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Reviewed! Neil Young + The Promise Of The Real: The Monsanto Years

Michael Bonner
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Reviewed! Neil Young + The Promise Of The Real: The Monsanto Years
Neil Young is evidently a man who still likes surprises. Patrons at the SLO Brewing Co. in San Luis Obispo, California, found themselves enjoying an unbilled show by Young in April this year. There, he not only unveiled a new album – The Monsanto Years – but a new backing band, too: The Promise ...

Neil Young is evidently a man who still likes surprises. Patrons at the SLO Brewing Co. in San Luis Obispo, California, found themselves enjoying an unbilled show by Young in April this year. There, he not only unveiled a new album – The Monsanto Years – but a new backing band, too: The Promise Of The Real, fronted by Willie Nelson’s son Lukas, with his brother Micah. Ardent Neil watchers will have already spotted that Young previously played with the Nelsons at last year’s Farm Aid, the Harvest For Hope benefit in Nebraska and the Bridge School event. But despite this influx of new blood, much of The Monsanto Years itself finds Young pursuing familiar goals. Ostensibly, he is championing the ecologically aware message of Greendale, Fork In The Road and “Who’s Gonna Stand Up”, delivered with the urgency of Living With War.

Click here to read Neil Young on the stories behind his greatest songs

The Monsanto Years was recorded in six weeks between January and February at Teatro Studios, a converted movie theatre in Oxnard, California owned by Daniel Lanois. The album’s nine songs share their rough-hewn, country punk qualities with Young’s liveliest studio recordings, while Promise Of The Real resemble a less expansive Crazy Horse. There is, perhaps, an understandable pragmatism on Young’s part in hooking up with these younger players, particularly since Billy Talbot’s stroke and the deaths of Rick Rosas and Tim Drummond last year depleted his pool of regular musicians – the last time Young engaged a group of musicians outside his regular collaborators was with Pearl Jam on 1995’s Mirror Ball: another bunch of eager acolytes sympathetic to Young’s cause.

Click here to read the story of Neil Young’s remarkable year

The result of their endeavours, The Monsanto Years is occasionally rambling, frequently sentimental and sometimes moving. Young opens the rough-and-tumble “New Day For Love” on a positive note – “It’s a new day for the planet/It’s a new day for the sun” – but soon allies himself with those fighting to “keep their lands away from the greedy”. The warm acoustic tones and discrete pedal steel on “Wolf Moon” recall the bucolic charms of Harvest Moon as Young grieves for the “thoughtless blundering” the “seeds of life” endure. “People Want To Hear”, meanwhile, criticises a general lack of engagement with Big Issues like – deep breath – political corruption, environmental disaster, civil liberties violations, world poverty, pesticides and voter apathy. It is a long list, and The Monsanto Years doesn’t entirely benefit from such a broad strokes approach: the album is at its strongest when telescoping in on specifics. Admittedly, Young gets close on “Big Box” – which comes with 8 minutes of thundering Old Black action. The lyrics itself cleave close to “Ordinary People”, Young’s attempt to frame the plight of working Americans against the hostile challenges of living with late-’80s Reaganomics. Here we learn of “main streets boarded up”, “display windows and broken glass/Not a car on the street” and “people working part time at Walmart/Never getting the benefits”.

Click here to read a long interview with Crazy Horse guitarist Poncho Sampedro

Despite its lighter tone – there is whistling, no less – for “A Rock Star Bucks A Coffee Shop” Young draws our attention to ongoing events in Vermont, where industrial food companies are challenging a legislation requiring the labelling of genetically modified food products. “Mothers want to know what they feed their children”, insists Young. Over a raucous backing track, “Workin’ Man” follows the case of Vernon Bowman, an Indiana farmer who was accused of infringing on Monsanto’s patent for its GM soyabeans. Such social commentary adds immediacy to The Monsanto Years; but Young drops this tenacious approach for the gentler “Rules Of Change”, where he sings wistfully of the “sacred seeds”. Incidentally, the sleeve for The Monsanto Years appears to depict Young and his partner Daryl Hannah as farmers in a psychedelicised take on Grant Wood’s painting American Gothic. Young further aligns himself with the farming community on the title track, which charts the lifecycle of a GM soyabean from soil to store. Grinding away on Old Black, Young laments, “The seeds of life are not what they once were/Mother Nature and God don’t own them any more”. The album closes with the melancholic “If I Don’t Know”, which features some strong free-roaming guitar interplay between himself and the Nelson brothers.

To gauge the strength of Young’s commitment to his cause, it’s instructive to look at where he was this time last year, veering between different projects: ongoing solo acoustic shows, a lo-fi covers album, a new audio system and an impending Crazy Horse tour among them. By comparison, this year seems relatively focused: his intentions clear. Indeed, Young’s message on this album is hardly subtle; after 28 mentions of Monsanto, you suspect he is keen to make his point as simply as possible. “If the melodies stay pretty and the songs are not too long,” he sings on “If I Don’t Know”, “I’ll try and find a way to get them back to you, the earth’s blood”.

Follow me on Twitter @MichaelBonner

The Monsanto Years is currently streaming on NPR: click here to listen to it

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the August 2015 issue of Uncut is in shops on Tuesday, June 23 – featuring David Byrne, Sly & The Family Stone, BB King and the death of the blues, The Monkees, Neil Young, Merle Haggard and more

The Strokes and Beck, live in London

Michael Bonner
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The Strokes and Beck, live in London
There comes a point during tonight’s set when Beck barricades the front of the stage with yellow tape with “Crime scene do not cross” printed on it. His guitarist Jason Falkner, meanwhile, is lying on his back by the amps grinding out feedback; a few yards away, bassist Justin Meldal-Johnsen i...

There comes a point during tonight’s set when Beck barricades the front of the stage with yellow tape with “Crime scene do not cross” printed on it. His guitarist Jason Falkner, meanwhile, is lying on his back by the amps grinding out feedback; a few yards away, bassist Justin Meldal-Johnsen is collapsed over the keyboards. This, then, is the suitably dramatic climax to Beck’s main set – which has remarkably proved to be a triumph of the will against the weather. Beck and his band took the stage at 7pm, in full sunlight, wearing blacks and greys: under such circumstances, it was hard enough to make themselves seen, let alone convincingly fill such a large space. Nevertheless, for the next hour Beck deploys every resource at his disposal: the funky freak power of “Devil’s Haircut”, the smouldering Latino swagger of “Qué Onda Guero”, the hip hop beats of “Hell Yes” and “Soul Of A Man”’s sludgy, Sabbath-like riffs. Elsewhere, there are digressions into library music, surf guitar, ‘60s chamber pop, ‘70s soul and ‘80s hardcore. “Thanks for sticking it out and spending a few precious minutes with us in a field,” he says in a rare let-up in the show’s pace.

Of course, Beck has always been one of music’s most progressive and eccentric shapeshifters – but evidently he is on a roll at the moment. Looking back, Beck’s trajectory over the last 12 months has been a period of subtle recalibration. Prior to the release of Morning Phase – and its Grammy win in February – Beck’s career appeared to be drifting out of focus. It had been six years since his previous album, Modern Guilt, and rather than knuckle down to the business of recording a follow up, Beck instead directed his attentions to other people’s music: producing the likes of Thurston Moore and Stephen Malkmus and covering albums by Leonard Cohen, INXS, Skip Spence and the Velvet Underground in his collaborative Record Club project. Even 2012’s Song Reader took the form of sheet music rather than a conventional album. Reflecting on that period before Morning Phase, you might wonder whether Beck wanted to do anything other than create his own songs. But palpably Beck in 2015 is far more engaged than in recent years. “New Pollution”, “Loser”, “Sex Laws” and a marvellous extended “Where It’s At” (complete with lengthy harmonica breakdown) are delivered with wit and a deftness of touch. Intriguingly, neither Beck nor the Strokes are on the promo circuit right now – Beck doesn’t even play his current single, “Dreams”. Beck explains his friendship with the headliners stretches back 15 years: today, he is happy “playing a few tunes to warm up for the Strokes.” If that’s the case, it’s a nice gesture, which adds to a sense of goodwill emanating round Hyde Park this evening.

The Stokes have suffered from their own set of creative frustrations – albeit ones different to those experienced by Beck. Essentially since Room On Fire, the Strokes have struggled to revisit the heights of their debut: their progress has been hampered by the jostle to establish solo careers, internal strife and a kind of weirdly non-committal approach to their principle career. Indeed, this is the Strokes’ first UK date in five years and nearly two years since their last album, Comedown Machine. Admittedly, Albert Hammond Jr’s recent comments on BBC 6Music that this show might be their last felt like the latest twist in the band’s weird, dramatic narrative. But if this is the end for the Strokes, tonight is a marvellous way to go out. Opening with “Is This It?” and “Barely Legal”, they cut back to the short, sharp thrills of their debut. But conspicuously, the sound is tight and muscular: the thin, metallic production of Is This It? now expertly filled out. Certainly, the rest of tonight’s set is full of hellacious energy: heavy guitars, howled vocals, metronomic drums, thunderous basslines. For his part, Julian Casablancas has some remarkable hair going on: essentially, he’s grown a mullet which has been dyed red down one side, as if someone’s spilled a tin of paint over him just before he came on stage. Elsewhere, drummer Fab Moretti sports a tangle of curly hair and a beard that makes him look like a young Tony Iommi; the hair shocks extend to bassist Nikolai Fraiture, who appears to have had his hair modelled on a Norman soldier’s helmet. Unable to compete in that department, Hammond Jr opts instead for a bright red jumpsuit.

As the show proceeds, rumours of the Strokes mortality appear increasingly premature. Casablancas’ between song-patter – largely limited to “What’s up, sexies?” or “What’s going on?” – takes a hysterical turn before “Someday”, when he introduces a guest spot from Shabba Ranks. Sadly, he’s only joking – alas, the indie/dancehall crossover will have to wait – but it hardly seems appropriate behaviour for a man preparing to deliver Last Rites on his band. The newish songs – “Welcome To Japan”, “Under Cover Of Darkness”, “Machu Picchu” – sound strong alongside “Reptilia”, “Hard To Explain” and a propulsive “Last Nite”. Though it may be two years since they last released a record, the Strokes still radiate a reassuringly healthy disposition. “London, I like what you’ve done with this place,” says Casablancas approvingly as he looks out across Hyde Park, the sun at last going down.

Follow me on Twitter @MichaelBonner

Beck played:
Devil’s Haircut
Black Tambourine
Think I’m In Love/I Feel love
The New Pollotion
Qué Onda Guero
Gamma Ray
Hell Yes
Soul Of A Man
Blue Moon
Lost Cause
Go It Alone
Loser
Sex Laws
Debra
E-Pro

Encore
Where It’s At

The Strokes played:
Is This It?
Barely Legal
Welcome To Japan
You Talk Way Too Much
Someday
Heart In A Cage
Hard To Explain
Automatic Stop
Vision Of Division
Last Nite
Reptilia
Machu Picchu
Under Cover Of Darkness
One Way Trigger
New York City Cops

Encore
Juicebox
You Only Live Once
Take It Or Leave It

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the August 2015 issue of Uncut is in shops on Tuesday, June 23 – featuring David Byrne, Sly & The Family Stone, BB King and the death of the blues, The Monkees, Neil Young, Merle Haggard and more

James Taylor: “It was wonderful working with Joni Mitchell”

Tom Pinnock
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James Taylor: “It was wonderful working with Joni Mitchell”
James Taylor recalls the making of nine of his classic albums in the current issue of Uncut, dated August 2015 and out now. Discussing his 1971 album Mud Slide Slim And The Blue Horizon, the singer-songwriter remembers filming Two-Lane Blacktop, a road movie also starring The Beach Boys' Dennis Wil...

James Taylor recalls the making of nine of his classic albums in the current issue of Uncut, dated August 2015 and out now.

Discussing his 1971 album Mud Slide Slim And The Blue Horizon, the singer-songwriter remembers filming Two-Lane Blacktop, a road movie also starring The Beach Boys’ Dennis Wilson and Warren Oates, and his time spent with Joni Mitchell.

“In 1970, I made a movie, the only movie I ever made,” explains Taylor. “I’ve never seen it, it was a harrowing experience for me!

“Joni Mitchell came along with me [during filming]. We wrote in this camper across the southwest of America and had some of the most outrageous good times. It was really great.

“I had played on the album that Joni was making when we met, Blue. I played guitar and backed her up on a few of those songs. It was wonderful working with Joni. We had a great year together, we worked, we travelled.”

In the piece, Taylor also discusses his most recent album, Before This World, and recalls his long struggle to recover from drug addiction.

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the August 2015 issue of Uncut is in shops on Tuesday, June 23 – featuring David Byrne, Sly & The Family Stone, BB King and the death of the blues, The Monkees, Neil Young, Merle Haggard and more

The Byrds’ 20 best songs

Tom Pinnock
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The Byrds’ 20 best songs
From “So You Want To Be A Rock’n’Roll Star” to “Mr Tambourine Man”, here are the greatest Byrds tracks, as chosen by famous fans, and introduced by Roger McGuinn himself. Originally published in Uncut’s November 2012 issue (Take 186). Interviews: Rob Hughes, Tom Pinnock and Graeme Thom...

From “So You Want To Be A Rock’n’Roll Star” to “Mr Tambourine Man”, here are the greatest Byrds tracks, as chosen by famous fans, and introduced by Roger McGuinn himself. Originally published in Uncut’s November 2012 issue (Take 186). Interviews: Rob Hughes, Tom Pinnock and Graeme Thomson

_______________________

Roger McGuinn: “Looking back, you can see there were several main stages of Byrds music. We started out with the folky thing, mixing Dylan and Pete Seeger with The Beatles, then we dabbled in a bit of jazz fusion with “Eight Miles High”, which was misconstrued as psychedelic. It wasn’t meant to be, but it was branded that way. Then we did things that were purposefully psychedelic, like “Artificial Energy”, and then we got into country with Sweetheart Of The Rodeo.

“It was always organic, it wasn’t a conscious effort at any point. The only conscious effort was to get away from the labels the press kept putting on us. Like, ‘Let’s get out of folk-rock and do something else’, which is why we got into John Coltrane. We wanted to extend our territory.

“Having said that, that early folk-rock sound is very pleasant, with the harmonies and jangling guitars. I was already a 12-string player, I’d been playing it since the late ’50s, and then we saw The Beatles with a Rickenbacker in A Hard Day’s Night. It was a different sound than you could get with an acoustic, so I had to get one of those! In the studio we put compression on it and it stretched out the sound, it made it sustain a good long time. Suddenly it really stuck out in the mix.

“It’s a good sound. I still like to listen to it, and it caught on! Many other people have used it in their work. We got a hit with ‘Mr Tambourine Man’ and we thought, ‘Why mess with success?’, but by the third album it was getting tired and we wanted to stretch out and see what else we could do. We decided to do more of our own material. It was always a little difficult politically because we could never do it quite evenly, and it was usually the producer who decided which songs ended up on the record. David Crosby always felt he was unfairly treated, that he didn’t get enough songs on the albums.

“It was hard to get an even share but the mixture worked. Crosby brought the jazz influence, Chris Hillman and later Gram Parsons brought the country, and I was coming from folk, as was Gene Clark. Michael Clarke didn’t have that much influence on the direction, though at one point he declared we should be a blues band like The Rolling Stones! Gram was the main influence on doing an entire album of country on Sweetheart…. I wanted to do some country but not all of it. I wanted to make a two-record chronology of the history of music.

“I’m grateful we decided to do the songs we did instead of bubblegum pop hits. We went for album-orientated quality. We had The Beatles as a benchmark, which made us very productive. I love all the stages of The Byrds. I can’t say I have a favourite. I love them all for different reasons.”

Mercury Rev announce new album, The Light In You

Michael Bonner
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Mercury Rev announce new album, The Light In You
Mercury Rev have announced details of their new album, The Light In You. The band's eighth studio album, it will be released on September 18 with a European to follow. It's the first album since 2008's Snowflake. Speaking about the lengthy gap between albums, Jonathan Donahue said, "It was one of ...

Mercury Rev have announced details of their new album, The Light In You.

The band’s eighth studio album, it will be released on September 18 with a European to follow.

It’s the first album since 2008’s Snowflake. Speaking about the lengthy gap between albums, Jonathan Donahue said, “It was one of those otherworldly life sequences, when everything you think is solid turns molten. But also, when something is worth saying, it can take a long time to say it, rather than just blurt it out.”

“You can go as deep as you want with the title, on a metaphorical, spiritual level, or just poetic license,” he adds. “It’s the beacon that shines and allows us to see ourselves – and then there’s the music between Grasshopper and I, which is how we reflect each other. The arc of the album, lyrically, is someone who’s gone through an incredible period of turbulence, sadness and uncertainty, and as the album progresses, a light appears on the water.”

The tracklisting for The Light In You is:

‘The Queen Of Swans’
‘Amelie’
‘You’ve Gone With So Little For So Long’
‘Central Park East’
‘Emotional Freefall’
‘Coming Up For Air’
‘Autumn’s In The Air’
‘Are You Ready?’
‘Sunflower’
‘Moth Light’
‘Rainy Day Record’

Mercury Rev will play:

September 18: Tilburg, Netherlands – Incubate Festival
October 04: Leeds, England – Brudenell Social Club
October 05: Bristol, England – Trinity
November 06: Copenhagen, Denmark – DR Studio 2
November 08: Brussels, Belgium – Botanique Orangerie
November 09: Köln, Germany – Studio 672
November 11: Berlin,Germany – Postbahnhof
November 13: Zagreb, Croatia – Lauba
November 14: Ravenna, Italy – Bronson
November 15: Munich, Germany – Kranhalle
November 16: Paris, France – Alhambra
November 17: Brighton, England – Komedia
November 19: Gateshead, England – The Sage
November 20: Glasgow, Scotland – Art School
November 22: Dublin, Ireland – Button Factory
November 23: Manchester, England – RNCM
November 24: London, England – Oval Space

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the August 2015 issue of Uncut is in shops on Tuesday, June 23 – featuring David Byrne, Sly & The Family Stone, BB King and the death of the blues, The Monkees, Neil Young, Merle Haggard and more

The 21st Uncut Playlist Of 2015

John Mulvey
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The 21st Uncut Playlist Of 2015
What's new? Kurt Vile. A live set from Hurray For The Riff Raff. A nice solo guitar record from Seabuckthorn (recommended via Dean McPhee). Big Isleys and Womack reissue packages. The return of Bilal. And maybe the thing I've played most this week, Kompakt's latest immersive "Total" comp. Lots more ...

What’s new? Kurt Vile. A live set from Hurray For The Riff Raff. A nice solo guitar record from Seabuckthorn (recommended via Dean McPhee). Big Isleys and Womack reissue packages. The return of Bilal. And maybe the thing I’ve played most this week, Kompakt’s latest immersive “Total” comp. Lots more things to play here, too…

Follow me on Twitter: www.twitter.com/JohnRMulvey

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

1 Beck – Dreams (Geffen)

2 Various Artists – Total 15 (Kompakt)

3 Kurt Vile – B’lieve I’m Goin Down (Matador)

4 Hurray For The Riff Raff: June 7, 2015 Mountain Jam (www.nyctaper.com)

https://soundcloud.com/nyctaper/hurray-for-the-riff-raff-living-in-the-city-live-at-mountain-jam

5 Muddy Waters – Sail On (Chess/Traffic Ent)

6 Deradoorian – The Exploding Flower Planet (Anticon)

https://soundcloud.com/anticon/deradoorian-a-beautiful-woman-1

7 Yo La Tengo – Stuff Like That There (Matador)

8 Jackson C Frank – The Complete Recordings (Ba Da Bing)

9 Phil Cook – Southland Mission (Thirty Tigers)

10 The Isley Brothers – The Complete RCA Victor And T-Neck Album Masters (Sony)

11 Seabuckthorn – They Haunted Most Thickly (Bookmaker)

12 Chris Connolly – Alameda (Caldo Verde)

13 Arthur’s Landing – Second Thoughts (Buddhist Army)

14 Advance Base – Nephew In The Wild (Tomlab)

15 Tav Falco – Command Performance (Twenty Stone Blatt)

16 Bobby Womack – The Preacher (Charly)

17 Neil Young & The Promise Of The Real – The Monsanto Years (Reprise)

18 The Arcs – Yours, Dreamily, (Nonesuch)

19 Pavement – The Secret History Vol 1 (Domino)

20 The Cairo Gang – Goes Missing (God?)

21 Beirut – No No No (4AD)

22 Baio – The Names (Glassnote)

23 Bilal – Another Life (BBE)

24 The Deslondes – The Deslondes (New West)

Read my Deslondes interview and hear their music here

25 Eleventh Dream Day – Works For Tomorrow (Thrill Jockey)

Iron Maiden announce new double album, The Book Of Souls

Michael Bonner
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Iron Maiden announce new double album, The Book Of Souls
Iron Maiden have announced details of a new album, Book Of Souls. The band's first double album, it is due for release on September 4 and has been made with regular producer Kevin Shirley. The tracklisting for Book Of Souls is: Disc 1 'If Eternity Should Fail' 'Speed Of Light' 'The Great Unknown'...

Iron Maiden have announced details of a new album, Book Of Souls.

The band’s first double album, it is due for release on September 4 and has been made with regular producer Kevin Shirley.

The tracklisting for Book Of Souls is:

Disc 1
‘If Eternity Should Fail’
‘Speed Of Light’
‘The Great Unknown’
‘The Red And The Black’
‘When The River Runs Deep’
‘The Book Of Souls’

Disc 2
‘Death Or Glory’
‘Shadows Of The Valley’
‘Tears Of A Clown’
‘The Man Of Sorrows’
‘Empire Of The Clouds’

Meanwhile, Bruce Dickinson was recently given the all-clear after cancer treatment. He was diagnosed just before Christmas after a small tumour was found at the back of his tongue. Dickinson underwent a seven-week course of radiotherapy and chemotherapy treatment for cancer.

In a statement, Dickinson said: “I would like to thank the fantastic medical team who have been treating me for the last few months, resulting in this amazing outcome. It’s been tough on my family and, in many ways, it was harder for them than me.”

Iron Maiden manager Rod Smallwood said Dickinson’s recovery meant the band would be unable to play any shows until next year. Smallwood said: “Although Bruce is naturally eager to resume Maiden activities, it will take a while before he is completely back to full strength, as we explained previously. Because of this, the band will not be touring or playing any shows until next year. We know our fans will understand the situation and, like us, would prefer to wait until Bruce is back to his usual indefatigable levels of fitness before going out on the road.”

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the August 2015 issue of Uncut is in shops on Tuesday, June 23 – featuring David Byrne, Sly & The Family Stone, BB King and the death of the blues, The Monkees, Neil Young, Merle Haggard and more

End Of The Road festival: acts confirmed for the Uncut stage

Michael Bonner
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End Of The Road festival: acts confirmed for the Uncut stage
The acts appearing on the Uncut stage at this year's End Of The Road festival have been revealed. Jacco Gardner, Jane Weaver, Sam Amidon and Jessica Pratt are among 22 acts who'll be appearing on the Tipi Tent during the festival, which takes place between September 4-6 at Larmer Tree Gardens, Wilt...

The acts appearing on the Uncut stage at this year’s End Of The Road festival have been revealed.

Jacco Gardner, Jane Weaver, Sam Amidon and Jessica Pratt are among 22 acts who’ll be appearing on the Tipi Tent during the festival, which takes place between September 4-6 at Larmer Tree Gardens, Wiltshire.

A Q&A will also take place on-stage each day: check back here for updates.

Elsewhere at this year’s End Of The Road festival, Laura Marling, Ryley Walker and Low will join headliners My Morning Jacket, Sufjan Stephens and The War On Drugs.

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

End of the Road – Tipi Tent in association with Uncut line up:

FRIDAY
Jacco Gardner
Jane Weaver
R. Seiliog
Diagrams
Gulp
Andy Shauf
Meilyr Jones
Aero Flynn

SATURDAY
Euros Child
Kiran Leonard
Holy Crutches
Flo Morrissey
Stephen Steinbrink
Madisen Ward and The Mama Bear
Mark Wynn

Sunday
Sam Amidon
Julie Byrne
Jessica Pratt
Lisa O’Neill
Bernard and Edith
This is the Kit
Miracle Strip

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Radiohead: new album update

Michael Bonner
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Radiohead: new album update
Jonny Greenwood has given a progress report on the new Radiohead album. During a recent interview with Dutch music website 3voor12, Greenwood confirmed that the band are working in the studio "in periods" and that restarting the process "took a lot of time." Consequence Of Sound report that the in...

Jonny Greenwood has given a progress report on the new Radiohead album.

During a recent interview with Dutch music website 3voor12, Greenwood confirmed that the band are working in the studio “in periods” and that restarting the process “took a lot of time.”

Consequence Of Sound report that the interview has since been translated by the Radiohead community on Reddit.

“We didn’t do anything together for too long, so restarting took a lot of time,” Greenwood said. “We’re working in periods now. This afternoon, Thom and I will work on a song we started yesterday, see what it will lead to.”

He went on to reveal that the band were re-visiting a 1996 track, “Lift“.

“What people don’t know is that there’s a very old song on each album, like ‘Nude’ on In Rainbows. We never found the right arrangement for that, until then. ‘Lift’ is just like that. When the idea is right, it stays right. It doesn’t really matter in which form.”

Watch Radiohead perform an early version of “Lift” live at Pinkpop Festival in 1996.

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Ask Julien Temple!

Michael Bonner
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Ask Julien Temple!
To coincide with the release of his new film The Ecstasy Of Wilko Johnson, the great documentary-maker Julien Temple is set to answer your questions in Uncut as part of our regular An Audience With… feature. So is there anything you’ve always wanted to ask the director? What are his memories of...

To coincide with the release of his new film The Ecstasy Of Wilko Johnson, the great documentary-maker Julien Temple is set to answer your questions in Uncut as part of our regular An Audience With… feature. So is there anything you’ve always wanted to ask the director?

What are his memories of filming David Bowie’s “Blue Jean” video?

How did he first meet the Sex Pistols?

Which aspect of the Kinks’ story is he most looking forward to telling in his forthcoming Kinks biopic, You Really Got Me?

Send up your questions by noon, Wednesday, July 1 to uncutaudiencewith@timeinc.com.

The best questions, and Julien’s answers, will be published in a future edition of Uncut magazine.

Please include your name and location with your question.

The Ecstasy Of Wilko Johnson opensinn the UK on July 17

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

The Best Films Of 2015: Halftime report

Michael Bonner
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The Best Films Of 2015: Halftime report
Following on from John's Best Albums Of 2015: Halftime Report, I thought I'd post my favourite films of the year so far. In keeping with John's list, these run in alphabetical order: though even with six months left to go, I suspect a good number of these will make it through to our final Films Of T...

Following on from John’s Best Albums Of 2015: Halftime Report, I thought I’d post my favourite films of the year so far. In keeping with John’s list, these run in alphabetical order: though even with six months left to go, I suspect a good number of these will make it through to our final Films Of The Year list in December. I suspect there’s a few glaring omissions – should I have reviewed Moomins On The Riviera, I wonder? – so do please feel free to draw my attention to anything you think I’ve forgotten…

Follow me on Twitter @MichaelBonner

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

1 Altman

2 A Most Violent Year

3 The Connection

4 Danny Collins

5 The Duke Of Burgundy

John Lennon’s In His Own Write gets stage adaptation

Michael Bonner
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John Lennon’s In His Own Write gets stage adaptation
John Lennon's 1964 book In His Own Write is to be adapted for the stage. A production of the book - which consists of stories, scenes and poems - will debut at this year's Edinburgh Fringe festival. The project has received the full support and cooperation of Yoko Ono. Jonathan Glew of Baldynoggi...

John Lennon‘s 1964 book In His Own Write is to be adapted for the stage.

A production of the book – which consists of stories, scenes and poems – will debut at this year’s Edinburgh Fringe festival.

The project has received the full support and cooperation of Yoko Ono.

Jonathan Glew of Baldynoggin Productions, who is behind the production, told Examiner: “I’m happy to say that they (and Yoko) have been very gracious in accommodating all of my requests with regards to the production.”

The play will include rare footage of Lennon. “Most recently I was granted permission to use some little seen footage of John reciting a piece from the book for inclusion in our production. I have, of course, invited Yoko to come and see the show during its 22-show run in Edinburgh alongside other members of the Lennon estate, Paul and Ringo and John’s contemporaries.”

The hour-long production runs daily at the Voodoo Rooms, Edinburgh, from Saturday, August 8 to Sunday, August 30. You can find more details by clicking here.

Entry is free as part of the PBH Free Fringe.

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Paul Weller – Saturns Pattern

Michael Bonner
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Paul Weller – Saturns Pattern
Last May, Paul Weller explained how his writing processes have changed over the last few years. Sitting in a busy west London café, Weller told Uncut that the demands of a young family coupled with his own restless spirit had found him abandoning traditional songwriting methods in favour of less fa...

Last May, Paul Weller explained how his writing processes have changed over the last few years. Sitting in a busy west London café, Weller told Uncut that the demands of a young family coupled with his own restless spirit had found him abandoning traditional songwriting methods in favour of less familiar practices. “I needed to look for different ways of writing,” he outlined over the chatter of the lunchtime crowd. “A good song is a good song whichever way you do it. I know I can do it in the more traditional way. But I’ve also learned that there are other ways of doing it.”

Recently, these “other ways” have manifested themselves as creative sessions at Weller’s Black Barn studios in Ripley, Surrey where the nine songs on Saturns Pattern were formed. Weller is on a roll at the moment, and Saturns Pattern feels like the fourth in an ongoing series of experimental albums, beginning with 2008’s 22 Dreams and including 2010’s Wake Up The Nation and 2012’s Sonik Kicks. While those albums involved rewarding digressions into Krautrock, pastoral psychedelia, dub, freeform jazz and electronia, Saturns Pattern – Weller’s 12th solo album – is characterized by cut-ups and sound collages, built around riffs and grooves. There are fade outs and fade ins mid-song, vocals come heavily treated, instruments are strafed with sound effects; essentially, Weller is making a virtue of his processes here.

Such progressive thinking is evident in the first 60 seconds of the album’s opening track, “White Skies”, which shifts from an ambient intro to metallic-sounding guitar riffs, crashing “Kashmir”-style drums and electronically-treated vocals. The heavy lifting here has been done by the Amorphous Androgynous, who appear to have succeeded the Chemical Brothers as the go-to remixers for rock stars looking to free their minds: Noel Gallagher among them. Indeed, Gallagher once promised us an album produced by Amorphous Androgynous, but shelved it in favour of the pedestrian High Flying Birds. Weller himself worked on a further seven tracks with Amorphous Androgynous, but only “White Skies” make it onto the album. Whereas Gallagher’s decision implied a chronic reluctance to abandon a successful formula, in Weller’s case “White Skies” appears to be a catalyst for something more evolved and expansive.

“Saturns Pattern” arrives on a sprightly piano refrain and uptempo bass lines, with Weller apparently embracing his inner astrologer, “You gotta clear the decks / It’s Saturn’s peak”. But there is a fake fade out, a treated harmonica and percussion loops; it’s hard not to draw the conclusion that Weller is willing to push any song into experimental territory, if only to see what happens. Even the rather pretty piano ballad “Going My Way” is spun out in unexpected directions. From its deceptively placid beginning, it’s animated with Beach Boys-style multi-tracked vocals and a pastoral folk interlude before guitars forcefully drive it towards a crescendo. “Long Time” continues the album’s momentum; it’s dense riffs recall Bowie’s “Suffragette City” while intriguingly, Black Barn’s long-serving studio manager Charles Rees is credited with “egg whisk”. Incidentally, “Long Time” also features slide guitar from the Strypes’ Josh McClorey, one of only a handful of guests on Saturns Pattern. Unlike the storied cast list on his recent records – Kevin Shields, Graham Coxon, Noel Gallagher and Bruce Foxton among them – this is comparatively low key business: McClorey, Syd Arthur’s Liam McGill and Raven Bush alongside old Jam cohort Steve Brookes.

Perhaps, though, the work done by co-producer Jan “Stan” Kybert – who also receives five music co-writes – shouldn’t be overlooked. A Black Barn veteran since 2002’s Illumination album, Kybert now seems to have been promoted to the role of chief creative foil previously occupied by Brendan Lynch and Simon Dine. If Kybert brings anything new to the party, it is a discrete refining of Weller’s anti-formula formula.

The album’s centerpiece is “Pick It Up”, an ambitious, 6 minute psych-soul opus that brings to mind Minnie Riperton’s “Les Fleurs” or the Rotary Connection. Guitars and Hammond swirl round a layered vocal chant – “Rise / As we / And we go / As we go / Rise”. If “Pick It Up” appears steeped in a kind of Sixties vernacular, it’s tempting to view “I’m Where I Should Be” as the 56-year-old Weller reflecting on matters closer to home. Unlike the impressionistic cut-up lyrics on the rest of the album, “I’m Where I Should Be” finds Weller adopting a more literal approach. “I know exactly why / I’m where I should be / Not trapped by the burden of parody”, he sings over a taut bassline and vaguely New Order-y guitars and synth. The summery “Phoenix” – “The blue of the sky / The cool of morning” – scoots along on chipper Northern Soul keys and tight grooves while Weller lays out an upbeat and positive message: “The birds and bees / The sun through the trees / There’s a scent in the air / And beauty everywhere / I find it”.

The albums last two songs, “In The Car” and “These City Streets”, share a thematic link – travel – but also the guitar work of Steve Brookes. Predictably, “In The Car” shifts from bluesy beginnings to a more full-on glam stomp via a brief folky stop-over. “I could spend my summer nights / Driving round the M25” he sings. “I’m self contained / And the music’s loud / No one can get in / And I don’t wanna get out”. Saturns Pattern closes with the 8 minute “These Streets”. Ostensibly a love song – “I look into your eyes / And I know why / I’m in love with you” – it is more an exercise in sustaining a consistent tone (moody, epic) than continuing any of the investigative compositional techniques on the rest of the album. “We still got a way to go…” Weller sings as the song fades out: a statement of his creative endeavour, perhaps, as much as anything else. Wherever next?

Follow me on Twitter @MichaelBonner

Pavement announce rarities compilation album

Michael Bonner
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Pavement announce rarities compilation album
Pavement have announced details of a new 30-track rarities compilation album, The Secret History Vol 1. The album, the first in a new series of five retrospective releases from the band, is on sale on August 14. This first volume focussed on material recorded around their debut album, Slanted And ...

Pavement have announced details of a new 30-track rarities compilation album, The Secret History Vol 1.

The album, the first in a new series of five retrospective releases from the band, is on sale on August 14.

This first volume focussed on material recorded around their debut album, Slanted And Enchanted. The tracklist includes B-sides, unreleased session track, John Peel session recordings and live renditions dating back to 1992.

A deluxe double vinyl edition of the release will contain essays by members Stephen Malkmus and Spiral Stairs.

The Secret History Vol 1 tracklist reads:

‘Sue Me Jack’
‘So Stark’ (You’re A Skyscraper)
‘Summer Babe’ (7” Version)
‘Mercy Snack: The Laundromat’
‘Baptiss Blacktick’
‘My First Mine’
‘Nothing Ever Happens’
‘Here’ (Alternate Mix)
‘Greenlander’
‘Circa 1762’ (Peel Session 1)
‘Kentucky Cocktail’ (Peel Session 1)
‘Secret Knowledge Of Backroads’ (Peel Session 1)
‘Here’ (Peel Session 1)
‘Rain Ammunition’ (Peel Session 2)
‘Drunks With Guns’ (Peel Session 2)
‘Ed Ames’ (Peel Session 2)
‘The List Of Dorms’ (Peel Session 2)
‘Conduit For Sale’ [Live Brixton 1992]
‘Fame Throwa’ [Live Brixton 1992]
‘Home’ [Live Brixton 1992]
‘Perfume V’ [Live Brixton 1992]
‘Summer Babe’ [Live Brixton 1992]
‘Frontwards’ [Live Brixton 1992]
‘Angel Carver Blues Mellow Jazz Docent’ [Live Brixton 1992]
‘Two States’ [Live Brixton 1992]
‘No Life Singed Her’ [Live Brixton 1992]
‘So Stark’ (You’re A Skyscraper) [Live Brixton 1992]
‘Box Elder’ [Live Brixton 1992]
‘Baby Yeah’ [Live Brixton 1992]
‘In The Mouth Of A Desert’ [Live Brixton 1992]

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Grateful Dead exclusive: hear an unreleased version of “Viola Lee Blues”

Michael Bonner
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Grateful Dead exclusive: hear an unreleased version of “Viola Lee Blues”
On September 18, The Grateful Dead release 30 Trips Around The Sun - a mammoth, 80-disc box set containing previously unreleased live performances from the Dead's archive. On the same date, the band will also release 30 Trips Around The Sun: The Definitive Live Story 1965-1995, a more modest four d...

On September 18, The Grateful Dead release 30 Trips Around The Sun – a mammoth, 80-disc box set containing previously unreleased live performances from the Dead’s archive.

On the same date, the band will also release 30 Trips Around The Sun: The Definitive Live Story 1965-1995, a more modest four disc set includes 30 unreleased performances – one from each concert in the boxed set.

You can pre-order 30 Trips Around The Sun: The Definitive Live Story 1965-1995 by clicking here

To coincide with this momentous Dead news, we’re delighted to be able to share exclusively a track from these sets – a live version of “Viola Lee Blues” recorded at the band’s October 10, 1967 show at the Shrine Auditorium in Los Angeles.

The tracklisting for 30 Trips Around The Sun: The Definitive Live Story 1965-1995 is:

Disc One
“Caution (Do Not Stop On Tracks)” – 1965
“Cream Puff War” – 1966
“Viola Lee Blues” – 1967
“Dark Star” – 1968
“Doin’ That Rag” – 1969
“Dancing In The Street” – 1970
“The Rub” – 1971
“Tomorrow Is Forever” – 1972
“Here Comes Sunshine” – 1973

Disc Two
“Uncle John’s Band” – 1974
“Franklin’s Tower” – 1975
“Scarlet Begonias” – 1976
“Estimated Prophet” – 1977
“Samson and Delilah” – 1978
“Lost Sailor>Saint Of Circumstance” – 1979
“Deep Elem Blues” – 1980

Disc Three
“Shakedown Street” – 1981
“Bird Song” – 1982
“My Brother Esau” – 1983
“Feel Like A Stranger” – 1984
“Let It Grow” – 1985
“Comes A Time” – 1986
“Morning Dew” – 1987
“Not Fade Away” – 1988

Disc Four
“Blow Away” – 1989
“Ramble On Rose” – 1990
“High Time” – 1991
“Althea” – 1992
“Broken Arrow” – 1993
“So Many Roads” – 1994
“Visions Of Johanna” – 1995

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Jimmy Page previews final Led Zeppelin reissues: “This is it.”

Michael Bonner
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Jimmy Page previews final Led Zeppelin reissues: “This is it.”
Jimmy Page has been previewing the final batch of Led Zeppelin reissues. Deluxe editions of Presence, In Through the Out Door and Coda are due on July 31, 2015. Speaking at a press conference in the former Olympic Studios in Barnes, west London, Page officially closed the Zeppelin vault. "As far ...

Jimmy Page has been previewing the final batch of Led Zeppelin reissues.

Deluxe editions of Presence, In Through the Out Door and Coda are due on July 31, 2015.

Speaking at a press conference in the former Olympic Studios in Barnes, west London, Page officially closed the Zeppelin vault.

“As far as the studio side of things [goes], this is it,” said Page. “Unless something might pop up on international Record [Store] Day or something like that. But it will be a long way off.”

Page has already previewed a previously unheard track, “Sugar Mama”, from the Coda package.

Rolling Stone reports that Page expressed his satisfaction with the reissue campaign, saying, “As far as I’m concerned, I’ve done my job.”

He also discussed the amount of unofficially released live Zeppelin material, noting that with the substantial number of bootlegs in circulation, it seemed unlikely he would pursue a live project on the scale of the studio reissues.

“Looking at the whole bootleg scene and knowing how much live material had already come out, and pretty good stuff at that, dealing with the studio outtakes seemed to be a more satisfying project,” he said. “I knew the chronology and the quality of what was going to turn up so I could really visualize it a lot easier than all the [live] bootlegs that are out there. This is what needed to be done – the whole Led Zeppelin world in the studio needed to be dealt with properly and seriously.”

Asked what he’ll be doing now the reissue series is completed, Page said: “I won’t take it easy. I’ll be working on the guitar now, because that’s the next thing to be obsessive about.”

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Beatles’ Abbey Road sessions made into musical

Michael Bonner
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Beatles’ Abbey Road sessions made into musical
A new musical chronicling The Beatles sessions at Abbey Road studios are to be re-created in a new musical showing albums such as Revolver and Sgt. Pepper’s were made. The show's director, Stig Edgren, told The Times, "It will be a musical documentary giving audiences an honest, respectful and ac...

A new musical chronicling The Beatles sessions at Abbey Road studios are to be re-created in a new musical showing albums such as Revolver and Sgt. Pepper’s were made.

The show’s director, Stig Edgren, told The Times, “It will be a musical documentary giving audiences an honest, respectful and accurate re-creation of how music history was made”.

The Times story reports that a replica of Abbey Road’s Studio Two will be built at London’s Royal Albert Hall for the production, which is set to open next April.

Edgren also insisted that actors will not impersonate The Beatles, adding: “I didn’t want it to be another lookalike show…We’re not trying to look like The Beatles. We [are] trying to sound like them. The idea is you’re watching them in recording session mode.”

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Neil Young clashes with US Presidential candidate

Michael Bonner
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Neil Young clashes with US Presidential candidate
Neil Young had criticised US Presidential candidate Donald Trump for using his song, "Rockin' In The Free World", apparently without consent. Yesterday [June 16, 2015], Republican Trump announced he would run for President, using Young's 1989 track to launch his campaign. Rolling Stone reports tha...

Neil Young had criticised US Presidential candidate Donald Trump for using his song, “Rockin’ In The Free World“, apparently without consent.

Yesterday [June 16, 2015], Republican Trump announced he would run for President, using Young’s 1989 track to launch his campaign.

Rolling Stone reports that Young’s management company, Lookout, immediately issued a statement criticising Trump’s use of the song.

“Donald Trump was not authorized to use ‘Rockin’ in the Free World’ in his presidential candidacy announcement,” said the statement. “Neil Young, a Canadian citizen, is a supporter of Bernie Sanders for President of the United States of America.”

A spokesman for Trump replied, “Through a license agreement with [performance-rights organization] ASCAP, Mr. Trump’s campaign paid for and obtained the legal right to use Neil Young’s recording of ‘Rockin’ in the Free World’ at today’s event. Mr. Trump is a huge fan of Neil Young and his music and will continue to be regardless of Neil’s political views.”

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

The Best Albums Of 2015: Halftime Report

John Mulvey
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The Best Albums Of 2015: Halftime Report
Someone pointed out to me on Twitter that this was due, so here are my favourites of the year so far (not, I should point out, a collective Uncut list), with some music to check out alongside nearly all of them. As you'll hopefully spot, I've listed them in alphabetical order: it seems a bit prematu...

Someone pointed out to me on Twitter that this was due, so here are my favourites of the year so far (not, I should point out, a collective Uncut list), with some music to check out alongside nearly all of them. As you’ll hopefully spot, I’ve listed them in alphabetical order: it seems a bit premature to start ranking them. I’m sure I’ve forgotten a few things, too, so please feel free to post your own lists and suggestions at the bottom…

Follow me on Twitter: www.twitter.com/JohnRMulvey

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more!

1 Alabama Shakes – Sound & Color (Rough Trade)

2 Aye Aye – Aye Aye (Richie/Testoster Tunes)

3 Daniel Bachman – River (Three-Lobed)

4 Badbadnotgood & Ghostface Killah – Sour Soul (Lex)

5 Courtney Barnett – Sometimes I Just Sit And Think And Sometimes I Just Sit (Anxiety/Marathon)

6 Meg Baird – Don’t Weigh Down The Light (Wichita/Drag City)

7 William Basinski – Cascade (2062/Temporary Residence)

8 Sir Richard Bishop – Tangier Sessions (Drag City)

9 Bitchin Bajas – Transporteur (Hands In The Dark)

10 Bjork – Vulnicura (One Little Indian)

11 Blanck Mass- Dumb Flesh (Sacred Bones)

12 Bop English – Constant Bop (Blood And Biscuits)

13 Leon Bridges – Coming Home (Columbia)

14 The Cairo Gang – Goes Missing (God?)

15 Cannibal Ox – Blade Of The Ronin (iHiphop)

Continue

The Clash’s debut would “fail miserably” says unearthed industry letter

Tom Pinnock
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The Clash’s debut would “fail miserably” says unearthed industry letter
The Clash's debut album would "fail miserably", according to an industry note now unearthed. The letter was from Epic Records A&R executive Bruce Harris to punk fan Paul Dougherty, explaining why Epic weren't signing the group. Dougherty has now published the letter on his blog, Punk Before ...

The Clash‘s debut album would “fail miserably”, according to an industry note now unearthed.

The letter was from Epic Records A&R executive Bruce Harris to punk fan Paul Dougherty, explaining why Epic weren’t signing the group. Dougherty has now published the letter on his blog, Punk Before Punk.

Though Harris is clearly appreciative of the band, he compares the 1977 album’s production unfavourably with the same year’s Never Mind The Bollocks, Here’s The Sex Pistols record, calling the sound that of “an amateur act”.

“It’s not a valid artistic judgement to say that the production is deliberately shoddy,” Harris writes, “because this is new wave and new wave music doesn’t follow the same rules as other music, etc. This is a genuine copout. The Sex Pistols album, for instance, is produced properly and as a result sounds really strong and captures the band’s power.”

The band’s debut would be finally released in the US two years later in 1979, through Epic, but with considerable changes in the running order.

Read the letter in full:

November 29, 1977

Dear Paul:

Now that you’ve explained to me how the net works, let me tell you a little about how the mummy crumbles.

Unfortunately, A&R decisions are not based entirely on taste and musical preference. Hard to believe as you may find this, I personally am an avid Clash fan. My responsibility is not, however, to release records I like but rather records which I feel will bring profit into this company. (You may dismiss this kind of view as immoral or whatever but I would consider myself immoral to accept payment from CBS and not fulfill that obligation to the best of my ability. It would be easy for me to sit here and say I like the Clash, I like the Vibrators, I like the Adverts, I like Blondie, but that’s no accomplishment. Your presumption that releasing a Clash record would change the complexion of the American music marketplace, FM radio, press, etc. is a false one. From my experience in the music business, it seems clear to me that the Clash’s album would fail miserably from that point of view.

Also, it is important to note that the Clash’s album for all its quality (which is evident in the overwhelming lyrics, the blistering music and the feverish performance) is not at all matched by the level of production which is an enormous drawback. The band’s live performance is many times better than what is on this record and one has to question the artistic integrity of creating an inferior sounding album. It’s not a valid artistic judgement to say that the production is deliberately shoddy because this is new wave and new wave music doesn’t follow the same rules as other music, etc. This is a genuine copout. The Sex Pistols album, for instance, is produced properly and as a result sounds really strong and captures the band’s power. I believe the Clash can make better records than their first album and those are the records we should choose to bring to the American marketplace.

I have a very deep interest in making punk rock happen in the U.S. but I believe that only the finest quality product (like the Sex Pistols album) can achieve that end.

The failing does not lie with record companies. Your comments about radio are certainly right but if you take the thought one step further, I think you will see that it’s radio that’s blocking the progress here not record manufacturers. Sire Records is releasing a number of new wave albums, none of which have gotten much airplay or sold any records as a result. Personally I expect that this is partially due to the low quality of much of this product. On the other hand, like any new movement, punk will take time. Maybe its the Talking Heads second album that will happen, and maybe the Dead Boys will get a little better at what they are doing.

I believe the Clash are better than anyone in the field except the Sex Pistols and I have been very involved in guiding the production of their second album. I don’t want them to sound like Fleetwood Mac—I want them to sound like the Clash that they are and not an amateur act.

Your interest is marvelous and though we disagree, I really was glad to hear your voice rise up from the street telling me where to go. Hopefully, the Clash’s next album will be more right for us and we will be releasing it here. Meanwhile, you will be happy to know that it appears that Columbia Records will release the Vibrators album next year, our Blue Sky label will be releasing David Johansen’s solo album and Epic will release an album by a new group from England called Masterswitch. Inorder for the new wave to become a permanent one, it has to get rolling right.

Best regards,
Bruce Harris

The History Of Rock – a brand new monthly magazine from the makers of Uncut – goes on sale in the UK on July 9. Click here for more details.

Meanwhile, the July 2015 issue of Uncut is in shops now – featuring the Rolling Stones, 13th Floor Elevators, Jim O’Rourke, Ringo Starr and more

Photo:  Juan Jesus Garcia

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