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Spiritualized record an album with bees

Michael Bonner
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Spiritualized record an album with bees
Spiritualized have improvised an album recorded along to the beehive audio feed. The album, called One, is the soundtrack to artist Wolfgang Buttress’ multiple award winning UK Pavilion at the 2015 Milan Expo – an installation that highlighted the plight of the honeybee, focusing on the importa...

Spiritualized have improvised an album recorded along to the beehive audio feed.

The album, called One, is the soundtrack to artist Wolfgang Buttress’ multiple award winning UK Pavilion at the 2015 Milan Expo – an installation that highlighted the plight of the honeybee, focusing on the importance of pollination.

Pitchfork reports that the album was recorded by musicians Kev Bales and Tony Foster, featuring Spiritualized’s Jason Pierce and John Coxon, Icelandic group Amiina, Youth, cellist Deirdre Bencsik and vocalist Camille Buttress.

The recording sessions saw musicians improvising in the key of D along to a live audio feed of beehive sounds. Piano, Mellotron and lap steel were overdubbed later.

The album will be released on February 12 via Rivertones.

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.

Hear new Cheap Trick track, “No Direction Home”

Michael Bonner
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Hear new Cheap Trick track, “No Direction Home”
Cheap Trick have announced details of their first new album in five years. Bang Zoom Crazy… Hello will be released in April 1. The band have released a taster from the album - "No Direction Home", which can be heard below. https://soundcloud.com/big-machine-label-group/no-direction-home Ahead ...

Cheap Trick have announced details of their first new album in five years.

Bang Zoom Crazy… Hello will be released in April 1.

The band have released a taster from the album – “No Direction Home“, which can be heard below.

Ahead of the band’s induction into the Rock And Roll Hall Of Fame later this year, they will head out on a 30-date American tour from July until September, beginning at the DTE Energy Music Theatre, Michigan on July 14 and finishing in Florida’s Perfect Vodka Amphitheatre on September 23. Full Cheap Trick tour dates can be found by clicking here.

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.

Brian Wilson announces Pet Sounds tour dates

Michael Bonner
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Brian Wilson announces Pet Sounds tour dates
Brian Wilson has announced details of a world tour to celebrate the 50th anniversary of Pet Sounds. The UK dates include two nights at the London Palladium. Tickets go on sale at 10am Friday January 29th at 9am from www.alt-tickets.co.uk. Wilson will be joined by Al Jardine and Blondie Chaplin for...

Brian Wilson has announced details of a world tour to celebrate the 50th anniversary of Pet Sounds.

The UK dates include two nights at the London Palladium. Tickets go on sale at 10am Friday January 29th at 9am from www.alt-tickets.co.uk.

Wilson will be joined by Al Jardine and Blondie Chaplin for the tour. As well as the UK, concert stops include dates in Australia, Japan, Spain, Israel, and Portugal followed by a full American tour later this Summer.

Pet Sounds was recently voted Uncut’s Greatest Album Of All Time

The Pet Sounds UK dates are:

Sunday, May 15: Bristol Colston Hall
Tuesday, May 17: Birmingham Symphony Hall
Wednesday, May 18: Cardiff St Davids Hall
Friday, May 20: The London Palladium
Saturday, May 21: The London Palladium
Tuesday, May 24: O2 Apollo Manchester
Thursday, May 26: Usher Hall Edinburgh
Friday, May 27: Glasgow Royal Concert Hall
Sunday, May 29: Sage Gateshead, Newcastle
Tuesday, May 31: Liverpool Philharmonic Hall
Wednesday, June 1: Nottingham Royal Concert Hall

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.

Reviewed! Martin Scorsese and Mick Jagger’s HBO series, Vinyl

Michael Bonner
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Reviewed! Martin Scorsese and Mick Jagger’s HBO series, Vinyl
It seems strange, in retrospect, that Martin Scorsese has never directed a movie about the music business. After all, for over 40 years now, he has pursued a fruitful career alternating between feature films and music documentaries. His concert films on The Band and the Rolling Stones have been exce...

It seems strange, in retrospect, that Martin Scorsese has never directed a movie about the music business. After all, for over 40 years now, he has pursued a fruitful career alternating between feature films and music documentaries. His concert films on The Band and the Rolling Stones have been exceptional; meanwhile his profiles on Bob Dylan, the blues and George Harrison have worked hard to explore the complexities of their subjects. All his music projects, though, gravitate towards a romantic, mythological and quintessentially Scorsese theme: rock’n’n roll as a force for personal liberation.

https://www.youtube.com/watch?v=eI6Pg_lIB2M

Episode 1 of HBO’s new series Vinyl – directed by Scorsese – opens with a particularly instructive example of this. It is the early Seventies. Beleaguered record label boss Richie Finestra (Bobby Cannavale) has lost faith in the music industry. Sitting alone in his car, parked in an insalubrious part of Greenwich Village to buy cocaine, we witness his breakdown. The first nine minutes of Vinyl take place entirely inside the car, full of jerky, blurred shots and tight close ups on Finestra’s face. But – wait! – what’s that noise? Serendipitously, Finestra has parked close to the Mercer Arts Center, and he is drawn from his existential crisis by the raucous sound of the New York Dolls in full flight. In a breathtaking shot travelling deep into the bowels of the Mercer, Scorsese shows Finestra first hand the redemptive power of rock’n’roll.

Admittedly, it would be pretty funny if at this point, Finestra said in voiceover, “As far back as I can remember, I’ve always wanted to be a record company executive.” Like GoodFellas or Casino, Vinyl is concerned with money: the bribes and the cons, sackings and whackings and the cultivation of high rollers. Although by the end of the first episode, there have been no mysterious burials out in the desert, you suspect they may not be too far behind.

But Vinyl isn’t entirely a Scorsese venture. He has directed the two-hour pilot and is an Executive Producer on the show, along with Mick Jagger. The project was cooked up by Scorsese and Jagger when they worked together on Shine A Light; at one point, The Departed’s scriptwriter William Monahan was employed to write a feature-length screenplay. Jagger’s original idea – for two friends in the music industry, and the ebb and flow of their relationship across many decades – mutated as the project moved around studios, before finally arriving at HBO. The showrunner here is Terence Winter, a Sopranos veteran who previously worked with Scorsese on Boardwalk Empire and The Wolf Of Wall Street.

But despite Vinyl’s lengthy gestation and the strong personalities of all involved, the imprimatur is entirely Scorsese’s. The voiceovers, flashbacks, period detail, impeccable soundtrack choices, freeze frame, tracking shots, violent outbursts… even the hysterical mugging between Finestra and his colleagues at American Century Records recall the banter between, say, Robert De Niro, Joe Pesci and Ray Liotta in GoodFellas. Their mistrust of outsiders and an impulse to take care of business according to their own rules are all commonplace within a Scorsese picture. But there are other particular qualities to Vinyl: some specific to Scorsese, some less so.

Vinyl is set in 1973, the same year Scorsese made Mean Streets. Many of the episode’s locations – particularly those round Greenwich Village, where the director was raised – would be familiar haunts. The date is significant for other reasons besides. One sequence is bookended by a Led Zeppelin show at Madison Square Gardens and Kool Herc’s legendary hip-hop jam at 1520 Sedgwick Avenue. In it, Finestra is chauffeured through New York’s streets at night. The car makes painfully slow progress – a burst water main is the culprit – allowing Scorsese’s camera to dwell on strange expressionistic details – abstract neon signs, the elongated shadows of pedestrians – that evoke the hallucinatory, nightmarish qualities of Taxi Driver.

In the background, meanwhile, the car radio drifts in and out of stations, providing a handy sound collage of contemporary voices: the King Biscuit Flower Hour, Humble Pie’s “Black Coffee”, an election broadcast by mayoral candidate Albert Beame, “All The Young Dudes”. In an interview in Entertainment Weekly, Scorsese explained, “New York in the 70s was at an all-time economic low point. Nothing worked. The subways were falling apart. The crime rate was sky-high. But then, at the same time, culturally speaking, it was a high point… The early 1970s, and 1973 in particular, was a time of great change in the music industry, and it all started in New York City – punk, disco, hip-hop, they all began that year right here in this city. So we decided to start there and see where it would take us.”

As you might imagine in such a vivid milieu, Finestra is surrounded by many colourful supporting characters – many of them fictional, a few conspicuously not. At home, there is his demure wife, Devon (Olivia Wilde), a former model (“Andy asked for you just the other night. Lou was with us,” says Borgen’s Birgitte Hjort Sørensen, a kind of Nico analogue). At American Century, meanwhile, Scorsese introduces us to Finestra’s lieutenants. There is the blustering A&R exec who can’t sign the right band, a business partner who inadvertently insults everyone he meets, a talented female A&R scout whose on-the-money tips are routinely ignored by her male bosses (Juno Temple, evidently having a blast). Elsewhere, there is a strong cameo from Andrew ‘Dice’ Clay as the belligerent owner of a chain of radio stations, unrecognizable beneath a pair of substantial walrus sideburns, and James Jagger as the English vocalist with proto-punk band, Nasty Bits. In flashbacks, Scorsese shows us Finestra’s entrance in the music business during the early Sixties: the money and influence of the Mob grease his rise, allowing Scorsese the opportunity to deliver a signature incident involving a baseball bat. In these sequences, Paul-Ben Victor excels as a vulpine executive who offers advice to Finestra. But again, this is classic Scorsese territory, recalling the way the young Henry Hill worked his way through the mob hierarchy, only here Finestra is pushing novelty hits rather than running numbers.

The depiction of ‘real people’ is more variable. A conversation with Robert Plant backstage at Madison Square Garden, for instance, finds Plant’s accent wandering amusingly between Cockney and Australian, though the depiction of Peter Grant more successfully nails his volatile temperament. It transpires that “The Zeppelin deal” becomes a critical plot point for the first episode. For future episodes, the show’s IMDB cast list includes David Bowie, Stephen Stills, David Crosby, Hilly Kristal and Peter Tosh. Bobby Cannavale, incidentally, is excellent. His heavy-lidded eyes recall Al Pacino; though he is a warmer screen presence. In one boardroom scene, he and his partners are in final negotiations to sell American Century to German competitors.
“Fiscally speaking, “1972, American Century claimed 6 million dollars in profit,” notes one eagle-eyed German businessman. “Yet 92% of the records you released were, speaking frankly, flops.”
“Technically, yes,” nods Finestra. “But in reality, they only look like flops…”

Follow me on Twitter @MichaelBonner

VINYL BEGINS ON SKY ATLANTIC ON FEBRUARY 15

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.

Iggy Pop: “I ended up with a pistol in my gut in the parking lot”

Graeme Thomson
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Iggy Pop: “I ended up with a pistol in my gut in the parking lot”
Here, Iggy Pop answers your questions as only he knows how: with tales of knuckle duster run-ins, popping Lou Reed’s pills and, of course, appearing in insurance adverts. Originally published in Uncut’s January 2011 issue (Take 169). Words: Graeme Thomson _______________________________ There ...

Here, Iggy Pop answers your questions as only he knows how: with tales of knuckle duster run-ins, popping Lou Reed’s pills and, of course, appearing in insurance adverts. Originally published in Uncut’s January 2011 issue (Take 169). Words: Graeme Thomson

_______________________________

There are few more influential and iconic figures in rock music than James Newell Osterberg. Having helped invent punk and lived to tell the tale, at 64 he continues to push the parameters of live performance. Today he’s hunkered down in his hut “by the edge of my famously filthy little river in Miami”, readying himself for The Stooges’ appearance at Hop Farm in July and the imminent release of Roadkill Rising: The Bootleg Collection 1977-2009, a sprawling 4CD set of remastered live bootleg recordings. Although he admits he’s now “occasionally guilty of discretion”, Pop still holds tight to the vestiges of his hard-won outsider status. “I’ve discovered I have a career and I’m not really thrilled about that,” he says. “I can see what it’s got me, but I don’t feel like I’m going to go to the next Vanity Fair Oscar party and say, ‘Hey, you’re a celebrity, I’m a celebrity, let’s get together and celebrate!’ Fuck off!” Thankfully he gives your questions a greater degree of latitude. Apart from the one about those insurance ads…

_______________________________

Iggy, why are you so awesome?
Lucy Knowles, Ashford
Well Lucy, it’s probably just because you sense that, like all dogs, I need love. I seem to have been rewarded copiously late in life. Early on I was often referred to as The Man You Love To Hate, but now I notice as I skip through that people seem glad to see me. It’s partly the survivor thing – Oh my God, he lives, he breathes! – but there’s also the nature of all the stuff in which I was involved. It was considered a scourge when I did it but now it’s all been dredged up through the internet and some people feel a certain vicarious glee seeing that. But I’m guessing. I don’t really know.

Are you still a scholar of classical civilisation or have you moved onto a different historical period?
Al Ryan, San Francisco
I’m still very interested in that, although I’ve been a little discouraged ploughing through a recent translation of Herodotus. I’m telling to you, dude, five pages of the Lydians versus the Scythians will really do you in. I’ve lately been interested in the science of trade and the beginnings of the global economy, the Dutch and the English in particular. I’m into Vermeer’s Hat by Timothy Brook, a wonderful book about trade with China and the Dutch East India Co.

When I saw The Stooges last September you did a killer version of “Open Up And Bleed”. It’s one of my favourite songs but only exists on sketchy live recordings. Will The Stooges record it (and other post Raw Power songs like “Head On” and “Heavy Liquid”) for your next album?
Mark Arm, Mudhoney
Well, I’m interested in doing that sort of thing – not sure how James feels about it, but we’ll talk. “Open Up And Bleed” was a song we both wanted to do but it was pretty difficult working it up the right way. Even now I can’t do it every night. I say to James, “Oy vey, James, this song with the bleeding and the opening, the howling and the pain – can we skip it in Atlantic City?” It’s one of those choose-your-town numbers.

Listen to Iggy Pop’s new track, “Gardenia”

Michael Bonner
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Listen to Iggy Pop’s new track, “Gardenia”
Iggy Pop has announced details of a new album, Post Pop Depression. The album has been co-created with Josh Homme, and features his Queens Of The Stone Age bandmate and Dead Weather-man Dean Fertitia and Arctic Monkeys drummer Matt Helders. "I wanted to be free," explains Pop. "To be free, I neede...

Iggy Pop has announced details of a new album, Post Pop Depression.

The album has been co-created with Josh Homme, and features his Queens Of The Stone Age bandmate and Dead Weather-man Dean Fertitia and Arctic Monkeys drummer Matt Helders.

“I wanted to be free,” explains Pop. “To be free, I needed to forget. To forget, I needed music. Josh had that in him, so I set out to provoke an encounter-first with a carefully worded text, followed by a deluge of writings all about me. No composer wants to write about nothing. He got revved up and we had a great big rumble in the desert USA.”

Scroll down to hear a track from the album, “Gardenia“.

The full tracklisting for Post Pop Depression is:

Break Into Your Heart
Gardenia
American Valhalla
In The Lobby
Sunday
Vulture
German Days
Chocolate Drops
Paraguay

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.

Some thoughts on the welcome return of Elizabeth Fraser

Michael Bonner
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Some thoughts on the welcome return of Elizabeth Fraser
After the chaos of the last few weeks, it’s gratifying to finally come across some good news. While not entirely unexpected, the return of Elizabeth Fraser is certainly welcome in a year that has so far amassed more than its fair share of dismal tidings. As far back as 2012, Fraser confirmed that ...

After the chaos of the last few weeks, it’s gratifying to finally come across some good news. While not entirely unexpected, the return of Elizabeth Fraser is certainly welcome in a year that has so far amassed more than its fair share of dismal tidings. As far back as 2012, Fraser confirmed that she had assembled an album’s worth of new material; but intriguingly her return to active service has taken a more unexpected form. In collaboration with her husband, Damon Reece, she had written the score for a new four-episode miniseries, The Nightmare Worlds Of H.G. Wells, which begins on Sky Arts on January 28. The score is Fraser’s most substantial work since the Cocteau Twins’ Milk And Kisses in 1996.

Fraser has spoken about her apparent reluctance to engage with music. In a rare interview with The Guardian in 2009, she spoke of her difficulties recalibrating after the break-up of the Cocteau Twins and her relationship with Robin Guthrie – “I’m swamped in feelings I can’t deny,” she told the Guardian in a rare interview in 2009. But reports of Fraser’s withdrawal from music have been greatly exaggerated. At this point, I’m reminded of the depiction of David Bowie as a JD Salinger-style recluse in the years between Reality and The Next Day – which seemed to ignore his busy workload of film and TV appearances, commercials or even a prolific and hands-on role curating a New York music and arts festival. Equally, Fraser has herself hardly been idle in the years since the Cocteau Twins’ split; but she has certainly chosen her projects meticulously.

Outside the Cocteau Twins, Fraser has become best known for her collaborations – the most successful, “Teardrop” with Massive Attack, was a Top 10 UK single. She also worked with Ian McCulloch, Future Sound Of London, Craig Armstrong (their track, “This Love”, is excellent), Michael Kamen, Peter Gabriel and Breton musician Yann Tierson. There have even been two singles: “Underwater” in 2000 and “Moses” in 2009.

On a larger scale, she added a touch of elfin magic to Howard Shore’s Lord Of The Rings scores, filling a role pitched somewhere between Enya and Annie Lennox. Yet the image persists of Fraser as an elusive and enigmatic presence – perhaps like Lorelei, Donimo or one of the other mysterious, illusory characters on the Cocteau’s album, Treasure. When Fraser took the stage for the first of two performances at London’s Meltdown festival in 2012, the cry that elicited the biggest cheer from the crowd was simply, “Where have you been?”

All the same, soundtracks seem to suit Fraser’s temperament. She can fulfill her creative impulses, but is subsumed within a bigger project; she is not required to step into the spotlight and perform – an aspect of being in a band she admitted she struggled with. Listening to part of the soundtrack in the trailer for the series below, it’s easy to see – perhaps erroneously – parallels between Fraser’s return to active service with The Nightmare Worlds Of H.G. Wells and Bowie’s decision to give a segment of “★” to another Sky original drama, The Last Panthers. Quite where Fraser’s return will go is anyone’s guess at this point – will there be a soundtrack album? or is this unrelated to the material she has amassed previously? – the fact that she’s making music again, and crucially allowing us to hear it, is simply enough for now.

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.

PJ Harvey announces details of new album, The Hope Six Demolition Project

Tom Pinnock
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PJ Harvey announces details of new album, The Hope Six Demolition Project
PJ Harvey has announced details of her new album, The Hope Six Demolition Project. The songwriter's ninth full-length album, the follow-up to 2011's Let England Shake, will be released on April 15th, 2016. The cover is pictured above. The Hope Six Demolition Project, recorded at London's Somerset ...

PJ Harvey has announced details of her new album, The Hope Six Demolition Project.

The songwriter’s ninth full-length album, the follow-up to 2011’s Let England Shake, will be released on April 15th, 2016. The cover is pictured above.

The Hope Six Demolition Project, recorded at London’s Somerset House under the gaze of the public, 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

Watch a trailer for the album by filmmaker Seamus Murphy.

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.

 

 

This month in Uncut

Tom Pinnock
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This month in Uncut
In the new issue of Uncut, we pay tribute to David Bowie with 19 pages on the great man, who of course passed away on January 10, two days after releasing his stunning new album, Blackstar. Inside the issue, many of his collaborators, including Carlos Alomar, Reeves Gabrels, Nile Rodgers, Mike Gars...

In the new issue of Uncut, we pay tribute to David Bowie with 19 pages on the great man, who of course passed away on January 10, two days after releasing his stunning new album, Blackstar.

Inside the issue, many of his collaborators, including Carlos Alomar, Reeves Gabrels, Nile Rodgers, Mike Garson, Ken Scott and Herbie Flowers, remember Bowie, while Uncut’s David Cavanagh pens a fascinating essay on his life and legacy.

“He wanted music that was on the cutting edge,” explains Let’s Dance producer Nile Rodgers, “that made people feel uncomfortable, but compelled then to listen.”

Also in our expansive Bowie piece, former Uncut editor Allan Jones remembers being sucked into a nasty tiff between Lou Reed and Bowie in April 1979: “The next thing I know, Lou is dragging Bowie across the table by his shirt and smacking him in the face…”

Also in the issue, Loretta Lynn looks back on her sparkling career, her wayward spouse, her legendary friends – from the Cash family to Jack White – and the spirits that surround her to this day.

Meanwhile, Uncut heads to Sunderland to meet the Prince-approved Field Music, and hear about their new album, Commontime, and the “ridiculous” nature of being in a band.

50 years on from Tim Hardin’s debut album, Uncut considers the singer-songwriter’s extraordinary music and harrowing life story. A tale of blood, arson, rooftop chases, Olympian drug abuse, bespoke carpentry and a deathless legacy of songs. “He was truly the wildest guy I’d ever met,” says one old friend. “It didn’t seem like anyone else’s rules of behaviour worked for him.”

Elsewhere in the new issue, The Pop Group take us through their intense, political 1979 single “We Are All Prostitutes”, and Mavis Staples – ahead of the release of her new album, Livin’ On A High Note – recalls the greatest records of her career, from The Staple Singers’ Freedom Highway to her Jeff Tweedy-produced You Are Not Alone.

Soundtrack composer and former Pop Will Eat Itself member Clint Mansell answers your questions, and Lucinda Williams outlines her life in music, while we meet new artists Floating Points and Cavern Of Anti-Matter, speak to Dave Davies about his onstage reunion with brother Ray to perform a Kinks classic, and talk to the returning Grant Lee Phillips, all in our front section.

Our albums section features reviews of new records from Animal Collective, Elton John, Steve Mason, Rokia Traoré and Rangda, and archive releases from Canterbury Scene pioneers The Wilde Flowers, Eric Clapton, This Heat and Bert Jansch.

We also review new DVDs about The Residents, Tubby Hayes, and The Last Panthers and Sicario, new films including Janis: Little Girl Blue, A Bigger Splash and Hitchcock/Truffaut, and books on Louisiana’s swampy musical heritage and Bowie’s Beckenham Arts Lab.

Our free CD, The Stars Are Out Tonight, features great new tracks from School Of Seven Bells, Rokia Traoré, Cavern Of Anti-Matter, Field Music, Freakwater, Josephine Foster, This Heat, The Wilde Flowers and Barry Adamson.

The new Uncut, dated March 2016, is out on Thursday, January 21.

Uncut: the spiritual home of great rock music.

Radiohead, LCD Soundsystem and PJ Harvey to headline Primavera Sound

Tom Pinnock
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Radiohead, LCD Soundsystem and PJ Harvey to headline Primavera Sound
Radiohead, LCD Soundsystem and PJ Harvey are just three of the acts confirmed to play at this summer's Primavera Sound. The festival takes place in Barcelona on June 2-4, 2016, and will feature Brian Wilson performing all of The Beach Boys' Pet Sounds. A host of other acts have also been announced...

Radiohead, LCD Soundsystem and PJ Harvey are just three of the acts confirmed to play at this summer’s Primavera Sound.

The festival takes place in Barcelona on June 2-4, 2016, and will feature Brian Wilson performing all of The Beach Boys’ Pet Sounds.

A host of other acts have also been announced on the bill, including Tame Impala, Animal Collective, Sigur Rós, Beach House, The Last Shadow Puppets, Savages, Air, Deerhunter, Ty Segall And The Muggers, Thee Oh Sees, John Carpenter and Explosions In The Sky.

Dinosaur Jr, Kamasi Washington, Beirut, Parquet Courts, Shellac, Floating Points and White Fence will also head to Barcelona for this year’s Primavera.

Watch the lineup announcement video below:

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 Big Short

Michael Bonner
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The Big Short
Towards the end of Adam McKay’s new film, two characters stand in the empty trading flood of Lehman Brothers bank following the 2008 crash. “What did you expect to find?” asks one. His colleague shrugs. “I don’t know. Grown-ups?” McKay’s adaptation of Michael Lewis’ book presents th...

Towards the end of Adam McKay’s new film, two characters stand in the empty trading flood of Lehman Brothers bank following the 2008 crash. “What did you expect to find?” asks one. His colleague shrugs. “I don’t know. Grown-ups?”

McKay’s adaptation of Michael Lewis’ book presents the subprime loan crisis as a screwball comedy, complete with to-camera asides. But perhaps the only same response to the loathsome skulduggery behind the 2008 financial crash is to laugh at it? Just as Martin Scorsese’s The Wolf Of Wall Street presented the career of disgraced Wall Street stockbroker Jordan Belfort as a hoot, so McKay pumps this particular round of despicable financial misconduct for all the laughs he can.

The Wolf Of Wall Street is a useful comparison. McKay brings a similar flexible narrative and free-wheeling style of filming to The Big Short – the flashbacks, freeze frames, jump cuts and multiple voiceovers familiar from many Scorsese films. All it needs is a montage sequence edited to “Gimme Shelter” to qualify for the Full Marty.

Unlike Belfort – whose crimes largely took place in the 80s – the subprime loan crisis is still a recent memory. How, then, do you make a scenario that left millions in America unemployed and homeless palpable to mainstream cinema audiences? McKay tries to overcome this by focusing on four characters who, while seeking to cash in on the crisis, qualify as outsider figures. His leads are two eccentric hedge fund managers –one-eyed Michael Burry (Christian Bale) and the Cartman-esque Mark Baum (Steve Carrell) – perma-tanned Deutsche Bank employee, Jared Vennett (Ryan Gosling), and a retired trader Ben Rickert (Brad Pitt).

Of the principals, only Baum and Vennett interact on screen. Burry is largely contained within the four walls of his office – a situation that suits his chilly, awkward character. Baum is McKay’s de facto lead: a ball of incandescent rage, routinely sent into paroxysms at the unfolding chicanery of the financial institutions. After Foxcatcher last year, Carrell continues to deliver solid dramatic work. Pitt’s Rickert – shuffling, disheveled and shapeless – recalls Philip Seymour Hoffman. Gosling seems to be playing a parody of himself.

McKay’s attempts to cover so much ground is not entirely successful. Cutting to Margot Robbie in a bath to explain subprime loans or Anthony Bourdain to in his kitchen to talk through Collateralized Debt Obligations are neat tricks, in keeping with the film’s skittish, exhilarating pace. But it becomes apparent that Burry, Baum and the rest are no better than the bankers themselves, regardless of how they are presented. The history of cinema is built on bad guys, from Tony Camote to Darth Vader; the difference is, unlike the banking community, they got their comeuppance.

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 Velvet Underground – The Complete Matrix Tapes

Andy Gill
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The Velvet Underground – The Complete Matrix Tapes
When The Velvet Underground played San Francisco’s intimate, musician-friendly club The Matrix in late November/early December 1969, things were changing both for the band and for the city’s music scene. The Velvets were no longer the raging wild beast they had been during John Cale’s tenure: ...

When The Velvet Underground played San Francisco’s intimate, musician-friendly club The Matrix in late November/early December 1969, things were changing both for the band and for the city’s music scene. The Velvets were no longer the raging wild beast they had been during John Cale’s tenure: a deliberate shift pop-wards had resulted in their third album, released earlier that year, surprising fans with its folksy understatement and uncharacteristically sentimental attitudes; and they were preparing material for another album, their first for Atlantic, hopefully following the new label’s demand for a record “loaded with hits”.

San Francisco’s music scene, meanwhile, was still registering the queasy aftershock of the Manson Family Murders down the coast in Los Angeles. Most bands had already left the city, escaping to Marin County to avoid the huge influx of panhandling hippies and rubbernecking gawkers into the Haight Ashbury district. And a distinct shift in musical style had been signalled by the colossal success that year of local band Creedence Clearwater Revival, whose short, snappy little songs had scored them a run of hits through 1969 that included “Proud Mary”, “Bad Moon Rising”, “Green River” and “Fortunate Son”. The Velvets might have been forgiven for thinking that their new, neatened-up, pop-conscious approach would chime nicely with the changing conditions: was it really that far, after all, from “Proud Mary” to “Sweet Jane”?

All the same, they opted to open their shows with the old warhorse “I’m Waiting For The Man”, an echo of their earlier, darker inclinations. “It’s going to be a very serious rock’n’roll set,” Lou Reed teased the audience amiably. “I don’t want any of you to enjoy yourselves frivolously, because it goes against national policy. This is a song written under the influence of dreams, and it’s about one man’s journey from uptown to downtown.” What follows is a very different version from the urgent, implacable motorik of the first Velvets album: a slow, languid affair sauntering past the 10-minute mark on the string-bending swoons of limpid guitars, while Reed affects the casual, laissez-faire cool of a nightclub crooner. It’s bizarrely devoid of impact, almost trance-like, as if the song has been strained through the aesthetic of the third album; and not for the first time during their shows at the venue, it’s greeted initially with stunned silence, followed by a desultory smattering of applause.

It’s a red herring, in a sense, as thereafter the shows develop an itchy momentum through nippy rockers like “What Goes On”, “There She Goes Again” and “We’re Gonna Have A Real Good Time Together”, built on Sterling Morrison’s frantic, choppy rhythm guitar, so feverish it almost trips over itself, and Mo Tucker’s forceful, take-no-prisoners snare shots. Reed’s guitar and Doug Yule’s organ, when called upon to solo, pursue small figures incessantly: compared to the expansive, freewheeling improvs the Matrix audience might be familiar with courtesy of such as the Dead and Quicksilver, the Velvets here are rudimentary and tight, disciplined rather than indulgent, and their performances hum with the new, minimalist aesthetic then developing a significant influence in New York art circles.

“I Can’t Stand It” is another itchy, rhythmic piece that finds the band in transition en route to Loaded, with Reed’s surreal, Dylanesque lines (“I live with thirteen dead cats/A purple dog that wears spats/They’re all living in the hall/And I can’t stand it any more”) offering few semantic clues. But there’s still room within the tight, itchy groove for Reed to essay an odd, modal guitar solo, through which his Ornette Coleman influence shines with a dark, confrontational gleam. You can sense the effect it’s having on the band’s chum Robert Quine, out in the crowd with his trusty cassette recorder, capturing it all for posterity. In a few years’ time, Quine will apply these lessons in his own “skronk” guitar stylings for Richard Hell & The Voidoids, and for Reed himself.

Sometimes, they try a bit too hard, as when Reed yelps as he launches into his solo in “Sweet Bonnie Brown/Too Much”, a pair of throwaway rockabilly-style songs featuring notably dull lyrics, about which his bandmates can barely hide the contempt in their desultory chorus responses. And two runs through “White Light/White Heat” are loose and raggedy, paradoxically rushed but stretched-out, the closest they come to losing their shape apart from the woefully wallowy “Ocean”, which features some of the world’s dullest organ soloing, and simply fails to command attention.

At other times, they are simply perverse, with a grim, antagonistic “Black Angel’s Death Song” all too accurately summarised by Reed’s smirking introduction: “This song we haven’t played in a really long time, because it used to empty clubs – as a matter of fact, when a club wanted to close for a while it would get in touch with us to play this song”. But overall, there’s a good balance throughout the sets between innocence and experience, fast and slow, benign and malign. The four versions of “Heroin” have a mesmerising, queasy grace, and the two lashes of “Venus In Furs” are stately, majestic, dark and velveteen, like a high-class hooker’s counterpane. The four versions of “Some Kinda Love” have a nodding, hypnotic momentum, with Reed again playing the worldly crooner; and there’s a lovely formal, faded glamour to “Pale Blue Eyes” that balances beautifully with the sweetness of the ensuing “After Hours”.

Substantial tranches of the Matrix Tapes have already appeared elsewhere, firstly in 1974 on the 1969: The Velvet Underground Live double album, and subsequently on 2001’s Bootleg Series Volume 1: The Quine Tapes. More recently, Matrix recordings comprised two of the six discs of the 45th Anniversary Super Deluxe Edition of the Velvets’ third album, including the 37-minute version of “Sister Ray” included here, which offers the clearest indication of how the band had changed since the departure of John Cale. Starting out slow and relaxed, speeding up, then dropping back and surging forward periodically, it grooves along like a standard jam session. But it’s a far more measured acceleration and development than on the 1967 Gymnasium live recording included on the White Light/White Heat 45th Anniversary Edition: there’s none of the original’s architectonic quality, that sense of musical plates shifting under forces beyond their control. Those days were well and truly gone – and soon, so would Lou Reed himself.

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 Bruce Springsteen cover The Eagles’ “Take It Easy”

Michael Bonner
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Watch Bruce Springsteen cover The Eagles’ “Take It Easy”
Bruce Springsteen paid tribute to Glenn Frey on Tuesday night [January 19, 2016] with a cover of The Eagles' "Take It Easy". Springsteen and The E Street Band were performing at the United Centre in Chicago on the current The River tour. He performed the song solo, bar an appearance half-way throu...

Bruce Springsteen paid tribute to Glenn Frey on Tuesday night [January 19, 2016] with a cover of The Eagles’ “Take It Easy”.

Springsteen and The E Street Band were performing at the United Centre in Chicago on the current The River tour.

He performed the song solo, bar an appearance half-way through by E Street Band violinist Soozie Tyrell. The Boss ended his cover by calling out Frey’s name to huge cheers.

Watch Bruce Springsteen cover “Take It Easy” below:

The River tour follows the release of The Ties That Bind: The River Collection, a four-CD/three-DVD package dedicated to his 1980 double album.

The remaining tour dates are:

January 24 & 27 – New York, NY @ Madison Square Garden
January 29 – Washington, DC @ Verizon Center
January 31 – Newark, NJ @ Prudential Center
February 2 – Toronto, ON @ Air Canada Centre
February 4 – Boston, MA @ TD Garden
February 8 – Albany, NY @ Times Union Center
February 10 – Hartford, CT @ XL Center
February 12 – Philadelphia, PA @ Wells Fargo Center
February 16 – Sunrise, FL @ BB&T Center
February 18 – Atlanta, GA @ Philips Arena
February 21 – Louisville, KY @ KFC Yum! Center
February 23 – Cleveland, OH @ Quicken Loans Arena
February 25 – Buffalo, NY @ First Niagara Center
February 27 – Rochester, NY @ Blue Cross Arena
February 29 – St Paul, MN @ Xcel Energy Center
March 3 – Milwaukee, WI @ BMO Harris Bradley Center
March 6 – St Louis, MO @ Chaifetz Arena
March 10 – Phoenix, AZ @ Talking Stick Resort Arena
March 13 – Oakland, CA @ Oracle Arena
March 15 & 17 – Los Angeles, CA @ Los Angeles Memorial Sports Arena

Springsteen had previously covered “Rebel Rebel” as a tribute to David Bowie: you can watch footage by clicking here.

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.

Underworld share new single, “I Exhale”

Michael Bonner
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Underworld share new single, “I Exhale”
Underworld have shared "I Exhale", their first single in six years. The song is the title track from their forthcoming album, Barbara Barbara, we face a shining future, which will be released on March 18, 2016. https://www.youtube.com/watch?v=z4nTRJuvDnM The tracklisting for the band's new album ...

Underworld have shared “I Exhale”, their first single in six years.

The song is the title track from their forthcoming album, Barbara Barbara, we face a shining future, which will be released on March 18, 2016.

The tracklisting for the band’s new album – their seventh – is:

I Exhale
If Rah
Low Burn
Santiago Cuatro
Motorhome
Ova Nova
Nylon Strung

The band have also announced details of a short short run of shows to support the album. They play:

Thu 17: Columbia Halle, Berlin, Germany
Fri 18: Maimarktclub, Mannheim, Germany
Thu 24: Roundhouse, London
Fri 25: Roundhouse, London
Mon 28: Oosterpoort, Groningen, Netherlands
Wed 30: Cirque Royal, Brussels, Belgium
Thu 31: Paradiso, Amsterdam, Netherlands

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 to play Fleetwood Mac tribute festival

Michael Bonner
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Joanna Newsom to play Fleetwood Mac tribute festival
Joanna Newsom, Alison Mosshart, Perry Farrell and Dhani Harrison are among the artists who are scheduled to play Fleetwood Mac Fest. The event has been put on by The Best Fest organisation, whose previous events have celebrated other artists including Neil Young, Bob Dylan, Tom Petty and the Rollin...

Joanna Newsom, Alison Mosshart, Perry Farrell and Dhani Harrison are among the artists who are scheduled to play Fleetwood Mac Fest.

The event has been put on by The Best Fest organisation, whose previous events have celebrated other artists including Neil Young, Bob Dylan, Tom Petty and the Rolling Stones.

It takes place on February 9-10 at the Fonda Theatre in Los Angeles. Pitchfork reports that proceeds from the event will go to Sweet Relief Musicians Fund and the Sweet Stuff Foundation.

Cold War Kids, Karen Elson and “surprise guests” will also perform.

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.

March 2016

Jo Weakley
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March 2016
This month in Uncut In the new issue of Uncut, we pay tribute to David Bowie with 19 pages on the great man, who of course passed away on January 10, two days after releasing his stunning new album, Blackstar. Inside the issue, many of his collaborators, including Carlos Alomar, Reeves Gabrels, Ni...

This month in Uncut

In the new issue of Uncut, we pay tribute to David Bowie with 19 pages on the great man, who of course passed away on January 10, two days after releasing his stunning new album, Blackstar.

Inside the issue, many of his collaborators, including Carlos Alomar, Reeves Gabrels, Nile Rodgers, Mike Garson, Ken Scott and Herbie Flowers, remember Bowie, while Uncut’s David Cavanagh pens a fascinating essay on his life and legacy.

“He wanted music that was on the cutting edge,” explains Let’s Dance producer Nile Rodgers, “that made people feel uncomfortable, but compelled then to listen.”

Also in our expansive Bowie piece, former Uncut editor Allan Jones remembers being sucked into a nasty tiff between Lou Reed and Bowie in April 1979: “The next thing I know, Lou is dragging Bowie across the table by his shirt and smacking him in the face…”

Also in the issue, Loretta Lynn looks back on her sparkling career, her wayward spouse, her legendary friends – from the Cash family to Jack White – and the spirits that surround her to this day.

Meanwhile, Uncut heads to Sunderland to meet the Prince-approved Field Music, and hear about their new album, Commontime, and the “ridiculous” nature of being in a band.

50 years on from Tim Hardin’s debut album, Uncut considers the singer-songwriter’s extraordinary music and harrowing life story. A tale of blood, arson, rooftop chases, Olympian drug abuse, bespoke carpentry and a deathless legacy of songs. “He was truly the wildest guy I’d ever met,” says one old friend. “It didn’t seem like anyone else’s rules of behaviour worked for him.”

Elsewhere in the new issue, The Pop Group take us through their intense, political 1979 single “We Are All Prostitutes”, and Mavis Staples – ahead of the release of her new album, Livin’ On A High Note – recalls the greatest records of her career, from The Staple Singers’ Freedom Highway to her Jeff Tweedy-produced You Are Not Alone.

Soundtrack composer and former Pop Will Eat Itself member Clint Mansell answers your questions, and Lucinda Williams outlines her life in music, while we meet new artists Floating Points and Cavern Of Anti-Matter, speak to Dave Davies about his onstage reunion with brother Ray to perform a Kinks classic, and talk to the returning Grant Lee Phillips, all in our front section.

Our albums section features reviews of new records from Animal Collective, Elton John, Steve Mason, Rokia Traoré and Rangda, and archive releases from Canterbury Scene pioneers The Wilde Flowers, Eric Clapton, This Heat and Bert Jansch.

We also review new DVDs about The Residents, Tubby Hayes, and The Last Panthers and Sicario, new films including Janis: Little Girl Blue, A Bigger Splash and Hitchcock/Truffaut, and books on Louisiana’s swampy musical heritage and Bowie’s Beckenham Arts Lab.

Our free CD, The Stars Are Out Tonight, features great new tracks from School Of Seven Bells, Rokia Traoré, Cavern Of Anti-Matter, Field Music, Freakwater, Josephine Foster, This Heat, The Wilde Flowers and Barry Adamson.

The new Uncut, dated March 2016, is out now or available to buy online.

Shaun Ryder volunteers at Manchester charity shop

Michael Bonner
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Shaun Ryder volunteers at Manchester charity shop
Shaun Ryder has spent time volunteering in the Chorlton, Manchester Oxfam store as part of the charity's Give A Shift campaign. The Oxfam campaign aims to encourage the public to volunteer, asking people to give time in aid of their fight against poverty, injustice and suffering. The Give A Shift c...

Shaun Ryder has spent time volunteering in the Chorlton, Manchester Oxfam store as part of the charity’s Give A Shift campaign.

The Oxfam campaign aims to encourage the public to volunteer, asking people to give time in aid of their fight against poverty, injustice and suffering. The Give A Shift campaign stretches to volunteering at festivals, and asks members of the public to give up time – from four hours a week – to help out in stores and other areas of the charity’s work.

Ryder explained why he appeared in the Manchester store, saying: “It’s terrible that in this day and age millions of people go to bed hungry and scared just because they are poor. It’s so unfair. If more people volunteered in Oxfam shops, the charity could help more people having a bad time and give them what they need for a better future. I think that’s worth giving up some of my free time for and I want other people to do the same too.”

There are more than 650 Oxfam stores throughout the UK, with more than 23,000 volunteers currently involved with the charity. The stores sell in excess of £6 million worth of music per year, with the charity running specialist music stores since 2001.

You can find more information about Oxfam by clicking here.

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.

David Bowie’s Bowie At The Beeb to be released as four-disc vinyl box set

Michael Bonner
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David Bowie’s Bowie At The Beeb to be released as four-disc vinyl box set
David Bowie's Bowie At The Beeb collection is to be released as a four-disc vinyl box set. It was previously released on CD in 2000. This is the debut of the Best Of David’s Bowie’s BBC radio sessions from 1968 – 1972 on vinyl. The set comes in a lift off lid box and features a full colour 20...

David Bowie‘s Bowie At The Beeb collection is to be released as a four-disc vinyl box set. It was previously released on CD in 2000.

This is the debut of the Best Of David’s Bowie’s BBC radio sessions from 1968 – 1972 on vinyl. The set comes in a lift off lid box and features a full colour 20 page booklet.

This vinyl version features “Oh! You Pretty Things” from a Sounds Of The 70’s: Bob Harris session broadcast in September 1971 which was previously exclusive to the Japanese release of the CD. This performance features just Bowie and Mick Ronson as a duo.

Completely exclusive to the set, and therefore making it’s debut, is the once lost “The Supermen” from Sounds Of The 70’s: Andy Ferris session broadcast in March, 1970 and performed by The Hype.

This recording was only re-discovered during the research for the original CD set and remained unreleased until now.

Meanwhile, Uncut’s special David Bowie issue goes on sale this Thursday – January 21; the deluxe Ultimate Music Guide is also back in shops

Bowiestwob180116

Tracklisting:

Record 1 Side 1:
In The Heat Of The Morning
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

London Bye, Ta-Ta
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

Karma Man
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

Silly Boy Blue
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

Let Me Sleep Beside You
David Bowie and Junior’s Eyes
Programme: D.L.T. Show (Dave Lee Travis Show)
Recorded: 20th October, 1969
Transmitted: 26th October, 1969
Produced by Paul Williams

Janine
David Bowie and Junior’s Eyes
Programme: D.L.T. Show (Dave Lee Travis Show)
Recorded: 20th October, 1969
Transmitted: 26th October, 1969
Produced by Paul Williams

Record 1 Side 2:
Amsterdam
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

God Knows I’m Good (3.38)
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

The Width Of A Circle
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

Unwashed And Somewhat Slightly Dazed
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

Record 2 Side 1:
Cygnet Committee
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

Memory Of A Free Festival
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

Wild Eyed Boy From Freecloud
David Bowie and The Hype
Programme: Sounds Of The 70’s: Andy Ferris
Recorded: 25th March, 1970
Transmitted: 6th April, 1970
Produced by Bernie Andrews

The Supermen
David Bowie and The Hype
Programme: Sounds Of The 70’s: Andy Ferris
Recorded: 25th March, 1970
Transmitted: 6th April, 1970
Produced by Bernie Andrews

Record 2 Side 2:
Bombers
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

Looking For A Friend
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

Almost Grown
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

Kooks
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

It Ain’t Easy
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

Record 3 Side 1:
The Supermen
David Bowie with Mick Ronson
Programme: Sounds Of The 70’s: Bob Harris
Recorded: 21st September, 1971
Transmitted: 4th October, 1971
Produced by John Muir

Oh! You Pretty Things
David Bowie with Mick Ronson
Programme: Sounds Of The 70’s: Bob Harris
Recorded: 21st September, 1971
Transmitted: 4th October, 1971
Produced by John Muir

Eight Line Poem
David Bowie with Mick Ronson
Programme: Sounds Of The 70’s: Bob Harris
Recorded: 21st September, 1971
Transmitted: 4th October, 1971
Produced by John Muir

Hang On To Yourself
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s
Recorded: 18th January, 1972
Transmitted: 7th February, 1972
Produced by Jeff Griffin

Ziggy Stardust
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s
Recorded: 18th January, 1972
Transmitted: 7th February, 1972
Produced by Jeff Griffin

Queen Bitch
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s
Recorded: 18th January, 1972
Transmitted: 7th February, 1972
Produced by Jeff Griffin

Record 3 Side 2:
Waiting For The Man
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s
Recorded: 18th January, 1972
Transmitted: 7th February, 1972
Produced by Jeff Griffin

Five Years
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s
Recorded: 18th January, 1972
Transmitted: 7th February, 1972
Produced by Jeff Griffin

White Light/White Heat
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: John Peel
Recorded: 16th May, 1972
Transmitted: 23rd May, 1972
Produced by Pete Ritzema

Moonage Daydream
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: John Peel
Recorded: 16th May, 1972
Transmitted: 23rd May, 1972
Produced by Pete Ritzema

Record 4 Side 1:
Hang On To Yourself
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: John Peel
Recorded: 16th May, 1972
Transmitted: 23rd May, 1972
Produced by Pete Ritzema

Suffragette City
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: John Peel
Recorded: 16th May, 1972
Transmitted: 23rd May, 1972
Produced by Pete Ritzema

Ziggy Stardust
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: John Peel
Recorded: 16th May, 1972
Transmitted: 23rd May, 1972
Produced by Pete Ritzema

Starman
David Bowie and The Spiders From Mars
Programme: Johnnie Walker Lunchtime Show
Recorded: 22nd May, 1972
Transmitted: 5th – 9th June, 1972
Produced by Roger Pusey

Space Oddity
David Bowie and The Spiders From Mars
Programme: Johnnie Walker Lunchtime Show
Recorded: 22nd May, 1972
Transmitted: 5th – 9th June, 1972
Produced by Roger Pusey

Record 4 Side 2:
Changes
David Bowie and The Spiders From Mars
Programme: Johnnie Walker Lunchtime Show
Recorded: 22nd May, 1972
Transmitted: 5th – 9th June, 1972
Produced by Roger Pusey

Oh! You Pretty Things
David Bowie and The Spiders From Mars
Programme: Johnnie Walker Lunchtime Show
Recorded: 22nd May, 1972
Transmitted: 5th – 9th June, 1972
Produced by Roger Pusey

Andy Warhol
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: Bob Harris
Recorded 23rd May, 1972
Transmitted: 19th June, 1972
Produced by Jeff Griffin

Lady Stardust
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: Bob Harris
Recorded 23rd May, 1972
Transmitted: 19th June, 1972
Produced by Jeff Griffin

Rock ‘n’ Roll Suicide
David Bowie and The Spiders From Mars
Programme: Sounds Of The 70’s: Bob Harris
Recorded 23rd May, 1972
Transmitted: 19th June, 1972
Produced by Jeff Griffin

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.

Hear Matthew E White and Natalie Prass’ new song, “Cool Out”

Michael Bonner
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Hear Matthew E White and Natalie Prass’ new song, “Cool Out”
Matthew E. White and Natalie Prass have teamed up for a new latest track, "Cool Out". The track was produced by DJ Harrison and White. You can hear it below. https://www.youtube.com/watch?v=VDifybOQxc0 You can read Uncut's review of White's last album Fresh Blood by clicking here. And you can re...

Matthew E. White and Natalie Prass have teamed up for a new latest track, “Cool Out“.

The track was produced by DJ Harrison and White. You can hear it below.

You can read Uncut’s review of White’s last album Fresh Blood by clicking here.

And you can read Uncut’s review of Prass’ self-titled debut by clicking here.

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.

PJ Harvey previews new single

Michael Bonner
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PJ Harvey previews new single
PJ Harvey has released a sneak preview of her forthcoming single. The track will air in full on BBC Radio 6 from 4pm GMT Thursday on Steve Lamacq's show. https://twitter.com/PJHarveyUK/status/689139648107556864 Harvey has already released a teaser trailer for her new album, which documents her jo...

PJ Harvey has released a sneak preview of her forthcoming single.

The track will air in full on BBC Radio 6 from 4pm GMT Thursday on Steve Lamacq‘s show.

Harvey has already released a teaser trailer for her new album, which documents her journeys to Kosovo, Afghanistan and Washington, D.C.

The album – as yet untitled – was recorded during her month long residency at Somerset House, Recording in Progress, in which audiences were given the opportunity to see Harvey at work with her band and producers in a purpose-built studio.

Harvey has announced additional festival dates for 2016.

She plays Norway’s Øya festival, which takes place at Tøyenparken, Oslo, between August 9 and 13.

She will also play Sweden’s Way Out West, which takes place in Slottsskogen Park, Gothenburg between Thursday August 11 and Saturday August 13.

It’s not yet been confirmed which specific days Harvey will play.

Harvey previously announed a headline slot at Field Day at London’s Victoria Park on June 12.

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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