Hear Stephen Malkmus’s new single, “Xian Man”


Stephen Malkmus will release his new album Traditional Techniques – his third in three years – via Domino on March 6.

Hear the first single to be taken from it, “Xian Man”, below:

Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Traditional Techniques was recorded with engineer/arranger-in-residence Chris Funk (The Decemberists), while Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout. The album also features a variety of Afghani instruments.

Malkmus will embark on a North American tour this spring with an entirely new band, comprising Funk (pedal steel, keys), Sweeney (guitar), Brad Truax (bass), and Jake Morris (drums), joined at times by Qais Essar (rabab) and Eric Zang (kaval, udu, daf). Tickets for the dates below go on sale on Friday (January 24) at 10am local time. Further dates will be announced soon.

Tue. March 31 – Minneapolis, MN @ First Ave
Wed. April 1 – Milwaukee, WI @ Turner Hall
Thu. April 2 – Chicago, IL @ Thalia Hall
Fri. April 3 – Louisville, KY @ Headliners
Sat. April 4 – Nashville, TN @ Cannery Ballroom
Sun. April 5 – Atlanta, GA @ Terminal West
Tue. April 7 – Asheville, NC @ Orange Peel
Wed. April 8 – Carrboro, NC @ Cat’s Cradle
Thu. April 9 – Richmond, VA @ The National
Fri. April 10 – Washington, DC @ Black Cat
Sat. April 11 – Philadelphia, PA @ Union Transfer
Mon. April 13 – New York, NY @ Webster Hall
Wed. April 15 – Boston, MA @ Royale
Thu. April 16 – Montreal, QC @ L’Astral
Fri. April 17 – Toronto, ON @ Danforth Music Hall
Sat. April 18 – Cleveland, OH @ Beachland Ballroom
Sun. April 19 – Detroit, MI @ St. Andrew’s Hall

Monty Python’s Terry Jones has died, aged 77


Terry Jones, co-founder of Monty Python’s Flying Circus and director of Life Of Brian, has died aged 77. He was diagnosed with frontotemporal dementia in 2015.

After befriending Michael Palin while studying at Cambridge, the pair went on to write and perform for TV shows such as The Frost Report and Do Not Adjust Your Set before teaming up with John Cleese, Graham Chapman, Eric Idle and Terry Gilliam to create Monty Python’s Flying Circus in 1969.

When the team moved from TV into film, Jones assumed the director’s chair, co-directing Monty Python And The Holy Grail with Gilliam, and directing 1979’s Life Of Brian himself.

Post-Python, Jones collaborated with Palin on Ripping Yarns and directed films including Personal Services and Erik The Viking, the latter based on his own children’s book. He wrote a number of other books for children and presented TV history shows such as Barbarians. Jones also worked closely with Meat Loaf producer Jim Steinman on a ‘heavy metal’ stage version of The Nutcracker, although the project never came to fruition.

“Farewell, Terry Jones,” wrote Stephen Fry on Twitter. “The great foot has come down to stamp on you. My god what pleasure you gave, what untrammelled joy and delight. What a wonderful talent, heart and mind.”

New touring Ian Dury exhibition to launch in March


A new exhibition of Ian Dury-related art and ephemera will open at London’s Stash Gallery on March 24, before touring various venues around the south-east of England for the remainder of 2020.

It’s called All Kinds Of Naughty, after an unrecorded Ian Dury song which was recently rediscovered by former Kilburn & The High Roads keyboard player Rod Melvin in his personal archive. Dury’s handwritten lyrics to the song will be on display in the exhibition, alongside the recreation of a knitted stage glove that Melvin made for Dury in the 1970s.

The bulk of the exhibition will be comprised of Ian Dury-inspired artworks by the Thames Group of artists, who include painters, photographers, designers, writers and milliners among their number.

In addition, Ian’s wife Sophy Dury has created a polychrome terracotta relief plaque entitled Ian Dury Laughter, while his daughter Jemima has produced a limited edition print of one of Ian’s paintings, Alice Capone (for which there will be a blind auction, with all proceeds going to Teenage Cancer Trust). Former Stiff Records press officer Kosmo Vinyl will be showing a work entitled A Bit Hard To Swallow, featuring Ian Dury eating jellied eels outside Tubby Isaac’s famous East End Pie & Mash shop.

Another former Kilburn & The High Roads member, renowned painter and current Royal Academy Professor of Perspective Humphrey Ocean, will also be contributing to the exhibition.

See below for the touring dates of All Kinds Of Naughty. Entry is free at all venues.

Aldgate, London
March 24 – April 11

Hornchurch, Essex
April 15 – May 2

Earls Court, London
May 7 – May 28

Canterbury, Kent
June 11 – June 25

Deal, Kent
June 30 – July 12

Southend-on-Sea, Essex
August 29 – Oct 3

Pixies, Angel Olsen and King Krule to headline End Of The Road


This year’s End Of The Road festival, taking place at Dorset’s Larmer Tree Gardens from September 3-6, will be headlined by Pixies, Angel Olsen and King Krule.

Other enticing names on the bill include Big Thief, Aldous Harding, The Comet Is Coming, Little Simz and Bright Eyes, who recently announced their reunion after nine years away.

There are returns for perennial Uncut favourites such as Richard Hawley, Richard Dawson, Field Music and Nadia Reid, while further down the bill there’s room for a host of exciting new and leftfield names including 75 Dollar Bill, Vanishing Twin, WH Lung, Itasca, Trash Kit, Aoife Nessa Frances, Sarathy Korwar, Squid, Jake Xerxes Fussell and Black Country, New Road.

Tickets for End Of The Road 2020 are on sale now, priced at £199 plus booking fee, available from the official festival site.

Kendrick Lamar unveiled as latest BST Hyde Park headliner


Kendrick Lamar has been unveiled as the latest headliner for American Express Presents BST Hyde Park.

He’ll play the London park on Sunday July 5 supported by James Blake and Brittany Howard, with more acts to be announced.

Tickets start at £65 plus booking fee and go on general sale on Friday (January 24) at 10am from here. An American Express pre-sale is open now, more details here.

Last week it was reported that Lamar has completed his follow-up to 2017’s Damn, and that the rapper is “pulling in more rock sounds this time”.

The National announce “unique” London shows


The National have announced two new London shows, at the O2 Academy Brixton on June 1 and 2.

The dates are billed on the poster as “two nights only, two unique shows”. No other details have been revealed as yet, although the band previously announced that they would play “two unique shows” at May’s Homecoming festival in Cincinatti to celebrate the tenth anniversary of High Violet.

Tickets go on general sale on Friday (24 January) at 10am from here.

Paul Weller, Noel Gallagher and Chic for Teenage Cancer Trust shows


This year marks 30 years since the founding of the Teenage Cancer Trust charity and 20 years since they started putting on their annual concert series at the Royal Albert Hall.

The line-up for 2020’s anniversary shows has now been unveiled, featuring headline shows from Noel Gallagher’s High Flying Birds, Nile Rodgers & Chic, Groove Armada and Stereophonics. The latter concert will also feature a special acoustic set from Paul Weller.

Check out the dates below. Tickets go on sale from here on Friday (January 24) at 9.30am.

Stereophonics + Very Special Guest Paul Weller
Wednesday 25th March

Groove Armada
Thursday 26th March

Noel Gallagher’s High Flying Birds
Friday 27th March

Nile Rodgers & Chic
Sunday 29th March

Additionally, Noel Gallagher’s High Flying Birds will play two shows at Manchester’s O2 Apollo on March 24 and 25. Tickets for those also go on sale on Friday at 9.30am, from here.

Watch Bruce Springsteen play a surprise charity show in Asbury Park


Bruce Springsteen was a surprise special guest as this weekend’s Light Of Day charity concert at Asbury Park’s Paramount Theater, which raises funds and awareness to fight Parkinson’s disease.

As Rolling Stone reports, Springsteen was first brought onstage by sometime collaborator Jesse Malin to perform their 2007 duet “Broken Radio” before staying on to play Malin’s “Meet Me At The End of the World”.

Springsteen later returned for the headline slot, backed by Joe Grushecky And The Houserockers. As well as several of Grushecky’s songs, they played “The Promised Land”, “Atlantic City”, “Darkness On The Edge Of Town”, “Pink Cadillac” and “Savin’ Up”. For the encore, all the night’s performers reassembled onstage to sing “Light Of Day” before Springsteen closed the night with a stripped-back “Thunder Road”. Watch the footage below:

Frank Zappa – The Hot Rats Sessions


You might well conclude that in 1969 the mere presence of Frank Zappa and Captain Beefheart could turn the trees purple. Pedants will insist their records of that year looked the way they did because of the use of infra-red film, key to the otherworldly appearance of both Beefheart’s Trout Mask Replica (produced by Zappa) and Zappa’s Hot Rats (featuring Beefheart). The more sensible, however, know all this was more the result of personal chemistry than photographic alchemy.

Zappa in 1969 seemed to be re-evaluating his relationship with chaos. Having disbanded the original Mothers Of Invention – the satirical Dadaist garage band he had fronted since 1965 – he was now enjoying a role as musician without portfolio. In March he recorded Beefheart’s Trout Mask Replica, a work that sounded abstract but betrayed great discipline. Around the same time released on his Bizarre label was a double album by outsider artist Wild Man Fischer, which sounded abstract and betrayed no discipline, though it did share some of Trout’s blend of audio verité and studio post-production. In November he road-managed Beefheart’s trip to the Amougies festival in Belgium.

At the event, he jammed with Pink Floyd on something a bit like “Interstellar Overdrive”, laying down modal runs with the glassy-eyed band as drenched Europeans looned damply in huge coats. He also met Archie Shepp, whose tenor sound he describes in an archive snippet here as sounding like “pre-heated rats”.

But if he liked unstructured as a place to visit, it wasn’t somewhere that Zappa – a meticulous archivist and editor; a micromanager and painter of the bigger picture – was ever going to want to live. Having voyaged with the Mothers to some strange locations on the fringes of classical, jazz and experimental performance, Hot Rats (his first 
proper solo album) was made with 
a tighter agenda.

He retained from the Mothers their keyboard player and musical polymath Ian Underwood (thanked extensively in the notes), but elsewhere he uses a session-hardened personnel. Violinists Jean-Luc Ponty and Don “Sugarcane” Harris, guitarist Shuggie Otis, Max Bennett on bass, the drummers John Guerin, Ron Selico and Paul Humphrey are all on hand to help fulfil his vision.

According to the sleeve, Hot Rats was a “movie in sound, directed by Frank Zappa”. In its original completed form (not included here, but in a 1987 remix on Disc Five, which tells its own weird and echoing story), it’s a succinct flick with some cheesy moments. There are powerfully stated jazz rock themes (like the opening “Peaches En Regalia”), strong guitar action sequences (the sleazy groove of “Willie The Pimp”, voiced by Beefheart; the hard-rocking instrumental “The Gumbo Variations”). There is courtly jazz fusion (“Son Of Mr Green Genes”) and seasick groove (“Little Umbrellas”). It’s fiddly, and proggy, but the rhythm section hold it all together, bringing baseline dirt to material which otherwise might skirt close to telephone hold music. Zappa’s wife referenced the record’s “aroma”, which nails it.

As this new set shows, Zappa’s movie has been waiting for an extended cut, and the six discs here make a documentary-style dive into the album’s development and promotion. It includes tracks recorded, but which didn’t make it (that’s all of Disc Three and also “Natasha”, and the groovy “Bognor Regis”, a cousin of “Willie”). As we get deeper (Discs Five and Six), we reach wacky radio commercials, in-jokey banter with Zappa’s associates the GTOs, as well as “quick mixes” of completed tracks, all of which testify to the inspirational efficiency of Zappa’s working practice. The isolated take of Beefheart’s “Willie” vocal, meanwhile, has the capacity to terrify commuters as a ringtone.

The meat of the thing is on the first two discs, though, as we effectively stand in the room to witness the tracks in development, the jam unbounded. Zappa clearly envisions “Peaches…” as a kind of magic trick, all flourish and misdirection from the song’s compelling piano vamp. “More fills!” he advises the drummer. “Get loose!” We’re listening to someone willing to pursue a glimmer of an idea, but also with an exactingly precise idea of what he wants. A sound you will get used to is Zappa calmly requesting “another, please”.

The musicianship is of such high calibre that the hours of jamming never pall, whether it’s drum solos or a bluesy take – our pre-knowledge of the finished article means that we hear this extra instrumental work as a dynamic pursuit of musical quarry, and not superfluous ornament. Zappa’s infinitely resourceful guitar playing comes out especially well in this regard. The two unedited takes of “Willie The Pimp” find him fiery in his exchange with Don “Sugarcane” Harris, while the half-hour of “Big Legs” – an important stop en route to “The Gumbo Variations” – is filled with bluesy grit as well as jazzy upper-register flourish.

An artist given to precise classifications of his musical universe, Zappa often worked at an ironic distance, designating whole strands of his work as “uncommercial” – mindful of the cultural norms into which his work would land. What’s so engaging about Hot Rats, and about The Hot Rats Sessions in particular is of Zappa working without that frame of reference. They sound as Zappa seldom does: not over-thinking it, and guilelessly lost in the moment, and in the exuberant joy of the playing.

Field Music – Making A New World


World War I understandably casts a long shadow over this country’s psyche, but its reach has been particular and direct for Field Music; their latest album is a song suite commissioned for two live performances in January this year by the Imperial War Museum, as part of their Making A New World season.

Peter and David Brewis have used the most cataclysmic of world conflicts as raw material before, of course: they co-wrote the score for Esther Johnson’s 2017 documentary Asunder, which used archival footage to explore Sunderland’s connection to the Somme. But this time around the pair used a very particular tool to pull history into focus, namely a photo of the record – made via sound ranging – of artillery fire on the American front during the 60 seconds either side of the 11am armistice. The nerve-shattering horror and subsequent silence that were the project’s springboard are referenced in the album’s two brief opening instrumentals, while the former is reiterated in the muffled booms that punctuate “From A Dream, Into My Arms”. However, Making A New World isn’t a WWI concept record as such, although it’s obviously more tightly bound to its content than say, PJ Harvey’s Let England Shake, the nearest point of comparison.

Originally, the brothers planned to write mostly instrumentals but as David Brewis told Uncut, “The research led us to subjects we couldn’t help but write songs about. With each song, we had a moment of realising who should be telling that particular story and that led us away from something academic and into something much more personal. We were also conscious that at the Imperial War Museum shows, this would be the first time anyone had heard any of this music so it needed to be either accessible or dramatic.” Field Music being Field Music, pop immediacy won the day, which isn’t to say that these songs are all surface dazzle and deaf to nuance – they deliver on narrative particularity and interpretive abstraction as well as emotional resonance, while the pair’s writing/arranging smarts and the dominant, switchback guitar style are on peak form. The set clocks in at just under 40 minutes, with the basics recorded in two run-throughs by the Field Music live band plus Peter and David Brewis on guitar and drums respectively, in a single day.

The suite starts with the end of the war, then moves through events connected to it. Included are the signing of the armistice agreement on a private train in a siding near Compiègne (“Coffee Or Wine”), the pioneering skin-graft work done on wounded servicemen and later female-to-male gender reassignment surgery (“A Change Of Heir”), the use decades later of marine ultrasound technology to monitor foetal development (“From A Dream, Into My Arms”) and the 1916 Sykes-Picot Agreement between Britain and France to divide the Middle East (“An Independent State”). Crucially, these narratives with serious historical heft are adapted to a human scale: there’s the officer in “Coffee Or Wine” wondering of his family back home, “Will I recognise you all?/Or have you grown away from me since I’ve been away so long?”; the narrator of “Change Of Heir” who reasons, “if the mind won’t fit the body, let the body fit the mind”; and the mother who sees her unborn in its “primordial bath”, on a monitor (“From A Dream, Into My Arms”).

That all this is delivered with Field Music’s customary artful intelligence and funk-pop verve, repping for Genesis/Peter Gabriel, Steely Dan, “Fame”-era Bowie, Talking Heads, Robert Wyatt and Kraftwerk, rather than using a load of self-consciously solemn signifiers, is another point in the record’s favour. There aren’t too many bands who could channel talk about war reparations into Chic’s trebly funk (“Money Is A Memory”), connect the British use of tanks at the Somme with the unidentified lone protestor in Tiananmen Square via a watery bloom of Animal Collective and XTC (the two-part “Nikon”) or, most strikingly, deliver a song about women’s learned shame of menstruation and the unfair tax on sanitary towels (“Only In A Man’s World”) as a Talking Heads-style disco banger.

Making A New World may have started life as a gleam in the eye of a special projects director, but rather than act like temporary caretakers tiptoeing around WWI’s vast, eternally resonant themes, Field Music have sensibly moved in and made them their own. Not a memorial, then, so much as a remix of history.

Watch Elton John play “Saturday Night’s Alright (For Fighting)” live in Moscow


On January 24, Elton John will release Live In Moscow, 1979 – the recording of a historic concert performed at Rossiya Hall, Moscow, in 1979 with percussionist Ray Cooper and originally broadcast by BBC Radio 1.

Watch a video of “Saturday Night’s Alright (For Fighting)” from that very same show:

Speaking about the concert, Elton John said: “I can honestly say it has been one of the best experiences of my life. It was one of the most memorable and happy tours I have been on. The last show was probably one of the best concerts I’ve ever given in my life. Working with Ray, with just the two of us on stage, was both exhilarating and challenging.”

Live In Moscow, 1979 – which now appears on 2xLP, 2xCD and digital formats – was originally released as limited pressing for Record Store Day 2019. Check out the LP tracklisting below:

Side 1
Skyline Pigeon
Take Me To The Pilot
Rocket Man (I Think It’s Going To Be A Long, Long Time)

Side 2
Don’t Let The Sun Go Down On Me
Goodbye Yellow Brick Road
Candle In The Wind
I Heard It Through The Grapevine

Side 3
Funeral For A Friend
Better Off Dead
Bennie And The Jets

Side 4
Sorry Seems To Be The Hardest Word
Crazy Water
Saturday Night’s Alright (For Fighting) / Pinball Wizard
Crocodile Rock / Get Back / Back In The U.S.S.R

Watch a trailer for The Band documentary, Once Were Brothers


As reported in Uncut’s interview with Robbie Robertson last year, director Daniel Roher has completed a new documentary entitled Once Were Brothers: Robbie Robertson And The Band.

It will be released in US cinemas on February 21; a UK release date is yet be set. Watch a trailer for Once Were Brothers below, featuring Bruce Springsteen and Eric Clapton among the talking heads:

Other famous names interviewed for the film, which is based on Robertson’s 2016 memoir Testimony, include Van Morrison, Taj Mahal, Peter Gabriel and Martin Scorsese.

Inside Kate Bush’s hidden world


45 years ago, Kate Bush made her first professional recordings at AIR studios. To celebrate this anniversary, the new issue of Uncut features a in-depth exploration of Bush’s early years, unearthing the roots of her enduring, incandescent power.

Peter Watts speaks to many of Bush’s friends, collaborators and champions from those pre-fame years, building up an intimate portrait of a young but determined songwriter who charmed everyone she met, as well as a staggeringly original artist on the cusp of something great.

The story begins in August 1973, with Bush’s first ever recorded session at David Gilmour’s home in rural Essex. Cathy Bush – as she was then – first met Gilmour earlier that year. The guitarist had received a demo tape from a mutual friend and, intrigued, visited her parents’ house, East Wickham Farm in Welling, Kent, to hear Bush first-hand. Accompanying herself on the piano, Bush had played well enough for Gilmour to arrange this informal recording session with bassist Pat Martin and drummer Pete Perryer of the folk-rock band Unicorn. The session fee was a meatloaf made by Gilmour’s then wife, Ginger.

“Cathy was very shy,” says Martin. “She went to the piano crossed her legs as she sat down. All she had ever done was write songs in her bedroom. She’d never played with other musicians. We said, ‘Look, just play your songs. We’ll join in when we get what is going on and if you don’t like what we are doing, tell us.’ She started on the first number and you could see her grow. She went from looking down at the floor to really getting into it. She’d never experienced before what you got from playing with other musicians.”

“Scared?” Bush later admitted to Martin. “I was bricking it.”

Neither Martin nor Perryer were experienced session players, but like Bush they relaxed into the informal setting and recorded what Martin thinks was around five tracks, including “Davy” (also known as “Maybe” and “Humming”), “The Man With The Child In His Eyes” and “Passing Through Air”. Bush mostly played Wurlitzer although she moved to piano for “Passing Through Air” – later released as the B-side to “Army Dreamers”, the earliest Kate Bush recording to be released officially.

“She played them to us, then we did them a couple of times to get the arrangements but it was only one or two takes,” recalls Martin. “I didn’t think she was stunning, but the songs were interesting and the way she wrote was unusual. We didn’t need to arrange them, as that had already been done. She was really just getting off on playing with musicians. It was clear that she already had in her mind an idea of what she wanted the songs to sound like.”

Brian Bath, who later joined the KT Bush Band, remembers another auspicious early encounter. He first met Cathy Bush when he was jamming with Paddy and a 12-year-old girl burst into the room trying to hide from her violin lesson. “The family asked me over to hear Kate playing,” he says. “We were in the room at the back of the farmhouse which had all these rugs, like tigers and lions, really weird Victoriana. She was playing this most amazing music. I couldn’t work out what she was doing, so I had to go over to look at her hands. I went home and thought, ‘Hang on a minute, I need to get better.’ This was something different, another realm.”

The feature goes on to explore the influence of Bush’s artistic family, rowdy pub gigs with The KT Bush Band, the recording of The Kick Inside and that memorable Top Of The Pops performance of “Wuthering Heights”, with contributions from Roy Harper, Joe Boyd and many others who passed through Bush’s orbit in those formative years. Plus there’s a rare Q&A with Kate herself from 2011, looking back at some of her early influences and obsessions.

It’s all in the new issue of Uncut, in shops today or available to buy online by clicking here.

Real Estate announce new album, The Main Thing


Real Estate have announced that their new album The Main Thing will be released by Domino on February 28.

Watch a video for the first single “Paper Cup”, featuring Sylvan Esso’s Amelia Meath, below:

“Paper Cup is a song about getting older and realising that this thing that I fell into doing over ten years ago – being a musician, writing songs, being a guy in a band – this may end up being my life’s work,” says Real Estate frontman Martin Courtney. “Watching the people around me change and evolve, take on new challenges, and feeling sort of stuck in a rut, in a way. Feeling uncertain of the validity of being an artist in an age of climate change and general political and social unrest around the world.

“It’s a song about questioning your chosen path in life and searching for meaning in what you do. Those questions don’t really get resolved in this song, but ironically, the process of making this record – really diving deep and trying to make it the best thing we’ve ever made – reaffirmed in me, and I think in all of us in this band, why we are doing this.”

You can read Martin Courtney talking about his favourite formative records in the new issue of Uncut, in shops tomorrow – more about that here.

The First Uncut New Music Playlist Of 2020


Happy New Year to all Uncut readers! Time to finally put the 2010s behind us and begin looking ahead to a new decade – musically, at least, there’s plenty of cause for optimism. Kicking off 2020 in style, there’s a new, Kate-Bush-powered issue of Uncut in the shops tomorrow (Thursday 16) – you can read much more about that here – so we thought we’d accompany that with a bumper new playlist, featuring plenty of the music we enthuse about in the issue.

You can hear the latest singles from Tame Impala, Frazey Ford, Shopping and UK jazz prodigy Moses Boyd, all of whom are interviewed in the new mag; there’s a stunning reinterpretation of a Gil Scott-Heron number by fast-rising Chicago drummer/producer Makaya McCraven; St Vincent has remixed Beck, Ty Segall has buddied up with Lightning Bolt’s Brian Chippendale as Wasted Shirt, and Flaming Lips have merged with LA rockers Deap Vally; there are intriguing comebacks from Maria McKee, US Girls and Nigel Godrich’s Ultraísta; plus some heady deep synth stuff from LA Takedown and Waclaw Zimpel. Go on, treat yourself…

“Where Did The Night Go”

(Arts & Crafts)

“Lost In Yesterday”

“Uneventful Days (St Vincent Remix)”


“Tin King”

“Shades Of You”

(Dead Oceans)

“An Echo”
(Real Kind Records)

“Page Of Cups”

“Home Thru Hell”
(Cooking Vinyl)

“God’s Own Children”
(September Recordings)

“Double The Dream”
(Famous Class Records)

(Thrill Jockey)


“The Swimmer”
(Castle Face)

“Blue Comanche”

“Cue Synthesizer”
(Dead Oceans)

“Sine Tapes”

“An Untidy Country Of Glaring Limestone”
(Cardinal Fuzz / Feeding Tube Records)

The Allman Brothers Band’s 50th anniversary marked with 10xLP set


On February 28, Island/Mercury/UMC will release a new 10xLP / 5xCD Allman Brothers Band retrospective, entitled Trouble No More: 50th Anniversary Collection.

It’s named after the Muddy Waters song “Trouble No More”, which is the first track The Allman Brothers Band demoed for their eponymous 1969 debut album – a version which you can now hear by clicking this pre-order link.

Produced by Allman Brothers Band historians and aficionados Bill Levenson, John Lynskey and Kirk West, Trouble No More offers a selection of 61 classic songs, live performances and rarities from across their 45-year career, including seven previously unreleased tracks. See below for a full tracklist of the 10xLP edition.

The surviving band members – Jaimoe, Warren Haynes, Derek Trucks, Oteil Burbridge and Marc Quinones – will reunite for one night only for a special tribute show at New York’s Madison Square Garden on March 10, joined by Duane Trucks, Reese Wynans and special guest Chuck Leavell.

The Capricorn Years 1969 – 1979 Part I
Disc 1
1. Trouble No More (Demo)* (Side A)
2. Don’t Want You No More (Side A)
3. It’ Not My Cross To Bear (Side A)
4. Dreams (Side A)
5. Whipping Post (Side B)
6. I’m Gonna Move To The Outskirts Of Town (Live at Ludlow Garage) (Side B)
7. Midnight Rider (Side B)
8. Revival (Side B)

Disc 2
1. Don’t Keep Me Wonderin’ (Side A)
2. Hoochie Coochie Man (Side A)
3. Please Call Home (Side A)
4. Statesboro Blues (Live at Fillmore East) (Side A)
5. Stormy Monday (Live at Fillmore East) (Side B)
6. In Memory Of Elizabeth Reed (Live at Fillmore East) (Side B)

The Capricorn Years 1969 – 1979 Part II
Disc 3
1. One Way Out (Live at Fillmore East) (Side A)
2. You Don’t Love Me / Soul Serenade (Live at A&R Studios) (Side A)
3. Hot ‘Lanta (Live at A&R Studios) (Side B)
4. Stand Back (Side B)
5. Melissa (Side B)
6. Blue Sky (Side B)

Disc 4
1. Ain’t Wastin’ Time No More (Live at Mar y Sol) (Side A)
2. Wasted Words (Side A)
3. Ramblin’ Man (Side A)
4. Southbound (Side A)
5. Jessica (Side B)
6. Early Morning Blues (Outtake) (Side B)

The Capricorn Years 1969 – 1979 Part III / The Arista Years 1980 – 1981
Disc 5
1. Come And Go Blues (Live at Watkins Glen) (Side A)
2. Mountain Jam (Live at Watkins Glen)* (Side A)
3. Can’t Lose What You Never Had (Side A)
4. Win, Lose Or Draw (Side B)
5. High Falls (Side B)

Disc 6
1. Crazy Love (Side A)
2. Can’t Take It With You (Side A)
3. Pegasus (Side A)
4. Just Ain’t Easy (Live at Merriweather Post Pavilion) (Side B)
5. Hell & High Water (Side B)
6. Angeline (Side B)
7. Leavin’ (Side B)
8. Never Knew How Much (I Needed You) (Side B)

The Epic Years 1990 – 2000
Disc 7
1. Good Clean Fun (Side A)
2. Seven Turns (Side A)
3. Gamblers Roll (Side A)
4. End Of The Line (Side A)
5. Nobody Knows (Side B)
6. Low Down Dirty Mean (Live at the Beacon Theatre) (Side B)

Disc 8
1. Come On Into My Kitchen (Live at Radio & Records Convention) (Side A)
2. Sailin’ ‘Cross The Devil’s Sea (Side A)
3. Back Where It All Begins (Side A)
4. Soulshine (Side B)
5. No One To Run With (Side B)
6. I’m Not Crying (Live at the Beacon Theatre)* (Side B)

The Peach Years 2000 – 2014
Disc 9
1. Loan Me A Dime (Live at the New World Music Theatre)* (Side A)
2. Desdemona (Live at the Beacon Theatre)* (Side A)
3. High Cost Of Low Living (Side B)
4. Old Before My Time (Side B)

Disc 10
1. Blue Sky (Live at the Beacon Theatre)* (Side A)
2. Little Martha (Live at the Beacon Theatre)* (Side A)
3. Black Hearted Woman (Live at the Beacon Theatre) (Side A)
4. The Sky Is Crying (Live at the Beacon Theatre) (Side B)
5. “Farewell” speeches (Live at the Beacon Theatre) (Side B)
6. Trouble No More (Live at the Beacon Theatre) (Side B)

King Krule unveils new album, Man Alive!


Archy Marshall has announced that his third album under the King Krule name, Man Alive!, will be released by XL on February 20.

Watch his self-directed video for the song “(Don’t Let The Dragon) Draag On”, influenced by Carl Theodor Dreyer’s 1928 film The Passion Of Joan Of Arc:

Man Alive! was partly recorded at Shrunken Heads in Nunhead, London, with co-producer Dilip Harris, who worked on previous King Krule album The Ooz. Marshall played most of the instruments himself, with saxophone added by Ignacio Salvadores. The album is influenced by Argentinean music and Brazilian bossa nova. “I also listened to the radio, which I never did until recently,” says Marshall. “I don’t like it but I suppose it might influence me a bit.”

The album’s title, he explains, “is an exclamation, about the times we live in. Like, ‘Fucking hell, man!’” However, he adds: “I’ve been put off by the intention of speaking about what’s going on in society as a black-and-white thing, or trying to get to the bottom of why we’re in this position. So the album is mostly made up of snapshots and observations.”

“This time I felt like I had gotten out of a dark place, and I was on a high,” continues Marshall, whose first daughter Marina was born mid-way through recording the album. “I appreciated the depression, and the low times I’d been through, but I also liked how I felt better in the here and now. So it was about reaching that new plateau.”

Check out King Krule’s tourdates below:

3 March – Brussels, A.B
4 March – Paris, L’Olympia
5 March – Amsterdam, Melkweg
7 March – Copenhagen, K.B Hallen
8 March – Berlin, Columbiahalle
19 March – Dublin, Olympia
21 March – Glasgow, Barrowland
22 March – Manchester, Albert Hall
24 March – London, O2 Academy Brixton
25 March – London, O2 Academy Brixton
2 April – Dallas TX, House of Blues
3 April – Houston TX, White Oak Music Hall
4 April – Austin TX, Stubbs Waller Creek
7 April – Los Angeles CA, Hollywood Palladium
8 April – Oakland CA, Fox Theatre
10 April – Seattle WA, Showbox Sodo
11 April – Portland OR, Roseland Theatre
14 April – Minneapolis MN, First Avenue
15 April – Chicago IL, Riviera Theatre
17 April – Toronto ON, Queen Elizabeth Theatre
18 April – Montreal QC, Mtelus
19 April – Boston MA, House of Blues
21 April – Philadelphia PA, Union Transfer
22 April – Washington DC, 9.30 Club
24 April – Brooklyn NY, Kings Theatre

Uncut – March 2020

Kate Bush, Robert Wyatt, Peter Green and Tame Impala – plus our Sounds Of The New West Volume 5 CD – all feature in the new Uncut, dated March 2020 and available to buy in UK shops from January 16.

KATE BUSH: It’s 45 years since a shy but prodigiously gifted songwriter made her first professional recordings. We trace the intriguing tale of those magical beginnings, with the help of those who were there

OUR CD! SOUNDS OF THE NEW WEST VOLUME 5: The latest edition of the series – 15 tracks of the finest new Americana, featuring Courtney Marie Andrews, Kelsey Waldon, Ian Noe, Jeremy Ivey, James Elkington, Drive-By Truckers, Bonnie Light Horseman, Hayes Carll and more

UK readers! This issue of Uncut is available to buy by clicking here.

Overseas readers! This issue of Uncut is available to buy by clicking here.

Plus! Inside the issue, you’ll find:

ROBERT WYATT: Uncut heads to Wyatt’s home to celebrate his 75th birthday and hear all about Soft Machine, Rock Bottom, Moldovan dance music and hanging out with Robert Graves

PETER GREEN: Friends, bandmates and fans recall the mercurial Fleetwood Mac guitarist as we await a major concert in his honour

NENEH CHERRY: The making of “Buffalo Stance”, as told by Cherry and her collaborators

FRAZEY FORD: Uncut travels to Portugal, where the former Be Good Tanyas songwriter is finishing work on her first solo album in four years

SONIC YOUTH: Lee Ranaldo recalls three crucial points in the story of Sonic Youth, from Bad Moon Rising and Dirty to The Eternal

TAME IMPALA: Kevin Parker tells us all about the making of The Slow Rush, alongside our extensive review of their long-awaited LP

ALEX CHILTON: Album by album, from Big Star to solo work

DONOVAN: An audience with the hurdy gurdy man

In our expansive reviews section, we take a look at new records from Drive-By Truckers, Isobel Campbell, Caribou, The Haden Triplets, Moses Boyd, Shopping, Six Organs Of Admittance and more, and archival releases from Cream, Bryan Ferry, Eric Burdon & The Animals, East Village, Nina Simone, Sam Cooke, Kedama, The Undertones and others. We catch Idles and Rufus & Martha Wainwright live, and also review films including Bruce Springsteen’s Western Stars and Armando Iannucci’s David Copperfield, and books on progressive rock and sound system culture.

In our front section, meanwhile, we remember Neil Innes, introduce Cabane, check out rock photographer Jim Marshall, and meet Deap Lips, the new collaboration between The Flaming Lips and Deap Vally.

International readers can pick up a copy at the following stores:

The Netherlands: Bruna and AKO (Schiphol)

Sweden: Pressbyrån


U.S.A. (out in February): Barnes & Noble

Canada (out March): Indigo

Australia (out March): Independent newsagents

And also online at:

Denmark: IPresso Shop

Germany: Blad Portal

Introducing the new Uncut: Kate Bush, Peter Green, Sounds Of The New West Vol 5 and more


Among several profitable distractions during the festive break, I enjoyed following a Twitter thread about old Uncut CDs. Among praise for 2002’s Keith Richards-curated compilation The Devil’s Music and last year’s Wilco covers project, I was massively gratified by the positive vibes directed at our Sounds Of The New West series. Serendipitously, this issue of Uncut comes with the long-awaited fifth instalment; we sincerely hope it matches the high standards set by its predecessors. As ever, please let us know what you think.

It’s been 10 years, astonishingly, since Kate Bush last appeared on the cover of Uncut – which is in shops from Thursday but available to pre-order here. For this latest cover story, Peter Watts has dug deep into an early period in Bush’s remarkable career to locate the source of her singular, very English magic. Peter’s excellent piece shows how Bush’s idiosyncratic vision has been there right from the very start. To complement this, we’re pleased to run the unexpurgated transcript from Andy Gill’s 2011 interview with Bush, where she discussed her childhood and early success.

This issue of Uncut is full of similar celebrations of wayward, idiosyncratic brilliance. Tom Pinnock visits Robert Wyatt at home in Louth, Lincolnshire, where – later this month – the songwriter turns 75. For a man who ostensibly retired from making music in 2014, Wyatt remains as musically curious and engaged as ever, as Tom discovers over a slice of carrot cake or two. Then there is Peter Green – who these days, Rob Hughes learns, keeps his hand in with regular jam sessions in the front room of his house with close friend Bernie Marsden and one of his neighbours.

Elsewhere, we hear from “Legs” Larry Smith, who pays tribute to his fallen comrade in the Bonzos, Neil Innes. Big Star biographer Rob Jovanovic rounds up former bandmates and collaborators for an Alex Chilton Album By Album, to commemorate the 10th anniversary of his death. Neneh Cherry talks us through “Buffalo Stance” – one of the great debut singles – while Donovan shares stories from his colourful career.

Finally, we meet Frazey Ford in Portugal, to hear all about her excellent new solo album, U Kin B The Sun. Frazey’s presence in Uncut is part of our ongoing mission to tirelessly champion new records – and U Kin B The Sun is a great way to start 2020.

Follow me on Twitter @michaelbonner

Pearl Jam announce new album, Gigaton


Pearl Jam have announced that their eleventh studio album, Gigaton, will be released by Universal on March 27.

The album was produced by Josh Evans and Pearl Jam. The cover features an image by photographer and marine biologist Paul Nicklen, showing Norway’s Nordaustlandet ice cap gushing high volumes of meltwater. Check it out below:

“Making this record was a long journey,” explains Pearl Jam’s Mike McCready. “It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption. Collaborating with my bandmates on Gigaton ultimately gave me greater love, awareness and knowledge of the need for human connection in these times.”

The first single, “Dance Of The Clairvoyants”, will be released in the coming weeks. In the meantime, peruse Pearl Jam’s 2020 tourdates, including the previously announced show in London’s Hyde Park, below:

Wed 18th Toronto, ON, Scotiabank Arena
Fri 20th Ottowa, ON, Canadian Tire Centre
Sun 22nd Quebec City, QC, Videotron Centre
Tues 24th Hamilton, ON, FirstOntario Centre
Sat 28th Baltimore, MD, Royal Farms Arena
Mon 30th New York, NY, Madison Square Garden

Thurs 2nd Nashville, TN, Bridgestone Arena
Sat 4th St. Louis, MO, Enterprise Centre
Mon 6th Oklahoma City, OK, Chesapeake Energy Arena
Thurs 9th Denver, CO, Pepsi Centre
Sat 11th Phoenix, AZ, Gila River Arena
Mon 13th San Diego, CA, Viejas Arena
Wed 15th Los Angeles, CA, The Forum
Thurs 16th Los Angeles, CA, The Forum
Sat 18th Oakland, CA, Oakland Arena
Sun 19th Oakland, CA, Oakland Arena

Tues 23rd Frankfurt, Germany, Festhalle
Thurs 25th Berlin, Germany, Walduhne
Sat 27th Stockholm, Sweden, Lollapalooza Stockholm
Mon 29th Copenhagen, Denmark, Royal Arena

Thurs 2nd Werchter, Belgioum, Rock Werchter Festival
Sun 5th Imola, Italy, Autodromo Internazionale Enzo e Dino Ferri
Tue 7th Vienna, Austria, Wiener Stadthalle
Fri 10th London, BST Hyde Park
Mon 13th Krakow, Poland, Tauron Arena
Wed 15th Budapest, Hungary, Budapest Arena
Fri 17th Zurich, Switzerland, Hallenstadion
Sun 19th Paris, France, Lollapalooza Paris
Wed 22nd Amsterdam, Netherlands, Ziggo Dome
Thurs 23rd Amsterdam, Netherlands, Ziggo Dome