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Neil Young confirms release of archival live album, Tuscaloosa

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Neil Young has confirmed that his live album Tuscaloosa – recorded on February 5, 1973, at the University of Alabama – will be officially released on June 7.

The album can be pre-ordered by clicking here.

It features his backing band Stray Gators, captured on the same tour that also yielded the Time Fades Away live album.

Check out the full tracklisting for Tuscaloosa and hear “Don’t Be Denied” below:

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01 Here We Are In The Years
02 After the Gold Rush
03 Out on the Weekend
04 Harvest
05 Old Man
06 Heart of Gold
07 Time Fades Away
08 Lookout Joe
09 New Mama
10 Alabama
11 Don’t Be Denied

There are also special lithograph bundles available from Neil Young’s official store.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Hear the title track of Willie Nelson’s new album, Ride Me Back Home

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Willie Nelson has announced that his new album Ride Me Back Home will be released by Legacy Recordings on June 21.

Hear the title track below:

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The album features several new songs co-written by Nelson with longtime producer Buddy Cannon, as well as covers of songs by Billy Joel (“Just the Way You Are”), Mac Davis (“It’s Hard to Be Humble”) and Guy Clark (“Immigrant Eyes” and “My Favorite Picture of You”). Check out the full tracklisting below:

01. Ride Me Back Home
02. Come On Time
03. My Favorite Picture of You
04. Seven Year Itch
05. Immigrant Eyes
06. Stay Away From Lonely Places
07. Just The Way You Are
08. One More Song To Write
09. Nobody’s Listening
10. It’s Hard To Be Humble (with Lukas Nelson and Micah Nelson)
11. Maybe I Should’ve Been Listening

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

King Gizzard & The Lizard Wizard: “We wanted a band where no-one had to practise, essentially!”

Originally published in Uncut’s December 2017 issue

Seven psychedelic Australians with a manic workrate. An army of fans with alligator tattoos. A rapidly expanding catalogue of albums regarded as a prog-psych Game Of Thrones… Meet KING GIZZARD & THE LIZARD WIZARD! JASON ANDERSON joins up with garage-rock’s biggest new cult in Nashville and asks: will they keep their insane promise of releasing five albums in 2017?

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______________

The bandmates only travel about 30 feet from the door of the venue before they’re spotted. Then again, King Gizzard & The Lizard Wizard are not the most inconspicuous bunch. Here on a scorching September afternoon in Nashville, it’s hard to miss a mob of lanky, mid-twentysomething, mostly long-haired Aussies in black shorts and Blundstones. They are eight in number – seven musicians plus Jason Galea, the friend responsible for the band’s artwork, videos and trippy live projections.

Two fans call out and come over. “We drove 11 hours to see you!” says one clutching an empty bottle of bleach for reasons unknown. He’s thrilled to show the band a new addition to his pale forearm: a freshly inked illustration of a green gator. The musicians convey their approval without inspecting it too closely. The creature first appeared in Galea’s sleeve and animated video for “The River”, a single off the band’s 2015 LP Quarters. Though it migrated into a few T-shirt designs, no-one in the Gizzard camp gave it much thought until fans started showing off their badges of allegiance at Bonnaroo a few months on. Since then, “there’ve been hundreds,” says Galea in disbelief.

King Gizzard’s 26-year-old singer, guitarist, flautist and ringleader Stu Mackenzie confesses that being the object of such devotion has been “kinda overwhelming”. He remembers the words that came to mind when he saw his first flesh gator: “Damn… you’re gonna regret that.”

Such tributes are just another absurd development in a history  studded with them. Gradually, and largely by happenstance, a band formed as an anarchic extracurricular for young friends otherwise busy in other bands in Melbourne in 2010 has become one of the most obsession-worthy groups on the planet. None of that “was supposed to happen”, Mackenzie explains. “This was just the weird experiment, just us fucking around.” The group didn’t even get a decent name. Instead, they got stuck with a last-minute compromise between someone’s Doors-inspired suggestion of King Lizard and Mackenzie’s arguably dafter choice of Gizzard Gizzard.

Yet what started as a joke definitely isn’t one now. Later that night in the sold-out Cannery Ballroom, a sweaty 1,000-strong throng of “Gizzheads” mosh to the sound of Mackenzie’s apocalyptic sci-fi songs about cyborgs and altered beasts. An improbable but reliably thrilling stew of prog, surf, garage, Krautrock and psychedelia – with the occasional detour into folk, jazz and Tropicália, too – the band’s sonic barrage is powered by two drummers and delivered with enough gusto to supply several more bands of comparable girth.

The whirlwind of activity they whip up onstage is matched by their frenzied release schedule. Since 2012, they’ve put out 10 extraordinary (and extraordinarily diverse) albums. Of the five that were promised for 2017, three are already out. Even if they miss the self-imposed deadline for the last two – and time is running short – they’ve already provided a ludicrous overabundance of stoner-motorik magnificence.

New David Bowie demo collection to include nine unreleased tracks

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Following the recent Spying Through A Keyhole and Clareville Grove Demos collections, Parlophone is releasing a further set of David Bowie’s 1969 recordings known as The ‘Mercury’ Demos on June 28.

These 10 early Bowie recordings were captured live in one take to a Revox reel-to-reel tape machine in David’s flat in spring 1969, with accompaniment from John ‘Hutch’ Hutchinson on guitar and vocals.

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The version of “Space Oddity”, originally released with edits on the Sound & Vision boxset, is presented here in its true context for the first time. The other nine recordings on the album are all previously unreleased. In addition to Bowie originals, the session also includes the Roger Bunn composition “Life Is A Circus” and the Lesley Duncan composition “Love Song” later recorded by Elton John for Tumbleweed Connection.

The ‘Mercury’ Demos set will come in a replica of the original tape box and will feature 1xLP, a print, two photo contact sheets and sleeve notes by Mark Adams. The labels of the LP feature the same EMIDISC acetate styling as Spying Through A Keyhole and Clareville Grove Demos with the song titles in David’s own handwriting.

Check out the tracklisting below:

Side 1
Space Oddity
Janine
An Occasional Dream
Conversation Piece
Ching-a-Ling
I’m Not Quite (aka Letter To Hermione)

Side 2
Lover To The Dawn
Love Song
When I’m Five
Life Is A Circus

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

The 15th Uncut New Music Playlist Of 2019

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1.
BRUCE SPRINGSTEEN

“Hello Sunshine”
(Columbia)

2.
CRAVEN FAULTS

“Engine Fields”
(Lowfold Works)

3.
BEAK>

“Life Goes On”
(Invada)

4.
FLYING LOTUS

“Takashi”
(Warp)

5.
RIDE

“Future Love”
(Wichita Recordings)

6.
SOFT CAVALRY

“Dive”
(Bella Union)

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7.
LUCY DACUS

“My Mother & I”
(Matador)

8.
BLACK KEYS

“Eagle Birds”
(Nonesuch)

9.
ROLLING BLACKOUTS COASTAL FEVER

“Read My Mind”
(Sub Pop)

10.
MARK LANEGAN BAND

“Stitch It Up”
(Heavenly)

11.
CHRIS ROBINSON BROTHERHOOD

“Chauffeur’s Daughter”
(Silver Arrow)

12.
PP ARNOLD

“Baby Blue”
(earMUSIC)

The May 2019 issue of Uncut is on sale from March 21, and available to order online now – with Neil Young on the cover. Inside, you’ll find Mark Hollis, Jimi Hendrix, Al Green, Oh Sees, Damo Suzuki, Mott The Hoople, Big Thief, Love, Kristin Hersh, Shaun Ryder and much more. Our 15-track CD also showcases the best of the month’s new music, including Weyes Blood, Kevin Morby, Richard Dawson, Fat White Family, Shana Cleveland, Drugdealer and Mekons.

Pink Floyd exhibition Their Mortal Remains to open in Madrid

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Following its successful debut at London’s V&A museum and subsequent runs in Rome and Dortmund, Pink Floyd exhibition Their Mortal Remains will open in Madrid on May 10, until September 15.

A collaboration between Pink Floyd, Aubrey ‘Po’ Powell and stage designers Stufish, the exhibition features over 350 artefacts collected over the band’s career, many unseen before the exhibition, including hand-written lyrics, musical instruments, letters, original artwork and stage props. High-tech audiovisual features contribute to an immersive journey through the world of Pink Floyd.

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Their Mortal Remains
is showing at Madrid’s IFEMA (the Trade Fair Institution of Spain). Admission is €9.90 – €19.90 EUR (plus fees), with the audioguide included in the price. For full details, visit the exhibition’s official site.

Pink Floyd are the cover stars of the current issue of Uncut; inside the magazine you’ll find the definitive story of the band’s experimental, post-Syd Barrett years, leading up to the creation of The Dark Side Of The Moon. Find it in shops now or order a copy online by clicking here.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

The Black Keys announce new album, Let’s Rock

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The Black Keys have announced that their 9th album, entitled Let’s Rock, will be released by Easy Eye Sound/Nonesuch Records on June 9.

Following the single Lo/Hi in March, you can now hear another song from it, “Eagle Birds”, below:

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Let’s Rock was written, tracked live, and produced by the band’s Dan Auerbach and Patrick Carney at Easy Eye Sound studio in Nashville. It features backing vocals from Leisa Hans and Ashley Wilcoxson.

“The record is like a homage to electric guitar,” comments Carney. “We took a simple approach and trimmed all the fat like we used to.”

Check out the Let’s Rock tracklisting and sleeve art below:

1. Shine A Little Light
2. Eagle Birds
3. Lo/Hi
4. Walk Across The Water
5. Tell Me Lies
6. Every Little Thing
7. Get Yourself Together
8. Sit Around And Miss You
9. Go
10. Breaking Down
11. Under The Gun
12. Fire Walk With Me

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Martin Scorsese’s Bob Dylan doc gets Netflix launch date

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Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese, the new documentary about Dylan’s 1975-6 concert tour, will launch in select cinemas and on Netflix on June 12.

Billed as “part documentary, part concert film, part fever dream”, the film is Scorsese’s second about Bob Dylan, following 2005’s No Direction Home.

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The film will be preceded on June 7 by the release of Bob Dylan – Rolling Thunder Revue: The 1975 Live Recordings, a comprehensive anthology of music from the tour, stretching to 148 tracks across 14 CDs. It includes all five of Dylan’s full sets from that tour that were professionally recorded, along with recently unearthed tour rehearsals from New York’s SIR studios.

You can read much more about Bob Dylan’s Rolling Thunder Revue in an extensive feature in the new issue of Uncut, in shops now or available to buy online by clicking here.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Bruce Springsteen announces new album, Western Stars

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Bruce Springsteen has announced details of a new album, Western Stars.

His first new studio album in five years, it will be released on June 14 by Columbia Records. It will be available for pre-order on Friday, April 26.

The album was recorded primarily at Springsteen’s home studio in New Jersey with additional recording in California and New York.

“This record is a return to my solo recordings featuring character driven songs and sweeping, cinematic orchestral arrangements,” says Springsteen. “It’s a jewel box of a record.”

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Ron Aniello produced the album with Springsteen and plays bass, keyboard, and other instruments. Patti Scialfa provides vocals and contributes vocal arrangements on four tracks. The musical arrangements include strings, horns, pedal steel and contributions from more than 20 other players including Jon Brion (who plays celeste, Moog and farfisa), as well as guest appearances by David Sancious, Charlie Giordano and Soozie Tyrell. The album was mixed by Tom Elmhirst.

Western Stars track listing is:

Hitch Hikin’
The Wayfarer
Tucson Train
Western Stars
Sleepy Joe’s Café
Drive Fast (The Stuntman)
Chasin’ Wild Horses
Sundown
Somewhere North of Nashville
Stones
There Goes My Miracle
Hello Sunshine
Moonlight Motel

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Introducing the Ultimate Genre Guide to 2-Tone

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The new Uncut is in shops – and you can buy a copy online now by clicking here.

In 2016, I spent a day in Coventry with Horace Panter as part of a Specials’ cover story. It was August, less than two months after the EU referendum. Part of the piece made an explicit correlation between the late Seventies and the present day; how the band’s anti-racist manifesto had a new urgency in 2016.

“Injustice is timeless,” agreed Panter as we sat in the Russian History section of Coventry’s Central Library – built on the site of the old Tiffany’s nightclub. “The same message from 1979 is relevant in 2016.

“The Specials have that in-built thing with the socio-political message, the anti-racism stance,” Panter continued. “It comes as part of the package. People come to see us to affirm that side of us. I still mean it when we play ‘Doesn’t Make It All Right’. This is a song that I believe in every time I play it, just as much as I did back in 1979.”

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A few days later in London, Terry Hall similarly expanded on how “horribly relevant” the Specials still were. “It feels a lot worse now, it just feels a lot worse,” he admitted. “When you look at things like racism, it changed colour. It went from a black thing to an eastern European thing. It is still so heavy. A lot, heavier – a lot heavier – than it was in the Seventies, where really horrible incidents were isolated. Now you walk into WH Smiths and you’ve got it hitting you all the time in newspaper headlines. It’s constant, it’s absolutely constant.”

The band’s latest album, Encore, continues to underscore their message of unity and tolerance. “We Sell Hope”, “Embarrassed For You” and “Breaking Point”, particularly, feel like very necessary commentaries on life in contemporary Britain. “Nothing’s changed!” Hall bemoaned to Uncut earlier this year.

You can read more about the Specials, of course, in our Ultimate Genre Guide to 2-Tone – which is in shops and available to buy from our online store. Inside, you’ll find archive pieces from Melody Maker and NME on the Specials, the Special AKA, Madness, The Selecter, the Beat, the Bodysnatchers, Bad Manners and fellow travellers Dexys Midnight Runners and Elvis Costello. There’s new in-depth reviews, the 40 greatest 2-Tone singles, a guide to the label’s collectibles and a fond farewell to Ranking Roger.

When I spoke to Roger in 2016, he acknowledged – as Hall and Panter had – that many of the problems facing Britain today were similar to those he experienced in the Seventies. “It’s very complicated and life is harder now,” he nodded. But he offers a solution. “It’s up to the people to bring back the community, which got taken away from us in the Eighties and the Nineties. We solved a lot of our problems within the community, where everybody could have a say and things got done. If we reform the communities, it is a start.”

Follow me on Twitter @MichaelBonner

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Watch a video for Mark Lanegan Band’s new single, “Stitch It Up”

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Mark Lanegan Band have announced that their new album Somebody’s Knocking will be released on October 18 via Heavenly.

Watch a video for the first single, “Stitch It Up”, below. It features actor Donal Logue reviving his ’90s MTV character Jimmy The Cab Driver. “My head was pounding from laughing so hard the day of the shoot,” says Lanegan. “It was extremely tough to keep a straight face when Donal was in character, he turned into an updated version of Jimmy so fast. There’s a reason it’s the first video of mine I’ve been in for the last 15 years.”

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Somebody’s Knocking came together in an 11 day session in LA, abetted by writing partners Martin Jenkins (AKA Pye Corner Audio) and Rob Marshall.

Mark Lanegan Band have also announced a run of UK and Irish dates in December:

Tuesday 10th December – LONDON – Roundhouse
Wednesday 11th December – BRISTOL – SWX
Friday 13th December – SHEFFIELD – Leadmill
Saturday 14th December – EDINBURGH – Liquid Rooms
Sunday 15th December – MANCHESTER – Ritz
Tuesday 17th December – DUBLIN – Button Factory
Wednesday 18th December – BELFAST – Empire Music Hall

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Send us your questions for PP Arnold

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The renaissance of soul singer PP Arnold will be complete this August when she releases her first album of new material in 51 years, aptly titled The New Adventures Of… PP Arnold.

The album was created with help from Paul Weller and Ocean Colour Scene’s Steve Cradock, both of whom are huge fans of Arnold’s late-’60s material on Andrew Loog Oldham’s Immediate label.

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Arnold has had a fairly astonishing career: escaping an abusive marriage to tour as backing vocalist for Ike & Tina Turner, she was persuaded to sign to Immediate by Mick Jagger, scoring a memorable Top 20 hit with Cat Stevens’ song “The First Cut Is The Deepest”. She hung out with The Rolling Stones, dated Steve Marriott and sang with everyone from Nick Drake to Dr John.

She enjoyed an unlikely renaissance in the rave era, singing on club hits by Altern-8 and The KLF, before working with Roger Waters and Oasis. After her lost 1970 album The Turning Tide – featuring songs by Barry Gibb and Eric Clapton – was released to belated acclaim in 2017, the 72-year-old Arnold is finally getting her just rewards as a solo singer.

So what do you want to ask the First Lady Of Immediate? Email your questions to us at uncutaudiencewith@ti-media.com by Friday April 26 and PP will answer the best ones in a future issue of Uncut.

The May 2019 issue of Uncut is on sale from March 21, and available to order online now – with Neil Young on the cover. Inside, you’ll find Mark Hollis, Jimi Hendrix, Al Green, Oh Sees, Damo Suzuki, Mott The Hoople, Big Thief, Love, Kristin Hersh, Shaun Ryder and much more. Our 15-track CD also showcases the best of the month’s new music, including Weyes Blood, Kevin Morby, Richard Dawson, Fat White Family, Shana Cleveland, Drugdealer and Mekons.

Hear Ride’s new single, “Future Love”

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Ride have announced that their new album, This Is Not A Safe Place, will be released by Wichita on August 16.

Hear the first single, “Future Love”, below:

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This Is Not A Safe Place was produced by Erol Alkan and mixed by old Ride compadre Alan Moulder. Influences on the album include Jean Michel Basquiat, The Fall and Sonic Youth. Check out the tracklisting below:

1. R.I.D.E.
2. Future Love
3. Repetition
4. Kill Switch
5. Clouds of Saint Marie
6. Eternal Recurrence
7. 15 Minutes
8. Jump Jet
9. Dial Up
10. End Game
11. Shadows Behind the Sun
12. In This Room

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

The Turtles on ‘Happy Together’: “Everybody needs a big hit”

Originally published in Uncut’s Take 233 issue

“We wanted it,” says Howard Kaylan of The Turtles’ drive for success. “We really wanted it. We were a singles band. And we enjoyed it, because there was nothing better than watching our records go up the singles chart!”

The Turtles’ search for stardom began when Kaylan and co-vocalist Mark Volman formed surf group The Crossfires at high school in Los Angeles, in the early ’60s. After trying out R’n’B, the pair heard The Beatles and swapped their saxophones for microphones. “All of a sudden the girls got closer to the stage, and people weren’t dancing so much as listening.”

Reluctantly christened The Turtles, the band were passed off as part of the British Invasion. “For the first six months of our career, we spoke in English accents,” remembers Kaylan, “we asked for white tea and finger sandwiches. But we were living it.”

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When they heard The Byrds, they moved into folk-rock and scored a Top 10 hit with Dylan’s “It Ain’t Me Babe” in 1965, before hearing The Lovin’ Spoonful and heading in search of the purest sunshine pop. They found it in late 1966, when they heard a worn acetate of a song called “Happy Together”, which had been passed over by countless groups.

“You could immediately hear that it was a good song, though,” says Mark Volman. “It was just two guys sitting in a room, with a guitar, yet the song was intact.”

“Happy Together” knocked “Penny Lane” off the top of the US charts in March 1967, apparently angering John Lennon. Although The Turtles would score other hits, including sarcastic answer song “Elenore”, and Volman and Kaylan would go on to work with Frank Zappa and Marc Bolan as Flo & Eddie, “Happy Together” remains their best-loved song.

“I went back to college in the ’90s,” says Volman, “and when I graduated, I gave the valedictorian speech and the student body actually stood up and sang ‘Happy Together’.”

Exclusive CD curated by The National free with the latest issue of Uncut

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The National have exclusively curated a free CD with the new issue of Uncut – which is in shops now and also available to buy online.

The 15 track collection brings together songs by close friends and collaborators. Among them are Sharon Van Etten, Bon Iver, The Breeders, This Is The Kit and Cat Power.

“The National became a big group of collaborators a long time ago,” frontman Matt Berninger tels us. “Carin [wife] has been writing lyrics with The National for 12 years. Kyle [Resnick] and Ben [Lanz] play live with us. There’s Padma Newsome, Thomas Barlett, Lais Hannigan, Justin Vernon, Sharon Van Etten…”

The tracklisting is:

LANZ – ‘Auckland’ [feat. James McAlister]
THIS IS THE KIT – ‘Bashed Out
DEERHUNTER – ‘Plains
THOMAS BARTLETT & NICO MUHLY – ‘Dominic
SHARON VAN ETTEN – ‘Give Out
KHRUANGBIN – ‘Lady And Man
BON IVER – ‘8 (circle)
THE BREEDERS – ‘Walking With A Killer
LISA HANNIGAN – ‘Snow
STILL CORNERS – ‘Submarine
BIG THIEF – ‘UFOF
PADMA NEWSOME – ‘Cloud Theory
MOSES SUMNEY – ‘Don’t Bother Calling
CAT POWER – ‘Horizon
BRYCE DESSNER / SO PERCUSSION – ‘Music For Wood And Strings: Section 1

The issue also includes an exclusive interview with the band where they discuss their ambitious new album, I Am Easy To Find. We travel to the band’s remote HQ in the Hudson Valley to discover a band trying to redefine themselves, 20 years into their career. There are unexpected collaborations, “blurry ideas”, a sympathetic filmmaker, sibling “alchemy” and radical reinvention. “Five guys talking about their problems? I got tired of that long ago,” says Matt Berninger.

Order the latest issue of Uncut online and have it sent to your home!

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Kevin Morby – Oh My God

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Late in 2016, Kevin Morby released the standalone single “Beautiful Strangers”, an emotional response to the Pulse nightclub shooting in Orlando and the death of Freddie Gray at the hands of Baltimore police officers. At one point the usually verbose Morby is almost lost for words, and simply repeats the phrase “Oh my god”. He found audiences responded to this with naked, exhausted despair and so took it for the foundation for his fifth solo album, Oh My God. This draws on the emotional tone of “Beautiful Strangers” – or in the case of “Oh My God” and “OMG Rock N Roll”, references it directly – and then constructs a fuller version around that core idea, one that foregrounds Morby’s vocals and uses different musical texture but otherwise retains his spiralling sense of rhythm and pulsating melody.

Religious references have always been part of Morby’s arsenal, often used as secular shorthand – metaphors or words and phrases that act as punctuation. Oh My God extends this symbolism with numerous references to gods, lords, prayers, souls, angels and locusts, songs titled “No Halo”, “Seven Devils” and “Hail Mary”, and a sense of heaven and hell. The music reinforces the theme, with Morby drawing on gospel and spiritual music, using a harp on the devotional “Piss River” or a distorted guitar on “Seven Devils” that resounds like seven trumpets from the Book Of Revelations. Most frequently he employs a choir, who provide a celestial top coat to “Nothing Sacred/All Things Wild”, “Savannah”, “OMG Rock N Roll” and others. Morby isn’t engaging in spiritual discussion as much as using the grammar and vocabulary of church to convey atmosphere. On the glorious drifting love song “Piss River” he even references this lack of godliness: “I tried to pray, but I didn’t know what to say/So I just mumbled some names and hope they are OK”.

Much of Oh My God takes place in the air, above the clouds, towards heaven. While Morby’s two previous albums, Singing Saw and City Music, were distinguished by a sense of place, on Oh My God that’s absent. Instead he’s absorbed by the dislocating sensation of air travel, something that he’s experienced regularly since the breakthrough success of Singing Saw. The opening title track, “Oh My God”, is intended to directly evoke the experience of flight – pre-flight tension, exhilarating climb, levelling out above a carpet of clouds – and subsequent songs reflect that heightened, almost feverish state of mind during flight, as time and place become distorted. That comes together on the ghostly closer, “O Behold”, with Morby singing about “horns from my head, wings from my shoulder” and planes on fire as, serenaded by that heavenly choir, he heads towards oblivion, salvation or maybe just passport and immigration.

During recording sessions, Morby and his regular producer, Sam Cohen, wrestled with the challenge of making Oh My God sound like something other than Singing Saw II and settled on a musical template that’s more stripped back than previous albums. There’s still a lot of instrumentation, but it is more concentrated around single songs – so “Nothing Sacred/All Things Wild” uses organ and congas, “Savannah” uses choir and organ, and “No Halo” is 90 per cent hand claps. The guitar, previously a staple of Morby’s work, is downplayed, with the focus switching to Morby’s vocal, whether his customary amplified whisper or an occasional more urgent tone. That makes the infrequent splurge of guitar – whether by Morby on “Hail Mary”, Cohen’s startling Brian May impression on “Congratulations” or Meg Duffy’s wild turn on “Seven Devils” – all the more effective.

As with Singing Saw and City Music, a lot of time and thought has gone into ensuring Oh My God holds together. Lyrical themes are repeated, explored and teased out. The religious/aeronautical concepts are consistent without being overbearing, and the musical and lyrical aspects are beautifully integrated. And if all this sounds a little stultifying, there’s also humour, often in the form of musical jokes. Morby has a habit of introducing an idea or concept in his lyrics that is then echoed by the music – on “Savannah”, for example, he sings, “I let my silence becomes the conversation”, and then follows it with a bar of silence. It’s something he does regularly in a variety of ways, offering a sort of punchline or reward to the listener as well as a curtain-lifting reminder that he is operating within his own narrative framework. It’s yet another detail to admire in the way this conscientious, thoughtful songwriter strives to convey a wider sense of atmosphere as he constructs his latest self-enclosed universe of song.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

David Bowie – Spying Through A Keyhole/Clareville Grove Demos

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Though the end of his professional life was spectacularly well managed, the start of David Bowie’s career was – as we’ve lately been reminded by the Finding Fame documentary – rather less orderly. Given his continuing run of flop singles, and a misunderstood, poorly timed debut album, David Jones didn’t become David Bowie the moment he changed his name in 1966. So when does the David Bowie we know and love really start?

As early as 1973, his record companies struggled with this same question: trying gamely to reconcile the eyebrowless glam rock of his present with the characterful but variable recordings of his recent past, Deram’s World Of David Bowie (a collection of singles and offcuts) updated its 1970 cover to reflect its maker’s messianic reinvention. Both 1969’s David Bowie and 1970’s The Man Who Sold The World likewise received big-booted, Ziggy-appropriate upgrades. The former was renamed after its hit single, becoming Space Oddity.

Fifty years on from that song’s release in July 1969, this pair of charming 7-inch boxsets underline much the same point, that “Space Oddity” represents the singer’s first major breakthrough. The first box, Spying Through A Keyhole, presents the song both as a fragment and in a developing version performed with guitarist John “Hutch” Hutchinson. The second box, Clareville Grove Demos (named after Bowie’s 1968 address in Kensington, where he lived with Hermione Farthingale at No 22), begins with the feedbacky, near-complete demo version you may have heard on the now-deleted 40th-anniversary edition of the 1969 album. It ends with a morse code SOS, a meaningful plea for help. Who will hear him and come to his aid?

Comprising demos from 1968-9, when he had been dropped by Deram, these two sets find Bowie observing greatness through a telescope, but yet actually to touch down on its surface. Spying… in particular shows Bowie almost pointedly earthbound, as was Ray Davies in the same period: relishing the everyday. Davies manqué was one of the modes Bowie employed on his debut, and a bleak “London Boys”-style documentary detail is still the order of the day in the previously unknown songs here.

It’s all about the kitchen for Bowie in 1967-8, and he leaves you in no doubt which is the most important meal of the day. “Mother Grey”, whose son has left home, wonders while wiping a picture frame, “how breakfast will ever be the same”. The Dylanesque “Love All Around” references the kitchen door. The contemporary song “When I’m Five” (not included here, though one hopes it might possibly emerge later, in which Bowie skilfully inhabits the voice of a child) makes narrative capital out of a dropped piece of toast.

Sonically and creatively, these demos reflect their domestic environment, the realm of the historically valuable rather than the mind-blowing. In our Bowie tourism industry everyone’s pretty much agreed on the main attractions, but there are some lesser-praised delights, as here, under-reviewed by TripAdvisor. Twelve-string demos of “London Bye Ta Ta” (adapted later as “Threepenny Pierrot” for Lindsay Kemp’s Pierrot In Turquoise) and “In The Heat Of The Morning” both show how Bowie could locate a strong melody over very weird chords, but it’s not as if you can hear him inching towards his breakthrough. It’s just not there, then suddenly it is.

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If, however, we follow “Space Oddity” down one of its more obvious metaphorical avenues and suggest that it’s about creative escape, there are some signs of life to be spotted in Bowie’s demo universe. In “Threepenny Joe”, the singer and his girl – in a Beatles/Barretty mode – attend a sideshow performance by the titular Joe, only to discover that his performance has some unsettling properties. In the two versions of “Angel Angel Grubby Face” on here, the escape is more literal: from the confines of “Factory Street” to the countryside, a specific “13 miles” away (from 22 Clareville Grove to Beckenham is about 11).

The second version is downbeat, underlining that this is still a Ray Davies kind of tale and that escape is only offered on a day return basis. When the excerpt of “Space Oddity” appears at the end of this side, it really does feel like a giant leap for Bowiekind. It must have felt like a huge relief. Adrift from a label, with other interests on the go, Bowie was in danger of slipping through rock’n’roll’s cracks. A promotional film bankrolled by his manager, Ken Pitt, attempted to package together Bowie’s songs and his interest in mime with (as we discovered on its release two decades later) jaunty and eccentric results. Musically, though, his proposition was unstable. A promising producer, Tony Visconti, was now in his circle, but his performance-art trio Feathers had lately lost one of its members, Bowie’s girlfriend Hermione Farthingale.

Now, with the folk pop of Simon & Garfunkel as his inspiration, he embraced the possibilities of the duo, performing with ex-Buzz, now Feathers man John Hutchinson. Resourceful Bowie fans have heard some fruits of this collaboration before in unofficial guises like ‘The Revox Tape’, ‘Sussex University 11/2/69’, ‘Publisher Demos’ and so on. If all those and the present release all come from the same place, it’s curious that the likes of “Letter To Hermione” and “When I’m Five” aren’t included, but for the moment – with mighty impressive audio restoration by Andy Walter at Abbey Road – we can hear excerpted highlights from that tape.

By now (likely late January–early February 1969), “Space Oddity” is nearly there, the logic problems in the lyrics (“I think my term on Earth is nearly through”? Needs work: not actually on Earth, but in spacecraft!!!) all fixed, and an arrangement pretty well sorted, Hutch playing Ground Control to Bowie’s Major Tom. “Lover To The Dawn” alights on a lovely melody, which will later form the basis of “Cygnet Committee”, Bowie’s sideways look at the counterculture. Here it personifies night and day as on-again, off-again lovers (“Don’t throw your heart at the clouded moon…”).

Bowie and Hutch are beautifully in sync throughout. They can do robust folk-club strutting like the weird and curdled fairy story “Ching A Ling” (retained from the repertoire of Turquoise, a pre-Feathers trio) or “Let Me Sleep Beside You”. Getting more ethereal, they elevate Roger Bunn’s composition “Life Is A Circus” into something beyond its rather corny lyric (“Life is a circus/It’s notta fair/Life is a hard road/When you’re not there…”). Harmonies simply don’t come much closer than those the pair achieve on “An Occasional Dream”, which looks back on a lost love. If it’s about Hermione, then it will have been written when the loss was still raw.

As the pre-publicity advises us, in audio terms these are not the finished work. But in a way that’s a fitting kind of Bowie experience: work in progress by an artist who was himself always in progress. Duly, on a couple of quiet occasions on the Spying… set, it’s possible to discern some faint, sped-up voices in the background on the tape. It’s tempting to think of them as the ghosts of the Laughing Gnome, but they’re simply the traces of other fleeting moments, created and rejected, as Bowie headed inexorably towards his countdown.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Steve Albini on Page & Plant, Nirvana and how to make a great dill mayonnaise

The new Uncut goes on sale from this Thursday – April 18 – but you can buy a copy online now by clicking here.

With news of a new Shellac release coming, I thought I’d post my Audience With… Steve Albini interview from October 2014. He was lots of fun, as I remember. Went very deep on the mechanics of baseball, if memory serves; but some very good gear on Page & Plant, Nirvana, fighting, Hobnobs and his recipe for dill sauce.

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It’s 10am on a Tuesday morning and Steve Albini has just arrived at the offices of Electrical Audio, the two-studio recording facility in Chicago, Illinois that he founded in 1997. Over the past few decades, Albini has overseen the creation of hundreds of records – among them, legendary albums by the Pixies, Nirvana, Page & Plant, PJ Harvey and the Stooges. Today, however, he politely rebuffs enquiries about his current clients. “I am very discreet, because there are people who will form opinions on bands based on their association with me.”
Of course, Albini is man of many skills, and not all of them lie behind the desk. As singer and guitarist, he has been a mainstay of the American independent scene from his earliest days in Big Black through Rapeman and now Shellac. In fact, this month, Shellac release Dude Incredible, their first album since 2007. Why the long wait? “We mastered it either end of June or beginning of July 2013 and since then we’ve been working on the cover,” he explains. “Trying to get monkeys printed on paper turns out is really difficult. I could totally understand it if we were trying to print wood nymphs on aluminium or something but we’re not. We’re trying to print monkeys on paper. But apparently it’s a new procedure so it’s literally taken that long to get a fucking cover printed. If you see the cover, and you’re familiar with the printing arts, you might understand what some of the technical problems were. But it still seems preposterous that it was so hard. But in the end we’re happy it’s monkeys on paper. We’re fine with it.”
And with that, it’s into to the Uncut mailbag…

What’s your walk-up song?
Kim Deal
I’m going to say “Master Of Sparks” by ZZ Top because the riff in that is unstoppable. The thing that makes baseball much better than other games is because it’s structurally unique. Virtually all other games can be reduced to a pretty simple formula: you’ve got one team in possession of a ball and you’re trying to put that ball in a goal and the other team trying to prevent the movement of that ball or trying to steal the ball to put it in the goal. That’s basically all other team sports and they’re all fucking stupid. I mean, they all run on a fucking clock for a start. There’s a clock, really? That’s a part of your game? Is some kind of bell going to go off and you lose? That seems fucking ridiculous to me. In baseball, the ball doesn’t do anything except control the behaviour of the players; the players do all the scoring. The defence team is in possession of the ball and in control of the ball, that’s the only team where that’s true. It’s got some formal similarities to cricket in that regard but cricket, I feel like there is a crippled quality to it. You’ve only got two bases. But I’m a baseball fan and baseball is clearly the superior game.

Have you ever been in a fist fight?
Kelley Deal
When I was an adolescent, I was in a couple of actual fights. I really detest violence and its practice. I don’t respect or admire fighting, wrestling, boxing, MMA – things like that. I can appreciate the effort and the conditioning and the tactical elements of it but it still boils down to physically trying to incapacitate another person. Children and animals fight, I don’t think there’s anything to be respected about fighting. I feel like watching fighting as entertainment is fucking barbaric, I don’t care if it’s chickens or dogs or people. Seeing people execute violence on each other as a pastime or as a sport is revolting to me.

Could you remind me of the recipe for the famous Electrical Audio ‘Fluffy Coffee’? We’ve been trying to recreate it and never seem to get it right.
David Gedge
It’s a pretty simple procedure. You have an espresso machine. You grind espresso grade coffee very fine and mix one portafilter worth of espresso coffee with about a quarter teaspoon of finely ground cinnamon. Don’t just sprinkle the cinnamon on the coffee; you have to mix it in with the coffee. If you sprinkle it across the top of the coffee it congeals it into a matte and prevents the water from percolating through the portafilter. Tap that mix down and that’s now prepared to make a shot of cinnamon-infused espresso. Before you make the shot of cinnamon infused espresso, put a tablespoon or more of maple syrup in the bottom of a pint class and half or three quarters fill that pint glass with whole milk. Then, using the steaming wand on your espresso machine, steam that milk and froth it so that it fills the pint glass to the top with foam. You now have a pint glass full of maple syrup infused milk with foam on the top of it. The foam is also infused with maple syrup and that stabilises the foam and makes it tasty like a marshmallow. Now you pull the shot of espresso from the espresso machine that you have charged with your coffee and cinnamon and dump it in one motion into the pint glass filled with foamy, hot milk. That is a traditional hot fluffy coffee. I’m convinced that if I had have come up with the fluffy coffee before we bothered building the studio, I wouldn’t have needed to build it. I’d just have little van of some place that makes these and I’d fucking print money.

Ask Steve what prostaglandins are.
David Yow, The Jesus Lizard
He probably doesn’t mean the actual definition, which he could find on the internet. He wants me to make something up, so I’m going to say that’s the resultant stock made by boiling socks and/or underwear to kill lice and nits.

How many Hobnobs do you eat a day?
Stuart Braithwaite, Mogwai
There was a period where I was making a lot of records in England and I was in the company of English people and Scottish people in particular and I would go through a packet of Hobnobs a day. Hobnobs with hot tea, it might very well be the prefect food. Instead of looking for a thing to sustain mankind on the intergalactic journey to another planet, they just want one food that they can feed generations while the spaceship is travelling to a new home planet. Hobnobs and hot tea, absolutely no questions you could survive on that.

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Who would you like to work with before you die?
Sean Parker, Chester
I’ve been a lifelong fan of Crazy Horse and I admire Neil Young in many ways. But primarily, I appreciate his skills as a guitar player and the way he takes my most uncomfortable thoughts and makes them concrete using pure sound. I think I could do a good job with one of his records. But he’s a very particular guy, he lies to do things in a very particular way and I can’t blame him for it because the results have been spectacular. Lifetime and long-term, he’s got an unbelievable batting average. All of my favourite music has been made by people whose general perspective has been to do it their way with a disregard for the audience and I can only admire that. Neil Young – top of the list and then Willie Nelson, unbelievable musician – always surrounds himself with really interesting players, he puts himself in really awkward situations. I think Dolly Parton is an underrated songwriter and musician and I think it would be great to work on her.

PJ Harvey says you make a great dill sauce. What’s your secret?
Rose, Brighton
She’s probably talking about a dill mayonnaise I was making for a while. There’s no secret, it’s a classic. You emulsify an egg yolk. I use olive oil because I like strongly flavoured mayonnaise but you could use sunflower oil or rapeseed oil if you wanted a more neutral flavour. You emulsify an egg yolk with oil and some acid. I typically use either vinegar or some lemon juice but you could also use something tart or sour to offset the oiliness. A little bit of salt, black pepper, white pepper, Cayenne pepper, something like that to make it a little spicy and then a load of fresh chopped dill. Use just the fronds and chop it as fine as possible. You could also use dill seed if you want a more uniform texture. You could powder the dill seed in a mortar and pestle and then use that. But I can of like that little speckly, yellow, aioli-looking stuff with the green flecks of dill. I think that’s pretty nice. It’s a great universal sauce.

I once saw on eBay a Shellac-branded weight loss/belt massager machine from the 1940s or 1950s. Someone had won it from you in a competition. What qualities does a machine have to have to be worthy of the Shellac brand?
Ivy, London
All the items that were made into Shellac items for that competition, they were all just things that were physically appealing and were simple technologies that we thought had not been appreciated. There was a beauty parlour-sit-down-hair-drying machine. Obviously, they were terribly inefficient but kind of beautiful and outmoded. There was a vacuum tube tester that was aesthetically gorgeous, and it had really beautiful arrangement of controls The exercise belt? The idea behind it was that it would do the moving for you so that you wouldn’t have to exert yourself and exercise. Completely pointless and couldn’t possibly be of any value. But, beautiful and funny to watch. We inserted little golden tickets into a number of our albums – I think it was 10. The tickets were printed by a friend of ours as a sort of certificate and they were called Shellac Dollars. If you got a Shellac Dollar in your record you could return it with your address to receive one of these prizes. We tried to make it so that the prizes were substantial.

Why do you think the guitar belt – as opposed to the strap – hasn’t taken off in popularity?
Tim Bugbee
It is slightly awkward to put the guitar around your waist if you’ve never done it before. I really like the freedom of mobility I have with the guitar bound to me like that. I feel like my arms aren’t encumbered, I haven’t got a weight around my neck. I have a lot to recommend it. A friend of mine, Marissa Paternoster from the punk band Screaming Females in Brunswick, New Jersey, had debilitating neck, back and shoulder pain so she wanted my advice about wearing a guitar around her waist. She found a company making special harnesses for guitars. The only drawback to that is that it requires you to put a strap button on the lower bout of your guitar. That is the bit under where you’re hand goes when you’re shredding and she modified her guitar to have that thing for it and now she’s happy as a clam. So there are other around-the-waist guitar set-ups. The thing that I like about my guitar strap arrangement is that it just uses a conventional guitar strap, you don’t have to have anything special.

The original sleeve for Big Black’s Headache is one of the nastiest record covers ever. What was your reasoning behind that?
Glenn Burke, Appleby
A number of things. Partly as a visual pun. Partly because there aren’t that many images you can look at where you can identify with the image. You instantly imagine how that could happen to you. A major component of Big Black’s aesthetic was this idea that we are all susceptible and vulnerable to dark thoughts or aberrant behaviour. We are all vulnerable to situations beyond our control, you’re not special, you’re not safe and you’re not better than all these other people. You look at a picture of another person and they’re totally traumatised like that and you can’t help but picture yourself or someone you know in that situation and instantly you feel weakened by it. I’m deducing all this after the fact because we certainly didn’t have this conversation when we did it. We just saw the picture and we were like “Wow! We should use that picture!” Everybody in the band was like “Yeah, you’re right that would be perfect.”

Were there any bands you really wanted to get on the bill but couldn’t, when you’ve curated various All Tomorrow’s Parties events?
Cheri Dickens, Edinburgh
My biggest disappointment was Bill Withers. We have a backdoor contact for him. We made some enquiries but he just wasn’t interested in performing. There was a documentary on his current life called Still Bill that was made four or five years ago. It’s really enlightening. If I had seen that documentary before approaching him about performing on All Tomorrow’s Parties, I don’t know if I would have approached him. Because it’s clear from this documentary that he’s quite content making music for himself on a very personal scale and he’s not interested in being part of the public eye anymore. I feel like, in a way, being ignorant of that was my fault. It was a big disappointment at the time.

How did Plant and Page approach you to record Walking Into Clarksdale?
Robert Dawes, Chorlton
I literally got a phone call from Robert Plant. It was pretty incredible. You’re talking about people who are responsible for a half-dozen of the best records ever made and who have shaped the idiom of my lifetime and those people called me on the phone to talk about working on their record. I mean there isn’t an English word for how I felt, it was enormously flattering. Going into it, I knew it was kind of an impossible challenge to satisfy their core audience and make a record that they wanted to make. I would do another record with Page and Plant in a heartbeat. They were totally professional with me. It was clear that they were in charge of everything, but it was also clear that they appreciated the effort that everybody was making on their behalf. I was impressed with how collaborative Robert Page and Jimmy Plant were, bearing in mind that there was a previously existing power structure where it was Jimmy Page’s band and Robert was hired to be the singer and in the interim, Robert Plant had gone on to become a very successful solo artist and now should be able to call the shots in a lot of situations. Jimmy Page was differential to him in that regard. A very similar experience for me was when I got to work on a record by The Stooges. I feel very lucky in that I have literally had my wildest dreams come true a couple of times.

Are you still a fan of proto-punkers Third World War?
Philip Delahunte, London
What an incredibly underrated band. They were radical, Communist, they were openly advocating overthrow the crown which is technically treasonous. Really rough, confrontational singing, really skeletal, stripped down music, biting guitar sounds. If their music had got more attention, I would be really surprised if they didn’t get legitimate police attention because of their subject matter. The best thing about Third World War is probably that after they made the first album Third World War, they decided they were going to make another album and they may have decided to make another album for no other reason than to name it Third World War Two and that would’ve been a perfectly valid decision. That is without question, the greatest album title of all time.

How did it feel to revisit In Utero for the 20th anniversary?
Sean McCarthy
At the time, there was a political problem between the band and the label. In the end, the record as it was released was accompanied by a rather unpleasant attempt by the record label to blame me for its failure which is a really bizarre perspective from a record label saying “This is a new record from a hit band. We hope you love it, if you don’t it’s Steve Albini’s fault.” It was an unpleasant six months for me and I almost went broke during that period. So there was a bit of bad taste in my mouth regarding that record when it was released. I tried not to personalise that towards the band, and it was great to reconnect with Krist down the road and realise we were still friendly and cordial and we can still work together. It was gratifying that the people responsible for that reissue were willing to let them go the distance for quality and by that I mean we had the original masters for the original LP sessions and I suggested that we do the vinyl reissue as double twelve inch and that we cut it direct into metal at Abbey Road and they signed off on all of that. I said I was happy to oversee the mastering and they signed off on that as well. So I got to see the production aspect of the reissue version of the original mix through to the very end. That was very satisfying and in the end I don’t know how to make a record better than that.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Listen to Kurt Vile cover The Rolling Stones

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Kurt Vile has released a cover of the Stones’ “No Expectations“, as well as a new version of “Loading Zones” taken from his 2018 album, Bottle It In.

The two come as part of a duo of new songs for a Spotify Singles session. You can listen to the songs here:

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Vile’s last single, “Timing Is Everything (And I’m Falling Behind)” was released earlier this year (January 25).

Bottle It In featured guest contributions from the likes of Kim Gordon, Warpaint’s Stella Mozgawa and Cass McCombs.

Vile will be playing a number of UK and European festivals this year including All Points East, Primavera and Glastonbury.

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.

Doves to reissue first three albums on limited edition coloured vinyl

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Doves reissue their first three albums as numbered limited edition, two-disc, coloured vinyl packages.

Lost Souls, The Last Broadcast and Some Cities will all be released on May 31, 2019 through USM / Virgin EMI.

They will appear as:

Lost Souls – 2 x LP Grey Vinyl, Limited Edition, 180gram
The Last Broadcast – 2 x LP Orange Vinyl, Limited Edition, 180gram
Some Cities – 2 x LP White Vinyl, Limited Edition, 180gram

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Each version with accompanying free download. You can pre-order by clicking here.

The band’s upcoming tour dates are as follows:

Sun 26 May: Bearded Theory Festival, Derbyshire
Fri 7 June: Heaton Park, Manchester (with Noel Gallagher)
Sat 8 June: Galvanizers Yard, Glasgow
Sun 16 June: Malahide Castle, Dublin (with Noel Gallagher)
Tue 16 July: Summer Series at Somerset House, London
Sun 21 July: Tramlines, Hillsborough Park, Sheffield
Fri 26 July: Brighton Racecourse
Sat 27 July: Kendal Calling, Lowther, Cumbria
Sun 28 July: Inner City Live, Perry Park, Birmingham
Fri 23 August: Victorious Festival, Portsmouth

The June 2019 issue of Uncut is on sale from April 18, and available to order online now – with Pink Floyd on the cover. The issue comes with a unique 15-track CD curated for Uncut by The National, who also speak exclusively to us inside the issue. Elsewhere, you’ll find Scott Walker, Bob Dylan, Primal Scream, JJ Cale, Cate Le Bon, Peter Perrett, Aretha Franklin, Mac DeMarco, Dinosaur Jr, Dylan Carson, Africa Express and much more.