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Watch Jeff Buckley cover The Smiths’ “I Know It’s Over” in new video

Michael Bonner
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Watch Jeff Buckley cover The Smiths’ “I Know It’s Over” in new video
A new video has been released ahead of the release of You and I, a new compilation featuring 10 unreleased Jeff Buckley recordings. You can watch Buckley's version of The Smiths' "I Know It's Over" below. You and I also includes Buckley's versions of songs by Bob Dylan ("Just Like A Woman"), Sly &...

A new video has been released ahead of the release of You and I, a new compilation featuring 10 unreleased Jeff Buckley recordings.

You can watch Buckley’s version of The Smiths‘ “I Know It’s Over” below.

You and I also includes Buckley’s versions of songs by Bob Dylan (“Just Like A Woman”), Sly & the Family Stone (“Everyday People”) and Led Zeppelin (“Night Flight”).

The album also includes two original songs: “Grace” (presented here as the track’s first solo performance) and “Dream of You and I“.

“I Know It’s Over” is one of two covers from The Smiths’ The Queen Is Dead album that will appear on You and I; the other is “The Boy With the Thorn in His Side“.

You and I is released on March 11.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Bill Hicks – Ultimate Bill Hicks

Andrew Mueller
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Bill Hicks – Ultimate Bill Hicks
Bill Hicks would have turned 54 on December 16th, 2015 – far from an old man, an approximate contemporary of Jon Stewart, Louis C.K., Chris Rock. It says much about Hicks, for better and for worse, that it’s possible to imagine an almost infinite array of plausible life trajectories had he not b...

Bill Hicks would have turned 54 on December 16th, 2015 – far from an old man, an approximate contemporary of Jon Stewart, Louis C.K., Chris Rock. It says much about Hicks, for better and for worse, that it’s possible to imagine an almost infinite array of plausible life trajectories had he not been claimed by cancer in 1994, aged just 32 – but not before he’d established himself as the most influential comedian of his era.

Hicks might have calmed down in middle age, resigned himself to comfortable ennoblement among comedy aristocracy. He might have grown crankier, his toying with conspiracy theory devolving into outright 9/11 Truther-dom. He might – very easily – have been marginalised by the sanctimony of online vigilantes, who failed or declined to appreciate that the ultimate butt of (most of) his jokes about women was men. He might have attempted activism, revving up crowds of Occupy demonstrators with anti-corporate rhetoric. Or he might have directed his rage at religion towards touchier targets than American Christians, risking the fate of Theo van Gogh and the staff of Charlie Hebdo.

Hicks’ work contained multitudes, as does this box set, which unites four live specials (One Night Stand, Sane Man, Relentless, Revelations) and It’s Just A Ride, a documentary/tribute released shortly after his death (the latter, while serviceable, was superseded in 2009 by Paul Thomas and Matt Harlock’s terrific American: The Bill Hicks Story). More than two decades later, it’s more remarkable how much of Hicks’ schtick resonates than how little. While some of the topical stuff has dated – his rants defending smoking now seem especially quaint – we remain a way from outgrowing his gleeful meditations on hypocrisy vis-à-vis sex and drugs. Hicks’ refusal to forgive ignorance is also still a tonic, though his famous encounter with a Nashville waffle waitress (“What you readin’ for?” “. . . so I don’t end up being a fuckin’ waffle waitress”) actually seems less funny since the empowerment of the wilfully illiterate by social media.

The last of these shows, Revelations, was recorded at London’s Dominion Theatre in November 1992. Even now, it seems improbable and outrageous that this supremely vigorous presence had little more than year left to live. It’s a glorious performance, Hicks grown confidently into the role of the black-clad preacher emerging from a pit of fire. He appears wholly at home, not just on stage but in London, in front of a crowd which, like himself, regards America with a detached bemusement that occasionally erupts into incomprehending fury.

It’s perfectly possible that Hicks died without knowing what the internet was. That being the case, his famous suggestion to any marketing and advertising types in the Dominion’s audience – “Kill yourself” – now strikes not merely as the key riff of a superb, unfurling routine, but as a last, prescient warning to the future.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch Arcade Fire’s David Bowie tribute parade

Michael Bonner
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Watch Arcade Fire’s David Bowie tribute parade
Arcade Fire have released footage from the parade the band threw in tribute to David Bowie. The January 16 event was organised by the band and Preservational Hall Jazz Band, who led a procession through the streets of New Orleans. Fan shot footage from the parade was posted online at the time of t...

Arcade Fire have released footage from the parade the band threw in tribute to David Bowie.

The January 16 event was organised by the band and Preservational Hall Jazz Band, who led a procession through the streets of New Orleans.

Fan shot footage from the parade was posted online at the time of the parade but the band have now released their own professional clip for fans who could not be there. Watch the four minute video below, including the Arcade Fire take on Bowie’s “Heroes“.

Bowie and the Arcade Fire worked together frequently in the last years of his life. He first joined the band on stage at a Fashion Rocks concert in 2005 for a rendition of “Wake Up“, from their debut album Funeral.

Later in 2013 Bowie sang a guest vocal on the title song of Arcade Fire’s most recent album, Reflektor.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Bruce Springsteen to publish autobiography, Born To Run

Michael Bonner
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Bruce Springsteen to publish autobiography, Born To Run
Bruce Springsteen is to release his autobiography. Born To Run will be published on September 27 by Simon & Schuster. According to a post on Springsteen's website, "the work will be published in hardcover, ebook, and audio editions by Simon & Schuster in the United States, United Kingdom, ...

Bruce Springsteen is to release his autobiography.

Born To Run will be published on September 27 by Simon & Schuster.

According to a post on Springsteen’s website, “the work will be published in hardcover, ebook, and audio editions by Simon & Schuster in the United States, United Kingdom, Canada, Australia, and India, and rights have already been sold to publishers in nine countries.

“Springsteen has been privately writing the autobiography over the past seven years. He began work in 2009, after performing with the E Street Band at the Super Bowl’s halftime show.

“In Born to Run, Mr. Springsteen describes growing up in Freehold, New Jersey amid the ‘poetry, danger, and darkness’ that fueled his imagination. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song ‘Born to Run’ reveals more than we previously realized.

“’Writing about yourself is a funny business,’ Mr. Springsteen notes in his book. ‘But in a project like this, the writer has made one promise, to show the reader his mind. In these pages, I’ve tried to do this.’

“’This is the book we’ve been hoping for,’ said Jonathan Karp, publisher of Simon & Schuster. ‘Readers will see their own lives in Bruce Springsteen’s extraordinary story, just as we recognize ourselves in his songs.’

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Savages – Adore Life

Louis Pattison
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Savages – Adore Life
A couple of years back, Savages pasted up notes around concert venues at which they were playing, requesting that the audience not take photos of their live performance. “Our goal is to discover better ways of living and experiencing music”, it read, and of course they were ridiculed for their e...

A couple of years back, Savages pasted up notes around concert venues at which they were playing, requesting that the audience not take photos of their live performance. “Our goal is to discover better ways of living and experiencing music”, it read, and of course they were ridiculed for their efforts: who was this band of women, with their all-black wardrobe, and their androgynous hairstyles, to tell music lovers how to enjoy themselves? To take one’s self too seriously is to set one’s self up for a fall.

But what if you don’t stumble? The brace of music assembled on Savages’ second album, Adore Life – 10 taut, white-knuckle songs about love, desire, fear, fucking and self-actualisation – takes itself very seriously indeed. In doing so, though, it succeeds in shucking off superficial comparison points, reaching for something deeper and more profound.

This was by no means foretold. Savages’ debut album, 2013’s Silence Yourself, was full of vigor, but a little too in thrall to its influences – a bit Siouxsie, a bit Stranglers, a bit Magazine – and after a decade-odd of bands reviving the sounds and strategies of post-punk, that didn’t quite feel enough. Still, in the flesh, it worked. In 2013, Savages played a show at Ministry Of Sound, a nightclub in the concrete environs of London’s Elephant & Castle. Inside, black-clad post-punk dads rubbed shoulders with art students sporting fierce bobs, and Savages set up in right in the middle of the crowd, encircled. Stark lighting illuminated vocalist Jehnny Beth’s mannered dance moves – think Jacques Brel by way of Ian Curtis – and the effect was electrifying. It cut right to the paradox at the heart of Savages’ music: that by embracing honesty and vulnerability, blowing away the smoke and smashing the mirrors, it was possible to create something of startling power.

In this spirit, Adore Life is utterly direct, delivered with a torrid urgency suggestive of the fact that any deviation or metaphor might endanger the entire enterprise. The subject is love – romantic, and sexual. But whereas some post-punk bands treated love archly, as something to subvert or critique – think Gang Of Four’s “Anthrax” – Beth explores it at close quarters. Her lyrics speak frankly of a taste for submission. “I want your fingers down my throat,” she trembles over wailing guitars on “When In Love”, while “Surrender” is a command to engage in acts of mutual pleasure (“Come and be my muse/I hope to get used…”). Midway through “I Need Something New”, a remarkable fusion of avant-garde opera and cold industrial rock churn, we find her mid-coitus with an unnamed lover in a cold room, her booming vibrato hiccuping into a jolt of falsetto as she spits out the word “fucking”. Notably, though, the eroticism on display here never feels designed to titillate, or cater to male fantasy; a sense of confrontation is embedded in the music, a broiling tension that sounds as much like war as it does love.

This is all thanks to the band – guitarist Gemma Thompson, drummer Fay Milton and bassist Ayşe Hassan – who feel both tightly drilled and nicely limber, the result of months of rehearsal and workshopping at a three-week residency at New York venue Baby’s All Right, in which songs received flatly were mercilessly culled. Where Silence Yourself was recorded mostly live, dore Life’s parts were recorded separately, with the mix completed by the Danish electronic musician Anders Trentemøller. The result is a crisp, metronomic propulsion, captured best on the churning, eastern-tinged opener “The Answer”, or “Sad Person” – a prickly rush that finds Beth noting that love has a similar chemical effect on the brain as a hit of cocaine.

At times, Savages don’t cleanly hit the mark: the jumpy bass and skittering hi-hats of “Evil” recalls featherweight post-punk revivalists like White Lies, and can’t quite carry Beth’s lyric, a nuanced lament about the dogmatic family values of French Catholicism. They make far more from a couple of accomplished torch songs. “Is it human to adore life?” asks “Adore”, a track about shucking off sexual guilt inspired by the poet Minnie Bruce Pratt, who lost custody of her sons after coming out as a lesbian in 1975. Finally, there is “Mechanics”, a gloomy lieder redolent of the cold symphonies of Scott Walker’s Tilt. A pansexual exploration of the whirring cogs and levers that define attraction, it feels naïve but hopeful, born in a dark place but groping towards the light. “My love will stand/The test of time,” sings Beth. Increasingly, it looks like Savages will too.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Introducing… The Who: The Ultimate Music Guide

John Mulvey
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"The mod thing is dying. We don’t plan to go down with it, which is why we've become individualists." June 5, 1965. In the august pages of the Melody Maker, a radically stroppy band are being unveiled to a world beyond Shepherd's Bush. "A new name is being hurled around in hip circles - The Who,"...

“The mod thing is dying. We don’t plan to go down with it, which is why we’ve become individualists.”

June 5, 1965. In the august pages of the Melody Maker, a radically stroppy band are being unveiled to a world beyond Shepherd’s Bush. “A new name is being hurled around in hip circles – The Who,” the piece begins. “Today, with one hit gone and another on the way, they are reckoned by the ‘In Crowd’ to be on the crest of a success wave that could make them the new rave – on a nationwide scale.”

Over half a century later, what Pete Townshend referred to as “the mod thing” has died, been reborn, and cycled round and round again several times over, yet still the indefatigable Who endure, both embodying and transcending that scene. They have, of course, become successful on something far bigger than a national scale. In two nights’ time (Feb 11), Hammersmith Apollo will host a “fully immersive cinematic theatrical experience” celebrating Quadrophenia, featuring a screening of the 1979 movie and a Q&A with many of the original cast, among other Who/mod-based activities.

Then, on February 13, The Who themselves play a London show at Wembley Arena before heading off on the latest leg of the self-explanatory “Who Hits 50” tour – a tour, in fact, that currently seems destined to last almost as long as the band’s extensive, storied history. From the end of February until the end of May, Townshend, Roger Daltrey and their accomplices will be bringing their volatile and often remarkable show to some of the biggest venues in the USA.

Not a bad time, then, for Uncut to unveil a deluxe remastered edition of our Ultimate Music Guide to The Who (it’s in the shops on Thursday, but you can order a copy of The Who Ultimate Music Guide from the Uncut store any moment now.) “I think our greatest accomplishment was to create the arena anthem,” Townshend tells us in a typically candid introduction. “That is a song that on its own serves almost as a short show in itself. This caters for the shallow attention span demonstrated by the audience in busy and chaotic arenas or stadiums… Three or four of the best anthemic Who songs strung together generate a blistering 25-minute musical event. This was something we stumbled onto by accident rather than by design.

“Now that stadium events are seen to be so overcooked, it may be an accomplishment that should be reassessed and downgraded, but ‘Baba O Riley’ and ‘Won’t Get Fooled Again’ are extremely hard to beat as a way of rallying a massive audience. I’ve written about 650 songs. Only a few of them could be described as ‘anthems’, but those will probably be the songs that prevail.”

I’m not sure we’ve tackled every one of those 650 songs in the Ultimate Music Guide. Nevertheless, as usual, there are deep reviews of every single Who album, plus a treasure trove of interviews that span 50 years and which showcase Townshend, in particular, as one of the most complex, self-flagellating and quoteworthy figures the rock era has produced. There are agonising meditations on age (“I often feel that I’m too old for rock’n’roll,” he gripes – in 1973!); frank recollections of his addictions (“My theory about smack is ‘Keep taking the tablets ’til the pain goes away'”: 1993); repeated tussles with the weight, significance and meaning of “Tommy”, “Quadrophenia” and “Lifehouse”; and one last combative encounter from 2015, in which Townshend prepares for his 70th birthday by announcing, “There’s a desire I have to do a show which is crap. Go out in front of a bunch of devoted Who fans and say, ‘Listen, you bunch of fucking cunts. Fuck off. Don’t come back…'”

Townshend’s meaning, of course, is never quite straightforward. His appetite for stirring up trouble remains, however, unquenchable, and hopefully this Ultimate Music Guide is testament to that, and to the quixotic genius that The Who have manifested for so long. They have, it’s fair to say, “become individualists…”

The Long Ryders – Final Wild Songs

Alastair McKay
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The Long Ryders – Final Wild Songs
There are many kinds of three-chord horseshit, and The Long Ryders tried them all. Famously, they perverted country and western, but the plan was always more complicated than that. When Sid Griffin left his LA garage group in the early 1980s, he placed a musicians’ wanted ad which read: “Two ex-...

There are many kinds of three-chord horseshit, and The Long Ryders tried them all. Famously, they perverted country and western, but the plan was always more complicated than that. When Sid Griffin left his LA garage group in the early 1980s, he placed a musicians’ wanted ad which read: “Two ex-Unclaimed members want the Byrds, Standells and Seeds to ride again.” Another ad, the one that attracted singer and guitarist Stephen McCarthy, proposed a merger of the Buffalo Springfield and the Clash.

Over four albums released between 1983 and 1987, The Long Ryders made good on all of that, being both musically diverse, and singular in their intentions. They were country, and punk, and rock’n’roll. They did foot-on-the-floor boogie, cajun, a bit of psychedelic rock. They wore their fringes like Roger McGuinn. They were Tom Petty, without the heartbreak.

All of which helps explain what was brilliant about The Long Ryders, and why they failed. Operating in Los Angeles at a time when new wave was morphing into vainglorious pop, their influences were considered old hat. Equally, the bands the Ryders inspired were yet to take flight, with the exception, perhaps, of their near-contemporaries The Jayhawks, who were thinking along the same lines in Minneapolis.

What’s clear now is that the Ryders are the bridge between country rock and what became Americana. Listen to early Uncle Tupelo, and you’ll hear Jeff Tweedy and Jay Farrar working out how to render American roots music with punk energy. And the influence didn’t just flow into the furrows of alt.country. Listen to the The Long Ryders’ acoustic rendering of “Black Girl” (from May-June 1984) included on Disc One of this four-disc set, and it’s hard not to hear Kurt Cobain’s unplugged version of the same song, though he called it “Where Did You Sleep Last Night?”.

They weren’t thanked for it at the time, as is clear from “Encore From Hell” which closes Disc Two. It’s not a song as such. Instead, singer Sid Griffin reads out reviews of the band’s 1985 album State Of Our Union. “It’s so difficult to know where to begin,” begins one, “there’s just so many bad things to say.” Or: “There are 10 things wrong with this album, and they’re all the songs.” Or, Griffin’s favourite, a one-sentence demolition from the Northern Echo: “If these guys are at the helm of West Coast rock, abandon ship.” And, yes, another reviewer settled for “three-chord horseshit”.

The Ryders weren’t without their supporters at the time, of course. They were part of the Paisley Underground – a label coined by Michael Quercia of The Three O’Clock to encapsulate an LA scene incorporating The Rain Parade, The Bangles and The Dream Syndicate. That scene was real, and got much press attention, especially in the UK and Europe, though it never went overground.

The box contains all three of the albums The Long Ryders released during their lifespan, and their debut EP, 10/5/60, which is still a career highpoint. From the declamatory “Join My Gang”, through the Byrds country of “You Don’t Know What’s Right” and the chiming psychedelia of “And She Rides”, the record showed a band clicking into focus. The title track is pure garage rock, with a riff and a snarl. If they played it any faster it would be Hüsker Dü.

The first LP, Native Sons (with West Coast producer Henry Lewy reprising the Flying Burritos template) is simply gorgeous, from the Chuck Berry motorvating of “Run Dusty Run” to the Petty-ish infections of “I Had A Dream”. There’s no disguising the influences at play on “Ivory Tower”, which has Gene Clark guesting on it, but that doesn’t make it any less effective. The extras add depth. There’s a fine acoustic run through “The Wreck Of The 309”, which leaves the pain in Tom Stevens’ vocal exposed. And the ghost of Gram Parsons is exorcised in a sparse campfire rendering of “Farther Along”.

A live version of “You Can’t Judge A Book By The Cover” has the Ryders sounding like Dr Feelgood saluting Chuck Berry, so it’s perhaps not surprising that pub rock veteran Will Birch was engaged for their major-label debut, State Of Our Union (1985). It opens with the hit that wasn’t – “Looking For Lewis And Clark” – and rattles through a series of melodic anthems. The songs are broadly critical of Reagan’s America, though the politics are masked by the straightforward urgency of the tunes. There’s more than a hint of The Cars in “Here Comes That Train Again”, but the sentiment of “Good Times Tomorrow, Hard Times Today” makes it a timeless piece of country rock, and the harmonies on “Two Kinds Of Love” are gorgeous. The ballad “If I Were A Bramble And You Were A Rose” and the “Captain’s mix” of “Lights Of Downtown” are equally lovely, and quite at odds with what was popular in 1985.

On the final album, 1986’s Two Fisted Tales, Ed Stasium removes the rough edges and adds a bit of Petty-ish swagger, and Griffin offers some hint of his future direction on the folky “Harriet Tubman’s Gonna Carry Me Home”. Disc Three includes nine fine demos including McCarthy’s lovely ballad “He Can Hear His Brother Calling”, which is among the best things the band ever did.
For fans, though, the real treasure is Disc Four, a live set recorded in Goes, in the Netherlands. It starts at full pelt with “Mason Dixon Line”, and never relents, rushing through “Masters Of War” and ending with a breathless “Tell It To The Judge On Sunday”. The Long Ryders add power to Dave Dudley’s trucking anthem “Six Days On The Road”, and hail their garage roots with an urgent reprise of the Flamin’ Groovies’ “I Can’t Hide”. The whole thing is a rush of ringing guitars and fire engine melodies that is retro and futuristic and timeless.

“I won’t give you any false modesty,” Griffin suggests. “We didn’t have flamethrowers, we just had a rockin’ act that was kinetic.” The world may now be ready to listen.

Q&A
Sid Griffin on the long march of Americana
What was your plan for the box?
We want The Long Ryders to be acknowledged as a very important link in the chain. When we came out it was all Haircut 100 and A Flock Of Seagulls. It was synth pop and watered-down dance music which was in the way. We were really the first and almost only band of our ilk doing this crazy wedding of punk ethos ethos and country and western attitude. In just a few years bands we inspired were everywhere: Uncle Tupelo and the Black Crowes – who were Mr Crowe’s Garden, an opening act for us – the list goes on.

Did you feel like you were in a wilderness back then?
In the early days we weren’t that distinct, and we had this idea of crossing Ramones, Sex Pistols, Clash, and earlier punk, ’60s garage guys – the 13th Floor Elevators and the Standells – with country and western instrumentation of pedal steel or banjo and having a new American hybrid. The first time we played a country and western song to a blatantly punk rock audience was at the Music Machine in West LA. I think we were on the bill with the Circle Jerks, and for the first 30 seconds people couldn’t believe it. It was just wild. There was silence. After a minute there was this noise, some of the people were going bananas and some of the people were making fun of us and spitting at us. That was the first time – playing “Brand New Heartache” by the Everly Brothers as a shuffle. I remember once at the Louisiana State University in Baton Rouge, the guy said, ‘Go and play something on the air’. So I went to the library, and there was all these LPs on the wall, and they had a white sticker saying what the tracks were. I pulled out a Long Ryders record, and some kid had written on it – ‘Side A: Sounds like shit. Side B: mostly sounds like shit.’ It was that hard of a battle.

Was the Paisley Underground real?
It was. It’s unfortunate that more of it didn’t break through to a wider audience. The only band that broke through was The Bangles. But it was an amazing time. Imagine living in an idyllic, sunny Los Angeles. I shared a house with one of The Bangles, and a roadie. And in our house at that time we’d have Eric Burdon of the Animals staying, and Billy Bremner of Rockpile was a roommate for while. Around the corner was Steve Wynn of The Dream Syndicate, and two of the guys from Green On Red, John Doe and Exene Cervenka of X lived about a block and a half away. Dwight Yoakam lived three blocks the other way. Benmont Tench lived four blocks away. People would ask me, of the people you knew, who did the best? For a while I would say The Bangles, then maybe Dwight Yoakam. I had a roommate named John Silva, he went on to manage Nirvana and the Foo Fighters, so I used his name for a while. Then I thought, hang on, Matt Groening from the Simpsons was around the corner, he did a cartoon called Life Is Hell. He’d come down from Oregon and Silva had come out from Boston, I’d come out from Kentucky, just trying to make it. All in one neighbourhood. It was a beautiful time.

Where did it all go wrong?
We famously did a beer commercial and were accused of selling out. It really backfired in North America for us. Peter Buck gave an interview commenting about it, and even Green On Red teased us. What I didn’t understand was that X, Los Lobos, The Blasters, all sorts of bands did a beer commercial, so why pick on us? The reason we did it then was we weren’t getting a lot of airplay. The most profile we got in the United States was through this beer commercial.

Why wasn’t “Looking For Lewis And Clark” a hit?
Nick Stewart, who’s the guy who signed U2, was so forceful in a business meeting, he finally got Island to agree to put a lot of money behind the record. It did really well the first few weeks. Then Nick was told by one of the Island guys, who looked really depressed: “I know we agreed to spend this money on pressing up more singles, but I left the meeting knowing my marching orders and didn’t do it.”. So it sold out and there were no more records to buy, literally. For years I was really upset about it. Some really nasty stuff went down. Then I thought, that’s not the way to look, because we had seven years travelling the world and playing on bills with people like Gene Clark and Roger McGuinn. All these great things happened. How many people from a little town in Kentucky got to do what I did? I’ve even thought: what happens if we had gone through the roof and everybody got on drugs and hated each other? We’re all really close still, so I can’t complain.
INTERVIEW: ALASTAIR McKAY

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Robert Forster announces live dates

Michael Bonner
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Robert Forster announces live dates
Robert Forster has announced a number of UK tour dates for May and June this year. He will be accompanied by his band who feature Scott Bromiley (guitar, bass, keyboards, vocals), Luke McDonald (guitar, bass, keyboards, vocals), Karin Baeumler (violin and vocals) and Chris O'Neill (drums). Click h...

Robert Forster has announced a number of UK tour dates for May and June this year.

He will be accompanied by his band who feature Scott Bromiley (guitar, bass, keyboards, vocals), Luke McDonald (guitar, bass, keyboards, vocals), Karin Baeumler (violin and vocals) and Chris O’Neill (drums).

Click here to read our Album By Album interview with Robert Forster

“It was seven years since my last album, and I am thrilled at the response to Songs To Play,” says Forster. “And so this tour will be my first shows with a band in the UK for eight years. It’s a long time and we can’t wait to play. Expect fireworks, recent and old songs, and one or two new dance moves.”

The full list of shows is:

MAY 28: Whelans, Dublin
MAY 29: King Tut’s Wah Wah Hut, Glasgow
MAY 31: Deaf Institute, Manchester
JUNE 1: Islington Assembly Hall, London

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Belly to reunite for summer tour dates

Michael Bonner
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Belly to reunite for summer tour dates
Belly have reunited to play shows this coming summer in the US and the UK. The band were formed in 1991 by Tanya Donelly (Throwing Muses, the Breeders); the original line-up featured Fred Abong, Thomas Gorman and Chris Gorman, with Abong replaced by Gail Greenwood in 1993. It's not clear who the l...

Belly have reunited to play shows this coming summer in the US and the UK.

The band were formed in 1991 by Tanya Donelly (Throwing Muses, the Breeders); the original line-up featured Fred Abong, Thomas Gorman and Chris Gorman, with Abong replaced by Gail Greenwood in 1993.

It’s not clear who the line-up will be for this coming tour.

The news was announced on the band’s website:

“Belly is very happy to announce that we will be reuniting to play some shows this coming summer in the US and the UK. Dates will be announced as they are confirmed, but right now we can tell you with relative confidence that the UK shows will fall in the middle of July, and US shows will be scattered throughout August and possibly into September.

“We’ve also got a handful of brand new Belly songs in various stages of writing and recording, that we’ll be releasing one by one over the next few months. First previews will be right here on the website!”

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

The Monkees announce new album and 50th anniversary tour

Michael Bonner
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The Monkees announce new album and 50th anniversary tour
The Monkees have announced details of their first new studio album for 20 years, as well a tour dates to celebrate the band's 50th anniversary. Micky Dolenz, Michael Nesmith, and Peter Tork have all worked on GOOD TIMES!, which will be available June 10 on CD and digitally, with a vinyl version com...

The Monkees have announced details of their first new studio album for 20 years, as well a tour dates to celebrate the band’s 50th anniversary.

Micky Dolenz, Michael Nesmith, and Peter Tork have all worked on GOOD TIMES!, which will be available June 10 on CD and digitally, with a vinyl version coming out on July 1.

The new album will feature new songs written for the band by Rivers Cuomo (Weezer), Ben Gibbard (Death Cab for Cutie) and XTC’s Andy Partridge as well as a song co-written by Noel Gallagher and Paul Weller.

GOOD TIMES! will also feature unreleased songs that were originally recorded and written for the group during the 60s, including “Love To Love” by Neil Diamond, which features a vintage vocal by Davy Jones.

Harry Nilsson wrote the title track “Good Times!” which he recorded at a session with Nesmith in January 1968. The production was never completed, so the band returned to the original session tape (featuring Nilsson’s guide vocal) and have created a duet with Dolenz. “Good Times!” will mark the first time Dolenz and Nilsson have sung together since Dolenz’ May 1973 single “Daybreak”.

Meanwhile, Dolenz and Tork will launch a Monkees 50th Anniversary Tour on May 18 at Barbara B. Mann Performing Arts Hall in Fort Myers, Florida.

The 50-date North American treck closes at the Pantages Theater in Los Angeles on September 16.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch the Rolling Stones play “She’s A Rainbow” for the first time in 18 years

Michael Bonner
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Watch the Rolling Stones play “She’s A Rainbow” for the first time in 18 years
The Rolling Stones began their latest tour in Chile on Wednesday night (February 3) and played 1967 track "She's A Rainbow" for the first time in 18 years. In the run up to the show at the Estadio Nacional, the band asked fans via their website to choose the track that they would play during their ...

The Rolling Stones began their latest tour in Chile on Wednesday night (February 3) and played 1967 track “She’s A Rainbow” for the first time in 18 years.

In the run up to the show at the Estadio Nacional, the band asked fans via their website to choose the track that they would play during their performance.

They offered “She’s A Rainbow”, “Anybody Seen My Baby”, “She’s So Cold” and “Like a Rolling Stone”, with the former winning by the most votes. The track hadn’t been played since 1998 and, Rolling Stone reports, only the 11th time in their entire history. You can watch the band play the track below.

The Stones tour continues on February 7 with three nights at Argentina’s Estadio Unico. It finishes on March 17 at Mexico City’s Foro Sol.

Meanwhile, a major retrospective – EXHIBITIONISM – runs at the Saatchi Gallery, London, from April 6 2016 – September 2016.

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Daevid Allen’s final album set for release

Michael Bonner
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Daevid Allen’s final album set for release
The final album Daevid Allen worked on before his death aged 77 in March, 2015, has been scheduled for release. ELEVENSES by the Daevid Allen Weird Quartet will be released on February 12, 2016. The Quartet line-up is Allen alongside Don Falcone of Spirits Burning, Michael Clare of Daevid Allen's...

The final album Daevid Allen worked on before his death aged 77 in March, 2015, has been scheduled for release.

ELEVENSES by the Daevid Allen Weird Quartet will be released on February 12, 2016.

The Quartet line-up is Allen alongside Don Falcone of Spirits Burning, Michael Clare of Daevid Allen’s University of Errors, and drummers Trey Sabatelli (The Tubes) and Paul Sears (The Muffins).

Click here to read our celebration of the genius of Daevid Allen and Gong

The band previously recorded a 2005 album DJDDAY under the band name Weird Biscuit Teatime.

The tracklisting for ELEVENSES is:

TransloopThisMessage
Imagicknation
The Latest Curfew Craze
Kick That Habit Man
Secretary Of Lore
Alchemy
The Cold Stuffings Of November
Grasshopping
God’s New Deal
Dim Sum In Alphabetical Order
Killer Honey
Under The YumYum Tree Cafe
Banana Construction

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

The Second Uncut Playlist Of 2016

John Mulvey
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The Second Uncut Playlist Of 2016
I'm trying to get back into the rhythm of compiling these lists every week. Lots new to check out again here: can I particularly flag up Tim Hecker, The Dead Tongues - another player from that fruitful North Carolina scene (there are blood ties with Phil Cook's band), King, the less-heralded new Igg...

I’m trying to get back into the rhythm of compiling these lists every week. Lots new to check out again here: can I particularly flag up Tim Hecker, The Dead Tongues – another player from that fruitful North Carolina scene (there are blood ties with Phil Cook’s band), King, the less-heralded new Iggy record (the one where he recites Walt Whitman over Alva Noto and Tarwater electronica) and the amazing Bitchin Bajas/Will Oldham hook-up? Hopefully I’ll have something to play from that soon.
Strong week for reissues too, with the Träd, Gräs Och Stenar box, Third Man’s Primeval Greek Village Music comp, and the Gimmer Nicholson discovery (originally slated to be the first album on Ardent) in particular. More as I find out…
Follow me on Twitter @JohnRMulvey

1. Jefferson Airplane – After Bathing At Baxter’s (RCA Victor)

2. King – We Are King (King Creative)

3. Cate Le Bon – Crab Day (Turnstile)

4. Thomas Cohen – Bloom Forever (Stolen)

5. The Third Eye Foundation – Semtex: 20th Anniversary Edition (Ici D’Ailleurs)

6. The Dead Tongues – Montana (Self-released)

https://soundcloud.com/winsome-management/graveyard-fields-by-the-dead-tongues

7. Thee Oh Sees – Fortress (Castleface)

8. Träd, Gräs Och Stenar – Box Set (Anthology)

9. The Dead Tongues – Desert (Self-released)

10. Fraser & DeBolt – This Song Was Borne (Roaratorio)

11. Various Artists – Wayfaring Strangers: Cosmic American Music (Numero Group)

12. Tim Hecker – Love Streams (4AD)

13. Kevin Morby – Singing Saw ((Dead Oceans)

14. Glenn Jones – Fleeting (Thrill Jockey)

https://soundcloud.com/thrilljockey/flower-turned-inside-out-1

15. Heron Oblivion – Heron Oblivion (Sub Pop)

16. Gabriel Kahane – The Ambassador (StorySound)

17. White Denim – Stiff (Downtown)

18. Modern Studies – Ten White Horses (Soundcloud)

19. Judge Barry Hertzog – The Best Of Slag Van Blowdriver (4 Zero)

20. Bitchin Bajas & Bonnie ‘Prince’ Billy – Epic Jammers and Fortunate Little Ditties (Drag City)

21. Rob Galbraith – Damn It All (Numero Group)

22. Fennesz – Mahler Remix (Touch)

23. Freddie Gibbs – Shadow Of A Doubt (ESGN)

24. William Tyler – Live at Third Man Records: 07/18/2014 (Third Man)

25. Anohni – Hopelessness (Rough Trade)

26. Iggy Pop/Tarwater/Alva Noto – Leaves Of Grass (Morr Music/ https://anost.net/en/Products/Iggy-Pop-Tarwater-Alva-Noto-Leaves-Of-Grass/)

27. Various Artists – Why The Mountains Are Black: Primeval Greek Village Music: 1907-1960 (Third Man)

28. Gimmer Nicholson – Christopher Idylls (Light In The Attic)

29. Iggy Pop – Post Pop Depression (Rekords Rekords/Loma Vista/Caroline International)

Watch the first trailer for Don Cheadle’s Miles Davis biopic

Michael Bonner
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Watch the first trailer for Don Cheadle’s Miles Davis biopic
The first trailer has been released for Miles Ahead; the biopic of Miles Davis directed by and starring Don Cheadle. The film is set in 1979, during Davis' five-year period away from the public eye. For anyone expecting a straight biopic, Cheadle has described the film as "a gangster pic. It's a mo...

The first trailer has been released for Miles Ahead; the biopic of Miles Davis directed by and starring Don Cheadle.

The film is set in 1979, during Davis’ five-year period away from the public eye. For anyone expecting a straight biopic, Cheadle has described the film as “a gangster pic. It’s a movie that Miles Davis would have wanted to star in.”

https://www.youtube.com/watch?v=Bvt9LU45ruc

The film also stars Emayatzy Corinealdi as Frances Taylor and Ewan McGregor.

We’ll bring you a report on the film soon…

Follow me on Twitter @MichaelBonner

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

The Cure contribute to New Order’s new website

Michael Bonner
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The Cure contribute to New Order’s new website
New Order have launched a new archival website called Singularity: The Influence of New Order. The website documents their musical influences through tributes, cover songs and specially curated mixtapes besides more personal memorabilia. "New Order occupy a singular space in the history of modern ...

New Order have launched a new archival website called Singularity: The Influence of New Order.

The website documents their musical influences through tributes, cover songs and specially curated mixtapes besides more personal memorabilia.

“New Order occupy a singular space in the history of modern music,” says the homepage. “Their influence on other creatives, including musicians, writers, visual artists and photographers, is near unparalleled. Inspired by their lasting impact, Singularity is a collection of personal contributions from a wide range of creatives showcasing how, when, where and why this band not only defined an era, but continue to do so. Explore Singularity: The Influence of New Order.”

Among the confirmed content for the website so far is a mixtape curated by The Cure‘s Robert Smith, Cold Cave’s cover of “Your Silent Face“, Chromatics’ cover of “Ceremony” and Hot Chip‘s remix of “Tutti Frutti”.

The group have also confirmed details of a US tour in March.

They are scheduled to play New York, Philadelphia and Miami before heading to Europe for a string of festival dates, including Sonar, Roskilde, Rock Werchter and Oya Festival. In between, they will headline a homecoming gig at Manchester’s Castlefield Bowl on July 7.

The full list of tour dates are as follows:
New York, Radio City Music Hall (March 10)
Philadelphia, Tower Theatre (12)
Chicago, Chicago Theatre (16)
Las Vegas, The Cosmopolitan (23)
Sonar Festival (June 16-18)
Roskilde Festival (June 25–July 2)
Rock Werchter Festival (June 30–July 3)
Bilbao BBK Live (July 7-9)
Manchester, Castlefield Bowl (7)
Oya Festival (August 9-13)

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Introducing… The History Of Rock: 1972

John Mulvey
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Introducing… The History Of Rock: 1972
When the news of David Bowie's death broke on January 11, amidst all the grief, there was not much professional time for reflection: we had a memorial issue to create at speed (fortunately, David Cavanagh still managed to write a piece for us that was as thoughtful as it was moving). At that point, ...

When the news of David Bowie’s death broke on January 11, amidst all the grief, there was not much professional time for reflection: we had a memorial issue to create at speed (fortunately, David Cavanagh still managed to write a piece for us that was as thoughtful as it was moving). At that point, though, we already had a magazine with Bowie on the cover more or less ready to roll off the presses. The latest edition of our History Of Rock series tackles the momentous musical events of 1972: who else but Bowie could encapsulate the spirit of the year?

The History Of Rock: 1972 arrives in UK shops on Thursday, but you can order The History Of Rock: 1972 now from our online shop. In it, you’ll find reports from the first live excursions of Ziggy Stardust & The Spiders From Mars, revelatory interviews that find Bowie opening up about his sexuality for the first time – and calling Marc Bolan “prissy”. Plus stories on Lou Reed and Mott The Hoople in which the great man’s aura and influence reverberate throughout.

All that, of course, is only part of the rich smorgasbord on offer in this deluxe, historically startling mag. Here’s John Robinson, as ever, to provide the full introduction…

“Welcome to 1972. For the last 18 months, a sense of fun has gradually been squeezing out the worthy musical explorations of the recent blues boom. ‘Underground’ spirit lives on in the likes of Hawkwind, 1972’s unlikeliest chart stars. For the most part, however, the year’s most successful music is colourful and boldly-stated.

“The dominant music listener is no longer the serious university undergraduate, but the teenager, who propels a flashy and addictive version of rock’n’roll revivalism into a popularity unseen since the Beatles. 1971’s messiah, Marc Bolan, is the year’s biggest seller, but his elfin head lies uneasy under the crown.

“Our cover star, David Bowie, however, instantly presents a more serious proposition. He writes, performs, and inspires frantic adoration for his theatrical rock. He even rejuvenates careers – a service he performs this year for Mott The Hoople, Iggy Pop and Lou Reed. The papers call his music ‘camp rock’. Rod Stewart doesn’t know what to think.

“Bowie balances his multiple roles with apparent ease, and the character of the year is altered irrevocably by him, as he changes musical trends, wields influence, and becomes a topic of everyone’s conversation. He is, it seems, everywhere.

“This is the world of The History Of Rock, a monthly magazine which follows the tremors of rock revolution as they mount in intensity. Diligent, passionate and increasingly stylish contemporary reporters were there to chronicle them then. This publication reaps the benefits of their understanding for the reader decades later, one year at a time.

“In the pages of this eighth issue, dedicated to 1972, you will find verbatim articles from frontline staffers, compiled into long and illuminating reads. Missed an issue? You can get hold of previous History Of Rock issues from our online shop.

“What will still surprise the modern reader is the access to, and the sheer volume of material supplied by the artists who are now the giants of popular culture. Now, a combination of wealth, fear and lifestyle would conspire to keep reporters at a rather greater length from the lives of musicians.

“At this stage though, representatives from New Musical Express and (i)Melody Maker are where it matters. Bitching about Bolan. Smoking with Lennon in New York. Watching Lou Reed’s ego run riot. ‘Everyone else is now at the point where I was at in 1967,’ says Lou in these pages. ‘Where will they be in five years?’

“Join him here. Or even there. It’ll be good to rap together.”

Trumbo

Michael Bonner
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Trumbo
As a screenwriter during Hollywood’s Golden Age, Dalton Trumbo won Oscars for Roman Holiday and The Brave One; although he received no on-screen credit for his achievements until long after the fact. Trumbo was a member of the Communist Party and one of the ‘Hollywood Ten’, a group of screenwr...

As a screenwriter during Hollywood’s Golden Age, Dalton Trumbo won Oscars for Roman Holiday and The Brave One; although he received no on-screen credit for his achievements until long after the fact. Trumbo was a member of the Communist Party and one of the ‘Hollywood Ten’, a group of screenwriters and directors who refused to testify before the House Un-American Activities Committee and were subsequently blacklisted.

As played by Bryan Cranston – in his first significant role since Breaking Bad finished – Trumbo is the dashing master of the bon mot. “Stop talking as if everything you say is going to be chiseled into stone,” says one exasperated fellow screenwriter. The eccentric Trumbo prefers to do his writing naked, in the bath, smoking and slugging whisky. But he is also a man of great principle, who faces down the ginormous John Wayne (David James Elliott) and poisonous gossip columnist Hedda Hopper (Helen Mirren), who are both staunch pursuers of the Red Menace.

Director Jay Roach and screenwriter John McNamara’s film runs from 1951 to 1970, covering Trumbo’s rise, fall and rehabilitation. Although its intentions are honourable, the film often slips into something more cartoon-y; more in keeping, perhaps, with Roach’s comedies like the Meet The Parents series, though not quite as slapstick as Austin Powers. Scenes where Trumbo and his fellow blacklisters churn out “shit for idiots” for ebullient B-movie producer Frank King (John Goodman) are a wheeze; but the lighthearted tone undermines the serious conditions under which these commissions were accepted. Although very good in the role, Cranston seems to be doing an impression – full of mannered tics. Roach and McNamara seem to misinterpret Trumbo’s eccentricities as defining character traits; accordingly, we rarely see behind the deft one-liners and well-chomped cigarette holder.

Around him, Goodman is terrific as King, who employs Trumbo to churn out “shit for idiots” during the blacklist; Michael Stuhlbarg as Edward G Robinson, an early friend and collaborator; Dean O’Gorman as Kirk Douglas, who hired Trumbo to write Spartacus, which hastened the end of the blacklist. Diane Lane is wasted as Trumbo’s wife. Meanwhile, Louis C. K. delivers a gentle and touching performance as fictitious screenwriter Arlen Hird that gives the film its emotional centre; though why Roach and McNamara needed to introduce a fictional character when there were so many interesting real ones involved in the story isn’t immediately clear.

Follow me on Twitter @MichaelBonner

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

John Carpenter announces new album, Lost Themes II

Michael Bonner
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John Carpenter announces new album, Lost Themes II
John Carpenter has announced details of a new album, Lost Themes II. The album is due for release on April 15 via Sacred Bones. As with its predecessor, Lost Themes, the new album is a collaboration between Carpenter, his son Cody and godson Daniel Davies. Carpenter will also play a number of liv...

John Carpenter has announced details of a new album, Lost Themes II.

The album is due for release on April 15 via Sacred Bones.

As with its predecessor, Lost Themes, the new album is a collaboration between Carpenter, his son Cody and godson Daniel Davies.

Carpenter will also play a number of live shows later in the year, at Primavera Sound, ATP Iceland, Manchester’s Albert Hall & London’s Troxy – details below.

You can read our interview with John Carpenter by clicking here

Lost Themes II tracklist:
Distant Dream
White Pulse
Angel’s Asylum
Hofner Dawn
Windy Death
Dark Blues
Virtual Survivor
Bela Lugosi
Last Sunrise
Utopian Façade

Carpenter will play:
Jun 2 – Barcelona ES, Primavera Sound
Jul 1-3 – Ásbrú IS, ATP Iceland
Oct 28 – Manchester UK, Albert Hall *2nd show added!*
Oct 29 – Manchester UK, Albert Hall
Oct 31 – London UK, Troxy

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Watch PJ Harvey’s video for “The Wheel”

Michael Bonner
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0
Watch PJ Harvey’s video for “The Wheel”
PJ Harvey has released a video for "The Wheel", the first track to be taken from her forthcoming album The Hope Six Demolition Project. The video has been directed by Seamus Murphy, who most recently collaborated with Harvey on book, The Hollow of the Hand. You can watch the video below. https://...

PJ Harvey has released a video for “The Wheel“, the first track to be taken from her forthcoming album The Hope Six Demolition Project.

The video has been directed by Seamus Murphy, who most recently collaborated with Harvey on book, The Hollow of the Hand.

You can watch the video below.

The Hope Six Demolition Project will be released on April 15, 2016.

The album was recorded at London’s Somerset House under the gaze of the public, and consists of 11 songs, including lead single “The Wheel”, and is produced by Flood and John Parish.

Speaking about the album’s writing, which saw Harvey visit Afghanistan, Kosovo and Washington DC, the songwriter says: “When I’m writing a song I visualise the entire scene. I can see the colours, I can tell the time of day, I can sense the mood, I can see the light changing, the shadows moving, everything in that picture.

“Gathering information from secondary sources felt too far removed for what I was trying to write about. I wanted to smell the air, feel the soil and meet the people of the countries I was fascinated with.”

The Hope Six Demolition Project‘s tracklisting 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 March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

Joanna Newsom, Animal Collective, Bat For Lashes to headline End Of The Road festival

Michael Bonner
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0
Joanna Newsom, Animal Collective, Bat For Lashes to headline End Of The Road festival
Joanna Newsom, Animal Collective and Bat For Lashes have been confirmed as headliners for this year’s End Of The Road festival. The Dorset festival takes place between September 2 - 4 at its uusal home in Larmer Tree Gardens. Newsom makes her only UK festival appearance at End Of The Road; Cat P...

Joanna Newsom, Animal Collective and Bat For Lashes have been confirmed as headliners for this year’s End Of The Road festival.

The Dorset festival takes place between September 2 – 4 at its uusal home in Larmer Tree Gardens.

Newsom makes her only UK festival appearance at End Of The Road; Cat Power is also confirmed as a festival exclusive.

Animal Collective and Bat For Lashes make their debuts at End Of The Road.

Other bands and acts on the bill include Thee Oh Sees, Devenda Banhart, GOAT, Phosphorescent, Eleanor Friedberger, Steve Mason and Field Music.

Uncut will be hosting events in the Tipi Tent Stage again this year; check back here for updates.

You can find more details about tickets and line-up at the festival’s website.

More acts will be announced soon.

End Of The Road Festival 2016 Line Up:

Joanna Newsom
Animal Collective
Bat For Lashes
Cat Power
Devendra Banhart
GOAT
Thee Oh Sees
Phosphorescent
M. Ward
Jeffrey Lewis & Los Bolts
Steve Mason
Field Music
Bill Ryder-Jones
Eleanor Friedberger
Dr. Dog
U.S Girls
MONEY
Shura
Dilly Dally
Sunflower Bean
The Big Moon
Meilyr Jones
Mothers
Amber Arcades
Kath Bloom
Basia Bulat
Dawn Landes
Shopping
Weaves
James Canty
Martha
Holly Macve
Bas Jan
EERA
Hard Skin
Martha Ffion
Josienne Clarke and Ben Walker
Lail Arad

The March 2016 issue of Uncut is now on sale in the UK – featuring our 19 page David Bowie tribute plus Loretta Lynn, Tim Hardin, Animal Collective, The Kinks, Mavis Staples, The Pop Group, Field Music, Clint Mansell, Steve Mason, Eric Clapton, Bert Jansch, Grant Lee Phillips and more plus our free 15-track CD

Uncut: the spiritual home of great rock music.

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