Courtney Barnett has released "Write A List Of Things To Look Forward To", another cut from her upcoming album Things Take Time, Take Time.
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The song follows earlier singles "Rae Street" and "Before You Gotta Go"...
Courtney Barnett has released “Write A List Of Things To Look Forward To”, another cut from her upcoming album Things Take Time, Take Time.
The song follows earlier singles “Rae Street” and “Before You Gotta Go”. It’s the latest taste of her third album, which is released on November 12 via Marathon Artists.
Some of the lyrics in the song read: “Sit beside me, watch the world burn / We’ll never learn we don’t deserve nice things / And we’ll scream self-righteously / We did our best, but what does that even mean?”
Barnett said of the track: “I found a deeper communication with people in my life – deeper conversations. And a new level of gratitude for friendships that had been there for so long that I had maybe taken for granted.”
The Australian singer-songwriter recently acknowledged similarities between the recently released music video for her single “Before You Gotta Go” and fellow Melbourne act Quivers’ clip for “You’re Not Always On My Mind”.
Both music videos feature the respective musicians heading out into the field and recording audio samples from the natural world. Additionally, the lyric from Barnett’s song, “You’re always on my mind”, is similar to the title of the Quivers song.
On social media, Barnett promoted the Quivers video, saying: “I thought I had come up with a beautiful, original idea for a video, but it seems like I was wrong.
“I’d like to introduce you to Melbourne band [Quivers] and director [Nina Renee] who had the same idea way before me,” she wrote. “Any similarities are completely coincidental and if I had seen this clip when I was making mine I would have completely changed my concept or the way we explored it.”
Back in the depths of winter lockdown, Tamara Lindeman made our lives a little more bearable with the release of her soaring fifth album, Ignorance.
Today, she's announced a deluxe version of the album featuring a whole disc of bonus material, including "Better Now" which you can hear below:
h...
Back in the depths of winter lockdown, Tamara Lindeman made our lives a little more bearable with the release of her soaring fifth album, Ignorance.
Today, she’s announced a deluxe version of the album featuring a whole disc of bonus material, including “Better Now” which you can hear below:
“Whenever you make anything, you have to leave things out,” says Lindeman. “It’s a critical part of the process, but a painful one nonetheless. I’m glad to have the opportunity to revisit the paths not taken, and allow some of them out after all; quiet versions of songs that were redirected into rhythm, two of the songs we recorded but left off the album, and some live versions of the songs that have come to be since the recording. It has been overwhelming to have this album be so lovingly received, and it is wonderful to have the space to release more of it into the world.”
You can stream Ignorance (Deluxe Edition) – or pre-order the 2xLP version, coming November 19 – here.
To round off a eventful year, Lindeman has agreed to answer your questions for Uncut’s next Audience With feature. So what do you want to ask? Send your questions to audiencewith@www.uncut.co.uk by Wednesday (October 6) and Tamara will answer the best ones in a future issue of Uncut.
David Bowie's lost early-2000s album Toy is to finally get a release in November as part of the Brilliant Adventure (1992-2001) box set. It will also be released in January as an expanded 3xCD/6x10" box set.
Following Bowie's Glastonbury 2000 performance, he entered the studio with his band, Mark...
David Bowie’s lost early-2000s album Toy is to finally get a release in November as part of the Brilliant Adventure (1992-2001) box set. It will also be released in January as an expanded 3xCD/6×10″ box set.
Following Bowie’s Glastonbury 2000 performance, he entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971.
When Bowie was unable to release the album instantly as he’d hoped, he dropped the idea and moved on to working on Heathen. Now twenty years after its originally planned release, co-producer Mark Plati says, “Toy is like a moment in time captured in an amber of joy, fire and energy. It’s the sound of people happy to be playing music.”
Hear the Toy track “You’ve Got A Habit Of Leaving (Radio Edit)” below:
Brilliant Adventure (1992-2001) will be released by Parlophone/ISO on November 26. Toy (Toy:Box) will follow on January 7, 2022, the day before Bowie’s birthday. Peruse the full tracklistings below and pre-order here.
CD1 TOY
I Dig Everything
You’ve Got A Habit Of Leaving
The London Boys
Karma Man
Conversation Piece
Shadow Man
Let Me Sleep Beside You
Hole In The Ground
Baby Loves That Way
Can’t Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive)
CD 2 TOY- Alternatives & Extras
Liza Jane
You’ve Got A Habit of Leaving (alternative mix) *
Baby Loves That Way (alternative mix) *
Can’t Help Thinking About Me (alternative mix)
I Dig Everything (alternative mix)
The London Boys (alternative version)
Silly Boy Blue (Tibet version)
Let Me Sleep Beside You (alternative mix) *
In The Heat Of The Morning
Conversation Piece (alternative mix) *
Hole In The Ground (alternative mix)
Shadow Man (alternative mix) *
Toy (Your Turn To Drive) (alternative mix) *
*Previously released
CD 3 TOY – Unplugged & Somewhat Slightly Electric
In The Heat Of The Morning (Unplugged & somewhat slightly electric mix)
I Dig Everything (Unplugged & somewhat slightly electric mix)
You’ve Got A Habit of Leaving (Unplugged & somewhat slightly electric mix)
The London Boys (Unplugged & somewhat slightly electric mix)
Karma Man (Unplugged & somewhat slightly electric mix)
Conversation Piece (Unplugged & somewhat slightly electric mix)
Shadow Man (Unplugged & somewhat slightly electric mix)
Let Me Sleep Beside You (Unplugged & somewhat slightly electric mix)
Hole In The Ground (Unplugged & somewhat slightly electric mix)
Baby Loves That Way (Unplugged & somewhat slightly electric mix)
Can’t Help Thinking About Me (Unplugged & somewhat slightly electric mix)
Silly Boy Blue (Unplugged & somewhat slightly electric mix)
Toy (Your Turn To Drive) (Unplugged & somewhat slightly electric mix)
DAVID BOWIE 5. BRILLIANT ADVENTURE (1992 – 2001)
CD Tracklistings
BLACK TIE WHITE NOISE
The Wedding
You’ve Been Around
I Feel Free
Black Tie White Noise (featuring Al B. Sure!)
Jump They Say
Nite Flights
Pallas Athena
Miracle Goodnight
Don’t Let Me Down & Down
Looking for Lester
I Know It’s Gonna Happen Someday
The Wedding Song
THE BUDDHA OF SUBURBIA
Buddha of Suburbia
Sex and the Church
South Horizon
The Mysteries
Bleed Like a Craze, Dad
Strangers When We Meet
Dead Against It
Untitled No. 1
Ian Fish, U.K. Heir
Buddha of Suburbia (featuring Lenny Kravitz on guitar)
OUTSIDE
Leon Takes Us Outside
Outside
The Hearts Filthy Lesson
A Small Plot of Land
Baby Grace (A Horrid Cassette)” (segue)
Hallo Spaceboy
The Motel
I Have Not Been to Oxford Town
No Control
Algeria Touchshriek (segue)
The Voyeur of Utter Destruction (as Beauty)
Ramona A. Stone/I Am with Name (segue)
Wishful Beginnings
We Prick You
Nathan Adler (segue)
I’m Deranged
Thru’ These Architects Eyes
Nathan Adler (segue)
Strangers When We Meet
EARTHLING
Little Wonder
Looking for Satellites
Battle for Britain (The Letter)
Seven Years in Tibet
Dead Man Walking
Telling Lies
The Last Thing You Should Do
I’m Afraid of Americans
Law (Earthlings on Fire)
‘hours…’
Thursday’s Child
Something in the Air
Survive
If I’m Dreaming My Life
Seven
What’s Really Happening?
The Pretty Things Are Going to Hell
New Angels of Promise
Brilliant Adventure
The Dreamers
BBC RADIO THEATRE, LONDON, JUNE 27, 2000 2xCD
CD1
Wild Is the Wind
Ashes to Ashes
Seven
This Is Not America
Absolute Beginners
Always Crashing in the Same Car
Survive
The London Boys
I Dig Everything
Little Wonder
CD2
The Man Who Sold the World
Fame
Stay
Hallo Spaceboy
Cracked Actor
I’m Afraid of Americans
All the Young Dudes
Starman
“Heroes”
Let’s Dance
TOY
I Dig Everything
You’ve Got A Habit Of Leaving
The London Boys
Karma Man
Conversation Piece
Shadow Man
Let Me Sleep Beside You
Hole In The Ground
Baby Loves That Way
Can’t Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive)
RE:CALL 5 3xCD
CD1
Real Cool World (Sounds From The Cool World Soundtrack Version)
Jump They Say (7” version)
Lucy Can’t Dance
Black Tie White Noise (feat Al B. Sure!) (Radio Edit)
Don’t Let Me Down & Down (Indonesian Vocal Version)
Buddha Of Suburbia (Single Version) (featuring Lenny Kravitz on guitar)
The Hearts Filthy Lesson (Radio Edit)
Nothing To Be Desired
Strangers When We Meet (edit)
Get Real
The Man Who Sold The World (Live Eno Mix)
I’m Afraid Of Americans (Showgirls Soundtrack Version)
Hallo Spaceboy (Remix)
I Am With Name (Alternative Version)
A Small Plot Of Land (Long Basquiat Soundtrack Version)
CD2
Little Wonder (Edit)
A Fleeting Moment (aka Severn Years In Tibet – Mandarin Version)
Dead Man Walking (Edit)
Seven Years In Tibet (Edit)
Planet Of Dreams – David Bowie and Gail Ann Dorsey
I’m Afraid Of Americans (V1 – Edit)
I Can’t Read (The Ice Storm Long Version)
A Foggy Day In London Town – David Bowie and Angelo Badalamenti
Fun (BowieNet Mix)
The Pretty Things Are Going To Hell (Stigmata Soundtrack Version)
Thursday’s Child (Radio Edit)
We All Go Through
No One Calls
CD3
We Shall Go To Town
1917
The Pretty Things Are Going To Hell (Edit)
Thursday’s Child (Omikron: The Nomad Soul Version)
New Angels Of Promise (Omikron: The Nomad Soul Version)
The Dreamers (Omikron: The Nomad Soul Version)
Seven (Demo)
Survive (Marius De Vries mix)
Something In The Air (American Psycho Remix)
Seven (Marius De Vries Mix)
Pictures Of Lily
DAVID BOWIE 5. BRILLIANT ADVENTURE (1992 – 2001)
LP Tracklistings
BLACK TIE WHITE NOISE 2xLP
Side 1
The Wedding
You’ve Been Around
I Feel Free
Side 2
Black Tie White Noise (featuring Al B. Sure!)
Jump They Say
Nite Flights
Side 3
Pallas Athena
Miracle Goodnight
Don’t Let Me Down & Down
Side 4
Looking for Lester
I Know It’s Gonna Happen Someday
The Wedding Song
THE BUDDHA OF SUBURBIA 2xLP
Side 1
Buddha of Suburbia
Sex and the Church
South Horizon
Side 2
The Mysteries
Bleed Like a Craze, Dad
Side 3
Strangers When We Meet
Dead Against It
Untitled No. 1
Side 4
Ian Fish, U.K. Heir
Buddha of Suburbia (featuring Lenny Kravitz on guitar)
1.OUTSIDE 2xLP
Side 1
Leon Takes Us Outside
Outside
The Hearts Filthy Lesson
A Small Plot of Land
Side 2
Baby Grace (A Horrid Cassette)” (segue)
Hallo Spaceboy
The Motel
I Have Not Been to Oxford Town
Side 3
No Control
Algeria Touchshriek (segue)
The Voyeur of Utter Destruction (as Beauty)
Ramona A. Stone/I Am with Name (segue)
Wishful Beginnings
Side 4
We Prick You
Nathan Adler (segue)
I’m Deranged
Thru’ These Architects Eyes
Nathan Adler (segue)
Strangers When We Meet
EARTHLING 2xLP
Side 1
Little Wonder
Looking for Satellites
Battle for Britain (The Letter)
Side 2
Seven Years in Tibet
Dead Man Walking
Telling Lies
Side 3
The Last Thing You Should Do
I’m Afraid of Americans
Law (Earthlings on Fire)
Side 4 – etching
‘hours…’
Side 1
Thursday’s Child
Something in the Air
Survive
If I’m Dreaming My Life
Side 2
Seven
What’s Really Happening?
The Pretty Things Are Going to Hell
New Angels of Promise
Brilliant Adventure
The Dreamers
BBC RADIO THEATRE, LONDON, JUNE 27, 2000 3xLP
Side 1
Wild Is the Wind
Ashes to Ashes
Seven
Side 2
This Is Not America
Absolute Beginners
Always Crashing in the Same Car
Side 3
Survive
The London Boys
I Dig Everything
Little Wonder
Side 4
The Man Who Sold the World
Fame
Stay
Side 5
Hallo Spaceboy
Cracked Actor
I’m Afraid of Americans
All the Young Dudes
Side 6
Starman
“Heroes”
Let’s Dance
TOY 2 x LP
Side 1
I Dig Everything
You’ve Got A Habit Of Leaving
The London Boys
Karma Man
Side 2
Conversation Piece
Shadow Man
Let Me Sleep Beside You
Hole In The Ground
Side 3
Baby Loves That Way
Can’t Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive)
Side 4 – Etching
RE:CALL 5 4xLP
Side 1
Real Cool World (Sounds From The Cool World Soundtrack Version)
Jump They Say (7” version)
Lucy Can’t Dance
Black Tie White Noise (Radio Edit) (featuring Al B. Sure!)
Side 2
Don’t Let Me Down & Down (Indonesian Vocal Version)
Buddha Of Suburbia (Single Version) (featuring Lenny Kravitz on guitar)
The Hearts Filthy Lesson (Radio Edit)
Nothing To Be Desired
Strangers When We Meet (edit)
Get Real
Side 3
The Man Who Sold The World (Live Eno Mix)
I’m Afraid Of Americans (Showgirls Soundtrack Version)
Hallo Spaceboy (Remix)
I Am With Name (Alternative Version)
A Small Plot Of Land (Long Basquiat Soundtrack Version)
Side 4
Little Wonder (Edit)
A Fleeting Moment (aka Severn Years In Tibet – Mandarin Version)
Dead Man Walking (Edit)
Seven Years In Tibet (Edit)
Planet Of Dreams – David Bowie and Gail Ann Dorsey
Side 5
I’m Afraid Of Americans (V1 – Edit)
I Can’t Read (The Ice Storm Long Version)
A Foggy Day In London Town – David Bowie and Angelo Badalamenti
Fun (Bowienet Mix)
The Pretty Things Are Going To Hell (Stigmata Soundtrack Version)
Side 6
Thursday’s Child (Radio Edit)
We All Go Through
No One Calls
We Shall Go To Town
1917
Side 7
The Pretty Things Are Going To Hell (Edit)
Thursday’s Child (Omikron: The Nomad Soul Version)
New Angels Of Promise (Omikron: The Nomad Soul Version)
The Dreamers (Omikron: The Nomad Soul Version)
Seven (Demo)
Side 8
Survive (Marius De Vries mix)
Something In The Air (American Psycho Remix)
Seven (Marius De Vries Mix)
Pictures Of Lily
September 7, 1979: Aberdeen’s Capitol Theatre is hosting a Friday-night concert by Siouxsie & The Banshees, who are just a few days into a tour supporting their new album, Join Hands. Rumours are rife that John McKay and Kenny Morris – the Banshees’ guitarist and drummer – have quit earl...
September 7, 1979: Aberdeen’s Capitol Theatre is hosting a Friday-night concert by Siouxsie & The Banshees, who are just a few days into a tour supporting their new album, Join Hands. Rumours are rife that John McKay and Kenny Morris – the Banshees’ guitarist and drummer – have quit earlier that day, following a bust-up during a signing session at the city’s The Other Record Shop. When the Capitol Theatre opens its doors and the bar fills up, punters wonder whether the headliners will even appear. As the evening progresses, the signs aren’t good. The Cure, support band on the tour, play an extended set. Eventually, Siouxsie – in murderous mood – takes to the stage to address the crowd. The bouncers at the Capitol brace themselves for a riot.
Instead, after explaining what has happened to McKay and Morris, Siouxsie and bassist Steven Severin join The Cure for a 20-minute version of The Lord’s Prayer, complete with squealing feedback and Sioux wailing away.
When news broke that McKay and Morris had left the band, it was not the first seismic event to happen to the Banshees that month. They had started unravelling even before the tour began. McKay was dissatisfied with the production of Join Hands. A dawn photo shoot at Camber Sands ended acrimoniously. Just two days before Aberdeen, a show in Belfast was heavily delayed when the band’s equipment failed to turn up at the city’s Ulster Hall, leaving groups of angry, tired and bored fans to be dispersed by the RUC.
Meanwhile, as the final chords of The Lord’s Prayer ring out in the Capitol Theatre, a watershed has been reached. While less stubborn bands may have thrown in the towel, the bruised and bloodied Banshees turned adversity into an opportunity. But single-minded determination has always been a critical part of the band’s arsenal. “Siouxsie and Severin were very much carved out on their own ledge somewhat, looking down on everybody,” laughs the band’s long-serving drummer, Budgie.
In the aftermath of the Aberdeen show, the first of many mercurial transformations takes place. Travelling far beyond the jagged energy of their early recordings, a new lineup of Siouxsie & The Banshees presided over a peerless run of albums during the early ’80s – Kaleidoscope, Juju and A Kiss In The Dreamhouse. Together, they constitute the Banshees’ first imperial phase – a trio of richly atmospheric albums underpinned by the fluid explorations of new guitarist John McGeoch.
IDLES have announced the release of a new album called CRAWLER and have shared its first single, "The Beachland Ballroom".
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IDLES have announced the release of a new album called CRAWLER and have shared its first single, “The Beachland Ballroom”.
The Bristol punk band’s fourth album is the follow-up to last year’s Ultra Mono, which landed them their first Number One on the UK album chart.
Set to be released on November 12, CRAWLER – which is co-produced by Kenny Beats and IDLES guitarist Mark Bowen – was recorded at the famed Real World Studios in Bath during the coronavirus pandemic.
The album’s announcement comes alongside the release of its first single, “The Beachland Ballroom”, an “honest-to-goodness soul song” named after the iconic Ohio venue.
“It’s the most important song on the album, really,” IDLES frontman Joe Talbot said of the track. “There’s so many bands that go through the small rooms and dream of making it into the big rooms. Being able to write a soul tune like this made me go, fuck — we’re at a place where we’re actually allowed to go to these big rooms and be creative and not just go through the motions and really appreciate what we’ve got.”
He added: “The song is sort of an allegory of feeling lost and getting through it. It’s one that I really love singing.”
Bowen chimed in about the track, adding: “I didn’t know Joe could sing like that. He’s been trying to write ‘Be My Baby’ since the very beginning, but he didn’t want to be the punk guy wearing the Motown clothes. He wanted it to feel natural, and this song is.”
CRAWLER arrives on November 12 – see the tracklisting below and pre-order it here.
1. “MTT 420 RR”
2. “The Wheel”
3. “When the Lights Come On”
4. “Car Crash”
5. “The New Sensation”
6. “Stockholm Syndrome”
7. “The Beachland Ballroom”
8. “Crawl!”
9. “Meds”
10. “Kelechi”
11. “Progress”
12. “Wizz”
13. “King Snake”
14. “The End”
IDLES are gearing up to head out on a sold-out 23-date North American tour that begins on October 7. They will then play a run of sold-out UK and Ireland shows throughout January and February 2022 including a four-night stretch at O2 Academy Brixton in London. See the UK and Ireland dates below:
January 2022
16 – O2 Academy Brixton, London
17 – O2 Academy Brixton, London
18 – O2 Academy Brixton, London
19 – O2 Academy Brixton, London
21 – Motorpoint Arena, Cardiff
22 – O2 Academy, Birmingham
24 – Vicar Street, Dublin
25 – Vicar Street, Dublin
26 – Vicar Street, Dublin
28 – O2 Victoria Warehouse, Manchester
29 – O2 Victoria Warehouse, Manchester
30 – O2 Victoria Warehouse, Manchester
IDLES were also recently announced as one of the main headliners of Creation Day Festival 2022.
The festival is being curated by Creation Records co-founder Alan McGee, and had been set to debut this year before coronavirus-enforced restrictions forced its cancellation.
Ringo Starr has recalled a story of him jamming in his attic with the late Charlie Watts and John Bonham, saying it makes him wish TikTok existed in the 1970s.
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Ringo Starr has recalled a story of him jamming in his attic with the late Charlie Watts and John Bonham, saying it makes him wish TikTok existed in the 1970s.
The Beatles‘ drummer was speaking in a press conference about his new EP Change The World, when he remembered the three iconic drummers sharing a jam session.
“I had a drum kit up in the attic – it was like a cinema attic, music, whatever you want to do up there. Charlie came, and so did John Bonham,” he remembered. “We’ve got three drummers, just hanging out.
“Bonham got on the kit,” Ringo added of the late Led Zeppelin sticksman. “But because it was just like … you know, it’s not like onstage, where you nail them down, so they’re steady. It was just, like, there. So as he was playing, the bass drum was hopping away from him.
“You think, ‘Ah, man! That would have been a great little video, a TikTok or a photo [that] would have gone worldwide!” Ringo laughed.
“But in the ’70s, I had parties, and you’ll never find any photos because I wouldn’t let you take photos, you know, in my house. But I always think, That would have been a great shot to have.”
Ringo Starr. Credit: Scott Robert Ritchie
At the same press conference, Ringo paid tribute to late Rolling Stones drummer Watts, calling him a “beautiful human being.”
Upon the news of Watts’ death, Stones members Mick Jagger, Keith Richards and Ronnie Wood all shared tributes on social media, with the latter simply writing: “I love you my fellow Gemini ~ I will dearly miss you ~ you are the best”.
The artist behind Radiohead's Kid A cover art has discussed his creative process and what influenced his work on the album.
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Stan...
The artist behind Radiohead‘s Kid A cover art has discussed his creative process and what influenced his work on the album.
Taking place October 5 to 19, the exhibition – dubbed How To Completely Disappear – will be held at Christie’s headquarters.
Speaking to Christie’s about his work with Radiohead, Donwood revealed some of the influences that inspired the album covers and how the creative process unfolded.
“It’s quite rare for a band to be as interested in their visual representation as the music,” Donwood said of the band’s interest in the physical presentation of their album.
He explained he was invited to move into the studio during the recording of Kid A so that his paintings might “respond to the developing mood of the album”.
Donwood is selling six large-scale paintings he created for Kid A at the upcoming exhibition, alongside drawings, lyrics, and digital art made around this era in the band’s history. The series of dystopian landscapes were made in the period 1999-2001, and closely related to the final cover and sleeve art for Kid A.
We are thrilled to partner with @radiohead@thomyorke to present artworks by @StanleyDonwood who has created the cover art for #Radiohead's ground-breaking albums since The Bends in 1996. The paintings will be offered this October in First Open: Post-War and Contemporary Art. pic.twitter.com/MSOaR7lTYh
Asked about the dark nature of some of the paintings, Donwood said it had a lot to do with how he was feeling at the time.
“I had a lot of things on my mind to do with the ongoing conflict in the former Yugoslavia, and the death tolls,” he explained. “It was about some sort of cataclysmic power existing in the landscape.”
Yorke has previously said that he and Donwood were “obsessed with triangular mountains” and “had visions of pyramids flying over us”. Donwood elaborated further.
“We started to use the computer to collapse geology into itself and to exaggerate mountains and gorges,” Donwood said, “to populate the landscape with stalking creatures like pylons that had come to life, with half-completed cartoon behemoths and floating red cubes, aerial swimming pools of blood.”
Alan Lancaster, founding bassist of UK rock greats Status Quo, has died in Sydney, Australia, aged 72.
According to a post shared to Facebook by Australian entertainment reporter and Lancaster's close friend, Craig Bennett, the musician had been suffering from Multiple Sclerosis (MS) for some tim...
Alan Lancaster, founding bassist of UK rock greats Status Quo, has died in Sydney, Australia, aged 72.
According to a post shared to Facebook by Australian entertainment reporter and Lancaster‘s close friend, Craig Bennett, the musician had been suffering from Multiple Sclerosis (MS) for some time.
“[I] am heartbroken to announce the passing of Alan Lancaster, British born music royalty, guitar God and founding member of iconic band, Status Quo,” Bennett wrote on 26 September.
“Despite having MS and issues with his mobility, Alan participated in hugely successful reunion tours… He bravely played to thousands of adoring fans..and loved being back with the band and his loyal Quo army.”
Read Bennett’s full post below:
At the request of his loving and deeply cherished family, am heartbroken to announce the passing of Alan Lancaster,…
Shortly after Bennett’s post, Status Quo confirmed the news of Lancaster’s passing.
“I am so sorry to hear of Alan’s passing,” vocalist Francis Rossi wrote in a statement shared by the band. “We were friends and colleagues for many years and achieved fantastic success together as the Frantic Four alongside Rick Parfitt and John Coghlan. Alan was an integral part of the sound and the enormous success of Status Quo during the 60s and 70s. Although it is well documented that we were estranged in recent years, I will always have very fond memories of our early days together and my condolences go to Dayle and Alan’s family.”
Status Quo’s manager Simon Porter added, “This is such sad news and my sincere condolences go out to Dayle and the family. It was an absolute pleasure to be able to reunite the original line up for two sellout tours in 2013/2014 and to give Status Quo Frantic Four fans a final legacy and such a lasting memory. Although Alan was not in the best of health even then, he got through the tours with determination and grit and was a pleasure to work with.”
Alan Lancaster – R.I.PIt is with great sadness that we report that Alan Lancaster – one of the original members of…
Lancaster and Rossi met at Sedgehill Comprehensive School in London, where they performed together in its orchestra. Along with two other classmates, they formed a group known as Scorpions. Undergoing two name changes before settling on Status Quo, Lancaster, Rossi and guitarist Rick Parfitt – who died in 2016 – launched their hit-making career with the release of “Pictures of Matchstick Men”.
From there, Lancaster performed with the group until 1985, appearing on 15 albums. The band enjoyed more than 60 Top 40 hits in the UK, had 25 UK Top 10 albums and released over 100 singles, including hit songs such as “Down Down” and “Whatever You Want”.
His last album with the band was 1983’s Back To Back.
Reuniting with Rossi, Parfitt and John Coghaln, Lancaster performed with Status Quo for a UK tour in 2013. His last ever show as a member was in Dublin in 2014.
Lancaster‘s last performance with Status Quo as a full-time member was there opening slot in 1985 for Live Aid, when Queen, U2, David Bowie, Elton John, and more also performed.
Lancaster had been living in Australia for 45 years, having migrated in the 1980s. There, he formed The Bombers with The Angels‘ guitarist John Brewster. He was also a member of Australian supergroup The Party Boys, in 1987, who enjoyed hits with covers of Argent‘s “Hold Your Head Up” and John Kongos‘ “He’s Gonna Step On You Again”.
The musician is survived by his wife, Dayle, whom he met on tour with Status Quo in Australia in 1973, their children, Alan Jr., Toni and David, and five grandchildren.
The Rolling Stones kicked off their No Filter tour in St Louis last night (September 26).
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The Rolling Stones kicked off their No Filter tour in St Louis last night (September 26).
The show opened with an empty stage and only a drumbeat, with photos of Watts flashing on the giant stage screens.
“This is our first-ever tour we’ve ever done without him,” frontman Mick Jagger said during the early part of the show. “We’ll miss Charlie so much, on and off the stage.” The band then dedicated “Tumbling Dice” to Watts. You can view footage below.
The legendary rockers went on to perform a host of classics hits from their back catalogue including “Paint It Black”, “Sympathy For The Devil”, “Jumpin’ Jack Flash” and “Gimme Shelter”.
The Rolling Stones played:
“Street Fighting Man” “It’s Only Rock ‘N’ Roll (But I Like It)” “Tumbling Dice” “Under My Thumb” “19th Nervous Breakdown” “Wild Horses” “You Can’t Always Get What You Want” “Living In A Ghost Town” “Start Me Up” “Honky Tonk Women” “Happy” “Slipping Away” “Miss You” “Midnight Rambler” “Paint It Black” “Sympathy For The Devil” “Jumpin’ Jack Flash” “Gimme Shelter” “(I Can’t Get No) Satisfaction”
George Clinton has announced his final UK tour set to take place in spring 2022 - see the full list of dates below.
ORDER NOW: The Rolling Stones are on the cover of Uncut’s November 2021 issue
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The Parliament-Funkadelic legend...
George Clinton has announced his final UK tour set to take place in spring 2022 – see the full list of dates below.
The Parliament-Funkadelic legend announced his retirement from the road almost two years ago, but due to the coronavirus pandemic his UK farewell tour was put on hold.
“This has been coming a long time,” Clinton said in a statement at the time. “Anyone who has been to the shows over the past couple of years has noticed that I’ve been out front less and less.
“Truth be told, it’s never really been about me. It’s always been about the music and the band. That’s the real P-Funk legacy. They’ll still be funkin’ long after I stop.”
Now, the 80-year-old, whose last album was 2018’s Medicaid Fraud Dog, has announced he and Parliament-Funkadelic will hit the UK next May for a short run of dates, taking in Nottingham, London, Glasgow, Bristol, Manchester, Margate and Scarborough.
Tickets are on sale now here – see the full list of dates below.
May 2022 22 – Nottingham, Rock City
23 – London, O2 Forum Kentish Town
24 – Glasgow, O2 Academy Glasgow
26 – Bristol, O2 Academy Bristol
27 – Manchester, Albert Hall
28 – Margate, Dreamland
29 – Scarborough, Open Air Theatre
The Ealing Jazz Club didn’t promise much from the outside. Situated opposite Ealing Broadway tube station, wedged between a jeweller’s and a tea shop, a tight set of steps led down into a faceless cellar. “It had a capacity of about a hundred people, maybe a few more,” recalls frequent visit...
The Ealing Jazz Club didn’t promise much from the outside. Situated opposite Ealing Broadway tube station, wedged between a jeweller’s and a tea shop, a tight set of steps led down into a faceless cellar. “It had a capacity of about a hundred people, maybe a few more,” recalls frequent visitor Dick Taylor. “There was a cloakroom, then a narrow room with the bar at one side. It was only a small club. But you’d walk through the door and it would sound like Chicago in there. The atmosphere was incredible.”
On March 17, 1962, the club began to operate as Britain’s first regular rhythm’n’blues venue. Led by guitarist Alexis Korner and harmonica player Cyril Davies, Blues Incorporated took over on Saturday nights, providing a nexus for the growing number of R&B bands that sprouting up around London and the suburbs.
But the Ealing Club wasn’t just about the music. It was a place where crucial connections were made, a gathering of kindred souls. “We all saw ourselves as crusaders for the blues,” says Paul Jones. “We were all more or less the same age. To find all these other like-minded people down there was very significant.”
One of these figures was 20-year-old Charlie Watts, then drummer with Blues Incorporated. “Charlie came from a jazz background and was just a brilliant drummer,” says Taylor. “You had to be seriously good to get into Alexis’s band. Everybody was aware of that. Not only that, but Charlie was also always such a cool character and smart dresser, from the early days.”
A nod and a handshake in a smoky room. Such was the ease with which friendships were made, alliances formed. In the space of a few weeks, Watts was introduced to Brian Jones, thenMick Jagger and Keith Richards. By the summer of 1962, all three had guested with Blues Incorporated, sharing the stage for the first time with their future bandmate.
“You never knew who was going to be part of Alexis’s band next,” says Taylor. “He wasn’t a particularly amazing musician, but he was so into his blues. He was more like a curator. That’s one of the key things about the club in those days. It was an offshoot of the jazz scene, because you had people like Dick Heckstall-Smith and Graham Bond. On stage at various times there would’ve been Charlie and Mick Avory and Jack Bruce. I remember arriving early one evening and meeting Ginger Baker.”
When Taste broke up in the autumn of 1970, Rory Gallagher went through the mixed emotions that follow any divorce. There was pride: their final festival appearance at the alongside and had been spectacular and their last studio album, 1970’s On The Boards, had fused Gallagher’s driving blues-roc...
When Taste broke up in the autumn of 1970, Rory Gallagherwent through the mixed emotions that follow any divorce. There was pride: their final festival appearance at the alongside and had been spectacular and their last studio album, 1970’s On The Boards, had fused Gallagher’s driving blues-rock with jazzier, more experimental influences and taken the band into the UK albums chart for the first time.
Yet there was frustration and anger, too. There was enmity with Taste’s manager Eddie Kennedy, who had signed a recording deal with Polydor that gave him ownership of the band, with Gallagher and the other two members of Taste individually under contract to him as employees.
There were also tensions within the trio, as drummer John Wilson and bassist Richard McCracken increasingly came to resent Gallagher taking the limelight as guitarist, singer and songwriter. After Taste had played their final gig, Wilson savaged Gallagher in the music press, claiming the band had broken up owing to the guitarist’s greed and arrogance.
Neither were traits that anybody who knew Gallagher remotely recognised and it was typical of his generosity and modesty that he refused to respond. He preferred to look forward rather than back and Taste had turned so sour that he refused to play the band’s material in his live sets for the rest of his life.
Keeping his eyes on the horizon meant going solo and a new deal with Polydor, negotiated with the assistance of Led Zep manager Peter Grant, who stormed into the office of Polydor’s MD, ripped up the offered contract and told him, “Give Rory a decent fucking deal.” The outcome was a six-album deal on substantially more generous terms.
Gallagher wanted a fresh approach but was still wedded to the idea of a power trio, and a new rhythm section was required to back him. According to one story, Robert Stigwood tried to persuade him to play with Jack Bruce and Ginger Baker in a putative Cream Mark II. Gallagher rejected the idea of being shoehorned intoEric Clapton’s fringed boots, but he did try working with Noel Redding and Mitch Mitchell, both of whom were at a post-Hendrix loose end. In the event he found what he was seeking closer to home in drummer Wilgar Campbell and bassist Gerry McAvoy from Deep Joy, an Irish band that had supported Taste at the Marquee.
By the time Gallagher’s eponymous solo debut finally appeared in May 1971, it was almost 18 months since Taste’s final studio album and the songs were tumbling out of him. It’s not hard to see references to the break-up of Taste in the lyrics of songs such as I Fall Apart and For The Last Time. But it’s the breadth and nuance of the material that is most striking. Laundromat boasts a classic Gallagher blues-rock riff, as does Sinner Boy with its stinging slide guitar. But thereafter things get gentler and more introspective, in the manner of the more acoustic-tinged material on Led Zeppelin III.
Heavily influenced by his admiration for Davy Graham, Bert Jansch and John Renbourn, Just The Smile would not have been out of place on a Pentangle album. Can’t Believe It’s True has a West Coast vibe, aJefferson Airplane jam maybe. On the acoustic down-home blues of Wave Myself Goodbye and I’m Not Surprised – inspired by Gallagher’s discovery of the 1930s recordings of Scrapper Blackwell and Blind Boy Fuller – the rhythm section is banished and replaced by the boogie-woogie piano of Atomic Rooster’s Vincent Crane. It’s You is pure country and oozes with Gallagher’s love of Hank Williams.
This anniversary edition expands the album’s 10 original songs somewhat gratuitously to more than 50 tracks. ’ Gypsy Woman and Otis Rush’s It Takes Time are ferocious excursions into electric Chicago blues. The gentle folk-rocker At The Bottom heard in four almost identical takes and on which Gallagher blows some lovely harmonica, eventually appeared on the 1975 album Against The Grain. For the rest it’s mostly alternate takes of songs on the album, several of them breaking down and few, if any, departing radically from the versions that made the cut.
The final disc of radio sessions offers further iterations of six of the songs on the 1971 album plus a preview of In Your Town, a stomping slide-guitar showcase that would appear six months later on Gallagher’s second solo set, Deuce.
By coincidence Gallagher and Clapton both released their self-titled solo debuts within a few months of each other – and in terms of blues-rock guitar-slingers seeking to expand their signature sound, Gallagher’s effort at this distance stands up as more coherent, consistent and focused. More than a quarter century on from his death, he’s missed more than ever.
If, as LP Hartley’s novel The Go-Between has it, “the past is a foreign country”, then Saint Etienne have earned frequent flyer status. From their 1991 debut, Foxbase Alpha, which leaned on UK club culture, C86 and ’60s pop, through 2005’s Tales From Turnpike House, a David Essex-featuring...
If, as LP Hartley’s novel The Go-Between has it, “the past is a foreign country”, then Saint Etienne have earned frequent flyer status. From their 1991 debut, Foxbase Alpha, which leaned on UK club culture, C86 and ’60s pop, through 2005’s Tales From Turnpike House, a David Essex-featuring, indie-disco set themed around a fictional high-rise, to their ninth album Home Counties, a titular paean to where all three grew up, the reimagining of places and times slightly removed has always been central. It’s defined them as very English stylists with a psychogeographic bent, whose name-checking of London’s Parkway, use of a voice clip from Countdown or train-station recordings has given their impressionistic songs the stamp of lived experience while transporting listeners Somewhere Else.
In that regard, for Sarah Cracknell, Bob Stanley and Pete Wiggs the past isn’t “foreign” at all, it’s a very familiar place and they speak its language fluently. But the landscape there is a mesh of memories and their duplicitous cousins, dreams, which means however melodious and seductive, there’s always been a feeling of distance in their music, which adds to its allure. Now comes I’ve Been Trying To Tell You, which has a stronger air of unsettlement, the emotions most frequently associated with nostalgia – wistfulness, longing and a sadness so inviting it’s easily confused with pleasure – replaced with a sense of dislocation that’s hard to articulate.
It’s a short record for Saint Etienne (eight tracks, 41 minutes) and was recorded remotely, in collaboration with film and TV composer Augustin Bousfield, who also plays bass, guitar and additional keyboards. Despite being pegged to the idea of the second half of the ’90s as the last surge of optimism in Britain and featuring samples of UK chart hits from that decade, the album isn’t nostalgic in the conventional sense. None of the samples – which include Natalie Imbruglia’sBeauty On The Fire, Lighthouse Family’s Raincloud and The Lightning Seeds’ Joy – exactly chime with the trio’s aesthetic and since they’ve been dismantled, rearranged and heavily augmented, they’re no more than wobbly stepping stones to a submerged collective memory. It’s a hypnagogic set in effect only, since it’s not reaching for something beyond its creators’ own experience. In fact, you could say I’ve Been Trying To Tell You is more intimately connected to them than any of their previous LPs, since it refers to an era that was Saint Etienne’s own golden age.
Bob Stanley describes the record as “a meditation on nostalgia” in the light of ’90s revivalism, which rightly distinguishes it from a nostalgic record, though it’s somewhat naive to imagine there’s no overlap. Head-nodding beat patterns, electronic bossa nova and evocations of comedown mixtapes all figure, which suggests the first half of the ’90s also plays its part (Joy was released in 1989) while underlining the fact that art doesn’t keep a calendar any more than memories do. Stanley told Uncut the aim was “to make a record that felt like the period, but distorted by unreliable memory” and that distortion is both literal and figurative: on Pond Hous”, the enigmatic, repetitious murmuring of “here it comes again” is the human anchor in a gently rolling sea of woozy keys; while on Blue Kite the warped keyboard melody sounds like it’s struggling to break free; and it would be a keen-eared listener who could identify Tasmin Archer’s power ballad Ripped Inside in the ebb and flow of Broad River. Field recordings – the squawk of gulls, a waterfall and indoor-market chatter included – are used sparingly but effectively. Opener Music Again, which features an electric harpsichord, a sample of R&B trio Honeyz’ Love Of A Lifetime and Cracknell’s looped, sweetly forlorn refrain, “never had a way to go”, is one of two set highlights; the other is Fonteyn, a soft sigh of a song that recalls Everything But The Girl and early Goldfrapp.
Saint Etienne have sometimes been accused of cleverness at the expense of emotion but I’ve Been Trying To Tell You (something words can’t express but this music can, perhaps) is immediate and soulful. It may be a record with a particular space-time marker, but it transcends that point and raises aeons-old existential questions that are widely understood. As Cracknell sang on London Belongs To Me, 30 years ago, “Do you ever wonder where we’ve been? Do you ever wonder where we’re going?” No answers here, but a lyrical soundtrack for subconscious wanderings.
As Mark E Smith once told Peter Hammill, it wasn’t Van Der Graaf Generator’s lyrics that sparked his love for the band, or the specifics of their music, nor even their academic complexity. It was the sheer power of the thing that drew him in. “He said, ‘You just have to go with the power,’...
As Mark E Smith once told Peter Hammill, it wasn’tVan Der Graaf Generator’s lyrics that sparked his love for the band, or the specifics of their music, nor even their academic complexity. It was the sheer power of the thing that drew him in. “He said, ‘You just have to go with the power,’” recalls Hammill today. “And I agree with that. Mark did like an aspect of noise, something Van Der Graaf have always liked. Sometimes that’s just noise brutality, and sometimes it’s noise in the musique concrète style.”
Even Van Der Graaf Generator’s detractors would be hard-pressed to deny their intensity. Here was a four-piece with often no electric guitar or bassist, just drums, organ (plus bass pedals), saxophone and a singer issuing the most infernal noises –choirboy coos, banshee wails and demonic grunts – from his slender frame. “He does seem like a normal person,” organist Hugh Banton said of Hammill in a 2016 issue of Uncut, “but evidently he isn’t…”
Formed as an R&B outfit in Manchester at the height of psychedelia, they soon began to concoct a menacing, very European mix of the avant-garde, curdled folk music, angular rock and operatic drama. The constant was chaos – in the tumult of Guy Evans’ savage drumming, in David Jackson’s electronically processed saxophones and especially in Hammill’s untutored guitar and keyboard playing, an elemental counterpoint to Banton’s scholarly skills on the organ. That Charisma allowed them to make such a mess unhindered was certainly heroic, if not fiscally wise.
They reformed in 2005 for a fruitful final act, but here, collected for the first time across 18 hours, 122 tracks and a disc of video performances, is Van Der Graaf’s original voyage, a stop-start revolution beginning with hippie-ish sci-fi balladry and concluding with a live album that predicted the weirdest post-punk.
We begin with February 1970’s The Least We Can Do Is Wave To Each Other, opener Darkness (11/11) confidently floating in on spacey organ and wind noise. Very Floyd, and yet the Syd-less group themselves were just finding their feet in early 1970, while Genesis andYes were still stumbling around. Perhaps the only group who’d already made a classic prog record were King Crimson. It’s apt, then, that one section of the 11-minute After The Flood echoes the manic rush of 21st Century Schizoid Man and that Robert Fripp would guest on December’s H To He, Who Am The Only One, and 1971’s Pawn Hearts.
The latter is one of their masterpieces, three deranged tracks of vaulting ambition and strangeness. Twelve-minute opener Lemmings (Including Cog), especially, is a gloriously ugly delicacy that must have sent less adventurous listeners rushing back to the shop to return their LP. Man-Erg begins as a grand piano ballad, before a thoroughly cacophonous section appears like sludge rising to a lake’s surface. By the end of the song, the two sections are being played simultaneously. Back Street Luv this was not. Pawn Hearts peaks with the side-long A Plague Of Lighthouse Keepers. A modular tale of death, despair and redemption, it’s highly experimental, including one part where 16 Van Der Graafs play different songs at once.
Such inspired madness chimed with the mood across Europe in the days of the Baader-Meinhof group and Brigadi Rossi. The group were frequently met by riots on the Continent, on one occasion driving their van through the glass wall of a venue to escape the mob. All this intensity led to a temporary split, and when Godbluff appeared in 1975, things were very different. Hammill, his hair shorn, was now playing electric guitar or violent clavinet, and the group were recording live, with none of the cut-up complexity of their previous work. Here were four long songs, tortuous and brutal, led as always by Hammill’s crooning and screeching. “From what tooth or claw does murder spring?” he bellows on The Sleepwalkers. “From what flesh and blood does passion?” At times his performances on Godbluff suggest David Bowie under the sway of the demonic forces he’d been drawing pentagrams to banish, though Diamond Dogs’ Sweet Thing/Candidate/Sweet Thing (Reprise) suggests the flow of influence went only one way.
1976’s Still Life was a quieter affair, the title track informing us that death, though awful, is at least preferable to eternal life, “ultimately bored by endless ecstasy”. After the tepid World Record – Meurglys III, a reggae-tinged epic about Hammill’s favourite guitar, is not their finest 21 minutes – Banton and Jackson left the band, no longer able to survive the financial penalty of being so uncompromising. Things could have gone very wrong for Van Der Graaf then, with punk’s dust cloud appearing on the horizon, but the next two years saw a brave move further towards pummelling noise that put them in step with the coming storm. 1977’s The Quiet Zone/The Pleasure Dome seems to invent Muse, while ’78’s Vital, an in-the-red live set with John Lydon in the crowd presumably picking up tips for PiL, is a highlight of the box, a distorted medley of …Lighthouse Keepers and The Sleepwalkers, white-hot.
Sprinkled among these album tracks are radio sessions – including an amusing Top Gear interview in which Hammill reveals that an early member left to join blues-rockers Juicy Lucy, and an electrifying Peel session from the Godbluff era. Other treats include an early studio version of Killer, a first mix of Theme One, and The Boat Of A Million Years, a typically breezy B-side about Ra’s solar barque.
Live In Rimini 1975 is worthwhile, mainly because it includes the Hammill solo tracks (In The) Black Room… and A Louse Is Not A Home, intended for the scrapped Pawn Hearts follow-up, but the quality is grainier than a ’70s macrobiotic diet. Much better is a crystal-clear 1976 set from Paris’ Maison Mutualite, one of the classic lineup’s last stands. They’re tight, especially on the closing Killer and Man-Erg, but there’s always a sense that they’re teetering on a knife edge – that chaos, again.
Though it’s not new material per se, the jewels in the box are the four new stereo remixes of their core albums, H To He…, Pawn Hearts, Godbluff and Still Life, which enhance the clarity and sense of space in the music. H To He…’sKiller and The Emperor In His War Room are fuller, more vibrant, while A Plague Of Lighthouse Keepers reveals new instrumental layers and improves the crossfades between sections. Godbluff is alternately harder hitting and more intimate: during the hushed intro of The Undercover Man, it’s as if Hammill is right there whispering in your ear, the type of hallucinatory voice that so often afflicts his damaged protagonists.
The Charisma Years isn’t a revelatory box – there are only a few gems here that haven’t already been brought to light elsewhere, notably the Parisian live set. It is, though, a comprehensive survey of a revelatory group. Listened to in the wrong mood, Van Der Graaf Generator can sound ridiculous, the lyrics overdone, the distorted saxes painful, Hammill’s astounding vocals too extreme; but, entered into wholly, this is music with a gnomic power, that can incite riots and assorted psychic disturbances. As Mark E Smith would attest, that power is hard to resist.
After waiting decades, Sparks’ Ron and Russell Mael have finally made it to the big screen in a dazzle of grandeur and glory – not just as subjects of Edgar Wright’s joyous portrait The Sparks Brothers, but as co-writers and composers of a bizarre fantasy confection by elusive French director ...
After waiting decades, Sparks’Ron and Russell Mael have finally made it to the big screen in a dazzle of grandeur and glory – not just as subjects of Edgar Wright’s joyous portrait The Sparks Brothers, but as co-writers and composers of a bizarre fantasy confection by elusive French director Leos Carax. Annette isn’t so much a musical as a piece of modern grand opera – a dark romance about a famed soprano (Marion Cotillard) and a tormented up-and-coming comedian (Adam Driver). Happiness seems to be theirs – but when their passion and pain erupt one stormy night at sea, Annette heads into the turbulent realms of high tragedy, with a streak of the supernatural.
Annette is full of flamboyant ambition, with unmistakeable shades of the hallucinatory strangeness of his last film, Holy Motors – notably in a beautiful scene where Cotillard steps from a theatre stage into a dark forest. But there’s also a great deal of overstatement (not one but two extended stage routines by Driver’s comedian, who really does have angst in his pants) and some out-and-out cinematic bombast.
Sparks fans hoping for the duo’s usual exuberance and dandyish wit may be disappointed by a score that shows their melodic invention only in flashes, the lyrical sharpness oddly muted. There’s a fabulous prelude featuring the Maels, Carax and assembled company, but the film never recaptures its brio. Cotillard is underused, while Driver’s agonised wild man shows this usually riveting actor disappointingly off-key. You won’t feel short-changed either for strikingly artificed images or for sheer eccentricity, but overall, Annette is an oddly joyless folly.
Nirvana have announced a special reissue of Nevermind to mark the iconic album's 30th anniversary.
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READ MORE: Dave Grohl looks back on Nevermind sessions: “Nobody thought Nirvana was going to be huge”
The...
Nirvana have announced a special reissue of Nevermind to mark the iconic album’s 30th anniversary.
The band’s landmark LP was released on September 24, 1991 and featured hit singles such as “Smells Like Teen Spirit” and “Come As You Are”.
It is set to be remastered from the original half-inch stereo analog tapes to high-resolution 192kHz 24-bit for a series of reissues, which will be released on November 12.
These include super deluxe editions, which feature four complete live shows that document Nirvana’s historic ascension – Live in Amsterdam, Netherlands which was recorded and filmed on November 25, 1991 at the famed club Paradiso, Live in Del Mar, California recorded on December 28, 1991 at the Pat O’Brien Pavilion at the Del Mar Fairgrounds, Live in Melbourne, Australia for triple j recorded February 1, 1992 at The Palace in St. Kilda and Live in Tokyo, Japan recorded at the Nakano Sunplaza on February 19, 1992.
Nirvana Nevermind 30th anniversary artwork. Credit: Press
The reissue will be available in both vinyl on eight LPs in 180-gram black vinyl, all in premium tip-on jackets plus the new 7-inch A-side “Endless, Nameless” and B-side “Even In His Youth” and “Aneurysm” and CD+Blu-ray on five CDs plus a Blu-ray of Live in Amsterdam’s complete concert video in newly remastered audio.
It also comes in a standard digital / CD and single disc vinyl with bonus 7-inch. You can pre-order all formats here.
It comes after bassist Krist Novoselic teased the reissue earlier in the summer.
“We’re going to have the 30-year Nevermind, but we’re still putting it together,” he told Uncut, which he hinted will feature rare material. “It’s kind of late! What’s on it? You’ll see, I don’t want to spoil the surprise!”
Meanwhile, the BBC recently celebrated 30 years of Nevermind with a new film about Nirvana‘s time in the UK. Titled When Nirvana Came To Britain, it can be streamed here via BBC iPlayer.
Rush's Geddy Lee is set to release a memoir, written as a means of coping with the loss of legendary drummer and longtime friend Neil Peart during the coronavirus pandemic.
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READ MORE: Rush – Permanent Waves
...
Rush‘s Geddy Lee is set to release a memoir, written as a means of coping with the loss of legendary drummer and longtime friend Neil Peart during the coronavirus pandemic.
Writing in an Instagram post this week (September 21), Lee said that while he was “locked down for over a year and a half” he spent lots of time with his family, but struggled to deal with Peart‘s death. The 68-year-old singer also lost his mother in July.
“My friend and collaborator on the Big Beautiful Book of Bass, Daniel Richler, saw how I was struggling in the aftermath of Neil’s passing, and tried coaxing me out of my blues with some funny tales from his youth, daring me to share my own in return,” Lee said.
“I’d then send these improved and even illustrated stories to Daniel, who’d clean up some of the grammar and remove a lot of the swearing (I love to fucking swear), and presto!” he continued. “In a voice that sounded, well, just like me, a presentable, epic-length account of my life on and off the stage was taking shape: my childhood, my family, the story of my parents’ survival, my travels and all sorts of nonsense I’ve spent too much time obsessing over.
“And Daniel said, ‘I think you’re writing a book. An actual memoir, in fact.’ To which I replied, ‘Hmm… I guess I am.'”
The as-yet untitled book will be published by Harper Collins in autumn 2022. See the full post below.
In July, Alex Lifeson has confirmed that there will be no Rush reunion in the future.
Speaking on SiriusXM’s ‘Trunk Nation with Eddie Trunk’ (per Blabbermouth), the guitarist said: “I know Rush fans are a unique bunch, and I love them. It was a really good two-way relationship. But I think, really, Rush ended in 2015. There’s no way Rush will ever exist again because Neil’s not here to be a part of it.
“And that’s not to say that we can’t do other things and we can’t do things that benefit our communities and all of that. I have lots of plans for that sort of thing that don’t necessarily include Geddy.”
Radiohead have revealed the official music video for their recently shared song "If You Say The Word" – watch it below.
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"If You Say The Word", a prev...
Radiohead have revealed the official music video for their recently shared song “If You Say The Word” – watch it below.
“If You Say The Word”, a previously unreleased track from the early 2000s, was shared earlier this month to announce KID A MNESIA, a new triple album reissue celebrating 20 years of Kid A and Amnesiac.
Along with reissues of the two albums, Radiohead will also release Kid Amnesiae, an album of unreleased rarities from the era including “If You Say The Word”.
The haunting new video is directed by Kasper Häggström and begins in the countryside before travelling to London.
Watch the new video for “If You Say The Word” below:
KID A MNESIA will be available in the following formats: deluxe LP (limited edition 3xLP cream vinyl + 36-page hardback art book), Kid Amnesiette (a limited and numbered edition cassette [limited to 5000] + 36-page booklet), indie exclusive limited edition red vinyl 3xLP, black vinyl 3xLP, 3xCD and 3-volume digital formats.
Two art books by Thom Yorke and Stanley Donwood cataloguing the visual works created during the Kid A / Amnesiac era will also be published on November 4.
You can find out more and pre-order Radiohead’s KID A MNESIAhere.
Bruce Springsteen & The E Street Band's 1979 No Nukes performance is to see its first full release on a variety of formats in November – scroll down to watch the trailer.
The concert film, The Legendary 1979 No Nukes Concerts, is out digitally on Nov 16, followed by physical release on Nov ...
Bruce Springsteen & The E Street Band‘s 1979 No Nukes performance is to see its first full release on a variety of formats in November – scroll down to watch the trailer.
The concert film, The Legendary 1979 No Nukes Concerts, is out digitally on Nov 16, followed by physical release on Nov 19 on 2CD with DVD, 2CD with Blu-ray, and 2LP formats.
It captures the group performing at New York’s Madison Square Garden as part of a series of gigs organised by MUSE (Musicians United for Safe Energy). The band were in the middle of recording The River, which would see release the following year.
“The ’70s were a golden period in the history of Bruce Springsteen and the E Street Band, and the Legendary 1979 No Nukes Concerts is the greatest document of that era we will ever have,” says manager Jon Landau. “It’s a pure rock show from beginning to end, the energy level is transcendent, and the mastery of the art and the craft of rock music is awe inspiring.”
The film includes 10 never-before-released performances, as well as a performance of Maurice Williams’ “Stay” with Jackson Browne, Tom Petty and Rosemary Butler.
The full tracklisting is:
1 Prove It All Night 2 Badlands 3 The Promised Land 4 The River 5 Sherry Darling 6 Thunder Road 7 Jungleland 8 Rosalita Come Out Tonight 9 Born To Run 10 Stay 11 Detroit Medley 12 Quarter To Three 13 Rave On
Simon Felice has shared new song, “Year Around The Sun”.
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The track is Felice's first new music since 2018 and signals the start of a new chapter in his career, since he recently signed with Chrysalis Records...
Simon Felice has shared new song, “Year Around The Sun”.
The track is Felice’s first new music since 2018 and signals the start of a new chapter in his career, since he recently signed with Chrysalis Records.
No stranger to Uncut, of course, as a member of The Felice Brothers and The Duke And The King, Felice’s new single introduces an album due for release next year.
Speaking about the track, Felice says, “I wrote this song on New Year’s morning, 2021. I woke up feeling empty inside. Like an old cornhusk battered by the wind. I’m sure the whisky in my whisky the night before helped me arrive there. I think it’s important to recognize and own the raw fact that we’ve all just been through the most surreal collective trauma this past year and more: seemingly endless lockdowns, constant fear and confusion, a recalibration of what’s real and what’s important. My hope is that perhaps with a little help from our friends, music, laughter, and time, we’ll find a rebirth.”
