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First Look – Whit Stillman’s Love & Friendship

Michael Bonner
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First Look – Whit Stillman’s Love & Friendship
In a splendid piece of counter-intuitive programming, Whit Stillman’s first film for 14 years – Damsels In Distress – was released in UK cinemas on the same day as Marvel’s superhero team-up, Avengers Assemble. An predictably elegant and distinctive comedy, Stillman's film mixed references ...

In a splendid piece of counter-intuitive programming, Whit Stillman’s first film for 14 years – Damsels In Distress – was released in UK cinemas on the same day as Marvel’s superhero team-up, Avengers Assemble.

An predictably elegant and distinctive comedy, Stillman’s film mixed references to the works of obscure British novelists with lengthy discussions on “the decline of decadence” and the unusual sexual proclivities of a 12th century religious order. As a reminder of Stillman’s core strengths after so long an absence, it was perfect. Notionally set during the present day, it felt a lot like Stillman’s previous dispatches from the drawing rooms of Manhattan’s Upper East Side; artful chamber pieces that in turn evoked earlier eras.

For Love & Friendship, Stillman has adapted a Jane Austen novella, Lady Susan. Austen’s comedy of manners is an easy fit for Stillman, and he is reunited here with Kate Beckinsale and Chloë Sevigny, the stars of his 1998 almost-hit, The Last Days Of Disco. Beckinsale plays Lady Susan Vernon – “a genius of an evil kind”, a widow out to secure her position in society via favourable marriages for herself and her daughter. Confronted at one point with some unflattering truths, she poo-poos them, “Facts are such horrid things.”

Stillman directs with the zing of a Howard Hawks comedy while his screenplay fluidly reshapes Austen’s formal prose (in this case, Lady Susan was an epistolary novella) into sharp, accessible dialogue. Around Susan orbit a series of largely clueless, if often well-meaning male characters. They are described by on screen captions as, variously, “a divinely attractive man” or “a bit of a rattle”. There is Tom Bennett as a considerably wealthy but hopelessly dim suitor; The Thick Of It’s Justin Edwards as Susan’s soft-hearted brother-in-law; Stephen Fry as Sevigny’s gouty husband; James Fleet as the concerned father of one of Susan’s intended victims. Thankfully, Bill Nighy is nowhere in sight.

Follow me on Twitter @MichaelBonner

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

High-Rise

Michael Bonner
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High-Rise
Considering how deeply JG Ballard’s novels have penetrated popular culture, it’s surprising how few have made it to the big screen. Spielberg's Empire Of The Sun and Cronenberg's Crash are the most well-known, but there's also Jonathan Weiss’s rarely screened 1999 adaptation of The Atrocity Ex...

Considering how deeply JG Ballard’s novels have penetrated popular culture, it’s surprising how few have made it to the big screen. Spielberg’s Empire Of The Sun and Cronenberg’s Crash are the most well-known, but there’s also Jonathan Weiss’s rarely screened 1999 adaptation of The Atrocity Exhibition, and Aparelho Voador a Baixa Altitude – a Portuguese-Swedish co-production based on a short story, Low-Flying Aircraft. Previously, Nic Roeg, Paul Mayersberg and Bruce Robinson have all toiled unsuccessfully to film Ballard’s 1975 breakthrough novel, High-Rise. In the event, Ben Wheatley has finally brought it to cinemas in his first major work since A Field In England: another piece about a very English type of psychosis.

https://www.youtube.com/watch?v=LYmY2tBYins

Wheatley envisions High-Rise as an occult, psychedelic seizure; nowhere near as coldly alarming as Ballard’s book, but horrific in its own way. The story takes place in a newly-built tower block whose occupants turn on one another when the building’s systems begin to fail. After a prim, orderly beginning, where Tom Hiddleston’s Dr Robert Laing moves into the tower, Wheatley lets reality slip away – a Regency fancy dress party; a white horse clip-clopping across the roof terrace garden; a car-park full of burned out cars – before pitting floor against floor in all-out block war.

Hiddleston – resembling Low-era Bowie – makes Laing detached and indifferent, a coolly immaculate cipher for the film’s events. Around him orbit, Luke Evans’ documentary maker Richard Wilder who responds viscerally to the building-wide mayhem. As the building’s architect Anthony Royal, Jeremy Irons is at his most Jeremy Irons – inscrutable, implacable. Sienna Miller, as Laing’s free-spirited neighbour, is one of the few characters who seem able to navigate the twisting psychological landscape inside the tower. Elsewhere, James Purefroy and Reece Shearsmith deliver grotesque comic performances. Portishead’s stately cover of ABBA’s “S.O.S” soundtracks a montage of freewheeling chaos.

Wheatley may lack Ballard’s satirical edge – the issues of class that percolate the novel have been sidelined, for instance – but his devilish glee is infectious.

Follow me on Twitter @MichaelBonner

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Stevie Wonder to play Songs In The Key Of Life live in London

Michael Bonner
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Stevie Wonder to play Songs In The Key Of Life live in London
Stevie Wonder will play his album Songs In The Key Of Life in full in London's Hyde Park this July. Wonder is the latest act to be confirmed for the Barclaycard presents British Summer Time festival, which also sees Carole King play Tapestry in full for the first time. https://www.youtube.com/watc...

Stevie Wonder will play his album Songs In The Key Of Life in full in London’s Hyde Park this July.

Wonder is the latest act to be confirmed for the Barclaycard presents British Summer Time festival, which also sees Carole King play Tapestry in full for the first time.

Wonder has been playing Songs In The Key Of Life in full on American dates since 2014.

The Hyde Park show takes place on 10 July, 2016.

Tickets go on sale on Friday, 18 March from 09:00 BST.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Kendrick Lamar’s surprise Untitled album debuts at No. 1 on Billboard 200 Chart

Charlotte Treadaway
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Kendrick Lamar’s surprise Untitled album debuts at No. 1 on Billboard 200 Chart
Kendrick Lamar scores his second chart-topping album in a year after surprise release Untitled Unmastered album debuts at No. 1 on the Billboard 200 chart. Billboard reports that the release earned 178,000 equivalent album units in the week ending March 10 and of that sum, 142,000 were in pure a...

Kendrick Lamar scores his second chart-topping album in a year after surprise release Untitled Unmastered album debuts at No. 1 on the Billboard 200 chart. Billboard reports that the release earned 178,000 equivalent album units in the week ending March 10 and of that sum, 142,000 were in pure album sales.

The album was released without advance notice on March 4 and gives Lamar his second chart-topping set following To Pimp a Butterfly. The latter (his first No. 1) was released on March 16, 2015, and sat at the top the list with 363,000 equivalent album units in its first week, of which 324,000 were in pure album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

Lamar is the third act since January 2015 to notch two No. 1s in a period shorter than 12 months, following Drake and Future.

Untitled Unmastered was released to digital retailers and streaming services on March 4 through Top Dawg/Aftermath/Interscope Records. A physical CD release of Untitled’s explicit edition followed on March 11, while an edited version is due out March 18.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Eric Clapton – The Studio Album Collection (1970-1981)

David Cavanagh
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Eric Clapton – The Studio Album Collection (1970-1981)
Pick any one of the four sides of Layla & Other Assorted Love Songs, the 1970 double-album by Derek & The Dominos, and you’ll hear a 25-year-old Eric Clapton wracked with anguish, down on his knees and baring his soul. A howl of unrequited love for Pattie Boyd, the wife of his friend Georg...

Pick any one of the four sides of Layla & Other Assorted Love Songs, the 1970 double-album by Derek & The Dominos, and you’ll hear a 25-year-old Eric Clapton wracked with anguish, down on his knees and baring his soul. A howl of unrequited love for Pattie Boyd, the wife of his friend George Harrison, Layla remains one of Clapton’s greatest works. It’s a monolith of blues metaphors, real-time agonies and scorching guitar solos. His way of coping with the pain it unleashed was to retreat to Hurtwood Edge, his villa in Surrey, where he took heroin for two years and never left the house.

It’s been suggested that Clapton got so close to the essence of the blues on Layla that it did something terminal to his muse. Certainly, his guitar and voice were much changed – more restrained, not so fearless – when he re-emerged in a Miami studio in 1974. If there’s a word that sums up this boxset (a vinyl-only collection of eight albums from 1970 to 1981), it’s ‘withdrawal’. Withdrawal from heroin. Withdrawal into an alcoholic haze. But withdrawal, too, from the burden and responsibility of being rock’s foremost living guitarist, so that the former Cream hero was seen, by the mid-’70s, to mutate into a quite different beast: a leisurely, laidback, south-of-England facsimile of JJ Cale. Watch the first 20 minutes of Clapton’s 1977 Old Grey Whistle Test special, where he’s strumming an acoustic while his American bandmate George Terry takes all the solos, and witness a man once hailed as God reducing himself to the role of a minor apostle.

All the same, more than one of these eight albums sold millions (for example, Slowhand in 1977), and between them they featured some of Clapton’s biggest international hits, including “Layla”, “I Shot The Sheriff” and “Lay Down Sally”. The producers he worked with (Tom Dowd, Glyn Johns, Rob Fraboni) operated at the top end of AOR sophistication, while the musicians in his band – bassist Carl Radle, keyboardist Dick Sims and drummer Jamie Oldaker – were among the best of the American ‘feel’ players that captivated stars like Rod Stewart, Steve Winwood and The Rolling Stones in the ’70s.

Radle, Sims and Oldaker were masters of a gentle, rolling, country- and blues-influenced style known as the ‘Tulsa sound’. While Rod Stewart’s ’70s albums with Tom Dowd struggled with a blandness problem, Clapton’s had a Tulsa chemistry and a fleet-footed flexibility, allowing them to explore the sleepy grooves of Cale and the new rhythms of reggae. A song called “High” (on There’s One In Every Crowd, 1975) slips and slides exquisitely, its uneven metre so strange and beguiling that it’s both impossible to dance to and impossible to sit still to. Clapton was leaving his British blues roots far behind.

Cale, a little-known Tulsa songwriter, had been surprised and intrigued when Clapton covered “After Midnight” on his first solo album, 1970’s Eric Clapton. Cale’s inspiration as a straight-arrow minimalist was to hover over Clapton’s ’70s output – even on albums like 461 Ocean Boulevard (1974), where none of his songs were actually performed – and grew stronger, if anything, towards the end of the decade. Not only did Clapton start Slowhand with Cale’s “Cocaine” (and sing “I’ll Make Love To You Anytime” on the 1978 follow-up, Backless), but he appropriated Cale’s whispering, chugging sound for his Top 40 singles “Lay Down Sally” and “Promises”. It was a style popular with radio listeners and fellow musicians alike. Among those who emulated Clapton emulating Cale was Mark Knopfler, the singer and leader of the emerging Dire Straits.

Other Clapton followers, however, were frustrated by the absence of drama and risk in his post-Layla music. No Reason To Cry (1976), depending on how one looked at it, was either a stellar symposium of rock socialites – Bob Dylan, Ronnie Wood, Robbie Robertson and The Band – or a study in underachievement by a clique of self-satisfied drunks. Dylan, rhyming “sign language” with “eating a sandwich”, isn’t the only one who sounds keen to get the recording session finished and the party started.

It’s a depressing thought, listening to this boxset, that Clapton was sometimes merely making music that sounded half-decent to him when he was pissed. No Reason To Cry isn’t the sole offender, but as we listen to Clapton bizarrely impersonating The Band’s Richard Manuel on “Black Summer Rain”, we’re bound to wonder if one of Britain’s most illustrious guitarists has drunk so much that he’s forgotten who he is.

The ’70s was a decade when Clapton coveted, mourned and finally wooed the girl. But look what happened as a result. Having immortalised Pattie Boyd in “Layla”, he sentimentalised her in “Wonderful Tonight”. To go from “Hellhound On My Trail” to “The Lady In Red” would not be every bluesman’s idea of musical progression. Then again, unlike Robert Johnson, Clapton survived to tell the tale.

EXTRAS 4/10: All remastered, these LPs come packaged in a box.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Read Greg Lake’s tribute to Keith Emerson: “He was a pioneer”

Michael Bonner
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Read Greg Lake’s tribute to Keith Emerson: “He was a pioneer”
Greg Lake has released a statement following the death of Keith Emerson. Emerson's death was announced on Friday, March 11. He died of a single gunshot wound to the head, reports Rolling Stone, with Santa Monica police ruling the keyboardist's death as a suicide. "To all ELP friends and fans all o...

Greg Lake has released a statement following the death of Keith Emerson.

Emerson’s death was announced on Friday, March 11. He died of a single gunshot wound to the head, reports Rolling Stone, with Santa Monica police ruling the keyboardist’s death as a suicide.

“To all ELP friends and fans all over the world, I would like to express my deep sadness upon hearing this tragic news,” wrote Lake in a message on his website. “As you know Keith and I spent many of the best years of our lives together and to witness his life coming to an end in the way that it has is painful, both to myself and to all who knew him.

“As sad and tragic as Keith’s death is, I would not want this to be the lasting memory people take away with them. What I will always remember about Keith Emerson was his remarkable talent as a musician and composer and his gift and passion to entertain. Music was his life and despite some of the difficulties he encountered I am sure that the music he created will live on forever.

“My deepest condolences go to Keith’s family.

“May he now be at peace.

“Greg Lake”

Meanwhile, Emerson and Lake’s former bandmate Carl Palmer wrote on Facebook: “I am deeply saddened to learn of the passing of my good friend and brother-in-music, Keith Emerson.

“Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come.

“He was a pioneer and an innovator whose musical genius touched all of us in the worlds of rock, classical and jazz.

“I will always remember his warm smile, good sense of humor, compelling showmanship, and dedication to his musical craft. I am very lucky to have known him and to have made the music we did, together.”

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Iron Maiden’s tour plane damaged in airport accident

Michael Bonner
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Iron Maiden’s tour plane damaged in airport accident
Iron Maiden's tour plane, Ed Force One, was damaged in a collision with a tow truck at Chile’s Santiago International Airport on Saturday (March 12). Billboard reports that the Boeing 747 was being moved to refuel and prepare for a flight to Argentina, where the band were scheduled to perform. h...

Iron Maiden‘s tour plane, Ed Force One, was damaged in a collision with a tow truck at Chile’s Santiago International Airport on Saturday (March 12).

Billboard reports that the Boeing 747 was being moved to refuel and prepare for a flight to Argentina, where the band were scheduled to perform.

According to a post on the band’s website, “Ed Force One was this morning tethered to a tow truck to be taken for refuelling prior to flying over the Andes to Cordoba for the next show. On moving the steering pin that is part of the mechanism that connects the ground tug to the aircraft seemingly fell out. On making a turn the aircraft had no steering and collided with the ground tug badly damaging the undercarriage, two of the aircrafts engines and injuring two ground tug operators, both of whom have been taken to hospital. We hope of course that they make a full and speedy recovery and we will be closely monitoring their progress. The flight engineers are on site and evaluating the damage, but their initial report is that the engines have suffered large damage and will require an extended period of maintenance and possibly two new engines.”

A later post revealed that, “We are happy to tell our fans in Cordoba that our Killer Krew has sorted out all logistics for us to be there with our full show for you all tomorrow. We expect no disruption to the tour in any way and are looking for a replacement 747 Ed Force One while our current beauty is healed. More news on that later. Until then, believe me, we will get to you all on this tour one way or another wherever you are.

“We are also delighted to say that we have been officially informed that the two Chilean airport staff who were injured following the malfunction of the tow truck connecting bolt will make a complete recovery. Best wishes to them and their families.”

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Keith Emerson dies aged 71

Michael Bonner
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Keith Emerson dies aged 71
Keith Emerson has died aged 71. The news was confirmed by his former band Emerson, Lake And Palmer. "We regret to announce that Keith Emerson died last night at his home in Santa Monica, Los Angeles," the band wrote on their Facebook page. "We ask that the family’s privacy and grief be respecte...

Keith Emerson has died aged 71.

The news was confirmed by his former band Emerson, Lake And Palmer.

“We regret to announce that Keith Emerson died last night at his home in Santa Monica, Los Angeles,” the band wrote on their Facebook page.

“We ask that the family’s privacy and grief be respected.”

Former bandmate Carl Palmer wrote on Facebook: “I am deeply saddened to learn of the passing of my good friend and brother-in-music, Keith Emerson.

“Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come.

“He was a pioneer and an innovator whose musical genius touched all of us in the worlds of rock, classical and jazz.

“I will always remember his warm smile, good sense of humor, compelling showmanship, and dedication to his musical craft. I am very lucky to have known him and to have made the music we did, together.”

https://www.youtube.com/watch?v=7RSRoM_fc9I

Emerson came to prominence in The Nice, formed in 1967. He co-founded ELP in 1970.

Their key albums included 1970’s self-titled debut, 1972’s Trilogy, and 1973’s Brain Salad Surgery.

ELP broke up in 1979, although the band’s members continued to tour in various iterations over the years.

Emerson Lake and Palmer last performed together in 2010, when they staged a 40th anniversary reunion at the High Voltage Festival in London.

Emerson also released several solo albums and scored movies including 1980’s Inferno and 1984’s Murder Rock.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Miles Davis – the making of Kind Of Blue, Bitches Brew and more

John Robinson
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Miles Davis – the making of Kind Of Blue, Bitches Brew and more
Originally published in Uncut’s September 2011 issue (Take 172). Interviews: John Robinson Playing with Miles Davis, says Jimmy Cobb, the sole surviving member of the trumpeter’s Kind Of Blue quintet, “was a position”. The 82-year old drummer’s view is one shared by all of the musicians i...

Originally published in Uncut’s September 2011 issue (Take 172). Interviews: John Robinson

Playing with Miles Davis, says Jimmy Cobb, the sole surviving member of the trumpeter’s Kind Of Blue quintet, “was a position”. The 82-year old drummer’s view is one shared by all of the musicians interviewed in this survey of Miles’ pivotal albums, be they funky fusioneer or hip-hop producer. The man directed his music boldly, and it was his musicians’ assignment to keep pace while he did so – or risk exposure to Miles’ witheringly laconic sense of humour. Whatever the stylistic changes Miles put his work through, one thing remained constant. Says Jimmy Cobb: “It was the best jazz band in the world.”

_________________

KIND OF BLUE
Columbia, 1959
Produced by Teo Macero, Irving Townshend
A wordy idea (George Russell’s theory, The Lydian Chromatic Concept of Tonal Organisation) helps Miles and band create one of the most accessible and beautiful albums in popular music. Kind Of Blue placed his ideas in settings as calm and progressive as a gallery space. It contains moments of exquisite melancholia and intellectual passion, but over 50 years on, retains its core swing.

JIMMY COBB (DRUMS): Kind Of Blue was a different style: before we were playing structured tunes, show tunes… tunes with a lot of changes in them. This was the exact opposite of that – what you call “modal”, with only a few changes, and scales. Sometimes jazz is kind of complicated for, let’s say, the average person. This was easier for most people to hear. Miles came in with that idea. It was his idea, his and [pianist] Bill Evans – it sounded more to me that it was more in the way that Bill played. If you listen to it you can hear that Bill brought a lot to the sessions. We just got on with it: like Miles would say, “This is a blues”. Or he’d play another tune and say “It’s in 3/4 time. Make it sound like it’s floating…” One time I was making circles on the snare drum with brushes and the engineer said: “Miles, what the drummer’s playing sounds like surface noise.” So Miles said: “That’s part of it…”

John [Coltrane, sax] was a conscientious guy – he was steeped in what he was doing. He was working on something, and he was going to get it. Sometimes he didn’t know how long he was playing for. I recall one time Miles saying to him, “Trane – why don’t you play 27 choruses instead of 28?” Miles loved it, though, or he wouldn’t have let him do it. It was a relaxed business: I was there with all them bad guys – I’m just trying to work out how I’m gonna be around them. I was a little nervous. But not so I couldn’t play.

At that time, my favourite was the blues, “Freddie Freeloader” – the one that Wynton Kelly plays [piano] on. Miles wanted him to play that particular tune. Miles did that at times: he wanted the best person for the best song – at one time he had Coltrane and Sonny Rollins, two tenor players. When Wynton got to the date and saw Bill there, he started to be pissed off. But I told him, “You on the date too, man, don’t go nuts. “I went by Miles’ house to hear it. It sounded good then, like it sounds good now. For me, all the records Miles made sounded good. I never thought it would be this vibrant this long, but I knew it was a good record when we made it. It was the best gig in the world. It was the best jazz band in the world. For anyone to join that band felt it was a… position, you know?

The 7th Uncut Playlist Of 2016

John Mulvey
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The 7th Uncut Playlist Of 2016
Here we go: The Skiffle Players are Cass McCombs hooking up with Neal Casal and an LA country-psych crew, and I've got kind of obsessed with it these past few days. Much love too for the new Kendrick Lamar album, but there's plenty more worth checking out beyond those too… Follow me on Twitter @J...

Here we go: The Skiffle Players are Cass McCombs hooking up with Neal Casal and an LA country-psych crew, and I’ve got kind of obsessed with it these past few days. Much love too for the new Kendrick Lamar album, but there’s plenty more worth checking out beyond those too…

Follow me on Twitter @JohnRMulvey

1 The Skiffle Players – Skifflin’ (Spiritual Pajamas)

2 Kendrick Lamar – Untitled Unmastered (Top Dawg)

3 Case/Lang/Veirs – Case/Lang/Veirs (Anti-)

4 King Gizzard & The Lizard Wizard – Nonagon Infinity (Heavenly)

5 Joanna Brouk – Hearing Music (Numero Group)

6 Brian Eno – The Ship (Warp)

7 Kaitlyn Aurelia Smith – Ears (Western Vinyl)

8 Mary Lattimore – At The Dam (Ghostly International)

9 The Limiñanas – Malamore (Because)

10 PJ Harvey – The Hope Six Demolition Project (Island)

11 Cat’s Eyes – Treasure House (RAF/Kobalt)

12 The Walker Family – Panola County Spirit (Daptone)

13 Karl Blau – Introducing Karl Blau… (Bella Union)

14 Ryley Walker & Charles Rumback – Cannots (Dead Oceans)

15 Rolling Blackouts Coastal Fever – Talk Tight (Ivy League)

16 Marissa Nadler – Strangers (Bella Union)

17 Tashi Dorji & Shane Parish – Expecting (MIE Music)

18 Ben Watt – Fever Dream (Unmade Road/Caroline)

19 Anohni – Hopelessness (Rough Trade)

20 Lindstrøm – Closing Shot (Smalltown Supersound/Feedelity Recordings)

21 Seratones – Get Gone (Fat Possum)

22 Dälek – Guaranteed Struggle (Profound Lore)

23 Sonny & The Sunsets – Well But Strangely Hung Man (Polyvinyl)

24 The Black Peaches – Get Down You Dirty Rascals (1965)

25 Linda Perhacs – The Dancer (Bandcamp)

26 Big Thief – Masterpiece (Saddle Creek)

27 Cassius – Action (Featuring Cat Power and Mike D) (Polydor/Interscope)

28 Kendrick Lamar – To Pimp A Butterfly (Top Dawg)

Stevie Wonder, Erykah Badu and more to feature on Miles Davis Tribute LP

Charlotte Treadaway
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Stevie Wonder, Erykah Badu and more to feature on Miles Davis Tribute LP
The legacy of Miles Davis will be celebrated on a pair of new releases curated by Grammy-winning pianist Robert Glasper. The first, Everything's Beautiful, is an all-star tribute album that finds Glasper collaborating with guests Stevie Wonder, Erykah Badu, Laura Mvula, Bilal, John Scofield and m...

The legacy of Miles Davis will be celebrated on a pair of new releases curated by Grammy-winning pianist Robert Glasper. The first, Everything’s Beautiful, is an all-star tribute album that finds Glasper collaborating with guests Stevie Wonder, Erykah Badu, Laura Mvula, Bilal, John Scofield and more. The second LP is the soundtrack for the upcoming Davis biopic Miles Ahead. In addition to Davis classics, the soundtrack will also feature new music by Glasper alongside artists like Gary Clark Jr, Wayne Shorter, Herbie Hancock and Don Cheadle, who plays the trumpeter in the film.

The Miles Ahead soundtrack is due out 1 April and Everything’s Beautiful arrives 27 May, the day after what would have been Davis’ 90th birthday.

Everything’s Beautiful Track List

1. “Talking Shit”
2. “Ghetto Walkin” featuring Bilal
3. “They Can’t Hold Me Down” featuring Illa J
4. “Maiysha (So Long)” featuring Erykah Badu
5. “Violets” featuring Phonte
6. “Little Church” featuring Hiatus Kaiyote
7. “Silence Is The Way” featuring Laura Mvula
8. “Song For Selim” featuring KING
9. “Milestones” featuring Georgia Ann Muldrow
10. “I’m Leaving You” featuring John Scofield and Ledisi
11. “Right On Brotha” featuring Stevie Wonder

Miles Ahead – Original Motion Picture Soundtrack Track List

1. “Miles Ahead”
2. Dialogue: “It takes a long time…”
3. “So What”
4. Taylor Eigisti – “Taylor Made”
5. Dialogue: “Listen, you talk too goddam much…”
6. “Solea (excerpt)”
7. “Seven Steps To Heaven (edit)”
8. Dialogue: “If you gonna tell a story…”
9. “Nefertiti (edit)”
10. “Frelon Brun”
11. Dialogue: “Sometimes you have these thoughts…”
12. “Duran (take 6)” (edit)
13. Dialogue: “You own my music…”
14. “Go Ahead John” (part two C)
15. “Black Satin (edit)”
16. Dialogue: “Be musical about this shit…”
17. “Prelude #II”
18. Dialogue: “Y’all listening to them…?
19. Robert Glasper, Keyon Harrold, Marcus Strickland – “Junior’s Jam”
20. Robert Glasper, Keyon Harrold, Elena Pinderhughes – “Francessence”
21. “Back Seat Betty” (excerpt)
22. Dialogue: “I don’t like the word jazz…”
23. Don Cheadle, Robert Glasper, Gary Clark, Jr., Herbie Hancock, Keyon Harrold, Antonio Sanchez, Esperanza Spaulding, Wayne Shorter – “What’s Wrong With That?”
24. Robert Glasper, Keyon Harrold, Pharoahe Monch – “Gone 2015

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

AC/DC’s original singer offers to fill in for Brian Johnson

Charlotte Treadaway
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AC/DC’s original singer offers to fill in for Brian Johnson
AC/DC's original vocalist Dave Evans has offered to reunite with the hard rock band after recent reports that they have rescheduled a handful of US live dates after Brian Johnson was advised by doctors to "stop touring immediately or risk total hearing loss". The band issued a statement on their ...

AC/DC’s original vocalist Dave Evans has offered to reunite with the hard rock band after recent reports that they have rescheduled a handful of US live dates after Brian Johnson was advised by doctors to “stop touring immediately or risk total hearing loss”.

The band issued a statement on their official website confirming that the remaining dates of their US tour will be “made up later in the year, likely with a guest vocalist”.

Evans, who briefly sang in the band during 1974, told Australian newspaper The Sydney Morning Herald: ”It would be nice to do one guest performance [with AC/DC]. [Former members] were all part of the band no matters what era they were from.”

He added: “A lot of people make jokes about going deaf from listening to loud music. It’s never been a problem for me. I just thought it was sad news [about Brian Johnson]. It’s your lifeblood as a singer, live performances are so personal, without the crowd and the adrenaline, it’s going to be hard for him. Performances are the big highs in our lives.”

Evans (pictured below) appeared on just one AC/DC recording, the 1974 single ‘Can I Sit Next to You, Girl’.

Johnson has been AC/DC’s lead vocalist since 1980, joining the group following the death of previous singer Bon Scott.

AC/DC had also been set to perform stadium gigs in Manchester and London during June, although it is not currently known whether these shows will continue to go ahead with or without Johnson.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Iggy Pop and Josh Homme’s Post Pop Depression – First Listen

Charlotte Treadaway
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Iggy Pop and Josh Homme’s Post Pop Depression – First Listen
Tomorrow, Iggy Pop and Queens of the Stone Age and Eagles of Death Metal's Josh Homme release Post Pop Depression, which Pop says could be his final record. Ahead of its release, the record is streaming in full via NPR. Listen now.  ...

Tomorrow, Iggy Pop and Queens of the Stone Age and Eagles of Death Metal’s Josh Homme release Post Pop Depression, which Pop says could be his final record. Ahead of its release, the record is streaming in full via NPR. Listen now.

 

iggy_album

PJ Harvey premieres new song ‘The Community of Hope’

Charlotte Treadaway
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PJ Harvey premieres new song ‘The Community of Hope’
PJ Harvey has returned with new song 'The Community of Hope' ahead of the release of her new studio album. 'The Community of Hope' is the opening song on Harvey's forthcoming album 'The Hope Six Demolition Project' and can be heard here, after it was premiered on BBC 6 Music. Scroll to the 50 minut...

PJ Harvey has returned with new song ‘The Community of Hope’ ahead of the release of her new studio album.

‘The Community of Hope’ is the opening song on Harvey’s forthcoming album ‘The Hope Six Demolition Project’ and can be heard here, after it was premiered on BBC 6 Music. Scroll to the 50 minute mark to hear the song in full.

As reported, Harvey’s ‘The Hope Six Demolition Project’ will be released on April 15. She will also appear at festivals including Glastonbury and Field Day this summer.

‘The Hope Six Demolition Project’ will be available on vinyl, CD and as a digital download. The full track-listing is:

‘The Community of Hope’
‘The Ministry of Defence’
‘A Line in the Sand’
‘Chain of Keys’
‘River Anacostia’
‘Near the Memorials to Vietnam and Lincoln’
‘The Orange Monkey’
‘Medicinals’
‘The Ministry of Social Affairs’
‘The Wheel’
‘Dollar, Dollar’

‘The Hope Six Demolition Project’ was created during Harvey and Seamus Murphy’s travels between 2011-2014 to destinations including Kosovo, Afghanistan and Washington, DC. The Hollow Of The Hand, a book of Harvey’s poetry from the same trip, was published last year.

The album was recorded at London’s Somerset House in 2015 during open recording sessions which the public could attend.

Harvey and Murphy also staged a multimedia show in London in October where ten new songs were performed alongside poems, photos and short films from Murphy.

‘Let England Shake’, PJ Harvey’s last studio album, was released in 2011.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Paul McCartney announces the first dates of ‘One on One’ tour

Charlotte Treadaway
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Paul McCartney announces the first dates of ‘One on One’ tour
Paul McCartney has revealed the first string of US dates as part of his "One On One" tour. A press release promises a newly redesigned set, as well as "no shortage of surprises." McCartney's previous tour, "Out There", concluded last October. The news comes following the passing of Beatles produce...

Paul McCartney has revealed the first string of US dates as part of his “One On One” tour.

A press release promises a newly redesigned set, as well as “no shortage of surprises.” McCartney’s previous tour, “Out There”, concluded last October.

The news comes following the passing of Beatles producer George Martin, who McCartney described as “a true gentleman”.

He added: “He guided the career of The Beatles with such skill and good humour that he became a true friend to me and my family. If anyone earned the title of the fifth Beatle it was George.

“From the day that he gave The Beatles our first recording contract, to the last time I saw him, he was the most generous, intelligent and musical person I’ve ever had the pleasure to know.”

Tickets for McCartney’s tour go on sale Monday, March 14 at 10am. The first seven dates are as follows:

04-13 Fresno, CA – SaveMart Arena
04-15 Portland, OR – Moda Center
04-17 Seattle, WA – Key Arena
04-19-20 Vancouver, British Columbia – Rogers Arena
04-30 Little Rock, AR – Verizon Arena
05-02 Sioux Falls, SD – Denny Sanford Premier Center

 

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

 

Graham Nash: ‘I Don’t Want Anything to Do With’ David Crosby

Charlotte Treadaway
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Graham Nash: ‘I Don’t Want Anything to Do With’ David Crosby
The future of Crosby, Stills and Nash was thrown in doubt this weekend following comments Graham Nash made to a Dutch magazine where he declared that his days in CSN were likely over due to an ongoing feud with David Crosby. To further reiterate his point, Nash also spoke to Billboard to confir...

The future of Crosby, Stills and Nash was thrown in doubt this weekend following comments Graham Nash made to a Dutch magazine where he declared that his days in CSN were likely over due to an ongoing feud with David Crosby. To further reiterate his point, Nash also spoke to Billboard to confirm, stating, “In my world, there will never, ever be a Crosby, Stills, Nash and Young record and there will never be another Crosby, Stills and Nash record or show.”

“Right now, I don’t want anything to do with Crosby at all. It’s just that simple,” Nash said, but didn’t go on to elaborate on why he’s upset with his longtime band mate.

However, while talking to Dutch magazine Lust for Life, Nash didn’t hold anything back while slamming Crosby. He blamed Crosby for first sparking a personal feud with Neil Young, which likely spelled the end of CSNY, and then behaving in a manner that made Nash question CSN’s future.

“I don’t like David Crosby right now. He’s been awful for me the last two years, just fucking awful,” Nash said. “I’ve been there and saved his fucking ass for 45 years, and he treated me like shit. You can’t do that to me. You can do it for a day or so, until I think you’re going to come around. When it goes on longer, and I keep getting nasty emails from him, I’m done. Fuck you. David has ripped the heart out of Crosby, Stills, Nash and Young.”

Crosby eventually apologized to Young for comments he made about the rocker and his girlfriend Daryl Hannah. “I was completely out of line,” Crosby said. “I have screwed up massively. Daryl Hannah never wound up in a Texas prison. I’m screwed up way worse than that girl. Where do I get off criticizing her? She’s making Neil happy. I love Neil and I want him happy.”

After Crosby’s initial comments, Young all but dismissed any chance of a Crosby, Stills, Nash and Young reunion. “We were together for a long time. We did some good work. Why should we get together and celebrate how great we were? What difference does it make?,” Young said. “It’s not for the audience. It’s not for money, either. When you play music, you have to come from a certain place to do it and everything has to be clear and you don’t want to disturb that. I like to keep the love there, and if the love isn’t there, you don’t want to do it.”

“How can I not be sad? Look at the music we probably lost,” Nash, who releases his solo LP This Path Tonight on April 15, told Billboard. “The truth is, after being totally immersed in me and David and Stephen and Neil’s music, I’m done. I’ve had 10 years of it. Leave me the fuck alone. I need to concentrate on me now

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Courtney Barnett wins Australian Music Prize

Charlotte Treadaway
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Courtney Barnett wins Australian Music Prize
Courtney Barnett has won this year's Australian Music Prize, pipping Tame Impala and more to the post. The annual award, the country's equivalent of the Mercury Music Prize, judges the best record produced by an Australian artist over the past twelve months. Barnett picked up the prize at a cere...

Courtney Barnett has won this year’s Australian Music Prize, pipping Tame Impala and more to the post.

The annual award, the country’s equivalent of the Mercury Music Prize, judges the best record produced by an Australian artist over the past twelve months.

Barnett picked up the prize at a ceremony in Sydney on Wednesday (March 9) for her recent album Sometimes I Sit and Think, and Sometimes I Just Sit. She receives $30,000 Australian (£15,000) for the win.

“I respect so many Australian artists so to be picked as the one that wins is pretty amazing,” Barnett told the audience whilst accepting her prize, reports Triple J.

“Plus, I’ve never had a novelty cheque before – I’m a bit nervous to hold it. One thing I like about this award, it’s judged on the art and the music and it’s not on sales or other boring shit like that; so thanks.”

The full list of nominations were:

Courtney Barnett – ‘Sometimes I Sit and Think, and Sometimes I Just Sit’
Dan Kelly – ‘Leisure Panic’
Dick Diver – ‘Melbourne, Florida’
Gold Class – ‘It’s You’
Jess Ribeiro – ‘Kill It Yourself’
Methyl Ethel – ‘Oh Inhuman Spectacle’
My Disco – ‘Severe’
Royal Headache – ‘High’
Sarah Blasko – ‘Eternal Return’
Tame Impala – ‘Currents’

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Sacha Baron Cohen explains departure from Freddie Mercury role in Queen biopic

Charlotte Treadaway
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Sacha Baron Cohen explains departure from Freddie Mercury role in Queen biopic
Sacha Baron Cohen has explained that he quit the Freddie Mercury biopic after it became apparent that the remaining members of Queen were not keen on telling their former frontman's full story. Baron Cohen had been set to star as Mercury since the film was announced in September 2010 but in the s...

Sacha Baron Cohen has explained that he quit the Freddie Mercury biopic after it became apparent that the remaining members of Queen were not keen on telling their former frontman’s full story.

Baron Cohen had been set to star as Mercury since the film was announced in September 2010 but in the summer of 2013 he pulled out of the project, reportedly because he and Queen, who have script and director approval, were unable to agree on the type of movie they wanted to make.

Speaking in a new interview with Howard Stern about the project and his involvement, Baron Cohen explained what attracted him to the role and what, ultimately, led to his departure.

“There are amazing stories about Freddie Mercury,” he told the radio DJ. “The guy was wild. There are stories of little people with plates of cocaine on their heads walking around a party.” However, Baron Cohen learned that these stories would not make the film. “They wanted to protect their legacy as a band.”

Using an example of how the film was shaping up, he added: “A member of the band—I won’t say who—said, “You know, this is such a great movie because it’s got such an amazing thing that happens in the middle of the movie.” And I go, “What happens in the middle of the movie?” He goes, “You know, Freddie dies.” … I go, “What happens in the second half of the movie?” He goes, “We see how the band carries on from strength to strength.” I said, “Listen, not one person is going to a movie where the lead character dies from AIDS and then you carry on to see how the band carries on.”

May is on record as saying that the Borat actor proved “distracting” to making the film while drummer Roger Taylor offered an explanation why, saying: “We felt Sacha probably wasn’t right in the end. We didn’t want it to be a joke. We want people to be moved.”

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

Emitt Rhodes – Rainbow Ends

Rob Hughes
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Emitt Rhodes – Rainbow Ends
In the liner notes of 1973’s Farewell To Paradise, his third studio album, Emitt Rhodes sounds like a defeated man. “Someone said something about the world stepping aside when a man knew what he wanted,” he writes, with a tangibly dissolute air. “I’ve known for some time and the world hasn...

In the liner notes of 1973’s Farewell To Paradise, his third studio album, Emitt Rhodes sounds like a defeated man. “Someone said something about the world stepping aside when a man knew what he wanted,” he writes, with a tangibly dissolute air. “I’ve known for some time and the world hasn’t made it any easier for me. Those things I cherish most I worked long and paid dearly for.” Rather than the usual promotional flam, Rhodes instead appears to be saying goodbye. As it turned out, he was.

It had all begun so promisingly. He’d signed to A&M in 1966, aged just 16, and fronted baroque-pop combo The Merry-Go-Round, who scored regional hits in LA with “Time Will Show The Wiser” and “Live”. By the end of the decade he’d switched to ABC-Dunhill to realise his ambition as a solo artist. Bunkering down in a home studio behind his parents’ garage, Rhodes made perfectionist, piano-led pop with a sophistication and melodic beauty that ranked alongside the best efforts of Randy Newman, Harry Nilsson and Jimmy Webb. Perhaps most of all, his mellow tone and gift for a sweet hook led to frequent comparisons with one of his idols, Paul McCartney. Such plaudits seemed justified when 1970’s Emitt Rhodes made the US Top 30.

It wasn’t long, however, before his troubles started. Signed to a deal that required him to produce a new album every six months – an impossible task for a one-man operation devoted to complex, multi-layered pop music – Rhodes found himself on the wrong end of a six-figure lawsuit from his own record company. The dispute gradually crushed his resolve. After Farewell To Paradise, Rhodes went home, shut the door and more or less stayed put for the duration. “I just burned out,” he admitted to Uncut in 2010.

Rhodes’ personal life was in ruins too. His wife divorced him and the ensuing decades found him undergoing periodic bouts of depression and suffering from diabetes. There were a couple of aborted comeback albums, while his flame was kept a-flicker by an appearance on the soundtrack of The Royal Tenenbaums and, in 2009, a documentary about his career, The One Man Beatles.

But it was only in 2013, encouraged by artist/producer Chris Price, that he began to unveil a bunch of new songs that he’d been storing in manila envelopes at home. Rainbow Ends is the finished result. Producer Price has brought in a raft of admirers to serve as house band, including ex-Jellyfish duo Roger Joseph Manning Jr. and Jason Falkner, and New Pornographers drummer Joe Seiders. There are also cameos from Aimee Mann, The Bangles’ Susanna Hoffs, Wilco’s Nels Cline and Pat Sansone, plus members of Brian Wilson’s backing troupe.

Despite its many-handedness, Rainbow Ends is an intensely personal vision. Indeed, it feels more like a companion piece to his great ’70s work than it does a postscript. Rhodes often sounds like he’s still a broken man – rueful, pained by regret, unable to quite reconcile himself with his past. His heartache appears all too raw, for example, on “Dog On A Chain”, a song that has its roots in the late ’70s, when he was reeling from divorce. “You ain’t no good / I hear her say/Under her breath as she turns away”, sings Rhodes, his voice deepened by time, yet retaining its youthful sense of sweet candour, “I’ll take the car/I’ll take the house/I’ll take the kids and then I’ll turn you out”.

This theme of loneliness and rejection is a recurring motif on Rainbow Ends. And if it occasionally lapses into self-pity, there’s also a confessional aspect that feels unnervingly candid. On “What’s A Man To Do”, one of two songs dating from abandoned sessions with a group that included Richard Thompson in 2010, Rhodes baldly states: “I’m feeling empty/Hollow inside/Just so numb/Can’t even cry”.

The bleak pallor of Rhodes’ lyrics is in sharp contrast to the warm complexion of the album’s musical settings. These tunes are lacquered with the soft-rock sensibilities of the ’70s and ’80s, Price and the band creating bright, crisp arrangements with very little flab. This can be seen as both a strength and weakness. Lovely songs like “This Wall Between Us” and “Isn’t It So” (originally issued in sax-heavy form on 1995 comp Listen Listen) posit Rhodes in his natural habitat: the burnished balladeer making light confections of a heavy heart. At other times though, Rainbow Ends strays into slightly sappy MOR.

What ultimately shines through, despite all the self-admonishment, is Rhodes’ apparent willingness to move on, no matter how difficult it may be. The closing title track suggests he’s finally begun to open his eyes to the fresh possibilities that life has to offer a man nearing his 66th birthday. Moreover, he’s clearly rediscovered his appetite for making music again. And that can only be a good thing.

Q&A
CHRIS PRICE (PRODUCER)
What did you discover about Emitt as you got to know him over the last decade?
He was clearly a brilliant guy but was also clearly heartbroken. He seemed bitter about what happened in the past and, when I first met him, seemed as far away from making a musical comeback as you could imagine. I don’t know if it was just simply a jolt of inspiration from within, or maybe the fact that I was constantly showing him new music I was working on, but over the following years he slowly started to put himself back in a musical headspace.

Is Rainbow Ends effectively a sequel to 1973’s Farewell To Paradise?
Musically, it’s meant to serve as a big ‘What if Emitt had kept making albums in the mid-to-late ’70s?’ I think Farewell… gives several indications that he would’ve wound up becoming one of the AM Gold singer-songwriters of that era, on the same radio stations as Andrew Gold and 10cc. Emitt and I weren’t interested in reproducing the sound of his early albums, but I certainly wanted to create a sort of musical continuum, so that it would feel like a natural progression within his catalogue.

Do you think Emitt’s started to make peace with his past?
I’m honestly not sure if he ever will, but he’s in a much better place than he was 10 years ago. He’s a lot funnier and in better spirits. He also enjoys going in his studio again, which is a really big deal. Letting out all that emotion on an album can be very therapeutic. The song ‘Rainbow Ends’ seems to be the clearest distillation of where Emitt is at, emotionally and philosophically, today. He may realise that pie-in-the-sky dreams are just fantasies, but he’s also come to realise what’s really important. And he’s declaring that those are the things he wants to go after in his life.
INTERVIEW: ROB HUGHES

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

David Bowie, Patti Smith and Bob Dylan releases confirmed for Record Store Day

Michael Bonner
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David Bowie, Patti Smith and Bob Dylan releases confirmed for Record Store Day
David Bowie, Bob Dylan and Patti Smith are among the artists featured in Record Store Day 2016. A trio of Bowie releases include a picture disc of the 1970 album The Man Who Sold The World, featuring rare artwork from the German release, a picture-disc seven-inch of "TVC15" - with the single edit o...

David Bowie, Bob Dylan and Patti Smith are among the artists featured in Record Store Day 2016.

A trio of Bowie releases include a picture disc of the 1970 album The Man Who Sold The World, featuring rare artwork from the German release, a picture-disc seven-inch of “TVC15” – with the single edit on the A side backed with Harry Maslen’s mix of “Wild Is The Wind” – and a 12-inch EP, “I Dig Everything“, compiling six tracks Bowie recorded and released as three different singles for Pye in 1966.

Bob Dylan previews his new album, Fallen Angels, with a 7″ EP, Melancholy Mood.

The red vinyl limited edition 7” vinyl was originally created for Dylan’s recent Japanese tour. It includes the tracks “Melancholy Mood”, “All Or Nothing At All“, “Come Rain Or Come Shine” and “That Old Black Magic“.

Patti Smith releases Horses Live Electric Lady Studios – the debut recording from Electric Lady Records, an ongoing series of curated and limited edition vinyl releases. This album contains a full live performance of Smith’s debut album recorded in August 2015.

Elsewhere, Big Star’s 1993 reunion show, Complete Columbia: Live at Missouri University 4/25/93, will be released on double vinyl; Fleetwood Mac release an alternative version of their double album Tusk and the Flaming Lips will release an alternate mix of their 1995 album Cloud Tastes Metallic.

Record Store Day will take place on 16 April 2016. You can find the full releases for the UK here and America by clicking here.

The April 2016 issue of Uncut is now on sale in the UK – featuring our cover story on the making of Bruce Springsteen’s album The River, Jeff Buckley, Free’s Paul Kossoff, Jeff Lynne, Tame Impala, Underworld, White Denim, Eddie Kramer, Chris Isaak, Miles Davis – The Movie and more plus 40 pages of reviews and our free 15-track CD

Uncut: the spiritual home of great rock music.

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