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Tom Waits to judge songwriting competition

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Tom Waits has been lined up as a judge on a songwriting competition. He's on the panel alongside Lorde, Chris Cornell, Ziggy Marley, Devo’s Gerald Casale, Donovan and more for the 2016 International Songwriting Competition (ISC). Waits and Lorde were also on last year’s panel. Tom Waits is on...

Tom Waits has been lined up as a judge on a songwriting competition.

He’s on the panel alongside Lorde, Chris Cornell, Ziggy Marley, Devo’s Gerald Casale, Donovan and more for the 2016 International Songwriting Competition (ISC).

Waits and Lorde were also on last year’s panel.

Tom Waits is on the cover of the current issue of Uncut: in shops and available to buy digitally now

The ISC aims to “provide the opportunity for both aspiring and established songwriters to have their songs heard in a professional, international arena.â€

The Grand Prize includes $25,000, nine days of recording time at Dark Horse Recording Studios and a custom acoustic guitar.

The competition is currently accepting entries. The deadline to apply in September 9. Find out more info about the competition by clicking here.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

The 28th Uncut Playlist Of 2016

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One of those rushed playlists where we're in the midst of finishing the next issue of Uncut (a very special one, as it turns out: more about that soon). Some new arrivals to quickly flag up, though, from Julia Jacklin, James 'Wooden Wand' Toth and Savoy Motel; from the excellent Weyes Blood; and, es...

One of those rushed playlists where we’re in the midst of finishing the next issue of Uncut (a very special one, as it turns out: more about that soon). Some new arrivals to quickly flag up, though, from Julia Jacklin, James ‘Wooden Wand’ Toth and Savoy Motel; from the excellent Weyes Blood; and, especially, from Lambchop, whose 18-minute “Hustle” might just be the best thing Kurt Wagner’s done in years.

Follow me on Twitter @JohnRMulvey

1 75 Dollar Bill – Wood/Metal/Plastic/Pattern/Rhythm/Rock (Thin Wrist)

2 Wilco – Schmilco (dBpm)

3 Laura Cannell – Simultaneous Flight Movement (Brawl)

4 Weyes Blood – Front Row Seat To Earth (Mexican Summer)

5 Purling Hiss – High Bias (Drag City)

6 The Tyde – Darren 4 (Spiritual Pajamas)

7 The Avalanches – Wildflower (XL)

8 Pye Corner Audio – Stasis (Ghostbox)

9 James Toth – Kilim (http://jamestoth.bandcamp.com/)

10 Xylouris White – Black Peak (Bella Union)

11 Jeff The Brotherhood – Roachin (Featuring Alicia Bognanno) (Dine Alone)

12 Radian – On Dark Silent Off (Thrill Jockey)

13 Jimi Hendrix Experience – Axis: Bold As Love (Track)

14 Lisa/Liza- Deserts Of Youth (Orindal)

15 Vangelis – Rosetta (Decca)

16 Jimi Hendrix – Band Of Gypsys (Capitol)

17 Hiss Golden Messenger – Vestapol (Merge)

18 Bobby Kapp & Matthew Shipp – Cactus (Northern Spy)

19 Natural Information Society & Bitchin Bajas – Autoimaginary (Drag City)

20 Jimi Hendrix – The Cry Of Love (Sony)

21 Lambchop – The Hustle (City Slang/Merge)

22 Julia Jacklin – Don’t Let The Kids Win (Transgressive)

23 Savoy Motel – Savoy Motel (What’s Your Rupture?)

24 Josienne Clarke & Ben Walker – Overnight (Rough Trade)

25 Kaitlyn Aurelia Smith & Suzanne Ciani – FRKWYS Vol 13: Sunergy (RVNG INTL)

26 Peter Zummo – Dress Code (Optimo)

New study reveals vinyl buyers are middle-aged introverts…

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The demographics of record buyers in 2016 has been revealed in new YouGov survey. YouGov’s research puts the age range of the majority of vinyl buyers between 45 and 54. Digging deeper into the lives of the record buyer, the survey has found that 66% of this group say they could not get through ...

The demographics of record buyers in 2016 has been revealed in new YouGov survey.

YouGov’s research puts the age range of the majority of vinyl buyers between 45 and 54.

Digging deeper into the lives of the record buyer, the survey has found that 66% of this group say they could not get through day without listening to music, compared to 49% of UK adults in general. A third (33%) of record buyers say they listen ‘whenever they can’ compared to 25% of over-18s overall.

59% of record buyers said that downloading music illegally is wrong.

Additionally, 56% of them prefer to keep their feelings to themselves while 69% enjoy being alone.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

The Rolling Stones – Totally Stripped

At the fag-end of world-straddling Voodoo Lounge tour – at that point, the highest-grossing in history – the Rolling Stones decided that their second project for Virgin would riff a little on the ‘90s vogue to go ‘unplugged’. When Stripped (working title: But Naked) arrived with a wolfish...

At the fag-end of world-straddling Voodoo Lounge tour – at that point, the highest-grossing in history – the Rolling Stones decided that their second project for Virgin would riff a little on the ‘90s vogue to go ‘unplugged’.

When Stripped (working title: But Naked) arrived with a wolfish grin in November 1995, it was a mix of pared-back studio sessions and cuts from three ‘intimate’ summer shows at Amsterdam’s Paradiso, L’Olympia Paris and Brixton Academy. These bonus dates had been jemmied into the Voodoo Lounge itinerary, at venues several thousand-seats down from the enormodomes the Stones usually called home. The setlists were a surprise too, focusing on dimmer-lit corners of the catalogue. In ’95, less, it seems, could be more.

Totally Stripped is available in multiple formats, but the centrepiece of this 21st anniversary reissue is its revised 90-min doc. You follow them through summer, via previously unreleased archive footage, including sessions in Tokyo, full-song highlights from each of the secret gigs, punctuated by shaky hand-cam musings and backstage browsing. To add context, there are a series of properly lit, on-point band interviews, and some fawning vox pops with the fresh-faced Europeans who were lucky enough to get wristbands.

The band themselves, including the brilliant keyboardist Chuck Leavell, producer/cheerleader Don Was and much-missed saxophonist Bobby Keys, and are on message throughout: stadiums are great, but nothing beats the intimacy of an old-school show. “We’re a club band…†hisses Keith. “We just got bigger gigsâ€.

Mick Jagger, so lean, so intense, is initially less convinced about this exercise in nostalgia: “It’s like being on some terrible Rolling Stones gameshow, where you have to perform ancient songs without the chance to refer backâ€. He’s gets busted too – you can see him reading off a cheat-sheet during sessions for “The Spider And The Flyâ€. By Brixton, he’s revelling in the caustic cabaret of “Far Away Eyesâ€.

The gigs are terrific: intense, powerful hits to the body, with some perilous interplay from Keith and Ron Wood. Visually, you can see how these shows are the sourcebook for Scorsese’s theatrical charabanc Shine A Light, and much of the best insights revolve around the reduced stagecraft required at smaller venues.(Mick: “I have to tone down everythingâ€. Keith: “We get to keep God out of the band.â€). On stage, Jagger eats the audience. Off it, he’s the band’s clear-eyed chronicler: it’s Mick who gleefully explains the choice of L’Olympia: the last time they’d played there was in ‘64, as a matinee warm up for Petula Clark.

Don’t expect fly-on-wall intensity. There’s a lot of backslapping bonhomie, typified by a pre-show knees up of “Tumbling Dice†‘round Leavell’s Old Joanna (well, A Yamaha Clavinova). The closest we get to tension is when Keith rolls in late for the Brixton soundcheck (limo plate: 906 HRH). And when Jack Nicholson casually drops by for a chat, schoolmistressy Jerry Hall shoos the camera out of Mick’s dressing room.

Here’s where today’s Stones were rebaptised – the oldest guys in the room, helming the heritage juggernaut, more comfortable exploring the band history than having the next hit. Totally Stripped is a musical postcard a time when everybody smokes, no-one has a smartphone, and the Stones, inevitably, still got you rocking.

EXTRAS: Available in one, two or five-disc deluxe edition with audio, 60-page book and complete sets from the three gigs.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Introducing… The Ultimate Music Guide: The Smiths

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From The Ultimate Music Guide to The Smiths: "When Morrissey speaks, he nurses the side of his head with a sensitive hand as if he were trying to soothe some nagging pain or ease out the words by the soft persuasion of his gentle fingers. He frequently creases his brow and looks worried, yet rarely ...

From The Ultimate Music Guide to The Smiths: “When Morrissey speaks, he nurses the side of his head with a sensitive hand as if he were trying to soothe some nagging pain or ease out the words by the soft persuasion of his gentle fingers. He frequently creases his brow and looks worried, yet rarely have I met a man so confident, so convinced by the worth of his own demanding mission.

“Looking out across a cruel landscape, he sees himself ushering in a new form of beauty; a defiant but sensual challenge to everything that is wasted and ugly. He recalls his teenage years as a period of misery and emptiness and, now that he has finally conquered a depression that seemed never ending, he wants us to share in his triumph, be inspired by his example.”

November 1983. In the pages of the Melody Maker, this is how Ian Pye begins the first extensive interview with The Smiths, timed to coincide with the release of “This Charming Man”. Much that follows establishes the delirious formula that so many subsequent Morrissey interviews would expand upon.

“People are dedicated to us because we deserve it,” he tells Pye. “We try. Our reception hasn’t surprised me at all, in fact I think it will snowball even more dramatically over the immediate months – it really has to. I feel very comfortable about it, and I’m very pleased. It’s all quite natural because I really think we merit a great deal of attention.”

Thirty-three years later, and 30 years on from the release of “The Queen Is Dead”, those words – the optimistic hyperbole of many young British indie bands, but delivered with the eloquence that has frequently earned the singer a free media pass for decades – turned out to be unusually prophetic. “The Queen Is Dead” has long been anointed one of the greatest albums of all time (Number 8, in Uncut’s most recent round-up back in January), and their potent combination of extraordinary music and compelling interviews make The Smiths the perfect subject matter for the latest in our series of upgraded, updated and generally improved Ultimate Music Guides. The Smiths Ultimate Music Guide is on sale Thursday, but you can order a copy now from our online shop.

Beyond Ian Pye’s 1983 opening salvo, there’s a glut of amazing Morrissey and Marr interviews in our deluxe mag: Allan Jones cornering Moz in Reading around the first album and discovering, “In the very, very serious and critical things in life, one is absolutely aloneâ€; waspish verdicts on Madonna and Prince; politics galore (“The sorrow of the Brighton bombing is that Thatcher escaped unscathed.â€); everything from the unknown Morrissey’s letters to NME, right up to 21st Century confessions in Rome, where he discusses attention from the FBI, the menu at Elton John’s wedding and how he’s “not celibate and I haven’t been for a very long time…â€

For this new edition, we’ve added pieces on the most recent Morrissey and Marr albums to the comprehensive Smiths and solo reviews section, considered the merits of Moz’s literary excursions, and added a deep and contentious survey of The Smiths’ 30 best songs.

“The image The Smiths provoke is so strong,” Morrissey told Pye in a return match a year on. “It does provoke absolute adoration or absolute murderous hatred. There are people out there, I know, who would like to disembowel me, just as there are people who would race towards me and smother me with kisses.”

Today, it’s truer than ever. But for those of you who still want to smother Moz with kisses, or at least wallow in the pleasure of those remarkable albums once in a while, our Smiths Ultimate Music Guide is pretty essential. Then, perhaps, you really will have everything now…

Lambchop announce new album, FLOTUS, share first track “The Hustle”

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Lambchop have announced details of their new studio album, FLOTUS. The album is due on November 4 on City Slang. The album is called For Love Often Turns Us Still - FLOTUS - and the band have shared the first track from the album, "The Hustle", which you can hear below. "My wife and I attended th...

Lambchop have announced details of their new studio album, FLOTUS.

The album is due on November 4 on City Slang.

The album is called For Love Often Turns Us Still – FLOTUS – and the band have shared the first track from the album, “The Hustle”, which you can hear below.

“My wife and I attended this wedding of one her college friends in the countryside outside of Nashville,” says Kurt Wagner. “Weddings are a heady mix of emotions, memories, and events that can be quite rich in imagery. With this being a Quaker wedding, there was a lack of “officiating†in that the bride and groom addressed each other directly the entire time. This was something that I found to be most touching. Beyond that, as with much of my writing, I tend to describe experiences in an almost journalistic fashion and then strip things down till there is barely a thread to hold them together—in this case, starting with the vows and then moving on from there. The entire wedding party was doing this great synchronized dance step that I hadn’t seen before. I asked my wife what dance it was, and she told me it was the Hustle. She suggested I join them. I respectfully declined.”

The band have also released a trailer for the album.

FLOTUS is available for pre-order now on CD, 2LP and also as a special limited edition Wine Box in collaboration with Austrian winery Gut Oggau in the City Slang store.

Kurt Wagner will visit Rough Trade East on November 8 for a FLOTUS Q&A and a solo acoustic performance. Information can be found by clicking here.

The tracklisting for FLOTUS is:

In Care of 8675309
Directions to the Can
FLOTUS
JFK
Howe
Old Masters
Relatives #2
Harbor Country
Writer
NIV
The Hustle

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Jimi Hendrix first Band Of Gypsys concert to be released

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Jimi Hendrix first show with the Band Of Gypsys is to be released on September 30 by Experience Hendrix L.L.C. and Legacy Recordings. Machine Gun: The Fillmore East First Show 12/31/69 has been newly mixed from the original 1†8 track master tapes by Eddie Kramer, Hendrix' primary recording engin...

Jimi Hendrix first show with the Band Of Gypsys is to be released on September 30 by Experience Hendrix L.L.C. and Legacy Recordings.

Machine Gun: The Fillmore East First Show 12/31/69 has been newly mixed from the original 1†8 track master tapes by Eddie Kramer, Hendrix’ primary recording engineer.

Band Of Gypsys comprised of Jimi Hendrix, Billy Cox and Buddy Miles. The group made their debut at New York’s Fillmore East on New Year’s Eve, 1969. They played two sets that night and two the next, with the January 1 sets serving as the basis for the Band Of Gypsys album.

Machine Gun: The Fillmore East First Show 12/31/69 will be released on CD, a 180 gram double-vinyl set, Super Audio CD as well as digitally.

Tracklisting
Power Of Soul
Lover Man
Hear My Train A Comin’
Changes
Izabella
Machine Gun
Stop
Ezy Ryder
Bleeding Heart
Earth Blues
Burning Desire

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

For one night only: The Beatles, the Rolling Stones and Nick Cave are coming soon to a cinema near you

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In his recent interview with Bloomberg Businessweek, behind the “I voted for Brexit†headline, Ringo Starr had some interesting things to say about the afterlife of The Beatles. “When we started with vinyl, and then CDs came out, that was good for us financially, because it wasn’t in the con...

In his recent interview with Bloomberg Businessweek, behind the “I voted for Brexit†headline, Ringo Starr had some interesting things to say about the afterlife of The Beatles. “When we started with vinyl, and then CDs came out, that was good for us financially, because it wasn’t in the contract. We had to go to CDs in the end. We were pretty late there. We were late to iTunes, too, but went there so you could buy the tracks. Streaming is huge now, so we’re moving on. Who knows what’s going to be next?†During their lifetime, The Beatles were ahead of the curve – but curating their legacy seems to be a more circumspect affair.

By these standards, the latest Beatles project seems almost radical. Ron Howard’s documentary film The Beatles: Eight Days A Week – The Touring Years (which covers June, 1962 to their last concert at San Francisco’s Candlestick Park in August, 1966) is scheduled to play in cinemas for one night only on September 15 before launching on the American streaming service, Hulu. It is an unlikely piece of ‘event’ cinema from a band that historically has shied away from such unconventional practices. Additionally, the band’s sole official live album, The Beatles At The Hollywood Bowl, is being reissued after being out of print for over 30 years; though this feels marginally less consequential than Howard’s film, which comes with a swish red carpet premier and rumoured Beatle attendance.

The official reason given for Eight Days A Week’s one-off cinema booking is that it is intended to reflect the unique experience of a Beatles gig: a one-of-a-kind experience, never repeated. But there are several other one-of-a-kind, never to be repeated experiences clustered around the release of The Beatles film. The Rolling Stones are also debuting Havana Moon, the film of the their outdoor concert in Cuba in March this year, in a similar one-off global cinema event on September 23, a little over a week after The Beatles’ film. Meanwhile, Nick Cave & The Bad Seeds release One More Time With Feeling – a companion film to their new studio album, Skeleton Tree – in cinemas for one night on September 8.

The Stones have form in this department, of course. They have been experimenting with event models since 1981, when they broadcast the December 18 date of their American tour on pay-per-view and in closed circuit cinemas (no doubt, you’ll have seen the clip of Keith whacking a stage invader round the head with his guitar). Most recently, the premier of the band’s documentary Crossfire Hurricane was simultaneously broadcast in cinemas around the UK and Ireland ahead of its official release. Havana Moon is the band’s 20th concert film. The Stones have always understood the purpose of grand gestures – free concerts a speciality, playing to 1.5 million people on Copacabana beach in 2006 among them – and the show in Cuba was another historic first for Mick and co. Presumably, they hope to recoup the administrative costs of such a landmark event – free to the good people of Cuba, £17.50 not including popcorn and a fizzy drink to the rest of us.

Cave’s film, though, comes from a different place. The trailer for the monochrome One More Time With Feeling finds Cave in voiceover ruminating on a catastrophic event – the death of his son, Arthur, in July 2015, midway through the album’s making. The film partly functions as a means for Cave to address the tragedy from an artistic perspective, and at a distance, through the silent lens of filmmaker Andrew Dominik. Understandably, Cave has decided not to support either the film or the album with press interviews; the film will be all he has to say on a very difficult subject, presented entirely within the context of the album. Cave himself is no stranger to having a version of his life committed to celluloid – the wry 20,000 Days On Earth purported to chronicle a day in the musician’s life – but here you can expect Dominik will deliver a less knowing piece. Curiously, One More Time With Feeling is also being released in 3D – traditionally, the format of choice for blockbusting superhero movies.

https://www.youtube.com/watch?v=svru1jNLIK8

Generally, event cinema is a useful tool for organizations like the Royal Shakespeare Company, English National Opera and Bolshoi Ballet; the V&A rolled out their David Bowie Is… exhibition as a one-off cinema event. It is less common to find rock bands streaming gigs to multiplexes round the country – though MusicScreen, the company who are distributing the Stones film, have previously broadcast live performances from Keane, Laura Mvula and KISS. As a useful comparison, Andre Rieu’s latest Maastricht summer concert played in 534 UK cinemas on Saturday, July 23 with encores the following day. The Beatles film will play on 450 – 500 screens in this country, with that figure dropping to 50 – 100 for encore screenings, while so far 150 UK cinemas will play the Cave film, with more screens being added.

It is coincidence that The Beatles, the Rolling Stones and Nick Cave & The Bad Seeds have all opted to debut new projects this way and within weeks of one another. Whether any of them will diverge from conventional promotion and release cycles again remains to be seen. Could the Stones do a Radiohead and release their mooted new blues-inspired album with a pay-what-you-want pricing model? Perhaps The Beatles could project a 3D version of Let It Be – the holy grail of unreleased Fab gear – onto the roof of 3 Savile Row before finally releasing it on DVD or Blu-ray? Maybe one day Cave could post tantalising photos of himself sniffing fruit on his Instagram account, much the same way as Beyoncé teased her Lemonade album? All of these are fanciful outcomes, of course, and shouldn’t detract from the key message here: which is of great music, historic moments and swinging shows.

Follow me on Twitter @MichaelBonner

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Ryley Walker’s Golden Sings That Have Been Sung

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In the past year or so, Ryley Walker has faced a peculiarly modern dilemma: how can he be a confessional singer-songwriter, in the tradition of his old heroes like Tim Buckley, when he finds it easier to reveal his true self on social media? Thus far, Walker has seemed more of an impulsive than a re...

Four key influences on Ryley Walker’s magnum opus

MARK EITZEL

60 Watt Silver Lining

WARNER BROS 1996

Eitzel’s unravelling confessional spiels, in American Music Club and beyond, are a plain influence on songs like “Funny Thing She Said” – and none more so than this jazz-tinged brooder. “I just fell in love with that guy’s music,” says Walker. “I love that record. He has a conversational approach to music which sounds like a guy at the end of a bar losing his mind at 2 am. It’s painfully personal, even if it’s embarrassing, and I like that approach.”

SUN KIL MOON

April

CALDO VERDE 2008

Mark Eitzel’s sadcore contemporary in early ’90s San Francisco, Mark Kozelek’s Noughties music had most impact on Walker: “We did his stuff in high school as a band.” A 2008 Chicago Sun Kil Moon show remains one of Walker’s favourite ever concerts, while his regular keyboard player Ben Boye is currently working with Kozelek in the latest touring incarnation of Sun Kil Moon. “I went from adoring this guy and opening up for him, to having a friend in his band. I couldn’t be any more proud.”

JIM O’ROURKE

Halfway To A Threeway

DRAG CITY/DOMINO 1999

The baroque end of ’90s Chicago post-rock is writ large on Walker’s latest work, particularly on the opening “The Halfwit In Me”. Archer Prewitt and Sam Prekop of The Sea And Cake also feature on this meticulously-realised EP, which finds O’Rourke at his drollest. Walker: “My sense of humour’s dry, and here in Chicago and the Midwest, the person you have to make fun of is yourself.”

ALICE COLTRANE

Journey In Satchidananda

IMPULSE! 1970

Although the key new influences on Golden Sings… reflect Walker’s increased focus on his lyrics, an overt love of cosmic jazz comes to the fore on the outstanding closing track, “Age Old Tale”, as harp flurries and a steady jangle of bells specifically reference the title track of Coltrane’s spiritual masterpiece. “I’m really into Alice Coltrane records at the moment,” he told Uncut last year. “I’m trying to sing like Alice Coltrane plays the harp.”

 

Watch Muppet band Dr. Teeth & the Electric Mayhem perform live for the first time

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The Muppets house band, Dr. Teeth & the Electric Mayhem, made their live debut at San Francisco’s Outside Lands Music and Arts festival over the weekend. Dr. Teeth, Animal, Floyd Pepper, Janice and Zoot played a 5-song set of covers and one original - “Can You Picture That?†from 1979's T...

The Muppets house band, Dr. Teeth & the Electric Mayhem, made their live debut at San Francisco’s Outside Lands Music and Arts festival over the weekend.

Dr. Teeth, Animal, Floyd Pepper, Janice and Zoot played a 5-song set of covers and one original – “Can You Picture That?†from 1979’s The Muppet Movie.

They covered The Mowgli’s “San Francisco”, Edward Sharpe & The Magnetic Zeros’ “Home”, The Band’s “Ophelia” and – accompanied by the Oakland Tabernacle Choir – The Beatles’ “With A Little Help From My Friends”.

You can watch their set below.

https://www.youtube.com/watch?v=qByRZd0nW3I

Dr. Teeth and the Electric Mayhem recently recorded a cover of Stevie Wonder’s “You Are The Sunshine Of My Life†with Jack White.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Otis Redding’s Live At The Whisky A Go Go box set announced

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Otis Redding - Live At The Whisky A Go Go: The Complete Recordings is due on October 21 through Stax Records, an imprint of Concord Bicycle Music. The comprehensive six-disc set collects in chronological order Redding's seven sets recorded between Friday, April 8 - Sunday, April 10,1966. His sets ...

Otis Redding – Live At The Whisky A Go Go: The Complete Recordings is due on October 21 through Stax Records, an imprint of Concord Bicycle Music.

The comprehensive six-disc set collects in chronological order Redding’s seven sets recorded between Friday, April 8 – Sunday, April 10,1966.

His sets included “Respect†“I’ve Been Loving You Too Long†alongside his version of The Rolling Stones’ “(I Can’t Get No) Satisfaction†and covers of The Beatles‘ “A Hard Day’s Night†and James Brown‘s “Papa’s Got a Brand New Bagâ€.

The box set features newly remixed and remastered recordings from the April 1966 concerts. Some of the performances had previously appeared on the 1968 album, In Person At The Whisky A Go Go, the new collection includes previously unreleased tracks and all of Redding’s between song banter.

You can pre-order the set by clicking here.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

A bustle in your hedgerow: The Moon And The Sledgehammer, Penda’s Fen and Akenfield reviewed

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In 1969, the filmmaker Philip Trevelyan was introduced to the Page family. The father – a widower known locally as “Oily Page†– had worked in aircraft engineering but at the time Trevelyan met him, lived with his four grown-up children in a wood in Sussex, without electricity or running wat...

In 1969, the filmmaker Philip Trevelyan was introduced to the Page family. The father – a widower known locally as “Oily Page†– had worked in aircraft engineering but at the time Trevelyan met him, lived with his four grown-up children in a wood in Sussex, without electricity or running water.

The Pages became the subject of Trevelyan’s documentary, The Moon And The Sledgehammer, released in 1971, and has since quietly assumed cult status. An influence on filmmakers ranging from Nick Broomfield and Andrew Kotting, Trevelyan’s film has finally been restored and given a full release on DVD, overseen by Katy MacMillan, former wife of producer Jimmy Vaughn.

This new edition of The Moon And The Sledgehammer coincides with the BFI’s release of Alan Clarke’s Penda’s Fen and Peter Hall’s Akenfield (1973). Although in many respects markedly different films, they are all connected – however loosely – to a broader seam in literature, TV and film running through the Sixties and Seventies, knotted around the edgelands of Britain: places saturated in folk memory, Arthurian magic, Gaia myths and the occult history of Britain. To this list you could also add films including The Wicker Man, Blood On Satan’s Claw, Winstanley and Requiem For A Village, assorted Earth-set Doctor Who stories (The Daemons, particularly), The Changes, Children Of The Stones and books ranging from Alan Garner’s The Weirdstone Of Brisingamen and Susan Cooper’s The Dark Is Rising series to Richard Mabey’s The Unofficial Countryside.

Penda’s Fen is essentially a quasi-pagan fiction invoking the spirits of dead kings and composers to present a vision of an alternative England, first broadcast as part of the BBC’s Play For Today series. A layered, radical piece, it incorporates teenage sexuality and folk horror alongside complex theological and political concepts. Based on Ronald Blythe’s oral history, Akenfield chronicled the changing character and rhythms of a Suffolk village, with Hall using non-professional actors drawn from nearby communities. Many of these people are struggling to cope with the most dramatic changes to face agricultural communities for generations; and it is at this same transitional moment that Trevelyan finds the Pages.

But while the residents of Akenfield make do and mend, to the best of their abilities, the septuagenarian Page and his children have chosen to adopt a self-sufficient life isolated from the perils of the modern age in their ramshackle home in the woods. There are occasional forays into the modern world – in one scene, Trevelyan’s camera follows the slow passage of the family’s traction engine past Hayward’s Heath train station. “Steam will come back in,†says Peter, the eldest son. His younger brother, Jim, meanwhile, views evolutionary theories with suspicion and – in one of the film’s most uncomfortable scenes – appears to court his sister, Kath, with a bunch of flowers. “You are my garden of roses, kissed by the morning dew,†he tells her.

Old man Page himself is quite the thesp, emerging from the woods like an arthritic Pan to dispense twinkly-eyed hedgerow wisdom: “I never go where the cock never crows and I wouldn’t advise any of you to go where the cock don’t crow.†But although Page and his family are at least in charge of their own destinies, unburdened by deadlines or the 9 – 5 grind – contented amid the rusty iron carcasses that litter their yard – you might wonder whether their values and eccentricities have greater of less resonance in today’s world.

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The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

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Eric Clapton announces new live album

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Eric Clapton has announced details of a new live album. Live In San Diego With Special Guest JJ Cale will be released as a 2 CD set or 3 LP vinyl set and digital album on September 30 on Reprise/Bushbranch Records. Recorded at Clapton’s March 15, 2007 performance at the iPayOne Center in San Die...

Eric Clapton has announced details of a new live album.

Live In San Diego With Special Guest JJ Cale will be released as a 2 CD set or 3 LP vinyl set and digital album on September 30 on Reprise/Bushbranch Records.

Recorded at Clapton’s March 15, 2007 performance at the iPayOne Center in San Diego, CA, this concert included guitarists Derek Trucks and Doyle Bramhall II and featured JJ Cale as a special guest on five tracks (including “After Midnight†and “Cocaineâ€) as well as Robert Cray on the final song of the record, “Crossroadsâ€.

Uncut’s Ultimate Music Guide: Eric Clapton is on sale in UK shops and available to buy online

Pre-orders from Ericclapton.com will receive the track “Anyway The Wind Blows†instantly and 2 additional songs ahead of the album’s release date. The 180gram version of the vinyl is exclusively available at Ericclapton.com, as well as a T-shirt and album bundle.

The tracklisting is:
Tell The Truth
Key To The Highway
Got To Get Better In A Little While
Little Wing
Anyday
Anyway The Wind Blows
After Midnight
Who Am I Telling You?
Don’t Cry Sister
Cocaine
Motherless Children
Little Queen Of Spades
Further On Up The Road
Wonderful Tonight
Layla
Crossroads

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

The Beatles on Revolver: “It’s hard work, man!”

The Beatles’ minds are expanding, as work progresses on the next LP – ‘Magic Circles’? ‘Beatles On Safari’? ‘Revolver’? – and Paul immerses himself in Stockhausen and the Tibetan Book Of The Dead. First, though, there’s a return to Hamburg, and an emotional reunion with Astrid Ki...

Taken from NME 01/07/1966

The letter written by John Lennon summed it all up: it was sent by him some years ago to the late Beatle, Stuart Sutcliffe, and was one of a collection handed back to him in Hamburg on Sunday. In the letter John wrote: “I’ve got one ciggy to last ’til Thursday.â€

That’s the sort of memory The Beatles have of Hamburg – miserable poverty. On Sunday, however, they returned in triumph. They swept into the city at the head of an eight-car motorcade escorted by motorcycle policemen. To most of Hamburg, the world-beating Beatles had arrived. But to a handful in the Grosse Freiheit – a tiny street of sordid clubs (they once lived above one) – John, Paul, George and Ringo were back. And the friends they made then filtered through the militant-like German security to renew acquaintances.

There was Betina, the buxom blonde who worked in the Star-Club bar and who had a crush on John. “She used to call out for her favourite numbers,†John later recalled, adding, “She got me drinks when we had no money. And pills – print that!†Friends like Cory, the attractive girl Paul once courted. Her parents own a restaurant in the Grosse Freiheit – the street that houses the Star-Club – and that was often a source of food for the hungry Beatles.

And Bert Kaempfert – the man who recorded The Beatles in their Hamburg days. He called backstage on Sunday to see them and pay his respects like the others. And Astrid Kirchherr, the girl who was engaged to Stuart Sutcliffe.

She arrived with her fiancé, Gibson Kemp, and the little bundle of letters from John to Stu, “the best present I’ve had in years,†he said as he thumbed through them, showing the occasional one to those around him. Many were in picture form – Lennon drawings that would probably fetch a fortune if they were auctioned today.

So The Beatles were in Hamburg. But apart from the friends there was little to remind the four of earlier days spent there. They sang to a crowd of more than 7,000 in the huge Ernst Merck Hall – a concrete palace they had never even seen before. There was no return to the Star-Club where their music first took its shape.

“We’d like to go,†John admitted sadly, “but there’d be millions of people there and it would be no fun. We’d probably get crushed to death.â€

They stayed at the magnificent Schloss Hotel in Tremsbüttel – more than 30 miles from Hamburg, deep in the country. Dozens of green-uniformed policemen patrolled the grounds, searching out fans who had journeyed from the city and surrounding towns in the hope of sneaking a glimpse of their idols. There was no return to the little flat over a strip club where they once lived. Although its owner had cleared out the tenant so that The Beatles could go back for a party, the rooms stayed empty.

“Security,†the Beatles-minders explained. “We couldn’t possibly let them go there.â€

A pity, for The Beatles will never again see that former home. Within a month, the building is to be demolished. They rode in a limousine heading the procession of vehicles which carried the entourage. The whole fleet of Mercedes cruised uninterrupted in and out of the city as the escort of outriders sealed off side roads and ordered traffic to pull off the road until The Beatles had passed.

Their concerts were promoted by a German magazine which never rated them a mention in their Star-Club days. But rumour has it that the journal paid the group so much for the concerts in Munich, Essen and Hamburg that even with capacity audiences it lost money on the ‘Blitztournee’, as it triumphantly named the three-day tour. Doubtless, Axel Springer, the German press baron who counts the magazine among his collection, would willingly have paid twice the price. To buy The Beatles for three days is no small feat and worth a fortune in prestige.

I was especially interested to report The Beatles’ return to Hamburg – for it was that city that I first met them in in the autumn of 1962. I was there for a week to report Little Richard’s appearance at the Star-Club and The Beatles were on the same bill. There were friendly arguments between Lennon and Little Richard, which always ended with Lennon exclaiming, “Shuddup grandfather†at the older man. But one night I heard Richard remark to the club owner, Manfred Weissleder, “Those Beatles are so good – watch them Manfred, they could be the biggest thing in the whole world.â€

Manfred attached no more importance to Little Richard’s words than I did, but we both recalled them well enough when I visited the Star-Club last Saturday night. Manfred also remembered a business argument with Brian Epstein shortly before they began that last season at the Star-Club. The Beatles’ manager was demanding £250 a week for his group – half as much again as they had received before.

Manfred had said it was too much. “Nonsense,†retorted Epstein. “These boys will soon be bigger than Elvis Presley.â€

Weissleder didn’t believe the argument – but he paid the money. The tall, blond German had a flood of stories to retell about The Beatles. His earliest memory of them went back to some two years before even he first employed them: “One night I saw them going into a club opposite mine. They looked so strange I turned to a friend and said, ‘They must be visitors from another planet.’â€

Manfred laughed at the memory of the night he says John went on the Star-Club stage naked – apart from the guitar. Though John later told me he had on a pair of shorts (“And a toilet seat around me ’eadâ€). And Weissleder recalled the day he lent them a car to drive to the seaside.

“That night I had to interrupt them onstage to ask Paul – the only one who could drive – where the car was. He said, ‘Oh, the engine is broken so we left it there.’ A practically new £2,000 car, and they had dumped it by the seaside!â€

We talked into the early hours of Sunday morning – at a time when the luxury express train specially hired for the Beatles entourage was bearing its precious party the 300 miles from Essen to Hamburg itself. They arrived at breakfast time and went straight to bed at the hotel in Tremsbüttel.

By lunchtime the crowds had gathered outside. I joined John, Paul and Ringo (George was a late-riser) in their suite in the midst of a discussion about the title of their next LP.

“We’ve had all sorts of ideas during this trip – ‘Magic Circles’, ‘Beatles On Safari’ and ‘Revolver’ – that’s the one John likes the best,†Paul told me. Minutes later they made an appearance on the hotel balcony, to the delight of the crowd outside. As they walked to the waiting cars, I heard John comment; “How about Betina being on the station at seven o’clock this morning? Thought she was going to ask for a number!â€

The motorcade took a devious route through country roads. There were no incidents but the German police had taken no chances – outside the hall another squad of motorcycles and a number of vehicles that looked like armoured cars stood by. The Beatles, however, made a quick and easy entrance to their backstage dressing room and were safely locked away before a gang of youths attempted in vain to storm the door, aiming tear gas bombs at the police, who retaliated with high-powered water hoses, drenching the would-be Beatles assailants.

Then came the first show. More than 10 minutes after Peter & Gordon’s act had finished, the chanting, impatient audience gave The Beatles a wild reception. The group played well, but John’s voice was showing that it doesn’t pay to keep out of practice for seven months – for after the Munich and Essen concerts he could barely croak a note. It was particularly noticeable in “Paperback Writerâ€. Even weeks of recording sessions had failed to strengthen his voice sufficiently for concerts. This was the second warning they got about keeping in practice – in Munich I understand they had to rehearse in their hotel room for fear of forgetting their hits onstage!

Between concerts they suffered another insane press conference, answering questions like, “John, how about Ringo?†(To which Lennon replied, “I think you’re soft.â€) One irked reporter asked, “Beatles, why are you such horrid snobbies?†to which George replied that they weren’t and that it was all in her mind. Then Paul made a little speech about how they believed in answering questions directly even if it made them unpopular. And he got a round of applause.

Then they retired to the dressing room, where the small collection of friends was waiting. Before the second show, I asked John about a local story that The Beatles had been ‘arrested’ by the police on a previous visit for attempting to set fire to a club where they were appearing.

He said: “That one’s got a bit twisted. We set fire to this, well, this little thing onstage and the club owner – who wanted to get us banned because we had told him we weren’t going to play there anymore but were moving to the Star-Club – called the police.â€

Paul nodded. Then Ringo announced, “Come on chaps, let’s go and do another rock’n’roll show,†in his best send-up voice.

After the show, they were whisked straight back to Tremsbüttel where invitation after invitation for them to attend a variety of parties – including one specially staged by a count at his castle in the forest – were declined.

But the saddest message of all was wired on The Beatles’ behalf to Manfred Weissleder at the Star-Club. It said, “Sorry we can’t make it tonight.†And in his office overlooking the Grosse Freiheit, Manfred shook his head and said: “It’s a pity, they never missed a night before…â€
CHRIS HUTCHINS

Back issues of Uncut’s History Of Rock magazine can be found at our online store, while The Beatles Ultimate Music Guide bookazine – featuring this very article – is available here.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

 

Wild Beasts: “We didn’t want to be typecast as a ‘clever band'”

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Wild Beasts discuss their new album, Boy King, in the new issue of Uncut, revealing that they wanted to get away from being seen as a "clever band". The group's fifth album, produced by John Congleton, is out today (August 5th), and sees the Kendal quartet take a guitar-based look at sex and mascul...

Wild Beasts discuss their new album, Boy King, in the new issue of Uncut, revealing that they wanted to get away from being seen as a “clever band”.

The group’s fifth album, produced by John Congleton, is out today (August 5th), and sees the Kendal quartet take a guitar-based look at sex and masculinity.

“Generally we wanted to get away from being typecast as a ‘clever band’,” explains Tom Fleming. “We wanted the lyrics to be self-explanatory.

“Our last LP, Present Tense, was almost all synths. This one is actually our most guitar-heavy album! John [Congleton] had a trove of weird fuzz pedals and we used them to weaponise the guitars. We wanted to use the tropes of rock’n’roll in a more interesting way, to ‘shred’ without making it sound like a Van Halen record. Not that there’s anything wrong with a Van Halen record…”

Boy King is the first album Wild Beasts have worked on with the Texan producer Congleton, and Fleming explains that heading to Dallas to record brought a new approach.

“We loved a lot of [John Congleton’s] recent work, with St Vincent, Swans, John Grant, Blondie et al, and we were surprised when he approached us. He wanted us to sound more spontaneous, to leave mistakes in, to sound like a band making a mess. He had a very Texan, no-bullshit approach. English feyness and intellectualism don’t count for much in Texas.”

Pick up the current issue of Uncut, out now, to read the full Q&A and an extensive review of Wild Beasts’ new album.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

 

Todd Solondz’ Wiener-Dog

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Todd Solondz last film, Dark Horse, posed the question: is it possible to make an engaging film about an imbecilic under-achiever? Here, the director hopes that viewers will invest their goodwill in this yarn about a dachshund as it passes through several owners. These include a middle-age suburban ...

Todd Solondz last film, Dark Horse, posed the question: is it possible to make an engaging film about an imbecilic under-achiever? Here, the director hopes that viewers will invest their goodwill in this yarn about a dachshund as it passes through several owners. These include a middle-age suburban couple (Tracy Letts and Julie Delpy), a veterinarian assistant and her former school bully (Greta Gerwig and Keiran Culkin), a New York film professor (Danny DeVito) and a dyspeptic elderly woman (Ellen Burstyn).

Followers of Solondz career will be pleased to learn that these include returning characters from his breakthrough film, Welcome To The Dollhouse; and that Weiner-Dog circles all Solondz usual filmmaking tropes. The suburbs are hell, all yoga mats and granola bars and manners. In the first sequence, Delpy delivers an exquisitely written monologue about her own childhood pet, a poodle named Croissant, that was repeatedly “raped†by a stray dog named Mohammad. In the second, Greta Gerwig plays Greta Gerwig doing her kookiest Greta Gerwig – here cast as a grown-up version of Heather Matarazzo’s awkward adolescent student in Solondz’ breakthrough film, Welcome To The Dollhouse. The passages with Gerwig and Culkin are – by Solondz’s standards, at least – the most emotionally satisfying in the film.

In a film of long takes and uncomfortable silences, Danny DeVito’s permanent frown perfectly captures the neurotic anxiety at the heart of Solondz’s films. His Dave Schmerz is a not just a discontented teacher, he’s a failed screenwriter, too. Double win! “I have big news,†he’s told at one point by an elusive agent. “It’s going to sound like bad news at first, but I promise you it’s good news in the end.†His attempts to sell his script allow Solondz to dig into Hollywood – elsewhere, his fellow Sundance alumni Richard Linklater and Quentin Tarantino are skewered. Burstyn, meanwhile, gets to deliver the film’s best line. As the infirm Nina, she informs her visiting daughter that she has named the dachshund Cancer. “It felt right,†she says. “Everyone’s dying.â€

Follow me on Twitter @MichaelBonner

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Jonny Greenwood reveals recording secrets of Radiohead’s A Moon Shaped Pool

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Jonny Greenwood has revealed details of Radiohead's recording processes on their latest album, A Moon Shaped Pool. In an interview with NPR, Greenwood discussed the band’s relationship with Thom Yorke during recording, likening their contribution to "arrangers". “It’s not really about can I ...

Jonny Greenwood has revealed details of Radiohead‘s recording processes on their latest album, A Moon Shaped Pool.

In an interview with NPR, Greenwood discussed the band’s relationship with Thom Yorke during recording, likening their contribution to “arrangers”.

“It’s not really about can I do my guitar part now, it’s more … how do we not mess up this really good song? Part of the problem is Thom will sit at the piano and play a song like ‘Pyramid Song’ and we’re going to record it and how do we not make it worse, how do we make it better than him just playing it by himself, which is already usually quite great. We’re arrangers, really,†he said.

Of lead single “Burn The Witch“, Greenwood said: “This song was one of the rare chances of getting our hands on an unfinished song, so we could put strings on right at the beginning. Usually strings are an afterthought, decoration on the end of a song. I’ve been saying for years, wouldn’t it be great to start with strings.â€

He continues: “So this song was just Thom singing in a drum machine and nothing else. And then I wrote strings to that. So you’re hearing an orchestra play—they’re strumming their violins with guitar plectrums, that’s the rhythm.â€

Greenwood goes on to talk about the recording of “Daydreaming” and “Glass Eyes”. Listen to the full 25-minute interview below.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch the trailer for the Rolling Stones’ Cuba concert film, Havana Moon

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The Rolling Stones have released the trailer for their forthcoming concert film, Havana Moon. The film documents the band's historic concert in the Cuban capital in March this year. The concert film will premiere on cinema screens across the globe for one night only on Friday, September 23. https...

The Rolling Stones have released the trailer for their forthcoming concert film, Havana Moon.

The film documents the band’s historic concert in the Cuban capital in March this year.

The concert film will premiere on cinema screens across the globe for one night only on Friday, September 23.

“The Cuba show was simply amazing,†says Mick Jagger. “It was an incredible moment; a huge sea of people for as far as the eye could see. You could feel the buzz of the enthusiasm from the crowd and that was for me the stand out moment.â€

“There’s the sun the moon the stars and The Rolling Stones,†adds Keith Richards. “Seeing Cuba finally get the chance to rock out was special… A night to remember in Havana.â€

The Stones were the first rock band to play an open-air, free concert in the country. Their show attracted a million people in Havana, which took place in the same week as President Obama became the first serving US President to visit Cuba in 88 years.

Information about tickets can be found by clicking here.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Bob Weir announces new solo album, Blue Mountain

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Bob Weir has announced details of a new solo album, Blue Mountain - his first album of entirely new material for 30 years. The album is released on September 30 through Columbia/Legacy Recordings. Blue Mountain is now available for pre-order on CD by clicking here and digitally by clicking here. ...

Bob Weir has announced details of a new solo album, Blue Mountain – his first album of entirely new material for 30 years.

The album is released on September 30 through Columbia/Legacy Recordings.

Blue Mountain is now available for pre-order on CD by clicking here and digitally by clicking here.

Recorded in 2015 at and co-produced by Josh Kaufman, Blue Mountain features The National’s Aaron Dessner, Bryce Dessner and Scott Devendorf. Singer-songwriter Josh Ritter collaborated with Weir on select tracks.

Other musicians who’ve played on the album include Ray Rizzo (drums, harmonium, harmonica, backup vocals), Joe Russo (drums), Jon Shaw (upright bass, piano), Rob Burger (keyboard, accordion, tuned percussion), Sam Cohen (electric guitar and pedal steel), Nate Martinez (guitars, harmonium, backup vocals), Jay Lane (drums, vocals), Robin Sylvester (upright bass, vocals, hammond organ) and Steve Kimock (lapsteel). The Bandana Splits – comprising Annie Nero, Lauren Balthrop and Dawn Landes – sing backup on the album.

The tracklisting for Blue Mountain is:

Only A River
Cottonwood Lullaby
Gonesville
Lay My Lily Down
Gallop On The Run
Whatever Happened To Rose
What The Ghost Towns Know
Darkest Hour
Ki-Yi Bossie
Storm Country
Blue Mountain
One More River To Cross

Weir will also support the album with some shows on his Campfire Tour. Pre-sale tickets will be available on August 9 at 10:00am local time and public on-sale on August 12 at 10:00am local time from his website. Every online ticket order comes with one physical CD of Blue Mountain.

October 7 — Marin County Civic Center—San Rafael, CA
October 8 — Fox Theater¬—Oakland, CA
October 10 — The Wiltern—Los Angeles, CA
October 12 — Tower Theatre—Upper Darby, PA
October 14 & 15 — Kings Theatre—Brooklyn, NY
October 16 — The Capitol Theatre—Port Chester, NY
October 19 — Ryman Auditorium—Nashville, TN

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Ringo Starr: “I voted for Brexit”

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Ringo Starr has revealed he voted for Brexit in the recent Referendum vote in the UK. In a new interview in Bloomberg Businessweek, Starr has admitted "I voted for Brexit, because I thought the European Union was a great idea, but I didn’t see it going anywhere lately. It’s in shambles, and weâ...

Ringo Starr has revealed he voted for Brexit in the recent Referendum vote in the UK.

In a new interview in Bloomberg Businessweek, Starr has admitted “I voted for Brexit, because I thought the European Union was a great idea, but I didn’t see it going anywhere lately. It’s in shambles, and we’re all stuck with people who want to make arrangements for their own country and don’t think for the other countries. Britain should be out and get back on its own feet.”

“And now Scotland wants to leave and Wales wants to leave,” he continued. “Then it will be Devon. God knows where it will end.”

Elsewhere in the interview, Starr talks about The Beatles coming late to digital: “We’re just moving with the times. When we started with vinyl, and then CDs came out, that was good for us financially, because it wasn’t in the contract. We had to go to CDs in the end. We were pretty late there. We were late to iTunes, too, but went there so you could buy the tracks. Streaming is huge now, so we’re moving on. Who knows what’s going to be next? What’s Kanye West going to think of?”

The interview appears in Bloomberg Businessweek’s Interview Issue, onlineonline today and on newsstands worldwide tomorrow.

The September 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Tom Waits, plus Tom Petty, Teenage Fanclub, Pink Floyd, Aaron Neville, Bat For Lashes, De La Soul, Chet Baker, Cass McCombs, Quicksilver Messenger Service, Ryley Walker, Kendrick Lamar, Lord Buckley, Sex Pistols, Brexit and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.