Johnny Marr’s first proper solo album, The Messenger, is reviewed in the new issue of Uncut, dated March 2013, and out now, so it seemed time to revisit the guitarist’s impressive back catalogue with the man himself… From Uncut’s February 2008 issue (Take 129), Marr relives the making of records from The Smiths and The The to Electronic and Modest Mouse. Interview: Stephen Troussé_________________
The deluxe reissue of The Jam’s final album, The Gift, is reviewed in the new issue of Uncut (December 2012, Take 187) – so for this week’s archive feature, we’ve stepped back to Uncut’s December 2008 (Take 139) issue, to spend a year by Paul Weller’s side, as he celebrates his 50th birthday. We are invited into the Guv’nor’s inner sanctum, to his star-studded birthday party, and into dressing rooms across Britain and America. And we learn that, like any good mod, Weller remains “more interested in the future than the past”. Words: Paul Moody
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News from Oliver Gray, who runs The Railway in Winchester, where he has promoted the Uncut Sessions, as a kind of Club Uncut in exile since we quit our original home at London’s Borderline. The Uncut Sessions started a couple of years ago when Oliver booked Richmond Fontaine for two special shows. The first, on what I remember was a rather damp and windswept Saturday afternoon, saw Richmond Fontaine play their brilliant Post To Wire album in its entirety. Their second show, that evening, featured just about every other song the band had ever played, written, recorded, covered or merely just heard, possibly once, blasting out of the radio of a passing car, whistled by a waitress, hummed by a barman or otherwise brought to their passing attention in vague and possibly unremembered ways. The set went on for what people later reckoned was about four hours, although by its end the crowd had in all likelihood have lost all sense of time and the band could have carried on well into the following week without complaint from anyone there.
The new Uncut’s only been on sale since the end of last week, but there’s already been a fair amount of correspondence about our cover story on The Byrds. Most of it’s been about our Top 20 countdown of The Byrds’s greatest tracks. You were broadly in agreement with what was included, but many of you wondered aloud at certain omissions – “Chestnut Mare” was particularly missed by many, including me it must be said.
A couple of weeks ago on his blog, Ethan Miller announced that, after two years of pre-production for an album with Rick Rubin, Howlin Rain would be releasing a new EP to coincide with their forthcoming European tour.
The week’s gone by at such a clip, we’re nearly at the end of it and I still haven’t, I’ve just realised, written about this show, which was frankly too good to let pass without comment, however belated.
UNCUT GLASTONBURY FESTIVAL AWARDS 2009
THE WORST BEST KEPT SECRET
The KLAXONS’ surprise appearance on the Park Stage (Saturday). Superhero fancy dress and all.
SONG OF THE SUMMER
Florence & The Machine, ‘Rabbit Heart (Raise It Up’. The perfect Pagan anthem for the sunkissed Children Of Avalon (John Peel Stage, Saturday).
BEST GLASTO DEBUT
‘Saucy Jack’, SPINAL TAP’s theme to their legendary musical about Jack the Ripper received its world premier on the Main Stage (Saturday), eclipsing even the wee fellers jigging about to ‘Stonehenge’ and guest turns by Jarvis Cocker (bass on ‘Big Bottom’) and Jamie Cullum (keys on the jam).
THE WORST BEST KEPT SECRET
The KLAXONS’ surprise appearance on the Park Stage (Saturday). Superhero fancy dress and all.
SONG OF THE SUMMER
Florence & The Machine, ‘Rabbit Heart (Raise It Up’. The perfect Pagan anthem for the sunkissed Children Of Avalon (John Peel Stage, Saturday).
BEST GLASTO DEBUT
‘Saucy Jack’, SPINAL TAP’s theme to their legendary musical about Jack the Ripper received its world premier on the Main Stage (Saturday), eclipsing even the wee fellers jigging about to ‘Stonehenge’ and guest turns by Jarvis Cocker (bass on ‘Big Bottom’) and Jamie Cullum (keys on the jam).
A few weeks ago, I received an email from America that mostly consisted of an encomium from Michael Gira on the subject of his newest signing to Young God, James Blackshaw. I’m more of an admirer than a fan of Gira’s music, and not all of the music on his label has worked for me; Akron/Family, for instance, after countless attempts remain mystifyingly unappealing.
