Watch Jake Xerxes Fussell play an exclusive Uncut session

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Hopefully you’ve already caught the two previous sessions hosted by Uncut in conjunction with Paradise Of Bachelors.

If not, you can watch wonderful and unique performances by James Elkington and Itasca by clicking the links on their respective names.

Today, we bring you you third session in the series, recorded live at his home in Durham, North Carolina, by Jake Xerxes Fussell.

He plays elegant updates of two traditional folk songs, “Wild Mountain Thyme” and “The River St. Johns”, either side of his take on Allen Toussaint’s “Freedom For The Stallion”, recorded by Lee Dorsey, Hues Corporation, Boz Scaggs and Elvis Costello, among others. Watch below:

Jake Xerxes Fussell’s Out Of Sight album is out now on Paradise Of Bachelors, buy or stream it here.

Next in the series is Michael Chapman, so please bookmark the Uncut homepage and check back from 6pm on June 4 to view his session.

Yusuf / Cat Stevens has re-recorded Tea For The Tillerman

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Yusuf / Cat Stevens has announced that a “reimagined and rerecorded” version of his classic 1970 album Tea For The Tillerman will be released by UMC on September 18.

Guitarist Alun Davies and producer Paul Samwell-Smith have reprised their roles from the original album, joined this time by Bruce Lynch on bass, guitarist Eric Appapoulay, multi-instrumentalist Kwame Yeboah, Jim Cregan on guitar and Peter Vettese on keyboards.

Listen to the rerecorded version of “Where Do The Children Play?” below:

“Though my songwriting adventures were never limited to Tillerman, the songs on that album certainly defined me and pointed the way for my mysterious life’s journey,” says Stevens. “Since those originative sessions in Morgan Studios, Willesden, in 1970, Tillerman has grown and developed its own gravitas and influence on music history and as the soundtrack to so many people’s lives. Like it was destiny waiting to happen, T4TT² feels like the timing of its message has arrived again.”

Pre-order Tea For The Tillerman 2 here.

PJ Harvey’s entire catalogue to be reissued on vinyl

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PJ Harvey’s entire catalogue is to be reissued on vinyl over the course of the next year by UMC/Island and Beggars Archive/Too Pure.

The reissue programme includes the two albums she made in collaboration with John Parish, as well as standalone versions of her album demos.

First up is the reissue of her landmark 1992 debut Dry, released on July 24 along with Dry – Demos – a collection of demos that was released with limited early copies of the album but hasn’t been available since. It features brand new artwork with previously unseen photos by Maria Mochnacz.

Pre-order here and listen to the demo of “Sheela-Na-Gig” below:

Led Zeppelin’s Celebration Day to stream on YouTube this weekend

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Led Zeppelin have announced that Celebration Day – the film of their triumphant reunion show at London’s O2 in December 2007 – will stream for free on YouTube for a limited period this weekend.

Originally released on DVD in 2012, Celebration Day will premiere on Led Zeppelin’s official YouTube channel on Saturday, May 30 at 8PM BST, remaining up for three days.

You can watch it via the portal below:

In the meantime, check out the trailer here:

David Bowie’s Glastonbury 2000 show coming to BBC in June

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The BBC have announced a full line-up of Glastonbury programming over the weekend that the festival would have run this year, June 26-29.

It will include David Bowie’s famous pyramid stage headline set from 2000, never broadcast in full at the time, but released on DVD, LP and CD in 2018.

BBC2 will also show classic performances from Nick Cave & The Bad Seeds, REM, PJ Harvey, Baaba Maal, Amy Winehouse, Blur, Lady Gaga, Dizzee Rascal, Toots & The Maytals, Arctic Monkeys and The Rolling Stones.

In total, 60 full performances will be available via the iPlayer, including Radiohead’s epochal 1997 headline appearance, plus acoustic sets by Patti Smith, Richie Havens and Youssou N’Dour.

Julien Temple’s film Glastonbury, celebrating the history of the festival, will get another airing on June 25 on BBC4.

Shirley Collins announces new album, Heart’s Ease

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Shirley Collins has announced that her new album, Heart’s Ease, will be released by Domino on July 24.

It’s the follow-up to 2016’s remarkable Lodestar, which signalled her return to music after nearly four decades away.

Watch a video for the first single from Heart’s Ease, “Wondrous Love”, below:

The tune comes from an 18th Century English ballad about the infamous sea captain William Kidd, who was hanged for piracy in 1701. Collins first heard the hymn at a Sacred Harp Convention in Alabama (Collins and Alan Lomax recorded it on their field recording trip in 1959). She has decided to sing it now “because songs are stored in my memory for a great many years, and suddenly it seems the right time to bring them out again.”

Recorded at Metway in Brighton, Heart’s Ease features traditional songs from England and the USA, but there are also four new songs and even a burst of experimentation. Says Collins: “Lodestar wasn’t too bad, was it? But when I listen to it, it does sometimes sound rather tentative. I had to record it at home because I was just too nervous to sing in front of somebody I didn’t know. This time I was far more relaxed – even though I went into a studio.”

Peruse the artwork and tracklisting below:

1. The Merry Golden Tree
2. Rolling In The Dew
3. The Christmas Song
4. Locked In Ice
5. Wondrous Love
6. Barbara Allen
7. Canadee-i-o
8. Sweet Greens And Blues
9. Tell Me True
10. Whitsun Dance
11. Orange In Bloom
12. Crowlink

Steve Earle & The Dukes – Ghosts Of West Virginia

On April 5, 2010, 300 metres beneath Raleigh County, West Virginia, methane seeping from the coal seams of Massey Energy’s Upper Big Branch mine ignited and exploded. Fire roared through two miles of subterranean tunnel and killed 29 miners. Investigations blamed dereliction of safety procedures; Massey’s CEO, Don Blankenship, was convicted in 2015 of conspiring to violate safety standards, and jailed for a year.

This is the background that informs Ghosts Of West Virginia, arguably Steve Earle’s best album since 2002’s Jerusalem. Earle wrote seven of these 10 songs to accompany a drama by Jessica Blank and Erik JensenCoal Country, drawn from interviews with miners who survived the Upper Big Branch disaster, and families of the miners who didn’t. When the play is staged, Earle serves, as he puts it, as “a Greek chorus with a guitar”. But the songs hold up handsomely on their own merits, well served by the poise and pugnacity of the Dukes – joined here by Chris Robinson Brotherhood bassist Jeff Hill, stepping in for long-serving Earle sideman Kelley Looney, who died last November, aged 61.

On one hand, the Upper Big Branch disaster seems obviously congruent territory for Earle – the working man crushed beneath the march of capitalism has been a recurring theme of his work, back to “Good Ol’ Boy (Getting’ Tough)” on Earle’s 1986 debut, Guitar Town. But it is also ground a pinko folk singer needs to tread carefully – West Virginia is one of the states of the Union in which a person of Earle’s leftward-leaning convictions might be likeliest to be upholstered in tar and feathers and chased to the border by a pitchfork-wielding mob. In 2016, 68 per cent of West Virginian voters cast their ballots for Donald Trump: the president’s best result nationwide.

Ghosts Of West Virginia begins with the appropriately spectral fanfare of “Heaven Ain’t Goin’ Nowhere”, an a cappella gospel piece that casts the Dukes as choristers to Earle’s gruff, chain-rattling conductor, intoning a creed of fatalistic resignation (“Don’t worry about puttin’ nothin’ away/Money’s no good come the Judgement Day”). It sets a tone for what follows: an empathetic narrative of people who understand the horizons they’re bound by, but who take considerable pride in what they’re able to accomplish within them – and their struggles to expand them. The Dukes kick in properly on “Union, God And Country”, an upbeat and neatly observed slice of ordinary life evocative of John Prine’s “Grandpa Was A Carpenter”, spelling out the way things are done round here: “When they’d strike the mine/They’d walk the line/’Cos that’s just what you’d do.”

The literal and thematic centrepiece of “Ghosts Of West Virginia” is “It’s About Blood”. It’s pretty typical of the album’s sonic palette – an electrified bluegrass that might be thought of as Appalachian grunge – and it absolutely nails the political as well as the personal. Earle begins by narrating the view of the world one develops from several fathoms below its surface (“For every man that died for a coal company dollar/A lung full of dust and a heart full of lies”). He ends by reciting the names of the 29 men lost at Upper Big Branch, while behind him the Dukes conjure an appropriately furious crescendo of clattering guitars and keening violin.

Elsewhere are moments of stately beauty. Fiddle player Eleanor Whitmore’s lead vocal turn on “If I Could See Your Face Again” is a blazing highlight. Earle’s gruff grumble suits “Time Is Never On Your Side” just fine, although it prompts a measure of regret that it arrives a few years too late to be sung by Glen Campbell.

For all that Ghosts Of West Virginia is a serious work contemplating a serious subject, there are moments where Earle sounds like he’s having more fun than any time since The Mountain, his 1999 album with the Del McCoury Band. “John Henry Was A Steel Drivin’ Man” is Earle’s contribution to the hefty canon of song commemorating the legendary railway-builder. Earle tells the yarn of America’s Stakhanov to an irresistible country shuffle, leaving it to the end to wryly note that the big man is probably best off out of it (“John Henry could have told ’em what that means/When the company brought in all the big machines”). “Fastest Man Alive” is just hilarious – a Delbert McClinton-ish boogie bearing a gleeful depiction of legendary West Virginia-born test pilot Chuck Yeager as an all-American badass (“I’m a mover, I’m a shaker/Ask your mother if I ain’t”).

It is an uneasy balance, being the ornery redneck that milquetoast liberals listen to, and vice versa. But it is one that has defined Earle’s career, and he has rarely negotiated it more deftly than he does here.

Bob Marley: “He sent messages to the world”

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The new issue of Uncut – in shops now or available to buy online by clicking here – features a fascinating and comprehensive account of Bob Marley’s 1977, the year he spent in exile in London creating his landmark albums Exodus and Kaya. In it, Graeme Thomson revisits a whirlwind 12 months in Marley’s life with help from Chris Blackwell, Marcia Griffiths, Aston ‘Family Man’ Barrett, Don Letts, Junior Marvin and other eyewitnesses.

Marley arrived in London in early January 1977, shortly before turning 32, following the most tumultuous few weeks of his life. On December 3, two days before he had been due to perform at the Smile Jamaica concert, seven gunmen entered his compound at 56 Hope Road in Kingston. Marley was shot in the chest and the arm but escaped without serious injury. His wife, Rita, was shot in the head, though miraculously she made a full recovery, while his manager, Don Taylor, was struck in the legs and body.

“He didn’t talk about the shooting much, but he was very upset that people would come to shoot him,” says Chris Blackwell. “Bob wasn’t at all someone who was boastful or thought he was the greatest thing ever – he was a very natural person – but I think he was shocked that people would want to shoot him, and it took him a while to work through that.”

The reggae superstar had chosen to deal with the fallout from the shooting in London, where his recent brush with mortality infused his life and music with a new sense of purpose. On the one hand, it was business as usual. “Bob set up his Rasta camp here,” says Don Letts, at the time a budding DJ, entrepreneur and “baby dread” who was befriended by Marley. “It was like he had picked up a bit of Kingston and transplanted it to Chelsea.”

The cultural exchange worked both ways, however. In London, Marley integrated with young punks and Rastas, visited West End nightclubs and dingy shebeens, played football in his local park, recorded with his wife, conceived a son with his girlfriend, and fell prey to the injury that eventually led to his death four years later. “It was an amazing time,” says Marcia Griffiths, a member of his vocal group, The I-Threes. “Everything was happening all at once.”

The duality of Marley’s year in exile is most clearly reflected in the music he created during that time. In London he made two albums, Exodus and Kaya, in a matter of months. They feature some of his deepest and most spiritually resonant music, from the lowering “Natural Mystic” to the declamatory “Exodus”. Yet it was also the year in which Marley recorded the songs that transformed him from a roots reggae star to a pop pin-up. “Three Little Birds”, “One Love”, “Jamming”, “Waiting In Vain” and “Is This Love?” were all released during this remarkably fertile period. “He was sending messages to the world,” says Griffiths. “Those two albums cover everything.”

At the heart of it all is Exodus, perhaps Marley’s most ambitious and universal statement. “It was very advanced, very progressive – almost futuristic,” says his eldest son Ziggy, who remastered the album in 2017. “Exodus took reggae to the next level in terms of instrumentation, beats and musicianship. It made reggae a more international and accessible thing, with elements people could relate to in their world.” Blackwell puts it more succinctly: “Exodus was a huge record for Island – and a revolutionary record for reggae.”

You can read much more about Bob Marley’s year in exile in the July 2020 issue of Uncut, out now.

Watch Itasca’s exclusive Uncut session

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Following last week’s terrific performance by James Elkington, we’re proud to present the next in Uncut’s exclusive series of lockdown sessions in conjunction with Paradise Of Bachelors.

It features Kayla Cohen AKA Itasca playing four songs from her recent album Spring – plus a bonus Warren Zevon cover – from a stunning location adjacent to her home near Joshua Tree, California.

Watch below:

Itasca played:

1. Only A Traveler
2. A’s Lament
3. Golden Fields
4. Tule’s Blues (Warren Zevon)
5. Voice Of The Beloved

You can read the Uncut review of Itasca’s Spring here and buy or stream the album by clicking here.

Next is the series is Jake Xerxes Fussell, so please bookmark the Uncut homepage and check back from 6pm on May 28 to view his session. Michael Chapman follows on June 4.

Hear Wilco’s new song, “Tell Your Friends”

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Wilco have released a new song to help everybody through the pandemic. Listen to “Tell Your Friends” below or download from Bandcamp, with all proceeds to World Central Kitchen.

A video of Wilco and their families playing and singing along to “Tell Your Friends” from their respective homes aired on last night’s A Late Show With Stephen Colbert. Watch below:

The show also featured Jeff Tweedy playing a solo acoustic version of Yankee Hotel Foxtrot’s “Jesus, Etc”. Watch that below:

Watch Neil Young play “Homegrown”, “Harvest”, “Old Man” and more

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Neil Young has released the latest edition of his Fireside Sessions – this time retitled Barnyard Sessions, given that he plays most of the songs surrounded by chickens.

Young plays the title track from his upcoming archive release Homegrown (due June 19), along with “Tumbleweed”, “Harvest”, “Old Man”, “Everybody Knows This Is Nowhere” and “War Of Man”.

Watch the video here, although you must already be subscribed to Neil Young Archives or have the app downloaded.

Hear previously unreleased Jason Molina song, “Shadow Answers The Wall”

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Secretly Canadian will release a new Jason Molina album entitled Eight Gates on August 7.

The nine previously unreleased songs comprise the last collection of solo recordings that the Songs: Ohia and Magnolia Electric Co leader made before he passed away from complications related to alcoholism in 2013. Listen to “Shadow Answers The Wall” below:

The songs on Eight Gates were recorded when Molina was living in London around 2008, with the title referring to the seven gates of the City Of London. Some of them are fully-realised, others more unfinished. Check out the artwork and tracklisting below:

1. Whisper Away
2. Shadow Answers the Wall
3. The Mission’s End
4. Old Worry
5. She Says
6. Fire on the Rail
7. Be Told the Truth
8. Thistle Blue
9. The Crossroad and the Emptiness

Watch a video for Matt Berninger’s new solo song, “Serpentine Prison”

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The National’s Matt Berninger has recorded a new solo album, produced by Memphis soul legend Booker T Jones.

Serpentine Prison will be released on October 2 through Book Records, a new imprint formed by Berninger and Jones in conjunction with Concord Records. Watch a video for the title track now:

“The song ‘Serpentine Prison’ was written in December 2018, about a week after recording The National’s I Am Easy To Find,” Berninger explains. “For a long time, I had been writing songs for movies and musicals and other projects where I needed to get inside someone else’s head and convey another person’s feelings. I liked doing that, but I was ready to dig back into my own garbage and this was the first thing that came out.

“The title is from a twisting sewer pipe that drains into the ocean near LAX. There’s a cage on the pipe to keep people from climbing out to sea. I worked on the song with Sean O’Brien and Harrison Whitford and recorded it about six months later with Booker T Jones producing. It feels like an epilogue, so I named the record after it and put it last.”

Watch a video for Idles’ new single, “Mr Motivator”

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Idles have released a new single called “Mr Motivator” – the first preview of their third LP due out later this year.

Watch a video for the song, featuring fan-sourced exercise footage, below:

Says Idles frontman Joe Talbot: “We want to start this journey with a means to not only encapsulate the album’s sentiment, but to encourage our audience to dance like no one is watching and plough through these dark times with a two tonne machete of a song and the most beautiful community of scumbags ever assembled. Let’s go. All is love.”

Hear Devendra Banhart cover Tyrannosaurus Rex’s “Scenescof”

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Following Nick Cave’s exquisite cover of T.Rex’s “Cosmic Dancer”, another song has been released from upcoming compilation, AngelHeaded Hipster: The Songs Of Marc Bolan, due out on September 4.

Listen to Devendra Banhart’s cover of “Scenescof”, from Tyrannosaurus Rex’s 1968 debut album My People Were Fair And Had Sky In Their Hair… But Now They’re Content To Wear Stars On Their Brows, below:

“I was completely in love with Marc Bolan, from John’s Children to Dandy In The Underworld and everything in between,” writes Banhart. “I remember the feeling of freedom I got from ‘Scenescof’ … ‘I don’t need anyone to dictate all my fun smile your smile and then run’…. That line gave me the courage to carve out a little bit of fantasy in my life back in my late teens.”

You can pre-order AngelHeaded Hipster: The Songs Of Marc Bolan and check out the full tracklisting here. Meanwhile, the new issue of Uncut includes an extensive feature about Marc Bolan, T.Rex and the birth of glam – find it in shops from tomorrow (May 21) or buy it online by clicking here.

Roger Waters reignites Pink Floyd feud

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Following his socially distanced performance of “Mother” earlier this week, Roger Waters has released a video announcement claiming that he has been “banned” from the official Pink Floyd website and social media accounts.

“One and a half million of you have viewed our new version of ‘Mother’, which is lovely… but it does bring up the question of why is this video not available on a website that calls itself the Pink Floyd website?” he asks in a video posted to his own Twitter account. “Well the answer to that is because nothing from me is on the website, I am banned by David Gilmour from the website.

“About a year ago I convened a sort of Camp David for the surviving members of Pink Floyd… where I proposed all kinds of measures to get past this awful impasse… it bore no fruit, I’m sorry to say. But one of the things that I asked for, I suggested that because whoever the 30 million of you are who subscribe to the web page, you do so because of the body of work that the five of us created… in consequence it seems to me that it would be fair and correct that we should have equal access to you all.

“David thinks he owns it. I think he thinks that because I left the band in 1985 that he owns Pink Floyd, that he is Pink Floyd, and that really I’m irrelevant and I should just keep my mouth shut.”

Waters then cites “rumblings and grumblings in the ranks” about how the Pink Floyd website has promoted Gilmour and Polly Samson’s weekly livestreams pertaining to her new novel, but none of Waters’ own recent projects. “This is wrong! We should rise up! Or, just change the name of the band to Spinal Tap and then everything will be hunkydory.”

Watch the full video below:

Uncut – July 2020

Bob Marley, Marc Bolan, John Prine, Courtney Marie Andrews, Joy Division, Joan As Police Woman, Irmin Schmidt, Paul Weller and Captain Beefheart all feature in the new Uncut, dated July 2020 and in UK shops from May 21 or available to buy online now. As always, the issue comes with a free CD – this month we’ve raided the archives of Light In The Attic Records for some incredible cosmic rarities.

BOB MARLEY: We revisit 1977, and a whirlwind 12 months in London for Marley. There he entered an extraordinarily creative phase, recording two landmark albums – Exodus and Kaya – that transformed him into a reggae superstar. Chris Blackwell, Marcia Griffiths, Aston ‘Family Man’ Barrett, Don Letts, Junior Marvin and other eyewitnesses tell the full story.

OUR FREE CD! Cosmic Cratedigging: 15 fantastic tracks from the archives of Light In The Attic Records, including cuts from Lee Hazlewood, Tim Buckley, Betty Davis, Roky Erickson, Jim Sullivan and Shin Joong Hyun.

This issue of Uncut is available to buy by clicking here – with FREE delivery to the UK and reduced delivery charges for the rest of the world.

Inside the issue, you’ll find:

MARC BOLAN: Tony Visconti, friends and associates recall the transformation of Bolan from hippie duckling to glam-rock swan, and the triumph of one of music’s most complex characters.

JOHN PRINE: We remember the life and work of this master songwriter, from the folk clubs of Chicago to Dylan-endorsed troubadour and beyond.

COURTNEY MARIE ANDREWS: This self-confessed “vagabond dirty hippie” has been on the road and releasing self-produced albums since her teens. We catch up with the itinerant singer-songwriter to hear all about Old Flowers, her potent new record.

IRMIN SCHMIDT: The Can co-founder discusses 60 years as a fearless innovator, John Cage, “evil” jazz and magic, as he presents new music in Huddersfield.

PAUL WELLER: We review his new album, and speak to the man himself about its creation.

JOAN AS POLICE WOMAN: Album by album with the Brooklyn singer-songwriter.

SPARKS: An audience with Ron and Russell Mael.

JOY DIVISION: The making of “Love Will Tear Us Apart”.

CAPTAIN BEEFHEART: A trip into the archives, as NME visits Don Van Vliet in the Mojave desert in November 1980. “Hey, if you want to be a different fish, you’ve got to jump out of the school!”

In our expansive reviews section, we take a look at new records from Nicole Atkins, Rolling Blackouts Coastal Fever, The Pretenders, Sonic Boom and more, and archival releases from Guided By Voices, Dr John, Rush and others. We catch Supergrass, Modern Nature and Aoife Nessa Frances live online; among the films, DVDs and TV programmes reviewed are Never Rarely Sometimes AlwaysA Rainy Day In New York, Beastie Boys Story and Days Of The Bagnold Summer; while in books there’s Ravi Shankar and Soft Cell.

In our front section, meanwhile, we pay tribute to Florian Schneider and Tony Allen, go behind the scenes of the new David Bowie film Stardust, hear about the art of punk posters, and meet Glasgow indie supergroup Snowgoose. At the end of the issue, Tim Burgess reveals the music that has shaped his life.

You can still pick up a copy of Uncut in the usual places, where open. But otherwise, readers all over the world can order a copy from here.

For more information on all the different ways to keep reading Uncut during lockdown, click here.

The new Uncut: Bob Marley, Marc Bolan, Paul Weller and a free Light In The Attic CD

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Thank you, first of all, to everyone who has taken out a subscription to Uncut, bought a copy from our online shop or downloaded a digital edition recently. I’m humbled and honoured by your continuing support for Uncut – and never more so than during these strange times.

While Uncut endures – alas, the same is not true of some of our musical heroes. During our last week of production on this issue, we lost Tony Allen, Dave Greenfield and – two days before we went to press – Florian Schneider. We have managed to bid to them farewell in this issue, as well as a longer eulogy to John Prine that we’ve been working on for some weeks. Unfortunately, we were too late to pay tribute to Betty Wright and Little Richard: they will both be commemorated in future issues of Uncut.

Speaking of Schneider… Kraftwerk fans, please note, there’s a rather handsome Ultimate Music Guide devoted to Dusseldorf’s finest available to buy now from our online shop.

There’s plenty to look forward to in the next issue of Uncut. Not least our 15-track Cosmic Cratedigging CD – compiled for us by our friends at Light In The Attic Records. This is one for Uncut heads – there’s psychedelic soul, avant-garde pop, weird folk, kosmiche electronics and experimental jazz that’s guaranteed to provide some respite during these troubling times.

Elsewhere, we mark Bob Marley’s 75th anniversary celebrations with a deep dive into one of his most creatively adventurous years – a momentous 12-month period of London exile that not only caught Marley’s uncompromising faith and politics in full flight, but also his charismatic, universalist touch. Graeme Thomson hears the inside story from Chris Blackwell, Marcia Griffiths, Aston ‘Family Man’ Barrett, Junior Marvin and other eyewitnesses.

Beyond our first Bob Marley cover for 20 years, can I steer you towards John Robinson’s splendid survey of Marc Bolan’s rise to glam superstar, or Rob Hughes moving eulogy to John Prine (assisted by Bonnie Raitt, Margo Price and others), Tom Pinnock’s pre-lockdown encounter with Can’s architect-in-chief Irmin Schmidt or Erin Osmon’s colourful trip through Courtney Marie Andrews’ life and times to date.

There’s much more, too – Joy Division, Paul Weller, Captain Beefheart, Sparks, Guided By Voices, Tim Burgess, Joan As Police Woman. Dig in – and, as ever, let us know what you think…

Follow me on Twitter @MichaelBonner

Watch Damon Albarn premiere his new orchestral project

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Last night (May 17), Damon Albarn premiered a selection of music from his new orchestral solo project, The Nearer The Fountain, More Pure The Stream Flows, via Boiler Room TV in support of The Global FoodBanking Network.

Albarn was due to be performing the work at various concert halls around Europe this month, with conductor André de Ridder and an ensemble of 14 musicians and four singers. Instead, he is filmed alone at the piano in his home studio The Barn, playing along to rehearsal tapes.

The Nearer The Fountain, More Pure The Stream Flows takes its title from a John Clare poem called “Love And Memory”, and is inspired by the landscapes of Iceland. Watch Albarn performing a 20-minute extract below:

Rescheduled 2021 live dates for The Nearer The Fountain, More Pure The Stream Flows will be announced soon.

Watch Roger Waters and band play a socially distanced version of “Mother”

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Roger Waters has released a new socially distanced version of his Pink Floyd song “Mother”, with his band joining in remotely.

“Social distancing is a necessary evil in Covid world,” wrote Waters on Twitter. “Watching ‘Mother’ reminds me just how irreplaceable the joy of being in a band is.” See the video below:

Waters was due to kick off his ‘This Is Not A Drill’ tour in July, but it has now been postponed until 2021, with ticket-holders advised to hang on to their tickets until new dates are announced.