The sleeve art for Bob Dylan's Bringing It All Back Home is the subject of a new documentary, which you can watch below.
The documentary has been made by PopSpots, who explore locations where interesting events in the history of Pop Culture took place; this new film anticipates the release of Dylan...
The sleeve art for Bob Dylan‘s Bringing It All Back Home is the subject of a new documentary, which you can watch below.
The documentary has been made by PopSpots, who explore locations where interesting events in the history of Pop Culture took place; this new film anticipates the release of Dylan’s upcoming The Cutting Edge 1965–1966: The Bootleg Series Vol. 12, which contains material from the album.
The documentary features an interview with photographer Daniel Kramer, who shot the sleeve at the house of Albert Grossman, Dylan’s manager.
Rolling Stone reports that this documentary will be followed by films focussing on the artwork for the other albums included in this latest installment of Dylan’s Bootleg series – Highway 61 Revisited and Blonde On Blonde.
The deluxe six-CD anthology The Cutting Edge 1965–1966: The Bootleg Series Vol. 12 – which can be pre-ordered from Amazon.co.uk by clicking here – will be released by Columbia Records/Legacy Recordings on November 6, and features previously unheard songs, outtakes, rehearsal tracks and alternate versions from the sessions. All the recordings have been mixed from the original studio tracking tapes. The set includes an annotated book featuring rare and previously unseen photographs, memorabilia and new essays written by Bill Flanagan and Sean Wilentz.
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Peter Buck has announced a new solo album, Warzone Earth.
The album will be released on vinyl on October 16 by Little Axe Records.
According to a report on Stereogum, guests on the album include Jeff Tweedy, Krist Novoselic, Scott McCaughey, Bill Rieflin, Kurt Bloch, Chris Slusarenko, Annalisa Tor...
Peter Buck has announced a new solo album, Warzone Earth.
The album will be released on vinyl on October 16 by Little Axe Records.
According to a report on Stereogum, guests on the album include Jeff Tweedy, Krist Novoselic, Scott McCaughey, Bill Rieflin, Kurt Bloch, Chris Slusarenko, Annalisa Tornfelt, Chloe Johnson and Kristin Tornfelt.
“I’ve just had an exciting couple of weeks working with Tucker Martine on the new record by The Jayhawks which is a stunning tour de force. I think it will blow a lot of minds. I spent yesterday with my good friend Mike, who came to town to add some Millsian glamour to the proceedings. And I am pleased to announce this morning my new magnum opus Warzone Earth is now available. The record features two alternate covers by the folk art legend Mingering Mike. I never thought I’d look so good in tights!
“All kidding aside, it’s the best solo record I have made, and I’m excited for it to be out in the world. It’s available through littleaxerecords.com who distributes the record. It should also be available in all the cool independent record stores in your neighborhood, once again, vinyl only, but feel free to make a cassette for your friends.”
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A vintage interview with Tom Waits has been animated by PBS as part of their ongoing Blank On Blank series.
The PBS’ Blank On Blank series has previously featured animated archival interviews with Joni Mitchell, Lou Reed, John Lennon and Yoko Ono, Elliott Smith and Jim Morrison.
The interview wi...
A vintage interview with Tom Waits has been animated by PBS as part of their ongoing Blank On Blank series.
The PBS’ Blank On Blank series has previously featured animated archival interviews with Joni Mitchell, Lou Reed, John Lennon and Yoko Ono, Elliott Smith and Jim Morrison.
The interview with Waits took place in 1988, around the release of his Big Time album. The interview was conducted for Melody Maker by Chris Roberts, a former Uncut writer.
In the interview, Waits discusses subjects ranging from Stonehenge to showbusiness and laughing at funerals.
“I’ve never been to Stonehenge,” he admits. “There are moles in Stonehenge… the most elaborate systems of mole catacombs is in Stonehenge. There are more moles at Stonehenge than there are anywhere in the world. In the community, they reward moles that have the courage to tunnel beneath great rivers, it takes an understanding of physics and engineering, that type of thing.”
On showbusiness, he said: “When I first got into show business, my stepfather bought me a wild shirt, which said more about what he thought show business was than what I thought it was. It was like this lime green shirt, with like seven different kinds of fabrics and textures on it, with wooden buttons, like a Hawaiian nightmare.
“He gave it to me, he was very serious when he gave it to me, it was like he was giving me a sword to go out into the world of show business, and ‘kill some dragons, pal, and bring us back the skins.’ And I looked at that shirt and I went ‘goddamn.’”
On laughing at funerals, Waits admitted, “I was always laughing in church. There’s nothing that makes me laugh more than being in the situation where you’re not supposed to laugh. Funerals. People crying. Breaking down. Telling you their life. I’m the worst. I’m the worst at that.”
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Budget supermarket chain Aldi have teamed up with Napster to launch their own music streaming service.
Music Week reports that users will have access to Napster's catalogue for €7.99 per month, €2 cheapper than Napster itself.
At the moment the service - Aldi Life Musik - is only available in ...
Budget supermarket chain Aldi have teamed up with Napster to launch their own music streaming service.
Music Week reports that users will have access to Napster’s catalogue for €7.99 per month, €2 cheapper than Napster itself.
At the moment the service – Aldi Life Musik – is only available in Aldi’s native Germany.
It’s not yet confirmed whether this service will be available in the UK.
The service will be available in apps for Android, iOS, Windows and desktops, and will include access to 4,000 radio stations as well as 10,000 audiobooks.
Recent statistics from Germany’s Federal Music Industry Association showed a 87 per cent increase in online streaming from the previous year. Streaming revenue now accounts for 12.8 per cent of all music sales in the country.
“Digital business is the driving force in the German market,” said Philip Ginthör, CEO Sony Music GSA. “The music industry will achieve sustainable growth if we continue to focus on investing in talent and fair digital revenue models.”
BVMI Managing Director Dr Florian Drücketold Billboard of the news, “The 87 percent increase in music streaming even exceeds the forecast contained in the streaming study we published back in March. With regard to current discussions about copyright amendments, it’s important we don’t forget that the digital licensing business needs reliable conditions to function effectively, and this requires involving creatives and their partners in the revenues generated by the platforms to the appropriate degree.”
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Jenny Lewis performed at the Trans-Pecos Music Festival of Music and Love in Marfa, Texas last week.
During the course of her set, Consequence Of Sound reports, she was joined by special guest, St Vincent's Annie Clark.
The pair performed a new Jenny Lewis song, “Girl On Girl” (with Clark on g...
Jenny Lewis performed at the Trans-Pecos Music Festival of Music and Love in Marfa, Texas last week.
During the course of her set, Consequence Of Sound reports, she was joined by special guest, St Vincent‘s Annie Clark.
The pair performed a new Jenny Lewis song, “Girl On Girl” (with Clark on guitar), while Clarke also played drums on “Just One of the Guys”, fromm Lewis’ album The Voyager and her own “Cheerleader”.
They also covered Deee-Lite’s “Groove Is in the Heart” with Austin-based musician, David Garza.
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Beck, Cat Power, Jakob Dylan and Fiona Apple are among the artists taking part in Echoes In The Canyon, a special event designed to mark the 50th anniversary of the birth of Southern Californian folk rock.
Pitchfork reports that Echoes In The Canyon will take place in Los Angeles' Orpheum Theatre o...
Beck, Cat Power, Jakob Dylan and Fiona Apple are among the artists taking part in Echoes In The Canyon, a special event designed to mark the 50th anniversary of the birth of Southern Californian folk rock.
Pitchfork reports that Echoes In The Canyon will take place in Los Angeles’ Orpheum Theatre on October 12.
The show will see contemporary artists covering songs by the Beach Boys, the Byrds, the Mamas & the Papas, the Turtles, the Association, Buffalo Springfield and more.
The concert will be followed by a covers album – which is due to be released next year – which will featuring the artists who will appear at the event.
Below, you can hear Cat Power and Jakob Dylan cover the Turtles’ “You Showed Me“, which was written by the Byrds’ Gene Clark and Roger McGuinn.
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At no point on Beach House’s last two albums, Teen Dream (2010) and Bloom (2012), do Victoria Legrand and Alex Scally overcomplicate matters – for instance, none of the songs require the services of a symphony orchestra or a guest appearance by the Mormon Tabernacle Choir.
And yet, as their pop...
At no point on Beach House’s last two albums, Teen Dream (2010) and Bloom (2012), do Victoria Legrand and Alex Scally overcomplicate matters – for instance, none of the songs require the services of a symphony orchestra or a guest appearance by the Mormon Tabernacle Choir.
And yet, as their popularity grew with those albums, the Baltimore duo sometimes seemed to struggle to preserve the feeling of intimacy that was so enchanting on their self-titled 2006 debut and its follow-up, 2008’s Devotion. Their beguiling, languid dream-pop, born out of wee-hours bedroom recording, by necessity swelled into something that was large enough to fill concert halls and festival fields; a journey that took Beach House and its music to “a place farther from our natural tendencies”, as the two have collectively admitted.
With fifth album Depression Cherry, then, they head back to square one, stripping away the layers of guitars, keyboards, effects and vocals that made up Bloom’s wall of sound. In their place comes simpler, sparer arrangements and a whole lot more room to breathe. On the album’s most spectral moments, Legrand doesn’t seem to sing the songs so much as exhale them. With its spoken intro and signature coo, the mesmerising “PPP” even evokes the narcoleptic girl-group pop of Phil Spector’s eeriest early hit, the Paris Sisters’ “I Love How You Love Me”.
Crucially, this simplification process has meant dusting off the drum machines that supplied the rudimentary rhythms on their early works. The songs on Depression Cherry are very much designed to be about everything but the beat, which is a good thing given the skeletal click-track-like template underpinning the songs. It might seem unlikely that this kind of no-frills structural support would be sufficient for something as sumptuous as “Beyond Love”, but it in fact enhances the song’s other parts. And since the percussive and rhythmic components get so much less emphasis than they do on the majority of contemporary music, the boldest songs gain their force from other elements, like Scally’s thicket of fuzz guitar in “Sparks” or the cascading keyboard notes in “Space Song”.
Of course, this sort of well-intentioned return-to-first-principles move is often stymied by the fact that it’s not so easy to forget all the lessons and habits that have been learned in the interim. Thankfully, it’s to Depression Cherry’s great advantage that Legrand and Scally are able to incorporate Bloom’s level of songwriting sophistication and strong understanding of dynamics into their original, sparser template. As a result, by reducing the scope and rediscovering the value of nuance, Beach House end up sounding bigger and better than ever before.
Nowhere is this clearer than in the songs that bookend the album. In “Levitation”, the looping swirls of guitar and endlessly sustained organ notes foster an intoxicating feeling of suspension. Yet whereas some of the duo’s other songs succumb to inertia, this one keeps surging forward. Legrand’s fragmentary lyrics ponder the fleeting nature of even our most ardent passions, yet as forlorn as her voice can sound, she once again emphasises the need to celebrate the moments at hand. “There is no right time,” she sings.
What with that carpe-diem attitude, a less sensitive group may very well have been tempted to enlist a children’s choir for “Days Of Candy”, a ghostly closer that suggests what The Beach Boys’ “Our Prayer” might have sounded like if Cocteau Twins had covered it on Treasure. Again, the canny arrangement of carefully selected elements – multi-tracked voices, plaintive piano notes, a guitar filigree and churchy organ chords – creates an unexpected grandeur. There’s also a feeling of delicacy, something that could have easily been overwhelmed had there been a conventional amount of low-end ballast. However chintzy it may initially seem, the Bontempi-style rhythm track is exactly what’s needed.
And, as Legrand murmurs in the song’s climactic stages, “Just like that, it’s gone.” Together with her Beach House partner, she’s always excelled at holding onto those temporary moments of transcendence and preserving them in amber. But rarely before have the pair achieved that with this much grace and finesse.
SLEEVENOTES
Recorded at: Studio In The Country in Bogalusa, Louisiana
Produced by: Victoria Legrand and Alex Scally with Chris Coady
Personnel: Victoria Legrand (vocals, keyboards, organ, piano), Alex Scally (guitars, bass, keyboards, organ, piano)
Q&A
Alex Scally
Why the decision to pare down the Beach House sound and get back to the drum machines?
It was a really natural process for us – it wasn’t necessarily so much about intellectual decisions. We were yearning to put a certain level of communication and depth into the music. Drums make everybody turn up and I think sometimes turning up leads to a certain feeling and that feeling is not necessarily the right feeling. Victoria and I can feel like we can’t be ourselves if there are drums in the room because it makes you sing hard and you don’t hear the subtlety of a guitar part – you have to play something simpler and clearer because there’s all this noise.
Were you also curious about what these rudimentary rhythm tracks would create?
Drums are such a complicated thing so this has been a huge thought for us. I was listening to the Sly And The Family Stone’s There’s A Riot Goin’ On. Funk and soul have always been rooted in the drums, but he was like, “I don’t want drums – I want this drum machine.” There’s this other thing that’s really mystical that the drum machine creates, and it’s all over that record.
So you weren’t necessarily trying to escape the tyranny of all that is big and beaty in modern music?
I definitely don’t think we are a reaction to anything today. But maybe it is because this weird sound of computer quantisation is so domineering. Everything gets made on this crazy grid so you feel that grid constantly when you hear music on the radio. Then again, I think that’s what people like now. I remember we were at this show a couple years ago and there was this band playing and it was all electronic – you could really feel that grid. The whole crowd was pulsing and excited. Then the next band was this rock band with just guitar and drums and it was all loose and baggy and human and everyone just sat down! I thought, “Damn, these are the times we’re in.”
INTERVIEW: JASON ANDERSON
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One band that have kept me pretty well sustained these past few years have been Baltimore's Arbouretum, along with frontman Dave Heumann's auxiliary projects like Human Bell and Coil Sea. Among a bunch of fine records being released in the next few weeks, there's "Here In The Deep", ostensibly Heuma...
One band that have kept me pretty well sustained these past few years have been Baltimore’s Arbouretum, along with frontman Dave Heumann’s auxiliary projects like Human Bell and Coil Sea. Among a bunch of fine records being released in the next few weeks, there’s “Here In The Deep”, ostensibly Heumann’s first solo album.
For all their heavy psychedelic groupthink, Arbouretum have often looked from a distance like a vehicle for Heumann’s own vision, and the correlation between
“Here In The Deep” and what has preceded it implicitly confirms as much. Arbouretum’s thicker drones are sometimes replaced by more dappled textures that privilege the folk-rock formalism that has long underpinned much of Heumann’s music, with the lovely “Ides Of Summer” chiming in a way reminiscent of REM’s “Green Grow The Rushes”.
An incantatory churn through the traditional “Greenwood Side”, though, would’ve sat neatly enough on Arbouretum’s last set, “Coming Out Of The Fog” (2013). And it’s fitting that the album pivots on a ruminative jam, “Ends Of The Earth”, on which Heumann, in elevated Richard Thompson-esque form, is joined by his regular bandmates.
Moving on, Brent Rademaker’s diligent preservation of a certain LA country-rock sound has seen him pilot some handy groups, notably The Beachwood Sparks. The typographically awkward GospelbeacH is Rademaker’s latest band, and one which stays true to the aesthetic that’s sustained him for around two decades. Gram love proliferates, then, along with a hint of early ’70s Grateful Dead – due, perhaps, to the presence of guitarist Neal Casal (away from the Chris Robinson Brotherhood, he composed interval music for the Dead’s recent farewell gigs).
Casal’s virtuosity also means that while GospelbeacH’s California good vibes may sometimes err on cheesiness, they avoid the indie spindliness of some Rademaker projects; the hectic “Nashville West”-style fluency of “Mick Jones” being an outstanding case in point.
I’ve been listening to a fair bit of drone of late, especially when I get into the office early. One favourite has been Byron Westbrook’s “Precipice”, on the Root Strata label, but I keep coming back to a tremendous new album on Important by New Orleans’ Duane Pitre. Pitre’s recent run of albums – “Feel Free” (2012), “Bridges” (2013) and now “Bayou Electric” – have pushed him discreetly to the forefront of contemporary drone music.
If that genre often seems chilly and academic, Pitre’s slow and graceful arcs have substantially more emotional heft. “Bayou Electric”, in particular, is earthed in place and memory, its sustained organ and string tones augmented by field recordings made on long-held family land in Louisiana, as massed crickets resonate down the generations. The obligatory Eno comparison would be to “Apollo: Atmospheres And Soundtracks”, but maybe think of this is an accidental adjunct to the “Ambient” series: not “Music For Airports”, but “Music For Bayous”.
Finally this week, nine heavenly face-offs between kora and cello. Over the past few years, the kora has found a home in western salons as well as world music festivals, its serene and rarefied tone given a classical gloss on albums like Toumani Diabaté’s “Mandé Variations”. Ballaké Sissoko and Vincent Segal’s artfully-titled “Chamber Music” (2009) exploited that connection, pitting the Malian kora master and French cellist in a series of agile duets. “Musique De Nuit” is a quietly ravishing follow-up, recorded in part on Sissoko’s Bamako rooftop; distant city hum can sometimes be detected beneath the pair’s refined jousting. Nimble takes on Malian party music (“Super Etoile”) are inventive additions. Mostly, though, an airy grace predominates, pitching the duo as baroque successors to the seminal Toumani Diabaté/Ali Farka Touré hook-up.
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The enduring image of Peter Cook and Dudley Moore comes from a 1965 sketch routinely trotted out for best of clips shows on TV. It’s the duo in an art gallery: “The sign of a good painting with their backs towards you is if the bottoms follow you around the room.” The sketch underscores the br...
The enduring image of Peter Cook and Dudley Moore comes from a 1965 sketch routinely trotted out for best of clips shows on TV. It’s the duo in an art gallery: “The sign of a good painting with their backs towards you is if the bottoms follow you around the room.” The sketch underscores the brilliance of Cook and Moore’s partnership. Upper-class versus working-class; tall versus short; deadpan versus clowning. But by the time they came to create Derek and Clive, almost a decade later, their careers were diverging. There were solo ventures (Cook’s short-lived chat show Where Do I Sit? and The Rise And Rise Of Michael Rimmer; Moore’s 30 Is a Dangerous Age, Cynthia); while Cook’s alcoholism was beginning to nag at their relationship.
At first, Derek (Moore) and Clive (Cook) gave the two men a chance to let off steam in an informal environment. Between performances of their 1973 Broadway revue Beyond The Fridge, they convened at Bell Sound Studios, the Bottom Line in Greenwich Village and with engineer Eddie Kramer at Electric Lady studios on Chris Blackwell’s ticket. Essentially an update of their Pete and Dud characters, Derek and Clive bypassed the wit of their early collaborations in favour of lots of swearing.
Released between 1976 and 1978, the three Derek and Clive studio albums – included here with a ‘greatest hits’ set and a disc of rarities – map the degeneration of Cook and Moore’s professional relationship. It begins as sweary bants between pals over drinks – subjects include retrieving lobsters from Jayne Manfield’s rectum, Winston Churchill’s phlegm, masturbation, sodomy and cottaging. Jokes pivot round Moore’s delivery of the phrase “willy winkie wanky” or hearing Cook tell a yarn involving a “fucking gorilla fucking the arse off my fucking wife”. Blackwell circulated the tapes among his industry pals, engendering a formal release three years later. The Director of Public Prosecution rejected complaints from four police forces who wanted the comics prosecuted for obscenity. Buoyed by the controversy, Cook’s biographer Harry Thompson notes …(Live) sold 100,000 copies.
After the success of …(Live), Cook and Moore were offered a new film project, The Hound Of The Baskervilles, directed by Warhol protégé Paul Morrissey. The film failed; and the pair’s subsequent records develop an increasingly sour tone as they turn their frustrations inward towards each other. As Cook wryly admitted, Come Again is “a stream of obscenities about unpleasant subjects”. Released in 1977 on Virgin, …Come Again outflanked punk in its capacity to shock. Take, for instance, Cook serenading Moore with “My old man’s a dustman, he’s got cancer too/Silly fucking arsehole, he’s got it up the flue”, knowing that his partner had recently lost his own father due to the disease. Elsewhere, Moore considers raping the victims of road traffic accidents and later discusses cutting out his wife’s hymen with an electric carving knife.
Recorded in September 1978, just as Moore’s film career was beginning to take off (10 was barely a year away), Ad Nauseam is even further out there. In one sketch, Cook talks about repeatedly kicking his wife in the vagina. Later, he discusses masturbating over images of the late Pope; another sketch is simply called “Rape, Death And Paralysis”. At one point during the film of the Ad Nauseam sessions, Derek & Clive Get The Horn, Cook’s vitriol becomes unbearable – “Your mother thinks very simply that you’re a cunt” – and Moore temporarily walks out. It is Let It Be without the tunes.
https://www.youtube.com/watch?v=17-IDPQEqaw
Critically, while …(Live) was never intended to be heard in public, both …Come Again and Ad Nauseam were recorded for commercial release. As much as it’s possible to interpet the first record as simply the two men gamely trying to out-gross each other as much as possible, the second and third Derek and Clive records are remarkable for their sustained levels of cruelty: the awful misanthropic bleakness of the thing. They are comedy records that aren’t funny, principally. But what they reveal of the bizarre, unraveling relationship between the two comedians is fascinating; and at the very least means they shouldn’t be overlooked.
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Brian Eno delivered this year's John Peel lecture last night [September 27], speaking at length on the subject of "the ecology of culture."
Eno's speech can be heard via BBC 6Music by clicking here.
The inaugural lecture was given by Pete Townshend in 2011, with Billy Bragg, Iggy Pop and Charlotte...
Brian Eno delivered this year’s John Peel lecture last night [September 27], speaking at length on the subject of “the ecology of culture.”
The inaugural lecture was given by Pete Townshend in 2011, with Billy Bragg, Iggy Pop and Charlotte Church following in subsequent years.
Prior to the talk, the BBC claimed Eno would “show how cultural processes confer essential and important benefits on society”.
Eno has previously said that Peel “had a profound effect on my musical life and indeed my becoming a musician at all”. He added: “His career as a non-musician who altered the course of music has been an inspiration to me and forms the basis of this talk.”
Eno’s lecture took place during the Radio Academy’s Radio Festival at the British Library in London. The speech was broadcast on both BBC 6 Music and BBC Four.
During his speech, The Guardian reports that Eno said art and culture offered “a safe place for you to have quite extreme and rather dangerous feelings”. He said the reason people embraced it was because they knew they could “switch if off”, so art had a role as a “simulator” in people’s lives.
Eno said: “I think we need to rethink how we talk about culture, rethink what we think it does for us, and what it actually is. We have a complete confusion about that. It’s very interesting.”
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Spacemen 3's track "Big City (Everybody I Know Can be Found Here)" appeared in The Simpsons.
The Wall Street Journal reports that the song was used to soundtrack a trip sequence.
In the epsiode - the first in the show's 27th season, which aired in America last night [September 27] - Homer and Marg...
Spacemen 3‘s track “Big City (Everybody I Know Can be Found Here)” appeared in The Simpsons.
The Wall Street Journal reports that the song was used to soundtrack a trip sequence.
In the epsiode – the first in the show’s 27th season, which aired in America last night [September 27] – Homer and Marge go through a trial separation, with Homer finding a new love interest in Candace, a pharmacist voiced by Girls’ star, Lena Dunham.
Halfway through the episode, Candice and Homer mix alcohol with prescription drugs, leading to Homer’s mind-altering experience.
“Everything they take is a prescription drug but not used in the way it’s supposed to,” says “Simpsons” showrunner Al Jean. “[The song] seemed really appropriate.”
According to the band’s Sonic Boom [aka Pete Kember], requests for Spacemen 3 tunes come in fairly steadily, but are frequently turned down.
“When I saw the script I was psyched,” Kember told WSJ. “I couldn’t imagine a sweeter use of that track in this context, and particularly in context of a “trip” scene. [That is] something that’s usually for me a high point of The Simpsons oeuvre. I imagine it is what people in bands secretly, or openly, dream of. Animation is so useful for these sort of stretches of reality.”
The song was chosen by writer J. Stewart Burns. “I would’ve expected this to at some point in the rewriting process somebody would have said “Oh what’s this song?,’” he told the WSJ. “There are safer choices. I was a little surprised that no one ever yanked this one.”
https://www.youtube.com/watch?v=tMqpxHY2nFs
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Pere Ubu co-founder Peter Laughner died of chronic pancreatitis, brought on by alcoholism, on June 22, 1977. The golden boy of the fertile Cleveland underground was 24. The response from the band’s lynchpin, David Thomas, who had parted ways with the charismatic Creem magazine stringer a year earl...
Pere Ubu co-founder Peter Laughner died of chronic pancreatitis, brought on by alcoholism, on June 22, 1977. The golden boy of the fertile Cleveland underground was 24. The response from the band’s lynchpin, David Thomas, who had parted ways with the charismatic Creem magazine stringer a year earlier, has lost none of its myth-shattering force.
“What a world, what a world, what a big world, but a world to be drowned in,” he burbles atonally on “Humor Me“, eyeballs rolling at his old cohort’s dumb determination to become the first terminal Lou Reed wannabe. Morose resignation gives way to uncomprehending, sardonic fury. “It’s just a joke, man.”
Laughner’s early demise, and the negative energy generated by the two frighteningly precocious singles he helped Thomas to create – 1975’s double-A-side kamikaze raid “30 Seconds Over Tokyo”/”Heart Of Darkness” and 1976’s Oedipal hate binge “Final Solution” – felt-tipped dark shadows over everything the band created. This superbly retooled box, compiling Ubu’s independent singles, their first two albums proper, and a 1978 New York live set – tells a different and more inspiring story.
Middle-class aesthetes, itching to make the next post-Velvet Underground leap forward, Pere Ubu’s combination of gut-chugging post-Stooges rock and electronic noises evolved from a now-legendary non-starter band, Rocket From The Tombs, who essentially split in two. Cheetah Chrome and Johnny Mandansky left for New York to found punk schlockers the Dead Boys, while Thomas and Laughner stayed in Cleveland, bent on something more idiosyncratic.
The seven-inches they self-released on Thomas’ Hearpen label and 1978’s The Modern Dance created a dirty-bomb formula; a chassis of Nuggets garage rock, plastered with horn honks and machine chatter generated by their in-house Delia Derbyshire, future airline pilot Allen Ravenstine. That first album, however, marked the point when they sweated the filth from Ohio’s industrial cooling towers out of their systems; street-walking cheetahs on “Street Waves” and “Non-Alignment Pact”, free-forming spook noise mavens on “Sentimental Journey” and “Chinese Radiation”. Dark, daunting and peppered with Thomas’ tone-deaf-cockatoo vocals, it is a soundtrack to alienation, but with closing track “Humor Me” – a clear-headed rejection of rock’s dumbest conventions – the slate was wiped clean.
Album number two, released barely nine months later, sounds not so much like the work of another band as another species. “I’ve got these arms and legs that flip flop flip flop,” chirrups Thomas, marvelling at the wonder of existence as he dad-dances his way through Dub Housing‘s opening track, “Navvy”. Wonders rarely cease thereafter.
Smash martians gatecrash a beach party on “On The Surface”, while the title track splices Patti Smith’s “Land” with Roxy Music’s “For Your Pleasure”, Thomas’ narration a further warping of normality. “Hear the sound of the jibberty jungle,” he cries in mock terror. “In the dark, a thousand insect voices chitter-chatter.”
It gets odder still; Thomas reckons Pere Ubu were not crazy dub-heads – the album title was an in-joke about terraced properties on the road in to Baltimore – but “Thriller!” uses every trick in the Lee Perry book and more, all its moving parts slightly out of whack, Tom Herman‘s tiki guitar doodles giving way to a monstrous crunching sound, caterpillars chewing on eardrums.
The seasick feeling returns on “Drinking Wine Spodyody” – title lifted cheekily from a 1947 jump-blues novelty – and “(Pa) Ubu Dance Party”, Thomas gleefully talking through his creative processes: “I went out and stirred the air, my soup was steeped in strange ideas.” Few could have been more uncanny than “Blow Daddy-O”‘s mad juxtaposition of feedback, scampering phased guitar and lumbering aircraft engine noise. And then there’s “Codex”, a song about obsessive love that simultaneously mocks the concept of obsessive love and the concept of songs. “I think about you all the time,” Thomas repeats over a somnambulant forced march – a broken version of “The Song Of The Volga Boatmen” or a chain-gang approximation of Snow White’s “Heigh-Ho”.
“We had been promised the end of the world as children, and we weren’t getting it,” wrote Laughner’s ex-wife Charlotte Pressler, explaining her contemporaries’ dystopic worldview in a 1978 Cleveland scene memoir. Elitism For The People documents Pere Ubu creating their own private musical apocalypse, and then forging on to start the world anew. Not a world to be drowned in, but one to treasure.
Q&A
David Thomas
You have said that Pere Ubu fixed rock in this period: how did you think it was broken?
Rock gets broken when it loses its forward drive. When Pere Ubu formed, there were lots of local bands playing the main rock venues who could do covers of Spirit just perfect, and we just thought there was more to it than this. We despaired at the ordinariness of it.
Putting out your own record in 1975 was fairly unusual: what drove that decision?
Rocket From the Tombs ended very badly in the summer of ’75. I wasn’t going to mess with a band anymore – I just wanted to leave something behind. My ambition was to have a record in one of those Salvation Army record bins which somebody could come across in ten years’ time and say: ‘Wow, there was this band in 1975 in Cleveland…’.
Do you feel that you had any genuine peers musically outside Cleveland?
Peter loved Television. Did we see them as peers? I don’t know – I always see everybody as a rival. We were very much aware of what they were doing – but we were also aware of what other people were doing, in Indiana, San Francisco… One of the reasons that I despaired of the punk phenomenon was that it wiped out a whole generation of emerging bands. Punk was the new paradigm. It was the easy thing to copy. In a lot of ways the really great lasting bands from the early ’70s like Television, Pere Ubu, the Residents and Talking Heads were all pre-punk.
INTERVIEW: JIM WIRTH
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Lush have announced details of their first live show in almost twenty years, playing London’s Roundhouse on Friday, May 6, 2016.
Tickets for the show go on sale on Wednesday 30th September 2015 at 9am via www.alt-tickets.co.uk/lush-tickets and are priced at £27.50.
More live dates are expected ...
Lush have announced details of their first live show in almost twenty years, playing London’s Roundhouse on Friday, May 6, 2016.
Tickets for the show go on sale on Wednesday 30th September 2015 at 9am via www.alt-tickets.co.uk/lush-tickets and are priced at £27.50.
More live dates are expected to be announced soon.
The band last played live in Tokyo in September 1996.
“The opportunities and practicalities of reforming Lush meant that for 20 years it was an impossible undertaking,” explained vocalist/guitarist Miki Berenyi. “But we all loved what we did, and the time is finally right for us to do it again.”
The band’s UK label, 4AD, are also releasing a vinyl reissue of Lush’s ‘best of’ compilation Ciao! in November, followed by a limited edition box set titled Chorus at the beginning of December.
The box is a five-disc set, comprising the early compilation Gala (1990), the three studio albums Spooky (1992), Split (1994) and Lovelife (1996) and the B-sides collection Topolino (the Canadian version, also 1996), plus B-sides, radio sessions, remixes and demos, some previously unreleased. The artwork is by Chris Bigg.
The line-up for forthcoming live shows is Berenyi, vocalist/guitarist Emma Anderson, bassist Phil King and Justin Welch, formerly of Elastica.
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Few things to highlight this week, not least a mighty Neil Young live set in which he dusts down "Alabama" for the first time (I'm reliably informed; thanks, Mark) in over 40 years. Please have a listen, too, to the Grand Rapids jam, Patrick Higgins, Nadia Reid and Lubomyr Melnyk. Also, I have nothi...
Few things to highlight this week, not least a mighty Neil Young live set in which he dusts down “Alabama” for the first time (I’m reliably informed; thanks, Mark) in over 40 years. Please have a listen, too, to the Grand Rapids jam, Patrick Higgins, Nadia Reid and Lubomyr Melnyk. Also, I have nothing whatsoever of interest to say about the Ryan Adams album.
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1 Duane Pitre – Bayou Electric (Important)
2 Byron Westbrook – Precipice (Root Strata)
3 Neil Young & The Promise Of The Real – Live At Farm Aid
4 Elle Osborne – It’s Not Your Gold Shall Me Entice (House)
5 Ryan Adams – 1989 (Columbia)
6 Kelley Stoltz – In Triangle Time (Castle Face)
7 Kohoutek – Curious Aroma (MIE Music)
8 3 Jeffrey Lewis & Los Bolts – Manhattan (Rough Trade)
9 Floating Points – Elaenia (Pluto)
10 Grand Banks – Live 9-16-2015 (https://grand-banks.bandcamp.com/album/grand-banks-live-9-16-2015)
11 Glenn Mercer – Incidental Hum (Bar None)
12 Patrick Higgins – Bachanalia (Telegraph Harp)
13 Nadia Reid – Listen To Formation, Look For The Signs (Scissor Tail/Spunk)
14 Van Morrison – Astral Weeks (Rhino)
15 Kurt Stenzel – Jodorowsky’s Dune: Motion Picture Soundtrack (Light In The Attic)
16 Tortoise – Djed/Cliff Dweller Society (Duophonic)
17 Bill MacKay & Ryley Walker – Land Of Plenty (Whistler)
18 Bill Ryder-Jones – West Kirby County Primary (Domino)
19 The Wainwright Sisters – Songs In The Dark (PIAS)
20 Sexwitch – Sexwitch (Echo)
21 Weyes Blood – Cardamom Times (Mexican Summer)
22 Bing & Ruth – City Lake (RVNG INTL)
23 The Chills – Silver Bullet (Fire)
24 The Necks – Vertigo (ReR/Northern Spy)
25 King Gizzard & The Lizard Wizard – Paper Mâché Dream Balloon (Heavenly)
26 Six Organs Of Admittance – Hexadic II (Drag City)
27 Lubomyr Melnyk – Rivers and Streams (Erased Tapes)
Since self-releasing their 1978 debut, Just Another Band From East LA, Los Lobos have operated outside the mainstream, making consistently brilliant LPs on limited resources. Drummer Louie Pérez, singer/guitarists David Hidalgo and César Rosas, and bass player Conrad Lozano formed the band soon af...
Since self-releasing their 1978 debut, Just Another Band From East LA, Los Lobos have operated outside the mainstream, making consistently brilliant LPs on limited resources. Drummer Louie Pérez, singer/guitarists David Hidalgo and César Rosas, and bass player Conrad Lozano formed the band soon after graduating from Garfield High School in 1973, stirring together trad Mexican music, rock’n’roll, blues, R’n’B, country, folk and Tex-Mex, eventually rising to the exalted status of Great American Band. Lobos reminded audiences of their greatness while touring the US and Europe this summer with Neil Young & Crazy Horse. “It’s a great match – two bands who love to play real raw rock’n’roll, says Hidalgo. “It’s a real honour and treat to get to play with our friends and musical compadres.” From Uncut’s September 2013 issue (Take 196).
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LOS LOBOS …AND A TIME TO DANCE SLASH, 1983
Los Lobos’ seven-track Slash Records debut formed their blueprint with its mix of originals, a Mexican folk song and a Ritchie Valens cover.
DAVID HIDALGO: When the Lobos started, we were learning Mexican folk. It was like looking for the blues; we were trying to find our roots. We grew up with Mexican music all around, but we didn’t pay attention. When we tried to play it, it opened the door to our own culture. The EP was pretty much what we were playing live and our first attempt at writing for the band.
STEVE BERLIN (saxophonist/producer): I was a member of the Blasters, who were in the process of falling apart, so I threw myself into being around Lobos as much as possible, which wasn’t hard to do since they were playing so much, not only all over town in the clubs but also their neighborhood thing, where they’d play for weddings, quinceañeras, political rallies. I was also hangin’ around Slash and bugging [label head] Bob Biggs to sign Los Lobos, which he did, although he didn’t think there was anything there. The deal was, I was gonna produce them and, as I had produced hardly anything, Biggs said, “Why don’t we get T Bone [Burnett] in?” We cut the EP in less than two weeks. Since Biggs had signed them just to get his friends off his back, we just wanted to get it out and see what happened. We wound up winning a Grammy, and somewhere in there, I ceased being a Blaster and became a Lobo.
________________________
LOS LOBOS HOW WILL THE WOLF SURVIVE? SLASH/WARNER BROS, 1984
The band’s first widely heard record puts them on the map. They tied for ‘artist of the year’ with Springsteen in the Rolling Stone critics’ poll.
HIDALGO: After the EP came out, we realised that somebody’s listening, so we should have something to say, and “Matter Of Time” was the first commentary about our situation.
BERLIN: We had risen up the food chain, and Slash had been subsumed by Warners, so this time we weren’t trying to sneak in the back door any more – we were making a real record. One day in rehearsal, Dave came in and started playing the chords of “Will The Wolf Survive?”, and I thought to myself, ‘This song changes everything’, and it did. It was the first time we’d assimilated all our stuff and created something that was quintessentially us. It was an epiphany.
HIDALGO: The way “Will The Wolf Survive?” came about was, Dave Alvin [of the Blasters] said, “You guys need an anthem,” and I took it to heart. We were flippin’ through a National Geographic and it had a wolf running across a frozen lake. The next story showed this old farm hand sitting by the side of the road. We put the last verse together about the punk rockers, because the punk scene blew it wide open for the roots-rock movement. That was our in, because we were playing Mexican folk music and started mixing up Tex-Mex with rock’n’roll.
______________________
LOS LOBOS KIKO SLASH/WARNER BROS, 1992
https://www.youtube.com/watch?v=QPoXM4LFZsc
The title song from Taylor Hackford’s 1987 Valens biopic La Bamba vaulted Lobos to No 1, but the next few years proved to be a dispiriting slog. Figuring they had nothing to lose, Hidalgo and Pérez let their imaginations run wild. Cue dreamlike excursions (“Dream In Blue”), hardscrabble narratives (“Short Side Of Nothing”), and fiery blues-rock (“Whiskey Trail”).
HIDALGO: Sometimes the most painful stuff you go through results in your best work.
BERLIN: This was post-“La Bamba”, La Pistola Y El Corazón [1988] and The Neighborhood [1990], which was really hard to make and took forever. We came home from the tour that followed The Neighborhood broke, frustrated and pissed off. So we licked our wounds for a while, and when it came time to think about the next record, it was a tough time because we’d wasted so much money. We figured we had nothin’ to lose – we were just gonna do what we wanted and not listen to anybody. We cut about six demos, and me, Louie and Dave went over to Warners to play them for [label president] Lenny Waronker. He loved them and gave us the green light – every one of those demos wound up on the album – but he wanted us to work with Mitchell [Froom] again.
HIDALGO: Mitchell had produced the single of “La Bamba” and “Angel Dance” on The Neighborhood, so we were friends, and he brought in [engineer] Tchad [Blake]. We had a few things started when we got back to the studio, and I remember saying, “Man, some backwards guitar would sound good on this.” Tchad flips the tape and says, “Go ahead, try it.” “Just like that? It’s that easy? Wow.” That’s when I discovered you can have fun in the studio. Before that, it was always a pain. Louie and I had a few ideas, and we took them in, and we’d just go in and try to capture that first impression. So that was a big step for us, and we learnt a whole lot. It was a great time. Thank God the material was comin’. When it’s time to do an album and you try to put material together, you don’t know what you’re gonna come up with, and sometimes you get lucky.
BERLIN: A lot of the sound of that record was us not knowing the songs at all – it was the spark and the heart and the sound of searching. Pete Thomas played drums, and he was really key to the process as well. He was so inventive and always wanted to try crazy shit. Everybody who was involved in that record was pulling on the same side of the rope. It was an extraordinary experience – every initial idea sounded magical.
LOUIE PEREZ: With Kiko, there was just something going on that was otherworldly while it was happening; we just watched it twist and turn and float around in front of us.
Columbia Records have announced details of Bob Dylan's The Cutting Edge 1965-1966: The Bootleg Series Nov. 12. The deluxe six-CD anthology will be released by Columbia Records/Legacy Recordings on November 6, and features previously unheard songs, outtakes, rehearsal tracks and alternate versions fr...
Columbia Records have announced details of Bob Dylan‘s The Cutting Edge 1965-1966: The Bootleg Series Nov. 12. The deluxe six-CD anthology will be released by Columbia Records/Legacy Recordings on November 6, and features previously unheard songs, outtakes, rehearsal tracks and alternate versions from the sessions for Bringing It all Back Home, Highway 61 Revisited and Blonde On Blonde. All the recordings have been mixed from the original studio tracking tapes. The set includes an annotated book featuring rare and previously unseen photographs, memorabilia and new essays written by Bill Flanagan and Sean Wilentz.
An “ultra deluxe”18-CD edition (available exclusively through BobDylan.com) includes every note recorded in the studio during the sessions. It will be limited to 5,000 copies worldwide, and has been mixed from the original studio tracking tapes, eliminating vestiges of the 1960s studio processing. Dylan’s original nine mono 45 RPM singles from the period are also included, packaged in newly created picture sleeves, along with rare hotel room recordings from London’s Savoy Hotel (May 4, 1965), the North British Station Hotel in Glasgow (May 13, 1966) and a Denver, Colorado hotel (March 12, 1966) as well as a strip of original film cels from Don’t Look Back.
Meanwhile a condensed version of the set will be released as The Best Of The Cutting Edge 1965-1966, in 2-CD and 3-LP sets.
Explore the tracklist for the release below, and watch The Story Behind The Cutting Edge.
The Best of The Cutting Edge 1965-1966: The Bootleg Series Vol. 12
DISC 1
Love Minus Zero/No Limit – Take 2 (1/13/1965) acoustic
I’ll Keep It with Mine – Take 1 (1/13/1965) piano demo
Bob Dylan’s 115th Dream – Take 2 (1/13/1965) solo acoustic
She Belongs to Me – Take 1 (1/13/1965) solo acoustic
Subterranean Homesick Blues – Take 1 (1/14/1965) alternate take
Outlaw Blues – Take 2 (1/13/1965) alternate take
On the Road Again – Take 4 (1/14/1965) alternate take
Farewell, Angelina – Take 1 (1/13/1965) solo acoustic
If You Gotta Go, Go Now – Take 2 (1/15/1965) alternate take
You Don’t Have to Do That – Take 1 (1/13/1965) solo acoustic
California – Take 1 (1/13/1965) solo acoustic
Mr. Tambourine Man – Take 3 (1/15/1965) with band, incomplete
It Takes a Lot to Laugh, It Takes a Train to Cry – Take 8 (6/15/1965) alternate take
Like a Rolling Stone – Take 5 (6/15/1965) rehearsal
Like a Rolling Stone – Take 11 (6/16/1965) alternate take
Sitting on a Barbed Wire Fence – Take 2 (6/15/1965) unreleased take
Medicine Sunday – Take 1 (10/5/1965) early version of Temporary Like Achilles
Desolation Row – Take 2 (8/4/1965) piano demo
Desolation Row – Take 1 (8/4/1965) alternate take
DISC 2
Tombstone Blues – Take 1 (7/29/1965) alternate take
Positively 4th Street – Take 5 (7/29/1965) alternate take
Can You Please Crawl Out Your Window – Take 1 (7/30/1965) alternate take
Just Like Tom Thumb’s Blues – Take 3 (8/2/1965) rehearsal
Highway 61 Revisited – Take 3 (8/2/1965) alternate take
Queen Jane Approximately – Take 5 (8/2/1965) alternate take
Visions of Johanna – Take 5 (11/30/1965) rehearsal
She’s Your Lover Now – Take 6 (1/21/1966) rehearsal
Lunatic Princess – Take 1 (1/27/1966)
Leopard-Skin Pill-Box Hat – Take 8 (2/14/1966) alternate take
One of Us Must Know (Sooner or Later) – Take 19 (1/25/1966) alternate take
Stuck Inside of Mobile with the Memphis Blues Again – Take 13 (2/17/1966) alternate take
Absolutely Sweet Marie – Take 1 (3/7/1966) alternate take
Just Like a Woman – Take 4 (3/8/1966) alternate take
Pledging My Time – Take 1 (3/8/1966) alternate take
I Want You – Take 4 (3/10/1966) alternate take
Highway 61 Revisited – Take 7 (8/2/1965) false start
All tracks previously unreleased except Disc 1, track 2, Biograph; Disc 1, track 8, The Bootleg Series, Volume 1-3.
The Cutting Edge 1965-1966: The Bootleg Series Vol. 12
(6-CD Deluxe Edition)
DISC 1:
Love Minus Zero/No Limit – Take 1 (1/13/1965) acoustic, incomplete
Love Minus Zero/No Limit – Take 2 (1/13/1965) acoustic
Love Minus Zero/No Limit – Take 3 remake (1/13/1965) acoustic
Love Minus Zero/No Limit – Take 1 remake (1/14/1965) electric
I’ll Keep It with Mine – Take 1 (1/13/1965) piano demo, previously released on Biograph, 1985
It’s All Over Now, Baby Blue – Take 1 (1/13/1965) solo acoustic, previously released on The Bootleg Series, Vol. 7, 2005
Bob Dylan’s 115th Dream – Take 1 (1/13/1965) acoustic, incomplete
Bob Dylan’s 115th Dream – Take 2 (1/13/1965) acoustic
She Belongs to Me – Take 1 (1/13/1965) solo acoustic
She Belongs to Me – Take 2 Remake (1/13/1965) acoustic
She Belongs to Me – Take 1 Remake (1/14/1965) electric
Subterranean Homesick Blues – Take 1 (1/13/1965) solo acoustic, previously released on The Bootleg Series, Vol. 1-3, 1991
Subterranean Homesick Blues – Take 1 remake (1/14/1965) electric
Outlaw Blues – Take 1 (1/13/1965) solo acoustic
Outlaw Blues – Take 2 Remake (1/13/1965) electric
On the Road Again – Take 1 (1/13/1965) solo acoustic
On the Road Again – Take 4 (1/14/1965) electric
On the Road Again – Take 1 remake (1/15/1965) electric
On the Road Again – Take 7 remake (1/15/1965) electric
Farewell, Angelina – Take 1 (1/13/1965) solo acoustic, previously released The Bootleg Series, Vol. 1-3, 1991
If You Gotta Go, Go Now – Take 1 (1/13/1965) solo acoustic
If You Gotta Go, Go Now – Take 2 (1/15/1965) electric
You Don’t Have to Do That – Take 1 (1/13/1965) solo acoustic, incomplete
DISC 2:
California – Take 1 (1/13/1965) solo acoustic
It’s Alright, Ma (I’m Only Bleeding) – Take 1 (1/15/1965) acoustic, demo
Mr. Tambourine Man – Takes 1 – 2 (1/15/1965) incomplete, with band
Mr. Tambourine Man – Take 3 (1/15/1965) incomplete, with band
It Takes a Lot to Laugh, It Takes a Train to Cry – Take 1 (6/15/1965)
It Takes a Lot to Laugh, It Takes a Train to Cry – Take 8 (6/15/1965)
It Takes a Lot to Laugh, It Takes a Train to Cry – Take 3 (7/29/1965)
It Takes a Lot to Laugh, It Takes a Train to Cry – Take 3 remake (7/29/65)
Sitting on a Barbed Wire Fence – Take 2 (6/15/1965)
Tombstone Blues – Take 1 (7/29/1965)
Tombstone Blues – Take 9 (7/29/1965) previously released on The Bootleg Series, Vol. 7, 2005
Positively 4th Street – Takes 1-3 (7/29/1965)
Positively 4th Street – Take 4 (7/29/1965)
Positively 4th Street – Take 5 (7/29/1965)
Desolation Row – Take 1 (8/4/1965)
Desolation Row – Take 2 (8/4/1965) piano demo
Desolation Row – Take 5 remake (8/2/1965)
From a Buick 6 – Take 1 (7/30/1965)
From a Buick 6 – Take 4 (7/30/1965) released in error on first pressing of Highway 61 Revisited, 1965
DISC 3:
Like a Rolling Stone – Take 1-3 (6/15/1965)
Like a Rolling Stone – Take 4 (6/15/1965)
Like a Rolling Stone – Take 5 (6/15/1965)
Like a Rolling Stone – Rehearsal (6/16/1965)
Like a Rolling Stone – Take 1 (6/16/1965)
Like a Rolling Stone – Takes 2-3 (6/16/1965)
Like a Rolling Stone – Take 4 (6/16/1965) released on Highway 61 Revisited, 1965
Like a Rolling Stone – Take 5 (6/16/1965)
Like a Rolling Stone – Take 6 (6/16/1965)
Like a Rolling Stone -Take 8 (6/16/1965)
Like a Rolling Stone – Takes 9-10 (6/16/1965)
Like a Rolling Stone – Take 11 (6/16/1965)
Like a Rolling Stone – Take 12 (6/16/1965)
Like a Rolling Stone – Take 13 (6/16/1965)
Like a Rolling Stone – Take 14 (6/16/1965)
Like a Rolling Stone – Take 15 (6/16/1965)
Like a Rolling Stone – Master take – lead guitar isolated track
Like a Rolling Stone – Master take – vocal and guitar isolated track
Like a Rolling Stone – Mast take – drums and organ isolated track
Like a Rolling Stone – Master take – piano and bass isolated track
DISC 4:
Can You Please Crawl Out Your Window – Take 1 (7/30/1965)
Can You Please Crawl Out Your Window – Take 17 (7/30/1965 released in error on the first pressing of Positively 4th Street single
Highway 61 Revisited – Take 3 (8/2/1965)
Highway 61 Revisited – Take 5 (8/2/1965)
Highway 61 Revisited – Take 7 (8/2/1965)
Just Like Tom Thumb’s Blues – Take 1 (8/2/1965)
Just Like Tom Thumb’s Blues – Take 3 (8/2/1965)
Just Like Tom Thumb’s blues – Take 13 (8/2/1965)
Queen Jane Approximately – Take 2 (8/2/1965)
Queen Jane Approximately – Take 5 (8/2/1965)
Ballad of a Thin Man – Take 2 (8/2/1965) incomplete
Medicine Sunday – Take 1 (10/5/1965)
Jet Pilot – Take 1 (10/5/1965) Previously released on Biograph, 1985
I Wanna Be Your Lover – Take 1 (10/5/1965)
I Wanna Be Your Lover – Take 6 (10/5/1965)
Unknown Instrumental – Take 2 (10/5/1965)
Can You Please Crawl Out Your Window – Takes 5-6 (11/30/1965)
Visions of Johanna – Take 1 (11/30/1965)
Visions of Johanna – Take 5 (11/30/1965)
DISC 5:
Visions of Johanna – Take 7 (11/30/1965)
Visions of Johanna – Take 8 (11/30/1965) previously released on The Bootleg Series, Vol. 7, 2005
Visions of Johanna – Take 14 (11/30/1965)
She’s Your Lover Now – Take 1 (1/21/1966)
She’s Your Lover Now – Take 6 (1/21/1966)
She’s Your Lover Now – Take 15 (1/21/1966) previously released on The Bootleg Series, Vol. 1-3, 1991
She’s Your Lover Now – Take 16 (1/21/1966) solo piano
One of Us Must Know (Sooner or Later) – Take 2 (1/25/1966)
One of Us Must Know (Sooner or Later) – Take 4 (1/25/1966)
One of Us Must Know (Sooner or Later) – Take 19 (1/25/1966)
Lunatic Princess – Take 1 (1/27/1966)
Fourth Time Around – Take 11 (2/14/1966)
Leopard-Skin Pill-Box Hat – Take 3 (2/14/1966)
Leopard-Skin Pill-Box Hat – Take 8 (2/14/1966)
DISC 6:
Stuck Inside of Mobile with the Memphis Blues Again – Take 1 (2/17/1966)
Stuck Inside of Mobile with the Memphis Blues Again – Rehearsal (2/17/1966)
Stuck Inside of Mobile with the Memphis Blues Again – Take 5 (2/17/1966) previously released on The Bootleg Series, Vol. 7, 2005
Stuck Inside of Mobile with the Memphis Blues Again – Take 13 (2/17/1966)
Stuck Inside of Mobile with the Memphis Blues Again – Take 14 (2/17/1966)
Absolutely Sweet Marie – Take 1 (3/7/1966)
Just Like a Woman – Take 1 (3/8/1966)
Just Like a Woman – Take 4 (3/8/1966)
Just Like a Woman – Take 8 (3/8/1966)
Pledging My Time – Take 1 (3/8/1966)
Most Likely You Go Your Way (And I’ll Go Mine) – Take 1 (3/9/1966)
Temporary Like Achilles – Take 3 (3/9/1966)
Obviously 5 Believers – Take 3 (3/10/1966)
I Want You – Take 4 (3/10/1966)
Sad-Eyed Lady of the Lowlands – Take 1 – (2/16/1966)
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
The BFI London Film Festival takes place from October 7 - 18, and features the UK premieres of several music documentaries.
Among the highlights is The American Epic Sessions, Jack White and T Bone Burnett's tribute to the Western Electric lathe, which "pioneered the recording of American music." T...
The BFI London Film Festival takes place from October 7 – 18, and features the UK premieres of several music documentaries.
Among the highlights is The American Epic Sessions, Jack White and T Bone Burnett‘s tribute to the Western Electric lathe, which “pioneered the recording of American music.” The film features live performances from Elton John, Nas, Willie Nelson, Alabama Shakes, Steve Martin, Ana Gabriel, Merle Haggard and Taj Mahal among others.
Amy Berg’s Janis Joplin documentary, Janis: Little Girl Blue, also receives its UK premiere, and offers a portrait of “a hugely witty and talented free spirit who rebelled against her own youth in a town populated by bigotry, where she was targeted for her boyish looks and for being pro-integration.”
Elsewhere, there’s Danny Says, Brendan Toller’s film about Ramones manager Danny Fields; Stretch And Bobito: Radio That Saved Lives features the likes of Jay Z, Eminem and Nas paying tribute to the legendary ’90s hip-hop DJs Stretch Armstrong and Bobbito Garcia; Fresh Dressed documents the evolution of hip-hop style, and They Will Have To Kill Us First: Malian Music In Exile captures the tensions between northern Mali musicians and the Islamic Jihadists that took control of the area in 2010, to a soundtrack featuring the Yeah Yeah Yeahs‘ Nick Zinner, Khaira Arby, Fadimata ‘Disco’ Walet Oumar, Amkoullel and Moussa Sidi.
Check out the rest of the BFI’s Sonic programme here, and watch more trailers below.
http://www.youtube.com/watch?v=-Gm5OhJszpU
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
In this month's issue, Uncut holds An Audience With... John Grant, as the Iceland-based singer-songwriter prepares to release his third solo album, Grey Tickles, Black Pressure.
Responding to questions from readers as well as Elton John, Holly Johnson, Midlake's Eric Pullido and Villagers' Conor O'...
In this month’s issue, Uncut holds An Audience With… John Grant, as the Iceland-based singer-songwriter prepares to release his third solo album, Grey Tickles, Black Pressure.
Responding to questions from readers as well as Elton John, Holly Johnson, Midlake‘s Eric Pullido and Villagers‘ Conor O’Brien, Grant calls Freddie Mercury and The Divinyls’ Christina Amphlett his ideal dinner party companions, and discloses the advice that Sinead O’Connor gave him.
Of his new album cover, in which he appears alongside a pair of ornamental owls with his eyes scratched out, Grant says:
“If I’m honest, I suppose there’s something I don’t want people to see in my eyes. They really are the window to the soul. It looks like a photo that you’d take of a child, maybe through the eyes of David Lynch. And so I wanted to take away the innocence. I was trying to express what was expected of me and what I have become.”
Grey Tickles, Black Pressure is released through Bella Union on October 9. Watch the video for “Disappointing”, featuring Tracey Thorn.
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Morrissey has detailed the plot of his debut novel. The List Of The Lost is released today (September 24) through Penguin Books, and concerns a relay team plagued by a demon. He released a statement about the book to fansite True To You:
"The theme is demonology ... the left-handed path of black mag...
Morrissey has detailed the plot of his debut novel. The List Of The Lost is released today (September 24) through Penguin Books, and concerns a relay team plagued by a demon. He released a statement about the book to fansite True To You:
“The theme is demonology … the left-handed path of black magic. It is about a sports relay team in 1970s America who accidentally kill a wretch who, in esoteric language, might be known as a Fetch … a discarnate entity in physical form. He appears, though, as an omen of the immediate deaths of each member of the relay team. He is a life force of a devil incarnate, yet in his astral shell he is one phase removed from life. The wretch begins a banishing ritual of the four main characters, and therefore his own death at the beginning of the book is illusory.”
List Of The Lost follows 2013’s Autobiography, which was released as a Penguin Classic. This week (September 21) Morrissey played supposedly his last UK gig ever, at London’s Eventim Hammersmith Apollo.
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Pop culture website The AV Club have a long-running series called AV Undercover, in which they invite artists to cover an old hit in their graffiti-strewn bunker. This week, Canadian folk band The Weather Station took on Joy Division's "Transmission".
Watch the unconventional cover below, and revis...
Pop culture website The AV Club have a long-running series called AV Undercover, in which they invite artists to cover an old hit in their graffiti-strewn bunker. This week, Canadian folk band The Weather Station took on Joy Division‘s “Transmission”.
Watch the unconventional cover below, and revisit Uncut’s interview with Weather Station lynch pin Tamara Lindeman.
http://www.youtube.com/watch?v=iDI7mvy5wsQ
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
