and then Haino went over to his electronics and completely obliterated it. I remember feeling really pissed off, so I thought to myself, ‘I’m just gonna keep doing what I’m doing.’ It was kind of absurd, because there’s a guy playing with brushes while this madman is making torrential noise. Jim was still playing the acoustic guitar as well, so I was sure no-one could hear anything. But later I was able to mix the multitrack so I could hear what we were all doing, and it was incredible. It’s inspiring to play with someone who’s constantly creating something unpredictable.

OREN AMBARCHI

HUBRIS

EDITIONS MEGO, 2016

Two relentless rhythmic cavalcades – separated by a serene guitar interlude – with a who’s who of leftfield luminaries adding layer upon layer of freaky noise

I was determined not to make a complicated record, because I just made Quixotism [2014]. There’s a lot of people on that and it was really hard to make, and I was really burnt out. I thought, ‘OK, the next one is going to be really basic.’ And of course it ended up having, like, 98 guitar tracks. But in a way it’s very straightforward. I was listening to a lot of Italo-disco, and there’s a really great track by Tullio De Piscopo called “Stop Bajon”. There’s an instrumental version of it on the 12-inch with two guitars that are panned left and right doing this repetitive, out-of-sync, rhythmic thing, and I loved that. So Hubris was about honing in on these small details, but expanding upon it with various things. It was a reflection of my lifestyle where I didn’t really have a normal home situation, travelling from gig to gig. That record started because I was playing a show in London, and Mark Fell was in Rotherham. I said, “I’ve got this idea for a new record – maybe I could come over and do some stuff?” Then my next stop was Berlin to work with Konrad Sprenger, and it built from there. I think the last person I worked with was Jim, when I was in Tokyo. So the album slowly expanded during my tour – that’s why there’s so many different people from all over the world on that record.

I played with Arto Lindsay when I was 23, with John Zorn in New York, but I didn’t think he’d even remember who I was. I heard this Arto Lindsay guitar thing on “Hubris Part 3”, so I started to do it myself at home. And then I was like, ‘Why am I imitating it? Maybe he would do it?’ So I got in touch with him, and a day or two later I had 30 minutes of Arto Lindsey playing over this piece. Amazing! It kind of sounds like a band, but it’s actually me making a virtual band.

OREN AMBARCHI/JOHAN BERTHLING/ANDREAS WERLIIN

GHOSTED

DRAG CITY, 2022

Ambarchi plays live guitar and various effects in this groovy avant-jazz trio

That was the three of us in a room together, the absolute opposite of a lot of my solo records. I’d worked with Andreas and Johan in Fire! – we made a record and we toured, it was a lot of fun. So they said, “Why don’t we record for a day in Stockholm when you’re around?” It was really relaxed, just three people in a room playing together. I don’t think we even spoke about what we were going to do at all. But I’ve always loved jazz and I grew up listening to a lot of ECM records, and those guys as well. And maybe that side of us came out a little bit. It might have been because we’d worked in Fire!, which was much more aggressive, that we went the other way. I think because there were no preconceptions, it was kind of fresh – it wasn’t this thing where we were going back to what we always do. I’m a little nervous, ’cause we’re recording again in a week. I don’t want to do the same thing again, but there’s something nice about what we do together as well. I’m probably overthinking it!

OREN AMBARCHI

SHEBANG

DRAG CITY, 2022

Intricate yet playful four-part opus, with starring roles for Julia Reidy’s 12-string guitar and BJ Cole’s pedal steel

This record was inspired by me seeing Julia Reidy play for the first time in Melbourne about five or six years ago. She was playing 12-string guitar solo and she blew my mind. In my head, I could hear Joe Talia playing a ride cymbal over what she was doing. So I contacted her and said, “Hey, would you be up for recording some stuff? Can you play at this tempo in this tuning for this long?” And I made all this music related to what Julia was doing.

Again, that record was done in a way where none of us were in the same room – a lot of the time I wasn’t even in the room with the musician, because it was during a lockdown. So I would send people stuff, but I would never send the same thing to more than one person. I didn’t want people to hear the big picture. I had this really long timeline with all these different people reacting to different events. I knew that they would all relate to one another but not in a clichéd, conversational way.

Records to me are like a puzzle, and you’re putting the pieces together. There was a period of about two weeks where I was a mess, I couldn’t even speak to people and focus on the conversation because I was so preoccupied with the stupid thing that I was trying to solve. Eventually I was in the shower and I had this idea. I ran to Konrad Sprenger’s studio and said, “Can you just try this? Move this over here and move that over there?” And that was it.

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Aziza Brahim Mawja

Aziza Brahim’s homeland of Western Sahara is listed by the UN as the last remaining colony in Africa. Under Spanish control until 1976, the territory was then annexed by Morocco and has been under occupation ever since. Denied self-determination, many of its people, the Sahrawi, were forced into exile in refugee camps in the Algerian desert. Those camps are where Brahim was born, her mother having fled the family’s ancestral home following Morocco’s military invasion.

TALKING HEADS ARE ON THE COVER OF THE NEW UNCUT – HAVE A COPY SENT STRAIGHT TO YOUR HOME

Growing up, Brahim recalls singing as the principal form of entertainment, and she was soon setting to music the verse of her grandmother, Lkhadra Mint Mabruk, a celebrated Sahrawi writer, revolutionary and feminist hero known as “the poet of the rifle”.

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In her teens Brahim was educated in Cuba before returning to the desert in 1995, where she joined the National Sahrawi Music Group. She then chose Spain as a suitable base from which to raise the plight of her oppressed people via her music.

After releasing her debut album in 2012 – which included settings of her grandmother’s poems – she was signed by Glitterbeat, for whom she has recorded a series of proudly defiant albums full of moving songs yearning for her homeland and espousing the cause of freedom.

A fearless moderniser who at the same time sounds somehow ancient, her work to date has found acclaim in world music circles without making the transition from a WOMAD audience to the mainstream in the way that, say, Tinariwen have done.  Deeply rooted and yet sonically adventurous, Mawja should, if there is any justice, change that.

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‘Mawja’ means ‘wave’ in the Hassaniya dialect of Arabic, a reference to the radio signal which growing up in the refugee camp kept her in touch with the outside world and the electronic “waves” that now carry her music and the story of her people to a wider audience.

Since her last album, 2019’s Sahari, much has happened to turn Brahim’s universe upside down and the travails have fed into Mawja to create her most accomplished and rounded work to date. With her mother, brothers and sisters and one of her daughters still living in the barren region of the Algerian desert known as The Devil’s Garden, she suffered a crisis of anxiety, characteristic of many exiles separated from their loved ones, which was exacerbated by the Covid pandemic. Then in November 2020 the uneasy 30-year ceasefire between Morocco and the Polisario Front, the armed wing of the Sahrawi liberation movement, broke down and fighting resumed.

In 2022 came the death of the grandmother whose revolutionary poetry Brahim had sung so stirringly and who had taught her to be “proud and tenacious” in the face of adversity. Out of anguish, though, came inspiration, and the spirit of the great matriarch permeates the album from “Duaa”, a blues-drenched prayer in her honour, to the tender tribute “Ljaima Likbira”.

Brahim’s default musical currency is a resonant African desert blues freighted with a mournful yet defiant passion, but with a distinctly feminist perspective that is as different from Ali Farka Toure or Tinariwen as, say, Bessie Smith was from John Lee Hooker or Robert Johnson.

It’s a potent and compelling sound, inextricably linked to the resistance struggle but with an inherent dignity and elegance – not merely a cry of protest at oppression but a celebration of a proud culture, too. Her country may have no official status but it “exists without restrictions in our words, in our memory and in our voices.”

Playing the traditional Sahrawi hand drum known as the tabal and accompanied by Western rock instrumentation, her soulful voice has a delectably creamy tone capable of subtly different emotional shading. With its flute and chiming guitar there’s a folkish vibe to “Marhabna 2.1” (‘Welcome’), a syncopated reimagining of the opening track on her 2012 album. There’s more of a defiant edge to “Haiyu Ya Zawar” (‘Cheer, Oh Revolutionaries’), a song of resistance and struggle with some thrilling flamenco-style guitar played on a Cuban tres, while the raw, fiery blues-rock of “Metal Madera” was inspired by Brahim’s admiration for The Clash.

Amid the militant rallying cries there’s a healthy dose of myth and magic, too, particularly on the gently swaying “Bubisher” about a legendary bird, the appearance of which in Sahrawi folklore is meant to be a portent that better times are on the way. The Sahrawi, it seems, desperately need another sighting. Meanwhile, Mawja is an eloquent homage to the indomitable spirit and rich culture of Brahim’s troubled but proud people.

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When Pirates Ruled The Waves

A misty November morning in 1964. Radio Caroline’s 21-year-old breakfast DJ Tony Blackburn awoke early in his cabin and wandered up on deck. The sight that greeted him was like a scene from Powell & Pressburger’s The Battle Of The River Plate. The thick sea mist slowly cleared, revealing a huge ship – twice the size of Caroline’s – anchored a fair distance away. Three-and-a-half miles off the coast of Essex, Caroline suddenly had company.

TALKING HEADS ARE ON THE COVER OF THE NEW UNCUT – HAVE A COPY SENT STRAIGHT TO YOUR HOME

The new arrival was the MV Galaxy, a 780-ton former WWII minesweeper. Now it was to be the home of Radio London (‘Big L’), an American-financed station that would give Caroline – the original UK pirate, launched seven months before – a serious run for its money. Radio London would play an all-day diet of the best ’60s pop (Beatles, Stones, Who, Kinks) as well as helping to ‘break’ many important bands of that decade, notably The Byrds, The Animals, The Small Faces, The Move and Cream. The Perfumed Garden, a show hosted by John Peel from March to August 1967, would earn a dedicated late-night listenership for its unique mix of psychedelia, folk, West Coast rock, blues and poetry. Wherever you looked on the Galaxy, the future was happening.

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“The ship that transformed everything was Big L,” agrees Tony Blackburn, who joined it in 1966. “Everybody remembers Caroline as the famous one, but Big L was modern radio as we know it.”

As it began broadcasting for the first time (December, 23 1964), Radio London had two advantages over its rival Caroline. Firstly, it boasted the slickest American-made jingles that UK audiences had ever heard; and secondly, it had Kenny Everett, a 20-year-old newcomer who would become a pirate radio sensation. Everett’s daily double-header with Dave Cash (the surreal, knees-obsessed Kenny & Cash Show) began in April 1965, soon topping the ratings. Other Big L jocks included Ed “Stewpot” Stewart, Tommy Vance and Keith Skues.

“It was a very professional station, very much based on American Top 40 radio,” recalls Skues, nowadays a veteran of BBC regional broadcasting. “The boat was much larger than Caroline, so you could go out and sunbathe on deck, which we did, until someone told us we were going to die of radiation from the aerial. We were also warned we’d lose our hair by the age of 26.”

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The ’60s pirate radio phenomenon was founded on a simple loophole and a cunning understanding of maritime law. If a ship was moored three or more miles off the British coastline, it was technically sailing in international waters. A commercial radio station broadcasting from that ship – without a licence, on a stolen (‘pirated’) frequency, and with no intention of paying taxes on its profits – was legally untouchable. The Government, police, Navy, Customs & Excise and Coastguard had no jurisdiction.

“We had left the British Isles,” points out Blackburn. “Officially we were on the way to Holland. We just never got there.”

One can almost hear Procol Harum’s “A Whiter Shade Of Pale” as we visualise the scene. A flamboyantly-garbed DJ bobs up and down on the ocean wave, braving a force nine gale, fighting off an attack of seasickness and defying Harold Wilson’s Government all in the same moment. At the height of Big L’s popularity, that DJ broadcasted to around 12 million listeners a week, who showed their appreciation by sending fanmail by the sack. The pirates – heroes, outlaws, celebrities, pariahs – were an habitual topic du jour in Parliament, not to mention a source of immense discomfort to the BBC. But what would it take to stop them?

In the end, it would be a shotgun.

Mid-1965. In less than a year, Caroline and Radio London have revolutionised British radio. By giving airplay to new groups – Big L even puts them in its Fab 40 – the pirates have curbed the dominance of major labels EMI and Decca, and made the BBC (which rations its pop output to a few hours a week) look like a dinosaur. Keith Skues: “Pirates started appearing all over the place. They changed the whole face of ’60s music.”

“Suddenly the cartel was broken,” remarks ex-pirate Johnnie Walker, who began on Swinging Radio England in 1966, “and a lot of music – like Motown – was played for the first time.” The BBC may have denounced the more excitable pirate DJs as “bingo callers”, but the BBC, as Gary Leeds of The Walker Brothers explains, was the main reason why the pirates had to exist. “There was a Catch-22 situation,” he says. “The BBC had to play your record to get you in the charts. But if you weren’t in the charts, the BBC wouldn’t play your record.”

As a pirate, Tony Blackburn had enjoyed adventures that no land-based BBC presenter like Alan Freeman could match. One day Blackburn shinned to the top of the mast of Caroline’s vessel Mi Amigo, after a severe gale entangled the wires on the aerial. On another occasion he was hauled to safety when the Mi Amigo ran aground on the Essex coast. Pirates frequently had to broadcast in atrocious weather while the shipped rolled giddily. “In the summer, it was much nicer,” notes Keith Skues. “Little pleasure-boats used to come out from Frinton and people would throw presents to us.”

Radio London’s DJs shared the Galaxy with a crew of Dutch seamen, including a captain. The captain’s rules – no drunkenness, no girls, no insubordination – were not negotiable. Each DJ was permitted two bottles of beer a day, no more. Food and cigarettes were provided free.

They settled into a three-week cycle. Two weeks at sea; a week of shore leave. To return to the boat, they caught trains from London to Harwich, showed their passport at Customs and took the two-hour journey out to the Galaxy in a tender boat. The tender also ferried provisions (milk, water), occasional pop stars such as Marianne Faithfull, and the all-important new record releases.

The Walker Brothers were particularly grateful to Radio London for its support, even recording special jingles for Kenny Everett and Dave Cash. “Can you imagine?” Cash laughs. “‘Kenny and Cash on Lon-do-n…’ With Scott Walker’s amazing voice, and that echo.” Gary Leeds: “We know the image that Scott projects now, right? But it was totally different back then. We were young and foolish. Sometimes we’d have our picture taken up at Marble Arch, and Dave and Kenny would be around the back making rude noises.”

Kenny Everett, a timid Liverpudlian who became electrifying behind the microphone, was envied for his genius as a tape editor, and for his assortment of Goon Show-inspired voices and characters. Everett also proved vital in establishing Big L’s friendly relationship with The Beatles, travelling with them on their 1966 US tour – he later recalled fainting with excitement when he heard that he’d been invited – and remaining on good terms socially. This culminated in Radio London’s greatest coup of 1967: a world exclusive pre-release of Sgt. Pepper, which they played in its entirety again and again.

For the most part, the Big L Top 40 format was strictly adhered to. The DJ would play a song from the Top 10, then one from numbers 10 to 40, followed by a ‘climber’, then another Top 10, then another 10-to-40, then an oldie. The sequence would be repeated. But some areas of Big L’s schedule proved more difficult – if not impossible – to control, and the anarchic Everett became the first Radio London DJ to be sacked in disgrace.

Skues: “We had a religious programme called The World Tomorrow. None of us liked it, but the company that produced it paid Radio London a huge amount of money. We were constantly told, ‘This is where the income comes from, so don’t knock it.’”

Hosted by an American evangelist, Garner Ted Armstrong, The World Tomorrow was pre-recorded and sent out to the ship on tape. Everett, sick of having his daily show interrupted by Jesus Christ, decided to edit one of the tapes. Dave Cash: “We cut it apart, so that instead of saying ‘Garner Ted Armstrong loves you all’, it said ‘Garner Ted Armstrong loves vice, sex and corruption.’ Oh dear. And he happened to be in the country at the time.”

Even at their most innocent, however, the pirates were a scourge to Tony Benn, the Government’s Postmaster General (in charge of telecommunications and broadcasting), who promised legislation to ban them. He called the pirates a hazard to shipping (which they denied) and condemned them for stealing their frequencies (which they accepted, while adding that there were plenty to go round). In 40 years, Benn has never wavered from his position. He says today: “It had nothing to do with the music they were playing. That was never the issue. In fact, I bullied the BBC into starting Radio 1 to cater for the pop music audience – which they didn’t want to do. They said it would be like keeping the pubs open all day.”

In June 1966, with the pirates’ audiences still rising, and no sign of an end to the media coverage (both pro- and anti-), a pop group manager named Reg Calvert, who owned a pirate station called Radio City, paid a visit to the Saffron Walden home of a Radio Caroline director, Major Oliver Smedley. The two men had planned a joint venture, but had abandoned the idea after an argument. Later that day, it was reported that Smedley had shot Calvert dead.

From that day forward, the pirate ships knew they were on borrowed time. “Without a shadow of a doubt, the Radio City incident stirred the Government to try and speed up legislation,” Keith Skues writes in his authoritative history of offshore radio, Pop Went The Pirates. In the extraordinary series of events that followed Calvert’s death, his widow was given police protection, Major Smedley was acquitted at his trial on grounds of self-defence (and awarded 250 guineas costs), and the Marine Broadcasting Offences Bill was introduced to Parliament in July 1966.

Johnnie Walker is not the only ex-pirate to feel uncomfortable. “It was very suspicious, that whole thing,” he says. “The Bill was announced almost immediately. I think there can be question marks over that episode.” Dave Cash: “There was a hell of a lot of political manoeuvring.” One source suggests that Smedley, who died in 1989, may have had influential political friends.

The Marine Broadcasting Offences Bill passed through the House Of Lords in June 1967, receiving Royal Assent on July 14. Under the new Act, it would become illegal at midnight on August 14 for a British subject to operate, assist or publicise a pirate radio station. Most of the stations prepared to close. Radio London considered – then decided against – forging ahead with a new team of non-British DJs. It broadcast for the last time on August 14, shutting down at 3pm. Keith Skues, on shore leave at the time, met the Big L presenters off the train at Liverpool Street. He couldn’t believe his eyes. “Thousands of people had turned up. It was like a stampede. I got knocked over and dragged down, and ended up in the ladies’ loo. They weren’t attacking us, they were there to greet the DJs off the ships. No DJ who was on that train will ever forget it.”

One pirate station defiantly carried on: the station that had started it all. As the clock ticked towards midnight, Johnnie Walker on Radio Caroline cued up The Beatles’ “All You Need Is Love” and told his listeners: “We belong to you, and we love you. Caroline continues.” Walker knew it was a huge moment. In a year when two of The Rolling Stones had been sent to jail, it seemed realistic to imagine Caroline being surrounded by police launches within hours of defying the midnight deadline. Walker and his fellow Caroline DJs, facing instant arrest if they set foot in Britain, now based themselves in Holland. But the station’s advertisers had pulled out, and the tender boat stopped its daily deliveries, and the fanmail no longer arrived. Radio Caroline, as it had been in 1964, was out there on its own.

Of the pirate DJs who returned to dry land, many accepted jobs at the BBC’s new pop station, Radio 1. After three years of being the enemy, the Corporation was now the employer. Tony Blackburn opened up Radio 1 on September 30, 1967, Keith Skues following him on to the air. Dave Cash, Kenny Everett and Ed Stewart decamped to Broadcasting House too, as did Radio London’s late-night DJ John Peel, who’d joined the station in its final months. After some initial doubts (Skues: “I thought, ‘What a weird bloke’”), the other presenters had warmed to Peel’s intelligence and gentle personality. “He was good for the station,” Dave Cash admits. “He attracted a whole different set of advertisers, and he had music integrity all round.” Peel would go on to become Radio 1’s longest-serving presenter (1967–2004).

Johnnie Walker’s stint on Radio Caroline ended in March 1968. Having flouted the Marine Broadcasting Offences Act for seven months, he found doors slamming in his face when he returned to London to seek work. One memo from BBC bosses to Radio 1 producers read: “On no account employ Johnnie Walker for at least a year, to let the taint of criminality subside.” Walker went on to become one of Radio 1’s star presenters of the 1970s. He now broadcasts on Radio 2, and in February 2009 began a new Saturday night programme. With wonderful irony, it celebrates the golden days of ’60s pirate radio stations, among them Radio Caroline.

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Ed Harcourt shares haunting new single ‘Deathless’

Ed Harcourt has shared his latest single ‘Deathless’, a haunting track from his forthcoming LP ‘El Magnifico’.

‘Deathless’ is the second single to be released from the forthcoming LP, following ‘Strange Beauty‘. “I’ve been dying to live for something / It’s better than dying for nothing / I want to be deathless / want to be deathless” he sings over a haunting and pounding beat.

Directed by Steve Gullick, the song’s accompanying black-and-white video features Harcourt standing still and singing in the middle of the desert under trees and next to cacti and agave plants.

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Speaking of the song in a press release, Harcourt said: “Written in a mad fever dream one night, this is a darker and heavier track from the record; basically it’s my attempt to write ‘Who Wants To Live Forever’ but if it was trying to punch it’s way out of a metal box.”

He continued: “Absolutely blessed to have a brilliantly woozy string arrangement from Fiona Brice (John Grant / Placebo). My erstwhile co-navigator, Dave Izumi Lynch, really stepped up to the plate here and delivered a storming final mix; manipulating tape machines, dropping subharmonic sonic A-Bombs and flipping the song on it’s back and tickling it until it screamed for sweet mercy. Listen to it loudly until the neighbours call the cops.”

The UK singer-songwriter will release his 16th album, ‘El Magnifico’ on March 29, 2024 via his own imprint, Deathless Recordings. It’s available to pre-order or pre-save here.

“I think as a songwriter you do get to a point where you’re aware of your past and what you’ve done,” Harcourt said of ‘El Magnifico”s fresh direction. “It’s knowing what your strengths are, what your weaknesses are, but also knowing how to better yourself by doing things you haven’t done before.”

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“I find that I’m always learning,” he added. “When I’m writing with someone else it’s always a total blank canvas so you have to be open to trying new things. It means with every record I do myself it’s got to have something different in it. Every album is always a reaction to the last thing I did. After the ‘Furnaces’, which was quite heavy and experimental, I felt it was time I went back to the source a bit. So maybe there is a sense here of drawing on what people perhaps know me for, but there is also a big step forward.”

Harcourt concluded: “One of the important things with the record for me is that it feels like a combination of everything that I’ve done, yet it’s also opened up so many new possibilities.”

The artist’s most recent LP was the soundscape album ‘Monochrome To Colour’ in 2020.

In other news, Harcourt has announced a short run of in-store shows around in celebration of his album’s release. Check out the full dates below and visit here for tickets.

Ed Harcourt 2024 in-store live shows are: 

MARCH
29 – Assai – EDINBURGH

APRIL
2 – Jacaranda – LIVERPOOL
3 – Jumbo – LEEDS
4 – Resident – BRIGHTON
5 – Truck – OXFORD
8 – Banquet – KINGSTON UPON THAMES

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Liam Gallagher gives ruthless verdict on resurfaced clip of Noel singing with Damon Albarn

Liam Gallagher has given his ruthless verdict on a resurfaced clip of his brother Noel playing a version of Gorillaz’ ‘Dare’ with Damon Albarn

The video was captured in December 2015 at a 60th birthday party for Paul Simonon, the bassist in The Clash, who is also part of the performance. 

Noel Gallagher is singing the vocal that was originally recorded by the Happy MondaysShaun Ryder while playing guitar, and Albarn is singing his original melody line from the 2005 song, with Simonon on bass. 

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Replying to a newly reposted video of the performance on X/Twitter, Liam wrote: “What a bunch of CUNTS”. 

Later at the same birthday party in 2015, The PretendersChrissie Hynde joined Gallagher and Albarn in a rendition of The Clash’s ‘Brand New Cadillac’. 

Simonon was a member of the group The Good, The Bad & The Queen with Albarn from 2005 to 2008, alongside The Verve’s Simon Tong and Afrobeat drumming legend Tony Allen

Earlier today (January 13), it was revealed that Liam Gallagher had introduced a children’s charity cover of The Beatles’ ‘With a Little Help From My Friends’. The charity GOODSTOCK was founded by music industry executives Katie and Debbie Gwyther to raise funds for Highgate Primary School. 

Liam also recently announced his 10-track album with The Stone Roses‘ John Squire, which he teased was “the best record since [The Beatles‘] ‘Revolver’”, and shared the first single ‘Just Another Rainbow’. The song landed at Number 16 in the UK Singles Chart yesterday (January 12). 

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Former Oasis guitarist Bonehead, who plays in Liam’s solo band, revealed last month that he’d heard LG and Squire’s joint record and declared that the finished product was “very good”. 

Gallagher has also recently reflected on Oasis’ split, claiming that his brother Noel “threw me under the fucking bus” at the time in a new interview

In other Liam Gallagher news, back in September he hinted that his next solo album was finished. His latest LP, ‘C’mon You Know’, came out in 2022 following on from ‘As You Were’ (2017) and ‘Why Me? Why Not.’ (2019). 

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What films are on TV on December 23?

Die Hard and Fantastic Beasts are among the film highlights on TV for December 23.

In the run-up to Christmas, TV channels will be showing a range of both festive and non-festive fare.

Highlights for Saturday (December 23) include 2014’s Paddington, voiced by Ben Whishaw, and 2019’s How To Train Your Dragon: The Hidden World. Other family-orientated offerings include How The Grinch Stole Christmas starring Jim Carrey, Fantastic Beasts: The Crimes Of Grindelwald and Home Alone 3.

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If you’re after an action classic, Die Hard is showing on Channel 4 from 9pm. For an action not-so-classic, there’s Men In Black 3 starring Will Smith and Josh Brolin.

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See all the films available to watch on December 23 below.

  • Miracle On 34th Street – Channel 5, 11.45am
  • How To Train Your Dragon: Hidden WorldBBC One, 1.15pm
  • Sing – ITV1, 1.15pm
  • Escape To Victory – Channel 5, 1.50pm
  • Scrooged – Channel 4, 2.35pm
  • Home Alone 3 – ITV2, 2.40pm
  • Casablanca – BBC Two, 2.55pm
  • How The Grinch Stole Christmas – ITV1, 3.20pm
  • The Dirty Dozen – Channel 5, 4.10pm
  • It’s A Wonderful Life – Channel 4, 4.30pm
  • Peter Pan (2003) – ITV2, 4.40pm
  • Fantastic Beasts: The Crimes Of Grindelwald – ITV1, 5.35pm
  • The Polar Express – Sky Showcase, 6.20pm
  • Paddington – BBC One, 6.45pm
  • Johnny English Reborn – ITV2, 6.55pm
  • My Best Friend’s Wedding – E4, 6.55pm
  • Men In Black III – Channel 4, 7pm
  • Die Hard – Channel 4, 9pm
  • The Shawshank Redemption – BBC Three, 9pm
  • Wedding Crashers – ITV2, 9pm
  • The Beatles: Eight Days A Week – The Touring Years – Sky Mix, 9.30pm
  • Bridget Jones’s Baby – Channel 5, 10.10pm
  • Scent Of A Woman – Channel 4, 11.35pm
  • Bad Boys For Life – E4, 11.40pm
  • Out Of Sight – BBC One, 11.50pm

If you want some new festive offerings, streaming services have added a bunch of new films in recent weeks. Chicken Run: Dawn Of The Nugget has hatched on Netflix, while Amazon Prime Video has Your Christmas Or Mine 2 and Candy Cane Lane starring Eddie Murphy.

Over on Disney+, Ludacris stars in Dashing Through The Snow, while NOW has Genie from Love Actually director Richard Curtis.

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‘Yellowstone’ star Cole Hauser reportedly got into fight with creator Taylor Sheridan

Yellowstone creator Taylor Sheridan and lead star Cole Hauser reportedly got into a fight the second time they met.

Sheridan recently filed a lawsuit against the actors’ coffee company over “trademark infringement”, but according to reports, this isn’t the first time the pair have had their differences.

In a recently resurfaced Men’s Journal interview from April 2022, Hauser opened up about the alledged fight with Sheridan.

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Before sharing the revelation with the outlet, Hauser said that he’d been involved in his fair share of bar fights.

“Does a bear shit in the woods?” he said, laughing. “I’ve probably been in one on every continent.”

The actor then explained: “I don’t think there’s anything wrong with fighting. Sometimes I’m just tired of words, so let’s beat the shit out of each other. Maybe at the end of it you’ll buy me a Guinness and I’ll buy you a Bushmills, and we’ll be done. It’s kind of what guys do.”

Hauser – who played Rip Wheeler, the son-in-law of John Dutton (Kevin Costner) on the Paramount Network drama series – did not specify when the alleged altercation with Sheridan took place.

Kevin Costner in 'Yellowstone'
‘Kevin Costner in ‘Yellowstone’. CREDIT: Paramount/TCD/Prod.DB/Alamy

Meanwhile, the pair are currently handling their disagreements in court. On November 21, Sheridan’s coffee company Bosque Ranch filed a lawsuit in the Northern District of Texas against Hauser’s coffee company, Free Rein.

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In court filings, Free Rein is accused of “trademark infringement, unfair competition and false advertising,” noting that both of the companies use branding marks with two overlapping letters.

“Neither Hauser nor the Defendants asked or received permission or authorization of Sheridan or Bosque Ranch to use a mark confusingly similar to the BR Brand for virtually identical goods,” the lawsuit claims.

Back in May, it was confirmed that Yellowstone would be concluding with its fifth season, which began airing its final episodes in November.

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aespa ring in the holiday season with a remake of ‘Jingle Bell Rock’

K-pop girl group aespa have released their own version of Bobby Helms’ classic holiday song, ‘Jingle Bell Rock’.

Today (November 24), the quartet unveiled a lyric video for their remake of the iconic 1957 Christmas song. aespa’s version of ‘Jingle Bell Rock’ features a hip-hop-inspired beat, as well as a brand-new rap verse.

Ring ring ring, jingle bell rock / Play like a spell I won’t tell, jingle bell talk / So giddy up, giddy up / Turn it up fast till we burn up / We ain’t ever gonna stop, jingle bell rock,” Giselle and Winter rap on the second verse.

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SM Entertainment first announced the song via a press release earlier this week, describing it as a “catchy and hip” reinterpretation of the classic track, with the girl group’s “unique vocals and rap” setting it aside from the original ‘Jingle Bell Rock’.

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aespa’s ‘Jingle Bell Rock’ comes just two weeks after they released their fourth mini-album ‘Drama’. The record marked the official release of the songs ‘Hot Air Balloon’, ‘Don’t Blink’ and ‘YOLO’, which the girl group first performed at their ‘SYNK: Hyper Line’ concerts in Seoul this February.

Other songs on the record were ‘Trick or Trick’ and ‘You’, as well as their August English-language single ‘Better Things’.

In other aespa news, Netflix has announced that member Karina will be starring in its new original reality series Agents of Mystery alongside Korean celebrities like Girls’ Day’s Lee Hye-ri, actors Kim Do-hoon and Lee Yong-jin, comedian Lee Eun-ji and singer John Park.

SM Entertainment also recently shared its plans for the first quarter of 2024, which will see aespa releasing their first full-English album. Other labelmates set to return during this time include Red Velvet’s Wendy, EXO’s Suho and rookie boyband RIIZE.

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Reading & Leeds 2024: Six headliners revealed as first wave of line-up announced

The six headliners for Reading & Leeds 2024 have been revealed: with Liam Gallagher, Lana Del Rey, Blink-182, Fred Again.., Gerry Cinnamon and Catfish & The Bottlemen set to top the bill.

Returning to Little John’s Farm in Reading and Bramham Park in Leeds for Bank Holiday Weekend over August 21-25, the legendary twin-site festival has announced its first raft of huge names.

Lana Del Rey and Gerry Cinnamon will not only be making their R+L headline debuts, but also performing UK exclusive shows at the weekend. The long-rumoured Blink-182 will be headlining for the first time since 2014, with Liam Gallagher and Catfish & The Bottlemen returning to top the bill again.

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Catfish last headlined in 2021 amidst rumours of a split, before guitarist Johnny “Bondy” Bond confirmed that he had left the band.

Following his huge appearance at Glastonbury last year, Fred Again.. said that “the only UK festival I’m playing next year and is the first festival I ever went to.”

Gallagher meanwhile, who topped the bill at R+L back in 2021 and will next year be touring to celebrate 30 years of Oasis’ seminal ‘Definitely Maybe‘ and potentially releasing his long-rumoured album with Stone Roses legend John Squire, said: “I’m gonna be playing Reading & Leeds – The most RnR festivals we have left in the UK. Be there or be square LG x”

Gerry Cinnamon, who made his R+L debut back in 2021, said: “Reading and Leeds. Last time was absolutely fucking bananas. Was first gig straight out of lockdown, heavy emotional. Headlining now so we’ll take it up another level again. Buzzing to be back. See you there.”

Sam Fender at Reading 2023. Credit: Andy Ford
Sam Fender at Reading 2023. Credit: Andy Ford

Blink-182 will be performing with their recently reunited classic line-up to celebrate their comeback album ‘One More Time’, while Lana Del Rey follows her huge 2023 shows at Glastonbury and Hyde Park with a victory lap for her latest album, ‘Did you know that there’s a tunnel under Ocean Blvd’.

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Beyond the headliners, Raye, Skrillex, Spiritbox and Digga D have also been confirmed to perform.

Melvin Benn, Managing Director of Festival Republic said: “We are thrilled to announce the first wave of artists for Reading & Leeds 2024. I am very proud that the biggest artists in the world choose to play Reading & Leeds and to have three incredible UK festival exclusives – the electrifying Fred again.., a true generational talent Lana Del Ray and the legendary Blink-182.

“The iconic Liam Gallagher will return to play an all-time classic album ‘Definitely Maybe’ which will be a special moment indeed. We pride ourselves on nurturing artists from the early stages in their career, so to see acts like Catfish & The Bottlemen rising through the festival to headline for the second time is very rewarding.”

He added: “2023 was a hugely successful year for attendance and sensational audience feedback, and we are eager to build upon this success even further at the UK’s biggest and best music festival.”

The crowd for The 1975 at Reading 2023. Credit: Andy Ford
The crowd for The 1975 at Reading 2023. Credit: Andy Ford

The full line-up for Reading & Leeds 2024 so far is:

FRED AGAIN..  
LANA DEL REY   
LIAM GALLAGHER 
BLINK-182  
CATFISH AND THE BOTTLEMEN  
GERRY CINNAMON  
DIGGA D  
RAYE  
SKRILLEX  
SPIRITBOX  

Tickets to Reading & Leeds 2024 go on sale at 8.30am on Thursday November 30 and will be available here.

Speaking to NME at the end of Reading & Leeds 2023, Festival Republic’s Melvin Benn teased some potential “stage changes” at both sites. “We don’t stand still at Reading & Leeds and like to reflect what’s going on, so there will be a couple of changes,” he said. “There are always changes in the artists, but there will be to the stages as well.”

This year’s event was headlined by The 1975FoalsBillie EilishThe Killers, Sam Fender and Imagine Dragons

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Cullen Jack: Harmonizing Heartbreak in “Space and Time”

In the vast expanse of the music universe, a new star twinkles with a poignant melody of love lost and the solitude of waiting. Cullen Jack, Oregon’s melodic maestro, weaves a tale of heartache and the aching void of absence in his latest single, “Space and Time.” With a heartfelt narrative set against a canvas of tender piano tunes, Jack invites us into a story of love’s labyrinth where space and time don’t heal, but tell a tale of their own.

Space and Time” isn’t just a song—it’s a journey through the corridors of hope and the alleys of despair. It starts with a whisper, a gentle confession of patience when Cullen croons, “When you asked for space, I stepped away…” His voice, a blend of raw emotion and refined artistry, echoes the strength it takes to let go. But as the verses unfold, the realization dawns—the space becomes a chasm, the time turns into a relentless tide, sweeping away the castles of what could have been.

Cullen Jack‘s artistry lies not just in his words, but in the silences between them, the instrumental breaths that speak volumes of the introspection and growth that comes from pain. The song crescendos with an instrumental bridge, a poignant pause that serves as a canvas for listeners to paint their own experiences of love and loss.

The cheesiness of the piece comes with a mature flavor, the kind that knows the bitterness of growth. It’s in the earnest search for self-improvement, the wistful smile of moving on, and the sober realization that sometimes, coming back isn’t in the cards. “Signed, Kind Regards, I’m movin’ on,” he sings, and it’s a line that sticks, a postscript to a chapter that’s closing.

Cullen‘s background in classical piano and his symphonic adventures add depth to each note, his music resonating with the authenticity of someone who has translated life into music. He channels the spirits of his muses, from the storytelling grandeur of Jim Croce to the lyrical wit of John Prine, and the result is a single that’s as much a story as it is a song.

Space and Time” stands as a testament to Cullen Jack’s journey—a bridge from the piano bars of Tokyo to the global stage, from singing tales in two tongues to telling the universal story of love. As he gears up to shower us with more singles and an album, this track is a promise of the musical mosaic to come. It’s a mosaic where each piece is a note, a lyric, a heartbeat that Cullen Jack captures and turns into song, etching his mark in the rhythm of the world, one beat at a time.

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St Vincent says she’s in “awe” of Kate Bush: “There is no one who could ever compare”

St Vincent has shared how much she is in “awe” of musician Kate Bush, saying “there is no one who could ever compare.”

St Vincent, real name Annie Clark, made the comments on social media the day after she performed a version of ‘Running Up That Hill (A Deal With God)’ to honour Bush’s induction into the Rock and Roll Hall of Fame.

The ceremony took place in New York last night (November 3), with Bush being inducted via a speech by Big Boi.

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In a post on social media, Clark recalled discovering Bush’s music and opened up about her love for the musician.

Clark wrote: “Kate Bush. First heard her song ‘This Woman’s Work” in the pivotal scene in the 1988 film She’s Having A Baby. And though I was 7 or 8 and too young to understand much of anything, I wept.

“Then around age 16 I went to CD World in Dallas and saw a copy of ‘The Sensual World’ on the racks. And I was so taken with her. Her expression. The flower to her lips. I hadn’t put the pieces together yet that this was the woman who sang THAT song. But I took it home and it was her. That woman who could soar so high into the ether and reach so deep into your soul. The entire album is a masterpiece, but I still cannot listen to ‘This Woman’s Work’ without weeping.

“Then I was working on my first record and an engineer friend played me ‘Hounds of Love.’ It was everything. So urgent. So emotional. An entire sonic world. Deeply catchy and deeply bizarre. ART. Kate. Singular. Inimitable. Then the early records. For me: ‘The Kick Inside’. ‘The dreaming’. And later, still pushing soaring on ‘Aerial’. How could someone be this genius and pure and completely free? Vocally, musically, physically?

“I stand in awe of Kate Bush. There is no one who could ever compare.” You can see the full post below.

Kate Bush. First heard her song “this woman’s work” in the pivotal scene in the 1988 film “she’s having a baby.” And…

Posted by St. Vincent on Saturday, November 4, 2023

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Ahead of the event, Bush issued a statement on her website that she would not be attending the ceremony, adding: “I am completely blown away by this huge honour – an award that sits in the big beating heart of the American music industry,” she said. “Thank you so much to everyone who voted for me. I never imagined I would be given this wonderful accolade.”

“I’m afraid I won’t be able to attend the ceremony tonight, but for me the real honour is knowing that you felt I deserved it,” Bush continued.

After a video package paying tribute to her career, including contributions from Elton JohnDavid GilmourPeter Gabriel and St. Vincent, Big Boi gave a speech hailing Bush as a “true visionary”.

Bush was inducted into the Hall of Fame as part of a 2023 class that also included Sheryl CrowMissy ElliottRage Against the MachineWillie Nelson, George Michael and The Spinners.

Earlier this week, Bush announced a series of new physical reissues of her album back catalogue, including two radical redesigns of ‘Hounds of Love’. The records will be available to order from her website from December 1.

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Kate Bush thanks Rock and Roll Hall of Fame, but will not attend ceremony

Kate Bush has issued a statement thanking the Rock and Roll Hall of Fame for her upcoming induction, but has confirmed she will not attend the event.

It had been speculated upon whether the iconic singer, who very rarely makes public appearances, would show up for her induction ceremony.

Instead, she has expressed her honour at being included in this year’s class of inductees in a letter published on her own website.

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“I am completely blown away by this huge honour – an award that sits in the big beating heart of the American music industry,” she said. “Thank you so much to everyone who voted for me. I never imagined I would be given this wonderful accolade.”

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“Last year was such a surprisingly successful time for my track ‘Running Up That Hill’ and
I’m sure that a lot of you who’ve voted me in to the RRHOF also drove that track up the charts. Thank you!”

That song, originally released on 1985’s ‘Hounds of Love’ album, surged to the top of the UK Singles Chart in 2022 after appearing prominently in the fourth season of Stranger Things. She became the oldest female artist, at 63, to reach the top of the chart, and it also broke the record for the longest gap between Number Ones, hitting the top 44 years after ‘Wuthering Heights’.

“I’m afraid I won’t be able to attend the ceremony tonight, but for me the real honour is knowing that you felt I deserved it,” Bush continued.

“When I was growing up my hero was Elton John. I poured over his music, longed to be able to play piano like him and longed to write songs that could move people in the way his work moved me.”

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“That little girl in South East London could never have dreamed she’d be sharing the event tonight with Bernie Taupin, Elton’s writing partner, an incredible lyricist who inspired me to keep writing songs – to keep trying. Congratulations Bernie! Congratulations to everyone who is being inducted tonight!”

“Music is at the core of who I am and, like all musicians, being on the journey of trying to create something musically interesting is rife with feelings of doubt and insecurity. I’m only five foot three, but today I feel a little taller,” she concluded.

Bush is being inducted into as part of the 2023 class that also includes Sheryl CrowMissy ElliottRage Against the MachineWillie Nelson, George Michael and The Spinners. In addition, as referenced by Bush, Bernie Taupin will receive the Musical Excellence Award at the event.

Earlier this week, Bush announced a series of new physical reissues of her album back catalogue, including two radical redesigns of ‘Hounds of Love’. The records will be available to order from her website from December 1.

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The Rolling Stones become first act with Top 10 albums in each decade since the ’60s

The Rolling Stones have become the first act to have top 10 albums in the United States in every decade since the 1960s.

Their new album ‘Hackney Diamonds’ entered the Billboard 200 chart at Number Three this week (October 31), extending the band’s record as the artist with the most top 10 albums of all time, with 38 in total.

In their home country, The Rolling Stones already held the record for the artist with number one albums in the most decades. In 2020, a re-issue of their 1973 album ‘Goats Head Soup’ reached the top spot, marking number ones in six separate decades, although they did not get a chart-topper in the 2000s in the UK.

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‘Hackney Diamonds’, which was released on October 20, also recently reached the top of the UK Albums Chart, their 14th Number One in all. The band were also honoured this week with the British Phonographic Industry’s BRIT Billion Award for reaching the landmark of one billion career UK streams.

The album features contributions from Paul McCartney, Stevie WonderElton John and others. Speaking to NME, Stones guitarist Ronnie Wood gave us a glimpse into the recording studio during the recording of ‘Sweet Sounds of Heaven’, which features vocals from Lady Gaga.

“She was just sitting on the floor, singing along with Mick,” Wood said. “A rough vocal, you know. And Mick said: ‘That sounds pretty good. Do you wanna make a go of it?’ She said, ‘Yeah.’ ‘Well, come on then – stand up and let’s go and work it out together!’ To see it all take shape was very rewarding.”

The Billboard 200 is the US’ official albums chart, and in addition to their 38 top 10 placings, The Rolling Stones have also scored a total of nine number one albums, including ‘Sticky Fingers’, ‘Exile on Main St.’ and ‘Tattoo You’.

No other artist has charted in the top 10 for each decade since the ‘60s, although Barbra Streisand has the chance to match the achievement if she is able to land an album in the top 10 before the end of the 2020s. Streisand also has the second most top 10 albums in total with 34, with The Beatles and Frank Sinatra tied for third on 32.

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The Rolling Stones recently played a surprise intimate show in New York with Lady Gaga at the 650-capacity Racket venue in Chelsea. Mick Jagger introduced the pop icon for an encore performance of ‘Sweet Sounds of Heaven’.

In a four-star review of ‘Hackney Diamonds’, the Stones’ first album in 18 years, NME described the project as “an absolute barnstormer” that is “very enjoyable”.

It added: “…If ‘Hackney Diamonds’ does round off the most successful career in rock music ever, it wouldn’t be a bad place to leave it. A natural end, but definitely not a normal one.”

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Keith Richards says recording with Paul McCartney felt “like the old days”

Keith Richards has said that recording on the latest Rolling Stones album with Paul McCartney felt “like the old days.”

McCartney recently appeared on the Stones’ new album track ‘Bite My Head Off’ playing bass.

Speaking to Matt Wilkinson on Apple Music 1 in a new interview about the collaboration, Richards said it reminded him of the “old days”.

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“I felt that it was bloody time…I’ve known Paul for 60 years, just about. Although him and John [Lennon] did do a few backup vocals with us in the ’60s. Great fun to play with.”
He continued: “At the end of it, I just said, ‘Well, that’s just like the good old days,'” Richards recalled of the McCartney’s studio session with the band.

Keith Richards and Paul McCartney in the 1960s
Keith Richards and Paul McCartney in the 1960s – CREDIT: Getty

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Richards also opened about the collaboration recently to The Telegraph.

“Paul happened to be in town…And we couldn’t keep him away, bless his heart,” Richards told the publication. “And hey, if you can get one of the Beatles on your track, you know, you do it. Paul’s a very amiable cat to play with; we’ve been great friends forever.”

In the same interview, Richards said that other Beatles members John Lennon and George Harrison would have fitted well into The Rolling Stones.

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Richards explained: “I don’t think John Lennon would have had much problem fitting into the Stones, or George, if you can imagine that sort of thing happening.”

He continued: “We were the same generation, and we all loved the same music. When we first heard The Beatles, we were relieved that there was some other band in England on the same track that we were on. And within a few months, that track was the main track.”

Earlier this week, The Beatles announced details of the release of their “final song” ‘Now And Then’, along with news of expanded reissues of their ‘Red’ and ‘Blue’ albums.

The long-mooted single was created by Paul McCartney and Ringo Starr, who joined forces to create the final ever Beatles track to feature all four members, with the help of AI.

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NCT 127 mix futurism and traditional in vibrant ‘Fact Check’ video

NCT 127 have returned with their fifth album ‘Fact Check’ and a futuristic video for the record’s title track.

The new release follows the nine-member boyband’s 2022 album ‘질주 (2 Baddies)’ and its 2023 repackage, ‘Ay-Yo’.

On the single ‘Fact Check’, NCT 127 deliver an energetic, Afrobeats-based track that finds them in supremely confident mode, even in the face of being fact-checked against timeless art pieces. “Hang me in the Louvre / Next to the Lisa, touché,” Johnny raps at one point, before the group declare in the chorus: “Check the facts, go check that / Check the stats, go check that.

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In the accompanying video, the boyband hop around landmarks across Seoul, from Gyeongbok Palace to Incheon Bridge, as well as more futuristic landscapes.

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The rest of the album features lyrical contributions from Taeil, Taeyong and Mark on ‘Love Is A Beauty’. Mark and Taeyong also participated in writing rock track ‘Angel Eyes’ and the ballad ‘Misty’.

‘Fact Check’ follows NCT 127 reflecting on their success and story so far in the recent Disney+ and Hulu documentary, NCT 127: The Lost Boys. In the four-part series, the SM Entertainment boyband opened up about their childhoods and feelings about their international growth via never-before-seen interviews and exclusive footage.

In a four-star review of the documentary, NME wrote: “The Lost Boys’ refusal to walk the path commonly taken by documentary-makers should be commended, but sometimes – particularly in the first episode – it feels jarring […] Ultimately, once all four parts have been pieced together, it feels like a gentle triumph.

“As docuseries go, it succeeds at making you feel like you’ve been given a deeper insight into its subject, giving a human touch to a group that often feels larger-than-life.”

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*NSYNC, Backstreet Boys to feature in upcoming boy band documentary on Paramount+

A documentary chronicling the popularity of boy bands like *NSYNC, New Kids on the Block and Backstreet Boys has been greenlit by Paramount+.

According to Variety, the as-yet untitled documentary will trace the legacy of boy bands during the height of their fame in the ‘90s and early-2000s, and will feature interviews with boy band members as well as archival music footage.

The project will be directed by Tamra Davis, whose credits include the music videos for New Kids on the Block’s ‘Call It What You Want’ and Hanson’s ‘MMMBop’, among others. The documentary is co-produced by Johnny Wright, who previously served as the tour manager for both New Kids on the Block and *NSYNC member, Justin Timberlake.

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“The Nineties boy band era was an extraordinary chapter in music where harmonies and beats came together,” Wright said of the documentary, per Rolling Stone. “To this day, the boy bands continue to inspire, uplift and unite – reminding us of a great time that will forever hold a special place in our hearts.”

The documentary is produced by entertainment studio Gunpowder & Sky, who were previously involved in music projects like the 2023 series I Wanna Rock: The ‘80s Metal Dream and the three-part yacht rock documentary, Sometimes When We Touch. 

Speaking of the boy band documentary, co-producer Van Toffler credited groups like The Jackson Five with “pav[ing] the way for boy bands”, and said traces of their legacy can be found in more current bands like One Direction and K-pop group BTS.

The news comes amid the recent reunion of *NSYNC, nearly two decades after their disbandment in 2004. After a string of public appearances together, including at last month’s MTV VMAs, the boy band returned last week with their first official single since 2002, titled ‘Better Place’.

The song features on the soundtrack of the upcoming film Trolls Band Together, a sequel to 2016’s Trolls which featured Timberlake in a voice role and saw him contribute the soundtrack song ‘Can’t Stop The Feeling’.

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Mick Jagger talks working with “really great singer” Lady Gaga for Rolling Stones’ ‘Sweet Sounds Of Heaven’

Mick Jagger has recalled working with Lady Gaga on The Rolling Stones‘ new single ‘Sweet Sounds Of Heaven’.

The collaborative song, which also features Stevie Wonder, was released yesterday (September 28) as the latest preview of the Stones’ 24th studio album ‘Hackney Diamonds’ (out October 20).

During an interview with Zane Lowe on Apple Music 1, Jagger praised Gaga – who provided backing vocals on the track – and explained how ‘Sweet Sounds Of Heaven’ came together in the studio.

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“She’s a really great singer and I’d never heard her sing [in] quite that style before. Not exactly,” the frontman said of the pop star’s contribution.

“We did it live in the room and that was a great experience, her just coming in the room and her just opening up and seeing her bits and feeling her way and then getting more confident.”

He continued: “And then we came back and then did some extra parts that we hadn’t done on the day and then we did some tidying up and we were just in the overdub room, really face-to-face, getting them really tight, the parts really tight, and then being slightly competitive and screaming.”

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Jagger told Lowe that ‘Sweet Sounds Of Heaven’ is “all played live”, adding: “And of course, we did overdubs, but it’s all played in the room.”

While sharing some behind-the-scenes studio footage, Gaga recalled her experience of working with The Rolling Stones, saying that she’d been inspired by their classic hit ‘Gimme Shelter’ as well as “gospel and soul” music.

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“I thought about my favourite old Stones tunes and all the great vocalists who had sung with Mick, making what we know now as a ‘sound’ unique to a band that defined a huge piece of rock’n’roll,” the star wrote.

“Then we cut [the song] live. Making the ‘Sweet Sounds of Heaven’, I sang in a way I never really sang before except for with Mick. And Andrew [Watt, producer] and I both cried – there’s something about witnessing music history and when you get to be a part of it.

“I think that’s exactly what our heaven feels like. It’s just a sweet sound.” You can see that post below.

‘Hackney Diamonds’, which marks The Rolling Stones’ first collection of original music in 18 years, will also feature Paul McCartneyElton John and former Stones bassist Bill Wyman. The record’s lead single, ‘Angry’, arrived earlier this month.

In other news, Jagger has explained in an interview how Beatles icon McCartney came to be on the album.

“We suggested he played on this punk tune,” he said. “I didn’t know how it was gonna work out, but he really rocked it and he loved doing it. He said, ‘It’s great playing with a band! Really enjoyable playing with a band’.”

Meanwhile, Jagger recently confirmed that The Rolling Stones are already at work on their next full-length effort.

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Blueface arrested in Las Vegas on suspicion of attempted murder

Californian rapper Blueface was arrested in Las Vegas on Tuesday (November 15), reportedly on suspicion of attempted murder.

According to TMZ, Blueface – real name Johnathan Porter – had a warrant out for his arrest stemming from a shooting that occurred on October 8. A video published by TMZ shows the rapper, who was accompanied by his girlfriend outside a chicken and waffles establishment, being apprehended by multiple plainclothes police officers.

The Las Vegas Metropolitan Police Department have since issued a statement confirming Porter’s arrest, noting that the shooting in question took place “in the 6000 block of Windy Road”. According to the statement, Porter “will be booked into the Clark County Detention Center on warrants for attempted murder with a deadly weapon and discharging a firearm at/into an occupied structure”.

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At the time of writing, Porter is yet to speak publicly about his arrest. NME have reached out to representatives of his for comment.

This is not the first time Porter has run into legal trouble. In November 2018, the rapper was arrested and charged with shooting at an occupied vehicle; at the time, it was reported that a “dispute” had broken out between Porter and another party at a gas station in California. He was subsequently released on $69,000 bail.

Then, in February 2019, Porter was arrested on a charge of felony gun possession, after police found an unregistered loaded handgun on his person. Porter’s manager reportedly denied that his client was ever in possession of the handgun. He was reportedly released on $35,000 bail. In February of this year, too, he was reportedly arrested for possession of a concealed firearm in a vehicle and driving on a suspended license.

Blueface is known for his 2018 song ‘Respect My Cryppin’, which went viral on social media shortly after its release that October. He’s thus far released one studio album, 2020’s ‘Find The Beat’, and has two Platinum singles to his name (‘Thotiana’ and ‘Daddy’) as well as three Gold singles (‘Bleed It’, ‘West Coast’ and ‘Outside’).

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Grammys nominations 2023: Beyoncé, Kendrick Lamar, Adele and Harry Styles score the most nods

The nominations for the 2023 Grammys have been announced with Beyoncé, Kendrick Lamar, Adele and Harry Styles leading the way.

  • READ MORE: Ukraine, Billie Eilish, Louis CK: the biggest talking points from the Grammy Awards 2022

The official Grammys YouTube hosted a livestream today (November 15) for the announcement which you can watch below, with the winners set to be announced at the 65th Grammy Awards ceremony on February 5, 2023.

Beyoncé clocked up the most nominations with nine nods including Record Of The Year and Album Of The Year, closely followed by Lamar with eight nominations.

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Adele picked up seven nominations while Future, Harry Styles, Mary J. Blige and DJ Khaled each scored six nods. Jay-Z, who picked up five nominations, is now tied with Beyoncé for the most nominated artists in Grammy history, having clocked up 88 nods in total.

Notably, the 2023 Grammy Awards will be the first time Beyoncé and Adele will go head-to-head for Record, Album, and Song Of The Year since 2017, when Adele swept all three categories.

Meanwhile, both Wet Leg and Måneskin were both nominated in the Best New Artist category.

See the full list of Grammys 2023 nominations below:

Record Of The Year
ABBA – ‘Don’t Shut Me Down’
Adele – ‘Easy On Me’
Beyoncé – ‘Break My Soul’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Mary J. Blige – ‘Good Morning Gorgeous’
Steve Lacy – ‘Bad Habit’

Album Of The Year
ABBA – ‘Voyage’
Adele – ’30’
Bad Bunny – ‘Un Verano Sin Ti’
Beyoncé – ‘Renaissance’
Brandi Carlile – ‘In These Silent Days’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Lizzo – ‘Special’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’

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Song Of The Year
Adele – ‘Easy On Me
Beyoncé – ‘Break My Soul
Bonnie Raitt – ‘Just Like That
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Gayle – ‘ABCDEFU’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’
Taylor Swift – ‘All Too Well’

Best New Artist
Anitta
Domi & JD Beck
Latto
Måneskin
Molly Tuttle
Muni Long
Omar Apollo
Samara Joy
Tobe Nwigwe
Wet Leg

Best Pop Solo Performance
Adele – ‘Easy On Me’
Bad Bunny – ‘Moscow Mule’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’

Best Pop Duo/Group Performance
ABBA – ‘Don’t Shut Me Down’
Camila Cabello Featuring Ed Sheeran – ‘Bam Bam’
Coldplay & BTS – ‘My Universe’
Post Malone & Doja Cat – ‘I Like You (A Happier Song)’
Sam Smith & Kim Petras – ‘Unholy’

Best Traditional Pop Vocal Album
Diana Ross – ‘Thank You’
Kelly Clarkson – ‘When Christmas Comes Around…’
Michael Bublé – ‘Higher’
Norah Jones – ‘I Dream Of Christmas’
Pentatonix – ‘Evergreen’

Best Pop Vocal Album
ABBA – ‘Voyage’
Adele – ’30’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Lizzo – ‘Special’

Best Dance/Electronic Recording
Beyoncé – ‘Break My Soul’
Bonobo – ‘Rosewood’
David Guetta & Bebe Rexha – ‘I’m Good (Blue)’
Diplo & Miguel – ‘Don’t Forget My Love’
Kaytranada Featuring H.E.R. – ‘Intimidated’
Rüfüs Du Sol – ‘On My Knees’

Best Dance/Electronic Music Album
Beyoncé – ‘Renaissance’
Bonobo – ‘Fragments’
Diplo – ‘Diplo’
Odesza – ‘The Last Goodbye’
Rüfüs Du Sol – ‘Surrender’

Best Contemporary Instrumental Album
Brad Mehldau – ‘Jacob’s Ladder’
Domi & JD Beck – ‘Not Tight’
Grant Geissman – ‘Blooz’
Jeff Coffin – ‘Between Dreaming And Joy’
Snarky Puppy – ‘Empire Central’

Best Rock Performance
Beck – ‘Old Man’
The Black Keys – ‘Wild Child’
Brandi Carlile – ‘Broken Horses’
Bryan Adams – ‘So Happy It Hurts’
Idles – ‘Crawl!’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Turnstile – ‘Holiday’

Best Metal Performance
Ghost – ‘Call Me Little Sunshine’
Megadeth – ‘We’ll Be Back’
Muse – ‘Kill Or Be Killed’
Ozzy Osbourne Featuring Tony Iommi – ‘Degradation Rules’
Turnstile – ‘Blackout’

Best Rock Song
Brandi Carlile – ‘Broken Horses’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Red Hot Chili Peppers – ‘Black Summer’
Turnstile – ‘Blackout’
The War On Drugs – ‘Harmonia’s Dream’

Best Rock Album
The Black Keys – ‘Dropout Boogie’
Elvis Costello & The Imposters – ‘The Boy Named If’
Idles – ‘Crawler’
Machine Gun Kelly – ‘Mainstream Sellout’
Ozzy Osbourne – ‘Patient Number 9’
Spoon – ‘Lucifer On The Sofa’

Best Alternative Music Performance
Arctic Monkeys – ‘There’d Better Be A Mirrorball’
Big Thief – ‘Certainty’
Florence And The Machine – ‘King’
Wet Leg – ‘Chaise Longue’
Yeah Yeah Yeahs Featuring Perfume Genius – ‘Spitting Off The Edge Of The World’

Best Alternative Music Album
Arcade Fire – ‘WE’
Big Thief – ‘Dragon New Warm Mountain I Believe In You’
Björk – ‘Fossora’
Wet Leg – ‘Wet Leg’
Yeah Yeah Yeahs – ‘Cool It Down’

Best R&B Performance
Beyoncé – ‘Virgo’s Groove’
Jazmine Sullivan – ‘Hurt Me So Good’
Lucky Daye – ‘Over’
Mary J. Blige Featuring Anderson .Paak – ‘Here With Me’
Muni Long – ‘Hrs & Hrs’

Best Traditional R&B Performance
Adam Blackstone Featuring Jazmine Sullivan – ’Round Midnight’
Babyface Featuring Ella Mai – ‘Keeps on Fallin’’
Beyoncé – ‘Plastic Off The Sofa’
Mary J. Blige – ‘Good Morning Gorgeous’
Snoh Aalegra – ‘Do 4 Love’

Best R&B Song
Beyoncé – ‘Cuff It’
Jazmine Sullivan – ‘Hurt Me So Good’
Mary J. Blige – ‘Good Morning Gorgeous’
Muni Long – ‘Hrs & Hrs’
PJ Morton – ‘Please Don’t Walk Away’

Best Progressive R&B Album
Cory Henry – ‘Operation Funk’
Moonchild – ‘Starfuit’
Steve Lacy – ‘Gemini Rights’
Tank And The Bangas – ‘Red Balloon’
Terrace Martin – ‘Drones’

Best R&B Album
Chris Brown – ‘Breezy (Deluxe)’
Lucky Daye – ‘Candy Drip’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’
PJ Morton – ‘Watch The Sun’
Robert Glasper – ‘Black Radio III’

Best Rap Performance
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Doja Cat – ‘Vegas’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Hitkidd & Glorilla – ‘F.N.F. (Let’s Go)’
Kendrick Lamar – ‘The Heart Part 5’

Best Melodic Rap Performance
DJ Khaled Featuring Future & SZA – ‘Beautiful’
Future Featuring Drake & Tems – ‘Wait For U’
Jack Harlow – ‘First Class’
Kendrick Lamar Featuring Blxst & Amanda Reifer – ‘Die Hard’
Latto – ‘Big Energy (Live)’

Best Rap Song
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Future Featuring Drake & Tems – ‘Wait For U’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Jack Harlow Featuring Drake – ‘Churchill Downs’
Kendrick Lamar – ‘The Heart Part 5’

Best Rap Album
DJ Khaled – ‘God Did’
Future – ‘I Never Liked You’
Jack Harlow – ‘Come Home The Kids Miss You’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Pusha T – ‘It’s Almost Dry’

Best Country Solo Performance
Kelsea Ballerini – ‘Heartfirst’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘In His Arms’
Willie Nelson – ‘Live Forever’
Zach Bryan – ‘Something In The Orange’

Best Country Duo/Group Performance
Brothers Osborne – ‘Midnight Rider’s Prayer’
Carly Pearce & Ashley McBryde – ‘Never Wanted To Be That Girl’
Ingrid Andress & Sam Hunt – ‘Wishful Drinking’
Luke Combs & Miranda Lambert – ‘Outrunnin’ Your Memory’
Reba McEntire & Dolly Parton – ‘Does He Love You (Revisited)’
Robert Plant & Alison Krauss – ‘Going Where The Lonely Go’

Best Country Song
Cody Johnson – ‘’Til You Can’t’
Luke Combs – ‘Doin’ This’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘If I Was a Cowboy’
Taylor Swift – ‘I Bet You Think About Me (Taylor’s Version) (From the Vault)’
Willie Nelson – ‘I’ll Love You Till the Day I Die’

Best Country Album
Ashley McBryde – ‘Ashley McBryde Presents: Lindeville’
Luke Combs – ‘Growin’ Up’
Maren Morris – ‘Humble Quest’
Miranda Lambert – ‘Palomino’
Willie Nelson – ‘A Beautiful Time’

Best New Age, Ambient, Or Chant Album
Cheryl B. Engelhardt – ‘The Passenger’
Madi Das, Dave Stringer & Bhakti Without Borders – ‘Mantra Americana’
Mystic Mirror – ‘White Sun’
Paul Avgerinos – ‘Joy’
Will Ackerman – ‘Positano Songs’

Best Improvised Jazz Solo
Ambrose Akinmusire – ‘Rounds (Live)’
Gerald Albright – ‘Keep Holding On’
John Beasley – ‘Cherokee/Koko’
Marcus Baylor – ‘Call Of The Drum’
Melissa Aldana – ‘Falling’
Wayne Shorter & Leo Genovese – ‘Endangered Species’

Best Jazz Vocal Album
The Baylor Project – ‘The Evening: Live At Apparatus’
Carmen Lundy – ‘Fade To Black’
Cécile McLorin Salvant – ‘Ghost Song’
The Manhattan Transfer & The WDR Funkhausorchester – ‘Fifty’
Samara Joy – ‘Linger Awhile’

Best Jazz Instrumental Album
Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade – ‘LongGone’
Peter Erskine Trio – ‘Live In Italy’
Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens – ‘New Standards, Vol. 1′
Wayne Shorter, Terri Lyne Carrington, Leo Genovese & Esperanza Spalding – L’ive At The Detroit Jazz Festival’
Yellowjackets – ‘Parallel Motion’

Best Large Jazz Ensemble Album
John Beasley, Magnus Lindgren & SWR Big Band – ‘Bird Lives’
Remy Le Boeuf’s Assembly Of Shadows – ‘Architecture Of Storms’
Ron Carter & The Jazzaar Festival Big Band Directed by Christian Jacob – ‘Remembering Bob Freedman’
Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted by Michael Abene – ‘Center Stage’
Steven Feifke, Bijon Watson & Generation Gap Jazz Orchestra – ‘Generation Gap Jazz Orchestra’

Best Latin Jazz Album
Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective – ‘Fandango At The Wall in New York’
Arturo Sandoval – ‘Rhythm & Soul’
Danilo Pérez Featuring The Global Messengers – ‘Crisálida’
Flora Purim – ‘If You Will’
Miguel Zenón – ‘Música de las Américas’

Best Gospel Performance/Song
Doe – ‘When I Pray’
Erica Campbell – ‘Positive
Maverick City Music & Kirk Franklin – ‘Kingdom’
PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls – ‘The Better Benediction’
Tye Tribbett – ‘Get Up’

Best Contemporary Christian Music Performance/Song
Chris Tomlin – ‘Holy Forever’
Crowder & Dante Bowe Featuring Maverick City Music – ‘God Really Loves Us (Radio Version)’
Doe – ‘So Good’
For King & Country & Hillary Scott – ‘For God Is With Us’
Maverick City Music & Kirk Franklin – ‘Fear Is Not My Future’
Phil Wickham – ‘Hymn Of Heaven (Radio Version)’

Best Gospel Album
Doe – ‘Clarity’
Maranda Curtis – ‘Die To Live’
Maverick City Music & Kirk Franklin – ‘Kingdom Book One (Deluxe)’
Ricky Dillard – ‘Breakthrough: The Exodus (Live)’
Tye Tribbett – ‘All Things New’

Best Contemporary Christian Music Album
Anne Wilson – ‘My Jesus’
Chris Tomlin – ‘Always’
Elevation Worship – ‘Lion’
Maverick City Music – ‘Breathe’
TobyMac – ‘Life After Death’

Best Roots Gospel Album
Gaither Vocal Band – ‘Let’s Just Praise The Lord’
Karen Peck & New River – ‘2:22’
Keith & Kristyn Getty – ‘Confessio – Irish American Roots’
Tennessee State University – ‘The Urban Hymnal’
Willie Nelson – ‘The Willie Nelson Family’

Best Latin Pop Album
Camilo – ‘De Adentro Pa Afuera’
Christina Aguilera – ‘Aguilera’
Fonseca – ‘Viajante’
Rubén Blades & Boca Livre – ‘Pasieros’
Sebastián Yatra – ‘Dharma +’

Best Música Urbana Album
Bad Bunny – ‘Un Verano Sin Ti’
Daddy Yankee – ‘Legendaddy’
Farruko – ‘La 167’
Maluma – ‘The Love & Sex Tape’
Rauw Alejandro – ‘Trap Cake, Vol. 2’

Best Latin Rock or Alternative Album
Cimafunk – ‘El Alimento’
Fito Paez – ‘Los Años Salvajes’
Gaby Moreno – ‘Alegoría’
Jorge Drexler – ‘Tinta y Tiempo’
Mon Laferte – ‘1940 Carmen’
Rosalía – ‘Motomami’

Best Regional Mexican Music Album (Including Tejano)
Chiquis – ‘Abeja Reina’
Christian Nodal – ‘EP #1 Forajido’
Marco Antonio Solís – ‘Qué Ganas de Verte (Deluxe)’
Natalia Lafourcade – ‘Un Canto por México – El Musical’
Los Tigres del Norte – ‘La Reunión (Deluxe)’

Best Tropical Latin Album
Carlos Vives – ‘Cumbiana II’
Marc Anthony – ‘Pa’lla Voy’
La Santa Cecilia – ‘Quiero Verte Feliz’
Spanish Harlem Orchestra – ‘Imágenes Latinas’
Tito Nieves – ‘Legendario’

Best American Roots Performance
Aaron Neville & The Dirty Dozen Brass Band – ‘Stompin’ Ground’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bill Anderson Featuring Dolly Parton – ‘Someday It’ll All Make Sense (Bluegrass Version)’
Fantastic Negrito – ‘Oh Betty’
Madison Cunningham – ‘Life According To Raechel’

Best Americana Performance
Asleep At the Wheel Featuring Lyle Lovett – ‘There You Go Again’
Blind Boys Of Alabama Featuring Black Violin – ‘The Message’
Bonnie Raitt – ‘Made Up Mind’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Eric Alexandrakis – ‘Silver Moon [A Tribute to Michael Nesmith]’

Best American Roots Song
Anaïs Mitchell – ‘Bright Star’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bonnie Raitt – ‘Just Like That’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Robert Plant & Alison Krauss – ‘High And Lonesome’
Sheryl Crow – ‘Forever’

Best Americana Album
Bonnie Raitt – ‘Just Like That…’
Brandi Carlile – ‘In These Silent Days’
Dr. John – ‘Things Happen That Way’
Keb’ Mo’ – ‘Good To Be…’
Robert Plant & Alison Krauss – ‘Raise The Roof’

Best Bluegrass Album
The Del McCoury Band – ‘Almost Proud’
The Infamous Stringdusters – ‘Toward The Fray’
Molly Tuttle & Golden Highway – ‘Crooked Tree’
Peter Rowan – ‘Calling You From My Mountain’
Yonder Mountain String Band – ‘Get Yourself Outside’

Best Traditional Blues Album
Buddy Guy – ‘The Blues Don’t Lie’
Charlie Musselwhite – ‘Mississippi Son’
Gov’t Mule – ‘Heavy Load Blues’
John Mayall – ‘The Sun Is Shining Down’
Taj Mahal & Ry Cooder – ‘Get On Board’

Best Contemporary Blues Album
Ben Harper – ‘Bloodline Maintenance’
Edgar Winter – ‘Brother Johnny’
Eric Gales – ‘Crown’
North Mississippi Allstars – ‘Set Sail’
Shemekia Copeland – ‘Done Come Too Far’

Best Folk Album
Aoife O’Donovan – ‘Age Of Apathy’
Janis Ian – ‘The Light At The End Of The Line’
Judy Collins – ‘Spellbound’
Madison Cunningham – ‘Revealer’
Punch Brothers – ‘Hell On Church Street’

Best Regional Roots Music Album
Halau Hula Keali’i o Nalani – ‘Halau Hula Keali’i o Nalani (Live At The Getty Center)’
Natalie Ai Kamauu – ‘Natalie Noelani’
Nathan & The Zydeco Cha-Chas – ‘Lucky Man’
Ranky Tanky – ‘Live At The 2022 New Orleans Jazz & Heritage Festival’
Sean Ardoin & Kreole Rock And Soul Featuring The Golden Band From Tigerland – ‘Full Circle’

Best Reggae Album
Kabaka Pyramid – ‘The Kalling’
Koffee – ‘Gifted’
Protoje – ‘Third Time’s The Charm’
Sean Paul – ‘Scorcha’
Shaggy – ‘Com Fly Wid Mi’

Best Global Music Performance
Arooj Aftab & Anoushka Shankar – ‘Udhero Na’
Burna Boy – ‘Last Last’
Matt B & Eddy Kenzo – ‘Gimme Love’
Rocky Dawuni Featuring Blvk H3ro – ‘Neva Bow Down’
Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode – ‘Bayethe’

Best Global Music Album
Angélique Kidjo & Ibrahim Maalouf – ‘Queen Of Sheba’
Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago – ‘Between Us… (Live)’
Berklee Indian Ensemble – ‘Shuruaat’
Burna Boy – ‘Love, Damini’
Masa Takumi – ‘Sakura’

Best Children’s Music Album
Alphabet Rockers – ‘The Movement’
Divinity Roxx – ‘Ready Set Go!’
Justin Roberts – ‘Space Cadet’
Lucky Diaz And The Family Jam Band – ‘Los Fabulosos’
Wendy And DB – ‘Into The Little Blue House’

Best Audio Book, Narration, And Storytelling Recording
Jamie Foxx – Act Like You Got Some Sense
Lin-Manuel Miranda – Aristotle And Dante Dive Into The Waters Of The World
Mel Brooks – All About Me!: My Remarkable Life In Show Business
Questlove – Music Is History
Viola Davis – Finding Me

Best Spoken Word Poetry Album
Amanda Gorman – Call Us What We Carry: Poems
Amir Sulaiman – You Will Be Someone’s Ancestor. Act Accordingly.
Ethelbert Miller – Black Men Are Precious
J. Ivy – The Poet Who Sat by the Door
Malcolm-Jamal Warner – Hiding In Plain View

Best Comedy Album
Dave Chappelle – ‘The Closer’
Jim Gaffigan – ‘Comedy Monster’
Louis C.K. – ‘Sorry’
Patton Oswalt – ‘We All Scream’
Randy Rainbow – ‘A Little Brains, A Little Talent’

Best Musical Theatre Album
Original Broadway Cast – ‘A Strange Loop’
New Broadway Cast – ‘Caroline, Or Change’
‘Into the Woods’ 2022 Broadway Cast – ‘Into the Woods (2022 Broadway Cast Recording)’
Original Broadway Cast – ‘MJ The Musical’
‘Mr. Saturday Night’ Original Cast – ‘Mr. Saturday Night’
Original Broadway Cast – ‘Six: Live On Opening Night’

Best Compilation Soundtrack For Visual Media
Various Artists – Elvis
Various Artists – Encanto
Various Artists – Stranger Things: Soundtrack From The Netflix Series, Season 4
Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer – Top Gun: Maverick
Various Artists – West Side Story

Best Score Soundtrack For Visual Media (Includes Film and Television)
Germaine Franco – Encanto
Hans Zimmer – No Time To Die
Jonny Greenwood – The Power Of The Dog
Michael Giacchino – The Batman
Nicholas Britell – Succession: Season 3

Best Score Soundtrack For Video Games And Other Interactive Media
Austin Wintory – Aliens: Fireteam Elite
Bear McCreary – Call Of Duty: Vanguard
Christopher Tin – Old World
Richard Jacques – Marvel’s Guardians Of The Galaxy
Stephanie Economou – Assassin’s Creed Valhalla: Dawn Of Ragnarök

Best Song Written For Visual Media
Beyoncé – ‘Be Alive
Carolina Gaitán – La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto – Cast – ‘We Don’t Talk About Bruno’
Jessy Wilson Featuring Angélique Kidjo – ‘Keep Rising (The Woman King)’
Lady Gaga – ‘Hold My Hand’
Taylor Swift – ‘Carolina’
4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo & Grayson Villanueva – ‘Nobody Like U’

Best Arrangement, Instrumental or A Cappella
Armand Hutton Featuring Terrell Hunt & Just 6 – ‘As Days Go By (An Arrangement of the Family Matters Theme Song)’
Danny Elfman – ‘Main Titles’
Kings Return – ‘How Deep Is Your Love’
Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer -‘Scrapple From The Apple’
Remy Le Boeuf – ‘Minnesota, WI’

Best Arrangement, Instruments and Vocals
Becca Stevens & Attacca Quartet – ‘2 + 2 = 5 (Arr. Nathan Schram)’
Cécile McLorin Salvant – ‘Optimistic Voices / No Love Dying’
Christine McVie – ‘Songbird (Orchestral Version)’
Jacob Collier Featuring Lizzy McAlpine & John Mayer – ‘Never Gonna Be Alone’
Louis Cole – ‘Let It Happen’

Best Recording Package
Fann – ‘Telos’
Soporus – ‘Divers’
Spiritualized – ‘Everything Was Beautiful’
Tamsui-Kavalan Chinese Orchestra – ‘Beginningless Beginning’
Underoath – ‘Voyeurist’

Best Boxed or Special Limited Edition Package
Black Pumas – ‘Black Pumas (Collector’s Edition Box Set)’
Danny Elfman – ‘Big Mess’
The Grateful Dead – ‘In And Out Of The Garden: Madison Square Garden ’81, ’82, ’83’
They Might Be Giants – ‘Book’
Various Artists – ‘Artists Inspired By Music: Interscope Reimagined’

Best Album Notes
Andy Irvine & Paul Brady – ‘Andy Irvine / Paul Brady’
Astor Piazzolla – ‘The American Clavé Recordings’
Doc Watson – ‘Life’s Work: A Retrospective’
Harry Partch – ‘Harry Partch, 1942’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’

Best Historical Album
Blondie – ‘Against the Odds: 1974 – 1982’
Doc Watson – ‘Life’s Work: A Retrospective’
Freestyle Fellowship – ‘To Whom It May Concern…’
Glenn Gould – ‘The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’

Songwriter of the Year, Non-Classical
Amy Allen
Laura Veltz
Nija Charles
The-Dream
Tobias Jesso Jr.

Best Engineered Album, Non-Classical
Baynk – ‘Adolescence’
Father John Misty – ‘Chloë And The Next 20th Century’
Harry Styles – ‘Harry’s House’
Robert Glasper – ‘Black Radio III’
Wet Leg – ‘Wet Leg’

Producer of the Year, Non-Classical
Boi-1da
Dahi
Dan Auerbach
Dernst “D’Mile” Emile II
Jack Antonoff

Best Remixed Recording
Beyoncé – ‘Break My Soul (Terry Hunter Remix)’
Ellie Goulding – ‘Easy Lover (Four Tet Remix)’
The Knocks & Dragonette – ‘Slow Song (Paul Woolford Remix)’
Lizzo – ‘About Damn Time (Purple Disco Machine Remix)’
Wet Leg – ‘Too Late Now (Soulwax Remix)’

Best Immersive Audio Album
Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene – Tuvayhun – ‘Beatitudes For A Wounded World’
The Chainsmokers – ‘Memories…Do Not Open’
Christina Aguilera – ‘Aguilera’
Jane Ira Bloom – ‘Picturing the Invisible: Focus 1’
Stewart Copeland & Ricky Kej – ‘Divine Tides’

Best Orchestral Performance
Berlin Philharmonic & John Williams – ‘John Williams: The Berlin Concert’
Los Angeles Philharmonic & Gustavo Dudamel – ‘Dvořák: Symphonies Nos. 7-9’
New York Youth Symphony – ‘Works by Florence Price, Jessie Montgomery, Valerie Coleman’
Various Artists – Sila: ‘The Breath Of The World’
Wild Up & Christopher Rountree – ‘Stay On It’

Best Opera Recording
Boston Modern Orchestra Project & Odyssey Opera Chorus – ‘Anthony Davis: X: The Life And Times Of Malcolm X’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Blanchard: Fire Shut Up In My Bones’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Eurydice’

Best Music Video
Adele – ‘Easy On Me’
BTS – ‘Yet To Come’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Taylor Swift – ‘All Too Well: The Short Film’

Best Music Film
Adele – Adele One Night Only
Billie Eilish – Billie Eilish Live At The O2
Justin Bieber – Our World
Neil Young & Crazy Horse – A Band A Brotherhood A Barn
Rosalía – Motomami (Rosalía TikTok Live Performance)
Various Artists – Jazz Fest: A New Orleans Story

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Paul McCartney announces career-spanning ‘7″ Singles’ vinyl boxset

Paul McCartney has announced a new vinyl boxset called ‘The 7″ Singles’ – find all the details below.

The former Beatle turned solo icon is due to release the special collection on December 2 (pre-order here). Limited to 3000 copies, the product comprises 80 career-spanning 7″ singles personally curated by McCartney.

  • READ MORE: Paul McCartney live at Glastonbury 2022: history-making rock’n’Grohl with The Boss

‘The 7″ Singles’ features 163 tracks overall, totalling 10 hours of music from Macca’s half-century as a solo artist. Additionally, each box contains a randomly selected exclusive test pressing of one of the singles.

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Fans will also get a 148-page book with a personal foreword by McCartney, essay by music journalist Rob Sheffield, extensive chart information, liner notes, and official artwork, per a press release.

As well the planned physical release, ‘The 7″ Singles’ is set to arrive on major streaming platforms on December 2.

To preview the new boxset, Macca has today (November 10) shared the 2022 mono remasters of ‘Uncle Albert’/Admiral Halsey’ and ‘Too Many People’. You can listen to the songs above.

“I hope the songs in this boxset bring back fun memories for you too,” McCartney said in a statement. “They do for me, and there will be more to come…” Check out the preview image below.

a preview image of Paul McCartney's new vinyl boxset, 'The 7" Singles'
Paul McCartney – ‘The 7″ Singles’. CREDIT: Press

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Paul McCartney – ‘The 7” Singles Box’ tracklist:

1971, Sweden
1A: Another Day
1B: Oh Woman, Oh Why
1971, US Mono
Promotional Release
2A: Uncle Albert / Admiral Halsey [Mono]
2B: Too Many People [Mono]
1971, UK
3A: The Back Seat of My Car
3B: Heart of the Country
Previously unreleased on 7”
4A: Love Is Strange [Single Edit]
4B: I Am Your Singer
1972, UK
5A: Give Ireland Back to the Irish
5B: Give Ireland Back to the Irish [Version]
1972, UK
6A: Mary Had a Little Lamb
6B: Litt
le Woman Love
1972, Belgium
7A: Hi, Hi, Hi
7AA: C Moon
1973, Israel
8A: My Love
8B: The Mess [Live at The Hague]
1973, Sweden
9A: Live and Let Die
9B: I Lie Around
1973, Spain
10A: Helen Wheels
10B: Country Dreamer
1974, Germany
11A: Jet
11B: Let Me Roll It
1974, Germany
12A: Band on the Run
12B: Nineteen Hundred and Eighty Five
1974, The Netherlands
13A: Mrs. Vandebilt
13B: Bluebird
1974, Belgium
14A: Junior’s Farm
14B: Sally G
1975, Australia
15A: Listen to What the Man Said
15B: Love in Song
1975, Germany
16A: Letting Go
16B: You Gave Me the Answer
1975, Belgium
17A: Venus and Mars / Rock Show
17B: Magneto and Titanium Man
1976, France
18A: Silly Love Songs
18B: Cook of the House
1976, Germany
19A: Let ‘Em In
19B: Beware My Love
1977, Japan
20A: Maybe I’m Amazed (Live)
20B: Soily (Live)
1977, UK
21A: Mull of Kintyre
21AA: Girls’ School
1978, Germany
22A: With a Little Luck (DJ Edit)
22B: Backwards Traveller/Cuff Link
1978, UK
23A: I’ve Had Enough
23B: Deliver Your Children
1978, The Netherlands
24A: London Town
24B: I’m Carrying
1978, France
25A: Goodnight Tonight
25B: Daytime Nightime Suffering
1979, UK
26A: Ol
d Siam, Sir
26B: Spin It On
1979, UK
27A: Getting Closer
27AA: Baby’s Request
1979, Japan
28A: Arrow Through Me
28B: Old Siam, Sir
1979, UK
29A: Wonderful Christmastime
29B: Rudolph the Red Nosed Reggae
1980, UK
30A: Coming Up
30B: Coming Up (Live at Glasgow)
30BB : Lunch Box/Odd Sox
1980, UK
31A: Waterfalls
31B: Check My Machine
Previously unreleased on 7”
32A: Temporary Secretary
32B: Secret Friend
[7” Single Edit]
1982, UK
33A: Ebony and Ivory
33B: Raincloud
s
1982, UK
34A: Take It Away
34B: I’ll Give You a Ring
1982, UK
35A: Tug of War
35B: Get It
1983, UK
36A: Say Say Say
36B: Ode to a Koala Bear
1983, UK
37A: Pipes of Peace
37B: So Bad
1984, UK
38A: No More Lonely Nights (Ballad)
38B: No More Lonely Nights (Playout Version)
1984, UK
39A: We All Stand Together
39B: We All Stand Together (Humming Version)
1985, US

 

40A: Spies Like Us
40B: My Carnival
1986, US
41A: Press [Video Edit]
41B: It’s Not True
1986, Art reformatted from US 12” promotional vinyl
42A: Pretty Little Head (Remix)
42B: Write Away
1986, US
43A: Stranglehold
43B: Angry (Remix)
1986, UK
44A: Only Love Remains
44B: Tough on a Tightrope
1987, UK
45A: Once Upon a Long Ago
45B: Back on My Feet
1989, US
46A: My Brave Face
46B: Flying to My Home
1989, UK
47A: This One
47B: The First Stone
1989, Australia
48A: Figure of Eight [7” Bob Clearmountain Mix]
48B: Où Est le Soleil
1989, UK
49A: Party Party
49B: Artwork etching
1990, UK
50A: Put It There
50B: Mama’s Little Girl
1990, Europe
51A: The Long and Winding Road
51B: C Moon
1990, UK
52A: Birthday
52B: Good Day Sunshine
1990, UK
53A: All My Trials
53B: C Moon
Previously unreleased on 7”
54A: The World You’re Coming Into
54AA: Tres Conejos
54B: Save the Child
54BB: The Drinking Song (Let’s Find Ourselves a Little Hostelry)
1992, Europe
55A: Hope of Deliverance
55B: Long Leather Coat
1993, Germany
56A: C’Mon People
56B: I Can’t Imagine
1997, Reformatted from 7” picture disc
57A: Young Boy
57B: Looking for You
1997, Reformatted from 7” picture disc
58A: The World Tonight
58B: Used to Be Bad
1997, Reformatted from 7” picture disc
59A: Beautiful Night
59B: Love Come Tumbling Down
1999, UK
60A: No Other Baby
60B: Brown Eyed Handsome Man
60BB: Fabulous
2001, Europe
61A: From a Lover to a Friend
61B: Riding into Jaipur
2004, Europe
62A: Tropic Island Hum
62B: We All S
tand Together
2005, Europe
63A: Fine Line
63B: Growing Up Falling Down
2005, Europe
64A: Jenny Wren
64B: Summer of ’59
Previously unreleased on 7”
65A: Dance Tonight
65B: Dance Tonight [Demo]
Previously unreleased on 7”
66A: Nod Your Head
66B: 222
2007, Europe
67A: Ever Present Past
67B: House of Wax (Live)
Previously unreleased on 7”
68A: Sing the Changes
68B: Nothing Too Much Just Out of Sight [Radio Edit]
Previously unreleased on 7”
69A: (I Want To) Come
Home
69B: (I Want To) Come Home [Demo]
Previously unreleased on 7”
70A: My Valentine
70B: Get Yourself Another Fool
2012, US
Christmas Kisses
71A: The Christmas Song (Chestnuts Roasting on an Open Fire)
71B: Wonderful Christmastime
Previously unreleased on 7”
72A: New
72B: Early Days
Previously unreleased on 7”
73A: Queenie Eye
73B: Save Us
Previously unreleased on 7”
74A: Hope for the Future
74B: Hope for the Future [Thrash Mix]
Previously unreleased on 7”
75A: In the Blink of an Eye
75B: Walking in the Park with Eloise
2018, Global
76A: I Don’t Know
76AA: Come on to Me
Previously unreleased on 7”
77A: Who Cares
77B: Fuh You
2019, Global
78A: Home Tonight
78AA: In a Hurry
Previously unreleased on 7”
79A: Find My Way
79AA: Winter Bird / When Winter Comes
Previously unreleased on 7”
80A: Women and Wives
80B: Women and Wives (St. Vincent Remix)

McCartney released his 18th solo studio album, ‘McCartney III’, in December 2020. The record completed the trilogy that began with ‘McCartney’ (1970) and ‘McCartney II’ (1980).

In a four-star review of the latest and final entry, NME wrote: “If future archaeologists take this three-album series as a significant marker of his solo half-century, they’ll conclude that Paul McCartney never stopped liberating.”

This summer saw Paul McCartney play a mammoth headline set at Glastonbury 2022. During the Pyramid Stage spectacle, the musician brought on surprise guests Dave Grohl and Bruce Springsteen, and duetted virtually with the late John Lennon.

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Noel Gallagher’s handwritten ‘Wonderwall’ lyrics fetch over £46,000 at auction

Noel Gallagher‘s handwritten lyrics for Oasis classic ‘Wonderwall’ have been sold for £46,875 at an auction.

  • READ MORE: Watch Noel Gallagher’s track-by-track guide to ‘Back The Way We Came: Vol 1 (2011-2021)’

The page is believed to have been written in the mid noughties to help Gallagher during rehearsals according to a description at the Propstore auction. It was kept by a member of the band’s road crew.

It was estimated to fetch between 4,000 and £6,000 but went for 10 times the estimated price.

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A 1962 Epiphone Casino Guitar, which Gallagher bought after advice from Paul Weller and was used to record ‘Be Here Now’, and demos for ‘Standing On The Shoulder Of Giants’, also sold for £56,250.

Other items which went under the hammer included a leather jacket worn by Guns N’ Roses guitarist Slash during the music video for ‘Paradise City’ which went for £34,375 and an autographed ticket for a Beatles concert sold for £12,500.

David Bowie‘s spacesuit which he wore for the 1980 hit ‘Ashes To Ashes’ and a signed gun licence application from Elvis Presley also went up for auction.

Meanwhile, Noel Gallagher recently made his return with comeback single ‘Pretty Boy’ featuring Johnny Marr. It is the first track to feature on his forthcoming new album the follow-up to his 2017 LP, ‘Who Built The Moon?’.

The premiere for Liam Gallagher‘s Knebworth 22 documentary was also held in London earlier this week.

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Director Toby L spoke about Gallagher’s return to Knebworth Park this summer, calling it “a great moment” for “a new generation of fans that weren’t alive when Oasis was around.”

Knebworth 22 is set to arrive in select UK cinemas for a limited time on November 17, with a full streaming release on Paramount+ later this year. Tickets for the screenings can be purchased here.

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