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Hawkwind announce orchestral album featuring Eric Clapton

Sam Richards
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Hawkwind announce orchestral album featuring Eric Clapton
In advance of their orchestral tour this autumn, Hawkwind have announced the release of an orchestral album, Road To Utopia, on September 14. It features reworkings of many of their classic numbers, arranged for orchestra in collaboration with Mike Batt. There is also a surprise special guest: t...

In advance of their orchestral tour this autumn, Hawkwind have announced the release of an orchestral album, Road To Utopia, on September 14.

It features reworkings of many of their classic numbers, arranged for orchestra in collaboration with Mike Batt.

There is also a surprise special guest: the new version of “The Watcher” features Eric Clapton on guitar. In the current issue of Uncut – on sale now with Prince on the cover – Hawkwind’s Dave Brock dropped a hint about this team-up when reminiscing about the late ’60s: “When I was busking down the Portobello Road, I used to go round Eric Clapton’s house occasionally and listen to records with him… Eric Clapton in Hawkwind? There’s still time.”

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Peruse the tracklist and cover art for Road To Utopia below:

1. Quark, Strangeness and Charm
2. The Watcher
3. We Took The Wrong Step Years Ago
4. Flying Doctor
5. Psychic Power
6. Hymn To The Sun
7. The Age of the Micro Man
8. Intro The Night
9. Down Through The Night

See all of Hawkwind’s tour dates for the rest of 2018 below. The orchestral shows begin in Manchester on October 18.

Sunday 15th July Citadel Festival Gunnersbury Park, London
Friday 20th July Hall By The Sea, Dreamland Margate
Saturday 21st July Weymouth Pavilion Dorset
Saturday 4th August A New Day Festival, Faversham Kent
Monday 8th October Salabbk Bilbao, Spain
Thursday 18th October The Lowry, Salford Manchester
Friday 19th October Town Hall Leeds
Saturday 20th October The Sage Gateshead
Sunday 4th November Palladium (Sold Out) London
Monday 5th November Palladium London
Saturday 24th November Forum Bath
Sunday 25th November Symphony Hall Birmingham

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Bruce Springsteen officially releases Roxy ’78 live album

Sam Richards
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Bruce Springsteen officially releases Roxy ’78 live album
Bruce Springsteen And The E Street Band's four-hour show at the Roxy in Los Angeles on July 7, 1978, is widely regarded as one of their best ever. The concert was broadcast live on local rock radio station KMET-FM, hence its presence as a popular bootleg down the years. However, it has never been r...

Bruce Springsteen And The E Street Band’s four-hour show at the Roxy in Los Angeles on July 7, 1978, is widely regarded as one of their best ever.

The concert was broadcast live on local rock radio station KMET-FM, hence its presence as a popular bootleg down the years. However, it has never been released officially – until now.

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Roxy ’78 is the latest of Springsteen’s concerts to be officially remastered and released via the Live Bruce Springsteen website and you can download it or order a CD copy here.

Check out the full tracklisting here:

Set 1:
Rave On!
Badlands
Spirit in the Night
Darkness on the Edge of Town
Candy’s Room
For You
Point Blank
The Promised Land
Prove It All Night
Racing in the Street
Thunder Road

Set 2:
Paradise by the “C”
Fire
Adam Raised a Cain
Mona
She’s The One
Growin’ Up
It’s Hard to Be a Saint in the City
Backstreets (with Sad Eyes interlude)
Heartbreak Hotel
Rosalita (Come Out Tonight)

Encore:
Independence Day (solo piano)
Born to Run
Because the Night
Raise Your Hand

Encore 2:
Twist and Shout

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Gwenifer Raymond – You Were Never Much Of A Dancer

Jon Dale
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Gwenifer Raymond – You Were Never Much Of A Dancer
As far auspicious debuts go, British guitar soli slinger Gwenifer Raymond couldn’t have done better: at the urging of label boss Josh Rosenthal, she travelled from her home in Brighton, over to Takoma Park, Maryland, to give her debut performance on American soil, at the Thousand Incarnations Of T...

As far auspicious debuts go, British guitar soli slinger Gwenifer Raymond couldn’t have done better: at the urging of label boss Josh Rosenthal, she travelled from her home in Brighton, over to Takoma Park, Maryland, to give her debut performance on American soil, at the Thousand Incarnations Of The Rose festival. Taking place across the second weekend in April 2018, and convened by eminence grise of the scene, guitarist Glenn Jones, the festival was a celebration of everything Raymond holds dear about American Primitive: it could easily have been an intimidating introduction.

For Raymond, though, the experience was freeing. “The first thing I saw when in walking into the backyard of Rhizome (which was hosting the preview show for the festival) was a bunch of guys sitting in the sun and playing old-time on fiddle, banjo and guitar,” Raymond recalls. “It was a scene out of screens I’d watched many times with envy, wishing I could be there, but this time I got to step in. We jammed. It was cool.”

Surrounded both by other players – Rob Noyes, Sarah Louise, Alexander Turnquist, Marisa Anderson, Willie Lane – and scholars of the field, like Steve Lowenthal and Byron Coley, the event was low-key and inspiring: “it all felt pretty inclusive,” she says. “I think most people there were happy to be for once amongst a like-minded crowd – it seemed as though every act on the bill was really excited to be seeing the other players. It was an audience of fans, some of whom stepped on stage.”

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It feels particularly important that Raymond’s first show in America was at Thousand Incarnations, as the material on her debut album, You Were Never Much Of A Dancer, betrays a huge debt of influence from the formative players for American Primitive, winding a thread back through John Fahey to Mississippi John Hurt and Skip James. Raymond’s presence, and her seemingly preternatural capacity to channel the music while mutating it, ever so gently, may surprise after you find out she grew up in the outskirts of Cardiff, Wales, “just on the border of the Rhondda valley”.

Coming from an artsy family – a filmmaker for a mother, a father who worked making props – an early, revelatory encounter with Nirvana’s Nevermind led her to ask her parents for a guitar; their record collection, stocked with Dylan and the Velvets, eventually had her exploring pre-war blues, where both Hurt and James grabbed her attention: “they had the ability to make one guitar sound like two or three, over-laying sweet, weird and angular melodies over hypnotic, driving bass lines.”

That’s a pretty good summary of what Raymond does throughout much of You Were Never Much Of A Dancer. After a brief introduction on a rangy, rough-hewn violin, “Off To See The Hangman Part I”, she dives deep into the guts of the guitar on “Sometimes There’s Blood”, which already comes across, this early into her recording career, as a theme song, of sorts. The magic of Raymond’s playing is there, fully formed – a thumb that pumps the bass like a fixated piston; thorny melodies that weave and wind around, taking circuitous and unexpected routes across the fretboard, before a few plucked harmonics ease in the song’s central theme, a swampy, almost dirge-like riff that unexpectedly breaks open and flies skyward on its very final note.

Elsewhere her playing is lighter – her “Requiem For John Fahey” is a lovely, loving remembrance of a musical hero that plays good and loose with some Fahey-esque themes, capturing the core of his mercurial art without coming across as simple mimicry. An evocative player by her very nature, Raymond repeatedly shows that her schooling in American Primitive is in service to a respectful experimental drive that won’t let her take the easy road, an approach that Fahey himself, surely, would have approved of.

When Raymond takes it slow and easy, as on the slide guitar swoon of “Sweep It Up”, her playing is unpretentious and unhurried; elsewhere, and particularly on the clawhammer banjo numbers, like “Bleeding Finger Blues”, she can play at a fierce clip, but she still stays articulate: every note of these gorgeous melodies rings out true. To be fair, there’s an element of You Never Were Much Of A Dancer that feels a little like an index of possibilities, as though Raymond’s setting out what she can do: future albums will, hopefully, be yet more coherent, more conceptually thoroughgoing. But for a first album, it also feels stunningly confident, in full possession of its art. Guitar soli is in very good hands here indeed.

Q&A
It sounds like you had a pretty great time at the Thousand Incarnations Of The Rose festival.
Henry Kaiser gave me one of his guitars. An 1890s model made by Joseph Bohmann, “The World’s Greatest Musical Instrument Manufacturer”. It was the most ludicrously generous act, and I am firmly convinced that this guitar is possessed by some fingerpicking demon or spirit, because when I pick it up I play hard and it sounds real good. I hope to do it justice by the mighty HK.

What do you draw from the guitar soli tradition?
American primitive doesn’t need a singer to tell you what the song’s about, in fact the question ‘What is the song about?’ is pretty nebulous. You draw from this huge wealth of folk music that’s deeply embedded in people’s subconscious, but then you take it in wildly divergent directions, making something that’s familiar and strange at the same time.

I read that you took lessons from a blues guitarist…
He was a local guitar teacher, but I heard some recordings of him playing and it was obvious that his passion was the same sort of blues and folk that I was becoming interested in, which is why I tracked him down. He taught me the alternating thumb techniques used by players like John Hurt, as well as starting me off on clawhammer banjo.
INTERVIEW: JON DALE

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Watch The Cure’s entire BST Hyde Park set

Sam Richards
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Watch The Cure’s entire BST Hyde Park set
The Cure played a triumphant 40th anniversary show at British Summer Time in Hyde Park on Saturday night (July 7). Unlike their more esoteric Cureation-25 set at Meltdown last month – which will be reviewed in the new issue of Uncut, out next week – Robert Smith and company stuck to hits and fa...

The Cure played a triumphant 40th anniversary show at British Summer Time in Hyde Park on Saturday night (July 7).

Unlike their more esoteric Cureation-25 set at Meltdown last month – which will be reviewed in the new issue of Uncut, out next week – Robert Smith and company stuck to hits and fan favourites, kicking off with “Plainsong” and “Pictures Of You” from Disintegration in blinding sunshine, and ending more than two hours later with a salvo of taut numbers from their 1979 debut Three Imaginary Boys.

Before leaving the stage Robert Smith said: “It’s been a good first four decades. Here’s to the next one!”

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Watch the entire show (via Sim Production) and peruse the setlist below:

https://www.youtube.com/watch?v=hCwSL-AFWfA

Plainsong
Pictures of You
High
A Night Like This
The Walk
The End of the World
Lovesong
Push
In Between Days
Just Like Heaven
If Only Tonight We Could Sleep
Play for Today
A Forest
Shake Dog Shake
Burn
Fascination Street
Never Enough
From the Edge of the Deep Green Sea
Disintegration

Lullaby
The Caterpillar
Friday I’m in Love
Close to Me
Why Can’t I Be You?
Boys Don’t Cry
Jumping Someone Else’s Train
Grinding Halt
10:15 Saturday Night
Killing an Arab

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Beck: “People sometimes think that everything you write about is true”

Uncut
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Beck: “People sometimes think that everything you write about is true”
Like us on Facebook to keep up to date with the latest news from Uncut Here’s the mellow Midnite Vulture answering your questions on sex laws, The Stone Roses, Scientology and satanic coiffeurs… From Uncut's November 2006 issue (Take 114). Interview: Tim Jonze ________________ Plenty of peopl...

How do you feel about Iraq and the way the US is viewed by the world at the moment?
Claire Ni Lochlainn, by email
It’s unfortunate and, erm, a little bit surreal. I think I’ve put things in my music that reference it but nothing overt. I don’t know if I could articulate it in a song. It’s a tricky area, you have to really know what you’re talking about. To write something on that subject matter that isn’t immediately dated is extremely difficult.

Is there a song you wish you’d written?
Helen Jane, Sale
Oh yeah, many! It’s probably something by the Pussycat Dolls! [Sings] “Don’t you wish your girlfriend was a freak like me!”

Your song “Mexico” talks about you robbing McDonald’s. Did that happen?
Cindy, Houston TX
[Laughs] People sometimes think that everything you write about is true. But lots of my stuff is just made up. And last time I checked, robbing McDonald’s with a submachine gun was a federal offence.

Devendra Banhart is in the video for “Strange Apparition”. How so?
Lindsay, Scotland
My friend Autumn knows him. I was getting friends down for the video and he said he’d only do it if he could wear a dress! He looks good, too. It was a silky gypsy dress that had these straps which kept slipping down! I’m really into all that new folk music. I hear it and wish I knew those people 15 years ago.

If you were a folk singer back in the day, would you have dressed up in a bear suit and rapped about Vietnam?
Jeddi1, via email
I guess that… [long pause]… did you just say something about a bear suit? That’s kind of confusing! But I like to think I would. I like to think that if I’d been back in the Greenwich Village scene I’d be making acid-house-jungle-cool-out-dub-lounge-chip-hop-glitch-punk-rock shit! That’s the funny thing – a lot of what I do could have been done back then. Hip-hop is basically just using beats from that era…

How will you avoid the inner-cheese that seems to strike at the soul of all musicians as they grow older?
Michael Greene, Austin, TX
It’s a battle! But I try to keep my eyes open. It took me years to do something like Sea Change. That was the challenge with that record – doing something direct and emotional without it disintegrating into pathos.

Does MTV still make you want to smoke crack?
Raffy, London
MTV? It makes me want to wax my back and get a spray-on tan.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

David Crosby announces two rare UK solo shows

Sam Richards
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David Crosby announces two rare UK solo shows
David Crosby has announced two UK solo shows for September. They're his first live dates in Britain since he visited with Crosby, Stills & Nash in 2015. The dates are as follows: Saturday 15th September – Palace Theatre, Manchester Sunday 16th September – O2 Shepherds Bush, London Get Unc...

David Crosby has announced two UK solo shows for September. They’re his first live dates in Britain since he visited with Crosby, Stills & Nash in 2015.

The dates are as follows:

Saturday 15th September – Palace Theatre, Manchester
Sunday 16th September – O2 Shepherds Bush, London

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Tickets are available here.

Billed as David Crosby & Friends, the shows promise an amalgamation of past hits with The Byrds, Crosby Stills & Nash and CPR, as well as tracks from his solo albums.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Hear Gruff Rhys’ musical tribute to the NHS

Sam Richards
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Hear Gruff Rhys’ musical tribute to the NHS
As part of the NHS's 70th anniversary celebrations, Gruff Rhys has been commissioned by National Theatre Wales to write a song for their NHS70 Festival. Hear the result, "No Profit In Pain", below: https://www.youtube.com/watch?time_continue=262&v=RGRK6ZB7VQg The song is not taken from Rhys' ...

As part of the NHS’s 70th anniversary celebrations, Gruff Rhys has been commissioned by National Theatre Wales to write a song for their NHS70 Festival.

Hear the result, “No Profit In Pain”, below:

The song is not taken from Rhys’ recent album Babelsberg and is only available for streaming and download.

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Speaking to Uncut, Rhys described “No Profit In Pain” as both an “anti-privatisation song” and “a personal tribute”. “I was born in an NHS hospital and every aspect of my life and family has been deeply connected to the NHS,” he added.

Read Uncut’s review of Babelsberg here.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Paul McCartney announces first UK shows for three years

Sam Richards
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Paul McCartney announces first UK shows for three years
Following the announcement last month of his new album Egypt Station, Paul McCartney has revealed details of a mini UK tour, his first shows here in three years. The following dates form part of McCartney's Freshen Up world tour: Wednesday December 12th – Echo Arena – Liverpool Friday December...

Following the announcement last month of his new album Egypt Station, Paul McCartney has revealed details of a mini UK tour, his first shows here in three years.

The following dates form part of McCartney’s Freshen Up world tour:

Wednesday December 12th – Echo Arena – Liverpool
Friday December 14th – SSE Hydro – Glasgow
Sunday 16th December – The O2 – London

Get Uncut delivered to your door – find out by clicking here!

Tickets go on sale on Monday July 16 at 10am. An American Express pre-sale will run from 10am on Wednesday 11 July until 10pm on Friday 13 July for all American Express Cardmembers.

“There’s nothing like performing in front of your home crowd, especially when it’s been a while,” says McCartney. “I can’t wait to finish the year on such a high by partying in Liverpool, Glasgow and London. We’ve freshened up the show since our last time round and we are excited to get to play some of our new songs along side some of the favourites.”

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Richard Swift has died, aged 41

Sam Richards
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Richard Swift has died, aged 41
Singer-songwriter, multi-instrumentalist and producer Richard Swift has died, aged 41. He was hospitalised last month due to a "life-threatening condition". A GoFundMe page was launched to raise money for his treatment but Swift sadly passed away this morning (July 3). Swift rose to prominence in t...

Singer-songwriter, multi-instrumentalist and producer Richard Swift has died, aged 41. He was hospitalised last month due to a “life-threatening condition”. A GoFundMe page was launched to raise money for his treatment but Swift sadly passed away this morning (July 3).

Swift rose to prominence in the mid-2000s with his albums The Novelist and Dressed Up For The Letdown. He toured with Wilco and Cold War Kids but began to spend more time producing other artists, including Laetitia Sadier, Damien Jurado and Nathaniel Rateliff, often at his own National Freedom studio in Oregon.

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In 2011 he joined The Shins for five years, as well as touring with The Black Keys and Dan Auerbach’s side project The Arcs. Auerbach led the tributes to Swift, writing on Instagram that “Today the world lost one of the most talented musicians I know… I will miss you my friend.”

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

The 21st Uncut new music playlist of 2018

Michael Bonner
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The 21st Uncut new music playlist of 2018
A lot to dig into for this playlist. Standouts for me are Beak> at their Motorik best, Elkhorn's expressive folk/psych-rock - the best 18 minutes and 22 seconds you'll have this week, I promise - while the first fruits of Brocker Way's stand-alone Wild Wild Country's soundtrack finally emerge. Anywa...

A lot to dig into for this playlist. Standouts for me are Beak> at their Motorik best, Elkhorn’s expressive folk/psych-rock – the best 18 minutes and 22 seconds you’ll have this week, I promise – while the first fruits of Brocker Way’s stand-alone Wild Wild Country’s soundtrack finally emerge. Anyway, I’ll let you decide. Meanwhile, before you get stuck in, here’s a gentle reminder that our latest issue is on sale, with Prince on the cover and a lot more besides to enjoy inside. You can read all about it here.

Follow me on Twitter @MichaelBonner

1.
AMY HELM
“This Too Shall Light”
(Yep Roc)

2.
BEAK>
“Allé Sauvage” [Live at Invada Studios]
(Invada)

3.
HAIKU SALUT
“Cold To Crack The Stones”
(PRAH Recordings)

4.
ELKHORN
“Lion”
(Eiderdown Records)

5.
BROCKER WAY
“Church And State”
(Western Vinyl)

6.
AMMAR 08
“Ain Essouda” [feat. Cheb Hassen Tej]
(Glitterbeat Records)

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7.
BELLS ATLAS
“Be Brave”
(via Bandcamp)

8.
CANDI STATON
“Confidence”
(Thirty Tigers/Beracah)

9.
LOUIE ZONG
“Sunlit Shoals”
(via Bandcamp)

10.
ANGELO DE AUGUSTINE
“Carcassonne”
(Asthmatic Kitty)

11.
GLENN JONES
“The Sunken Amusement Park”
(Thrill Jockey)

12.
THE GOON SAX
“She Knows”
(Wichita Music)

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Hear two new songs by The Chills

Sam Richards
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Hear two new songs by The Chills
New Zealand indie-rockers The Chills have announced a follow-up to their 2015 comeback album Silver Bullets, entitled Snow Bound. Hear two tracks from it, "Complex" and "Lord Of All I Survey", below: https://soundcloud.com/firerecords/sets/the-chills-complex/s-45aHe Get Uncut delivered to your do...

New Zealand indie-rockers The Chills have announced a follow-up to their 2015 comeback album Silver Bullets, entitled Snow Bound.

Hear two tracks from it, “Complex” and “Lord Of All I Survey”, below:

Get Uncut delivered to your door – find out by clicking here!

Frontman Martin Phillipps says that the album is about “consolidation, re-grouping, acceptance and mortality… Hopefully a kind of Carole King ‘Tapestry’ for ageing punks.”

Snow Bound will be released by Fire Records on September 14.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Natalie Prass – The Future And The Past

Graeme Thomson
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Natalie Prass – The Future And The Past
In tumultuous times, artists face big choices. To confront, deflect or ignore; to drill down into the darkness; or find alternative sources of light. Some outline their concerns with po-faced precision. Lyric sheets become manifestos, live shows lectures. There are slogans and slides. Natalie Prass,...

In tumultuous times, artists face big choices. To confront, deflect or ignore; to drill down into the darkness; or find alternative sources of light. Some outline their concerns with po-faced precision. Lyric sheets become manifestos, live shows lectures. There are slogans and slides. Natalie Prass, it seems reasonable to conclude after spending time with her second album, isn’t inclined that way. Though she doesn’t shy away from the various ailments afflicting the world in 2018, Prass takes her conclusions to the dancefloor, not the barricades, foregrounding the medium rather than the message. “Some of my favourite protest albums are funky as hell,” she tells Uncut. “You’re dancing, and then you think, ‘Shit, they’re singing about gentrification…’”

Prass’s eponymous debut album – recorded in 2012 but released in 2015 – was a sumptuous Southern soul docudrama, a near-perfect marriage of mellifluous vocals, personal heartbreak and old-school musical values. Written by Prass and produced by her childhood friend Matthew E White and his Spacebomb partner Trey Pollard, it drew on country-soul, classic R&B and lush orchestral pop, replete with cushioned horns and tugging strings. Like many such records, it mined a mood of exquisite melancholy, half in love with the agony it so luxuriantly described.

Having postponed recording the follow-up at the eleventh hour in order to substantially rewrite it, Prass has delivered an album that is markedly different. White and Pollard remain on board – the latter, once again, contributing magnificent string arrangements – while Prass’s gossamer tone is still light and distinctive. The moods, textures and themes, however, have evolved. We’re still talking retro, only now the touchstone is late-’70s and ’80s dance music: disco, smooth soul, sleek funk and the pop end of R&B. There are harmonically complex jazz-piano flourishes, and only a couple of lush ballads.

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On the staccato funk groove of “Oh My”, which recalls early Prince, Prass recognises that the world is giving “heartbreak to me”, but this is mere scene-setting. We already know things are all messed up; the point is what to do about it. The 11 tracks that follow provide a series of uplifting answers.

A #MeToo anthem decked out in stack heels and satin jumpsuit, “Sisters” preaches solidarity with all the “nasty women… worldwide, world class”. Over a throbbing jazz-funk groove, Prass exchanges lines with her army of backing singers. “I wanna say it loud/For all the ones held down/We gotta change the plan,” she sings. Both jubilant and defiant, it’s destined to be one of the songs of the year.

The sinister, slow-burning “Hot For The Mountain” is less obvious, but equally charged. “We’ll take you on, we can take you all,” Prass purrs, “slowly rising up.” Over a dissonant blend of minimalist beats, slinky strings and jagged jazz piano notes, an astringent melody slides up and down the scale, never quite finding resolution, and all the better for it.

“Ship Go Down” is similarly serpentine, negotiating a complex time signature and fractured stop-start structure, before sliding into a gorgeous chorus. Over six slow minutes, it accumulates fuzz-tone guitar, free-roaming bass, vibes, 007 strings and disembodied scatting as it builds into something extraordinary, Prass exposing “a wolf in wolf’s clothing”. Who on earth could she mean?

Love is prescribed as the ultimate cure for hard times on “Short Court Style”, 
a glistening disco-soul confection with hand claps and dog-whistle synths, and on the choppy “Never Too Late”, which falls somewhere between Anita Baker and Christopher Cross. “The Fire” is a riot of soft-rock tropes and conscious clichés. “Nothing To Say” isn’t a million miles from Wilson Phillips’ “Hold On”. Even at her most knowing, Prass executes it all with verve and obvious love, although the big ballads may prove a trifle sweet for some tastes. “Far From You” – a kind of sad-eyed sequel to The Carpenters’ “Close To You” – could be the lead track from a ’90s Disney flick, while “Lost” revisits the out-and-out heartbreak of her debut. Both are the kind of bullet-proof weepies that could make Prass a proper pop star.

The Future And The Past ends with 
“Ain’t Nobody”, a throbbing mid-tempo floor filler boasting a killer blend of analogue synth squelches and funky guitars. As the groove spirals upwards, Prass exhorts everyone to “keep holding on… Ain’t nobody here giving it up.” 
Her final words reprise the defiant 
call-to-arms from “Hot For The Mountain”: “We’ll take you on/We can take you all.” 
On this form, you certainly wouldn’t 
want to make a fight of it.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Kamasi Washington – Heaven And Earth

Louis Pattison
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Kamasi Washington – Heaven And Earth
One hundred and one years since the first jazz record, Original Dixieland Jazz Band’s 1917 cut “Dixie Jass Band One Step”, was committed to wax, jazz itself ought by rights to be a museum piece – as relevant to a 21st-century popular music audience as fencing, 
or falconry. True, the genre...

One hundred and one years since the first jazz record, Original Dixieland Jazz Band’s 1917 cut “Dixie Jass Band One Step”, was committed to wax, jazz itself ought by rights to be a museum piece – as relevant to a 21st-century popular music audience as fencing, 
or falconry. True, the genre itself has 
now come to occupy a niche, largely fraternised by a select band of scholars and greying enthusiasts. Yet the music itself remains in good health, thanks to the vitality of a number of dreamers and visionaries who still find something meaningful and profound in the genre’s intermingling traditions.

One such figure is Kamasi Washington. A gentle giant from Inglewood, a city in Los Angeles immortalised in verse as ground zero for gangsta rap, Washington ingested some of that music, but found his true calling in the saxophone. While studying at UCLA’s Department Of Ethnomusicology, he fell in with a refined local jazz scene, playing sideman to the likes of Raphael Saadiq and Erykah Badu, and appearing in Snoop Dogg’s live band Snoopadelics. But broader recognition came through his arranging role on Kendrick Lamar’s 2015 LP To Pimp A Butterfly, a hip-hop record that drew heavily on the musicality of jazz. …Butterfly was released to broad critical acclaim, and Washington used the spotlight well. Mere months later he broke cover with his own album, The Epic – 170 minutes of soulful, symphonic music that paired his questing tenor sax with a hotwire band, a 32-piece orchestra and a 20-member choir.

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Heaven And Earth is no more modest. Recorded with his band The Next Step and eight-piece studio collective The West Coast Get Down – a sort of Wrecking Crew for the LA beats scene – it’s a bold and sprawling work split into two distinct philosophical halves: “The Earth side of this album represents the world as I see it outwardly, the world that I am a part of,” explains Washington. “The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me.” Life, spirituality, the nature of consciousness itself – if Washington is suffering from second-album jitters, he’s not letting it show.

Heaven And Earth is a deeply ambitious record, but you wouldn’t paint Washington as an avant-gardist, exactly. On the contrary, the album’s strength is to be found in its proximity to established musical traditions, and the lines it draws between them. From the Coltranes – John and Alice – he takes a sense of spiritual enquiry and compositional freedom. From ’70s Miles, comes a broiling fusion, typified by the deep bass grooves of longtime Washington collaborator Stephen ‘Thundercat’ Bruner. Throughout, it’s easy to hear the constant influence of soul, gospel and funk – most notably on a refreshed cover of Joseph Koo & Ku Chia Hui’s theme tune for 1972 Bruce Lee film Fist Of Fury, which vocalists Dwight Trible and Patrice Quinn reframe as a noble call to arms for the Black Lives Matter era (“Our time as victims is over/We will no longer ask for justice/Instead we will take our retribution”). As fine as Washington is as a saxophonist, he’s also a skilful arranger. Listen to the rousing choirs that soar forth on cosmic winds on “The Space Traveller’s Lullaby” and you’re reminded of Sun Ra, or the jazz symphonies of composer David Axelrod, whose records were later sampled and 
cut into breaks by later generations of 
hip-hop producers.

If Washington draws from a broad range of influences, he wears it easily. Often, Heaven And Earth settles into a sort of luxurious smoothness, as if trying to obliterate the evils of the world through sheer good vibes. “Testify” is a standout casually dispatched towards the end of the Earth side, Washington’s sax shadowing Patrice Quinn’s smoky vocal as it spells out a message of love overcoming all. But this lushness is balanced with a devilish complexity – hear how “Song For The Fallen” starts laidback, but suddenly starts cramming in notes, like a pot gradually brought to the boil, while a cover of trumpeter Freddie Hubbard’s manic 1962 hard bop “Hub-Tones” is dispatched with furious, zig-zagging sax and eruptive percussion solos. When it needs to, Heaven And Earth really moves.

The title promised something gigantic, and the contents deliver. If you fully digested The Epic, there will be relatively few surprises here – Heaven And Earth counts as a refinement of past ideas, the playing a little neater, the soul a little sweeter. Yet there’s no denying Kamasi Washington has captured his moment. This is the rare jazz record that feels equipped to venture outside the genre’s familiar borders and engage with the wider world. In an era of division and tension, its embrace of tradition and its boldness of spirit feel not just welcome, but revitalising.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Whitney

Michael Bonner
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Whitney
Six years since her death, it seems Whitney Houston has yet to find peace. The latest controversy to batter her legacy is the a photo depicting a bathroom, apparently Huston’s, strewn with drug paraphernalia that appears on the cover of a new album by rapper Pusha T. In a statement, the Houston es...

Six years since her death, it seems Whitney Houston has yet to find peace. The latest controversy to batter her legacy is the a photo depicting a bathroom, apparently Huston’s, strewn with drug paraphernalia that appears on the cover of a new album by rapper Pusha T. In a statement, the Houston estate described itself as “extremely disappointed” with the photograph: “Even in Whitney’s death, we see that no one is exempt from the harsh realities of the world.”

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Legacy management is an increasingly significant business as estates and record companies sensitively administer the posthumous careers of their artists. As you’d imagine, Huston is no exception. A painful – and unauthorised – reminder of the miserable trajectory behind Houston’s stellar burnout, such as the Pusha T sleeve, is clearly deeply troubling. The same could be said for Nick Broomfield’s doc from last year, Whitney: Can I Be Me?, which was made without the estate’s co-operation. Now Andrew Macdonald presents the authorised take on what is essentially the same story Broomfield told – but made with the estate’s involvement.

What’s the difference, you might ask? Macdonald has better access – though it is possible that protective agendas inevitably colour the project. In one scene, Macdonald tries to steer a conversation with Bobby Brown towards drugs, but the singer bats away the director’s questions with a revealing, “That’s not what this film is about.” But Macdonald’s film contains at least one bombshell – but it is saved until late in the day, as if its grand reveal alone explains all of Houston’s struggles.
Whitney follows the current pattern of gone-too-soon docs. While it is no Amy, it does at least capture something of Asif Kapadia’s film: the fury of public judgment that turns to pity far too late in the day.

Follow me on Twitter @MichaelBonner

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

The Cure – Mixed Up 2018

Michael Bonner
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The Cure – Mixed Up 2018
To Robert Smith, The Cure’s 40th anniversary presents a number of opportunities. Does he, for instance, choose to mark this momentous occasion with band’s first album of new material for a decade? Or does he prefer instead to dig deep into The Cure’s capacious catalogue for a new compilation a...

To Robert Smith, The Cure’s 40th anniversary presents a number of opportunities. Does he, for instance, choose to mark this momentous occasion with band’s first album of new material for a decade? Or does he prefer instead to dig deep into The Cure’s capacious catalogue for a new compilation album? This being Smith, of course, the answer lies somewhere left of centre.

For this latest project, Smith has decided to revisit Mixed Up – the band’s beloved remix album from 1990. For good measure, he has also worked in some brand new mixes of his own, a personal apercu of The Cure, if you like.

The 16 new mixes are the key sell here, especially to hungry fans who’ve been dutifully awaiting new Cure music since 2008’s 4:13 Dream. Although not entirely ‘new’, nevertheless this latest iteration of Mixed Up is part of a tightly-focussed spate of activity for Smith and his cohorts, along with this year’s Meltdown festival and a full band show at Hyde Park. If it’s not exactly a new album, at least it’s a new something – which, under the circumstances, will do.

Over the last decade or so, Smith has taken on an increasingly curatorial role. The Cure’s mammoth, three-hour live sets have now become extended celebrations of a singular legacy. What Mixed Up 2018 underscores is the depth and breadth of that creative vision. It’s not all cannibal spiders at the end of the bed. There are heartfelt songs about love and sadness, too, amid the dread tales from the world’s end.

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These tracks run chronologically and feature one song from each of the band’s studio albums to date along with a couple of non-album singles. From the band’s 1979 debut, “Three Imaginary Boys” takes us back to the band’s ramshackle baby steps. Here, Smith replaces the original’s ominous guitar curlicues with a low-key electronic burbling – a bit Speak & Spell-era Depeche Mode, truth be told. Considering Smith’s subdued playing was a critical asset in defining the early sound of The Cure, it’s quite a radical take – and one he repeats in the first handful of songs here.

For Seventeen Seconds’ “M”, he speeds up the backing track, turning the original’s spectral, tenebrous guitar lines into chunky Chuck Berry riffs, carried along on bouncy electronic beats. The hissing, snake-like guitars of Faith’s “The Drowning Man” are removed entirely, replaced by polite synth washes and piano lines. Although “A Strange Day” retains the hot-house juju of Pornography, it’s too cluttered – Smith’s fervid guitar lines butt against a barrage of processed beats. Alas, the very qualities that made the songs so otherworldly and special in the first place – space, atmosphere, texture – gets mislaid along the way.

Far more successful are “A Night Like This” and “Plainsong”, which both operate in an old school style. From the former, Smith replaces Boris Williams’ drums with a beat strongly reminiscent of Salt ‘n’ Pepa’s “Push It”. For the latter, meanwhile, he strips back the grand and glacial synth lines to reveal the song’s softer, intimate core. Listening to these two in particular, you might (correctly) recall the best moments of Mixed Up – parsing a Soul II Soul drum beat onto “Close To Me”, perhaps, or morphing the wistful “Pictures Of You” into a slow-motion dub epic. In a similar vein, the 2018 mix of “Never Enough” retains some of the original’s baggy DNA. Wish’s “From The Edge Of The Deep Green Sea” also cleaves closely to its 1992 version. In its new form, “The Last Day Of Summer”, from 2000’s Bloodflowers, is dreamy and delicate, cushioned by soft pillows of rippling noise – a welcome reminder that as intense and metallic as their records increasingly have become since the Nineties, Smith and his cohorts are still capable of moments of great beauty.

Mixed Up 2018 scatters in a lot of directions: something the band always did well on albums like 1987’s Kiss Me Kiss Me Kiss Me. In comparison, although franchised out to several remixers, Mixed Up operates at a more cohesive level. Released in 1990 – a week apart from Happy Mondays’ Pills Thrills & Bellyaches – sits somewhere somewhere between the extended 12” mix culture of the 1980s and the indie-dance explosion of the early Nineties: François Kevorkian (“Hot! Hot! Hot!”) rubs shoulders with William Orbit (“Inbetween Days”) and Paul Oakenfold (“Close To Me”). Still standing tall is “A Forest”, mixed by Bomb The Bass affiliate Mark Saunders, that manages to both remain respectful to the source material while also having something interesting to say about it.

A further set gathers up extended mixes from the original singles, along with a previously unreleased mix of “The Lovecats” – commissioned in 1990 for Mixed Up but nixed at the time because Smith thought it made them sound like “fucking UB40”. It’s not quite that bad, but instead think of it as a cautionary reminder of the need for self-regulation. Arguably, only now equalled by Nick Cave and the Bad Seeds – similarly, one man’s unshakeable vision supported by a sympathetic cast of revolving players – Smith and The Cure continue to follow their own distinctive muse. At its best, Mixed Up 2018 is reminder of the fun to be had during those long, strange trips into the interior of one man’s fertile imagination.

Follow me on Twitter @MichaelBonner

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Neil Young debuts 50-year-old song at Chicago solo show

Sam Richards
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Neil Young debuts 50-year-old song at Chicago solo show
Neil Young is currently on a solo tour of the US, playing varied sets drawing from all periods of his career. At Chicago's Auditorium Theatre last night (July 1) he surprised fans by taking to the piano to play "One More Sign", a song dating from the Buffalo Springfield era that has only ever been r...

Neil Young is currently on a solo tour of the US, playing varied sets drawing from all periods of his career. At Chicago’s Auditorium Theatre last night (July 1) he surprised fans by taking to the piano to play “One More Sign”, a song dating from the Buffalo Springfield era that has only ever been released as a demo.

Other highlights of his two Chicago shows included “After The Gold Rush” on pump organ, “The Needle And The Damage Done” and “Ohio”.

“The crowd was the real hero,” wrote Young on Neil Young Archives. “I was happy to join them.”

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Watch some clips of Neil Young’s Chicago gigs below and peruse the set lists here.

Tomorrow night’s show (July 3) at the Fox Theatre in Detroit will be streaming live on Neil Young Archives.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

The Band announce Music From Big Pink anniversary reissue

Sam Richards
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The Band announce Music From Big Pink anniversary reissue
To mark the album's 50th anniversary, The Band will reissue Music From Big Pink in a variety of expanded editions on August 31, including CD, digital, standard 2xLP, limited edition pink vinyl 2xLP and Super Deluxe CD/Blu-ray/2xLP/7" box set with a hardbound book. All configurations feature a new s...

To mark the album’s 50th anniversary, The Band will reissue Music From Big Pink in a variety of expanded editions on August 31, including CD, digital, standard 2xLP, limited edition pink vinyl 2xLP and Super Deluxe CD/Blu-ray/2xLP/7″ box set with a hardbound book.

All configurations feature a new stereo mix for the album, produced by Bob Clearmountain from the original four-track analogue masters. CD, digital and box set configurations also include five outtakes and alternate recordings from the Big Pink sessions and a previously unreleased a cappella version of “I Shall Be Released.”

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Exclusively for the box set, Clearmountain has also produced a new 5.1 surround mix for the album and the bonus tracks, presented on Blu-ray with the new stereo mix in high resolution audio (96kHz/24bit). All the new audio mixes have been mastered by Bob Ludwig at Gateway Mastering. The box set also includes an exclusive reproduction of The Band’s 1968 7″ vinyl single for “The Weight” / “I Shall Be Released” in their new stereo mixes and a hardbound book with a new essay by David Fricke and classic photos by Elliott Landy.

Watch a trailer for the anniversary editions of Music From Big Pink below:

Check out the tracklisting for the CD (available separately or as part of the Super Deluxe edition) below:

Music from Big Pink (50th Anniversary Edition)
2018 stereo mix
1. Tears Of Rage
2. To Kingdom Come
3. In A Station
4. Caledonia Mission
5. The Weight
6. We Can Talk
7. Long Black Veil
8. Chest Fever
9. Lonesome Suzie
10. This Wheel’s On Fire
11. I Shall Be Released

Bonus Tracks:
12. Yazoo Street Scandal (Outtake)
13. Tears Of Rage (Alternate Take)
14. Long Distance Operator (Outtake)
15. Lonesome Suzie (Alternate Take)
16. Key To The Highway (Outtake)
17. I Shall Be Released (A Cappella)

Pre-order the album here.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

New Joe Strummer comp to include rare and unreleased tracks

Sam Richards
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New Joe Strummer comp to include rare and unreleased tracks
September 28 sees the release of Joe Strummer 001, a new career-spanning compilation focusing on Strummer's non-Clash output, from The 101ers to The Mescaleros, plus solo albums and soundtrack work. The album includes 12 previously unreleased songs; hear one of them, "London Is Burning", below. The...

September 28 sees the release of Joe Strummer 001, a new career-spanning compilation focusing on Strummer’s non-Clash output, from The 101ers to The Mescaleros, plus solo albums and soundtrack work.

The album includes 12 previously unreleased songs; hear one of them, “London Is Burning”, below. The song dates from 2002 and is an alternative/early version of “Burnin’ Street” from Joe Strummer & The Mescaleros final album Streetcore.

Joe Strummer 001 will be released in double CD, quadruple vinyl and digital formats, plus as a limited edition Deluxe Double CD (in 64-page hardback A4 notebook with writings, lyrics, photos and sketches taken from Joe’s extensive personal archive) and limited edition Deluxe Box Set (4xLP plus 7” vinyl single, cassette, 64-page hardback A4 notebook, enamel badge, art print, screen print, lyrics and sticker sheet).

Get Uncut delivered to your door – find out by clicking here!

All formats include tracks that have never appeared anywhere before as well as new remasters. The unreleased material includes an early demo of “This Is England” entitled “Czechoslovak Song/Where Is England”, a solo demo of “Letsagetabitarockin” recorded in Elgin Avenue in 1975, outtakes from Sid & Nancy featuring Mick Jones and unreleased songs “Rose Of Erin”, “The Cool Impossible” and “London Is Burning”, one of the last songs Joe recorded.

The compiling of Joe Strummer 001 was overseen by Joe’s widow Lucinda Tait and Robert Gordon McHarg III, who curated the Black Market Clash exhibition. All tracks were restored and mastered by Peter J. Moore at the E. Room in Toronto, Canada.

The full tracklisting for the Deluxe Box Set is as follows:

JOE STRUMMER 001

SIDE 1
‘Letsagetabitarockin’
1975 101ers from ‘Elgin Avenue Breakdown’
‘Keys To Your Heart’
1976 101ers from ‘Elgin Avenue Breakdown'(Version 2)
‘Love Kills’
1986 Joe Strummer from ‘Sid And Nancy’ OST
‘Tennesse Rain’
1987 Joe Strummer from ‘Walker’ OST
‘Trash City’
1988 Joe Strummer & Latino Rockabilly War from ‘Permanent Record’ OST
‘15th Brigade’
1989 Joe Strummer B.side of ‘Island Hopping’

SIDE 2
‘Ride Your Donkey’
1989 Joe Strummer from ‘Earthquake Weather’
‘Burning Lights’
1990 Joe Strummer from ‘I Hired A Contract Killer’ OST
‘Afro-Cuban Be-Bop’
1990 The Astro-Physicans from ‘I Hired a Contract Killer’ OST
‘Sand Paper Blues’
1995 Radar from ‘Sandpaper Blues’ Exhibition
‘Generations’
1997 Electric Dog House from ‘Generations 1 (A Punk Look At Human Rights)’

SIDE 3
‘It’s A Rockin’World’
1998 Joe Strummer from ‘South Park’ OST
‘Yalla Yalla’
1999 Joe Strummer & The Mescaleros from ‘Rock Art & The X-Ray Style’
‘X-Ray Style’
1999 Joe Strummer & The Mescaleros from ‘Rock Art & The X-Ray Style’
‘Johnny Appleseed’
2001 Joe Strummer & The Mescaleros from ‘Global A Go-Go’

SIDE 4
‘Minstrel Boy’
2001 Joe Strummer & The Mescaleros from ‘Black Hawk Down’ OST
‘Redemption Song’
2002 Joe Strummer with Johnny Cash from ‘Johnny Cash: Unearthed’
‘Over The Border’
2002 Joe Strummer with Jimmy Cliff from ‘Fantastic Plastic People’
‘Coma Girl’
2003 Joe Strummer & The Mescaleros from ‘Street Core’
‘Silver & Gold’
2003 Joe Strummer & Mescaleros from ‘Street Core’

SIDE 5
‘Letsagetabitarockin’
1975 Previously Unreleased Cassette Tape Demo. Recorded at 101 Elgin Avenue.

‘Czechoslovak Song’ / ‘Where Is England’
1983 Previously Unreleased 1/2 Inch Tape Master Demo dated August.
Early version of ‘This Is England.’
Joe Strummer: Vocals & Guitar. Paul Simonon: Bass. Pete Howard: Drums.

‘Pouring Rain’
1984 Previously Unreleased 1 inch 8-track Demo Recorded July 1984.
Joe Strummer: Vocals & Guitar. Paul Simonon: Bass. Pete Howard: Drums.
Mixed by Peter J. Moore 2018

‘Blues On The River’
1984 July. Previously Unreleased. 1 Inch 8 Track Tape Demo.
Joe Strummer: Vocals & Guitar. Drum Machine.
Mixed by Peter J. Moore 2018

‘Crying on 23rd’
1986 with The Sooth Sayers. Previously Unreleased. 1/4 Inch Tape.
Produced by Joe Strummer. Outtake from the Alex Cox film ‘Sid & Nancy.
’Joe Strummer: Vocals, Rhythm Guitar, Bass. Mick Jones: Guitar. Chris Musto: Drums, Percussion.

‘2 Bullets’
1986 with Pearl Harbour. Previously Unreleased. 1/4 Inch Tape.
Produced by Joe Strummer. Outtake from ‘Sid & Nancy.’Pearl Harbour: Vocals. Joe Strummer: Rhythm Guitar, Bass. Mick Jones: Guitar. Chris Musto: Drums.
B.J. Cole: Pedal Steel Guitar.

SIDE 6
‘When Pigs Fly’
1993 from When Pigs Fly.
Joe Strummer: Vocals & Guitar. Danny Thompson: Bass. Tommy McManamon: Electric Rhythm, Licks Guitar, Spanish Guitar.Terry Williams: Drums. James MacNally: Flute, Piano, Bodhran. Lee Goodall: Saxophone. Steve Warbeck: Accordion. Stuart Gordon: Violin.

‘Pouring Rain’
1993 from When Pigs Fly
Joe Strummer: Vocals & Guitar. Danny Thompson: Bass. Terry Williams: Drums. Steve Warbeck: Accordion.

‘Rose Of Erin’
1993 from When Pigs Fly
Joe Strummer: Vocals & Guitar. Danny Thompson: Bass. Terry Williams: Drums. Steve
Warbeck: Accordion. Tommy McManamon: Fuzz Electric Guitar, Rhythm & Slide Guitars James MacNally: Whistle, Piano.
Previously Unreleased. From the Sara Driver film ‘When Pigs Fly’
Transferred from Cassette Tape. Produced by Joe Strummer
Recorded 1993 at Rockfield Studios.

‘The Cool Impossible’
1993 JS Demo
Previously Unreleased. Recorded 1993 at Rockfield Studios. 2 Inch Tape Multitrack.
Produced by Kosmo Vinyl. Mixed by Peter J. Moore 2018
Joe Strummer: Vocals & Guitar. Danny Thompson: Bass. Aaron Ahmun: Drums. Tommy McManamon: Guitars. James MacNally: Piano.

‘London Is Burning’
2002 Mescaleros
Previously Unreleased. Recorded 2002. The last song to be discovered for Joe Strummer 001. Reworked into ‘Burning Streets’ on ‘Streetcore’. Originally titled ‘Fire Fighting Street’ and written for Joe’s show at Acton Town Hall for the Fire Brigade Union on November 15th 2002. Produced by Joe Strummer, Martin Slattery & Scott Shields. Joe Strummer: Vocals & Guitar. Scott Shields: Drums, Bass, Acoustic Guitar, Slide Guitar, Synth, BVs. Martin Slattery: Electric Guitar, Chamberlain Strings, Tambourine, BVs.

SIDE 7 (12” SINGLE)
‘US North’
1986 JS/Jones from Candy Mountain
Previously Unreleased. Recorded 1986. 1/2 Inch Tape Master. Produced by Mick Jones.
Unused song from the Robert Frank and Rudy Wurlitzer film ‘Candy Mountain’.
Joe Strummer: Vocals, Guitar. Mick Jones: Vocals, Guitars, Bass. Greg Roberts: Drums. Dan Donovan: Keyboards. Felippe Gonzales: Bongos. Xavier Solano: Agogo. Strings played by The Radio Futura Philharmonic Orchestra, Madrid

7” SINGLE
‘This is England‘
1984 July Demo
Previously Unreleased.1 Inch 8 Track Tape Demo.
Joe Strummer: Vocals & Guitar, Paul Simonon: Bass, Pete Howard: Drums.
Mixed by Peter J. Moore 2018

‘Before We Go Forward’
1984 July Demo
Previously Unreleased. 1 Inch 8 Track Tape Demo.
Joe Strummer: Vocals & Guitar, Paul Simonon: Bass, Pete Howard: Drums.
Mixed by Peter J. Moore 2018

CASSETTE
‘U.S. North Basement Demo’
Unreleased. Recorded 1986. Discovered in Joe’s cast cupboard.
Joe Strummer & Mick Jones: Vocals, Guitar, Drum Machine

The album is available to pre-order now from here.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

The Doors’ Waiting For The Sun gets deluxe anniversary reissue

Sam Richards
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The Doors’ Waiting For The Sun gets deluxe anniversary reissue
To mark its 50th anniversary, The Doors' 1968 album Waiting For The Sun will be reissued in deluxe 2xCD + 1xLP format on September 14. The package contains a stereo version of the original album on both CD and 180g vinyl, newly remastered by Bruce Botnick. It also includes a second disc of 14 previ...

To mark its 50th anniversary, The Doors’ 1968 album Waiting For The Sun will be reissued in deluxe 2xCD + 1xLP format on September 14.

The package contains a stereo version of the original album on both CD and 180g vinyl, newly remastered by Bruce Botnick. It also includes a second disc of 14 previously unreleased tracks: nine recently discovered “rough mixes” from the album recording sessions and five live songs from a Doors show in Copenhagen on September 17, 1968. The audio will also be available on digital download and streaming services.

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Peruse the full tracklisting below:

WAITING FOR THE SUN: 50th ANNIVERSARY DELUXE EDITION

Disc One
“Hello, I Love You”
“Love Street”
“Not To Touch The Earth”
“Summer’s Almost Gone”
“Wintertime Love”
“The Unknown Soldier”
“Spanish Caravan”
“My Wild Love”
“We Could Be So Good Together”
“Yes, The River Knows”
“Five To One”

Disc Two (All Tracks Previously Unreleased)
Rough Mixes
“Hello, I Love You”
“Summer’s Almost Gone”
“Yes, The River Knows”
“Spanish Caravan”
“Love Street”
“Wintertime Love”
“Not To Touch The Earth”
“Five To One”
“My Wild Love”

Live In Copenhagen
“The WASP (Texas Radio And The Big Beat)”
“Hello, I Love You”
“Back Door Man”
“Five To One”
“The Unknown Soldier”

In addition, Rhino will re-release The Doors’ single “Hello, I Love You” b/w “Love Street” on 7″ vinyl, 50 years to the day it hit No.1 in the US on August 3, 1968. This anniversary release will use mono radio mixes of the songs that were given exclusively to radio stations for airplay in 1968. This version of “Hello, I Love You” was first available last year as part of The Singles CD collection and is making its vinyl debut here, while the “Love Street” mix is being released commercially for the first time.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

Kinks reunion – the latest!

Sam Richards
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Kinks reunion – the latest!
Ray Davies has revealed that The Kinks are talking about getting back together for the first time in over two decades. In an interview on Monday (June 25) on Channel 4 news, the frontman was interrupted by a phone call from original Kinks drummer Mick Avory. "We're making a new Kinks album," smiled...

Ray Davies has revealed that The Kinks are talking about getting back together for the first time in over two decades.

In an interview on Monday (June 25) on Channel 4 news, the frontman was interrupted by a phone call from original Kinks drummer Mick Avory. “We’re making a new Kinks album,” smiled Davies mischievously.

Pressed on whether he was joking or not, Davies said: “We’re talking about it because I’ve got all these songs that I wrote for them when the band – not broke up – we parted company, and I think it’s kind of an appropriate time to do it… I’ve got some great Kinks tunes in my head.”

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“It won’t be well-organised like The Rolling Stones,” he continued. “I must praise The Rolling Stones for being great at publicity and a great band, great at organising their careers… It’s kind of inspiring to see them doing it. But The Kinks will probably play in the local bar.”

Talking about The Kinks’ famously fractious history, Davies said: “The trouble is, the two remaining members – my brother Dave and Mick – never got along very well. But I made that work in the studio and it fired me up to make them play harder, and with fire, so if I can recapture those moments… I haven’t brought them together in the same room yet but we’re working on it.”

Watch the whole interview below:

Yesterday (June 27), Dave Davies took to Twitter to confirm that a Kinks reunion was likely, though very much in its embryonic stages: “Me and Ray have spoken about the possibility of us working on a new album. Ray has a few songs he wants to finish. I have 3 or 4 songs I’ve written with Ray. We’ve been talking about it for some time now. We haven’t discussed shows or anything else at the moment.”

Dave Davies’ album Decade, a compilation of unreleased ’70s material, is due for release in September.

You can read a review of Ray Davies’ latest solo album Our Country: Americana Act II in the current issue of Uncut, on sale now.

The August 2018 issue of Uncut is now on sale in the UK – with Prince on the cover. Elsewhere in the issue, you’ll find exclusive features on John Coltrane, Graham Nash, Cowboy Junkies, Rolling Blackouts Coastal Fever, Hawkwind, Jennifer Warnes, Teenage Fanclub, David Sylvian, Wilko Johnson and many more. Our free CD showcases 15 tracks of this month’s best new music, including Israel Nash, Dirty Projectors, Luluc, Ty Segall and White Fence, Nathan Salsburg and Gwenifer Raymond.

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