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

Send us your questions for Baxter Dury


It’s fair to say that Baxter Dury’s musical career hasn’t followed a typical trajectory. Despite appearing on the cover of his dad’s classic LP New Boots And Panties!! at the age of five, he didn’t release his own debut album (2002’s Len Parrot’s Memorial Lift) until he was in his thirties. And even then, he didn’t really break through into wider consciousness until the release of his hallucinogenic break-up album Prince Of Tears in 2017.

But since then, it’s been full steam ahead. In 2018 he teamed up with French house producer Étienne De Crécy and London punk singer Delilah Holiday for the BED project, and last year he made a scene-stealing cameo on Fat White Family’s Serf’s Up!, muttering darkly about the “lobster red blood of the apocalypse”.

Now he’s about to follow-up Prince Of Tears with his new album The Night Chancers, due out on March 20. While the orchestration is slinkier, Dury’s sleaze-ridden stories of slum landlords and Instagram influencers, stalkers and revenge fantasists are darker and more compelling than ever. Check out the lead single “Slumlord” here.

Now, Dury has kindly volunteered to be grilled by you, the Uncut readers. So what would you like to ask one of the most elegant and unstinting raconteurs in rock? Send your questions to by Monday January 20 and Baxter will answer the best ones in a future issue of Uncut.

Exclusive! Hear an unreleased live version of Cream’s “Crossroads”


On March 6, UMC will release a 4-CD set documenting Cream’s Goodbye tour of 1968.

Goodbye Tour – Live 1968 features four live shows from the tour, including Cream’s final UK date at London’s Royal Albert Hall on November 26. It includes a total of 19 previously unreleased tracks, and a further 10 tracks from the Royal Albert Hall show which have only ever been available on DVD.

Hear one of those previously unreleased tracks, a version of “Crossroads” recorded at the San Diego Sports Arena on October 20, 1968, below:

You can read an extensive review of Cream’s Goodbye Tour – Live 1968 in the new issue of Uncut, due in shops on Thursday (details to follow soon). Pre-order the album here.

Kurt Vile announces European solo tour


Kurt Vile has announced a European solo tour for the summer. These dates are billed as “stripped back” and “intimate” shows, minus his usual backing band The Violators.

Peruse the full itinerary below:

29.5 Heimathafen – Berlin, Germany
30.5 Fabrik – Hamburg, Germany
31.5 Heartland festival – Kværndrup, Denmark
2.6 Islington Assembly Hall – London, UK
7.6 Muziekgieterij – Maastricht, Netherlands
8.6 TivoliVredenburg – Utrecht, Netherlands
9.6 Kulturkirche – Köln, Germany
10.6 De Roma – Antwerp, Belgium
12.6 Vicar Street – Dublin, Ireland

Tickets go on sale on Wednesday (January 15) at 9am GMT. Tickets for the London show are available from here.

For an idea of what to expect, check out the (Bottle Back) documentary, which features intimate renderings of songs from Vile’s most recent album Bottle It In:

The Go-Betweens – G Stands For Go-Betweens: 
Volume 2, 1985-9


In 1982, like fellow Australians The Birthday Party before them, and A-ha the very same year, Brisbane’s The Go-Betweens relocated to London to seek wider fame and fortune. By 1985, with neither a “Release The Bats” nor a “Take On Me” to their name, both still eluded them. Their third album, 1984’s Spring Hill Fair, had disappointed group and critics alike, and as they formulated their next move, they found themselves instead hunting high and low for their fourth label.

What arrived over the next three years, however, cemented Robert Forster’s and Grant McLennan’s reputations, as this follow-up to 2015’s exhaustive look at the first years of their career demonstrates. With 129 tracks – three increasingly impeccable albums on vinyl, five CDs of demos and radio sessions, not to mention Fountains Of Youth, 
a spirited, hitherto unreleased 2LP live set – it provides detailed evidence of the band’s growing confidence and continuously refined songwriting (plus occasional missteps), culminating in what many consider one of the southern hemisphere’s finest albums, 1988’s 16 Lovers Lane.

Three years earlier, record companies had been wary. Some showed interest, of course, helping fund demos included here on The Devil Is In Your Dress, revealing McLennan’s dramatically vulnerable “In The Core Of A Flame” and Forster’s “Head Full Of Steam” as fully formed, if less glossy. Nonetheless, when they found a home, Elektra UK, the plug was pulled mid-sessions.

Fortunately, by year’s end, lonely romantic Grant McLennan, charismatically foppish Robert Forster, New York bassist Robert Vickers and abiding rhythmic backbone Lindy Morrison had somehow completed their album and signed to Beggars Banquet. Liberty Belle And The Black Diamond Express exhibited an unexpected willingness to trade their earlier quirks – encapsulated in Vickers’ wife Janie Heath’s liner notes as a “stripped-down, arty bohemian sound” – for something more accessible.

Their approach, however, was inconsistent with the times, with the band hungry for more than a slot on NME’s C86 cassette. True, “The Ghost And The Black Hat”’s strange, accordion-fuelled cadences nodded to 1983’s “Cattle And Cane”, and “Head Full Of Steam” jangled like Felt; but the latter’s yearning was outclassed by “Apology Accepted”’s erudition – in spite of Tracey Thorn’s presence on both – and “Spring Rain” was as deceptively refreshing as its subject. Little wonder that “Reunion Dinner” – an odd, spoken-word slab of musique concrète occasionally reminiscent of The Velvet Underground’s “The Gift” – was dropped. As the pianos on Forster’s “Twin Layers Of Lightning” suggested, the band were chasing a more extravagant, if as yet unrealised sound.

This was unveiled on June 1987’s Tallulah, though Fountains Of Youth, recorded live in London a month before, suggests their new approach had been honed on the road. McLennan and Forster were now so in tune it was hard to distinguish between them, and they’d also added a fifth member, a 20-year-old multi-instrumentalist discovered in a Sydney bar. Amanda Brown expanded their approach, her violin eagerly leading McLennan’s “Right Here” and offsetting trenchant observations of jealousy with playful pizzicatos on “Someone Else’s Wife”. Additionally, she provided a poignant counterpoint to his wit – “Apart from that albatross around your neck”, a doctor assures him, “the tests are negative” – amid “Hope Then Strife”’s flamenco flourishes, while her trilling oboe provided the sombre nucleus to “Bye Bye Pride”, McLennan’s fine fable of betrayal.

Forster was not to be outdone, 
with “You Tell Me” pairing nagging guitar riffs with swooning vocals, while “Spirit Of A Vampyre” boasted a tangle of REM-like, chiming guitars. Admittedly, “Cut It Out” was, at best, a gauche pastiche of Prince’s “Kiss” – a breathless, less angular live take shows how it should have been – but it improved on the lo-fi blooper included here within Run From Him’s demos. “The Clarke Sisters” compensated, however, its portrait of three steel-grey-haired sisters who “sleep in the back 
of a feminist bookstore” like a tremulous take on Grey Gardens, 
its spookiness emphasised by Forster’s wilting vocal.

16 Lovers Lane, recorded in Sydney after Vickers retired to America, lacked such eccentricities, and if Liberty Belle… had represented 
a cerebral black-and-white Go-Betweens, and Tallulah a sepia-tinted version, this found them in full colour, lit by glorious sunshine, though storms rumbled in the distance.

In fact, the accompanying 14 demos highlight how Forster and McLennan had developed their aesthetic so thoroughly that producer Mark Wallis needed do little more than add discreet glitter to their acoustic flavours. Admittedly, an embryonic “Was There Anything I Could Do?” lacked the album version’s drive, its lyrics still gestating, and “You Can’t Say No Forever” demanded further development; but McLennan’s waltzing “You Won’t Find It Again” and “Casanova’s Last Words” – demoed in fragile acoustic form, then re-recorded with Brown’s violin as lively as Steve Wickham’s work 
for The Waterboys – confirm a surfeit of impressive material.

Whatever polish Wallis provided failed to mask their masterpiece’s penetrating barbs, epitomised in “Love Goes On!”’s emotional complexity: “There’s a cat in my alleyway/Dreaming of birds that are blue/Sometimes, girl, when I’m lonely/This is how I think about you.” That single “Streets Of Your Town” fell short of the charts can only be attributed to its images of battered wives and butchers shining knives, while the seam of volatile regret running through follow-up single “Was There Anything I Could Do?” can’t have helped its cause commercially either.

Ultimately, despite its 
warm heart – not to mention McLennan’s reverb-drenched “The Devil’s Eye” and Forster’s parting shot, “Dive For Your Memory” – their sixth album’s dominant mood was one of melancholy. Forster’s “Love Is A Sign” was awash in wishful thinking, and he and Brown combined in bittersweet fashion on “Clouds”, while 
her oboe poked fun at “I’m Allright”, McLennan’s succinct ode to unrequited love.

Furthermore, if his soothing “Quiet Heart” displayed none of the inarticulacy it portrayed, McLennan determined wistfully that it “doesn’t matter how far you come/You’ve always got further to go”. A KCRW session included on Trying To Be A Strong Person offers, they marvel afterwards, “one of the best versions we’ve ever done”, and the same is true of that November night’s “Clouds” and “Dive For Your Memory”.

“We stood that chance,” Forster concluded on the latter, but it wasn’t to be. Though 28 demos were recorded for their next album – many unearthed for the first time on this set’s final 2CD comp, Loving Shocks, some, including McLennan’s fine “Easy Come, Easy Go” and Forster’s reflective “I’ve Been Looking For Somebody”, later re-recorded for solo LPs – the band had split by the decade’s end. McLennan and Forster reunited in 2000, but widespread success continued to evade them. Nevertheless, this anthology perfectly encapsulates The Go-Betweens’ irresistible, evergreen and still expanding appeal.

Morrissey unveils new album, I Am Not A Dog On A Chain


Morrissey has announced details of his 13th solo album. I Am Not A Dog On A Chain will be released by Étienne/BMG on March 20.

Hear the lead single “Bobby, Don’t You Think They Know?”, featuring soul singer Thelma Houston, below:

I Am Not A Dog On A Chain was produced by Joe Chicharelli at Studio La Fabrique, France, and Hollywood’s Sunset Sound.

“I have now produced four studio albums for Morrissey,” said Chicarelli. “This is his boldest and most adventurous album yet. He has pushed the boundaries yet again – both musically and lyrically. And once again proving that as a songwriter and singer, he is in his own category. In truth, no one can be Morrissey but… Morrissey!”

Check out the tracklisting for I Am Not A Dog On A Chain below:

‘Jim Jim Falls’
‘Love Is On Its Way Out’
‘Bobby, Don’t You Think They Know?’
‘I Am Not A Dog On A Chain’
‘What Kind of People Live in These Houses?’
‘Knockabout World’
‘Darling, I Hug A Pillow’
‘Once I Saw the River Clean’
‘The Truth About Ruth’
‘The Secret of Music’
‘My Hurling Days Are Done’

Uncut Gems


Josh and Benny Safdie have spent a decade making scrappy, low-budget movies on the streets of New York; freewheeling, urban stories, in other words, that hark back to an earlier era of filmmaking. In their last film, Good Time, Robert Pattinson played Connie Nikas – a bright, resourceful petty crook who falls into a night-long churn of violence and exploitation, redeemed only by the unshakeable love he holds for his brother Nick. A good reference point might have been Scorsese’s underrated and arguably more commercial work from the ’80s – After Hours, in particular.

Uncut Gems, the Safdie brothers’ latest, is a kinetic, midtown Manhattan tale, a jewellery-district drama that features a towering performance from Adam Sandler – continuing the run of good work that includes Noah Baumbach’s The Meyerowitz Stories.

Sandler plays Howard Ratner, a brash jewellery salesman whose life is constantly on the edge. Always in debt, Ratner is one of life’s schemers, and he comes to believe that the answer to his prayers is a valuable stone, illegally imported from Ethiopia. When a famous basketball player, Kevin Garnett (playing himself), becomes obsessed with it, Ratner figures his ship is finally coming in – but fate has other plans for him.

For those turned off by Sandler’s usual comedy shtick, the good news is that there’s very little of it here. His company might get a little wearing, but that’s partly the point, and the Safdies offset his abrasive nature with some sympathetic supporting turns, notably from Julia Fox as Ratner’s mistress. We are rocketed through Ratner’s world – a place of permanently raised voices, propulsive camera work and blaring noise – accompanied by a pulsing score from Daniel Lopatin, AKA Oneohtrix Point Never. Aside from Scorsese, the Safdies channel other masters of New York’s discomfort zone, including Paul Schrader, Abel Ferrara and James Toback. The Safdies more than deserve to sit at the same table.

Hear Ozzy Osbourne duet with Elton John


Ozzy Osbourne is poised to release a new solo album, Ordinary Man, on February 21 via Epic.

The latest single to be taken from it is the title track – a duet with Elton John. Listen below:

Said Ozzy in a press release: “When I was writing ‘Ordinary Man’ it reminded me of an old Elton song and I said to Sharon, ‘I wonder if he would sing on it?’ We asked and lo and behold, he agreed and sings and play piano on the song.”

Other guests on Ordinary Man include Slash, Rage Against The Machine’s Tom Morello and rapper Post Malone. It was recorded with a band featuring Guns N’ Roses’ Duff McKagan on bass and Red Hot Chili Peppers’ Chad Smith on drums.

Oh Sees announce spring tour of UK and Ireland


Psychedelic garage rockers Oh Sees have announced a new tour of UK and Ireland for May.

They’ll continue to blast out tunes from their excellent 2019 album Face Stabber – as well as some gnarly new material, no doubt – at the following venues:

15/05 – Birmingham – The Crossing
16/05 – Manchester – Albert Hall
17/05 – Glasgow – Barrowlands
18/05 – Dublin – Button Factory
19/05 – Dublin – Button Factory
21/05 – Bristol – SWX
22/05 – London – Electric Ballroom – Late Show

23/05 – London – Electric Ballroom – Early Show

Click the links for each show for ticket details. Tickets go on sale on Friday (January 10) at 10am.

Rare and unreleased David Bowie tracks set for new EPs


To mark what would have been David Bowie’s 73rd birthday (today, January 8), two new releases have been announced featuring rare and unreleased Bowie tracks.

Is It Any Wonder? is a streaming EP of rare and unreleased material to be made available one track per week over the next six weeks. You can hear the first instalment, a stripped-down 1996 version of “The Man Who Sold The World”, below:

This version of “The Man Who Sold The World” will also appear on ChangesNowBowie, a nine-track mini-LP comprising a session that Bowie recorded in November 1996 during rehearsals for his 50th birthday concert at Madison Square Garden. Gail Ann Dorsey (bass, vocals), Reeves Gabrels (guitars) and Mark Plati (keyboards and programming) accompanied David on the recording.

This mostly acoustic session was produced by Bowie himself, Reeves Gabrels and Mark Plati. It was originally broadcast by the BBC on Bowie’s 50th birthday on January 8, 1997.

ChangesNowBowie will be released in limited quantities on LP and CD for Record Store Day on April 18. The cover art for the album will feature a black and white portrait of Bowie by photographer Albert Watson, taken in New York in 1996 (see below).

Timothée Chalamet lined up to play Bob Dylan in new biopic


Timothée Chalamet has been lined up to play Bob Dylan in a new film by James Mangold, who wrote and directed the acclaimed 2005 Johnny Cash biopic Walk The Line.

As Deadline reports, the film is currently titled Going Electric, and focuses on Dylan’s mid-’60s transition from folk figurehead to plugged-in rocker.

The film has rights to Elijah Wald’s 2015 book Dylan Goes Electric, as well as Dylan’s music rights. Bob Dylan himself is listed as an executive producer, while Dylan’s manager Jeff Rosen is among the film’s producers.

Chalamet, who recently starred in Little Women and was nominated for an Oscar for his performance in Call Me By Your Name, is reportedly taking guitar lessons to prepare himself for the role.