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The Rolling Stones play “Ain’t Too Proud to Beg” for first time since 2007

Arusa Qureshi
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The Rolling Stones play “Ain’t Too Proud to Beg” for first time since 2007
The Rolling Stones treated audiences in Detroit to a cover of the 1966 Temptations classic "Ain’t Too Proud to Beg" this week (November 15) – their first time playing the song since 2007. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE...

The Rolling Stones treated audiences in Detroit to a cover of the 1966 Temptations classic “Ain’t Too Proud to Beg” this week (November 15) – their first time playing the song since 2007.

Despite having played the song live over 100 times since 1975, it hadn’t been a part of their setlist since a 2007 gig at London’s O2 Arena. “Ain’t Too Proud to Beg” was added to the show in honour of Detroit’s musical roots.

“Ever since we were really young, we always loved Motown,” Mick Jagger told the audience. “We can’t come to Detroit and not do a Motown number, right?” Other Temptations tracks that frequently appear in their repertoire include “I Can’t Get Next to You”, “Don’t Look Back”, and “Just My Imagination (Running Away With Me)”.

In October, The Rolling Stones dug out another deep cut at their Nashville show, performing “Connection” for the first time in a decade and a half.

Elsewhere, Keith Richards recently told The Los Angeles Times why the band no longer play their 1971 hit “Brown Sugar”. When asked whether it was to do with its slavery-referencing opening line: “Gold coast slave ship bound for cotton fields”, Richards said: “You picked up on that, huh? I don’t know. I’m trying to figure out with the sisters quite where the beef is. Didn’t they understand this was a song about the horrors of slavery? But they’re trying to bury it.”

The Rolling Stones continue their No Filter tour in Austin at Circuit of the Americas on November 20, finishing up three days later at the Hard Rock Live Casino in Hollywood, Florida.

Watch Genesis perform Misunderstanding for the first time in 37 years

Tom Skinner
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Watch Genesis perform Misunderstanding for the first time in 37 years
Genesis performed "Misunderstanding" for the first time in 37 years earlier this week – you can check out the footage below. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut Phil Collins and co. dusted off the 1980 single – which appears on the g...

Genesis performed “Misunderstanding” for the first time in 37 years earlier this week – you can check out the footage below.

Phil Collins and co. dusted off the 1980 single – which appears on the group’s 10th studio album, Duke – during a concert at Chicago’s United Center on Monday (November 15). It was the first show on the Last Domino? tour’s US leg.

As Rolling Stone notes, Genesis hadn’t played the track since their Mama tour in 1984 before incorporating a segment of it into a live medley in 1988. Collins also made it a part of his solo gig setlists in 2004.

The recent revival of “Misunderstanding” came after an acoustic section of the band’s Chicago show, according to Setlist.FM. Tune in here:

Last month Genesis were forced to postpone their remaining UK appearances for 2021 “due to positive COVID19 tests within the band”. It was subsequently confirmed that the group will return to fulfil the London dates in March 2022.

Genesis’ full schedule is as follows:

NOVEMBER 2021
18 – Washington DC, Capitol One Arena
20 – Charlotte, Spectrum Center
22 – Montreal, Centre Ball
25 – Toronto, Scotiabank Arena
27 – Buffalo, Keybank Center
29 – Detroit, Little Caesars Arena
30 – Cleveland, Rocket Mortgage Field

DECEMBER 2021
2 – Philadelphia, Wells Fargo Center
5 – New York, Madison Square Garden
8 – Columbus, Nationwide Arena
10 – Belmont Park, UBS Arena
13 – Pittsburgh, PPG Paints Arena

MARCH 2022
24 – London, The O2
25 – London, The O2
26 – London, The O2

The Last Domino? tour, which kicked off in Birmingham on September 20, marks Genesis’ first live shows in 14 years. Ahead of the UK leg beginning, Phil Collins ruled out any further dates, saying these will be the last Genesis shows ever.

Big Thief announce new 20-track album Dragon New Warm Mountain I Believe In You

Will Richards
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Big Thief announce new 20-track album Dragon New Warm Mountain I Believe In You
Big Thief have announced details of a new 20-track double album – Dragon New Warm Mountain I Believe In You will come out in February via 4AD. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Adrianne Lenker – Songs/Instrumentals revie...

Big Thief have announced details of a new 20-track double album – Dragon New Warm Mountain I Believe In You will come out in February via 4AD.

The record was first touted in a recent interview with vocalist Adrianne Lenker, and is being previewed by new single “Time Escaping”, which can be heard below. It follows the band’s two records from 2019, U.F.O.F. and Two Hands.

Discussing the new album, Lenker said: “One of the things that bonds us together as a band is pure magic.

“I think we all have the same guide and none of us have ever spoken what it is because we couldn’t name it, but somehow, we are all going for the same thing, and when we hit it… we all know it’s it, but none of us to this day, or maybe ever, will be able to articulate in words what the ‘it’ is. Something about it is magic to me.”

Listen to “Time Escaping” below:

Dragon New Warm Mountain I Believe In You has been teased with a number of tracks across 2021. Recently shared singles “Little Things, ‘Sparrow” and “Certainty” will all appear on the forthcoming record, alongside their most recent track, album opener “Change”.

See the artwork and tracklist for Dragon New Warm Mountain I Believe In You below. The album can be pre-ordered here.

Big Thief

1. “Change”
2. “Time Escaping”
3. “Spud Infinity”
4. “Certainty”
5. “Dragon New Warm Mountain I Believe in You”
6. “Sparrow”
7. “Little Things”
8. “Heavy Bend”
9. “Flower of Blood”
10. “Blurred View”
11. “Red Moon”
12. “Dried Roses”
13. “No Reason”
14. “Wake Me up to Drive”
15. “Promise Is a Pendulum”
16. “12,000 Lines”
17. “Simulation Swarm”
18. “Love Love Love”
19. “The Only Place”
20. “Blue Lightning”

Big Thief’s previously-announced UK and European tour will commence in January. They’re due to play three nights at the O2 Shepherd’s Bush Empire in London between March 2 and March 4.

See the full list of dates below:

JANUARY 2022
31 – Aeronef, Lille, France

FEBRUARY 2022
1 – La Cigale, Paris, France
4 – Rock School Barbey, Bordeaux, France
5 – Sala Apolo, Barcelona, Spain
7 – Le Transbordeur, Lyon, France
8 – La Laiterie, Strasbourg, France
9 – Kaufleuten, Zurich, Switzerland
10 – Muffathalle, Munich, Germany
12 – MeetFactory, Prague, Czech Republic
13 – Huxleys, Berlin, Germany
15 – VEGA, Copenhagen, Denmark
16 – Fabrik, Hamburg, Germany
18 – Live Music Hall, Cologne, Germany
19 – Cirque Royal, Brussels, Belgium
21 – Ronda, Utrecht, Netherlands
22 – De Oosterpoort, Groningen, Netherlands
24 – Manchester Academy 1, Manchester
25 – Barrowland, Glasgow
26 – National Stadium, Dublin
27 – O2 Academy Bristol, Bristol

MARCH 2022
2 – O2 Shepherd’s Bush Empire, London
3 – O2 Shepherd’s Bush Empire, London
4 – O2 Shepherd’s Bush Empire, London

Close friends and collaborators discuss the many faces of Bruce Springsteen

Stephen Deusner
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Close friends and collaborators discuss the many faces of Bruce Springsteen
It is Sunday night in New Jersey. A crowd has gathered at Asbury Lanes – but they’re not here for bowling. Instead, the audience have come to hear two old friends talk about their glory days. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut “We ...

It is Sunday night in New Jersey. A crowd has gathered at Asbury Lanes – but they’re not here for bowling. Instead, the audience have come to hear two old friends talk about their glory days.

“We were completely immersed in popular music,” says Bruce Springsteen, as he recalls how, as teenagers, he and Steve Van Zandt first bonded. “It was wonderful to have a friend that you could do that with. I wish that friendship on everyone, to have it last for our entire lives.”

Asbury Lanes is a shrine to vintage rock’n’roll, with its ’50s diner and legendary stage – an ideal setting for Springsteen and Van Zandt to wax nostalgic about their youth on this mid-October evening. The event is a both a fundraiser for Van Zandt’s TeachRock programme and a celebration of his new memoir, Unrequited Infatuations. The book, written mostly during the pandemic, chronicles Van Zandt’s early years playing up and down the East Coast in groups like The Source, his years as a lieutenant in the E Street Band, his solo career, and his renaissance as an actor on “The Sopranos” and “Lilyhammer”.

Aside from a table reading featuring manager Jon Landau, Steve Buscemi and Bon Jovi’s Richie Sambora, the evening’s main event is this hour-long conversation between Springsteen and Van Zandt, full of old war stories from the road, inside scoops on their many albums together and other ties that bind. Tonight, Springsteen is playing the journalist, interviewing his friend for a small crowd of diehard fans. One of the highlights is Van Zandt describing the transformational effect that music had on his pal, who became a different person when he got on stage and went wild with the music: “Suddenly my friend who used to be very shy and retiring is walking on the tables in the Bottom Line,” he says, referring to the legendary folk venue in Greenwich Village, “kicking people’s food over
as we’re playing!”

Springsteen is much better behaved on this night at Asbury Lanes. No walking on tables for him. No assaulting anyone’s dinner. It’s a rare sighting of a performer who spends much of his life in public. After releasing a fine album with the E Street Band in 2020, Springsteen was sidelined by the pandemic, unable to tour behind Letter To You. But he has re-emerged in late 2021 with a renewed sense of purpose. His brief return to Springsteen On Broadway played to smaller crowds in New York, as fans gradually came back to the venues for live shows. Over the summer he cheered on his daughter, Jessica, as she competed in the Olympics – the equestrian took home a silver medal. He has even found time to get involved with new music: an AC/DC cover with Tom Morello and Eddie Vedder, as well as a superb new song called “Wasted Days” with his friend John Mellencamp.

Big Boi confirms that he has recorded a song with Kate Bush

Jackson Langford
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Big Boi confirms that he has recorded a song with Kate Bush
Big Boi has revealed that he is holding on to a song he made with Kate Bush, and he's described it as "a monster hit". ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Inside Kate Bush’s hidden world Speaking to Mark Ronson on The FAD...

Big Boi has revealed that he is holding on to a song he made with Kate Bush, and he’s described it as “a monster hit”.

Speaking to Mark Ronson on The FADER’s Uncovered Podcast, the rapper said the collaboration came after he met the elusive singer in the UK in 2014, while he and André 3000 were on their OutKast reunion tour.

“I have a monster hit with Kate Bush that I’m just holding,” he said, adding “It’s a dream come true and the people are going to fucking love it. It’s fucking incredible.”

Speaking of Bush’s Before The Dawn residency in London that same year, Boi – real name Antwan Patton – said, “I got tickets, me and my wife, and we went to go see her show that she had, played the live shows.

“I get invited backstage, we have some wine and we talk. And her kid is there, he’s about the same age as my kids, which is cool. And she signs an album for me and gives me her number.”

Patton said that he reached out when he returned to the UK the following year, and the two went to “this cool little pub place” and discussed working together on a track.

“Her son was going off to college and she was just like, ‘Okay, I’m going to try to get to something when I get my studio set back up’. And so my manager, being the great, great manager he is, reached out to her manager a couple of years ago and was like, ‘Hey, we need to make this happen.’

“And I just so happened to have the right song that is fucking phenomenal and sent it to her. It had the words on there and she just had to sing the words. And then I wrote my verse and my boy Go Dreamer wrote her parts and wrote the hook. And it is incredible. It’s incredible.”

Patton didn’t reveal when he would release the song beyond saying it will arrive “whenever I think they deserve it”. He also said he’d be interested in incorporating an NFT element into the release, specifically around the artwork.

Big Boi has been a noted fan of Bush for some time, with him sharing his desire to work with her since as early as 2011. The following year, he told fans to “stay tuned” for a collaboration between the two. He then said the same thing almost a decade later in 2020.

Immersive Bob Marley experience to open in London

Ali Shutler
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Immersive Bob Marley experience to open in London
The Bob Marley "One Love Experience" will get its global premiere in London next year before heading out on a multi-city tour. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Bob Marley: “He sent messages to the world” According ...

The Bob Marley “One Love Experience” will get its global premiere in London next year before heading out on a multi-city tour.

According to a press release, “this unique experience will showcase unseen Marley photographs and memorabilia whilst immersing audiences on a journey through his lifestyle, passions, influences, and enduring legacy.”

The “One Love Music Room” will feature giant art installations designed to celebrate Marley’s accolades while a multi-sensory experience can be discovered in the One Love Forest. The exhibition will also boast a live listening experience at the Soul Shakedown Studio.

Fans can submit artwork to be featured as part of the experience here.

Bob Marley
Image: Getty Images

The exhibit will open at London’s Saatchi Gallery on February 2, 2022 for a limited 10-week run before embarking on a multi-city tour. Tickets go on sale here this Friday (November 19).

“We’ve been wanting to launch a Bob Marley touring exhibit for many years and we’re thrilled to see it come to life and debut in London, which had a very special place in Daddy’s heart,” says Cedella Marley, CEO-Bob Marley Group Of Companies. “The experience can be enjoyed by all generations and we look forward to continuing to spread Daddy’s music and message to the globe”

“It’s an honour to be involved in the development and curation of the Bob Marley ‘One Love Experience’,” says Jonathan Shank, director and producer of the experience. “We hope that fans of Bob’s can come together and enjoy this exhibit and take a bit of positivity away from it and sprinkle that back into the world. Bob’s legacy should be celebrated not only for his music but also for his ever-lasting impact on culture and humanity.”

Arctic Monkeys announce 2022 European tour dates

Tom Skinner
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Arctic Monkeys announce 2022 European tour dates
Arctic Monkeys have announced their first headline shows of 2022 – see all the details below. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Arctic Monkeys have reportedly recorded a new album in Suffolk The Sheffield band, who last ...

Arctic Monkeys have announced their first headline shows of 2022 – see all the details below.

The Sheffield band, who last performed live in 2019, will hit the road for a string of European dates next August. Tickets go on sale here at 9am GMT (10am CET) next Wednesday (November 24).

Alex Turner and co. will take to the stage in Istanbul (August 9 and 10), Burgas (August 12), Pula (August 16) and Prague (August 18). You can see the full schedule and official tour poster below.

It comes after Monkeys drummer Matt Helders revealed that the group’s upcoming seventh album – the follow-up to 2018’s Tranquility Base Hotel & Casino – was “pretty much” finished and likely to arrive ahead of a summer 2022 tour.

AUGUST 2022
9 – Istanbul, Turkey, Zorlu PSM
10 – Istanbul, Turkey, Zorlu PSM
12 – Burgas, Bulgaria, Port Of Burgas
16 – Pula, Croatia, Arena Pula
18 – Prague, Czech Republic, Výstaviště Praha

Asked in a recent interview if the new record was “ready to go”, Helders replied: “Yeah, pretty much, yeah. It was a bit disjointed how we had to do it, and there are bits to finish off, but yeah, it’s all in the works.”

He continued: “I think by the time we get everything together it’ll be next year. Hopefully we can get out and tour next summer.”

As for the sound of the forthcoming LP, the drummer explained: “We tend to always move it on a little bit. For us, because we’re so involved in it, it always makes sense.

“[The albums] always kind of pick up where the other one left off in a way. It makes sense when you think about it in the context of the last record. But we always do try and do something a bit different – it’s kind of hard to describe. You can tell it’s the same band.”

Back in January, Arctic Monkeys’ manager revealed that the group had been “working on music” and had initially planned to record last summer. Helders then confirmed that they were in the “early stages” of the album while trying to overcome obstacles brought on by the pandemic.

Then, in August, it emerged that the band had been recording new material in Suffolk.

Oasis share unseen performance of “Wonderwall” from Knebworth

Ali Shutler
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Oasis share unseen performance of “Wonderwall” from Knebworth
Watch previously unseen footage of Oasis performing "Wonderwall" from the Saturday night of their iconic 1996 Knebworth concerts. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Here’s a never-before-seen clip of Oasis playing “Live F...

Watch previously unseen footage of Oasis performing “Wonderwall” from the Saturday night of their iconic 1996 Knebworth concerts.

The footage is taken from Oasis Knebworth 1996 which is released this Friday (November 19). Released to mark the 25th anniversary of the band’s two legendary August 1996 shows, the film features never-before-seen archive concert and backstage footage from the gigs, with additional interviews with the band and concert organisers.

It became the highest-grossing documentary of 2021 when it was released in cinemas in September, and this home release includes full recordings of both 20-song concerts.

The band have previously released footage of “Some Might Say” and “Champagne Supernova”. Check out Oasis performing “Wonderwall” below:

An audio version of the performance has also appeared on streaming services. It will form part of a live album, also called Oasis Knebworth 1996, which is released digitally, on CD and triple LP on November 19 via Big Brother Recordings. You can pre-order here.

Oasis Knebworth 1996 is produced by Black Dog Films, with both Noel and Liam Gallagher serving as executive producers.

“Knebworth for me was the Woodstock of the 90’s,” Liam said in a statement. “It was all about the music and the people. I can’t remember much about it, but I’ll never forget it. It was Biblical.”

Noel added: “I can’t believe we never played ‘Rock ‘n’ Roll Star!’”

Last month, Liam Gallagher announced he would be playing the biggest solo show of his career at Knebworth Park on June 4, 2022, with support from Kasabian, Michael Kiwanuka, Fat White Family and Goat Girl.

He was then forced to announce a second solo Knebworth Park show due to “phenomenal demand”.

Watch the official trailer for Courtney Barnett’s new documentary, Anonymous Club

Debbie Carr
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Watch the official trailer for Courtney Barnett’s new documentary, Anonymous Club
The trailer for Anonymous Club, a documentary centred on the private life of Courtney Barnett during the release of her second album, has been released. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Courtney Barnett on new album Things T...

The trailer for Anonymous Club, a documentary centred on the private life of Courtney Barnett during the release of her second album, has been released.

Shot over three years on 16mm film, Anonymous Club lets viewers into the world of Barnett as she tours and promotes 2018’s Tell Me How You Really Feel. The documentary shares its title with an older song of Barnett’s, appearing on 2013’s The Double EP: A Sea Of Split Peas.

“I woke up having one of those, like, just feeling sad days,” Barnett can be heard saying. “I think sometimes it’s OK to feel sad and keep on going with what you’re doing.”

The trailer, shared by Film Art Media, shows Barnett in many forms, from introspective musings on mental health and panic attacks to performance footage from major festival stages across the world. Take a look below.

Anonymous Club is narrated by Barnett herself via a series of dictaphone recordings and Kodak film footage from director Danny Cohen; the latter of which clocked in at around 25 to 30 hours of footage before being trimmed down to 83 minutes.

The documentary premiered earlier this year at the Melbourne International Film Festival before receiving screenings at both Brisbane International Film Festival and, most recently, Sydney Film Festival.

Anonymous Club is slated for theatrical release in Australia in March 2022, with global dates still to be confirmed.

Courtney Barnett released her third studio album Things Take Time, Take Time last Friday (November 12) via Milk! Records.

Paul McCartney says The Beatles: Get Back documentary changed his perception of their split

Damian Jones
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Paul McCartney says The Beatles: Get Back documentary changed his perception of their split
Paul McCartney has admitted that Peter Jackson’s The Beatles: Get Back documentary has changed his perception of their split. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Peter Jackson explains why Beatles fans will be surprised by n...

Paul McCartney has admitted that Peter Jackson’s The Beatles: Get Back documentary has changed his perception of their split.

The three part film, which is coming to Disney+ later this month, focuses on the making of the band’s penultimate studio album Let It Be and showcases their final concert as a band, on London’s Savile Row rooftop, in its entirety.

“I’ll tell you what is really fabulous about it, it shows the four of us having a ball,” McCartney told The Sunday Times after watching the film. “It was so reaffirming for me. That was one of the important things about The Beatles, we could make each other laugh.

He continued: “John and I are in this footage doing ‘Two Of Us’ and, for some reason, we’ve decided to do it like ventriloquists. It’s hilarious. It just proves to me that my main memory of the Beatles was the joy and the skill.”

Asked if it had changed his perception of the band’s eventual split, he said: “Really yes. And there is proof in the footage. Because I definitely bought into the dark side of The Beatles breaking up and thought, ‘God, I’m to blame.’

“It’s easy, when the climate is going that way, to think that. But at the back of my mind there was this idea that it wasn’t like that. I just needed to see proof.”

John Lennon privately informed his bandmates that he was leaving the Beatles in September 1969, before the following year saw McCartney famously announce his self-titled debut solo album with a press release that stated he was no longer working with the group – breaking their split to the world.

“We made a decision when The Beatles folded that we weren’t going to pick it up again,” he said. “You talk about how something has come full circle and that’s very satisfying, so let’s not spoil it.”

He also said that looking back now, he may have reunited with Lennon in later years.

McCartney added: “We could have. And I often now will think, if writing a song, ‘OK, John, I’ll toss it over to you. What line comes next?’ So I’ve got a virtual John that I can use.”

His comments echo similar sentiments that he made earlier this month, when he said he’d “only just got over” dealing with the “misconception” that he was the one who split up The Beatles.

“I think the biggest misconception at the end of The Beatles was that I broke The Beatles up, and I lived with that for quite a while,” he added. “Once a headline’s out there, it sticks. That was a big one – and I’ve only finally just gotten over it.”

The Beatles: Get Back documentary will premiere on Disney+ on November 25, 26 and 27.

U2 announce 30th anniversary edition of Achtung Baby

Ali Shutler
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U2 announce 30th anniversary edition of Achtung Baby
U2 have announced plans for a 30th anniversary edition of Achtung Baby with a special vinyl release and a mammoth digital boxset. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: U2 explore the power of music on new track “Your Song Save...

U2 have announced plans for a 30th anniversary edition of Achtung Baby with a special vinyl release and a mammoth digital boxset.

U2’s seventh album was originally released on November 18, 1991, and the 30th anniversary edition will come as a standard or deluxe vinyl. The editions will be released on November 19, and can be pre-ordered here.

On December 3, the band will also be releasing a 50-track digital boxset of the iconic record that will include remixes and B-sides. 22 of the tracks have never been available digitally before – check out the tracklist below:

Achtung Baby 2021 – Digital Boxset Tracklist:

Achtung Baby
1. “Zoo Station”
2. “Even Better Than The Real Thing”
3. “One”
4. “Until The End Of The World”
5. “Who’s Gonna Ride Your Wild Horses”
6. “So Cruel”
7. “The Fly”
8. “Mysterious Ways”
9. “Tryin’ To Throw Your Arms Around The World”
10. “Ultra Violet (Light My Way)”
11. “Acrobat”
12. “Love Is Blindness”

Uber Remixes
1. “Night and Day” (Steel String Remix)
2. “Real Thing” (Perfecto Mix)
3. “Mysterious Ways” (Solar Plexus Extended Club Mix)
4. “Lemon” (Perfecto Mix)
5. “Can’t Help Falling in Love” (Triple Peaks Remix)
6. “Lady with the Spinning Head” (Extended Dance remix)
7. “Real Thing” (V16 Exit Wound Remix)
8. “Mysterious Ways” (Ultimatum Mix)
9. “The Lounge” Fly Mix
10. “Mysterious Ways” (The Perfecto Remix)
11. “One” (Apollo 440 Remix)

Unter Remixes
1. “Mysterious Ways” (Tabla Motown Remix)
2. “Mysterious Ways” (Apollo 440 Magic Hour Remix)
3. “Can’t Help Falling in Love” (Mystery Train Dub)
4. “One” (Apollo 440 Ambient Mix)
5. “Lemon” (Momo’s Reprise)
6. “Salomé” (Zooromancer Remix)
7. “Even Better Than The Real Thing” (Trance Mix)
8. “Numb” (Gimme Some More Dignity Mix)
9. “Mysterious Ways “(Solar Plexus Magic Hour Remix)
10. “Numb” (The Soul Assassins Mix)
11. “Even Better Than The Real Thing” (Apollo 440 Stealth Sonic Remix)

B-Sides And Other Stuff
1. “Lady With The Spinning Head” (UV1)
2. “Blow Your House Down”
3. “Salomé”
4. “Even Better Than The Real Thing” (Single Version)
5. “Satellite Of Love”
6. “Who’s Gonna Ride Your Wild Horses” (Temple Bar Remix)
7. “Heaven And Hell”
8. “Oh Berlin”
9. “Near The Island” (Instrumental)
10. “Down All The Days”
11. “Paint It Black”
12. “Fortunate Son”
13. “Alex Descends Into Hell For A Bottle Of Milk / Korova 1”
14. “Where Did It All Go Wrong?”
15. “Everybody Loves A Winner”
16. “Even Better Than The Real Thing” (Fish Out Of Water Remix)

U2 have also teamed up with Berlin-based French artist Thierry Noir for a special one-off installation at the legendary Hansa Studios in Kreuzberg, running from November 19 -26.

Thirty years ago, U2 commissioned Noir to paint a series of Trabant cars, which featured on the Achtung Baby artwork. The installation will feature a newly painted Trabant for 2021, as well as an exclusive mural painted on a section of the Berlin wall. For more information, click here.

Exclusive! Hear Frazey Ford’s new single, “Saul”

Sam Richards
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Exclusive! Hear Frazey Ford’s new single, “Saul”
To mark the start of her UK tour later this week, Frazey Ford will release a new single onto streaming platforms tomorrow. You can hear "Saul" exclusively now below: https://www.youtube.com/watch?v=zgbG_Jv1JKE Recorded during the sessions for 2020's U Kin B The Sun album but unheard until n...

To mark the start of her UK tour later this week, Frazey Ford will release a new single onto streaming platforms tomorrow.

You can hear “Saul” exclusively now below:

Recorded during the sessions for 2020’s U Kin B The Sun album but unheard until now, the song is “simply about the devastating amount of love you have for a child,” explains Ford. She began writing the song not long after the birth of her son Saul, who’s now a teenager, but only completed it recently.

Saul also features in Ford’s recent video for “U Kin B The Sun”:

Peruse Frazey Ford’s upcoming UK tourdates below:

17 Nov – Milton Keynes, The Stables
18 Nov – London, Union Chapel
19 Nov – London, Union Chapel
20 Nov – Coventry, Warwick University
22 Nov – Bristol, Fiddlers
23 Nov – Hassocks, Mid Sussex Music Hall at Hassocks Hotel
25 Nov – Manchester, Gorilla
26 Nov – Edinburgh, La Belle Angelle
27 Nov – Newcastle, Gosforth Civic Hall
28 Nov – Leeds, Brudenell Social Club
30 Nov – Nottingham, The Glee

Radiohead’s Jonny Greenwood on his film scoring career: “Getting access to an orchestra means you’re suddenly in a band with 48 people”

Rob Young
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Radiohead’s Jonny Greenwood on his film scoring career: “Getting access to an orchestra means you’re suddenly in a band with 48 people”
“I started by looking at the music of the ’80s that Diana would have liked, but it’s a bit of a cul-de-sac…” Jonny Greenwood is explaining his crabwise approach to composing his latest soundtrack. Spencer, by Chilean director Pablo Larraín, is set across three unhappy days in the life of...

“I started by looking at the music of the ’80s that Diana would have liked, but it’s a bit of a cul-de-sac…” Jonny Greenwood is explaining his crabwise approach to composing
his latest soundtrack. Spencer, by Chilean director Pablo Larraín, is set across three unhappy days in the life of Princess Diana (Kristen Stewart) one Christmas at Sandringham, and is, according to Greenwood, “weirdly like a horror film. It’s more claustrophobic and dark; all the things The Crown isn’t.”

Greenwood’s looming, atonal string scores for films such as There Will Be Blood and Phantom Thread have been rightly acclaimed, and his standalone compositions have even been performed at the Proms. Casting out the baggage of traditional orchestration from so many costume dramas, on Spencer he actively demolishes the sounds of a traditional baroque ensemble. “One at a time, while they were playing, the idea was to substitute the musicians with free-jazz players. So the music would mutate slowly, gradually shifting from one world into the next. You hear these familiar sounds – harpsichords and trumpets and kettle drums – but they’re being played by jazz musicians. I’ve got great footage
of Tom Skinner playing these two timpanis, hitting every part of them – it’s quite exciting.”

Skinner, of course, is the Sons Of Kemet drummer who also plays with Greenwood and Thom Yorke in new Radiohead spin-off The Smile. The other musicians are veterans of London’s vibrant jazz subculture: trumpeter Byron Wallen, keyboardist Alexander Hawkins and bassist John Edwards. “It’s maybe a bit heavy-handed,” Greenwood concedes, “but it felt like the music was the right combination of things. Diana is such a chaotic and colourful person among all this drab, oppressive, staid tradition.”

Although Spencer is unequivocally critical of the royal family, Greenwood is not necessarily a republican. “Who is it said that [the Windsors] are a nice, middle-class German family?” he laughs. “Getting rid of the monarchy would just be a cosmetic change, and I don’t see that France is any freer as a country than we are. It’s funny, but the most liberal European countries, like the Scandinavians and Holland, they’ve all got monarchies. I’d rather have that than a people’s president in a palace somewhere. I don’t see that that’s better – or at least, it’s a lot more boring.”

The Who’s Roger Daltrey labels The Rolling Stones “a mediocre pub band”

Will Richards
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The Who’s Roger Daltrey labels The Rolling Stones “a mediocre pub band”
The Who frontman Roger Daltrey has criticised The Rolling Stones, calling them "a mediocre pub band". ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Introducing the Ultimate Music Guide to The Rolling Stones In a new interview with the...

The Who frontman Roger Daltrey has criticised The Rolling Stones, calling them “a mediocre pub band”.

In a new interview with the Coda Collection, Daltrey reflected on The Who’s history, and was asked about their contemporaries, including the Stones and Led Zeppelin.

When discussing the Stones, Daltrey first took the opportunity to praise frontman Mick Jagger, saying: “You’ve got to take your hat off to him. He’s the number one rock ‘n’ roll performer.”

Going on to discuss the band’s musicianship, he added: “But as a band, if you were outside a pub and you heard that music coming out of a pub some night, you’d think, ‘Well, that’s a mediocre pub band!'”

Roger Daltrey
Roger Daltrey (Picture: Press)

Daltrey follows Paul McCartney in recently criticising the music of The Rolling Stones, with the Beatles legend recently calling Jagger and co. “a blues cover band”.

McCartney said: “I’m not sure I should say it, but they’re a blues cover band, that’s sort of what the Stones are. I think our net was cast a bit wider than theirs.”

Roger Daltrey is currently on a solo UK tour, with the shows consisting of “a unique mix of music and conversation that is built around Roger’s musical journey”.

See the remaining tour dates below:

NOVEMBER 2021

15 – Palladium, London
17 – Brighton Centre, Brighton
19 – Cliffs Pavilion, Southend
21 – New Theatre, Oxford
24 – SEC Armadillo, Glasgow
26 – O2 City Hall, Newcastle
29 – Empire, Liverpool

DECEMBER 2021

1 – Guildhall, Portsmouth
2 – International Centre, Bournemouth

PJ Harvey announces “beautiful and profound” narrative poem, Orlam

Tom Skinner
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PJ Harvey announces “beautiful and profound” narrative poem, Orlam
PJ Harvey has announced a new narrative poem titled Orlam. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: PJ Harvey: “She’s an auteur… she knows what she wants” The singer-songwriter wrote on her official website that the book...

PJ Harvey has announced a new narrative poem titled Orlam.

The singer-songwriter wrote on her official website that the book is “the product of six years’ intense writing”, confirming a publication date of April 28, 2022. You can pre-order it from here.

Orlam is described as “a beautiful and profound narrative poem set in a magic realist version of the West Country” and “a remarkable coming-of-age tale”.

An official listing reads: “Orlam follows Ira and the inhabitants of Underwhelem month-by-month through the last year of her childhood innocence. The result is a poem-sequence of light and shadow – suffused with hints of violence, sexual confusion and perversion, the oppression of family, but also ecstatic moments in sunlit clearings, song and bawdy humour.

“The broad theme is ultimately one of love – carried by Ira’s personal Christ, the constantly bleeding soldier-ghost Wyman-Elvis, who bears The Word’: Love Me Tender.”

A special collector’s edition of Orlam will arrive next October. You can see Harvey’s announcement tweet below and read the full blog post here.

In June 2020, Harvey began a year-long vinyl reissue series of her entire back catalogue.

The celebrated artist’s discography was the subject of a comprehensive reissue campaign by UMC/Island and Beggars, who aimed to “celebrate every aspect of Harvey’s recording career and afford a comprehensive and exciting look at the evolution of one of the most singular and extraordinary artists of modern times”.

PJ Harvey released her latest studio album, The Hope Six Demolition Project, back in 2016.

Watch Damon Albarn perform “Darkness To Light” on Fallon

Tom Skinner
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Watch Damon Albarn perform “Darkness To Light” on Fallon
Damon Albarn delivered a live performance of "Darkness To Light" on US TV last week – you can watch the video below. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Damon Albarn: “Change is necessary” The Blur and Gorillaz front...

Damon Albarn delivered a live performance of “Darkness To Light” on US TV last week – you can watch the video below.

The Blur and Gorillaz frontman appeared as the musical guest on Friday’s episode of The Tonight Show Starring Jimmy Fallon (November 12) in support of his new solo album, The Nearer The Fountain, More Pure The Stream Flows.

Filmed in black-and-white, the moody clip sees Albarn perform under a spotlight in a large studio space alongside his band. The musicians pre-recorded the clip in another location, rather than appearing live at the New York City set as is customary.

Tune in here:

Last week, Albarn also played a special piano-led set for BBC Radio 2. The ‘Sofa Session’ included a melancholic cover of The Human League’s “Don’t You Want Me”, as well as a reinterpretation of Blur’s “Beetlebum”.

Damon Albarn will showcase The Nearer The Fountain, More Pure The Stream Flows next month on a ‘Special Piano Tour’, which includes intimate concerts in York, Norwich, Newcastle, Glasgow and Coventry.

New Tom Petty documentary about the making of Wildflowers has been shared

Damian Jones
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New Tom Petty documentary about the making of Wildflowers has been shared
A new documentary on the making of Tom Petty And The Heartbreakers' 1994 album Wildflowers has been shared. ORDER NOW: Bruce Springsteen and the review of 2021 feature in the latest issue of Uncut READ MORE: Mike Campbell remembers Tom Petty: “He was committed to being great” Tom Pe...

A new documentary on the making of Tom Petty And The Heartbreakers‘ 1994 album Wildflowers has been shared.

Tom Petty: Somewhere You Feel Free – The Making of Wildflowers, which you can watch below, is based around a collection of 16mm archives that weren’t discovered until last year.

It follows the late icon from 1993 to 1995 during the making of his landmark album, which was produced by Rick Rubin and features new interviews with Heartbreakers guitarist and album co-producer Mike Campbell, keyboardist Benmont Tench and more.

The documentary premiered at the Sundance Film Festival in March before winning the festival’s coveted Audience Award as well as the prize for Best Documentary Film at the Boulder Film Festival a few months later.

An expansive retrospective of the album – Wildflowers & All The Rest – was released in 2020.

It featured up to 16 alternate takes, long cuts, and jam versions that didn’t make it on the original LP.

Finding Wildflowers (Alternate Versions), which was part of the package, was also recently uploaded to streaming services.

Meanwhile, a special 25th anniversary version of Tom Petty And The Heartbreakers’ soundtrack album for Edward Burns’ 1996 film She’s The One was released over the summer, with four previously unheard songs included.

The unreleased tracks included “One Of Life’s Little Mysteries”, written by Tom Petty; “Thirteen Days”, a JJ Cale cover; “105 Degrees”, another Petty original; and “French Disconnection”, an instrumental in the same vein as those on the original album. An extended version of “Supernatural Radio” was also included.

Tom Petty’s widow Dana Petty said of the album: “These songs are extremely special. I am grateful this record is getting the recognition it deserves. The remix Ryan Ulyate did sounds amazing, and the unreleased gems are a lovely bonus. Annakim, Adria, and I took a lot of time finding artwork that reflects the mood of the album.

“I think we finally achieved that with Alia Penner’s work. It is surreal and beautiful, just like life during that time.”

Damon Albarn – The Nearer The Fountain, More Pure The Stream Flows

John Lewis
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Damon Albarn – The Nearer The Fountain, More Pure The Stream Flows
For more than 20 years, Damon Albarn seems to have been desperate to escape the suffocatingly restrictive straitjacket of Britpop and engage with a wider world. There have been collaborations with musicians from Mali, Senegal, Nigeria, Syria, Japan, Cuba and Iceland; charity projects in the Democrat...

For more than 20 years, Damon Albarn seems to have been desperate to escape the suffocatingly restrictive straitjacket of Britpop and engage with a wider world. There have been collaborations with musicians from Mali, Senegal, Nigeria, Syria, Japan, Cuba and Iceland; charity projects in the Democratic Republic of the Congo; Chinese operas commissioned in Paris; hook-ups with everyone from Bobby Womack to Lou Reed, from De La Soul to Erykah Badu.

As a routine example of Albarn’s rootless cosmopolitanism, his second solo LP – and his 28th album, or thereabouts, as a leader across sundry outfits – was commissioned by a festival in Lyon and started in Iceland, taking inspiration from the house Albarn built outside Reykjavík 20 years ago. “I always wanted to get a small chamber orchestra and play the outlines of what I could see from my window,” he says, referring to Mount Esja and the Snaefellsjökull volcano and glacier. But, after some early sessions with an Icelandic string ensemble, the pandemic halted the project in early 2020. Albarn returned to England for lockdown, completing the album at his home studio in Devon with help from his long-term guitarist Simon Tong and his music director and saxophonist Mike Smith. What started as an expansive, symphonic project started to take on the dimensions of a home-studio creation, a clatter of antique drumboxes and multi-tracked instruments. And, for all its exotic genesis, The Nearer The Fountain, More Pure The Stream Flows is soaked in a peculiar English melancholy.

“CHANGE IS NECESSARY”: CLICK HERE TO READ OUR INTERVIEW WITH DAMON ALBARN

Albarn has often explored notions of Britishness. On the whimsically tacky seaside postcards of Blur’s Parklife the feeling was almost celebratory; in his opera Dr Dee he attempted to reclaim a magickal, transgressive Olde England that seemed to chime with the multicultural optimism of the 2012 London Olympics; by the time of The Good, The Bad & The Queen’s 2018 album Merrie Land the mood was one of despair – a chaotic, woozy eulogy for a post-Brexit Britain. On The Nearer The Fountain…, even when he is ostensibly singing about Iceland, the bleak, drizzly, isolated island he depicts sounds more like Britain than anywhere else.

On The Cormorant – an atmospheric, aqueous piece based around a digital rumba rhythm and a ragged tapestry of Wurlitzer electric pianos and FX-laden guitars – he sings about being “imprisoned on this island” over a tangle of mysterious chords that never quite resolve. Royal Morning Blue started life as a lyric about a storm that eclipsed any view of a mountain from Albarn’s bedroom window –a poetic allusion to how snow can cause
an enormous volcanic mountain range to “put on robes and disappear” – but the song’s insistent Casiotone drum machine, parping baritone saxes, rambunctious piano and spectral guitar start to sound like an examination of the end of empire.

Darkness Into Light is a deliciously sad 6/8 ballad about the Arctic winter in which “Crushed satellites dance/In silent conga” but, even here, the arrangement resembles a twisted piece of British glam rock, like early Human League covering Showaddywaddy. In all these songs there are references to “particles” – plague-carrying germs spreading around the world. There are also several instrumentals that sound like something out of Bowie’s Berlin trilogy: the throbbing, Eno-esque minimalism of Esja, the bleary, Low-style majesty of Giraffe Trumpet Sea, and the discordant, industrial drones and tenor sax freakouts of “Combustion”.

Even the title track, a eulogy to Tony Allen, the Nigerian drummer and mentor who anchored several of Albarn’s lineups over the last two decades, comes in the form of a reworked verse by the 19th-century English poet John Clare. “It’s fruitless for me to mourn you, but who can help mourning?” sings Albarn. “To think of life that did laugh on your face in the beautiful past”. Not only are Clare’s 200-year-old words appropriate for his grief, but Albarn clearly feels some kinship with Clare, the “Northamptonshire peasant poet” who railed against the Industrial Revolution, who romanticised a lost England, who was driven mad by the ecological damage wrought upon the land where he grew up.

Yet there is hope, both thematically and melodically. Albarn’s non-Blur, non-Gorillaz projects are often the receptacle for his least catchy songs –there aren’t many themes from Wonder.land or Monkey that even his biggest fans hum in the shower – but this album ends on two strong melodies that introduce joy to the project. Polaris is a reference to the North Star, a navigation source for seafaring folk in the North Atlantic, and its clockwork tango beat and arena-friendly singalong tune seems to affirm a faith in humanity’s collective spirit. Best of all is the closer Particles, one of Albarn’s finest melodies, a woozy, drumless ballad based around a pretty Wurlitzer electric piano riff and a creepy electronic drone that gives the song a hymn-like quality. The “particles” to which he refers in earlier songs as potentially dangerous materials are now signs of happiness. “I have cried for you darling, are you coming back to me/For the particles are joyous as they alight
on your skin”.

Endless Boogie – Admonitions

Jason Anderson
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Endless Boogie – Admonitions
When Paul “Top Dollar” Major promises to “go full condor” in Admonitions’ opener The Offender, he doesn’t need to explain what he means. Besides recasting Endless Boogie’s sexagenarian frontman as an ’80s action-movie hero about to open a can of whup-ass, the line serves as a handy d...

When Paul “Top Dollar” Major promises to “go full condor” in Admonitions’ opener The Offender, he doesn’t need to explain what he means. Besides recasting Endless Boogie’s sexagenarian frontman as an ’80s action-movie hero about to open a can of whup-ass, the line serves as a handy description for the many moments when he and his bandmates launch out of their signature motorik-choogle groove, spread their ragged wings and soar toward the sun. A gesture that seems majestic, foolhardy and potentially a little ridiculous, it’s fundamental to the mission this ragtag crew set for themselves every time they’ve jammed on stage or in a studio in their almost 25 years together.

It’s hardly surprising to learn they toyed with the idea of calling the new album Full Condor before opting for something that doesn’t evoke images of a shirtless Chuck Norris quite so strongly. Endless Boogie nevertheless achieve full flight on Admonitions with the same regularity as they have on each of their four preceding studio albums, starting with 2008’s Focus Level. They’ve done the same throughout the generous trove of limited-run releases like 2020’s The Gathered And Scattered, a 4LP set of rehearsal recordings dating back to the first years after the band was formed in Brooklyn by friends with various connections to Matador Records and to the vinyl-collector circles in which Major has long been a revered figure.

Yet Admonitions also sees them head toward untravelled patches of sky. While The Offender and Jim Tully are primo 20-minute-plus showcases of Endless Boogie’s original AC/DC-meets-Neu! formulation, other songs – like Bad Call, a punchy piece of pub-rock raunch – prove they can be more economical, too. Elsewhere, Kurt Vile adds special sauce to the mesmerising Counterfeiter; and the more ominous vibe of Admonitions’ final side is equally suggestive of Endless Boogie’s eagerness to not just go full condor but full everything else, too.

This welcome expansion of the band’s greasy ethos may be inevitable given the pandemic’s impact on their usual just-crank-it-out ways of working. The seven songs on Admonitions are principally drawn from two spates of sessions in New York and Sweden shortly before their tour plans for Australia and Europe went out the window in the spring of 2020. The lockdown limbo gave guitarist and de facto leader Jesper Eklow more time to tinker with what they had in the can. Whatever adjustments he made didn’t obscure the raw energy of the longest of the new tracks. While The Offender delivers the requisite supply of grinding riffage and Major’s trademark squalls and growls, it’s Jim Tully – named after a tough-guy writer who was a hero to Hemingway – where they make their full ascension as the mid-song gear shift prompts fiery exchanges between Major and guest guitarist Matt Sweeney. Both tracks should also assuage the fears of any fans who fretted about the more sluggish nature of 2017’s Vibe Killer.

The resurgence of the old fires are even clearer on Admonitions’ shorter tracks, which, since we’re talking about Endless Boogie, may still near the 10-minute mark. Disposable Thumbs sees them happily double down on a groove that’s two parts Bo Diddley to one part Klaus Dinger. Bad Call is even more fun: a tight, Flamin’ Groovies-worthy rocker with lyrics railing against the sin of serving meat on skewers (“Mama don’t like that city chicken/’Cause it comes on a stick!”). Consisting of a jam excerpt reworked by Kurt Vile, Counterfeiter strikes a pleasing balance between the band’s usual drive and attack with their Philly pal’s more languid sensibility.

The biggest surprise arrives in the finale, at which point the wilder energy of the preceding three sides dissipates into a cloud of murk and menace. In The Conversation, unsettling snatches of dialogue (“Antisocial behaviour? What’s that?”) are set against a hollowed-out dirge by Eklow and drummer Harry Druzd. Despite the cheeky title of Eklow’s solo piece that concludes Admonitions, The Incompetent Villains Of 1968 is even creepier, marked as it is by a sense of desolation that evokes the ultra-minimalist metal of Earth’s Sub Pop recordings. To hear Endless Boogie’s psych-blues-boogie stripped and shorn of its ferocity is oddly poignant in what it suggests about the impact of isolation on a band who have always taken such evident delight in each other’s company.

Even so, Admonitions remains a fiery testament to Endless Boogie’s creative rejuvenation. And while this instalment of the saga may end with that imaginary action hero looking like a far cry from his usual condor self, don’t be fooled – he’s just saving it for the sequel.

Look Away

Lisa-Marie Ferla
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Look Away
Looking back, there have always been clues. The Stones’ Stray Cat Blues, with its 15-year-old protagonist. Ted Nugent’s Jailbait. Iggy Pop’s Look Away – the lyrics referencing the relationship between teenage model Sable Starr and the New York Dolls’ Johnny Thunders. There are “countles...

Looking back, there have always been clues. The Stones’ Stray Cat Blues, with its 15-year-old protagonist. Ted Nugent’s Jailbait. Iggy Pop’s Look Away – the lyrics referencing the relationship between teenage model Sable Starr and the New York Dolls’ Johnny Thunders. There are “countless” instances of what Runaways co-founder and songwriter Kari Krome calls “little girl songs”. So many, she says, that “it’s become a thing that’s normalised”.

The music industry has yet to experience a #MeToo movement of the size and scale of that which hit Hollywood and other industries in 2017. For Krome and the other women interviewed in Look Away, this normalisation is partly to blame. Of the stories that anchor director Sophie Cunningham’s narrative, none are new – Cunningham told Sky News that “money and power” prevented her from sharing allegations made by other women. But the bleak, brutal way in which they are presented would, one hopes, give encouragement to others who feel ready to come forward.

Cunningham’s primary focus is on teenage girls preyed upon by older male rock stars during the ’70s and ’80s – and, strikingly, the infrastructure that supported them. There’s Rodney Bingenheimer’s English Disco on Sunset Boulevard, which had no door policy and “looked like Oz” to the young Kari Krome. There’s the roadie who shrugs his shoulders, says nobody was checking ID – and, by the way, his time with the band ended in “a drug addiction and a divorce”. The manager who giggles as she recalls hiding a musician from the police in her house and arranging settlement of a contested assault charge: “I did what managers do.”

Julia Holcomb never wanted to share her story. Her name appeared in a supermarket tabloid after Aerosmith’s Steven Tyler named her in a memoir. She met Tyler when she was 16 and the singer, enamoured, sought legal guardianship so he was able to cross state lines with the teenager when on tour. Holcomb, now a devout Catholic and anti-abortion advocate, sounds almost wistful as she recalls their first night together: “All we could see was each other,” she remembers. “We talked ’til about 3am.”

They were, after all, just girls, says Jackie Fuchs. The former Runaways bassist, who has alleged that she was raped by the band’s manager Kim Fowley at a New Year’s Eve party when she was 16, is clear that her teenage bandmates and friends should not be held accountable for the attack. The blame, she says, lies only with Fowley and two other adult men present, all of whom are now dead. Fuchs keeps her description of the attack brief, refusing to identify as a victim or perform for an imagined media audience who “feed off watching women cry talking about their sexual assault”.

Signing off with a demand for the industry’s day of reckoning, Fuchs takes aim at the bystanders. “What happened to me was not rock’n’roll at all,” she says. “And it wasn’t OK.”

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