Home Blog Page 438

Ryan Adams previews new album at Newport Folk Festival

0
Ryan Adams has previewed songs from his new album in his performance at Newport Folk Festival in Rhode Island, reports Consequence Of Sound. The singer will release his self-titled fourteenth album on September 8 and, during his performance, he played three songs from the record, plus a new, non-al...

Ryan Adams has previewed songs from his new album in his performance at Newport Folk Festival in Rhode Island, reports Consequence Of Sound.

The singer will release his self-titled fourteenth album on September 8 and, during his performance, he played three songs from the record, plus a new, non-album track called “Catherine”. You can watch footage of one track, “My Wrecking Ball”, below and listen to the whole set at NPR.

Adams also covered US metal band Danzig’s track “Mother” towards the end of his set. He previously debuted one of the new songs in his set, ‘Stay With Me’, at a show in Portland.

The Ryan Adams album was produced by Adams at his Pax Am Studios in Hollywood, Los Angeles. The album follows 2011’s ‘Ashes & Fire’, and will feature recent single ‘Gimme Something Good’.

The Ryan Adams tracklisting is:

‘Gimme Something Good’

‘Kim’

‘Trouble’

‘Am I Safe’

‘My Wrecking Ball’

‘Stay With Me’

‘Shadows’

‘Feels Like Fire’

‘I Just Might’

‘Tired Of Giving Up’

‘Let Go’

Watch Beck, Jack White and Sean Lennon perform live together

0
Beck was joined by Jack White last Saturday [July 26] night at the Providence Performing Arts Center. According to The Future Heart, White was introduced by Beck as "the best bartender in the world." They started off with "Pay No Mind" and "Loser" before closing out the show with an extended versio...

Beck was joined by Jack White last Saturday [July 26] night at the Providence Performing Arts Center.

According to The Future Heart, White was introduced by Beck as “the best bartender in the world.” They started off with “Pay No Mind” and “Loser” before closing out the show with an extended version of “Where It’s At”.

For the last song, they were also joined on tambourine by Sean Lennon, who had opened the show with his band the Ghost Of A Saber Tooth Tiger.

Stevie Nicks to release new album this autumn

0
Stevie Nicks has announced that she will release a double album this autumn. 24 Karat Gold: Songs From The Vault will be released on October 7. The album is made up of songs that were mostly written by the Fleetwood Mac member between 1969 and 1987 but were recorded recently in Nashville and Los An...

Stevie Nicks has announced that she will release a double album this autumn.

24 Karat Gold: Songs From The Vault will be released on October 7. The album is made up of songs that were mostly written by the Fleetwood Mac member between 1969 and 1987 but were recorded recently in Nashville and Los Angeles. The album is produced by Nicks, Dave Stewart and Waddy Wachtel.

Speaking about the album, Nicks commented in a statement: “Most of these songs were written between 1969 and 1987. One was written in 1994 and one in 1995. I included them because they seemed to belong to this special group. Each song is a lifetime. Each song has a soul. Each song has a purpose. Each song is a love story… They represent my life behind the scenes, the secrets, the broken hearts, the broken-hearted and the survivors.”

Meanwhile, Fleetwood Mac recently said that they have almost finished eight songs for a possible new album. The recent recordings feature Christine McVie, who announced she was rejoining the band in January, although Nicks was not present at the sessions owing to other commitments.

The band’s guitarist Lindsey Buckingham said in an interview with Billboard: “The chemistry was just unbelievable. We’re all very excited about the new music. Knowing me, I’m going to be pushing hard for a double album.”

Minus Nicks, Fleetwood Mac spent two months at The Village Recorder studio in Los Angeles, working in the same room in which they recorded their 1979 album ‘Tusk’. Despite the eight tracks being “75 per cent done”, the sessions will be put on hold as McVie returns to the UK where she lives. The band are scheduled to begin rehearsals for their world tour this month, meaning it’s unlikely a new album will be released before 2015. Titles for the new songs include “Carnival Begin” and “Red Sun”.

Photo: Getty

Richard Lester on filming The Beatles’ A Hard Day’s Night: “The fans had got hold of hacksaws…”

0

Director Richard Lester, actress Pattie Boyd, extra Phil Collins and choreographer Lionel Blair, among others, recall the filming of The Beatles’ A Hard Day’s Night in the new issue of Uncut, dated September 2014 and out now. Lester reveals the full extent of the fans’ hysteria over the group, especially evident while they were filming at the Scala Theatre in London. “The fans had got hold of hacksaws and sawed through the iron bars of the fire-escape doors,” he says. “There was one situation where the kids got a ladder and climbed onto the roof of the Scala to try and get in where I’d barred it up,” adds associate producer Denis O’Dell. The new issue of Uncut is out now. Photo: Criterion

Director Richard Lester, actress Pattie Boyd, extra Phil Collins and choreographer Lionel Blair, among others, recall the filming of The Beatles’ A Hard Day’s Night in the new issue of Uncut, dated September 2014 and out now.

Lester reveals the full extent of the fans’ hysteria over the group, especially evident while they were filming at the Scala Theatre in London.

“The fans had got hold of hacksaws and sawed through the iron bars of the fire-escape doors,” he says.

“There was one situation where the kids got a ladder and climbed onto the roof of the Scala to try and get in where I’d barred it up,” adds associate producer Denis O’Dell.

The new issue of Uncut is out now.

Photo: Criterion

Tom Petty: “I can’t save the world, I can only bitch about it”

0
Tom Petty lets Uncut into his Malibu home in the new issue, dated September 2014 and out today (July 29). The singer, songwriter and guitarist reflects on his temper, his tempestuous career with the Heartbreakers and their urgent and essential new album, Hypnotic Eye, in the piece. “I’m not ...

Tom Petty lets Uncut into his Malibu home in the new issue, dated September 2014 and out today (July 29).

The singer, songwriter and guitarist reflects on his temper, his tempestuous career with the Heartbreakers and their urgent and essential new album, Hypnotic Eye, in the piece.

“I’m not really a political person but I am a practical one,” Petty reveals. “It is easy to see the good guys and the bad guys right now even though the good guys are a little grey.

“I can’t save the world, I can only bitch about it,” he laughs.

The new issue of Uncut is out now.

This month in Uncut

0
Robert Plant, Tom Petty, King Crimson and Bobby Womack all feature in the new issue of Uncut, dated September 2014 (Take 208) and out tomorrow (July 29). We track Plant, on the cover, from the Welsh Marches to the nightclubs of Paris to hear about bee colonies, mountain lions, altercations with Mor...

Robert Plant, Tom Petty, King Crimson and Bobby Womack all feature in the new issue of Uncut, dated September 2014 (Take 208) and out tomorrow (July 29).

We track Plant, on the cover, from the Welsh Marches to the nightclubs of Paris to hear about bee colonies, mountain lions, altercations with Moroccan traffic cops, Bron-Yr-Aur, Jimmy Page, and Plant’s extraordinary new solo album.

“I have to keep moving,” he explains. “Everybody laughs at me, my kids and everybody. ‘Jeez, why?’ And I say, ‘Because it’s there to go to it.'”

Meanwhile, at home on his Malibu estate, Tom Petty reflects on his temper, his tempestuous career with the Heartbreakers, and his urgent and essential new album, Hypnotic Eye.

Uncut also joins Robert Fripp and the latest incarnation of King Crimson in the rehearsal studio to hear about their upcoming gigs, the problems with touring and his setlist plans.

Bobby Womack’s last producer, Richard Russell, pays tribute to the late soul legend, and we revisit a fantastic interview with Womack from the archives.

Elsewhere, Richard Lester, Pattie Boyd, Phil Collins and Lionel Blair recall their time on set with The Beatles filming A Hard Day’s Night, Richard & Linda Thompson remember the tumultuous time around the creation of their classic I Want To See The Bright Lights Tonight album, and Yes take us through their catalogue in our ‘album by album’ piece this month.

J Mascis answers your questions, as well as queries from famous fans, on topics including Dinosaur Jr, his guitar collection, playing with Blur and The Jesus And Mary Chain on the Rollercoaster tour in 1992, and his favourite ever guitar riff.

Josef K recall the making of their single “It’s Kinda Funny”, while ex-Rilo Kiley leader Jenny Lewis charts the records that have soundtracked her life.

In our mammoth reviews section, we take a look at new records from Spoon, Ty Segall, Sinéad O’Connor, Robyn Hitchcock and Cold Specks, among others, and archive releases from The Allman Brothers Band, Elvis Presley and Aphex Twin.

Live, we report from gigs by Jack White, Stevie Wonder and the Eagles, and review DVDs and films from Nick Cave, David Lynch and Morrissey, and the new book about Alex Chilton.

Our free CD, Ramble On!, features tracks from Wire, Spoon, Richard Thompson, J Mascis, Cold Specks, Robyn Hitchcock, David Kilgour And The Heavy Eights, James Yorkston and more.

The new issue of Uncut is on sale July 29 (tomorrow)

Reigning Sound – Shattered

0

Soul-saturated, heart-tugging, Memphis-celebrating offering from Greg Cartwright’s latest line-up... Fourteen years into their career, Reigning Sound show no signs of getting over it. You could drop in any one of their records and find the same qualities: three-minute garage-soul songs about broken hearts, dreams, regret and loss. Shattered has a stack of these sad and lovely offerings, all the work of Greg Cartwright, an inspired songwriter and possessor of a weatherbeaten, vulnerable voice. If there’s one thing Cartwright knows, it’s how to write a sad song and sing it till it hurts. Reigning Sound’s stunningly assured fifth studio album features a newish new line-up recruited by keyboard player, Dave Amels, the sole survivor from 2009’s Love And Curses. Mike Catanese, Benny Trokan and Mikey Post play with Amels in Brooklyn soul group The Jay Vons, and Shattered subsequently has an excellent, measured, grasp of soul, R&B and country-soul. The band knows exactly what to leave out – and that’s important, as Shattered was recorded on eight-track, leaving little room for embellishment. There’s more space, more air, than on Love And Curses, itself a far cry from 2004’s Too Much Guitar, an atypically claustrophobic release that buried Cartwright’s marvellous voice in tinny, psychotic guitar and which sounded more like one of Cartwright’s (many) side projects, punk-rock party band the Oblivians. Shattered opens with the rat-a-tat drums of “North Cackalacky Girl”, garage rock, with rumbling guitar, jaunty organ and defiant lyrics. “Let’s get on with the show!” shouts Cartwright, addressing the first of many women who slip through these songs like ghosts. Our first encounter is with a temptress - “Don’t make my heart your toy” - who can get his heart racing just “by the way you touch my hand”. That impish promise is already spent by “Never Coming Home”, gorgeous, chugging guitar-pop with heart-tugging strings in which Cartwright shows he has no fear of playing on emotions, embracing that plaintive side of pop, manipulating the heart but elevating the soul with a beautiful melody that could come from any decade. Amels’ whirling organ, thumping percussion and a sense of optimism drive “Falling Rain”, before the perfect country-soul of “If You Gotta Leave” brings “broken hearts”, a “whole lot of pain” and a barrel load of tears-in-beers sadness (pedal steel is by John Whittemore, who used to be Cartwright’s dentist). “You Did Wrong”, a pointed Doors-y shuffle with psychy guitar line and billowing organ has Cartwright chastising a friend – “You did wrong and now she’s found somebody new”, while on the acoustic “Once More” he’s almost crooning, the delivery giving depth to lyrics about eyes that “sparkle and shine”. “I’ve never loved… a girl… like this before,” he purrs, and you want to believe him even if you’ve lost track of which particular girl he’s singing about now. “My My”, picks up the pace, a Southern Rock jive about cars, girls and rock and roll. “I don’t claim to be lucky in love,” is Cartwright’s throaty cry – and even when he’s having success with the ladies he’s unsure about it - before we return to the warm Motown glow of “Starting New”. The wicked Mod strut of “Baby It’s Too Late”, the sole cover version, gives way to the swinging statement of “In My Dreams”. Amels’ organ provides subtle texture but everything is in thrall to the vocal, a hymn of praise to a girl of his dreams. “Drink my coffee, wash my face, put my heart back in its place…” sings this fragile Casanova, before the gospel lament of “I’m Trying (To Be The Man You Need)” sees Cartwright down on one knee, striving to be a better man and admitting he’ll fail. “Got no money, fancy clothes, but a true, true heart, I’ve got one of those,” he insists, channelling his inner man-child, the one who knows exactly what a woman doesn’t want to hear and sings it so intensely her stomach does backflips anyway. Peter Watts Q&A Greg Cartwright What’s different to Love And Curses? The line-up. I did an EP with this line-up about two years ago and that marked a big change. These guys are total in-the-pocket R&B players and they hit all those changes an R&B band would. We recorded on eight track, and the limitations also changed how I made the record. You have to make decisions up front about what you are going to put on each song. Before I’d cut the basic song and then add piano or tambourine, basically do whatever I wanted. Is every song a love song? In some, the nature of the song is veiled. So one is actually about the loss of loved ones, the way that as you get older people start to die. It’s a different love and loss, not of a lover, but of a person who completed you as a friend. Loss has always been a deep thread in my music. Sometimes you are singing about loss, and sometimes you blame people for that loss and sometimes you forgive them – these are the recurring themes. Tell me about “Baby It’s Too Late”. That’s a cover of a song by Shadder And The King Lears, a Memphis garage band that did a couple of songs before Shadder became a pastor. On my records I try to incorporate some lost Memphis nugget that I grew up with and will connect me to the Memphis heritage of music that I am trying to relate to. This music had a great impact on me and the root of it all is Memphis music. INTERVIEW: PETER WATTS

Soul-saturated, heart-tugging, Memphis-celebrating offering from Greg Cartwright’s latest line-up…

Fourteen years into their career, Reigning Sound show no signs of getting over it. You could drop in any one of their records and find the same qualities: three-minute garage-soul songs about broken hearts, dreams, regret and loss. Shattered has a stack of these sad and lovely offerings, all the work of Greg Cartwright, an inspired songwriter and possessor of a weatherbeaten, vulnerable voice. If there’s one thing Cartwright knows, it’s how to write a sad song and sing it till it hurts.

Reigning Sound’s stunningly assured fifth studio album features a newish new line-up recruited by keyboard player, Dave Amels, the sole survivor from 2009’s Love And Curses. Mike Catanese, Benny Trokan and Mikey Post play with Amels in Brooklyn soul group The Jay Vons, and Shattered subsequently has an excellent, measured, grasp of soul, R&B and country-soul.

The band knows exactly what to leave out – and that’s important, as Shattered was recorded on eight-track, leaving little room for embellishment. There’s more space, more air, than on Love And Curses, itself a far cry from 2004’s Too Much Guitar, an atypically claustrophobic release that buried Cartwright’s marvellous voice in tinny, psychotic guitar and which sounded more like one of Cartwright’s (many) side projects, punk-rock party band the Oblivians.

Shattered opens with the rat-a-tat drums of “North Cackalacky Girl”, garage rock, with rumbling guitar, jaunty organ and defiant lyrics. “Let’s get on with the show!” shouts Cartwright, addressing the first of many women who slip through these songs like ghosts. Our first encounter is with a temptress – “Don’t make my heart your toy” – who can get his heart racing just “by the way you touch my hand”. That impish promise is already spent by “Never Coming Home”, gorgeous, chugging guitar-pop with heart-tugging strings in which Cartwright shows he has no fear of playing on emotions, embracing that plaintive side of pop, manipulating the heart but elevating the soul with a beautiful melody that could come from any decade.

Amels’ whirling organ, thumping percussion and a sense of optimism drive “Falling Rain”, before the perfect country-soul of “If You Gotta Leave” brings “broken hearts”, a “whole lot of pain” and a barrel load of tears-in-beers sadness (pedal steel is by John Whittemore, who used to be Cartwright’s dentist). “You Did Wrong”, a pointed Doors-y shuffle with psychy guitar line and billowing organ has Cartwright chastising a friend – “You did wrong and now she’s found somebody new”, while on the acoustic “Once More” he’s almost crooning, the delivery giving depth to lyrics about eyes that “sparkle and shine”. “I’ve never loved… a girl… like this before,” he purrs, and you want to believe him even if you’ve lost track of which particular girl he’s singing about now.

“My My”, picks up the pace, a Southern Rock jive about cars, girls and rock and roll. “I don’t claim to be lucky in love,” is Cartwright’s throaty cry – and even when he’s having success with the ladies he’s unsure about it – before we return to the warm Motown glow of “Starting New”. The wicked Mod strut of “Baby It’s Too Late”, the sole cover version, gives way to the swinging statement of “In My Dreams”. Amels’ organ provides subtle texture but everything is in thrall to the vocal, a hymn of praise to a girl of his dreams. “Drink my coffee, wash my face, put my heart back in its place…” sings this fragile Casanova, before the gospel lament of “I’m Trying (To Be The Man You Need)” sees Cartwright down on one knee, striving to be a better man and admitting he’ll fail. “Got no money, fancy clothes, but a true, true heart, I’ve got one of those,” he insists, channelling his inner man-child, the one who knows exactly what a woman doesn’t want to hear and sings it so intensely her stomach does backflips anyway.

Peter Watts

Q&A

Greg Cartwright

What’s different to Love And Curses?

The line-up. I did an EP with this line-up about two years ago and that marked a big change. These guys are total in-the-pocket R&B players and they hit all those changes an R&B band would. We recorded on eight track, and the limitations also changed how I made the record. You have to make decisions up front about what you are going to put on each song. Before I’d cut the basic song and then add piano or tambourine, basically do whatever I wanted.

Is every song a love song?

In some, the nature of the song is veiled. So one is actually about the loss of loved ones, the way that as you get older people start to die. It’s a different love and loss, not of a lover, but of a person who completed you as a friend. Loss has always been a deep thread in my music. Sometimes you are singing about loss, and sometimes you blame people for that loss and sometimes you forgive them – these are the recurring themes.

Tell me about “Baby It’s Too Late”.

That’s a cover of a song by Shadder And The King Lears, a Memphis garage band that did a couple of songs before Shadder became a pastor. On my records I try to incorporate some lost Memphis nugget that I grew up with and will connect me to the Memphis heritage of music that I am trying to relate to. This music had a great impact on me and the root of it all is Memphis music.

INTERVIEW: PETER WATTS

In praise of Nicolas Cage in Joe

0

For a time, both Nicolas Cage and filmmaker David Gordon Green have separately been drifting away from what they do best. Joe, however, reminds us what both men are capable when the gears are shifting in the right sequence. Cage’s Joe is a decent but no nonsense supervisor of a crew working in rural Mississippi; he drinks, which isn’t a good idea. When 15 year-old Gary (Tye Sheridan) shows up looking for work, Joe takes him in: inevitably, he sees something of himself in the boy. Gary’s father is a violent alcoholic (actor Gary Poulter was living rough on the streets of Austin, Texas when Green cast him; it’s a chilling performance, but sadly Poulter died shortly after filming). There is more violence, too, in the form of Willie, a local with whom Joe has an unspecified beef in the past. What Cage does here is brilliantly reign in his most extreme tendencies, so that this is a very internalised, but all the same very intense performance. He’s not been this watchable for years. As a promising young filmmaker, David Gordon Green earned favourable comparisons with Terrence Malick for his early films, George Washington and All The Real Girls. A left turn saw him set aside earthy lyricism and loose narrative in favour of lowbrow comedies like Pineapple Express. What might first have appeared a pragmatic business decision on Green’s part felt less convincing as he plateau’d with Your Highness and The Sitter. Perhaps in response, Green threw back to his earlier films with last year's Prince Avalanche – an intimate two-hander set in an isolated stretch of central Texas after forest fires have ravaged the region. He continues to explore this lo-fi terrain here, weaving an intriguing, multi-layered story around people living on the fringes: violence and alcoholism are rife. It reminds me, to some extent, of Mud: another Southern story about a fundamentally decent though compromised man taking a wide-eyed protégé (also played by Sheridan) under his wing. Just as Mud was a critical part in reinvigorating Matthew McConaughey’s career, one can hope that Joe helps reconnect Cage with the qualities – and films – that made him such a compelling screen presence in the first place. http://www.youtube.com/watch?v=_w_yqcQUTfY

For a time, both Nicolas Cage and filmmaker David Gordon Green have separately been drifting away from what they do best. Joe, however, reminds us what both men are capable when the gears are shifting in the right sequence.

Cage’s Joe is a decent but no nonsense supervisor of a crew working in rural Mississippi; he drinks, which isn’t a good idea. When 15 year-old Gary (Tye Sheridan) shows up looking for work, Joe takes him in: inevitably, he sees something of himself in the boy. Gary’s father is a violent alcoholic (actor Gary Poulter was living rough on the streets of Austin, Texas when Green cast him; it’s a chilling performance, but sadly Poulter died shortly after filming). There is more violence, too, in the form of Willie, a local with whom Joe has an unspecified beef in the past. What Cage does here is brilliantly reign in his most extreme tendencies, so that this is a very internalised, but all the same very intense performance. He’s not been this watchable for years.

As a promising young filmmaker, David Gordon Green earned favourable comparisons with Terrence Malick for his early films, George Washington and All The Real Girls. A left turn saw him set aside earthy lyricism and loose narrative in favour of lowbrow comedies like Pineapple Express. What might first have appeared a pragmatic business decision on Green’s part felt less convincing as he plateau’d with Your Highness and The Sitter. Perhaps in response, Green threw back to his earlier films with last year’s Prince Avalanche – an intimate two-hander set in an isolated stretch of central Texas after forest fires have ravaged the region.

He continues to explore this lo-fi terrain here, weaving an intriguing, multi-layered story around people living on the fringes: violence and alcoholism are rife. It reminds me, to some extent, of Mud: another Southern story about a fundamentally decent though compromised man taking a wide-eyed protégé (also played by Sheridan) under his wing. Just as Mud was a critical part in reinvigorating Matthew McConaughey’s career, one can hope that Joe helps reconnect Cage with the qualities – and films – that made him such a compelling screen presence in the first place.

Devon record shop goes up for sale on eBay for £9,000

0

A record shop in Devon has gone up for sale on eBay for £8,999.00. The shop, which is based in Crediton, Devon has been going for seven years and is being sold because the owner wishes to start another business. According to the listing, the price includes: "Thousands upon thousands of new and used vinyl singles, albums & box sets, CD singles and albums." It also includes merchandise including badges, posters, mugs and tshirts. "This is a ready made business for someone to start," the statement reads. The lease on the shop itself ends October, and the current owners says they will not be renewing it. The site may be available, which is "a matter which needs to be discussed with the landlord," the listing says. This is not the first record shop to crop up on the auction site in recent months. At the end of last year, the owner of the oldest second-hand record shop in London failed to attract a buyer after placing his store for sale on eBay for £300,000. Specialising in vintage vinyl, On The Beat Records in Hanway Street, Soho, stocked over 50,000 records. These were all included in the £300,000 'Buy It Now' price, along with the store's leasehold.

A record shop in Devon has gone up for sale on eBay for £8,999.00.

The shop, which is based in Crediton, Devon has been going for seven years and is being sold because the owner wishes to start another business.

According to the listing, the price includes: “Thousands upon thousands of new and used vinyl singles, albums & box sets, CD singles and albums.” It also includes merchandise including badges, posters, mugs and tshirts.

“This is a ready made business for someone to start,” the statement reads.

The lease on the shop itself ends October, and the current owners says they will not be renewing it. The site may be available, which is “a matter which needs to be discussed with the landlord,” the listing says.

This is not the first record shop to crop up on the auction site in recent months. At the end of last year, the owner of the oldest second-hand record shop in London failed to attract a buyer after placing his store for sale on eBay for £300,000.

Specialising in vintage vinyl, On The Beat Records in Hanway Street, Soho, stocked over 50,000 records. These were all included in the £300,000 ‘Buy It Now’ price, along with the store’s leasehold.

Jack White performs “Seven Nation Army” with fan

0
Jack White brought a lucky fan on stage to play with him and his band during a gig in Milwaukee on Monday night. White was performing at the Eagles Ballroom in Milwaukee on July 21 when he reached out to the audience for help with the White Stripes song. When the female audience member stepped up, ...

Jack White brought a lucky fan on stage to play with him and his band during a gig in Milwaukee on Monday night.

White was performing at the Eagles Ballroom in Milwaukee on July 21 when he reached out to the audience for help with the White Stripes song. When the female audience member stepped up, she got to wear White’s hat and play two of his guitars while performing the song. She later took a bow with the rest of White’s band.

Elsewhere at the gig, Jack White performed a brief excerpt of Lorde’s song “Royals”. The cover follows White playing Jay Z‘s ’99 Problems’ on many occasions during his current North American tour.

Jack White embarks on a three-date tour of the UK this November playing at:

Leeds First Direct Arena (November 17)

Glasgow SSE Hydro Arena (18)

London O2 Arena (19)

Watch Ryan Adams debut new track “Stay With Me” live

0
Ryan Adams has debuted a new track entitled "Stay With Me". The singer-songwriter played the song at a gig in Portland, Maine earlier this week, alongside other new tracks, including "Kim" and "Shadows". Click below to watch footage of the performance, via Stereogum. Ryan Adams will release his 14...

Ryan Adams has debuted a new track entitled “Stay With Me”.

The singer-songwriter played the song at a gig in Portland, Maine earlier this week, alongside other new tracks, including “Kim” and “Shadows”. Click below to watch footage of the performance, via Stereogum.

Ryan Adams will release his 14th solo album, Ryan Adams, on September 8. Produced by Adams at his Pax Am Studios in Hollywood, Los Angeles, the album follows 2011’s Ashes & Fire, and will feature recent single “Gimme Something Good”.

Since Ashes & Fire, Adams has produced an EP for Fall Out Boy entitled PAX AM Days and started heavy metal side-project band Pornography with Make Out singer Leah Hennessy and singer-songwriter Johnny T Yerington.

The Ryan Adams tracklisting is:

‘Gimme Something Good’

‘Kim’

‘Trouble’

‘Am I Safe’

‘My Wrecking Ball’

‘Stay With Me’

‘Shadows’

‘Feels Like Fire’

‘I Just Might’

‘Tired Of Giving Up’

‘Let Go’

John Hiatt – Terms Of My Surrender

0

The past, present and future intertwine on the veteran’s latest effort... For writer/artists of a certain age, the sands of time can be like quicksand, sucking them under as they grasp at their past achievements. John Hiatt is one of the handful of exceptions to this entropic pattern; at age 61, he’s as prolific, expressive and energetic as ever, demonstrating that a gifted songwriter who’s dialed into the process of aging can continue to find fertile subject matter.   Hiatt hasn’t allowed himself to be trapped in the shadow of his 1987 classic Bring The Family, his inspired collaboration with Ry Cooder, Nick Lowe and Jim Keltner, which could’ve been the hellhound on his tail if he’d succumbed to an ever more desperate need to try and match it, like so many of his contemporaries; instead, he’s kept plugging away as an indie artist, taking life as it comes. His postmillennial output – nine albums in 14 years, each one of them with its own distinct character and brace of memorable songs – has actually outpaced his rate of productivity on several major labels in the first quarter century of his career.   Hiatt’s recent work has yielded some particularly impressive LPs. 2003’s Beneath This Gruff Exterior, produced by the late, great Don Smith (Petty, Wilburys) finds Louisiana slide wizard Sonny Landreth letting rip. Master Of Disaster (2005), had roots legend Jim Dickinson at the console and the North Mississippi All Stars, featuring Dickinson’s sons, providing the shit-kicking vibe. On 2008’s self-produced Same Old Man, a burnished, elegiac song cycle focused on the ups and downs of a long-term relationship, leading to some of the veteran artist’s most emotionally authentic performances.   Although Hiatt has been clean since 1985, leading a quiet life with his wife and kids outside of Nashville, recollections of his wild years have continued to provide him with grist for the songwriting mill. “Mistakes are to be highlighted,” he noted in 2008. “You can’t have the light without the dark.” That duality permeates the new Terms Of My Surrender. Its songs are blues-based reflections recalling the sauntering grooves of J.J. Cale, the gritty swamp rock of Tony Joe White and Bob Dylan’s Modern Times throughout. Hiatt keeps things close to the bone, using his touring band, with guitarist Doug Lancio doubling as producer, and basing the predominantly understated performances around his lived-in voice, acoustic guitar and harmonica.   In the middle of opening track “Long Time Comin’” Lancio unleashes thunderbolts with a powerfully evocative guitar solo that emphatically amplifies the intensity of the lyric, evoking Daniel Lanois’ atmospheric eruptions on Emmylou Harris’s Wrecking Ball. Hiatt goes down to the crossroads on the 12-bar blues “Face of God” and treks to Cold Mountain on the refracted murder ballad “Wind Don’t Have to Worry”, haunted by backing vocalist Brandon Young’s androgynous soprano wail. “Baby’s Gonna Kick” stays low to the ground, set off by a smoldering Lancio solo, while Hiatt channels Howlin’ Wolf on “Nothin’ I Love”, whose dissolute narrator bemoans his weaknesses – “I drink too much, I take too many pills/Ain’t too long before my mind gets ill” – before delivering the album’s most resonant line: “Nothin’ I love is good for me but you”.   “Old People” starts out with a jokiness redolent of Randy Newman but then takes on a certain gravitas – it seems the song’s road-hogging senior citizens are in a big hurry to slow down time. The existential poignancy in the title song is palpable, as Hiatt acknowledges his failures and regrets. “When the moon is rising/And the night is still”, he sings in a world-weary baritone, “Some of my delusions have the power to kill/Scared I’ll get what I deserve/Or maybe scared I won’t”.   There’s a passage in “Long Time Comin’” that crystallizes the album and Hiatt’s latter-day body of work as a whole: “I’ve sang these songs a thousand times, ever since I was young/It’s a long time comin’ and the drummer keeps drummin’, your work is never done”. This is one old timer who’s still in his prime, doing his damnedest to keep it going till it’s all used up. Bud Scoppa  Q&A John Hiatt To what do you attribute your longevity and your undiminished productivity? You hit a point where you start to feel that time’s running out and getting more precious, and I want to do the best work I can and as much as I can before I kick the bucket. That’s pretty much what it is. If you hang around and you don’t embarrass yourself, you’re in pretty good shape. You can even embarrass yourself, actually; I’ve done that. You’ve mixed things up from album to album in recent years, but there’s a consistent thematic thread running through all of them. It’s about the adventure, and the constant is me and what I do. It’s not the idea. Fuck the idea – I got a million of them. I like trying new things, and I like good music. I don’t have a notion other than let’s put some players together with somebody who knows their way around a studio and some arrangements, and we might make some great music. Your songs, and especially your love songs, are quite different from what a young man would write, and they seem as genuine as anything you’ve ever done. It’s the endurance of love, and also how broken it gets, and how broken we are – how broken I am, anyway – and how it just seems never-ending; the pieces breaking apart and being put back together somehow. INTERVIEW: BUD SCOPPA

The past, present and future intertwine on the veteran’s latest effort…

For writer/artists of a certain age, the sands of time can be like quicksand, sucking them under as they grasp at their past achievements. John Hiatt is one of the handful of exceptions to this entropic pattern; at age 61, he’s as prolific, expressive and energetic as ever, demonstrating that a gifted songwriter who’s dialed into the process of aging can continue to find fertile subject matter.

 

Hiatt hasn’t allowed himself to be trapped in the shadow of his 1987 classic Bring The Family, his inspired collaboration with Ry Cooder, Nick Lowe and Jim Keltner, which could’ve been the hellhound on his tail if he’d succumbed to an ever more desperate need to try and match it, like so many of his contemporaries; instead, he’s kept plugging away as an indie artist, taking life as it comes. His postmillennial output – nine albums in 14 years, each one of them with its own distinct character and brace of memorable songs – has actually outpaced his rate of productivity on several major labels in the first quarter century of his career.

 

Hiatt’s recent work has yielded some particularly impressive LPs. 2003’s Beneath This Gruff Exterior, produced by the late, great Don Smith (Petty, Wilburys) finds Louisiana slide wizard Sonny Landreth letting rip. Master Of Disaster (2005), had roots legend Jim Dickinson at the console and the North Mississippi All Stars, featuring Dickinson’s sons, providing the shit-kicking vibe. On 2008’s self-produced Same Old Man, a burnished, elegiac song cycle focused on the ups and downs of a long-term relationship, leading to some of the veteran artist’s most emotionally authentic performances.

 

Although Hiatt has been clean since 1985, leading a quiet life with his wife and kids outside of Nashville, recollections of his wild years have continued to provide him with grist for the songwriting mill. “Mistakes are to be highlighted,” he noted in 2008. “You can’t have the light without the dark.” That duality permeates the new Terms Of My Surrender. Its songs are blues-based reflections recalling the sauntering grooves of J.J. Cale, the gritty swamp rock of Tony Joe White and Bob Dylan’s Modern Times throughout. Hiatt keeps things close to the bone, using his touring band, with guitarist Doug Lancio doubling as producer, and basing the predominantly understated performances around his lived-in voice, acoustic guitar and harmonica.

 

In the middle of opening track “Long Time Comin’” Lancio unleashes thunderbolts with a powerfully evocative guitar solo that emphatically amplifies the intensity of the lyric, evoking Daniel Lanois’ atmospheric eruptions on Emmylou Harris’s Wrecking Ball. Hiatt goes down to the crossroads on the 12-bar blues “Face of God” and treks to Cold Mountain on the refracted murder ballad “Wind Don’t Have to Worry”, haunted by backing vocalist Brandon Young’s androgynous soprano wail. “Baby’s Gonna Kick” stays low to the ground, set off by a smoldering Lancio solo, while Hiatt channels Howlin’ Wolf on “Nothin’ I Love”, whose dissolute narrator bemoans his weaknesses – “I drink too much, I take too many pills/Ain’t too long before my mind gets ill” – before delivering the album’s most resonant line: “Nothin’ I love is good for me but you”.

 

“Old People” starts out with a jokiness redolent of Randy Newman but then takes on a certain gravitas – it seems the song’s road-hogging senior citizens are in a big hurry to slow down time. The existential poignancy in the title song is palpable, as Hiatt acknowledges his failures and regrets. “When the moon is rising/And the night is still”, he sings in a world-weary baritone, “Some of my delusions have the power to kill/Scared I’ll get what I deserve/Or maybe scared I won’t”.

 

There’s a passage in “Long Time Comin’” that crystallizes the album and Hiatt’s latter-day body of work as a whole: “I’ve sang these songs a thousand times, ever since I was young/It’s a long time comin’ and the drummer keeps drummin’, your work is never done”. This is one old timer who’s still in his prime, doing his damnedest to keep it going till it’s all used up.

Bud Scoppa 

Q&A

John Hiatt

To what do you attribute your longevity and your undiminished productivity?

You hit a point where you start to feel that time’s running out and getting more precious, and I want to do the best work I can and as much as I can before I kick the bucket. That’s pretty much what it is. If you hang around and you don’t embarrass yourself, you’re in pretty good shape. You can even embarrass yourself, actually; I’ve done that.

You’ve mixed things up from album to album in recent years, but there’s a consistent thematic thread running through all of them.

It’s about the adventure, and the constant is me and what I do. It’s not the idea. Fuck the idea – I got a million of them. I like trying new things, and I like good music. I don’t have a notion other than let’s put some players together with somebody who knows their way around a studio and some arrangements, and we might make some great music.

Your songs, and especially your love songs, are quite different from what a young man would write, and they seem as genuine as anything you’ve ever done.

It’s the endurance of love, and also how broken it gets, and how broken we are – how broken I am, anyway – and how it just seems never-ending; the pieces breaking apart and being put back together somehow.

INTERVIEW: BUD SCOPPA

Courtney Love says production on Kurt Cobain biopic will begin in “next 12 months”

0
Courtney Love says she hopes filming will start on a mooted Kurt Cobain biopic within the next year. As reported, a film of the late Nirvana frontman's life is set to go into production. Love set the timescale in a new interview with Inquirer Entertainment, in which she also said she won't be decid...

Courtney Love says she hopes filming will start on a mooted Kurt Cobain biopic within the next year.

As reported, a film of the late Nirvana frontman’s life is set to go into production. Love set the timescale in a new interview with Inquirer Entertainment, in which she also said she won’t be deciding who plays her late husband.

“The biopic should start within the next year or so,” said Love. “I won’t name names because I don’t want to jinx it for anyone but these are 25-year-olds who are blonde, gorgeous and the new Brad Pitts. There’s a ton of those. Some are really good actors, not just pretty faces. I don’t want to be the person who makes that decision.”

However, Love will be involved in the film, alongside Cobain’s former Nirvana bandmates. “I do have a say in it. So do Frances, and Krist (Novoselic) and Dave (Grohl), for that matter, if it touches on Nirvana — and it will. I am leading the charge because it’s time to do this.”

Love previously revealed to NME that she has ambitious plans for her late husband’s legacy, including a documentary and stage play. Love stated that it has been fans’ reactions to the possibility of a stage production involving Cobain’s story which has made it now “very likely” to happen.

Roger Daltrey to help launch model railway museum

0
Roger Daltrey is backing plans to create an international model railway museum in Ashford, Kent. Daltrey says the proposed museum would be a way of celebrating the fact that the railways were a British invention. "We're trying to start a model railway museum down in Ashford, me and a few pals do...

Roger Daltrey is backing plans to create an international model railway museum in Ashford, Kent.

Daltrey says the proposed museum would be a way of celebrating the fact that the railways were a British invention.

“We’re trying to start a model railway museum down in Ashford, me and a few pals down in Kent,” he told Radio 2‘s Chris Evans. “Britain forgets that we invented the railway and it conquered the world. The railway was the first thing to open up the world in a big way for trade. We invented it, and we should be proud of that. The model making side of it, it’s enormous.”

The singer revealed his interest in miniature trains in a conversation about his hobbies. Daltrey said: “I hate watching the TV because there’s nothing on and I like listening to the radio. The great thing about model railways is you can be doing a bit of woodwork, a bit of painting, a bit of this, a bit of that, and having fun with your mates and you can listen to the radio.”

Kent Online reported on Tuesday (July 22) that Daltrey visited Ashford Borough Council to discuss submitting an application for the museum, which is proposed for the Klondyke Railway Works site in Ashford’s Newtown.

A council spokesman said: “Roger Daltrey attended a meeting at Ashford Borough Council with the leader of the council Cllr Gerry Clarkson and chief executive John Bunnett about a proposal to locate an international model railway museum in Ashford. The meeting was attended by the group working on putting together the proposals for this exciting project. This was a preliminary meeting to discuss certain aspects prior to a formal planning application being lodged in the very near future.”

“We were delighted to welcome Mr Daltrey and the other guests, who are all supporting this proposed project, and we had an excellent and productive discussion.”

Jack White, Neil Young, Willie Nelson to headline Farm Aid

0
Jack White, Neil Young and Willie Nelson have been announced as this year's headliners at Farm Aid, reports Rolling Stone. Also appearing on the bill are John Mellencamp and Dave Matthews as well as Preservation Hall Jazz Band, Jamey Johnson, Delta Rae, Lukas Nelson & Promise of the Real, Carle...

Jack White, Neil Young and Willie Nelson have been announced as this year’s headliners at Farm Aid, reports Rolling Stone.

Also appearing on the bill are John Mellencamp and Dave Matthews as well as Preservation Hall Jazz Band, Jamey Johnson, Delta Rae, Lukas Nelson & Promise of the Real, Carlene Carter, Pegi Young & The Survivors, and Insects vs Robots.

The benefit will take place this year at Walnut Creek Ampitheater, Raleigh, North Carolina on September 13.

“In North Carolina and across the Southeast, family farmers have struggled to stay on the land, but they have also pioneered new roads to economic sustainability,” Willie Nelson said in a statement. “This region knows the value of its farmers and offers increasing opportunities for new farmers to build a strong regional food system. On the Farm Aid stage Saturday, September 13, we’ll celebrate family farmers and the healthy communities they’re growing for all of us.”

Ticket presale starts Friday, July 25 at noon EDT. You can find more information here.

The 28th Uncut Playlist Of 2014

There's a song on this new Purling Hiss album, playing again now, that sounds more or less like "Debaser" played by Dinosaur Jr. Along with the intensely spirited debut by Mary Timony's Ex-Hex and a comp of the pre-Beachwood Sparks, Sebadoh-indebted Further, it feels a little like College Rock revisited week. Deep late '80s/early '90s vibes, good times etc. Plenty of more meditative offerings here, including the best drone record I've heard in a while courtesy of Metabolismus (who feature Samara Lubelski), Labradford-like manoeuvres from a couple of that band's ex-members (Anjou), and Philip Corner's strong Morton Feldman-ish take on Satie. Tricky album's not bad, either… Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Bing & Ruth - Tomorrow Was The Golden Age (RVNG INTL) 2 Ex-Hex - Rips (Merge) 3 Steve Gunn – Way Out Weather (Paradise Of Bachelors) 4 Caribou -Our Love (City Slang) 5 Purling Hiss - Weirdon (Drag City) http://www.youtube.com/watch?v=-sKVTLPUgmE 6 Tweedy - Sukierae (dBpm) 7 [REDACTED] 8 White Fence - For The Recently Found Innocent (Drag City) I reviewed this one here 9 Metabolismus - Sus (Amish) 10 Syl Johnson - Diamond In The Rough (Hi/Fat Possum) 11 The Rosebuds - Sand + Silence (Western Vinyl) 12 Tricky - Adrian Thaws (False Idols) http://www.youtube.com/watch?v=PJ2DVq5EOC0 13 Martin Carr - The Breaks (Tapete) 14 Jack White - Icky Thump/99 Problems (Live in Louisville, 19/7/14) http://www.youtube.com/watch?v=1f3tSZwAxNA 15 Chris Forysth & The Solar Motel Band - Intensity Ghost (No Quarter) 16 Sleep - The Clarity (http://video.adultswim.com/music/singles-2014/) 17 Philip Corner - Satie Slowly (Unseen Worlds) 18 Further - Where Were You Then? (Bad Paintings) 19 Dustin Wong & Takako Minekawa - Savage Imagination (Thrill Jockey) 20 Tallesen - Stills Lit Through (Software) 21 Anjou - Anjou (Kranky) 22 Jennifer Castle - Pink City (No Quarter)

There’s a song on this new Purling Hiss album, playing again now, that sounds more or less like “Debaser” played by Dinosaur Jr. Along with the intensely spirited debut by Mary Timony‘s Ex-Hex and a comp of the pre-Beachwood Sparks, Sebadoh-indebted Further, it feels a little like College Rock revisited week. Deep late ’80s/early ’90s vibes, good times etc.

Plenty of more meditative offerings here, including the best drone record I’ve heard in a while courtesy of Metabolismus (who feature Samara Lubelski), Labradford-like manoeuvres from a couple of that band’s ex-members (Anjou), and Philip Corner‘s strong Morton Feldman-ish take on Satie. Tricky album’s not bad, either…

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

1 Bing & Ruth – Tomorrow Was The Golden Age (RVNG INTL)

2 Ex-Hex – Rips (Merge)

3 Steve Gunn – Way Out Weather (Paradise Of Bachelors)

4 Caribou -Our Love (City Slang)

5 Purling Hiss – Weirdon (Drag City)

6 Tweedy – Sukierae (dBpm)

7 [REDACTED]

8 White Fence – For The Recently Found Innocent (Drag City)

I reviewed this one here

9 Metabolismus – Sus (Amish)

10 Syl Johnson – Diamond In The Rough (Hi/Fat Possum)

11 The Rosebuds – Sand + Silence (Western Vinyl)

12 Tricky – Adrian Thaws (False Idols)

13 Martin Carr – The Breaks (Tapete)

14 Jack White – Icky Thump/99 Problems (Live in Louisville, 19/7/14)

15 Chris Forysth & The Solar Motel Band – Intensity Ghost (No Quarter)

16 Sleep – The Clarity (http://video.adultswim.com/music/singles-2014/)

17 Philip Corner – Satie Slowly (Unseen Worlds)

18 Further – Where Were You Then? (Bad Paintings)

19 Dustin Wong & Takako Minekawa – Savage Imagination (Thrill Jockey)

20 Tallesen – Stills Lit Through (Software)

21 Anjou – Anjou (Kranky)

22 Jennifer Castle – Pink City (No Quarter)

Slowdive announce two further reunion dates

0
Slowdive have announced two further reunion gigs for later this year. The band returned to the stage for their first gig in almost 20 years back in May, playing a surprise gig at the Sonic Cathedral label's 10th anniversary party at London's Hoxton Square Bar & Kitchen. They have since been t...

Slowdive have announced two further reunion gigs for later this year.

The band returned to the stage for their first gig in almost 20 years back in May, playing a surprise gig at the Sonic Cathedral label’s 10th anniversary party at London’s Hoxton Square Bar & Kitchen.

They have since been touring European festivals, including slots at Primavera Sound in Barcelona and Latitude last weekend (July 18). They will now follow this up with dates across Asia and North America, before two nights at London’s The Forum in Kentish Town on December 29 and 20.

In an interview earlier this year, the band’s frontman Neil Halstead suggested that the band may record new material. “The initial impetus [of a reunion] was the idea of doing some new music,” he said. “It seemed easier to do that because it’s not so public. But then we thought it would be good if we could raise a bit of money to make the record, and doing a couple of gigs would enable us to do that. And that’s the way it shaped up – while we’re rehearsing we can see if we’ve got another record in us.”

The Pop Group announce first ever UK tour

0
The Pop Group have announced their first ever UK tour. The Bristol group - who formed in 1978 and split in 1980 before getting back together again in 2010 - will head out on a seven date tour this October, in support of the reissue in October of their 1980 album We Are Time and Cabinet Of Curiositi...

The Pop Group have announced their first ever UK tour.

The Bristol group – who formed in 1978 and split in 1980 before getting back together again in 2010 – will head out on a seven date tour this October, in support of the reissue in October of their 1980 album We Are Time and Cabinet Of Curiosities, a nine-track compilation of rarities and previously unreleased material.

The band will be performing We Are Time in full on the tour, which starts at Edinburgh Voodoo Rooms on October 20, with shows in Nottingham, Manchester, Bristol, Leeds and Brighton, finishing up at London’s Islington Assembly Hall on October 26. Tickets go on sale July 25.

The Pop Group will play:

Edinburgh Voodoo Rooms (October 20)

Nottingham Bodega Social Club (21)

Manchester Gorilla (22)

Bristol Anson Rooms (23)

Leeds Brudenell Social Club (24)

Brighton Sticky Mike’s Frog Bar (25)

London Islington Assembly Hall (26)

George Harrison memorial tree killed by infestation of beetles

0

A tree planted in memory of George Harrison has died after being infested by beetles. The pine in Los Angeles' Griffith Park was planted in 2004 as a tribute Harrison, who passed away in 2001 in the city. A plaque on the tree read: "In memory of a great humanitarian who touched the world as an artist, a musician and a gardener." It also featured a quote from Harrison: "For the forests to be green, each tree must be green." The LA Times says that Councilman Tom LaBonge has promised that a new tree will be planted to honour Harrison. Meanwhile, Ron Howard is to direct a new documentary about The Beatles' early years. The film will be produced for The Beatles' Apple Corps Ltd company with White Horse Pictures and will be made with the full cooperation of Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison. It will focus on the formative touring days of the band, from shows at Liverpool's Cavern Club and their time in Hamburg, up until their final gig – in Candlestick Park, San Francisco in 1966.

A tree planted in memory of George Harrison has died after being infested by beetles.

The pine in Los Angeles’ Griffith Park was planted in 2004 as a tribute Harrison, who passed away in 2001 in the city. A plaque on the tree read: “In memory of a great humanitarian who touched the world as an artist, a musician and a gardener.” It also featured a quote from Harrison: “For the forests to be green, each tree must be green.”

The LA Times says that Councilman Tom LaBonge has promised that a new tree will be planted to honour Harrison.

Meanwhile, Ron Howard is to direct a new documentary about The Beatles’ early years. The film will be produced for The Beatles’ Apple Corps Ltd company with White Horse Pictures and will be made with the full cooperation of Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.

It will focus on the formative touring days of the band, from shows at Liverpool’s Cavern Club and their time in Hamburg, up until their final gig – in Candlestick Park, San Francisco in 1966.

September 2014

0
Robert Plant, Tom Petty, King Crimson and Bobby Womack all feature in the new issue of Uncut, dated September 2014 (Take 208) and out tomorrow (July 29). We track Plant, on the cover, from the Welsh Marches to the nightclubs of Paris to hear about bee colonies, mountain lions, altercations with Mor...

Robert Plant, Tom Petty, King Crimson and Bobby Womack all feature in the new issue of Uncut, dated September 2014 (Take 208) and out tomorrow (July 29).

We track Plant, on the cover, from the Welsh Marches to the nightclubs of Paris to hear about bee colonies, mountain lions, altercations with Moroccan traffic cops, Bron-Yr-Aur, Jimmy Page, and Plant’s extraordinary new solo album.

“I have to keep moving,” he explains. “Everybody laughs at me, my kids and everybody. ‘Jeez, why?’ And I say, ‘Because it’s there to go to it.'”

Meanwhile, at home on his Malibu estate, Tom Petty reflects on his temper, his tempestuous career with the Heartbreakers, and his urgent and essential new album, Hypnotic Eye.

Uncut also joins Robert Fripp and the latest incarnation of King Crimson in the rehearsal studio to hear about their upcoming gigs, the problems with touring and his setlist plans.

Bobby Womack’s last producer, Richard Russell, pays tribute to the late soul legend, and we revisit a fantastic interview with Womack from the archives.

Elsewhere, Richard Lester, Pattie Boyd, Phil Collins and Lionel Blair recall their time on set with The Beatles filming A Hard Day’s Night, Richard & Linda Thompson remember the tumultuous time around the creation of their classic I Want To See The Bright Lights Tonight album, and Yes take us through their catalogue in our ‘album by album’ piece this month.

J Mascis answers your questions, as well as queries from famous fans, on topics including Dinosaur Jr, his guitar collection, playing with Blur and The Jesus And Mary Chain on the Rollercoaster tour in 1992, and his favourite ever guitar riff.

Josef K recall the making of their single “It’s Kinda Funny”, while ex-Rilo Kiley leader Jenny Lewis charts the records that have soundtracked her life.

In our mammoth reviews section, we take a look at new records from Spoon, Ty Segall, Sinéad O’Connor, Robyn Hitchcock and Cold Specks, among others, and archive releases from The Allman Brothers Band, Elvis Presley and Aphex Twin.

Live, we report from gigs by Jack White, Stevie Wonder and the Eagles, and review DVDs and films from Nick Cave, David Lynch and Morrissey, and the new book about Alex Chilton.

Our free CD, Ramble On!, features tracks from Wire, Spoon, Richard Thompson, J Mascis, Cold Specks, Robyn Hitchcock, David Kilgour And The Heavy Eights, James Yorkston and more.

THE NEW ISSUE IS ON SALE FROM TUESDAY 29 JULY

Uncut is now available as a digital edition, download it now