Bob Dylan reveals tracklisting for Rough And Rowdy Ways


Bob Dylan has taken to Instagram to reveal the tracklisting for the upcoming Rough And Rowdy Ways, his first album of new material since 2012’s Tempest.

As expected, the ten-track album features the three previously-released singles “Murder Most Foul”, “I Contain Multitudes”
and “False Prophet”. Peruse the full tracklisting below:

1. “I Contain Multitudes”
2. “False Prophet”
3. “My Own Version of You”
4. “I’ve Made Up My Mind to Give Myself to You”
5. “Black Rider”
6. “Goodbye Jimmy Reed”
7. “Mother of Muses”
8. “Crossing the Rubicon”
9. “Key West (Philosopher Pirate)”
10. “Murder Most Foul”

Rough And Rowdy Ways is released next Friday, June 19 – the same day as the new issue of Uncut, your perfect companion for digesting the album. Check back here next week for details on how to order the magazine.

David Gilmour to release new music via Polly Samson’s audiobook


Polly Samson will release the self-narrated audiobook of her Hydra-set novel A Theatre For Dreamers on June 25. It features original music throughout from her husband David Gilmour, including the premiere of his new single “Yes I Have Ghosts”.

Inspired by a character from the novel and co-written by Samson, “Yes I Have Ghosts” will be released separately a week later.

Polly Samson says: “We didn’t set out to work together on the audiobook, but lockdown meant I had to narrate and I’m grateful to David Gilmour for stepping in to the producer’s chair. We wanted to explore the creative possibilities of the format and produce something new, refreshing and innovative.”

David Gilmour comments: “The audiobook format has so much untapped potential, and I am surprised more musicians have not creatively collaborated with authors, narrators, and audiobook producers in this way before. The two worlds seem to seamlessly link, and music can really help to bring audiobooks to life in unexpected new ways. We were also lucky to have our daughter Romany in lockdown with us to contribute harp and additional vocals.”

Watch the video for Michael Stipe’s “No Time For Love Like Now”


After teasing the song in March, Michael Stipe has released the finished version of his Big Red Machine collaboration “No Time For Love Like Now”.

The song was written by Stipe and The National’s Aaron Dessner, with orchestration by Bryce Dessner. The song also features Justin Vernon on guitar, Brad Cook on synth, JT Bates on drums, Thomas Bartlett aka Doveman on keys, and Clarice Jensen and Yuki Numata Resnick on strings.

Watch the video below:

Stipe has also designed a “No Time For Love Like Now” t-shirt and tote bag, available for purchase from here, with all proceeds to The Equal Justice Initiative and Covid-19 Protest Relief Fund.

Watch all of Uncut’s exclusive Paradise Of Bachelors sessions


Over the past month or so, we’ve been hosting a series of lockdown sessions in association with one of our favourite labels, Paradise Of Bachelors.

In case you missed any of them, you can now watch all four of these unique at-home performances below:

James Elkington


Jake Xerxes Fussell

Michael Chapman

As always, please support the artists and label by buying the albums – visit the official Paradise Of Bachelors site to order directly or find links for local retailers.

Send us your questions for Archie Shepp


Since emerging as part of Cecil Taylor’s band in the early ’60s, saxophonist Archie Shepp has been a key figure in the development of jazz – both musically and as a force for social change.

He’s played alongside Don Cherry in trailblazing avant-jazz ensemble the New York Contemporary Five and with John Coltrane on Ascension, also appearing live with everyone from Sun Ra to Frank Zappa.

Meanwhile his landmark solo albums include the scorching free jazz of 1965’s Fire Music, the Afrocentric explorations of 1968’s The Magic Of Juju and the lush sweep of 1972’s Attica Blues, an intensely lyrical and soul-stirring response to the Attica Prison uprising and institutional racism in general that constitutes essential listening right now.

Shepp’s latest project Ocean Bridges is a vibrant collaboration with his nephew Jason Moore AKA underground rapper Raw Poetic. On it, Shepp leads an eager young band through a series of tasty improvised grooves while passing on some of his considerable knowledge to the next generation.

So what do you want to ask a true jazz master? Send your questions to by Tuesday June 16, and Archie will answer the best ones in a future issue of Uncut.

Watch Sparks’ live isolation performance of “All That”


Despite protesting in the current issue of Uncut that “we’re not all acoustic groups!”, the ever-resourceful Sparks have found a way to perform new album opener “All That” in isolation.

The video features Russell and Ron Mael in their respective LA homes, playing along with the other members of their band. Watch below:

A Steady Drip, Drip, Drip is out now digitially with a CD, vinyl and cassette release to follow on July 3. You can read Uncut’s review of the album here, and order our latest issue – featuring An Audience With Sparks – by clicking here.

Columbia are giving away a signed Bob Dylan art print


Anyone ordering Bob Dylan’s new album Rough And Rowdy Ways before June 24 will be in with a chance of winning a lobby card art print signed by the man himself.

An (unsigned) lobby card comes packaged with all physical versions of Rough And Rowdy Ways, which is released next Friday (June 19).

Go here to pre-order and enter the competition, check out the previously released singles from the album here, and look out for much more on Rough And Rowdy Ways in the new issue of Uncut – which is also out on June 19.

Björk’s label One Little Indian changes name to One Little Independent


One Little Indian records – home to Björk, Crass, Marry Waterson, Kathryn Williams among others – has announced that it is changing its name to One Little Independent, as well as updating its logo.

Founded by Derek Birkett in 1985, the label took its name from his band Flux Of Pink Indians. “As a teenager living in London in the late 1970s, my friends and I were deeply inspired when we learned about some of the philosophies of the Indigenous People of the Americas, of peace and love for each other and for nature and the planet, and in turn they were of huge influence in our anarchist punk movement,” writes Birkett in a social media post. “I was naive enough at the time of founding my label to think that the name and logo was reflective of my respect and appreciation of the culture.

“I’m aware that my white privilege has sheltered me and fostered my ignorance on these issues. I realise now that the label name and logo instead perpetuated a harmful stereotyping and exploitation of Indigenous Peoples’ culture. This is the exact opposite of what was intended. However, I know that it is not the intentions but the impact that is important.

“I want to apologise unreservedly to anyone that has been offended by the name and the logo. I recognise now that both contribute to racism and should have been addressed a long, long time ago.”

As well as changing the name and logo, Birkett has committed to donating to organisations including the Honouring Indigenous Peoples Charitable Corporation and The Association On American Indian Affairs.

Third Man to release last ever show by The Stooges’ original line-up


Third Man Records have announced the upcoming release of The Stooges’ Live At Goose Lake: August 8, 1970 – the last ever performance of the original line-up of the band and indeed the only known soundboard recording of said line-up.

The festival slot found The Stooges promoting their just-released Fun House album, although legend has it that bassist Dave Alexander turned up too wasted to play, hastening the collapse of the band. This recently unearthed recording – found buried in the basement of a Michigan farmhouse, restored by Vance Powell and mastered by Bill Skibbe – suggests that story may not be entirely correct.

Listen to “TV Eye” below:

The album will be released almost 50 years to the day of the original performance, on August 7, 2020. It comes on CD, digital and vinyl formats – including two limited edition coloured vinyl variants – with liner notes by Uncut’s Jaan Uhelzski. Read more and pre-order here.

Fun House itself will be reissued as a 15xLP boxset in July.

Watch a video for Margo Price’s new single, “Letting Me Down”


Margo Price has announced a new release date for her forthcoming album That’s How Rumors Get Started. It will now be released on July 10 in numerous formats, including limited edition gold vinyl.

Watch a video for the latest single to be taken from the album, “Letting Me Down”:

You can read a review of That’s How Rumors Get Started in the new issue of Uncut, out next week. In the meantime, check out her recently released live album, Perfectly Imperfect At The Ryman, below.

Paul Weller – The Deluxe Ultimate Music Guide

Introducing the fully-updated, deluxe edition of our Ultimate Music Guide to the music of Paul Weller. Featuring a wealth of spiky archive interviews and in-depth reviews of every album, from The Jam to The Style Council, all the way to this month’s On Sunset. “It’s philosophical,” Paul tells us in an exclusive new interview, “but also tongue in cheek.”

Click here to buy!

Introducing the Deluxe Ultimate Music Guide to Paul Weller


Even with a new album out this week, and with the pandemic striking at the heart of how musicians operate, there’s no stopping Paul Weller. As he tells us in a new interview for this fully-updated deluxe Ultimate Music Guide, he’s been busy completing rough ideas, writing at home, and collaborating remotely with his band. “I’ve already got enough for a new record,” he says.

We shouldn’t be surprised. If there’s a constant feature of Weller’s story, it’s that he’s a musician whose career has been characterised by tremendous industry. From the fire of The Jam, the experimentation of The Style Council to the flowering of his solo career, Weller’s musical changes have been based on a bedrock of social responsibility and growing wisdom.

Even in our changed times he sees something to work with. “The air is noticeably cleaner,” he says. “I’ve started seeing and hearing birds again, the birdsong can be so loud. I’ve found it encouraging to think that the planet only needs a few weeks to start to repair itself. The planet will be here long after we’ve gone. Hopefully people can see that we are part of something bigger and we are lucky to be here.”

Perhaps we’ll hear the fruit of Paul’s insights on subsequent records. For the moment, though, we can reflect on his story so far in the Ultimate Music Guide’s blend of spiky archive interviews and deep critical evaluation of the work. It’s a journey which has taken us from the fire and skill of In The City to the innovative and soulful explorations of his latest album On Sunset. And much as we feel fortunate to be on the trip with him, it’s worth noting that Paul feels pretty grateful to be on it himself.

“My escape was music because nothing else made any sense,” he tells us. “I don’t know what I’d have done if I didn’t have music.”

The Deluxe Ultimate Music Guide to Paul Weller is in shops tomorrow (June 11). Alternatively you can order it online by clicking here.


John Robinson

Nubya Garcia and Shabaka Hutchings feature on new Blue Note comp


Due for release on September 25, Blue Note Re:imagined is a new compilation featuring classic tracks from the history of the label reworked by up-and-coming British jazz and soul talent.

It features Shabaka Hutchings, Ezra Collective, Nubya Garcia, Mr Jukes, Steam Down, Emma-Jean Thackray, Ishmael Ensemble, Melt Yourself Down and more covering tracks by the likes of Wayne Shorter, Herbie Hancock, Bobby Hutcherson, Joe Henderson, Donald Byrd and McCoy Tyner.

Listen to Jorja Smith’s version of St Germain’s “Rose Rouge”, which originally sampled Marlena Shaw’s Cookin With Blue Note At Montreux:

Hear Crass’s “They’ve Got A Bomb” remixed by XL’s Richard Russell


Last year, anarcho-punk firebrands Crass made the original stems for their 1978 debut album The Feeding Of The 5000 available as a free download, and invited all-comers to remix one of the tracks.

Now two efforts by ‘name’ remixers Richard Russell (Everything Is Recorded/XL label boss) and experimental synth-pop artist Glasser are being released on 12″, with all proceeds going to the domestic abuse charity, Refuge.

Pre-order the limited edition red vinyl 12″ – due out on July 24 – here, and listen to Richard Russell’s remix of “They’ve Got A Bomb” below:

Create your own remix by downloading the stems to The Feeding Of The 5000 here.

Hear the new single by Ty Segall and Wand’s Cory Hanson


Ty Segall and Wand’s Cory Hanson have released a collaborative single featuring the tracks “She’s A Beam” and “Milk Bird Flyer”.

Both songs were recorded five years ago, and were recently rediscovered. Listen to “She’s A Beam” below:

You can download the single exclusively from Bandcamp, with 100% of the first week’s sales of both songs donated to Black Lives Matter LA.

The Dream Syndicate – The Universe Inside

The Dream Syndicate’s third album since reuniting earlier in the decade opens with what may be the boldest, weirdest, longest track in their long career. Assembled from pieces of an 80-minute late-night jam during sessions for 2019’s These Times, the song constructs a rambling groove from Dennis Duck’s kosmische drumbeat, Mark Walton’s fatback bass, Chris Cacavas’s swirls of keyboard, and scribbles of guitar from Steve Wynn and Jason Victor. Later, they added electric sitar, skronking saxophone and low vocals that split the difference between Ken Nordine and Tom Waits. The song rolls on and on, picking up instruments and ideas before discarding them, then it rolls on some more, gradually building to a brief, explosive climax.

Clocking in at 20 minutes, it’s by far the band’s longest recorded composition to date, and it serves as a blueprint for this kaleidoscopic record. Featuring members of fellow Paisley Underground champions The Long Ryders, Richmond’s beloved House Of Freaks, and the Marcus Tenney Trio, The Universe Inside turns The Dream Syndicate’s psych-pop inside out, largely dispensing with Wynn’s melodic hooks in favor of a grittier, more hallucinogenic sound that’s ideal for staring at your hand for an hour. It’s a complete departure from their previous two records, 2017’s fine comeback, How Did I Find Myself Here? And follow-up These Times, and far more adventurous than you might expect from a reunited band 30 years from their heyday.

The Universe Inside is a new kind of LP for them, but this type of elongated jam is not. After establishing themselves as the link between dark post-punk distortion and brighter Paisley Underground hooks – which made them a direct influence on bands like REM and The Bangles, among other acts – The Dream Syndicate took to experimenting with noise. Mostly it was onstage, where a song might mushroom past its lyrical structure in new and unexpected directions. That tendency toward improvisation, however, bled into their 1984 studio album, Medicine Show, particularly the 10-minute “John Coltrane Stereo Blues”, which sounded like they were suddenly backing Albert Ayler. Wild and boisterous and messy, the song quickly became a live staple.

But they’ve never given over a full album to this kind of open-ended, exploratory groove, and it makes for a compelling new chapter in their long history. After that epic opener, The Universe Inside closes with an 11-minute Beat poem called “The Slowest Rendition”, during which the band provides an ominous soundtrack as Wynn narrates his worried inner monologue. Marcus Tenney, a Richmond jazz musician, switches between saxophone and trumpet, both of which lend the song an industrial-noir atmosphere. The song falls apart and they put it back together again, each time making it a little more hypnotic and unsettling, as Wynn instructs them, “Keep moving the pieces, keep shuffling the deck.”

The songs in between those two lengthy bookends contract and distend fluidly, as though you’re listening to a lava lamp. “Apropos Of Nothing” shifts tempo repeatedly, but maintains its menacing momentum thanks to the solid rhythm section and prismatic horns, and “Dusting Off The Rust” sounds like a Rube Goldberg contraption, each instrument tripping the next. In all the commotion, Wynn’s voice is often reduced to another element delivering pure sound and rhythm, to the extent that his words can sound purposefully unintelligible.

Even in this setting, however, he remains a resolute songwriter, his lyrics evoking the push and pull between order and chaos, between structure and sprawl, between melody and noise, between playing the music and letting it sweep you along. “You felt invincible, anything was possible,” he sings on “The Longing”, which crystallises the album’s ideas about alienation and disconnection. “Now all that’s left is the longing.” Wynn might be talking about his band’s first run back in the 1980s, or some recent eureka of inspiration, or just a moment of connection with another human being. But the song shimmers and wavers queasily, like they’re not sure if this is a bad trip or not.

That friction illuminates these songs even when they don’t seem to be going anywhere at all, or when they take too long to get there. Yet it’s still bracing to hear a reunited band so fearlessly recalibrate who they are together, what they do, and how they do it. They’re looking to each other to see where this all takes them – not just the reunion, but the music they’re playing together at any given moment. Rather than trying to recapture old sounds and past glories, The Dream Syndicate sound like they’re trying to figure out what lies beyond.

Tony Visconti on T.Rex and the birth of glam: “People were ready for Marc”


The latest issue of Uncut – in shops now and available to buy online by clicking here – includes the colourful tale of Marc Bolan’s transformation from hippie duckling to glam-rock swan, as he cast aside sidemen, managers, loyal supporters, and the ‘Tyrannosaurus’ name on his quest for mass appeal with T.Rex. Long-time producer Tony Visconti, friends and former associates relate for John Robinson the triumph of one of music’s most complex characters as he ushered in the glam rock era. Here’s an extract:

The broadcaster Bob Harris saw Marc Bolan become the king of glam rock from the back of a car in Glasgow, in the spring of 1971. After the No 1 success of “Hot Love”, this was a tour on which he witnessed scenes otherwise familiar only from footage of Beatlemania: police escorts, crushed cars, stampeding fans.

“The first gig was Portsmouth Guildhall,” remembers Harris, then acting as T.Rex’s tour support and MC. “The band finished their set, and we were hanging out. We realised there was a lot of noise in the street – the whole crowd was round the backstage door. Local police had arrived. The whole place was surrounded by girls with scissors trying to get locks of Marc’s hair. What I remember is a lot of stainless steel flashing around at eye level. It was madness!”

It wasn’t until 10 days later and the band’s arrival in Scotland, however, that Harris saw the newspaper headline that gave a name to what he was witnessing: “T.RexTASY!” A phenomenon so vivid it waited for colour television to arrive, glam had been born officially on Thursday, March 25, when T.Rex made their second appearance on Top Of The Pops with their single “Hot Love”. On Bolan’s cheeks were splashes of glitter – around which twinkling a robust British rock movement would start to coalesce.

“People were ready for Marc,” says Bolan’s long-time producer, Tony Visconti. “You have to remember: everyone was growing a beard. Musicians were trying to distance themselves from being slick. People were wearing jeans. You’d see people on Top Of The Pops with beards, wearing jeans and flannel T-shirts. Then Marc came along.”

Unbearded, tiny, and visually appealing, Bolan had a youthful beauty but also a winking charisma, suggesting of a more intimate understanding with his young audience. “He was very good-looking,” Visconti continues. “But he was cheeky. He was preening himself to be a rock star. He didn’t do this stuff when I first met him, but he’d probably been working this out in the mirror.”

The former Melody Maker journalist Chris Welch, a long-time Bolan patron, recalls how for Bolan, success was “payback time” for anyone who had ever doubted him. But as sweet as the vindication must have tasted, and as sumptuous the success have felt, it wasn’t quite as momentous or interesting as the journey that had taken him to the top.

You can read about that journey in full in the current issue of Uncut, out now with Bob Marley on the cover.

Brigid Dawson & The Mothers Network – Ballet Of Apes


Listen to almost any Oh Sees release since 2006 and you’ll hear Brigid Dawson. That’s her providing interjections like Kim Deal on Floating Coffin’s “Minotaur”, melding with John Dwyer’s falsetto on Smote Reverser’s “Sentient Oona”, and harmonising spookily on Putrifiers II’s “Wax Face”. A valuable, spirited team player, for sure, but, to the casual listener, there was little sign that she could be
a brilliant solo artist.

There had been rumours she’d been working on her own music in San Francisco for a few years now, though; and in 2017, she contributed three excellent songs to Memory Of A Cut Off Head, the ornate, Forever Changes-esque album she and Dwyer created under the name OCS. Yet the majesty and beguiling strangeness of what’s now emerging as her long-awaited first solo album may still come as something of a surprise. This extraordinary debut is a league away from anything she’s been involved in previously, and resolutely not a rock record. Instead, Dawson comes on like a cross between Nina Simone, Cate Le Bon and Robert Wyatt, her psychedelic, jazzy reveries alternatively pastoral and fiery, the latter element taken from her love of that most intimidating of genres, free jazz.

Dawson grew up in England fascinated by the jazz her pianist father performed; after singing in groups in London, she moved to the US in the early 2000s, where she met John Dwyer in a San Francisco café and was caught up in his whirlwind of garage creativity. If he’s the poster boy for prolificacy, though, Dawson tells Uncut that she’s the opposite: confidence has never been her strong point. Ballet Of Apes, in fact, almost didn’t happen. Recording took place in San Francisco with Sic Alps and Peacers leader Mike Donovan, in Melbourne with Mikey Young of the Eddy Current Suppression Ring and Total Control, and in Brooklyn with sludge-jazz weirdos Sunwatchers. Halfway through these sporadic sessions, though, Dawson almost abandoned the project, and it was only encouragement and help from Dwyer that made her complete the album.

The result is very much a piece of two halves, perfect for vinyl. Side One is more earthbound and a little lo-fi, although certainly not without ambition. Opener “Is The Season For New Incarnations” begins with an echoing beat and droning Vox organ, like Moe Tucker and John Cale recording for Phil Spector, before it blossoms into Crimson-esque grandeur with a dusty Mellotron and Morse-code organ. Dawson sings commandingly of “furious joy”, “a new vision”, and, beautifully wavering, declaims “man in his fortress [raining] down decrees”.

The rest of the side is more subtle, with “The Fool” – originally featured on Memory Of A Cut Off Head, in a very different version – driven by the bass of Fresh & Onlys’ Shayde Sartin, the trashy drums of Mike Shoun and Jeff Tobias on bass clarinet. “Carletta’s In Hats Again” is a dreamy, drifting ballad, with Dawson on piano and vocals, accompanied by Mike Donovan’s drum machine and Mikey Young’s distorted acoustic guitar. “Those days have all gone,” Dawson keens, joined by gradually building live drums and massed harmonies. It’s spectral and lovely, reminiscent of the loping songs on Cate Le Bon’s Reward. Side One closes with the album’s shortest and least consequential song, “When My Day Of The Crone Comes”, with a bluesy groove driven by Sunwatcher Jim McHugh’s 12-string guitar and electric phin, a kind of Thai lute. While it could conceivably have made sense on an early Oh Sees album, it also acts as a palate-cleanser for the more experimental, heavenly music yet to come.

Side Two, then, is really the motherlode of Ballet Of Apes, containing three songs that defy genre and whip up their disparate elements into something deeply sublime. The title track is one long crescendo of double bass, saxophone, percussive shakers and jazzy drums, provided by Sunwatchers and reminiscent of Alice Coltrane’s Journey Into Satchidananda, or of Brigitte Fontaine’s work with the Art Ensemble Of Chicago on 1969’s Comme A La Radio. Dawson hovers above it all, her swooping vocals mostly wordless (“ballet… o-of… aa-hapes… woo!” can just about be deciphered), reminiscent of the vocalising of her heroes such as Robert Wyatt or experimental jazzer Jeanne Lee. As it builds it becomes more psychedelic and uncommonly powerful, with processed electric guitar and Dawson’s vocals dissolving into something more guttural.

“Heartbreak Jazz” is its counterpart, a lengthy, heavy ballad with chords that endlessly descend like a staircase stretching down to some ancient labyrinth. Jeff Tobias contributes an impressive drone on his alto sax via the medium of circular breathing, as piano, wild electric guitar, drums and organ back Dawson’s evocative lyrics: “Haunted by my dreams/How long the dark night seems…” There’s a hint of Led Zeppelin’s “Since I’ve Been Loving You”, but curdled and rid of all masculine bombast, or even a touch of the stately dread of King Crimson’s “Epitaph”; John Dwyer must surely approve.

With a see-sawing sway, the closing “Trixxx” is carried by Dawson’s wordless voice, the twinkling, rusted tones of her Omnichord, and Tobias’s sax playing, here plaintive and not a little reminiscent of David Bowie’s underrated work on the instrument. After the darkness and intensity of the previous 14 minutes, it provides some welcome respite.

Taken as one 36-minute adventure, Ballet Of Apes is extraordinary: an unexpected journey through Dawson’s musical obsessions, it channels a mix of styles and influences in a way that feels completely fresh. Those assisting her have created some of the most exciting music of the last decade, and their input has surely been important in terms of arrangements, but what’s really special here is the mood of the record, its vibe and its songs, and that’s entirely the product of Dawson herself. As she explains in our Q&A, these seven tracks take earthly concerns – being in a band, touring as a woman in a very male environment – and elevate them to a kind of abstract, mythical plain.

Dawson is also a visual artist, which is perhaps a crucial clue to unlocking Ballet Of Apes. Along with her interest in free jazz and expressive, improvisatory styles of music, it’s possible to see these seven songs as a type of painting with sound, a messy, wild process of distillation and curation, until only sparse daubs of bright colour remain on the canvas. Limited elements, but a giant impact. It’s been worth the wait.

The Waterboys announce new album Good Luck, Seeker


The Waterboys have announced that their new album Good Luck, Seeker will be released by Cooking Vinyl on August 31.

Listen to the epic lead track “My Wanderings In The Weary Land” below:

Good Luck, Seeker will be released in numerous formats, including limited blue splatter vinyl. Check them all out and pre-order here.

Hear Elvis Costello’s surprise new single, “No Flag”


Elvis Costello has today released a new single called “No Flag”.

It was recorded in February at Finland’s Suomenlinnan Studio, a twenty-minute ferry ride from downtown Helsinki. Costello is listed as playing all instruments – mouth, drum, Fender Jazzmaster, Hammond Organ and bass. Listen below:

Asked about the choice of recording location, Costello explains, “I wanted to go somewhere nobody knew me. So, this is ‘The Helsinki Sound.’”