Subscribe
Advertisment
Home Blog Page 331

The making of Suicide’s “Frankie Teardrop”

Damien Love
-
0
The making of Suicide’s “Frankie Teardrop”
In tribute to Alan Vega - who died on July 16 - here's our feature from December 2012 [Uncut Take 187] on the making of Suicide's "Frankie Teardrop". It finds Vega and his creative partner Martin Rev reminiscing about this extraordinary piece, with contributions from producer Craig Leon and label ow...

MARTIN REV: When we did that tour of Europe, “Frankie” did provoke a particular reaction. Just the intensity of it, the length. The lyrics, too. If anybody could hear them. I mean, all the songs were intense. But something like “Ghost Rider” or “Johnny” has a closer, more immediate connection with rock. “Frankie” was implying a strong statement that stretched the audience beyond what they could recognise. I guess what happened is the whole thing just built up. We always did “Frankie” later in the set, and by that time the audience was crazy anyway.

ALAN VEGA: We always left it to last. I never thought we could follow it with anything. It was the last song we could do.

MARTIN REV: You hear it on 23 Minutes Over Brussels. The pure chaos starting on “Frankie” was just the point of no return. “Frankie” broke the last straw.

suicide_sleeve

MARTY THAU: When we released the Suicide album in the States, there was almost no reaction. Most people thought we were crazy. American radio didn’t want to touch it. We were getting volumes of press and great reviews internationally. In America– not a peep. It took years for people in the States to catch up. At the time, you had Rolling Stone calling it “puerile” and knocking hell out of it; only for them, years later, to list it among their 500 Greatest Albums Of All Time. Do I feel vindicated about that today? Yes, I do.

MARTIN REV: Alan and I were the Che and Castro of the American revolution. From the ground up, fighting the American machine. That was our energy. Mind you, the American Machine didn’t know anything about us.

ALAN VEGA: Things have changed. There isn’t a Frankie around today, I don’t think. There isn’t a factory worker like Frankie around so much today. I don’t do the song as often. I try not to, because I don’t think it really takes in the same thing it used to. But then again – Frankie takes on a life of its own.

MARTIN REV: I hear a lot of music from that period, of course, that gives me memories. But funnily enough, Suicide doesn’t do that for me. It doesn’t take me back to that time in New York. Suicide is too direct, too upfront in terms of its expression. There’s an urgency there that goes forward. It doesn’t leave much time for nostalgia. When I hear the album it seems right up front, it seems right now. I don’t hear a New York that was. It’s a world that is.

ALAN VEGA: Times have changed. I think about that a lot. But, then again… Frankie lurks. I hear rumbles. Every now and then when we play, I’ll hear people chanting, “Frankie, Frankie…” They really want to hear it. And when we play it, it gets overwhelming again. “Frankie Teardrop” is a beautiful thing. It’s like a piece of metal stuck into the ground. People can step over it or ride over it or crash over it. But it’s still there.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Paul McCartney’s letter to Prince sells for £11,000 at auction

Michael Bonner
-
0
Paul McCartney’s letter to Prince sells for £11,000 at auction
A handwritten letter Paul McCartney wrote to Prince has sold at auction for $14,822 (£11,233). The note, which begins "Dear Princely person," reveals McCartney asked for a donation to help establish the Liverpool Institute for Performing Arts. The letter recently sold for $14,822 at Boston's RR A...

A handwritten letter Paul McCartney wrote to Prince has sold at auction for $14,822 (£11,233).

The note, which begins “Dear Princely person,” reveals McCartney asked for a donation to help establish the Liverpool Institute for Performing Arts.

The letter recently sold for $14,822 at Boston’s RR Auction.

McCartney co-founded the Institute in 1996.

rs-pm_prince02-b30e8201-bd35-4fb5-9ca8-cae688342fbd

The letter in full reads:

Dear Princely person,

Hi there! I know how hard it is to always be getting letters that ask for some favour or another, so it was not easy for me to accept the job of Lead Patron for a Performing Arts School to be located in my home town, Liverpool.

But, you guessed it! I did agree to do it, so now I’m writing to “friends and all good people” to try and interest them in the scheme.

The story started just after the inner-city riots in Liverpool a few years ago. A friend suggested that “what the city needs is a “Fame” School.”

I liked the idea as a possible positive focus for local and overseas kids, but it was only later when I went back to my own old school that was in ruins, that I thought by locating a Performing Arts Centre there we could save the 1825 building in the process.

So….. (phew!)

We’re now well on our way, as the enclosed info shows, but there’s still a lot to be done.

Now the hard part. A donation from you would be a great boost to the project, and I know your involvement in some way, would be a thrill for everyone concerned.

Hope you didn’t mind me writing this, it’s so long since I’ve written letters I feel like I’m back at school myself.

Anyway, one of these days you’ll have to come and teach a class some moves!!

Who knows, it may turn out to be something special for thousands of future kids.

Thanks for looking at this.

Cheers, & love

Paul (McCartney)

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Listen to Wilco’s new song, “Locator”

Michael Bonner
-
0
Listen to Wilco’s new song, “Locator”
Wilco have released a new song, “Locator”. It has been made available to mark the first anniversary of the band's Star Wars album, which was surprise-released on July 16, 2015. https://www.youtube.com/watch?v=VRqU6lanqjw https://twitter.com/Wilco/status/753598901823893505 The track can be do...

Wilco have released a new song, “Locator”.

It has been made available to mark the first anniversary of the band’s Star Wars album, which was surprise-released on July 16, 2015.

https://www.youtube.com/watch?v=VRqU6lanqjw

The track can be downloaded in exchange for an email address by clicking here.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch Tom Petty’s new Mudcrutch video, “I Forgive It All”

Jo Weakley
-
0
Watch Tom Petty’s new Mudcrutch video, “I Forgive It All”
Mudcrutch have released a new video for their track, "I Forgive It All". The track appears on the band's second album, Mudcrutch 2. The band - who consist of Tom Petty, Mike Campbell, Benmont Tench, Tom Leadon and Randall Marsh - formed in Gainesville, Florida in 1970. They broke up in 1975. Petty...

Mudcrutch have released a new video for their track, “I Forgive It All“.

The track appears on the band’s second album, Mudcrutch 2.

The band – who consist of Tom Petty, Mike Campbell, Benmont Tench, Tom Leadon and Randall Marsh – formed in Gainesville, Florida in 1970. They broke up in 1975. Petty reformed the band in 2007, and they finally released their self-titled debut the following year.

The video has been directed by Sean Penn and stars Anthony Hopkins.

“Sean really put his heart in it,” Petty told Uncut. “It’s really good. It’s really good.”

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Pixies’ Black Francis: “It wasn’t about trying to represent our generation – it was high art”

Nick Hasted
-
0
Pixies’ Black Francis: “It wasn’t about trying to represent our generation – it was high art”
It was the comeback they said would never, could never, happen. But in 2004, the Pixies reformed, and blew everyone's minds again. Here, the band who invented Nirvana and Radiohead speak exclusively to Uncut about their dramatic rise and fall and rise again. Words: Nick Hasted. Originally published ...

June 2004. Maybe it was all a bad dream. The Pixies are on stage at Brixton Academy. Black Francis is screaming out “Monkey Gone To Heaven”, the crowd are screaming back “God is seven!” and in the streets outside the touts have been in ecstasy for a full day, as fans begged to get inside. The band entered to the most full-throated, sustained roar this writer has ever heard: a moment of mass catharsis and relief that makes the crowd collectively shiver.

They look good. Black Francis now has the bald head and black fatigues of Brando’s Colonel Kurtz. Deal and Joey Santiago flank him, impassive and barely altered, while whiskery David Lovering has kindly taken time off from his day-job as a magic act to return behind the drums.

They start quietly, in the byways of their back-catalogue, deliberately anti-climactic. Only when Francis milks the suddenly pertinent lyric in “Here Come Your Man”, “He’s been away so long!”, do the last 12 years come flooding back.

They’ve been difficult for everyone. Santiago entered a period of depression after they split, before forming a band with his wife, The Martinis. Lovering worked as a magician, and suffered a brutal marriage break-up. Deal had a massive hit, “Cannonball”, with The Breeders in 1993, but saw her life falter afterwards. “She started doing the brown, and got flakier and flakier,” recalls Wallace.

Thompson, too, had to face failure. Soundchecking in a small Californian town one afternoon in the early ’90s, a waitress screamed at him to keep it down. Customers were trying to eat. “It felt really good in a way,” he says now. “I felt like I was a real musician, finally. I wasn’t just riding some wave of hype in London. I’m in some shit town, playing in a shit gig, and there’s people eating fish and chips, and a waitress is yelling at me because I’m making too much noise. I felt like I’d really earned something. It felt good to get kicked in the gut. That’s right, I’m not a big fucking deal any more. I’m nobody now.”

Thompson slowly reinvented himself over nine Frank Black albums, becoming an increasingly personal roots-rock songwriter, leaving the Pixies’ once-shocking sound behind, even mothballing his scream. But the past kept struggling to surface.

“I made sure Breeders and Frank Black tours were kept apart,” says Craft, who booked both. “It was an unwritten understanding that their career paths must never cross again. Me and his manager could never say ‘Pixies’ around him, we called it ‘the P-word’. He never talked about it. I think he didn’t think the Pixies were that good. He was disappointed with a lot of it. He felt it could have been better.”

Thompson went to extreme lengths to keep the old days at bay. “Once Kim asked to see Frank Black,” Wallace recalls, “and Charles went through the guestlist and scribbled her name off. It was such a pathetic thing to do. The girl just wanted to see him play because she thinks he’s the greatest songwriter alive. It was so nasty.”

Then, in 2000, Thompson started playing Pixies songs again. A recent divorce and therapy sessions had broken old barriers. “His personal life has changed dramatically,” Craft agrees. “You start to re-evaluate.”

Deal, too, had sorted out her drug problems, and in August 2000 the calls were made. Typically, they dealt with the old eruptions by not dealing with them. “There was some apologising, some hugs. No-one made a big deal out of it,” Thompson recalls. “If they had dragged up the past, they may have realised they couldn’t work together,” says Craft. “They just had to forget it.”

The gigs helped them do that. In America, especially, young crowds barely born when they split treated them like legendary beasts. “It’s not like it was in the beginning,” Thompson agrees, “when people were going completely mental and freaking out in drunken mayhem. That was our moment in time. Nowadays, people just stand there watching. It’s definitely quieter, almost respectful. It’s, ‘Oh, it’s the almighty Pixies. They’re doing their performance now…'”

All the comeback lacks, of course, is a new record. “We’re so enjoying the donations to our bank accounts right now that it almost seems unholy to think about being creative,” Thompson counters. “It seems like it would be tainted by all of our money-making. It’d be cooler to go and make a record later, when we’re not being offered a chunk of dough.”

What Thompson finds more interesting is something he had almost forgotten: the invisible bond he has with his fellow Pixies, the story beneath their story.

“There’s an unspoken dynamic with the band that we’re barely aware of, at the edge of our minds,” he considers. “I notice it when we’re in a room together, there’s this little impenetrable bond. Documentary filmmakers hang out with us, and expect to see really fascinating backstage dramas. And there is something going on, but it’s too subtle for them to see. I could totally feel it when we got back together. Oh, yeah. These people. They even cause me to sing a certain way. I’m very happy to be with them again. I forgot how much I liked this.”

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

 

Love’s Forever Changes originally planned as a double album

Tom Pinnock
-
0
Love’s Forever Changes originally planned as a double album
Love's Forever Changes was originally intended as a double album, guitarist Johnny Echols has told Uncut. The legendary album, mostly written by frontman Arthur Lee and released in November 1967, was planned as a conceptual, narrative-based release. "We had planned to do songs that fitted together...

Love‘s Forever Changes was originally intended as a double album, guitarist Johnny Echols has told Uncut.

The legendary album, mostly written by frontman Arthur Lee and released in November 1967, was planned as a conceptual, narrative-based release.

“We had planned to do songs that fitted together and told a story,” says Echols in the current issue of Uncut, which is on sale in UK shops and available to buy digitally. “But the story is not complete as not all of the music that was written for the story was recorded. You don’t get the full impact. And that’s sad – it’s like watching a movie with the middle or the end taken out.”

The guitarist explains that the album was originally planned to include songs by him, as well as more songs written by the group’s second songwriter, Bryan MacLean. The version of Forever Changes that was released only featured two by MacLean – opening track “Alone Again Or“, and “Old Man“.

“I wouldn’t have done a double,” argues Elektra label boss Jac Holzman. “You have to have the material to produce enough material for two records that would mean something. I didn’t think they had it. But when I heard the finished thing, I was in love with it.”

Echols, Holzman, Love drummer Michael Stuart-Ware and producer Bruce Botnick explain the full tale behind the making of Forever Changes in the new issue of Uncut, out now – while the musicians in Arthur Lee’s later Love groups reveal how the songwriter grew to understand the record decades later.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Bayou Maharajah

Michael Bonner
-
0
Bayou Maharajah
James Booker is described by Dr John as “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced.” You can also add conspiracy enthusiast, jailbird and enthusiastic teller of tall tales. At one point, director Lily Keber stacks together the different yarns Booker span to ...

James Booker is described by Dr John as “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced.” You can also add conspiracy enthusiast, jailbird and enthusiastic teller of tall tales. At one point, director Lily Keber stacks together the different yarns Booker span to friends and associates about the loss of his eye. One involved being thrown from a window by debt collectors, another occurred during a fight with Ringo Starr and yet another was, mysteriously, “something to do with Jackie Kennedy”.

Booker, who died aged 43 in 1983, backed a huge number of musicians – from Fats Domino to Little Richard, Jerry Garcia and John Mayall. But his solo work – shown here in rollocking, flamboyant archive performances – allowed him to give full flight to his infectious and innovative mix of jazz, blues and classical. Harry Connick Jr – whose father Harry Connick Sr occasionally acted as Booker’s legal counsel – is among the local musicians queuing up to pay tribute: “There’s nobody that could even remotely come close to his playing ability,” he says.

But despite his gifts, Booker spent much of his adult life addicted to drugs – he was given morphine as a child when an ambulance hit him and broke his leg. In 1970, he was incarcerated for possession of heroin in the Louisiana State Penitentiary – a former slave breeding plantation nicknamed ‘Angola’. Later, he toured East Germany wearing an afro wig stuffed with weed. “It was hard for James to take care of himself,” remembers one friend. Promoters would book him, “shovel cocaine up his nose, feed him Crème de Cacao or Seagram’s 7 and make money off his performance.” Yet in an unexpected turn of events, Booker took a job at City Hall and tried to clean himself up. It came too late. “It’s just pathetic that he passed away so young,” says Dr John. “It’s life, and how it goes in a world of this racket we call music.”

Follow me on Twitter @MichaelBonner

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

The 24th Uncut Playlist Of 2016

John Mulvey
-
0
The 24th Uncut Playlist Of 2016
A long one this week, including a new PJ Harvey tune, a Stereolab-sampling Jamila Woods, lots of other things and not one but two new albums from Hiss Golden Messenger, which I'll doubtless go on about ad nauseam until they finally drop in October. I don’t seem to have played "Golden Sings…" the...

A long one this week, including a new PJ Harvey tune, a Stereolab-sampling Jamila Woods, lots of other things and not one but two new albums from Hiss Golden Messenger, which I’ll doubtless go on about ad nauseam until they finally drop in October. I don’t seem to have played “Golden Sings…” these past few days, surprisingly, but please do have a look at my interview with Ryley Walker that I posted the other day; very interesting and entertaining man.

Follow me on Twitter @JohnRMulvey

1 Hailu Mergia & Dahlak Band – Wede Harer Guzo (Awesome Tapes From Africa)

2 Noura Mint Seymali – Arbina (Glitterbeat)

3 Syrinx – Tumblers From The Vault: 1970-1972 (RVNG INTL)

4 Scott Hirsch – Blue Rider Songs (Scissortail)

5 Jenny Hval – Blood Bitch (Sacred Bones)

6 Psychic Temple – III (Asthmatic Kitty)

7 Pye Corner Audio – Stasis (Ghost Box)

8 Stevie Wonder – Songs In The Key Of Life (Motown)

9 NORE – Nothin’ (Def Jam)

10 Robert Stillman – Time Of Waves (Orindal)

11 Betty Davis – The Columbia Years 1968-1969 (Light In The Attic)

12 Sarathy Korwar – Day To Day (Ninjatune)

13 Television – Adventure (Elektra)

14 Thee Oh Sees – A Weird Exits (Castleface)

15 Jamila Woods – Heavn (Closed Sessions)

16 Hiss Golden Messenger – Heart Like A Levee (Merge)

17 Hiss Golden Messenger – Vestapol (Merge)

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

19 Dylan Golden Aycock – Church Of Level (Scissortail)

20 Ultimate Painting – Dusk (Trouble In Mind)

21 Nathan Bowles – Whole And Cloven (Paradise Of Bachelors)

22 Wrekmeister Harmonies – Light Falls (Thrill Jockey)

23 PJ Harvey – Guilty (Island)

24 Drive-By Truckers – American Band (ATO)

25 Itasca – Open To Chance (Paradise Of Bachelors)

26 Justice – Safe And Sound (Because)

27 Lee Moses – Time And Place (Light In The Attic)

28 Teenage Fanclub – Here (PeMa)

https://soundcloud.com/theepema/iminlove

 

Harry Dean Stanton interviewed: on Dylan, David Lynch, Marlon Brando and more

Michael Bonner
-
0
Harry Dean Stanton interviewed: on Dylan, David Lynch, Marlon Brando and more
To mark Harry Dean Stanton's 90th birthday today, I thought I'd post my interview with him from our July 2014 issue, around the release of the Partly Fiction documentary and album. We had to cut short our interview when he learned that a friend had been admitted to hospital; we reconvened the follow...

How did you get the part of Travis in Paris, Texas?
Nathan Lloyd, Crystal Palace
I was in Albuquerque, I think, with Sam Shepard. We were drinking and listening to a Mexican band. I said I’d like to get a part with some sensitivity and intelligence to it. I wasn’t asking for a part or anything, I was just free-associating, talking, right? I got back to LA, and Sam called me and said, “Do you want to do a lead in my next film, Paris, Texas?” I said, “Only if everybody involved is totally enthusiastic about me doing it.” Wim Wenders thought I was too old. He came to see me and finally he agreed to it after a couple of meetings. I just played myself. Travis was looking for enlightenment, I think. There was a girl on the film, Allison Anders. She’s a director now, but she was a student at UCLA then. She said, “That happened to me, I got that way when I was a teenager. I stopped talking.” I said, “Why would you stop?” She said, “I felt that if I talked I would lose it.” I wish I’d used that a little more in the part. But just not talking itself is a powerful device.

Which of your films do people ask you about the most?
Sarah Haycock, Monmouthshire
Paris, Texas for one. Pretty In Pink was a huge hit for me. Molly Ringwald was awesome, a natural talent. Alien? Oh, yeah. I still get fanmail almost every week, pictures from all over the world on that movie. That’s one of the most popular films I’ve done. Am I still working? Just occasionally I’ll do something. I’m not working on anything right now. I did this film with Sean Penn [This Must Be The Place, 2011] that was one of my favourite roles. I played the guy who invented wheels for baggage. I met the guy and talked to him on the phone. It was an amazing experience. He told me how he invented it, the whole thing.

You’ve worked with great directors Hitchcock, Huston, Peckinpah, Lynch…. What the best piece of direction a director ever gave you?
Julie Murphy, Edinburgh
The best piece of direction? Leave me alone. Let me do what I want to do! I worked with Alfred Hitchcock on Hitchcock Presents…, remember that series? We had a whole sequence in a basement where we kidnapped and tied up a Broadway actor, a great actor, EG Marshall, me and this kid Tom Pittman in a basement. Hitchcock came up to us and said, “You fellows go down there and work it out.” He let us direct the whole scene. No director before or since has ever done that.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Ultimate Music Guide: Eric Clapton

Charlotte Treadaway
-
0
Ultimate Music Guide: Eric Clapton
Uncut's latest Ultimate Music Guide is a 124-page blockbuster dedicated to the extraordinary life and even more extraordinary music of Eric Clapton. It's the story of a guitarist so great they called him God, and the epic lengths he went to prove his mortality. For this expansive tribute magazine, ...

Uncut’s latest Ultimate Music Guide is a 124-page blockbuster dedicated to the extraordinary life and even more extraordinary music of Eric Clapton. It’s the story of a guitarist so great they called him God, and the epic lengths he went to prove his mortality.

For this expansive tribute magazine, we’ve unearthed a wealth of long-lost Clapton interviews from the archives of NME and Melody Maker. They stretch from the hesitant first steps of The Yardbirds, through the volatile supergroups era of Cream and Blind Faith, and on into a solo career where encounters veer from drunken tragicomedy to moments of great reflective wisdom.

We’ve also revisited every one of Clapton’s albums to provide a comprehensive survey of his career; a career which, observed from the vantage point of 2016, is a lot more consistent than even the guitarist himself might credit.

In the words of his great compadre, JJ Cale, he’s got that green light, babe. He’s got to keep moving on…

 

Buy this issue

Hear new PJ Harvey song, “Guilty”

Michael Bonner
-
0
Hear new PJ Harvey song, “Guilty”
PJ Harvey has released a new track, "Guilty". It is a previously unreleased song from The Hope Six Demolition Project sessions, recorded in January 2015 during Harvey’s month long Recording In Progress residency at Somerset House. The song is released on digital platforms worldwide today [July 1...

PJ Harvey has released a new track, “Guilty“.

It is a previously unreleased song from The Hope Six Demolition Project sessions, recorded in January 2015 during Harvey’s month long Recording In Progress residency at Somerset House.

The song is released on digital platforms worldwide today [July 13].

Meanwhile, tickets go on sale for Harvey’s forthcoming European tour, including two shows at London’s Brixton Academy in October, followed by Glasgow, Manchester and Wolverhampton.

The full list of live dates, including two festivals, is:

Oct 10 Falconer, Copenhagen, Denmark
Oct 12 Tower Hall, Warsaw, Poland
Oct 13 Forum Karlin Hall, Prague, Czech Republic
Oct 15 Palladium, Cologne, Germany
Oct 16 HMH, Amsterdam, Holland
Oct 18 Rockhal, Esch-sur-Alzette, Luxembourg
Oct 19 Forest National, Brussles, Belgium
Oct 21 Zenith, Paris, France
Oct 23 Alcatraz, Milan, Italy
Oct 24 Obihall, Florence, Italy
Oct 25 Hallenstadion Club, Zurich, Switzerland
Oct 27 Coliseum, Lisbon, Portugal
Oct 28 Bime Festival, Bilbao, Spain
Oct 30 Brixton Academy, London, UK
Oct 31 Brixton Academy, London, UK
Nov 2 SECC, Glasgow, UK
Nov 3 Victoria Warehouse, Manchester, UK
Nov 4 Starworks Warehouse, Wolverhampton, UK
Nov 6 Iceland Airwaves Festival, Reykjavik, Iceland

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Hear tracks from Nick Cave and Warren Ellis’ new film soundtrack

Michael Bonner
-
0
Hear tracks from Nick Cave and Warren Ellis’ new film soundtrack
Nick Cave and Warren Ellis has written the soundtrack for a new film, Hell Or High Water. The film is directed by British filmmaker David Mackenzie (Starred Up) and written by Taylor Sheridan (Sicario). It stars Ben Foster, Chris Pine and Jeff Bridges. Said Mackenzie, "What I love about Nick and W...

Nick Cave and Warren Ellis has written the soundtrack for a new film, Hell Or High Water.

The film is directed by British filmmaker David Mackenzie (Starred Up) and written by Taylor Sheridan (Sicario). It stars Ben Foster, Chris Pine and Jeff Bridges.

Said Mackenzie, “What I love about Nick and Warren’s film music is that it’s epic and expansive without being grandiose. For me as a filmmaker this hits a sweet spot where the score is able to have scale and emotion but not feel manipulative or overwhelming.”

The soundtrack is released on August 12 via Milan Records. Aside from the score from Cave and Ellis, it includes songs by Waylon Jennings and Townes Van Zandt.

Hell Or High Water tracklisting is:

Nick Cave and Warren Ellis: “Comancheria”
Townes Van Zandt: “Dollar Bill Blues”
Nick Cave and Warren Ellis: “Mama’s Room”
Ray Wylie Hubbard: “Dust of the Chase”
Nick Cave and Warren Ellis: “Texas Midlands”
Nick Cave and Warren Ellis: “Robbery”
Waylon Jennings: “You Ask Me To”
Nick Cave and Warren Ellis: “Mountain Lion Mean”
Colter Wall: “Sleeping on the Backtop”
Nick Cave and Warren Ellis: “From My Cold Dead Hands”
Nick Cave and Warren Ellis: “Lord of the Plains”
Scott H. Biram: “Blood, Sweat and Murder”
Nick Cave and Warren Ellis: “Casino”
Nick Cave and Warren Ellis: “Comancheria II”
Chris Stapleton: “Outlaw State of Mind”

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Marvin Gaye What’s Going On documentary announced

Michael Bonner
-
0
Marvin Gaye What’s Going On documentary announced
A new documentary about Marvin Gaye has been announced. Gabriel Clarke and Torquil Jones will co-direct, with their Noah Media Group partners John McKenna and Victoria Barrell producing, who together made up the team behind documentary, Steve McQueen: The Man & Le Mans. Marvin, What's Going On...

A new documentary about Marvin Gaye has been announced.

Gabriel Clarke and Torquil Jones will co-direct, with their Noah Media Group partners John McKenna and Victoria Barrell producing, who together made up the team behind documentary, Steve McQueen: The Man & Le Mans.

Marvin, What’s Going On? will focus on the singer’s creation of his 1971 album, drawing from interviews with Gaye’s fellow Motown artists and previously unseen archive footage.

The film also marks the first time that the Gaye children, along with his former-wife, have supported and contributed to such a project.

In a statement, Gaye’s three children Nona, Marvin III and Frankie Gaye have also spoken about their involvement in the project, “We would like to express our excitement about the upcoming documentary feature film about our father and the creation of his amazing What’s Going On album. We are proud that his relevance remains intact and we look forward to being a part of this cinematic journey.”

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

An interview with Ryley Walker

John Mulvey
-
0
An interview with Ryley Walker
In the next issue of Uncut, I've written a big review of Ryley Walker's terrific third album, Golden Sings That Have Been Sung. To go with that review, I called him up in Chicago a couple of weeks for a chat. A longish extract of that interview will appear in the mag, but Ryley is a generous and ent...

Besides O’Rourke, there are a couple of other artists who seem to be echoed in the record. One is Mark Eitzel and American Music Club

Fuck yeah. It’s funny, nobody in America really listens to Mark Eitzel or American Music Club, like nobody. Maybe the occasional guy who was a college radio DJ in the 1990s, but that’s it. But when I come to the UK, people are nuts about the guy. I just fell in love with that guy’s music, especially the solo records, they’re absolutely gorgeous.

The one that this record reminds me of most is 60 Watt Silver Lining.

That’s a gorgeous record, I fucking love that record. He has a kind of 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 kinda like that approach. I’m not really confessional, I think I just relate to being really fucking embarrassed all the time. I don’t like the word confessional. It’s kinda lame, like what are you confessing? You’re confessing half-truths, and if you embarrass yourself that’s the full-on truth. It’s kind of what I’m going for.

I saw plenty of Eitzel shows in the ’90s, and there was no getting away from the fact that those were confessional shows. I’ve seen him break down in tears and have to go offstage, and throw shit about. They were pretty harrowing shows and they sometimes got really close to voyeurism, it was so personal. He went to some quite difficult places and, as an observer, it became a bit problematic about going to see him fall apart.

God, I hope I don’t fall apart. That’s amazing. It is uncomfortable, at times, to say these things in the music, and people can interpret them however they want. But I’m glad it’s real, and I’m glad it’s from a real place. I’ve had the insane urge to live better, and I think this is all part of it – to just feel something for the music I’m playing rather than it just being a joyous put-on of some sort. I hope I get deeper and deeper into that. I’m glad I’m reaching a point where I can write from my own perspective and I can do better by myself and better by the people that love me; I can stay employed by travelling all over the world and making more fucked up songs.

The only thing I’d say about that is that it maybe devalues the emotional pleasure and the engagement that people have had with your previous records. I don’t think anyone finds anything superficial or quote/unquote ‘non-real’ about the kind of feeling you put into those old songs.

Yeah, I really hope not. I have a feeling some people won’t dig this one, as much as they really enjoyed the laidback, jammy nature of the last ones, but I think this is the best record I’ve ever made.

The more I listen to it, the more it seems a natural progression from the last one. The bottled lightning vibe of the last one seemed to have gone, but actually the deeper you listen to the arrangements and the feel of the record, there’s a definite through line which isn’t immediately apparent.

Yeah absolutely, and my hope is that we can make another record next year and just keep going through this cycle. I’m having the best time of my life right now just writing music and travelling and meeting all sorts of cool people, and you know, occasionally having a beer with these cool people. It’s the greatest joy of my life getting to travel, but at the same time all this travel has brought up so much anxiety in my life. My personal life and my professional life. It’s a crazy business, I don’t think anybody’s made for it, not even me, y’know? You just have to work.

I just don’t want there to be any more anxiety in my life, and I hope with this record, and touring it, that I can get over some of these things. I feel so happy artistically, and the songwriting really helped me a lot, but some things in my life can be heavy and they’re hard to deal with. There’ll be times where I’m walking around a town and I’m like, ‘God dammit, where am I, where am I?’ but then when you get to the gig it always makes it worth it. There’s just 12 other hours in the day where you’re walking around a new town, you don’t have any friends, you’re gone from everybody, but you know once you get onstage that’s gone. That’s the only time I have to, y’know, squeeze a stress ball.

One of the good things about the record is that you’ve written about that experience without resorting to one of those clichéd ‘shit, life on the road is hard’ records.

Oh it’s not. It’s the easiest job in the world but, y’know, people make it really hard. It’s really easy, you’re taking care of me, you’re in a van all day, you get some food, you get free drinks typically, people are so nice. I get to meet great promoters and meet people who really enjoy the music, great friends, but I make it really hard on myself. used to wash dishes for 12 hours a day and work at call centres, all that dumb shit, and that was hard, feeling like you’re a nobody… I don’t know where we are, sorry…

No, it’s good. When we were talking about Eitzel, I was going to say, the other person this record reminds me of sometimes of is Mark Kozelek.

Oh sure, I love Mark Kozelek. We did his stuff in high school as a band.

I love that record, April. I saw him with a band at Park West in Chicago in 2008, and that was one of the best concerts I’ve ever seen to this day. It was like three hours and he’s such a weird kid. I got to meet him last year, actually. The guy who plays keys with me, Ben Boye, he’s in Sun Kil Moon now, which is crazy. I went from adoring this guy and opening up for him, to having a friend in his band, and I couldn’t be any more proud.

Universal Themes, I think that’s honestly the best one. I think it’s better than the Benji record, to be honest. Benji’s obviously a beautiful record, really contemplative, calculative and personal, but this one’s so insane, it’s like he’s losing his mind on record; an actual anxiety-ridden meltdown record. All the songs are ten minutes, There’s kind of a dumbass ambition, if that makes sense, this weird ambition that’s even higher than Benji record. Some of the songs he totally bombs on, with the weird chord structures and weird lyrics. The instrumentation is dumb and there’s a weird feedback part. I think he knew, ‘This song is a bomb, I don’t even like it that much but I’m going to put it on there because you know what, I don’t give a shit.’

There seem to be a lot of allusions to religion on this record, and to a Christian education. Is that important to understand the record and where you come from?

I wasn’t really raised in one faith particularly. My parents dabbled in church, but I’d say it was more for the social aspect, that’s kind of how I saw Christianity as a kid. We weren’t forced to pray or read Bibles or anything. When I was in high school it was funny because I never enjoyed God, I never thought God was particularly real. I don’t have an issue with God, but I think God would have an issue with me. I think if God was real he’d probably think I was a giant dick. So you know, I’m sorry for the God out there, if they’re real, for drinking too much, smoking too much, cursing too much, being selfish.

I played guitar in this mega-church thing because they gave me a little money and there were nice people there, but they kicked me out because I was a rebel, man, I rebelled. I think they caught me drinking beer or something, but it was fine, it wasn’t a big fallout with God or anything. I’ve treaded so lightly in religion that I almost didn’t at all, but I’m glad I did. I dipped one single toe in religion my whole life and I guess it was a big toe, so it comes out on the record.

Introducing… Uncut’s Ultimate Music Guide To Eric Clapton

John Mulvey
-
0
Introducing… Uncut’s Ultimate Music Guide To Eric Clapton
Has a god ever strived harder to be mortal than Eric Clapton? As we were piecing together our Clapton Ultimate Music Guide (on sale in the UK on Thursday, but available from our online shop now), that question kept running through my mind. Here, after all, appeared to be a guitar hero who tried to d...

Has a god ever strived harder to be mortal than Eric Clapton? As we were piecing together our Clapton Ultimate Music Guide (on sale in the UK on Thursday, but available from our online shop now), that question kept running through my mind. Here, after all, appeared to be a guitar hero who tried to disappear into the ranks. A blues purist who kept finding himself at the forefront of musical revolutions. An everyman so gifted that he couldn’t help but become a superstar, even as he tried to run away from it. This is, perhaps, the paradox of the man they called God: no matter how many style changes and sidesteps he has made, his genius has always remained visible to extraordinary numbers of true believers.

“It’s one of my character defects that the best party is always down the road,” Clapton admitted to Uncut’s Nigel Williamson in 2004. “When I get what I want, I don’t want it any more.” He was talking specifically about the end of Cream, and about how Jack Bruce and Ginger Baker “had a lot more respect for what we were doing than I did.” The welcoming bonhomie of Delaney, Bonnie and friends would soon embrace him, and lead him down a path of making the kind of unadorned, communal music, rooted in American tradition, that would make him happiest – and, of course, make millions of other people happy, too.

Soon enough, though, the Clapton myth would hit further complications: an epic love story, full of harrowing twists to be memorialised in song; a litany of addictions; a controversial habit of speaking his mind. “I was fed up with being nominated all the time,” he tells Melody Maker in 1978, exhausted with the burden of being our Greatest Living Guitarist. “It was just getting on my nerves. How can you live with that on your back? You can’t. It’s best just to be A Musician.”

Here, then, is the complete story of A Musician, albeit one who worked his way through five epochal bands before he was 26, and then embarked on one of the most cherishable and enduring of rock solo careers. For this expansive Ultimate Music Guide, we’ve taken our usual trip into the archives and come back with a wealth of long-lost interviews from NME and Melody Maker. They stretch from the hesitant first steps of The Yardbirds, through the volatile supergroups era of Cream and Blind Faith, and on into a solo career where encounters veer from drunken tragicomedy to moments of great reflective wisdom. We’ve also revisited every one of Clapton’s albums to provide a comprehensive survey of his career; a career which, observed from the vantage point of 2016, is a lot more consistent than even the guitarist himself might credit.

In the words of his great compadre, JJ Cale, he’s got that green light, babe. He’s got to keep moving on…

Watch Conor Oberst, Jim James and M. Ward reunite Monsters Of Folk

Michael Bonner
-
0
Watch Conor Oberst, Jim James and M. Ward reunite Monsters Of Folk
Monsters Of Folk - the indie supergroup comprised of M. Ward, Conor Oberst and My Morning Jacket's Jim James, reunited over the weekend for their first performance together in nearly six years. They appeared during M. Ward's set opening for Brian Wilson at the Hollywood Bowl on Saturday [July 9], r...

Monsters Of Folk – the indie supergroup comprised of M. Ward, Conor Oberst and My Morning Jacket’s Jim James, reunited over the weekend for their first performance together in nearly six years.

They appeared during M. Ward’s set opening for Brian Wilson at the Hollywood Bowl on Saturday [July 9], reports Consequence Of Sound. Mike Mogis, the band’s fourth member, was absent.

The group hadn’t performed together onstage since their 2010 tour in support of their lone 2009 LP, but during Ward’s set they performed three tracks: Monsters of Folk’s “Whole Lotta Losin’” plus Ward’s own “Vincent O’Brien” and “To Save Me“.

https://www.youtube.com/watch?list=PLvmowHuNqtAn7jNrekD16Rf3VnWVAy3Ew&v=jw9DDLcrJw0

Ward also invited She & Him partner Zooey Deschanel onstage for two songs, “Magic Trick” and “Never Had Nobody Like You.”

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Allen Toussaint – American Tunes

John Lewis
-
0
Allen Toussaint – American Tunes
Think of the New Orleans sound and you’ll probably think of musical pandemonium. The ecstatic holler of Dixieland, the discordant clatter of ragtime piano, the chaotic squall of the marching band, right up to the “dirty south” hip-hop of the Cash Money and No Limit labels. One of New Orleans...

Think of the New Orleans sound and you’ll probably think of musical pandemonium. The ecstatic holler of Dixieland, the discordant clatter of ragtime piano, the chaotic squall of the marching band, right up to the “dirty south” hip-hop of the Cash Money and No Limit labels.

One of New Orleans’ most famous sons, Allen Toussaint, who died last November, aged 77, could certainly cut rough, producing raucous, chart-topping dancefloor fillers, from Ernie K Doe’s 1961 single “Mother-In-Law” to Labelle’s 1975 “Lady Marmalade”, via all those killer Meters grooves that have been sampled to death by hip-hop DJs.

His solo albums, however, paint a much more genteel vision of Crescent City. All the signature components are there – the “Spanish-tinged” habanera pulse, the twin-fisted stride piano acrobatics, the influence of whorehouse pianists such as Professor Longhair, Dr John, James Booker, Fats Domino and Jelly Roll Morton. But there’s a daintiness in the way Toussaint refracts these influences, like a parlour pianist creating a low-volume, gently bubbling pandemonium.

Six of the 14 tracks on this posthumous album are piano solos, recorded at his own home studio in New Orleans, all of which illustrate how Toussaint masterfully irons out the kinks and the dissonances from the city’s music. On a version of Professor Longhair’s “Take Me To The Mardi Gras” – a song best known to British listeners as the theme to A Bit Of Fry & Laurie – he turns Professor Longhair’s chaotic original into a quizzical, spacious jazz miniature, all open chords and modal improvisations. While improvising around “Big Chief”, another N’Awlins boogie-woogie classic, he artfully segues into Chopin’s Prelude in C minor (the same chords that Barry Manilow used as the basis for “Could It Be Magic”). Fats Waller’s “Viper’s Drag” is turned into a wonderfully jaunty Pink Panther prowl. Tellingly, he also includes a piano piece by a fascinating 19th-century composer called Louis Moreau Gottschalk, a Jewish Creole pianist from Louisiana whose quirky, romantic solos prefigured New Orleans jazz by half a century.

The jazz songbook provides the backbone of American Tunes, with standards that Toussaint tackles in his wonderfully dainty way. Earl Hines’ “Rosetta” – an uptempo piece of jump jive in the hands of Nat King Cole or Django Reinhardt – is taken at half speed and turned into a dainty ballad. Bill Evans’ “Waltz For Debby” is Toussaint-ized to the point that it’s not actually a waltz at all, but a stately boogie-woogie in 4/4. “Confessin’ That I Love You”, is a played quite straight, with a few Thelonious Monk-ish blue notes and quirky gaps in the melody.

The standards also give room for the guests. Bill Frisell’s guitar wobbles deliciously on a few tracks, in particular Billy Strayhorn’s “Lotus Blossom”, while Duke Ellington’s “Rocks In My Bed” features Rhiannon Giddens doing her best Cotton Club howl.

If there’s one thing missing from this album, it’s Toussaint’s yawning, slyly soulful voice. When it finally crops up on the titular final track, “American Tune” – over Greg Leisz’s acoustic guitar – it’s like the arrival of an old friend to a party. Over Bach’s hymnal melody and Paul Simon’s lyrics of weariness and struggle, Toussaint sounds like he’s singing his life story. “Still, tomorrow’s gonna be another working day/And I’m trying to get some rest”, he sighs, wearily, turning the song into the Civil Rights anthem that it was always destined to be.

The story has it that Allen Toussaint’s best known song, “Southern Nights” – a US chart-topper for Glenn Campbell in 1977 – was inspired when his friend Van Dyke Parks visited him in the studio in 1975 to help fix Toussaint’s writers’ block. “Consider that you were going to die in two weeks,” VDP suggested. “If you knew that, what would you think you would like to have done?” It’s fitting that Van Dyke Parks turned up only weeks before Toussaint’s shock death last year to collaborate on an instrumental version of “Southern Nights”, turning the song into a piano duet, overlaying glissandos, classical flourishes and oriental-sounding harmonies over the top of Toussaint’s wistful, dream-like meditation on rural Louisiana. It’s the perfect instrumental eulogy for one of America’s true musical greats.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch Johnny Marr cover The Smiths with The Last Shadow Puppets

Michael Bonner
-
0
Watch Johnny Marr cover The Smiths with The Last Shadow Puppets
Johnny Marr joined The Last Shadow Puppets on stage at Manchester's Castlefield Bowl, where he played "Last Night I Dreamt That Somebody Loved Me", from The Smiths' 1987 album, Strangeways, Here We Come. You can watch footage below. Meanwhile, Marr's former bandmate Mike Joyce was also at the gig ...

Johnny Marr joined The Last Shadow Puppets on stage at Manchester’s Castlefield Bowl, where he played “Last Night I Dreamt That Somebody Loved Me“, from The Smiths‘ 1987 album, Strangeways, Here We Come.

You can watch footage below.

Meanwhile, Marr’s former bandmate Mike Joyce was also at the gig and wrote on Facebook: “So I’m at The Last Shadow Puppets gig tonight and Johnny Marr walks on and they play, ‘Last Night I Dreamt…’

“The guy next to me says, “Seen the guy on the right with black hair? That’s Johnny Marr, the guitarist from The Smiths and this is a Smiths song they’re playing”. I didn’t say owt, I just couldn’t.”

Marr also performed a cover of The Fall’s “Totally Wired” with The Last Shadow Puppets.

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

PJ Harvey announces UK tour

Michael Bonner
-
0
PJ Harvey announces UK tour
PJ Harvey will play 17 headline dates across Europe later this year, including two shows at London’s Brixton Academy in October, followed by Glasgow, Manchester and Wolverhampton. Harvey has played a number of festivals - including London’s Field Day and Glastonbury Festival - in support of he...

PJ Harvey will play 17 headline dates across Europe later this year, including two shows at London’s Brixton Academy in October, followed by Glasgow, Manchester and Wolverhampton.

Harvey has played a number of festivals – including London’s Field Day and Glastonbury Festival – in support of her The Hope Six Demolition Project album.

The tour has been directed by theatre director Ian Rickson, dressed by Ann Demeulemeester, with lighting by Adam Silverman and set design by multi-media artist Jeremy Herbert. Harvey is joined by long-time collaborators John Parish, Mick Harvey and Jean-Marc Butty, and friends Alain Johannes, Terry Edwards, James Johnston, Kenrick Rowe, Alessandro Stefana and Enrico Gabrielli.

The full list of live dates, including two festivals, is:

Oct 10 Falconer, Copenhagen, Denmark
Oct 12 Tower Hall, Warsaw, Poland
Oct 13 Forum Karlin Hall, Prague, Czech Republic
Oct 15 Palladium, Cologne, Germany
Oct 16 HMH, Amsterdam, Holland
Oct 18 Rockhal, Esch-sur-Alzette, Luxembourg
Oct 19 Forest National, Brussles, Belgium
Oct 21 Zenith, Paris, France
Oct 23 Alcatraz, Milan, Italy
Oct 24 Obihall, Florence, Italy
Oct 25 Hallenstadion Club, Zurich, Switzerland
Oct 27 Coliseum, Lisbon, Portugal
Oct 28 Bime Festival, Bilbao, Spain
Oct 30 Brixton Academy, London, UK
Oct 31 Brixton Academy, London, UK
Nov 2 SECC, Glasgow, UK
Nov 3 Victoria Warehouse, Manchester, UK
Nov 4 Starworks Warehouse, Wolverhampton, UK
Nov 6 Iceland Airwaves Festival, Reykjavik, Iceland

Tickets for London on sale Wednesday 13 July at 9am BST. Tickets for Glasgow, Manchester and Wolverhampton on sale Friday 15 July at 9am BST. For information visit www.pjharvey.net

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

David Gilmour returns to Pompeii; reworks Pink Floyd classics

Michael Bonner
-
0
David Gilmour returns to Pompeii; reworks Pink Floyd classics
David Gilmour performed two shows at the Pompeii Amphitheatre in the shadow of Mount Vesuvius, marking the first time he has played there in 45 years. Gilmour, who had previously played at the amphitheatre for the 1971 film Pink Floyd Live At Pompeii, played songs from his current album, Rattle Tha...

David Gilmour performed two shows at the Pompeii Amphitheatre in the shadow of Mount Vesuvius, marking the first time he has played there in 45 years.

Gilmour, who had previously played at the amphitheatre for the 1971 film Pink Floyd Live At Pompeii, played songs from his current album, Rattle That Lock, as well as a number of Pink Floyd classics.

Among them were “One Of These Days“, the only song that was also performed at the 1971 show, “The Great Gig In The Sky” – sung in three-part harmony by backing vocalists Louise Marshall, Lucy Jules and Bryan Chambers – and “Wish You Were Here“, whose new arrangment featured a honky-tonk solo from keyboardist Chuck Leavell.

Gilmour – who has been made an honorary citizen of Pompeii – said of the shows “It’s a magical place and coming back and seeing the stage and the arena was quite overwhelming. It’s a place of ghosts… in a friendly way.”

David Gilmour Live In Pompeii setlist

1st Set
5am
Rattle That Lock
Faces Of Stone
What Do You Want From Me
The Blue
Great Gig In The Sky
A Boat Lies Waiting
Wish You Were Here
Money
In Any Tongue
High Hopes

2nd Set
One Of These Days
Shine On You Crazy Diamond
Fat Old Sun
Coming Back To Life
On An Island
The Girl In The Yellow Dress
Today
Sorrow
Run Like Hell

Encore
Time / Breathe (reprise)
Comfortably Numb

The August 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Neil Young, plus the Small Faces, Jeff Beck, Arthur Lee and Love, Jimmy Webb, Ultravox!, Radiohead, Steve Gunn, Mick Harvey, Fleetwood Mac, Ramones, William Burroughs, Bat For Lashes, Bruce Springsteen and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

1...330331332...1,277Page 331 of 1,277

SHOP UNCUT